Rawlinson Turner

TURNER, J. M. W. engraved by R. WALLIS: Hastings,

London: Published by E. Gambart & Co. 25 Berners Street, Oxford Street, Nov. 1st, 1851. Steel engraving. Printed on thick wove paper as usual. In good condition with the exception of a mended tear on the right margin. Tear and crease in lower left corner outside image. 15 ½ x 23 3/16 inches. 20 x 26 1/8 inches. 23 x 29 1/8 inches. An important lifetime print by Wallis after Turner's romantic view of Hastings from the sea. From the age of 19, until his death in 1851, Turner was involved in the production of over 800 prints based on his paintings, watercolours, and drawings. He was intimately concerned with the production and reworking of plates after his works, often providing copious instructions and suggestions to the engravers. It was through the dissemination of these prints that Turner gained his reputation as one of the greatest and best-loved English painters. Even after his death his romantic paintings served as a continued source of inspiration for printmakers across Britain and the Continent. His grand paintings were reproduced in almost every medium available, from large steel plates, to mezzotints and chromolithographs. His works appeared as book illustrations and vignettes, as well as large separately published fine art prints. Turner's impact on the history of British painting is intimately connected with the print trade. Reproductive examples of his work were eagerly viewed and collected by the public, establishing his reputation as the greatest landscape painter of his generation. Turner not only viewed printmaking as an invaluable source of advertising, but valued the medium as a true art form. Prints remained a major focus throughout Turner's long career and helped shape his work as much as they advocated his talent. This large steel plate was published by the influential print seller Gambart in 1851, along with another large view entitled "Dover" engraved by J. T. Willmore. This stunning print was one of the last plates that Turner worked on before his death in 1851. The print reproduced an exceptionally large watercolour that Turner completed in 1818. According to Rawlinson, Gambart had complained, "he had great difficulty in getting Turner to "touch" the Proof, as he was then very ill, and did not wish anyone to know where he was living". Turner expressed a great admiration for Wallis's monumental engraving and instructed Gambart to publish the plate as it was without any corrections from the artist. Marking the end of Turner's artistic collaboration with his engravers, Wallis's monumental engraving is a superb interpretation of Turner's magnificent watercolour. Wallis lovingly interprets the romanticism and fluidity of Turner's work with the ease of a true master, making this impressive image a true collector's item as well as a beauty to behold. Herrmann, Turner Prints: The Engraved Work of J. M. W. Turner p. 2237-238, 271; Rawlinson, The Engraved Work of J. M. W. Turner, R. A. no. 665; Wilton, The Life and Work of J. M. W. Turner, (Catalogue of Watercolours) no. 504

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Rawlinson, W G & A J Finberg. THE WATER-COLOURS OF J M W TURNER.
This is a fascinating look at the water-colours of J M W Turner, with articles by W G Rawliinson and A J Finberg. There are thirty illustrations in colour, and a foreword by Sir Charles Holroyd.

1909. Studio. First. Vg for age. softback. 11.5x8 102pp. 30 tipped-in colour plates. 1 colour plate loose inside book. 736g.

[SW: art water-colours Turner Rawlinson Fiinsberg Holroyd]

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[TURNER] FINBERG (A.J.) & RAWLINSON (W.G.): The water-colours of J.M.W. Turner. Forword by Sir Charles Holroyd. 1909
turner-finberg-aj--rawlinson-wg---the-water-colours-of-jmw-turner-forword-by-sir-char

Grand in-4 br., VIII-16, VI-42 pp, pref. traduite en francais, texte en anglais, XXX pl. d'ill. en coul. contrecollees sur bristol gris, sous serpentes legendees.

[SW: Histoire,de,l'Art]

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TURNER, After Joseph Mallord William (1775-1851): From Spenser's Fairy Queen,

London: J.M.W.Turner, June 1811. Etching by J.M.W.Turner, with engraving and mezzotint by T.Hodgetts, on wove paper. 7 1/8 x 10 3/8 inches. 10 7/8 x 15 7/8 inches. Fourth state (of four) after the addition of lettering: a fine image from Turner's unrivalled 'Liber Studiorum'. 'It may be that Turner's Liber Studiorum contains the pith of all that is best in his life and work.' (Alexander J. Finberg J.M.W.Turner's liber Studiorum 1988, p.xxiii). 'Turner's Liber Studiorum was not intended to reproduce anything that was already in existence. It was from the first conceived in terms of engraving, and the single aim of the work was to produce a series of engravings in which his own powers of invention and design should be adequately expressed' (Finberg op. cit., p.xxi). Turner's original intention had been to engrave only the etched outlines of each plate, and to then hand over each plate to be engraved and have mezzotint added by professional engravers. However, at some quite early point he did begin to experiment with the mezzotint-rocker and the scraper, probably to allow him to achieve a greater understanding of the limitations of the medium. In addition his instructions to his engravers were very specific, with the result that many of them achieved a level of perfection that they were unable to match in any other works. 'The plates of the Liber Studiorumare engraved nearly as well as if Turner had done them himself. It is no exaggeration to say that the plates are immeasurably finer than any landscapes engraved even by the same engravers when working by their own unaided skill. For the time being Turner endowed them with something of his own incomparable delicacy and accuracy of sight... Merely as a series of engravings Turner's Liber Studiorum deserves the reputation it has enjoyed... Almost every other plate is a classic of the art of mezzotint-engraving. Nothing finer in that medium has yet been accomplished. But they are much more than this.... Each plate is a fresh creation of Turner's genius; a new and original work, which stands by itself, and is its own glory and fulfilment.' (Finberg op.cit. 1988, p.xxiii). Finberg 36 (fourth state); Rawlinson (third state).

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