Turin, Como, Lugarno, Maggiore sketchbook 1819

Nicola Moorby

Turin, Como, Lugarno, Maggiore sketchbook 1819

Entry
Artworks

D14144–D14189; D14192–D14325; D40887–D40889; Complete sketchbook

Turner Bequest CLXXIV

Sketchbook with paper covered boards bound with a red leather spine and one brass clasp
93 leaves of white wove writing paper, approximate page size 111 x 186 mm
Made by Thomas Smith and Henry Allnutt of Ivy Mill, Maidstone, Kent; various pages watermarked ‘SMITH & [...] | 18[...]’

Inscribed by the artist in black ink ‘Turin | Como Lugarno Maggiore’ (very faint) on front cover, centre (D40877)
Stamped in black ‘CLXXIV’ top right of front cover and top centre of back cover

Inside front cover inscribed by Henry Scott Trimmer in black ink ‘No 284 [as part of the Turner Schedule in 1854] contains 90 leaves. Pencil | sketches on both sides | H.S. Trimmer | C. Turner’ and initialed in pencil by Charles Lock Eastlake ‘C.L.E.’ and John Prescott Knight, ‘JPK’ top right (see D40888)

Accepted by the nation as part of the Turner Bequest 1856

Exhibition history

References

1909

A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.I, pp.507–11.

1925

Thomas Ashby, Turner’s Visions of Rome, London and New York 1925, p.8.

1930

A.J. Finberg, In Venice with Turner, London 1930, pp.19, 163.

1974

Martin Butlin, Andrew Wilton and John Gage, Turner 1775–1851, exhibition catalogue, Royal Academy, London 1974, p.86 no.207.

1974

Gerald Wilkinson, The Sketches of Turner, R.A. 1802–20: Genius of the Romantic, London 1974, p.182.

1979

Andrew Wilton, J.M.W. Turner: His Life and Work, Fribourg 1979, pp.139, 140, 151 notes 13 and 19, 381.

1984

Cecilia Powell, ‘Turner on Classic Ground: His Visits to Central and Southern Italy and Related Paintings and Drawings’, unpublished Ph.D thesis, Courtauld Institute of Art, University of London 1984, pp.68, 458 note 4,459 note 20, 491 note 32.

1986

Haruki Yaegashi, Martin Butlin, Evelyn Joll and others, Turner Exhibition, exhibition catalogue, National Museum of Western Art, Tokyo 1986, p.210 no.82.

1987

John Gage, J.M.W. Turner: ‘A Wonderful Range of Mind’, New Haven and London 1987, pp.49 and 246 note 28.

1987

Cecilia Powell, Turner in the South: Rome, Naples, Florence, New Haven and London 1987, pp.20 and 201 note 3, pp.21 and 201 note 10.

1987

Andrew Wilton, Turner in his Time, London 1987, p.128.

1990

Peter Bower, Turner’s Papers: A Study of the Manufacture, Selection and Use of his Drawing Papers 1787–1820, exhibition catalogue, Tate Gallery, London 1990, p.115.

1993

Mungo Campbell, A Complete Catalogue of Works by Turner in the National Gallery of Scotland, Edinburgh 1993, p.82 no.34.

1997

James Hamilton, Turner: A Life, London 1997, pp.197 and 325 note 10.

1998

Ian Warrell, ‘Gli artisti inglesi’, in Manuela Kahn-Rossi, Itinerari sublimi. Viaggi d’artisti tra il 1750 e il 1850, exhibition catalogue, Museo cantonale d’Arte, Lugano 1998, p.155, under no.274.

1999

Peter Bower, Turner’s Later Papers: A Study of the Manufacture, Selection and Use of his Drawing Papers 1820–1851, exhibition catalogue, Tate Gallery, London 1999, p.40 no.12.

2001

Andrew Wilton, ‘Arona’, in Evelyn Joll, Martin Butlin and Luke Herrmann (eds.), The Oxford Companion to J.M.W. Turner, Oxford 2001, p.10.

