EAY
his art was highly esteemed. He was em- ployed for a time at the Battersea enamel works, and gained a Society of Arts' premium in 1761, and was in 1766 a member of the Incorporated Society of Artists. He is said to have been invited to this country by Hogarth, to assist in engraving his ' Mar- riage a la Mode/ the 4th and 5th plates in which series are by him and dated 1745. He became one of his ablest coadjutors. He was also employed by Alderman Boy- dell, and he executed many plates for the booksellers. His best works were however executed for Boydell, * Charity after C. Agneri/ 1763; ' The Lord of the Vineyard paying his Labourers/ after Rembrandt, 1767; ' The Prodigal Son,' after Salvator Rosa, 1767; * George II. on Horseback/ after D. Morier, 1757, and there is a good portrait of himself which he engraved after Zolfanv. His engravings are remarkable for imitation of colour, as well as for their brilliancy and careful drawing. He was elected an associate of the Royal Academy in 1770, and exhibited there some proofs of his works. He lived many years at Lambeth Marsh, but removed to the Hamp- stead Road, nearly opposite to the ' Mother Redcap/ where he died, April 2. 1774, and was buried in St. Pancras' old churchyard.
RAVE NET, Simon, engraver. Was born in London about 1755, and was the son of the above, by whom he was instructed in his art. Soon after his father's death he went to Paris, and studied there under Boucher. He then went to Italy, and finally settled at Parma, where he under- took to engrave all the works of Correggio in that city. This labour occupied him from 1779-85, and gained him, on its com- pletion, the distinction of Chevalier. He was living, according to some writers, in 1813.
RAWLE, Samuel, engraver and drafts- man. Practised in London about the begin- ning of the 19th century. He exhibited a landscape view at the Royal Academy in 1801, and again in 1806. There is an artistic engraving, also drawn by him, of the Middle Temple Hall, in the * Gentle- man's Magazine for 1798. He engraved some of the illustrations of Murphy's * Ara- bian Antiquities of Spain/ published in 1816.
RAWLINS, Thomas, gem and die- engraver. Was born about 1610. He was intended for a goldsmith, and early cut in metal and precious stones heads and coats of arms. Charles I. appointed him first engraver to the Mint in 1648, and he was again employed after the Restoration. The dies for the coinage struck at Oxford are by him, as well as several medals commemo- rative of the period, and are works combin- ing great spirit with careful details. Evelyn, in his ' Sculptura/ mentions him as excell-
REA
ing in medals and intaglios, and in Fleck- noe's * Miscellanies ' there is a poem * on that excellent cymilist or sculptor in gold and precious stones, Thomas Rawlins. ' He wrote 4 Rebellion, a Tragedy/ with some other pieces for the stage, and ' Calanthe/ a book of poems, 1648. He died 1670.
RAWLINSON, James, portrait painter. He was a Derbyshire artist, and was a pupil of Romnev. In 1799 he exhibited at the Academy, nis only appearance there, ' An Old Woman Knitting. A portrait by him of Darwin, the poet, is well engraved by Heath. Hayley mentions him in his
- Life of Romney.' He died July 25, 1848,
in his 80th year.
READ, Charles David, draftsman. Born 1790. He was a drawing-master at Salisbury, and produced a number of land- scape etchings, which he published in 1840, but they possess little merit. He also painted some landscapes in oil. He died at Kensington, May 25, 1851.
READ, Miss Katherine, portrait painter. Practised in London, both in oil and crayons, in the early part of George III.'s reign. She lived in the neighbour- hood of St. James's, and gained consider- able reputation. In 1765-68 she contri- buted crayon portraits to the Free Society's exhibitions, and was later an exhibitor at the Royal Academy. About 1770 she went to the East Indies, where she stayed some time, but probably not long, as in 1771-72 she exhibited at the Spring Gardens' Rooms. On her return, resuming her practice in London, she painted a portrait of Queen Charlotte, and a group of Prince George and Prince Frederick when children, with a large dog. Valentine Green en- graved after her, and Robert Lowry en- graved her Elizabeth Duchess of Hamilton. From 1773 to 1776 she exhibited crayon portraits at the Royal Academy. Her best works are in crayons, but her own portrait in oil, still in the possession of her family, is a very clever work. Her portraits are well drawn and grouped, and are marked by their pleasing natural expression. She painted a miniature of Hayley, the poet, when a boy; and in his poetic epistles he commemorates 'the soft pencil of the grace- ful Read.' She died, unmarried, in London, December 15, 1778.
READ, Nicholas, sculptor. Was a pupil of Roubiliac, and after his death occupied his studio and premises in St. Martin's Lane, succeeding also to much of his professional connexion. He showed some early ability, and in 1762-63 gained premiums of the Society of Arts, and in 1764 was awarded the first premium of 150 guineas for a marble statue. He is said to have cut the skeleton figure of death in Mrs. Nightingale's monument, which is remarkable for its excellent tooling, but he
349
