August F. Biehle (1885-1979)


Sketchbook of decorative studies, 1897. "Between the pages represented by AFBIEHLE0512 and 0513, there are two blank pages which were omitted from the digitized copy. Reverse sides of all pages were blank and were not included. AFBIEHLE0497 is an example of a translucent separation sheet which preceded a majority of the pages in the sketchbook, which were also not included. These pages were omitted to reduce handling of the physical material, as both the binding and the paper of this sketchbook are extremely fragile."


Joanna Mary Boyce (1831-1861)


1852-1856. "Sketchbook with dark green leather cover with brass clasp, pencil holder and folder inside cover, and 56 leaves with figure and portrait studies, some landscape sketches and notes; first half mainly notes from John Marshall’s lectures on human anatomy, given at the government school at Marlborough House in 1854, primarily on skeleton, skin, and muscles; studies from life in Thomas Couture's atelier; studies of friends such as Miss Todhunter at her easel in 1854; local figures drawn while abroad in 1856; most of rest are studies of or for compositions, including a pieta; notes on high art in Britain and France (45 r); notes for Boyce’s review in ‘The Saturday Review’ (55r); quotations from Robert Southey, Justus Liebig, and others. 1852-56. Graphite"

George Clausen (1852-1944)


1891-1896 (?). 
"This sketch book consists of 66 sheets of drawings, mostly figure studies, including studies for the paintings 'Boy Threshing', 'Evening Song' and 'Summer in the Fields'. Chalks and coloured pastels on brown paper."

Elizabeth Thompson (Lady Butler) (1846-1933)


C. 1885-1886. "Bound sketch-book, plain black leather-cloth spine with blue covers (132mm x 180mm) with unnumbered leaves of various colours many containing notes, studies of mainly Arab figures, landscapes, including a view of Lucerne, all in graphite unless otherwise stated. 1885-86.

Sue Lawty (1954-)


Artist's Book Vol. II, 2007-2011. "Two individual stone drawing samples, stuck with adhesive to two individual papers, which are attached with adhesive to a single sheet of cream board; stone drawing one (on the left of the sheet) is constructed from a grid of 12 horizontal rows of 8 small grey/beige stones, stone drawing two (on the right of the sheet) is constructed from a grid of 22 horizontal rows of 16 stones graded by colour, starting with burnt biscuit brown and concluding with creamy brown."


Carlo Urbino (1525-1585)


Ca. 1560-1570. "The Codex Huygens is a Renaissance manuscript for a treatise on painting closely related to Leonardo da Vinci (1452–1519). Its author has been identified as the North Italian artist Carlo Urbino (ca. 1510/20–after 1585), who must have been familiar with Leonardo's notes before they were dispersed. Some of the drawings are faithful copies of now lost originals by Leonardo. Others, like the Vitruvian Man, are related to Leonardo but independent interpretations in their own right. The extant manuscript, which appears to be only a fragment, includes five sections (books or regole).
The name of the codex goes back to its former owner, Constantijn Huygens (1628–1697), secretary to King William III of England. Huygens acquired the manuscript in 1690, firmly believing it to be an autograph work by Leonardo."


Sanford Robinson Gifford (1823-1880)


1854-61. Sketchbook ("7th Regiment"): Camp Cameron, Washington, DC.

Leon Samoilovitch Bakst (1866-1924)


1907?. Artist's sketchbook, probably from his 1907 visit to Greece and Crete.

Unidentified Artist (18th century, Tibet)


18th century, Tibet. "Sketchbook in two parts blound together with string. The drawings depict deities in black ink of which some are pricked for copying, while others have grids in red ink also for copying and enlarging. The pages are of coarse, locally produced paper of two different sizes."

Barend Hendrik Thier (1743-1811)


Sketchbook with animal studies, c. 1782-1811.


John Nash (1893-1977)


Sketchbook, 1920's. Graphite and watercolour on paper, 22 pages plus covers, 202 × 130 mm.

J. M. William Turner (1775-1851)


C. 1794. "This sketchbook was named by Finberg on the basis of his erroneous identification of the subject drawn on folio 19 recto (D00284). A watercolour of Marford Mill, Wrexham, Denbighshire (National Museum Wales, Cardiff) was shown at the Royal Academy in 1795. This was based on a sketch made during the Midland tour that Turner undertook in the summer of 1794, Tate D00339 (Turner Bequest XXI L). The contents of the book seem to belong stylistically with the drawings of c.1794, which may have been started before the Midland tour. Finberg observed ‘how much like Dayes’ drawings all the sketches in this book are. Edward Dayes (1763–1804) was a leading topographical watercolourist, who had employed in his studio the young Thomas Girtin (1775–1802), Turner’s friend, colleague and rival throughout the decade. Dayes’s style was a decisive influence on both artists."


Sue Lawty (1954-)


Artit's Book Vol. 1, 2007-2011. "Box, grey, with flip open lid; the box is embossed with silver lettering 'SUE LAWTY' and contains nine sheets of cream board; seven boards feature samples of woven wool and raffia, one board contains six digital images of woven fabric samples, one board features a sample of raffia, a piece of a paper dress making pattern and raffia wrapped wooden sticks; each board is interspersed with a protective layer of thick tissue paper; the box has a concealed receptacle which contains a moleskin sketch book which measures height 14 cms x width 9 cms x depth 1.5 cm, the sketch book contains digital images, drawings and written notes."


Leonardo da Vinci (1452-1519)


Codex Forster III, c. 1490-1493. "Codex Forster III was compiled between about 1490 and 1493, when Leonardo was in the service of Ludovico Sforza, Duke of Milan. It is the most miscellaneous of all the Leonardo notebooks held by the V&A. Notes and diagrams on geometry, weights and hydraulics are interspersed with jottings and sketches on diverse subjects such as locking devices (folios 42 recto, 54 verso, or 75 recto), architecture (see folio 55 verso), costumes and hats (folios 8 verso – 10 recto), and human and animal anatomy. On folio 28 recto, for example, a drawing shows the hair and layers of skin on a human head.

It also includes recipes for artistic practice, explaining for instance how to prepare linseed oil with mustard seed (folio 10 verso), and mentions books of interest owned by other people, as in the case of a 'fine herbal' belonging to a certain Giuliano da Marliano (folio 37 verso).

As Leonardo wrote in mirror writing (in reverse and from right to left), he usually started with what we would consider the last page. He also occasionally used his notebook upside down, as for instance towards the end of the volume (see folios 72 verso – 88 verso).

Leonardo da Vinci (1452-1519)


Codex Forster II, c. 1495-1497. "This volume is part of a set of five notebooks bound in three volumes (no. I and no. II are in two parts). In them, Leonardo da Vinci wrote his notes on a wide variety of subjects: perspective, light and shade, the human figure, the practice of painting, the artist's materials, the history of the art of painting, studies and sketches for pictures and decorations, sculpture, architecture, anatomy, physiology, maxims, morals, fables, jests and tales, prophecies, draughts and schemes for his humorous writings, etc."