A gouache, pen and ink and watercolour drawing entitled Huy from the South-East is closely based on this pencil sketch of the city taken from outside its walls where, as Cecilia Powell notes, the ‘plateau of La Sarte afforded Turner a superb view’ (Tate D20221; Turner Bequest CCXX N).1 What appear to be isolated jottings of architectural details (a spire, an aedicule, a cupola) have been added beneath the sketch of Huy.
For other views of Huy in this sketchbook see Tate D28043, D28048, D28053, D28057, D28067, D28096, D28131–D28136, D28139–D28143, D28147, D28149; Turner Bequest CCLXXXVII 1a, 4, 6a, 8a, 13a, 28a, 47a–50, 51a–53a, 56a, 57a. There are also a number of colour sketches in gouache with watercolour and pen and ink produced on blue paper dated around 1839 (Tate D20221, D20222, D20226, D20268, D20288; Turner Bequest CCXX N, O, S; CCXXII I, CCXXIII C).
For earlier views of Huy see the 1824 Huy and Dinant sketchbook (Tate D20087–D20093, D20109–D20110; Turner Bequest CCXVII 2a–6a, 16–7); the Rivers Meuse and Moselle sketchbook of the same date (Tate D19622–D19635; Turner Bequest CCXVI 36–43) and the Brussels up to Mannheim sketchbook of 1833 (Tate D29653, D29656–D29659, D29661–D29662, D29768, D29771; Turner Bequest 29, 30a–32, 33–33a, 90, 91a).
Powell 1991, p.154 no.87 reproduced.