2003

Ian Warrell, David Laven, Jan Morris and others, Turner and Venice, exhibition catalogue, Tate Britain, London 2003, p.31.

2006

Federico Crimi, ‘J.M.W. Turner e il Verbano: Sulle vedute del porto d’Arona e dell’Isola Bella’, in Verbanus, no.27, 2006, p.180.

2006

Andrew Wilton, Turner in his Time, revised ed., London 2006, p.235.

2007

Federico Crimi, ‘J.M.W. Turner e il Verbano: 1819: Torino, Milano e il Sempione’, in Verbanus, no.28, 2007, pp.19–33, 36–8.

2009

Federico Crimi, ‘J.M.W. Turner e il Verbano: Repertorio’, in Verbanus, no.30, 2009, pp.39 note 7, 44, 52.

2008

James Hamilton, Nicola Moorby, Christopher Baker and others, Turner e l’Italia, exhibition catalogue, Palazzo dei Diamanti, Ferrara 2008, p.41 note 6.

2009

James Hamilton, Nicola Moorby, Christopher Baker and others, Turner & Italy, exhibition catalogue, National Galleries of Scotland, Edinburgh 2009, p.39 note 6.

Turner used this sketchbook during his first tour of Italy in 1819, one of twenty-three related to that trip. The book is titled, ‘Turin, Como, Lugarno [sic],1 Maggiore’ after the artist’s own label and the respective place names reflect the route taken by the artist after entering Italy via the Mont-Cenis Pass. The contents include sketches of Turin, the Italian Lakes including the Borromean islands, and views from the road to the Simplon Pass in the Swiss Alps.

Despite advice from James Hakewill (1778–1843), who instructed the artist not to bother visiting Turin (see Route to Rome sketchbook, Tate D13933; Turner Bequest CLXXI ), Turner did choose to incorporate the city within his tour, and the large number of related sketches reflect his excitement at reaching his first major Italian location, see folios 23 verso–40 (D14189–D14221; Turner Bequest CLXXIV 22a– 39). In particular he seems to have been interested in Turin’s architecture (largely Baroque), and the urban topography as seen from the banks of the river, an approach which he would repeat in other cities, particularly Florence and Rome. The next city on his itinerary was Milan but here he made no immediate sketches, preferring instead to travel onwards to Como where he embarked upon a circular excursion of the ‘Tre Laghi’, Lakes Como, Lugano and Maggiore.2 He explored the various lakes by boat, with the chief highlights being the Duomo at Como, see folio 63 verso (D14265; Turner Bequest CLXXIV 62a), a view of Bellagio on Lake Como, folio 68 verso (D14275; Turner Bequest CLXXIV 67a), which eventually led to two watercolour studies (see the Como and Venice sketchbook, Tate D15251–2; Turner Bequest CLXXXI 1–2), and the Isola Bella on Lake Maggiore, see folio 77 verso (D14293; Turner Bequest CLXXIV 76a).3

Turner’s tour of the lakes was followed by an unusual diversionary expedition into the Swiss Alps to see the newly built Simplon Pass, the details of which can be established from a sequence of topographical sketches which lead directly from the end of the Turin, Como, Lugarno, Maggiore sketchbook to the beginning of the Passage of the Simplon sketchbook (Tate, Turner Bequest CXCIV). After Baveno on Lake Maggiore Turner joined the Simplon road and headed northwards, following the course of the River Toce to Vogogna and Domodossola before turning west into the Val Divedro at Crevoladossola. Between Iselle and Gondo he crossed the border from Italy into Switzerland and followed the route towards the Simplon Pass through the Gondoschlucht (Gondo Ravine) and the village of Simplon-dorf, a road only recently constructed by Napoleon between 1800 and 1805. According to Mariana Starke, who journeyed through the Simplon Pass twice in May 1817 and June 1819, the ascent from Domodossola to the village of Simplon-dorf could be accomplished in seven hours, while the descent took five and a half hours.4 Having reached his intended destination, Turner retraced his steps, although the return leg of the journey is largely documented within the Passage of the Simplon sketchbook (see the introduction of this sketchbook for further details). He did however, use the Turin, Como, Lugarno, Maggiore sketchbook for some final views along the western shores of Lake Maggiore, particularly of Arona and Angera, see folio 92 verso (D14323; Turner Bequest CLXXIV 91a), before eventually journeying onwards to Milan and Venice (see the Milan to Venice sketchbook, Tate; Turner Bequest CLXXV).

