OUVRIER (1725-1754). Engraved Schenan’s painting, “L’origine de la peinture à la mode,” and those of Eisen, Falconet, Boucher, etc. PACKENY, P. (1846-1905), Vienna. Cut silhouettes cleverly in variously coloured papers. PAHLY. Signature on two fine silhouettes of officers in uniform of the early nineteenth century. In the possession of Madame Nossof, Moscow. LIX. PAREY, AUGUSTE (1855). PASKIN, Colchester. Painted silhouettes on glass, wax filling. “Miniature and Profile Painter; profiles painted in a new and elegant style producing the effect of aquatinta engraving, with the beauty and softness of enamel, in imitation of marble, conveying the most perfect likeness. In rings, brooches, lockets. Time of sitting, one minute. Ladies and gentlemen attended at their own houses, if required, by leaving their address at Mr. Good’s, hairdresser, 14, Head Street, Colchester.” PAVEY, AUGUSTE (1855). PAVEY, C. H. PEALE, C. W. Began business in the United States; cut Washington and other famous men. PEARSE, JAMES. Portsmouth. Cut Nelson just before sailing for Trafalgar, and the Duchess of Kent in unrelieved black; in the National Portrait Gallery. PEARSE, B., father of above. Cut the portrait of the Duke of Wellington from life. In the National Portrait Gallery. PELHEN, J. Painted on glass, eighteenth century. PFEILHAUER (1796). Silhouette pictures painted on glass, with several portraits of court musicians. PICK, G. Cut the portrait of King Edward VII. at Marienbad, Carlyle, and others. In the Knole collection. POCCI, F. G., Münich. Silhouette play, and silhouette illustration in books. POKORNY. Gold glass silhouette with some blue ground. PRIXNER (1784). Silhouettes cut in paper, on elaborate engraved mounts. PULHEN, E. B. (1819). Cut silhouettes. PYBURG, ELIZABETH. Cut profile of William and Mary, 1699. See _Harper’s Magazine_, June, 1882. QUIETENSKY, E. M. Cut silhouettes of theatrical characters. RAYNER (_fecit_ 1808). On the painted silhouette of a boy, the property of Madame Nossof, Moscow. LVIII. READHEAD. Eighteenth century. On glass, painted to resemble a stipple engraving, card back. REHSEINER, MARIE. German modern silhouettist. REINHOLD. Cut silhouettes in black paper. RICHTER (about 1780). Painted on glass, gold leaf or silk background. RIDER, T. (1789). Temple Bar Advertisement. “Any lady or gentleman in the country, by taking their own shade, can have reduced for 3s. 6d. rings in the new method, which has the effect of topases, gilt border, plaster filling. Profile painting on convex glass; inventor of gold borders on convex glass, which gives a painting, print, or drawing the effect of fine enamel.” RITZSCH (1788). Cut battle-scene in white paper. RIVIÈRE. Cut silhouettes in coloured papers, which have been published as book illustration in “L’enfant Prodigue Scènes Bibliques en 7 Tableaux” and “La Marche à l’Etoile” (see Bibliography). ROBERTS, H. P. On glass, white relief, sometimes silk back.