1794. "Turner used this book on his tour through the Midland counties to the Dee valley in North Wales in the summer of 1794. The first few pages are given over to a précis of several possible itineraries, some broadly indicated by a few principal towns, others detailed routes naming many small villages. He may have consulted a friend who knew some parts of the region intimately. He seems to have planned the trip to furnish subjects for an important commission: he had been asked to supply views for J. Walker’s Copper-Plate Magazine for which, and for three other magazines published by Walker, The Itinerant, The Ladies’ Pocket Magazine and the Pocket Print Magazine, thirty-one plates were engraved between 1794 and 1797.1 A drawing of Flint from Park-Gate (National Museum Wales, Cardiff),2 which supplied the subject for one view, is probably a page from this book. This was the first time Turner had been asked to provide a set of topographical views for publication, although he had dreamt of such a work when he made his Avon and Malmesbury drawings in 1791 (see the Bristol and Malmesbury sketchbook, Tate; Turner Bequest VI). He drew on earlier tours as well as this one, but the excursion opened up a wide new area of England to him and he made full use of it. The Marford Mill sketchbook (Tate; Turner Bequest XX) was also taken on the journey, as well as the sheaf of loose sheets catalogued in relation to this tour."
The Sketchbook Archive
The Sketchbook Archive: gathering links to digitized sketchbooks.
J. M. William Turner (1775-1851)
1794. "Turner used this book on his tour through the Midland counties to the Dee valley in North Wales in the summer of 1794. The first few pages are given over to a précis of several possible itineraries, some broadly indicated by a few principal towns, others detailed routes naming many small villages. He may have consulted a friend who knew some parts of the region intimately. He seems to have planned the trip to furnish subjects for an important commission: he had been asked to supply views for J. Walker’s Copper-Plate Magazine for which, and for three other magazines published by Walker, The Itinerant, The Ladies’ Pocket Magazine and the Pocket Print Magazine, thirty-one plates were engraved between 1794 and 1797.1 A drawing of Flint from Park-Gate (National Museum Wales, Cardiff),2 which supplied the subject for one view, is probably a page from this book. This was the first time Turner had been asked to provide a set of topographical views for publication, although he had dreamt of such a work when he made his Avon and Malmesbury drawings in 1791 (see the Bristol and Malmesbury sketchbook, Tate; Turner Bequest VI). He drew on earlier tours as well as this one, but the excursion opened up a wide new area of England to him and he made full use of it. The Marford Mill sketchbook (Tate; Turner Bequest XX) was also taken on the journey, as well as the sheaf of loose sheets catalogued in relation to this tour."
Queen Victoria (1819-1901)
"A sketchbook containing 70 drawings by an eight-year-old Queen Victoria, when Princess Victoria of Kent. The sketchbook mostly contains drawings of figures but there are also studies of horses and other animals that would interest a young girl. The sketchbook is quarter bound with a red leather cover and gilt spine. Inscribed on the inside of the front cover: Victoria 1827"
Eduardo Solá Franco (1915-1996)
Article about Solá Franco's diaries and its publication in four volumes:
Elizabeth Thompson (Lady Butler) (1846-1933)
C. 1861-1933. "Bound sketch-book, black leather-cloth spine with gold tooling and black covers (150mm x 230mm) with unnumbered leaves 15 of which are drawn upon , containing notes, studies of mostly military figures for paintings including "The Colours" exhibited R.A. 1899. Dated 1899 inside the front cover. Pencil, pen & ink , watercolour."
Joanna Mary Boyce (1831-1861)
1843-1844. "First drawing book, with marbled paper-covered soft covers, containing 14 leaves; with first lessons in drawing, including lines, angles, shapes, parts of buildings, progressing to whole buildings then buildings in landscape, probably copied from a drawing book, many folios with initialled with 'JW' or 'EW'. All drawings are orientated horizontally unless otherwise noted, most are dated, some are signed. 1843-44. Graphite. Inside front cover inscribed: 'First drawing book with [word illeg.] Wichelo [Whichelo]', 'Joanna Mary Boyce', 'Midsummer 1843', '1831-1861'"
Raphael Bordallo Pinheiro (1846-1905)
1876. "Álbum de desenhos de Rafael Bordalo Pinheiro com diversos estudos. No início, tem a seguinte a anotação de Cruz Magalhães: «Quando este album entrou na posse do "Museu Rafael Bordalo Pinheiro", oferecido pela Srª D. Helena Bordalo Pinheiro, continha vinte e tres paginas servidas, que numerei, e as restantes em branco. Cruz Magalhães». Capa e contracapa de cartão forrada com papel de cor castanha e texturado. Não tem lombada. Capa com a palavra "Album" com letras a dourado. Tem 42 folios brancos"
Charles White (1918-1979)
1937-1942. "The earliest works in this sketchbook date from White’s days at the School of the Art Institute of Chicago, where he enrolled in 1937. It features approximately 50 drawings in watercolor, pen and ink, graphite, various charcoals, combinations of prepared grounds with colored dry media, and pen and ink or dry brush over ink or watercolor wash. He frequently added historical notes, technical descriptions, and generic titles (e.g., “sketch for block print,” “study for composition”) to his sketchbook drawings, giving insight into his interests and processes. Several pages feature studies of African sculptures, with notations on their cultural origins. White also made a quick, penetrating pencil portrait of poet Langston Hughes, recorded during a lecture on April 1, 1938, at the Chicago Public Library."
(to see the whole sketchbook click over grid/tiles view)
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