Description

Dover.- Buck (Samuel) and Francis Swaine (1725-1782), Attributed to. South Prospect of Dover, black chalk, point of the brush and ink, monochrome wash, squared for transfer, on 18th century laid paper without watermark, sheet 217 x 400 mm (8 1/2 x 15 3/4 in), some minor toning to edges, old folds and minor surface abrasion, unframed, [circa 1730s]

Provenance:
Private collection, South East England

⁂ An original drawing relating to the western section of the panoramic engraving by Samuel and Nathaniel Buck of ‘The South Prospect of Dover in the County of Kent’, which was published on 26th March, 1739. This self-contained composition encompasses the coastal view from Arch Cliff, now Aycliffe, to the medieval harbour mouth, centred on the harbour pool itself, with the famous white cliffs of Dover delicately forming a backdrop. Minor differences are notable, including the inclusion in the drawing of many more ships at harbour than in the engraving. It would appear that the drawing, squared for transfer, is possibly the work of a maritime artist executing the wash and ink, over a black chalk landscape base, more likely by Samuel Buck.

Description

Dover.- Buck (Samuel) and Francis Swaine (1725-1782), Attributed to. South Prospect of Dover, black chalk, point of the brush and ink, monochrome wash, squared for transfer, on 18th century laid paper without watermark, sheet 217 x 400 mm (8 1/2 x 15 3/4 in), some minor toning to edges, old folds and minor surface abrasion, unframed, [circa 1730s]

Provenance:
Private collection, South East England

⁂ An original drawing relating to the western section of the panoramic engraving by Samuel and Nathaniel Buck of ‘The South Prospect of Dover in the County of Kent’, which was published on 26th March, 1739. This self-contained composition encompasses the coastal view from Arch Cliff, now Aycliffe, to the medieval harbour mouth, centred on the harbour pool itself, with the famous white cliffs of Dover delicately forming a backdrop. Minor differences are notable, including the inclusion in the drawing of many more ships at harbour than in the engraving. It would appear that the drawing, squared for transfer, is possibly the work of a maritime artist executing the wash and ink, over a black chalk landscape base, more likely by Samuel Buck.

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