Eyre Crowe (1824-1910)

Engraving of ‘Boswell’s Introduction to the Literary Club’ by Eyre Crowe (1858), by W.H. Simmons, published by Moore of London, c.1862

‘Doctor Johnson Receiving Boswell in the Library’ by Eyre Crowe A.R.A. (1899)

Medium: oil

Size: 36 x 52 inches

Exhibited: Mr Gambart’s Gallery, 120 Pall Mall, 1859; Pall Mall Winter Exhibition, 1861

According to Crowe’s later diary entries, this painting was sold to the art dealer Gambart in 1856, preventing it from being exhibited at the Royal Academy. It was auctioned at Christie’s in 1862 for 88 guineas, and sold again in 1865 for 70 guineas, having been in the collection of John Knowles of Manchester. Later, it was in the collection of Mr Hurst of Rochdale, then auctioned at Christie’s in June 1899 and bought by an art dealer named Nathan Mitchell for 42 guineas (£44 2s 0d). It was auctioned again in London on 21 March 1910, fetching £29 8s 10d.

This is probably the same painting as the painting known as Dr Johnson Receiving Boswell in the Library (1899 – an incorrect dating?).

The Era – Town Edition, 13 Nov 1859. 

Winter Exhibition of Cabinet Pictures – French Gallery, 120, Pall-Mall. PRIVATE VIEW – (Yesterday)

No. 45, Boswell’s Introduction to the Literary Club, by Eyre Crowe, the largest and most pretentious picture in the room.

Daily News, 14 Nov 1859. Winter Exhibition at the French Gallery, Pall-Mall:

Mr. Crowe has an elaborately composed picture of “Boswell’s Introduction to the Literary Club”. The incident affords, of course, the opportunity for giving the portraits of various literary, political and artistic celebrities contemporary with Dr. Johnson. We hope much from Mr. Crowe, but he must avoid any settled recipe which seems to give a horny, prematurely old aspect to his flesh painting. Atmospheric influence is not to be lost sight of, even in a closed room.

Daily Telegraph, 15 Nov 1859:

Winter Exhibition of the Works of British Artists

“Boswell’s Introduction to the Literary Club” (45) by Eyre Crowe, is an ambitious work, which does not improve upon acquaintance. The group is composed of lay figures set in attitudes. The face of Boswell is not that of the world-famous biographer; and Dr. Johnson is merely a big, burly man, without character or expression. The subordinate figures of Goldsmith and Garrick are better, but they are studied and stiff.

The Times, 24 Nov 1859:

Mr. Eyre Crowe – among his many pictures illustrative of literary history – has produced nothing of such equal technical merit as his group representing the introduction of Boswell to the Literary Club at the Turk’s Head. The figure of Boswell, delightedly receiving the accolade of the great Samuel, is particularly happy, both in likeness and action. Dr. Johnson is also very faithful to the received idea of the great social and literary dictator. Besides these, the picture embraces portraits of Goldsmith, Burke, Garrick, Sir William Jones, and Reynolds, the latter recognizable only by his ear-trumpet, for the face is untrue to any portrait we have seen of Reynolds at any period of his life. The groups are well composed, and the picture altogether carefully and unaffectedly conscientious.

Illustrated London News, 26 November 1859 [accompanied by a half-page engraving of the picture]

E. Crowe has a clever group-picture, “Boswell’s Introduction to the Literary Club,” which illustrated an amusing passage – amusing for the gravity with which it is spoken of by one of the principal actors – in the lives of Dr. Johnson and his obsequious biographer… The great lexicographer (a good portrait) is represented in the act of delivering a “humorous discourse” to his elated and bewildered satellite, who listens in formal attitude of submission and admiration. Of the remaining portraits we may indicate Edmund Burke, on extreme left; next him, sitting at the table, Goldsmith; Garrick behind the table; and Sir Joshua Reynolds on the right, at the end of the table, with his ear-trumpet in hand. The general scheme of the picture – considering how difficult it is to make a successful composition of portraits – is highly creditable to this rising young artist. The colouring, it must be added, is a little cold and tame, and the lights too scattered – defects which tend considerably to mar the general effect of the picture.

Art Journal, December 1859:

‘Boswell’s Introduction to the Literary Club’ (No. 45), Eyre Crowe, is a careful work, but the effect of the whole is embarrassed by the necessity of preserving fully-lighted portraits of the persons introduced. The resemblances are not happy: at least, the heads of Goldsmith and of Johnson are not those that we are accustomed to hail across Wardour Street; nor is that of Reynolds like the portrait in the doctor’s gown, before which we always stand uncovered.

‘Art in 1860: The British Institution’ – Dublin University Magazine, vol 55, iss 328, April 1860, 477-484

The class of works in the gallery is not a very satisfactory one, and their presence is not likely to do much for British Art… The earliest London exhibition of the year cannot now find from amongst the whole body of English painters, half-a-dozen men of reputation to keep up the character of a place they once delighted to honour… By Eyre Crowe, jun., is “Boswell’s introduction to the Literary Club,” (45), where Johnson receives his mirror-holder with friendly solemnity and impressment. Boswell at the same time in a nervous fidget of delight that is characteristic. Sir Joshua, Goldsmith, and the rest are seated about the table, each true in action to his individuality. We rejoice to see an improvement in solidity of execution in this painter’s work, and trust he will carefully avoid an observable tendency to hardness of surface and dullness of color.

The Observer, 9 April 1865

Collection of “modern pictures and water colour drawings formed by that well-known connoisseur John Knowles, Esq., of Manchester”, sold yesterday by Messrs Christie, Manson and Woods in London. Included “Boswell’s Introduction to Dr. Johnson”, the engraved picture, 36in. by 52 in., 70 gns (Agnew)