after Joseph Mallord William Turner

Lago Maggiore


In Tate Britain

Prints and Drawings Room

View by appointment
After Joseph Mallord William Turner 1775–1851
Part of
The Keepsake
Line engraving on paper
Image: 87 × 131 mm
Purchased 1988

Catalogue entry

[from] The Keepsake pub.1828–37 [T04614-T04630; T05105-T05109; complete]

Five line-engravings, by various engravers and in various states, comprising five subjects out of a total of seventeen; various papers and sizes
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: Andrew Wilton, Turner Abroad, 1982, Turner in his Time, 1987; Cecilia Powell, Turner in the South, 1987; Eric Shanes, Turner's England: 1810–38, 1990

For details of the series, see introduction to T04614-T04630. The engravers responsible for these subjects were: Edward Goodall (1795–1870), Robert Wallis (1794–1878), William R. Smith (active 1820s–50s), James Tibbits Willmore (1800–63) and William Miller (1796 –1882).

One of the engravings, T05106, is recorded as having belonged to the Revd Stopford Augustus Brooke (1832 –1916), a keen enthusiast of Turner's work and the author of Notes on the Liber Studiorum of J.M.W. Turner, R.A., 1885.

T05106 Lago Maggiore engr. W.R. Smith, pub.1829

Line-engraving 87 × 131 (3 7/16 × 5 3/16) on India paper laid on wove paper 286 × 420 (11 1/4 × 16 1/2); plate-mark 153 × 214 (6 × 8 7/16); watermark '1827 H[...]'
Inscribed in pencil in a later hand lower left ‘Ex Coll Stopford A. Brooke.’ Engraved inscriptions: ‘Drawn by J.M.W. Turner. R.A.’ below image b.l., ‘Engraved by W.R. Smith’ below image b.r.
Prov: ...; Stopford A. Brooke
Lit: Rawlinson II 1913, no.321, first published state

Published: The Keepsake, 1829, p.238. Original water-colour: Brian Pilkington, London (Wilton 1979, no.730; Powell 1987, pp.126–7). Robert Southey's ‘Stanzas, addressed to R.[sic] M.W. Turner, Esq., R.A. on his view of the Lago Maggiore from the town of Arona’ accompanied the plate, paying tribute to Turner's depiction of the scene:

Great Painter, did thy gifted eye survey
The Splendid scene; and conscious of its power
Well hath thine hand inimitable given
The glories of the lake, and land, and heaven.

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

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