Rowlandson's tour in a post chaise 1782 : from his studio in London to the wreck of the "Royal George" sunk at Spithead : [fac-similes of the original sketches hitherto unpublished]

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  Rowlandson's tour in a post chaise, 1782; with text by Joseph Grego

  Manuscripts

  This illustrated volume is a "mock up" of Thomas Rowlandson's tour from his studio in London to the wreck of the "Royal George" sunk at Spithead. The drawings are from Rowlandson's sketchbook on the journey accompanied by short narratives describing the journey.

  mssHM 63185

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  Thomas Rowlandson (1756-1827), Record of a tour in a post chaise, made with Henry Wigstead to Spithead, in 1782. (In two volumes.) [typescript draft with handwritten annotations, 21 pages]

  Manuscripts

  This collection contains research files of English art historian R. B. Beckett, chiefly consisting of study photographs and clippings collected from the late 1940s to early 1960s documenting the works of John Constable and other English artists including William Blake, Thomas Gainsborough, Thomas Rowlandson, J. M. W. Turner, and Richard Wilson. In addition there are also images and clippings related to English portraiture, as well as sporting and comic images. The artist research files contain study art photographs and clippings, with some occasional correspondence and notes and manuscripts by Beckett. Six artists (Blake, Constable, Gainsborough, Rowlandson, Turner, and Wilson) are distinguished as their own subseries, and their files typically contain study photographs, article clippings, some scattered manuscripts and correspondence, and exhibition catalogues. The largest of these are the John Constable files (Boxes 3-9), which includes seven boxes of study images. Other art images in the collection are arranged either in the "Artists (various)" subseries (Box 13) or in the "Portrait artists" subseries (Boxes 14-15). While some of the images are professional photographs acquired from museums, most of the images are clippings from British magazines such as The Connoisseur and Burlington. Most of the images are not annotated or only contain brief handwritten identifications typically of the artist, painting title, date, dimensions, etc. Overall there are very few manuscripts by Beckett in the collection. Exceptions consist of a sketchbook from the late 1920s containing pencil sketches of landscapes by Beckett and a few documents. The correspondence is chiefly from galleries, museums, and publishers related to Beckett's research and publications.

  mssBeckett