[from] Rogers's ‘Poems’ pub.1834 [T04671-T04677; T05114-T05133; T06644-T06646]
Seven line-engravings, by various engravers and in various states, comprising seven subjects out of a total of thirty-three; various papers and sizes
Purchased (Grant-in-Aid) 1986
Prov: ...; N.W. Lott and H.J. Gerrish Ltd, from whom bt by Tate Gallery
Lit: Mordechai Omer, Turner and the Poets, exh. cat., Marble Hill House 1975; Cecilia Powell, ‘Turner's Vignettes and the Making of Rogers's “Italy”’, Turner Studies, vol.3, no.1, 1983; Lindsay Stainton, Turner's Venice, 1985; Andrew Wilton, Turner in his Time, 1987; John Gage, J.M.W. Turner: ‘A Wonderful Range of Mind’, 1987; Cecilia Powell, Turner in the South, 1987; Cecilia Powell, ‘Charles Lamb and Turner's Illustrations to Poetry’, Turner Society News, no.52, 1989
Anthologies of Samuel Rogers's Poems first appeared in 1812; numerous editions were issued thereafter, the contents of which were constantly revised and new verses added. As was the case with Rogers's Italy (see T04631-T04670), these earlier efforts had received scant attention. Following the success of the illustrated Italy on its publication in 1830, however, the collaboration between Rogers and Turner continued and shortly after this date plans were formulated for an illustrated volume of the Poems. Turner produced thirty-three vignettes for the project which were loaned to the publishers for a fee of five guineas each, as had been the case for the Italy illustrations; as a result the watercolours have survived as part of the Turner Bequest. Besides Turner, other illustrations were provided by Thomas Stothard, who had also produced woodcut designs for earlier editions of the Poems. A copy of the 1827 edition was used by Turner to work out his initial designs (TB CCLXXX). The plates were published separately from 1833 onwards by Moon, Boys and Graves. The volume appeared in 1834, published by Thomas Cadell and Edward Moxon, who followed the same format they had adopted for the Italy volume. The Poems reprinted nearly all of Rogers's works other than Italy, including the long poem which had made his reputation, ‘The Pleasures of Memory’. The new edition of the Poems proved so popular that it was further reissued in 1836, in ten monthly parts.
All the vignettes were engraved on steel. The majority of plates for the Poems were executed by Edward Goodall (1795–1870), who had also been the most prolific engraver for the Italy illustrations. Five of the engravings in this group are by Goodall, with the remaining two by William Miller (1796–1882) and Henry Le Keux (1787–1868).
T04676 St Julienne's Chapel engr. E. Goodall, pub.1834
Line-engraving, vignette, approx. 98 × 62 (3 7/8 × 2 7/16) on India paper laid on wove paper 433 × 296 (17 1/16 × 11 5/8); plate-mark 292 × 151 (11 1/2 × 5 15/16)
Engraved inscriptions as on T04672
Lit: Rawlinson II 1913, no.389, first published state
Published: p.151, ‘Jacqueline’. Original watercolour: Tate Gallery, TB CCLXXX 186 (Wilton 1979, no.1193).
Tate Gallery: Illustrated Catalogue of Acquisitions 1986-88, London 1996