Perfecting a rainbow: John Constable and David Lucas, ‘Salisbury Cathedral from the Meadows’, 1834-7. Part 3 – Catalogue of states (01a-d)

This is the third part of an examination of the various states of Constable’s mezzotint of Salisbury Cathedral from the Meadows. This was engraved by David Lucas under the artist’s close supervision and instruction between late 1834 and Constable's death on 31 March 1837. Following sections giving an introduction and some background and context, here … Continue reading Perfecting a rainbow: John Constable and David Lucas, ‘Salisbury Cathedral from the Meadows’, 1834-7. Part 3 – Catalogue of states (01a-d) →

Perfecting a rainbow: John Constable and David Lucas, ‘Salisbury Cathedral from the Meadows’, 1834-7. Part 2 – Beginnings

This is the second part of an examination of the various states of Constable’s mezzotint of Salisbury Cathedral from the Meadows. This was engraved by David Lucas under the artist’s close supervision and instruction between late 1834 and Constable's death on 31 March 1837. Here we explore the context and background to the project up … Continue reading Perfecting a rainbow: John Constable and David Lucas, ‘Salisbury Cathedral from the Meadows’, 1834-7. Part 2 – Beginnings →

Perfecting a rainbow: John Constable and David Lucas, ‘Salisbury Cathedral from the Meadows’, 1834-7. Part #1 Introduction

Dedicated readers will remember that in 2018 we mused over various states of John Constable’s print of ‘A Summerland’. Here we apply the magnifying glass to his ‘Salisbury Cathedral from the Meadows’. This was the last, largest and most ambitious mezzotint completed under the artist’s direct supervision. Work began on the plate in 1834 and … Continue reading Perfecting a rainbow: John Constable and David Lucas, ‘Salisbury Cathedral from the Meadows’, 1834-7. Part #1 Introduction →

Chepstow Bridge and Castle. Called ‘Chepstow’, c.1793

Watercolour on paper, size unknown Untraced Turner catalogues: Wilton no.88; tdb3091 This composition is the second of fifteen subjects by Turner that were engraved for publication in The Copper Plate Magazine. The plate was engraved by J Storer and appeared in volume 2, as pl.67, bearing the publication date of 1 November 1794. The original … Continue reading Chepstow Bridge and Castle. Called ‘Chepstow’, c.1793 →

Clarkson Stanfield’s Verrès

Last year marked the twenty-fifth anniversary of the appearance of Clarkson Stanfield’s watercolour of Verrès at Sotheby’s in London (10 July 1997, lot 138). At the preview it struck me as one of the outstanding items in the room, and I heartily recommended its purchase. Now the owners feel that it is time for it … Continue reading Clarkson Stanfield’s Verrès →

In Turner’s Footsteps between Lucerne and Thun: #28 Aareschlucht and the ascent of the Kirchet

Here we continue our journey through Turner’s Between Lucerne and Thun sketchbook. In this instalment we follow the artist down to the entrance to the Aare Gorge (Aareschlucht) and pick our way up the old mule track leading above the gorge to the upper valley, and take views looking back down the valley. Best viewed … Continue reading In Turner’s Footsteps between Lucerne and Thun: #28 Aareschlucht and the ascent of the Kirchet →

In Turner’s Footsteps between Lucerne and Thun: #27 Around Meiringen

Here we continue our journey through Turner’s Between Lucerne and Thun sketchbook. At the end of the previous instalment the artist arrived at Meiringen. Here we explore the village and take stock of the scenery round about, present and past. Best viewed full size. On a desktop right click and open in a new tab. … Continue reading In Turner’s Footsteps between Lucerne and Thun: #27 Around Meiringen →

In Turner’s Footsteps between Lucerne and Thun: #26 Haslital to Meiringen

Here we resume our journey through Turner’s Between Lucerne and Thun sketchbook. At the end of the previous instalment we left the artist watching the sun rise over the head of the Brienzersee. The reason he was up so early was to give himself a full day to explore the Haslital. Here he records a … Continue reading In Turner’s Footsteps between Lucerne and Thun: #26 Haslital to Meiringen →

In Turner’s Footsteps between Lucerne and Thun: #25 At Brienz

Continuing our journey through Turner’s Between Lucerne and Thun sketchbook, the artist here completes his crossing of the Brunig Pass and stays overnight at Brienz. He witnesses effects of evening and morning over the lake, and rekindles memories of his first visit to the town forty years earlier. Best viewed full size. On a desktop … Continue reading In Turner’s Footsteps between Lucerne and Thun: #25 At Brienz →

In Turner’s Footsteps between Lucerne and Thun: #24 Descent of the Brunig

Here we continue our journey through Turner’s Between Lucerne and Thun sketchbook. In the last part we left Turner arriving at the summit of the Brunig Pass to discover that a view promised by Murray’s Handbook for Travellers in Switzerland did not in fact exist. Murray claimed a view back to the Lungernsee and Mont … Continue reading In Turner’s Footsteps between Lucerne and Thun: #24 Descent of the Brunig →