Print Collector2 Collection (page 25)

Peace, Burial at Sea of the Body of Sir David Wilkie, c1842, (1912). Artist: JMW Turner
Peace, Burial at Sea of the Body of Sir David Wilkie, c1842, (1912). A colour print from Famous Paintings, with an introduction by Gilbert Chesterton, Cassell and Company, (London, New York, Toronto)

The Strawberry Girl, c1770s, (1912). Artist: Sir Joshua Reynolds
The Strawberry Girl, c1770s, (1912). A colour print from Famous Paintings, with an introduction by Gilbert Chesterton, Cassell and Company, (London, New York, Toronto, 1912)

The Virgin and Child, c1475-1500, (1912). Artist: Sandro Botticelli
The Virgin and Child, c1475-1500, (1912). A colour print from Famous Paintings, with an introduction by Gilbert Chesterton, Cassell and Company, (London, New York, Toronto, 1912)

Mowing Bracken, c1903, (1912). Artist: Henry Herbert la Thangue
Mowing Bracken, c1903, (1912). A colour print from Famous Paintings, with an introduction by Gilbert Chesterton, Cassell and Company, (London, New York, Toronto, 1912)

An Artist showing his Work, c1850, (1912). Artist: Jean Louis Ernest Meissonier
An Artist showing his Work, c1850, (1912). A colour print from Famous Paintings, with an introduction by Gilbert Chesterton, Cassell and Company, (London, New York, Toronto, 1912)

Ethel, 1897, (1912). Artist: Ralph Peacock
Ethel, 1897, (1912). A colour print from Famous Paintings, with an introduction by Gilbert Chesterton, Cassell and Company, (London, New York, Toronto, 1912)

Lifes Illusions, 1849, (1912). Artist: George Frederick Watts
Lifes Illusions, 1849, (1912). A colour print from Famous Paintings with an introduction by Gilbert Chesterton, (Cassell and Company, London, New York, Toronto, 1912)

Portrait of a Man holding Gloves, c1645, (1912). Artist: Frans Hals
Portrait of a Man holding Gloves, c1645, (1912). A colour print from Famous Paintings with an introduction by Gilbert Chesterton, (Cassell and Company, London, New York, Toronto, 1912)

Listed, 1886, (1912). Artist: William Henry Gore
Listed, 1886, (1912). A young man who has enlisted in the army wears ribbons in his cap, according to a custom then prevalent

Flirtation, 1885, (1912). Artist: John Seymour Lucas
Flirtation, 1885, (1912). A colour print from Famous Paintings with an introduction by Gilbert Chesterton, (Cassell and Company, London, New York, Toronto, 1912)

The Listening Girl, 18th century, (1912). Artist: Jean-Baptiste Greuze
The Listening Girl, 18th century, (1912). A colour print from Famous Paintings with an introduction by Gilbert Chesterton, (Cassell and Company, London, New York, Toronto, 1912)

A Good Story, 1881, (1912). Artist: Walter Dendy Sadler
A Good Story, 1881, (1912). A colour print from Famous Paintings with an introduction by Gilbert Chesterton, (Cassell and Company, London, New York, Toronto, 1912)

Alone, 19th century, (1912). Artist: Theophile Emmanuel Duverger
Alone, 19th century, (1912). A colour print from Famous Paintings with an introduction by Gilbert Chesterton, (Cassell and Company, London, New York, Toronto, 1912)

The Vagrants, 1868, (1912). Artist: Fred Walker
The Vagrants, 1868, (1912). A colour print of a painting inspired by the sight of gypsies on Clapham Common, from Famous Paintings with an introduction by Gilbert Chesterton, (Cassell and Company)

King Cophetua and the Beggar Maid, 1884, (1912). Artist: Sir Edward Coley Burne-Jones
King Cophetua and the Beggar Maid, 1884, (1912). A colour print from Famous Paintings with an Introduction by Gilbert Chesterton, Cassell and Company, London, New York, Toronto, 1912

Development of the mitre, 1121-1161, (1910). Early ecclesiastical dress. A depression in the centre of the mitre (bishops headgear), has caused a small knob to become apparent on either side

Abbot Elfnoth, 1020-1050, (1910). A 19th-century depiction after an 11th-century manuscript, showing Abbot Elfnoth (died 980 AD) presenting his book of prayer to St Augustine

Coiffures, late 18th century, (1910). 1 and 2 are c1768, 3 and 4 are c1772. Broad braided bands cross each other at the back

Satire on Walpole, 1738, (1910). Examples of costume: wigs are smaller than in the 17th century, and the coats are wide-skirted

The Macaronies, 1772, (1910). The Macaroni Club in London was founded in 1772 by young men of the fashionable world who had been on the Grand Tour in Italy, in opposition to the Beef-Steak Club

