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Turner’s inscription runs vertically down the outside edge relative to the ‘landscape’ format of the sketchbook. Finberg adopted the rather less clear formulation from ‘Turner’s label on back, “32. Durham, North Shore”’,1 as the sketchbook’s title. This label, since lost, would have been one of the sequence Turner pasted onto the spines of his sketchbooks during a general review dated by David Hill to about 1821 or 1822.2
Finberg 1909, I, p.449.
See David Hill, ‘The Landscape of Imagination and the Sense of Place: Turner’s Sketching Practice’ in Maurice Guillaud, Nicholas Alfrey, Andrew Wilton and others, Turner en France: aquarelles, peintures, dessins, gravures, carnets de croquis / Turner in France: Watercolours, Paintings, Drawings, Engravings, Sketchbooks, exhibition catalogue, Centre Culturel du Marais, Paris 1981, pp.143, 147 note 34.
The cover is heavily stained towards the spine, and the staining continues on the spine itself, the back cover and the pastedowns. As the page block is unaffected, the damage must have been done when the covers were kept separately, presumably during the Tate flood of 1928.