View this artwork by appointment, at Tate Britain's Prints and Drawings Rooms
- Line engraving on paper
- Image: 77 x 117 mm
- Purchased 1988
T05110 Florence from the Chiesa al Monte, from ‘The Amulet’ engr. E. Goodall
Line-engraving 77 × 117 (3 × 4 5/8) on India paper laid on wove paper 274 × 390 (10 13/16 × 15 3/8); plate mark 145 × 217 (5 11/16 × 8 9/16)
Purchased (Grant-in-Aid) 1988
Prov: ...; N.W. Lott and H.J. Gerrish Ltd, from whom bt by Tate Gallery
Lit: Rawlinson II 1913, no.337, engraver's proof
Engraver's proof of plate published in the sixth volume of The Amulet, 1831, p.251, pl.x. Original watercolour: private collection (Wilton 1979, no.714). The Amulet: a Christian and Literary Remembrancer, edited by S.C. Hall (see T05203), was published in London by William Baynes and Son and, by the time of the 1831 volume, by Frederick Westley and A.H. Davis. Eleven volumes appeared between 1826 and 1836.
As its subtitle indicates, The Amulet was intended to be more religiously and morally instructive than many of its rival publications. It contained poetry, short stories and factual accounts, particularly of an historical nature, with the majority of articles being written by women or members of the clergy. Contributions like ‘The Poor Man's Death Bed’ by Miss Bowles or ‘Irish Legends and Traditions’ by the Revd R. Walsh reflect the tone of the publication.
The volume for 1831 contained eleven illustrations, with plates after other well-known artists besides Turner, such as Sir Thomas Lawrence and John Martin. Many of the most proficient engravers of the day were employed, including William Finden, Robert Wallis and John Pye.
Turner's plate, ‘Florence’, was a reduced replica of the one published in Hakewill's Picturesque Tour of Italy (Rawlinson 1 1908, no.158; engraved by George Cooke in 1820). It accompanied a poem of the same title by Laman Blanchard. An advertisment at the back of the 1831 volume lists the prices for proofs that were available from the publishers. The Turner plate, priced at 4s., was considerably cheaper than proofs after Lawrence or Martin, presumably because it was a replica rather than a specifically commissioned work.
Tate Gallery: Illustrated Catalogue of Acquisitions 1986-88, London 1996
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