Lot 10, ‘English Literature, History, Childrens’ Books and Illustrations’ Sale, 15 December 2015, Sotheby’s London. Earle, Augustus (attrib.) CARICATURE GROUP PORTRAIT ON BOARD HMS BEAGLE Watercolour, entitled “Quarter Deck of a Man of War on Diskivery [sic] or interesting Scenes on an Interesting Voyage”, depicting Darwin together with ten other figures, all crew members of HMS Beagle, including Robert FitzRoy and three other officers, shipboard with fossils, botanical and mineralogical specimens, some with captions, several figures with nautical and surveying instruments, each figure with a speech bubble with words written above in black ink, single sheet (340 x 205 mm), watercolour and ink on paper (Whatman Mill watermark, undated), [Bahía Blanca, Argentina, on or around 24 September, 1832]; some creasing and light staining, mounted. http://www.sothebys.com/en/auctions/ecatalogue/2014/english-literature-history-childrens-books-illustrations-l15408/lot.10.html
Last month, Sotheby’s in London sold for £52,500 the only known painting of the naturalist Charles Darwin aboard the HMS Beagle.
The watercolour, painted by Augustus Earle (1793–1838) was offered in the English Literature, History, Children’s Books and Illustrations sale in London. Darwin (giving a long-winded description of an insect), Captain Robert Fitzroy, and various officers and sailors are all depicted: it captures the bustle of Darwin’s historic expedition, while the speech bubbles hint at in-jokes and standing jokes from the voyage. An officer, thought to be 1st Lt John Clements Wickham, complains: “There is no such thing as walking the deck for all these cursed specimens!”
The Arts And Feeling in Nineteenth-Century Literature and Culture Birkbeck, University of London, 16-18 July 2015
Keynote Speakers: Caroline Arscott, Tim Barringer, Meaghan Clarke, Kate Flint, Hilary Fraser, Michael Hatt, Lynda Nead, Jonah Siegel, Alison Smith
This conference will explore the ways in which nineteenth-century authors, artists, sculptors and musicians imagined and represented emotion and how writers and critics conceptualised the emotional aspects of aesthetic response. It aims to map the state of the field in this growing area of interest for nineteenth-century scholars by locating recent interdisciplinary work on sentimentality and art and writing and the senses within wider debates about the relationship between psychology and aesthetics in the long-nineteenth century.
Speakers will investigate the physiology and psychology of aesthetic perception and the mind/body interactions at play in the experience of a wide range of arts. Key questions include: How did Victorian artists represent feeling and how were these feelings aestheticised? What rhetorical strategies did Victorian writers use to figure aesthetic response? What expressive codes and conventions were familiar to the Victorians? Which nineteenth-century scientific developments affected artistic production and what impact did these have on affective reactions?