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A further study showing the easternmost or Lilburn Tower in a thunderstorm is in the Wilson sketchbook (Tate D01211–D01212; Turner Bequest XXXVII 94–95). Turner’s main response to Dunstanburgh, however, is recorded in a sequence of drawings in the North of England sketchbook of 1797 (Tate D00952–D00954; Turner Bequest XXXIV 45, 46, 46a), and the scattered studies in other books may be meditations on those, rather than sketches made on the spot either in 1797 or on another tour. Turner executed two oil paintings of Dunstanburgh in these years (National Gallery of Victoria, Melbourne and Dunedin Art Gallery, New Zealand)1, so he may well have been preoccupied by the subject.
Martin Butlin and Evelyn Joll, The Paintings of J.M.W. Turner, revised ed., New Haven and London 1984, respectively pp.4–5 no.6, pl.4 (colour) and pp.23–4 no.32, pl.28.