This image is more often known as an engraved illustration for the poem: The Deserted Villiage by Oliver Goldsmith (1728 - 1774). It was one of the most influential poems of the eighteenth century, condemning rural depolulation by the enclosure of land and the creation of vast landscaped estates. The poem discusses the decline of a village and the emigration of many of its residents to America.
The poem was first published in 1770. It features an engraving made by Issac Taylor (1730 - 1807) after this actual drawing on the title page with engraved vignette entitled "The Sad Historian on the Pensive Plain." My pen and wash drawing is a study for this well-known engraving.
It is the original study for the print - and not a copy after it, as my pen drawing has minor variations to the composition that were later changed in the published engraving. My drawing must pre-date the publication date of my first edition. It is therefore one of the first illustrations to the Goldsmith poem. My drawing shows a man in long robes meeting a woman on a country road and they stop to conserve about the state of things. In the background is a rather ranshackle deserted village. In the distance, to the right, two trading ships are embarking - most probably emmigration ships.
The poem itself discusses vanishing village life in England towards the end of the 18th century. There was an increase in scale of rural depopulation and this gave rise to debates in Parliament. Concern for the rural poor was not often discussed in literature at this time and this long poem is a rare exception. The readers would have admired its nostalgic descriptions of village life and its vivid portraits of the preacher, the blacksmith, the schoolmaser and the widow.
It is in generally fine condition for its age - and has a little age-related discolouration of the paper. The drawing is on a little sheet of laid paper with an oval vignette drawn in black ink. The title is inscribed in brown ink below the vignette. The composition has been drawn out with fine black ink and embellished with grey watercolour washes. It is definitely not a print - but the original study for it. The differences in my drawing and the published engraved are as follows: my drawing has less trees around the house on the hill. There is more spiky foliage in the foreground and the features of the two travellers are much different. All the lines in the drawing are much finer generally and more delicate than the ones made by the engravers needle.
I have taken lots of images of the drawing so you can see all the details of it in close up - and also some images of the engraving (not belonging to me and are on my images listings after the ones showing the gold frame moulding) for comparison of the difference in details.
My drawing is certainly has a very interesting history and is now extremely rare survivor in connection to the publication of the first issue of the poem. It had previously been sold thorough the Covent Garden Gallery - they have dated it on the label as being c 1800. But it is actually three decades earlier in date. Other drawings of this type by Issac Taylor are in the collection of the Yale Centre for British Art.
My study measures: paper size is 8.5 x 13 cm. The oval vignette is 7.5 x 12.5 cm. It is framed in the Covent Garden Gallery frame - this is 26 x 29.5 cm.
It has an interesting history and important literary connections and this is reflected in my asking price. It is an iconic image and the engraving often features in articles on Goldsmith's poem.
The artwork will be sent to you with Royal Mail Post (Medium Tracked and Signed For. It will also be fully insured in transit. This will be applied to your order at the checkout. No quibble returns are on offer if you are not happy with it.