Turner revisited the site in 1801 and made further sketches in his
Helmsley sketchbook (Tate
D02538–
D02539; Turner Bequest LIII 44a–45). These seem to have been used for the sepia drawing of Norham for the
Liber Studiorum published 1816 (see Tate
D08158; Turner Bequest CXVIII D), and for the watercolour of Norham in the series of
Rivers of England (Tate
D18148; Turner Bequest CCVIII O).
4 Another view occurs in an illustration to a line from Sir Walter Scott’s
Marmion, ‘Day sat on Norham’s castled steep’, one of a group of watercolours made for Walter Fawkes in the early 1820s (private collection);
5 and
Norham Castle – Moonrise (private collection)
6 figured among the illustrations to
Scott’s Prose Works that Turner produced in the early 1830s (Tate impression:
T04731). An ethereal retrospective meditation on the subject is the famous late oil painting
Norham Castle, Sunrise (Tate
N01981),
7 which again takes this drawing as its starting-point, and makes dramatic use of the dazzling effect of the early sun. A small watercolour on card showing the castle at the end of the village street is Tate
D36625 (Turner Bequest CCCLXXIX 1).