Nell Gwynn, 17th century, (1910). Portrait of King Charles IIs mistress after Sir Peter Lely. The character of the dress of this period has taken on an unconfined ease

Citizen and countryman, 1641, (1910). A 19th-century copy of a woodcut from a 17th-century tract, showing the contrast in dress between members of different social groups

Citizen, 1641, (1910). A 19th-century copy of a woodcut from a 17th-century tract. Illustration from British Costume during 19 Centuries by Mrs Charles H Ashdown, (London, 1910)

Countryman, 1641, (1910). A 19th-century copy of a woodcut from a 17th-century tract. Illustration from British Costume during 19 Centuries by Mrs Charles H Ashdown, (London, 1910)

Citizens daughter, 1649, (1910). Illustration from British Costume during 19 Centuries by Mrs Charles H Ashdown, (London, 1910)

English tradesmans wife, 1649, (1910). Illustration from British Costume during 19 Centuries by Mrs Charles H Ashdown, (London, 1910)

Female costume, 17th century, (1910). Gentlewoman, burghers wife, and countrywoman, a 19th-century copy from Speeds Map of England, published early in the reign of Charles I (1625-1649)

A bedroom party, 1631, (1910). These parties formed the subject of many popular sarcastic remarks. Illustration from British Costume during 19 Centuries by Mrs Charles H Ashdown, (London, 1910)

English court lady, 1643, (1910). The lace collar surrounds the low-cut neck, tight-fitting bodice and full sleeves. The farthingale has disappeared

The plague: flight to the country, 1630, (1910). A 19th-century depicition of the transition stage of costume: the doublet reaching to mid-thigh, sometimes flared from the hips down

Anne of Denmark, early 17th century, (1910). Portrait of Anne (1574-1619), the queen of James I. Her clothing is similar to the costume at the end of Elizabeth Is reign

Haymaking, early 17th century, (1910). Agricultural attire worn by peasants. Illustration from British Costume during 19 Centuries by Mrs Charles H Ashdown, (London, 1910)

The Gunpowder Plotters, early 17th century, (1910). The conspirators, from a picture painted in 1606: Robert Winter, Christopher Wright, John Wright, Thomas Percy, Guy Fawkes, Robert Catesby

King James I, 1614, (1910). The king (1566-1625) wears a thickly padded doublet and bombasted breeches. These appealed to him as being effective against the point of a dagger of rapier

Mary, Queen of Scots, 1580, (1910). Portrait of Mary (1542-1587) after a portrait by Mytens. Of special interest are the two wings at the sides

Elizabethan costume, c1572, (1910). A family in 16th-century costume with lace ruffs, feathers and fur. Illustration from British Costume during 19 Centuries by Mrs Charles H Ashdown, (London, 1910)

Costumes of town and country women, 16th century, (1910). The skirts are not distended, unlike those at the end of the reign of Elizabeth I (1558-1603)

Queen Elizabeth I, c1580, (1910). A 19th-century rendition from the Penshurst portrait, presented to her by Sir Henry Sidney, painted by Zucchero

A royal picnic, 1575, (1910). A 19th-century depiction taken from the Noble Art of Venerie by G Turberville, (1572). Elizabeth Is hat consists of a tall cylindrical crown

Velvet breeches and cloth breeches, 1592, (1910). Frontispiece from Greenes Quip for an Upstart Courtier. The feathered hat of the courtier may be compared with that of the labourer

Queen Elizabeth I hawking, 1575, (1910). A 19th-century rendition from the Art of Falconrie by Turberville, (1585). The doublets have innumerable slashing

Edward VI, 16th century, (1910). Portrait after Holbein of Edward (1537-1553) who became king in 1547 at nine years of age

Jane Seymour, 16th century, (1910). Portrait after Holbein of Henry VIIIs third wife wearing the Transition style of headdress, a combination of the coif and the kennel

The Lady Buts, 16th century, (1910). Portrait after Holbein of Lady Buts wearing the Transition style of headdress, a combination of the coif and the kennel, with lingering traces of the kennel

Lady Audley, 16th century, (1910). Portrait after Holbein of Elizabeth, Lady Audley wearing the Transition style of headdress, a combination of the coif and the kennel

Anne Boleyn, 16th century, (1910). Portrait after Holbein of Anne (1507-1536) wearing a tightly-fitting coif tied under the chin - undoubtedly the progenitor of the French hood

Marchioness of Dorset, 16th century, (1910). Portrait after Holbein of Margaret Wotton, Marchioness of Dorset, wearing a pyramidal style headdress with ribbed bands of silk upon the forehead forming

Male dress, 16th century, (1910). Example of mens dress showing the hanging sleeve. He is armed with sword and buckler (shield). His flat cap hangs upon his shoulder by a cord

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