Thomas Prior's album

Fiona and Emma Cullen-Ward have shared with us a marvellous sketchbook with the owner's name inside 'Captain Prior 1845'. It appears to be a compilation of sketches and paintings by family members, initially many by his son William Prior (1821-44)-see William Augustus Murray Prior. It is probable that it belonged to William, then inherited by his father who added to it. The sketchbook is rather battered and a little larger than an A4 paper and around 4cm thick.
The following reproductions (in the order they appear in the book) show why it was so treasured. To enlarge, just click on the photo. Any comments, as always, are very welcome. As you can see, there are many unanswered questions about this collection.
Is this a battlefield allegory with the British lion overhead?
William has initialed (W.P.) this fine painting of cows and dated it 1832. Given that he turned 11 years old in November that year, it is very unlikely he drew it, and unlikely that he copied it with such perfection. Did young William put his name or initials on drawings to indicate ownership? William's art teacher Thomas Cooper painted so many cows that he was called 'Cow Cooper' so it may be one of his or, given the loose sketch below, is it by his father Thomas?
The first is by Honoré Daumier of the 'Grocer' c.1840-41. For more see Daumier's Paris. The second is an engraving by Jacques Lavieille, 1840 which is variously labelled 'Home Nurse', 'Monthly Nurse' or 'La garde'(guard). A monthly nurse attended to a woman in the then dangerous month after childbirth when puerperal fever killed so many. She is holding a portable dustpan and brush. In both cases, the name W. Prior has been added but did it indicate that he copied them or bought them?
The first drawing at least is likely one that William drew when a pupil of 'Cow Cooper'; the second may be a later more polished sketch by William or one by Cooper himself.
undated, unsigned landscape possibly in Belgium.
This painting is loose in the album, tied with the string shown here. It has comments on it about the deficiencies in the technique - perhaps William's self-critique or does the string indicate it was tied up and sent to someone for critical comment?
This drawing of a bridge is later repeated, and is in Bruges, indicating that William's regiment was stationed there before being sent to Jersey, then back to Bruges. The below sketch is possibly of his living quarters in Bruges.
Does anyone recognise these locations?
This sketch shows a change of style, more detailed and darker. It is signed W. Prior and dated May 22nd 1842, when William was 20 years old. He has also written a comment between his name and date that is difficult to read. Part of it seems to be 'From original'.
This is the first coloured painting in the album, but shows the same preference for a horse and cart to give a human dimension to the scene.
The artist - presumably William - tries painting dark storms.
This sketch is identified on the back as 'Kilsharvan Church Ireland'. It is signed in the bottom right corner 'T. Prior March 1833' [the final digit is blurred but my best estimate is 3] 'T. Prior' is presumably Thomas Prior indicating that William's talent was shared by his father or, did Thomas also write on art to indicate ownership?
Two unidentified scenes - but I've seen that top house before - where? Does anyone recognise it?
Another version of the first colour painting in the album, this time showing an approaching storm.
This time our artist (presumably William) has gone from storms to trying a night scene.
Three sketches on the one page - the top one showing a more delicate, clearer and I think more beautiful, style.
Two sketches - and there's that house again! Is the top scene in Ireland, the bottom one in Europe?
The top painting is of Jersey Castle; the bottom sketch entitled The Ensign's Dream. In 1842 William was an Ensign with the 59th Regiment and stationed on the island of Jersey. Who was the woman who appeared in his dreams?¹⁾
Both sketches by William Prior of characters in Charles Dickens' novel Oliver Twist (1838): Nancy and Fagin. The sketches are dated Jany 8th with the year on the first one 1839. Presumably the second date is also 1839.
This sketch is entitled “Officers of the 59th Regiment Depot, Jersey 1842 By W.A M.Prior Esqe{?} Ensign 59th Regiment. Bruges, Belgium June 25th 1842. W.P.” They are labelled (from the left): Tomlin Lt [lieutenant]; Major Hoomdem[?]; Tom Smith - Lt; Js Marklan{?] Captain. It is good to know that, in contrast to previous regiments, the 59th was well-regarded by the Jersey locals who sent a letter of regret when they left in 1843 - from this album it appears they were sent to Bruges.Jersey military ancestors talk This drawing is the only one were he has added 'Murray' to his name, or at least to his first lot of initials.
This sketch of men playing billiards is on the facing page to the previous one - the first time there is a sketch on both pages when the album is opened. With the exception of the man on the right, they appear to be three of the same men but in civilian clothes.
The top sketch us signed WAP Bruges and is one of Bruges many famous bridges. For a modern day view see Visit Bruges. The bottom ones are sketches could be real people or fictional characters.
The first page has two faint sketches, perhaps unfinished; the second page a miscellaneous collection of (probably) another Bruges bridge and characters - some probably from real life and others the theatre.
Three scenes of William's life - a woman wearing a Spanish-style mantilla; rugged landscape with travellers; and a scene from the barracks.
The first painting has been drawn and then painted over. It is on board (17.5 X 21 cm) and loose in the album. From the other paintings held by the family (see William Augustus Murray Prior) it is a self-portrait. It has been put with the page which, as shown here, also contains a self-portrait and one that emphasises William's youth. The sketch of the temple has in faint writing below it, Temple of Theseus. Who was the woman - the same as shown in his sketch of the Ensign's Dream?
These pages show a mix of styles and subjects, but on the second page, is it the same young woman again, this time going to bed rather than in it?
The bottom drawing is dated 25 Janvier[?] 1843.
The bottom left drawing is labelled 'View on the Thames', dated Sept 22nd 1843 and signed 'W.P.' indicating that William had returned with his regiment to England. The bottom right drawing is exquisitely detailed and dated the next day and titled 'View from Barnsbury Park' in Islington, London. Peaceful and welcome sights (if not for that young woman in his previous sketches?) where 22-year-old William could expect to be safe.

