"A very uncommon series of prints, privately printed, never commercially marketed, and only distributed to a small number of friends and relations. The series of landscapes of Italianate views show castles, lakes and cottages, usually populated by two women on horseback. There is in these views a quiet mysticism, something on the same plane if not on the same level as Samuel Palmer, Edward Calvert and other 'Ancients'. The views are untitled, and so possibly were never meant to be exact representations of any physical scenery but instead produced to instil feelings of peaceful tranquility. The two women are likely to be an autobiographical representation of Caddy and her sister, Mary Boyle, and so reflecting something of an idealised form of their life on the continent. ... They travelled in some comfort across the Alps and down through all the main cities of Italy as far as Naples before retracing their steps home. The account also recalls that the 'children', although by 1832 Caddy would have been thought spinsterish at 29, had 'packets for our own special books, writing, and drawing materials'. Perhaps it was a family accomplishment to be skilful with brush and pencil, with Caddy evidently sufficiently adept for her work to be engraved. Alas, being a maid of honour to the dowager queen Adelaide, it would have been almost impossible for her to enter into any commercial venture. ... Two further groups of ten mezzotints were thus engraved by Samuel William Reynolds and published during the 1850's, again for private distribution. Caddy turned to other interests and according to Hare she became 'wildly evangelical' and so he, and society saw less and less of her. Not in COPAC or OCLC. We have been able to trace only two other sets, one at the British Museum print room; and another at the Bibliotheque Nationale (however with only nine prints and without wrappers); see Augustus Hare, The story of my life, 1896, and Mary Boyle, her book, 1901." (Pickering & Chatto, cat. 799, lot 22).