| Description | These sketches are attributed to Henry William Beechey and notations on the reverse of several sheets relate to areas of personal interest to him: the history of art in general and the work of Joshua Reynolds in particular. Although undated, the mention of Reynolds may provide a tentative date, as Beechey's study of Reynolds was first published in 1835 and reprinted in 1852. However, the notes could feasibly predate or postdate his writing of that text.
The sketches include landscape scenes as well as sketches probably after old master paintings and painted portraits of unnamed sitters. The formal poses common to the classical figures and portrait sitters sketched would suggest that he was copying painted works.
The sheets were conserved and pagenated at the time of their acquisition by the Gallery (2003). For reference, the reverse of sketched scenes have been referenced as 'v' [verso].
The file includes the following:
Sheet 1 - watercolour and bodycolour over pencil of mountain landscape with male figures leading camels.
Sheet 2 - signed 'H. W. Beechey Esq'. Includes two pen and ink sketches of semi-reclining figures, one with a background of woodland scenery.
Sheet 2v - the paper used has been torn from a larger original sheet and the reverse of the sketch includes a partial note signed either J or T Cadell, dated 15 Jul of unknown year. The note relates to return of 'the fair sheets of the memoir' and 'proof copy of Reynolds'. This could feasibly relate to Beechey's work on a study of Joshua Reynolds, first published in 1835 and reprinted in 1852.
Sheet 3 - pen and ink sketch probably after an old master tondo [circular work of art] of the Virgin and Child and St John the Baptist.
Sheet 3v - the paper used has been torn from a larger original sheet and the reverse of the sketch includes a partial note which, on comparison, was originally part of the same page as sheet 5v. See below for description of notations.
Sheet 4 - pen and ink sketch with some scratching out of a mountainside with building inset. A man and a donkey standing in the foreground.
Sheet 4v - the paper used has been torn from a larger original sheet and the reverse of the sketch includes a partial note regarding classical architecture. Includes mention of hypotracheliums and annulets.
Sheet 5 - includes 3 pen and ink sketches: one probably after an old master tondo of the Virgin and Child and St John the Baptist; another probably a detail of John the Baptist from the same painting; the third probably after another old master painting of the Virgin and Child with additional figure in the background. Also includes partial note regarding the development of 'national taste' and the history of painting [these notes may be a continuation of the text on the reverse of this page, sheet 5v].
Sheet 5v - As already noted, sheet 3v is in fact a section of this larger page. The reverse of the sketches includes partial note regarding the development of 'national taste' and the history of painting, including reflections on the introduction of foreign artists into Britain during the reign of Edward III and the art of this era as well as the historical status of artists in society.
Sheet 6 - pen and ink sketch over pencil of unidentified classical landscape. Includes stone monument or ruin in foreground, set on rocky outcrop, with shoreline in the background.
Sheet 7 - pen and ink sketch of a whole length, reclining female figure in a classical landscape, probably after an old master painting. Beneath the sketch is a note that reads 'figure a little larger, no.'
Sheet 8 - pen and ink sketch of a female figure, probably after an oil portrait. Part of the sketch has been drawn over existing notes regarding art history. Includes reflections on the cartoons of Raphael.
Sheet 8v - the paper used has been torn from a larger original sheet and the reverse of the sketch includes a partial note regarding Joshua [Reynolds]. Includes remarks regarding his his focus on portrait painting and his 'path to fame'.
Sheet 9 - pen and ink sketch of a partial landscape with trees.
Sheet 10 - pen and ink sketch probably after a portrait of a full length female figure; partial sketch missing but border evident; pen and ink sketch probably after a half length portrait of a female figure.
Sheet 10v - includes partial pen and ink sketch of head and shoulders of female figure. Also includes brief notation of a London address at Grosvenor Place.
Sheet 11 - previously attached to a second sheet which now rests behind this. Pen and ink sketch probably after an old master painting of the Holy Family (seated female figure holding child, with standing figures surrounding her).
Sheet 11v - Note addressed to 'Dear Dick' requesting that he post an item (perhaps the sketch). As in other instances the paper used has been torn from a larger original sheet, so whether the note relates directly to the sketch is unknown.
Sheet previously attached to sheet 11 - appears to be section torn from a used envelope. Marked as 'paid'.
Sheet 12 - includes 3 pen and ink sketches probably after half length portraits of female figures.
Sheet 12v - includes 2 pen and ink sketches of heads and shoulders of female figures.
Sheet 13 - pen and ink and pencil sketch of landscape with cliffs .
Sheet 14 - pen and ink sketch probably after a portrait depicting two full length figures (seated female and standing male). |