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The composition continues across folio 51 recto opposite (D01220; Turner Bequest XXXVII 103). Turner was attracted to scenes of industry in which the light of fires contrasts with deep shadow, with moonlight or daylight. He made several drawings of forges and kilns during his tours of this decade, including the kiln at Llanstephan, noted in his South Wales sketchbook (Tate D00571; Turner Bequest XXVI 18) and worked up as a nocturnal watercolour (Tate D00689; Turner Bequest XXVIII D), a foundry visited on his tour of the north of England in 1797 (Tate D01001, Turner Bequest XXXIV 90), with a watercolour version (Tate D00873, Turner Bequest XXXIII B), and a tilt forge drawn in his Swans sketchbook, probably in Wales in 1798 (Tate D01735, D001736; Turner Bequest XLII 60, 61).1
See Lyles 1989, pp.34–5 under no.32.