1. Deification of Aeneas by Venus, by Stefano
Tofanelli. 1794. Oil on canvas, 165.5 by 157.5 cm.
(Private collection).
Attributed works:
2. Apollo and Cyparissus, by Stefano Tofanelli.
1792. Oil on canvas. (Villa Mansi, Segromigno;
photograph the author).
Attributed works:
3. Apotheosis of Romulus before the gods
of Olympus, by Stefano Tofanelli. 1790.
Oil on canvas, 208 by 318 cm. (Palazzo
Altieri, Rome; Bridgeman Images).
Attributed works:
4. Hebe giving drink to the eagle of Jupiter,
by Gavin Hamilton. c.1767. Oil on canvas, 127 by
94 cm. (Stanford University Museum of Art).
10. Wyrley Birch in Montem costume, by Richard Livesay. c.1791.
Oil on canvas, 23.5 by 20 cm. (Collection of the Provost and Fellows
of Eton College).
Attributed works:
11. Detail of Fig.4, showing Colonel Thomas Earle and his attendants.
Attributed works:
12. Detail of Fig.4, showing spectators of the procession.
Attributed works:
13. Military review of the Worcestershire Regiment by Major-General
Whitelocke on Southsea Common, by Richard Livesay. 1823. Oil on
canvas, 78 by 124 cm. (Portsmouth Museum and Art Gallery).
Attributed works:
2. Montem in Weston’s Yard with King George IV, by Charles
Turner. 1820. Pencil and watercolour on paper, 50.8 by 68.5 cm.
(Collection of the Provost and Fellows of Eton College).
Attributed works:
3. The festival of Eton Montem with the procession up Salt Hill,
by Robert Cruikshank. Hand-coloured copperplate, 14.6 by
23.5 cm. (From B. Blackmantle: The English Spy, London 1825;
Bridgeman Images).
Attributed works:
4. The Montem Procession, by Richard Livesay. c.1791–93.
Oil on canvas, 120 by 327 cm. (Eton College, Eton).
Attributed works:
5. Detail of Fig.4, showing the Montem Captain Edward Jones and
two Salt-Bearers receiving a donation from a man on horseback.
Attributed works:
6. The Hon. George Montagu afterwards Earl of Sandwich, by Richard
Livesay. c.1790. Canvas, 74.9 by 62.2 cm. (Mapperton House, Dorset;
photograph Lisa Stein).
1. Elizabeth Sophia Baillie (née de Vismes), by
William Beechey. 1795. Oil on canvas, 76.5 by
63.5 cm. (The Frick Collection, New York).
Attributed works:
2. Elizabeth Sophia Baillie (née de Vismes),
by Henry Bone, after William Beechey. 1795.
Pencil drawing squared in ink for transfer, 14.5
by 10.1 cm. (National Portrait Gallery, London).
Attributed works:
3. Clayton Parlor, in the Clayton Album, by
Lewis Stephan. 1901. Photograph. (Frick Family
Albums and Scrapbooks. The Frick Collection/
Frick Art Reference Library Archives).
1. Triumphant Perseus, by Antonio Canova. Second version,
1804–06. Marble, 242.6 by 191.8 by 102.9 cm. (Metropolitan Museum
of Art, New York).
Attributed works:
2. Head of Medusa, by Antonio Canova. c.1797–1800. Embossed copper
with bronze additions, 31 by 40.5 by 29.8 cm. (Museo Biblioteca
Archivio, Bassano del Grappa).
Attributed works:
3. Detail of Fig.1, showing the head of Medusa.
Attributed works:
4. Head of Medusa, cast after Antonio Canova. 1806–07. Plaster, height
31.1 cm. (Metropolitan Museum of Art, New York).
Attributed works:
6. Detail of Perseus and Medusa, by Antonio Canova. c.1798–99. Oil on
canvas, 24 by 73 cm. (Museo Correr, Venice).
Attributed works:
7. Fig.2 during restoration. (Courtesy Museo Archivio Biblioteca
Bassano del Grappa).
1. Alexandrine Émilie Brongniart, by François Gérard. 1795. Panel,
86.8 by 55.5 cm. (Private collection; photograph Julien Pepy).
Attributed works:
2. Detail of Fig.1, showing Gérard’s adjustment to a lock of hair on the
sitter’s forehead. (Photograph Alice Panhard).
Attributed works:
3. Alexandrine Émilie Brongniart, by François Gérard. 1795.
Canvas, 49.53 by 38.1 cm. (Yale University Art Gallery, New
Haven CT).
Attributed works:
4. Alexandrine Émilie Brongniart, by Adolphe-Gustave Huot,
after François Gérard. 1882. Engraving, 30 by 19.2 cm (image).
(Cabinet des Estampes, Bibliothèque nationale de France, Paris).
Attributed works:
5. Mademoiselle Caroline Rivière, by Jean-Auguste-Dominique Ingres.
1806. Canvas, 100 by 70 cm. (Musée du Louvre, Paris).
Attributed works:
6. Cupid and Psyche, by François Gérard. 1798. Canvas, 186 by 132 cm.
(Musée du Louvre, Paris).
Attributed works:
7. Alexandrine Émilie Brongniart, by Jean-Auguste-Dominique Ingres,
after François Gérard. c. 1795. Pencil on paper, 8.2 by 5.9 cm. (Musée
Ingres, Montauban).
Article
Biagio Rebecca draws the London Opera House: London’s King’s Theatre in the 1790s
2. An Inside View of the Opera House, by J. Page after R. Arnold,
published in Carlton House Magazine (1792). Engraving, 12.4 by 20.6 cm.
(Victoria and Albert Museum, London).
Attributed works:
3. The Opera House, by A.C. Pugin after Thomas Rowlandson, hand
coloured by J. Black, published in R. Ackermann: Microcosm of London,
London 1808–10 (1809). Engraving with acquatint, 26.6 by 33.3 cm.
(The Bodleian Library, Oxford).
Attributed works:
4. Opera House or King’s Theatre at the Hay-Market, by James Storer
after Anthony van Assen, published by Harrison & Co. 1795. Etching, 10.5
by 14 cm. (Victoria and Albert Museum, London).
7. The Prince of Wales as ‘The Modern Atlas’, by Isaac Cruikshank,
published by S.W. Fores. 1791. Hand coloured etching, 25.3 by 37.6 cm.
(Victoria and Albert Museum, London).
Attributed works:
8. The Opera House and the Concert Room, London, as completed 1794,
by J. Willis after A.C. Pugin, published by John Weale, c.1800. Engraving,
13 by 22.3 cm. (Private collection).
Western art unattributed:
6. The Opera House, Haymarket, London. After 1794. Watercolour on
paper, 20.6 by 32.7 cm. (British Museum, London).
Book Review
Un musée révolutionaire: Le Musée des Monuments français d’Alexandre Lenoir. Edited by Geneviève Bresc-Bautier and Béatrice de Chancel-Bardelot
4. The thirteenth-century gallery at the Musée des Monuments français, by Jean-Lubin Vauzelle. c.1795–1820. Watercolour, 37.5 by 52.5 cm. (Musée du Louvre, Paris).
Book Review
Transatlantic Romanticism: British and American Art and Literature, 1790–1860. By Andrew Hemingway and Alan Wallach