A tentative chronology for the sketchbook has been proposed by Federico Crimi, who suggests that Turner devoted eleven days to this part of the 1819 tour (between Susa, the first town across the Italian border from France, and Milan, following the Simplon expedition).5 Based upon Turner’s known departure date from London on 31 July, and assuming that he arrived in Venice on 1 or 2 September,6 Crimi advocates that the artist spent his first night on Italian soil on 16 August, spent three days in Turin, arrived in Como on 20 August and Baveno five days later, before tackling the route to the Simplon pass in two days, and arriving back in Milan on 27 August.7

Turner frequently adopted a phonetic spelling for Italian words, although on occasions he did also use the correct spelling for ‘Lugano’.

For sketches of Milan see the Milan to Venice sketchbook (Tate, Turner Bequest CLXXV) and the Como and Venice sketchbook (Tate, Turner Bequest CLXXXI).

For a detailed account of Turner’s exploration of the Italian Lakes see Crimi 2007 and Crimi 2009.

Mariana Starke, Travels on the Continent written for the Use and Particular Information of Travellers, London 1820, p.82.

See map and itinerary in Crimi 2009, pp.[40–1], Tavola C.

See Hamilton, Moorby, Baker et al. 2009, p.150 note 9 [‘Turner’s Route to Rome’] for a discussion of possible dates of Turner’s arrival and departure from Venice.

Crimi 2009, pp.[40–1], Tavola C.

Technical notes

There is some degree of uncertainty about the present numbering of the folios within this sketchbook. Finberg documents that at some point during Ruskin’s nineteenth-century survey of the Turner Bequest, the book had been broken up and the contents distributed, but that the original order had been preserved by numbers on the leaves.10 He also lists one page as ‘missing’ (Turner Bequest CLXXIV 23–23a, formerly given the Tate accession numbers D14190 and D14191, since cancelled),11 and a blank sheet was subsequently inserted in its place to preserve the integrity of the sketchbook pagination. However, a drawing depicting Turin from the east appears to link folio 23 (D14189; Turner Bequest CLXXIV 22) and folio 25 (D14192; Turner Bequest CLXXIV 23), indicating that, in fact, no page was ever missing from this point in the sketchbook and the blank sheet has been added erroneously. Furthermore, there are several instances near the beginning of the sketchbook where sketches appear of subjects which do not fit in with the expected geographical itinerary, for example views of Luino (CLXXIV 3c), Isola Bella (CLXXIV 4a) and the bridge at Crevoladossola (CLXXIV 6a), which interrupt the sequence of sketches between Susa and Avigliana, and which by rights should appear at the end of the sketchbook. These irregularities indicate that an error may have been made in numbering the leaves and the book was subsequently reassembled incorrectly.12 Finberg’s numbering is out of step with the present arrangement and a concordance of Tate and Finberg numbers from the relevant point in the sketchbook follows:

