after Joseph Mallord William Turner

Catalogue entry

[from] Rogers's ‘Poems’ pub.1833–4 [T04671-T04677; T05114-T05133; T06644-T06646]

Twenty line-engravings, several touched in pencil, by various engravers, comprising seventeen subjects out of a total of thirty-three; various papers and sizes; some annotated or stamped with names of collectors
Purchased (Grant-in-Aid) 1988
Prov: ...; N.W. Lott and H.J. Gerrish Ltd, from whom bt by Tate Gallery (earlier provenance given in individual entries where known)
Lit: Mordechai Omer, Turner and the Poets, exh. cat., Marble Hill House 1975; Cecilia Powell, ‘Turner's Vignettes and the Making of Rogers’ “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

For details of the series see introduction to T04671-T04677. Edward Goodall (1795–1870) was responsible for engraving the majority of the plates for the Poems, while the other engravers were William Miller (1796–1882), who produced four plates, Robert Wallis (1794–1878), who made two, and Henry Le Keux (1787–1868), who was responsible for one.

A few of these impressions are annotated or stamped with the names of collectors. Three plates bear the stamp ‘J,E, Taylor Collection | 15.7.12 A,W,’ (for details of John Edward Taylor and the collector A.C. Wallis, see the introduction to the ‘Provincial Antiquities of Scotland’, T04485-T04501). One plate appears to have belonged to Frederick Goodall RA (1822–1904), the son of the engraver Edward Goodall, whose Reminiscences of 1902 include several interesting anecdotes concerning Turner's relations with his engravers and fellow artists. Another plate is annotated as belonging to H.P. Mellor, who seems to have sold his collection on 29 April 1921. The sale did not take place at Christie's or Sotheby's, however, and has not been traced.

T05133 Datur Hora Quieti engr. E. Goodall

Line-engraving, vignette, approx. 74 × 92 (2 15/16 × 3 5/8) touched in pencil on India paper laid on wove paper 350 × 204 (13 3/4 × 8); plate-mark 291 × 151 (11 7/16 × 5 15/16); J.E. Taylor collection stamp on back
Prov: As for T05119
Lit: Rawlinson II 1913, no.405, touched engraver's proof (b)

This impression has a few pencil touchings on the castle windows.

Published in:
Tate Gallery: Illustrated Catalogue of Acquisitions 1986-88, London 1996

Read more