Tiny etching, copy after the 5th state with bust continued to the border. Possibly from the 19th-c edition of the plates published by the widow Jean. Signed in the plate with the artist's monogram "A O" at upper left. Trimmed to ruled border. See Godefroy 2.
Trimmed inside plate mark. Print attributed to Pierre Francois Basan after a plate once attributed to Rembrandt. Text lightly etched in lower margin: "Rembrandt gravant une planche/oeuvre de Mr Marriette." [Parisian collector/dealer P. J. Mariette] Pencil note "a portrait of himself" inside image above margin may be in Geo. P. Marsh's hand.See NHD 304, copy a; Hind 300 A; Biorklund-Barnard reject 81.
Mezzotint after painting by Anthony van Dyck once in the Common Parlour at Houghton. Now in the State Hermitage Museum, St Petersburg. Print removed from George P. Marsh’s copy of The Houghton Gallery, vol. 1. SI Secretary's Library stamp embossed near lower left corner.
Mezzotint after painting formerly attributed to Titian once in the Salon at Houghton. Now in State Hermitage Museum, St. Petersburg where it is provisionally attributed to Alessandro Bonvicino, called Il Moretto da Brescia. Print tipped onto sheet bound in George P. Marsh’s copy of The Houghton Gallery, vol. 1.
Engraving after original painting by Gaspard Dughet [called Poussin] once in the Gallery at Houghton. Now in the State Hermitage Museum, St. Petersburg, with descriptive title Wooded Landscape. Print removed from George P. Marsh's copy of The Houghton Gallery, vol. 1. Pencil note on mounting sheet "Taken out for framing Mar. 16, 1894." SI Secretary's Library stamp embossed in margin below image.
The painter Gaspard Dughet took the name Poussin after the French artist Nicolas Poussin, his mentor and the husband of his sister.
Engraving from original painting by Pietro da Cortona once in the Gallery at Houghton. Now in Pushkin Museum of Fine Arts, Moscow, as The Return of Hagar. Print tipped onto sheet bound in George P. Marsh’s copy of The Houghton Gallery, vol. 1.
Engraving after painting by Nicolas Poussin once in the Embroidered Bed Chamber at Houghton Hall, Norfolk, England. Now in the State Hermitage Museum, St. Petersburg. Print removed from George P. Marsh’s copy of The Houghton Gallery, vol. 2. Marsh probably wrote the numeral 18 in pencil in the lower right margin. Pencil note on mounting sheet indicates the print was taken out for framing Mar. 17, 1894. Signed in the plate lower right: N. Poussin Pinxit De Pouilly Sculpsit Ex C P R.
Mezzotint after original painting by Paul de Vos once in the Gallery at Houghton. Now in the State Hermitage Museum, St. Petersburg, with descriptive title Cook at a Kitchen Table with Dead Game. Print tipped onto sheet bound in George P. Marsh’s copy of The Houghton Gallery, vol. 1. Formerly attributed to Marten de Vos as referenced on the print.
Mezzotint after original painting by Bartolome Murillo once in the Salon at Houghton. Now in the State Hermitage Museum, St. Petersburg. Print tipped onto sheet bound in George P. Marsh’s copy of The Houghton Gallery, vol. 1.
Trimmed inside plate mark. Signed in plate "RHL 1630." Late impression on wove paper. Ref. NHD 45, state III (?); Hind 7, Bartsch 164, Biorklund-Barnard 30-A.
Etching, 5th (?) state, after retouching. Trimmed to ruled border on three sides. Artist's monogram AvO faintly etched below image at right. See Godefroy 12.
Engraving after painting attributed to Charles Jervas once in the Dressing Room at Houghton, Now in State Hermitage Museum, St Petersburg. Print tipped onto sheet bound in George P. Marsh’s copy of The Houghton Gallery, vol. 1.One of two prints with same title mounted on same page. The paintings are now considered likely to be copies by Jervas after Paul de Vos. This one shows two dogs and a cat facing off over dead birds, with a large cabbage at lower right.
Mezzotint after painting formerly attributed to Anthony van Dyck, hung in the Drawing Room at Houghton Hall, Norfolk, England. Now in the State Hermitage Museum, St. Petersburg as a repetition by the workshop of van Dyck. The painting that is now considered the original portrait is in the Fitzwilliam Museum, Cambridge, England. Print removed from George P. Marsh’s copy of The Houghton Gallery, vol. 2. Marsh probably wrote the numeral 11 in pencil in the lower right margin. Pencil note in the binding indicates the print was taken out for framing in March, 1894. SI Secretary's Library stamp embossed lower right.
Raphael's painting, on which this engraving is based, is known as the Alba Madonna because it was owned for many years by the Spanish dukes of Alba. It is now in the National Gallery of Art, Washington. The copper plate is in the Chalcography at the Louvre.
Mezzotint after painting formerly attributed to Peter Paul Rubens once in the Gallery at Houghton Hall, Norfolk, England. Now in the State Hermitage Museum, St. Petersburg, as a cartoon for a tapestry by the workshop of Rubens, with the figures possibly added by Theodor van Thulden. Print removed from George P. Marsh’s copy of The Houghton Gallery, vol. 2. Pencil note indicates it was removed for framing in 1894. Secretary's Library stamp embossed below image near title.
Mezzotint after original painting by Ferdinand Bol once in the Gallery at Houghton. Now in the State Hermitage Museum, St Petersburg, with descriptive title Portrait of an Old Woman with a Book. Print removed from George P. Marsh's copy of The Houghton Gallery, vol. 1. Pencil note on mounting sheet indicates print was taken out for Cincinnati Exhibition, 1888.
Engraving after original painting by Gaspard Dughet [called Poussin] once in the Gallery at Houghton. Now in the State Hermitage Museum, St. Petersburg, with descriptive title Landscape with a Fisherman. Print tipped onto sheet bound in George P. Marsh’s copy of The Houghton Gallery, vol. 1.
The painter Gaspard Dughet took the name Poussin after the French artist Nicolas Poussin, his mentor and the husband of his sister.