Present folio number or status	Tate number	Turner Bequest (Finberg number)
3 Recto	D14148	CLXXIV 3
3 Verso	D14149	CLXXIV 3a
4 Recto	D14150	CLXXIV 3b
4 Verso	D14151	CLXXIV 3c
5 Recto	D14152	CLXXIV 4
5 Verso	D14153	CLXXIV 4a
6 Recto	D14154	CLXXIV 5
6 Verso	D14155	CLXXIV 5a
7 Recto	D14156	CLXXIV 6
7 Verso	D14157	CLXXIV 6a
8 Recto	D14158	CLXXIV 7
8 Verso	D14159	CLXXIV 7a
9 Recto	D14160	CLXXIV 8
9 Verso	D14161	CLXXIV 8a
10 Recto	D14162	CLXXIV 9
10 Verso	D14163	CLXXIV 9a
11 Recto	D14164	CLXXIV 10
11 Verso	D14165	CLXXIV 10a
12 Recto	D14166	CLXXIV 11
12 Verso	D14167	CLXXIV 11a
13 Recto	D14168	CLXXIV 12
13 Verso	D14169	CLXXIV 12a
14 Recto	D14170	CLXXIV 13
14 Verso	D14171	CLXXIV 13a
15 Recto	D14172	CLXXIV 14
15 Verso	D14173	CLXXIV 14a
16 Recto	D14174	CLXXIV 15
16 Verso	D14175	CLXXIV 15a
17 Recto	D14176	CLXXIV 16
17 Verso	D14177	CLXXIV 16a
18 Recto	D14178	CLXXIV 17
18 Verso	D14179	CLXXIV 17a
19 Recto	D14180	CLXXIV 18
19 Verso	D14181	CLXXIV 18a
20 Recto	D14182	CLXXIV 19
20 Verso	D14183	CLXXIV 19a
21 Recto	D14184	CLXXIV 20
21 Verso	D14185	CLXXIV 20a
22 Recto	D14186	CLXXIV 21
22 Verso	D14187	CLXXIV 21a
23 Recto	D14188	CLXXIV 22
23 Verso	D14189	CLXXIV 22a
24 Recto and Verso	(formerly D14190, D14191, cancelled)	Modern leaf replacing the possibly spurious CCLXXIV ‘23’ and ‘23a’ (see notes above)
25 Recto	D14192	CLXXIV 24
25 Verso	D14193	CLXXIV 24a
26 Recto	D14194	CLXXIV 25
26 Verso	D14195	CLXXIV 25a
27 Recto	D14196	CLXXIV 26
27 Verso	D14197	CLXXIV 26a
28 Recto	D14198	CLXXIV 27
28 Verso	D14199	CLXXIV 27a
29 Recto	D14200	CLXXIV 28
29 Verso	D14201	CLXXIV 28a
30 Recto Blank	D14202	CLXXIV 29
30 Verso	D14203	CLXXIV 29a
31 Recto	D14204	CLXXIV 30
31 Verso	D14205	CLXXIV 30a
32 Recto	D14206	CLXXIV 31
32 Verso	D14207	CLXXIV 31a
33 Recto	D14208	CLXXIV 32
33 Verso	D14209	CLXXIV 32a
34 Recto	D14210	CLXXIV 33
34 Verso	D14211	CLXXIV 33a
35 Recto	D14212	CLXXIV 34
35 Verso	D14213	CLXXIV 34a
36 Recto	D14214	CLXXIV 35
36 Verso Blank
37 Recto	D14215	CLXXIV 36
37 Verso	D14216	CLXXIV 36a
38 Recto	D14217	CLXXIV 37
38 Verso	D14218	CLXXIV 37a
39 Recto	D14219	CLXXIV 38
39 Verso	D14220	CLXXIV 38a
40 Recto	D14221	CLXXIV 39
40 Verso	D14222	CLXXIV 39a
41 Recto	D14223	CLXXIV 40
41 Verso	D14224	CLXXIV 40a
42 Recto	D14225	CLXXIV 41
42 Verso	D14226
43 Recto	D14227	CLXXIV 42
43 Verso Blank
44 Recto	D14228	CLXXIV 43
44 Verso Blank
45 Recto	D14229	CLXXIV 44
45 Verso	D14230	CLXXIV 44a
46 Recto	D14231	CLXXIV 45
46 Verso	D14232	CLXXIV 45a
47 Recto	D14233	CLXXIV 46
47 Verso Blank