Was a theatre performance and/or romance on his mind?
There is a title - most likely a placename - at the bottom of this sketch, but it's now too faint to decipher.
Is this the view William saw when his troop ship moored in the Thames?
Drawings of fictional characters. The one of 'Black-eyed Susan' is initialled 'W.P.' - she is a character in a 1829 comic play. The middle sketch is labelled The Maid of Athens and is a copy of the illustration of the poem of that name by Lord Byron expressing passionate regret at having to leave her. The original illustration was published in 1833.
This is a copy of a drawing of life in the more public part of one of London's notorious prisons - Fleet_Prison. The original was published in Pierce Egan, Life in London, 1821.
A sketch of the gateway of St Augustine's Monastery, Canterbury. There is a blank page after this drawing, perhaps indicating that William had died.

These two sketches are signed E. Skynner 1816. Eliza Skynner was William's mother and Thomas's second wife. She turned 21 in 1816 and married Thomas Prior two years later. It appears that William inherited his talent from his mother. There is another blank page, then a series of flower paintings on thick paper which have been pasted into the album.
These beautifully precise and colourful paintings which took huge patience are typical of botanical illustrations at which women of this era excelled. Are they by Eliza Skynner? Sadly 19th century concepts of feminine modesty meant that women frequently did not sign or initial their works.
Is this scene and another flower painting also Eliza Skynner's?
There is another blank page (indicating change in artist?), then this delicate scene drawn on cardboard and signed T.S. Cooper and possibly a date: presumably Thomas Sidney Cooper, William's art teacher and talented landscape artist.
Then there are pages of miscellaneous art. A cartoon by BB Ashford and then an original sketch of man and boy fishing; A copy (with different colours) of a drawing by Marianne Postans in her Cutch; or, random sketches, taken during a residence in one of the northern provinces of Western India; interspersed with legends and traditions, 1839; and, on the last page of this section, a sketch possibly by William in Europe.
After this, the album changes from white pages suitable to sketch on to blue pages more designed to paste in other's work. In both cases, there is white tissue paper between the pages to protect the artwork. The last of these three pages also includes sketches initialled W.P. {William Prior]. The middle head is based on a 1760 painting of King Lear by Sir Joshua Reynolds and William has initialled and dated it July 24, 1842. It is possible that all the sketches on this page are all by William.
sketches one of which appears to be used for drawing practice.
an unknown sketch
Three more paintings by Eliza: one before she married so initialled E— S— 1812; other after she married, so initialled E. P– 1830; and the third an unfinished one signed E. S– 1814.
The back cover of this fascinating album has the following sketch pasted on it:
There are also a number of loose drawings and illustrations that belong to the period of time of the album: three romantic sketches most likely from books or magazines: ; and . The others are eight souvenir prints of Bruges: .