After Joseph Mallord William TurnerBattle Abbey, the Spot Where Harold Fell 1819

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Artwork details

After Joseph Mallord William Turner (1775‑1851)
Battle Abbey, the Spot Where Harold Fell
Date 1819
MediumEtching on paper
Dimensionsimage: 162 x 243 mm
Acquisition Purchased 1986
View this artwork by appointment, at Tate Britain's Prints and Drawings Rooms

Catalogue entry

[from] Views in Sussex pub.?1820 [T04428–04438; complete]

Eleven etchings and line-engravings by W.B. Cooke, various sizes and papers, comprising six subjects out of a total of nine (see also T05078 below); some annotated in pencil with names of collectors
Purchased (Grant-in-Aid) 1986
Prov: ...; N.W. Lott and H.J. Gerrish Ltd, from whom bt by Tate Gallery (earlier provenance given in individual entries where known)
Lit: Eric Shanes, Turner's Rivers, Harbours and Coasts, 1981; Eric Shanes, Turner's England 1810–38, 1990

The series Views in Sussex was commissioned by the wealthy Sussex MP and landowner John (or ‘Jack’) Fuller. Turner seems first to have made Fuller's acquaintance about 1810, in which year Farington recorded in his diary (21 April) that the artist had been engaged by Fuller to make three or four drawings in the county; these were shortly afterwards engraved in aquatint by the German printmaker J.C. Stadler (Rawlinson II 1913, nos.822–5), and issued privately at Fuller's own expense (Herrmann 1990, p.91). Then about 1815 Fuller agreed to finance a second series of prints after other watercolours of East Sussex scenery he had purchased from Turner in the intervening years, this time to be engraved in line by W.B… (read more)

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