48 Recto	D14234	CLXXIV 47
48 Verso	D14235	CLXXIV 47a
49 Recto	D14236	CLXXIV 48
49 Verso	D14237	CLXXIV 48a
50 Recto	D14238	CLXXIV 49
50 Verso	D14239	CLXXIV 49a
51 Recto	D14240	CLXXIV 50
51 Verso	D14241	CLXXIV 50a
52 Recto	D14242	CLXXIV 51
52 Verso	D14243	CLXXIV 51a
53 Recto Blank	D14244	CLXXIV 52
53 Verso	D14245	CLXXIV 52a
54 Recto	D14246	CLXXIV 53
54 Verso	D14247	CLXXIV 53a
55 Recto	D14248	CLXXIV 54
55 Verso	D14249	CLXXIV 54a
56 Recto	D14250	CLXXIV 55
56 Verso	D14251	CLXXIV 55a
57 Recto	D14252	CLXXIV 56
57 Verso	D14253	CLXXIV 56a
58 Recto	D14254	CLXXIV 57
58 Verso	D14255	CLXXIV 57a
59 Recto	D14256	CLXXIV 58
59 Verso	D14257	CLXXIV 58a
60 Recto	D14258	CLXXIV 59
60 Verso	D14259	CLXXIV 59a
61 Recto	D14260	CLXXIV 60
61 Verso	D14261	CLXXIV 60a
62 Recto	D14262	CLXXIV 61
62 Verso	D14263	CLXXIV 61a
63 Recto	D14264	CLXXIV 62
63 Verso	D14265	CLXXIV 62a
64 Recto	D14266	CLXXIV 63
64 Verso	D14267	CLXXIV 63a
65 Recto	D14268	CLXXIV 64
65 Verso	D14269	CLXXIV 64a
66 Recto	D14270	CLXXIV 65
66 Verso	D14271	CLXXIV 65a
67 Recto	D14272	CLXXIV 66
67 Verso	D14273	CLXXIV 66a
68 Recto	D14274	CLXXIV 67
68 Verso	D14275	CLXXIV 67a
69 Recto	D14276	CLXXIV 68
69 Verso	D14277	CLXXIV 68a
70 Recto	D14278	CLXXIV 69
70 Verso	D14279	CLXXIV 69a
71 Recto	D14280	CLXXIV 70
71 Verso	D14281	CLXXIV 70a
72 Recto	D14282	CLXXIV 71
72 Verso	D14283	CLXXIV 71a
73 Recto	D14284	CLXXIV 72
73 Verso	D14285	CLXXIV 72a
74 Recto	D14286	CLXXIV 73
74 Verso	D14287	CLXXIV 73a
75 Recto	D14288	CLXXIV 74
75 Verso	D14289	CLXXIV 74a
76 Recto	D14290	CLXXIV 75
76a Verso	D14291	CLXXIV 75a
77 Recto	D14292	CLXXIV 76
77 Verso	D14293	CLXXIV 76a
78 Recto	D14294	CLXXIV 77
78 Verso	D14295	CLXXIV 77a
79 Recto	D14296	CLXXIV 78
79 Verso	D14297	CLXXIV 78a
80 Recto	D14298	CLXXIV 79
80 Verso	D14299	CLXXIV 79a
81 Recto	D14230	CLXXIV 80
81 Verso	D14301	CLXXIV 80a
82 Recto	D14302	CLXXIV 81
83 Verso	D14303	CLXXIV 81
83 Recto	D14304	CLXXIV 82
83 Verso	D14305	CLXXIV 82a
84 Recto	D14306	CLXXIV 83
84 Verso	D14307	CLXXIV 83a
85 Recto	D14308	CLXXIV 84
85 Verso	D14309	CLXXIV 84a
86 Recto	D14310	CLXXIV 85
86 Verso	D14311	CLXXIV 85a
87 Recto	D14312	CLXXIV 86
87 Verso	D14313	CLXXIV 86a
88 Recto	D14314	CLXXIV 87
88 Verso	D14315	CLXXIV 87a
89 Recto	D14316	CLXXIV 88
89 Verso	D14317	CLXXIV 88a
90 Recto	D14318	CLXXIV 89
90 Verso	D14319	CLXXIV 89a
91 Recto	D14320	CLXXIV 90
91 Verso	D14321	CLXXIV 90a
92 Recto	D14323	CLXXIV 91
92 Verso	D14323	CLXXIV 91a
93 Recto	D14324	CLXXIV 92
93 Verso	D14325	CLXXIV 92a
Inside Back Cover	D40889

