In the mid-1820s Turner worked on a set of twelve mezzotint plates, known as the Little Liber, or So-called Sequels to the Liber Studiorum. Relatively little is known about the circumstances surrounding the creation of the images, which all explore the dramatic effects of natural light.
At least half of subjects are concerned with direct observation of the sea. The watercolour studies on which the prints were based are unusually freely executed and unresolved. When painting for translation into black and white prints Turner usually provided a greater level of detail to guide the engravers.