- Young lady
- Tiresome Dog
“Tiresome Dog,” by E. K. Johnson. - Three girls and an old man
- The Trumpeter
THE TRUMPETER.” (SIR JOHN GILBERT, R.A.) (Drawn in pen and ink, from his picture in the Royal Academy, 1883.) [Size of drawing, 5½ by 4¾ in. Photo-zinc process.] - The Soul - front view
- The Soul - back view
- The measure of a man
- The lady Touî, statuette in wood
- The Colossus of Ramses II emerging from the earth
- Swans
Pen and Ink Drawing - Statuette in wood 2
- Statuette in wood
- Statue of Rânofir
- Pectoral of Ramses II
- Pectoral in shape of a hawk with a ram’s head
- Older boy doing a magic trick
- Little girl with a clock
- King Narmer
Among the most ancient representations of Egyptian costume which are known to us is that of the figure of the pre-dynastic King Narmer (3407 B.C.). In the figure he is seen wearing the tall white crown of Upper Egypt (the " Het "), also a plain corselet held in place by one brace, and a short plain kilt with a belt from which ornamental pendants hang down in front. Each pendant has at the top a representation of the goddess Hathor's head, and this is shewn at the side of the figure to a larger scale. At the back of the belt is fastened the ceremonial animal's tail which persists as a part of the kings of Egypt until the end of their history. On the chin of Narmer we see the ceremonial artificial beard of a king, which is fastened by straps to his crown. The figure of this king is taken from that very ancient fragment decorated with figures in relief and called " The Palette of Narmer," a memorial tablet shewing the king in battle. The beards of gods, kings and noblemen were each different in shape, each symbolic of their wearers. - Happy little boy in the rain
- Gold pectoral inlaid with enamel
- Egyptian jewellery of the XIXTH dynasty
- Divider
- Bronze Cat
- Boy climbing a tree
- Badminton in the studio
From the painting by R.W. MacBeth, A.R.A. - Ashes of Roses
This careful drawing, from the painting by Mr. Boughton, in the Royal Academy, reproduced by the Dawson process, is interesting for variety of treatment and indication of textures in pen and ink. It is like the picture, but it has also the individuality of the draughtsman, as in line engraving. Size of drawing about 6½ x 3½ in - A Son of Pan
“A Son of Pan,” by William Padgett. Example of outline drawing, put in solidly with a brush. If this had been done with pencil or autographic chalk, much of the feeling and expression of the original would have been lost. The drawing has suffered slightly in reproduction, where (as in the shadows on the neck and hands) the lines were pale in the original. Size of drawing 11½ × 6½ in. Zinc process.