Bower 1990, p.115.

Ibid., pp.113–4.

Finberg 1909, vol.I, p.507.

Ibid., p.508.

Crimi offers an alternative explanation, suggesting that Turner may have drawn these views from prints rather than on-the-spot. See Crimi 2007, p.23 note 18.

Nicola Moorby
February 2013

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Joseph Mallord William Turner

Inscription by Turner 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D40887
Joseph Mallord William Turner

Two Studies of Buildings and Two Sketches of Man Wearing a … 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D40888
Joseph Mallord William Turner

?Distant View of the Mont Cenis Pass; and a Bridge over the … 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14144
Joseph Mallord William Turner

?Distant View of Susa, with the Alps Beyond 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14145
Joseph Mallord William Turner

Part of a Distant View of ?Susa, and Sketches of the Alps 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14146
Joseph Mallord William Turner

Two Sketches of a Church, with the Alps Beyond 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14147
Joseph Mallord William Turner

?The Castle, San Giorio di Susa 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14148
Joseph Mallord William Turner

?San Giorio di Susa 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14149
Joseph Mallord William Turner

?San Giorio di Susa, with the Castle 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14150
Joseph Mallord William Turner

The Church of San Giuseppe at Luino, Lake Maggiore 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14151
Joseph Mallord William Turner

?San Giorio di Susa, with the Castle 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14152
Joseph Mallord William Turner

Four Sketches: including Isola Bella on Lake Maggiore, from … 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14153
Joseph Mallord William Turner

?Val di Susa 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14154
Joseph Mallord William Turner

Five Sketches of Mountains, ?between Mont Cenis and Susa; … 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14155
Joseph Mallord William Turner

Sacra di San Michele, from the West 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14156
Joseph Mallord William Turner

The Bridge at Crevoladossola; also a Castle by a Lake 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14157
Joseph Mallord William Turner

Sacra di San Michele, from the West 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14158
Joseph Mallord William Turner

Two Sketches of the Castle at Avigliana from the West, and … 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14159
Joseph Mallord William Turner

Two Sketches of the Sacra di San Michele 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14160
Joseph Mallord William Turner

Two Sketches of the Castle at Avigliana, and One of the … 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14161
Joseph Mallord William Turner

View of Avigliana, with the Castle and Church of Santa Maria … 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14162
Joseph Mallord William Turner

Two Sketches of Avigliana; including One with the Sacra di … 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14163
Joseph Mallord William Turner

Part of a View of Avigliana looking West; and a View of One … 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14164
Joseph Mallord William Turner

Two Views of the Avigliana Lakes 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14165
Joseph Mallord William Turner

Campanile and Dome of the Duomo, Turin 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14166
Joseph Mallord William Turner

?View of Sesto Calende, Lake Maggiore 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14167
Joseph Mallord William Turner

View of Trofarello, near Montecalieri 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14168
Joseph Mallord William Turner

View of Sesto Calende, Lake Maggiore 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14169
Joseph Mallord William Turner

Part of a View of Sesto Calende, Lake Maggiore 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14170
Joseph Mallord William Turner

Part of a Distant View of Moncalieri, from the East 1819

Turin, Como, Lugarno, Maggiore Sketchbook

D14171

Showing 1 - 30 of 183 artworks

How to cite

Nicola Moorby, ‘Turin, Como, Lugarno, Maggiore sketchbook 1819’, sketchbook, February 2013, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, August 2013, https://www.tate.org.uk/art/research-publications/jmw-turner/turin-como-lugarno-maggiore-sketchbook-r1142664, accessed 24 April 2024.

Galleries

J.M.W. Turner: Sketchbooks, Drawings and Watercolours