Like the other studies, this may have been used in the preparation of the canvas Fishermen upon a Lee-Shore, in Squally Weather (Southampton Art Gallery),1 exhibited in 1802. This and the drawing on the verso (D02810) may be the studies singled out for special mention by Finberg in his discussion of this book:
But perhaps the most eloquent pages in the book contain two glorious studies of storm-tossed waves. We are looking out from the shore, with the waves breaking at our feet. Even in his more elaborate work Turner has never suggested the tremendous weight and power of the sea-waves so vividly as in these hurried and tiny sketches. The furious work with the knife on both sides of the paper has reduced it almost to a rag; but the rag is eloquent, and such studies as these help us to understand how it was that Turner could paint the sea so very much better than any artist either before his time or since.2
There are similar studies on folios 109 recto and 110 recto and verso (D02796–D02798), which might merit the same encomium and may have been those Finberg had in mind.