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THE PRESIDENT AND TRUSTEES OF 
 
 THE MUSEUM OF FINE ARTS 
 
 BOSTON 
 
 take pleasure in asking your acceptance 
 
 of the accompanying copy of 
 
 the francis bullard memorial catalogue of 
 
 turner's "liber studiorum" 
 
 in accordance with the request of 
 
 mr. grenville lindall winthrop 
 
 that the museum > 
 
 should distribute the catalogue 
 
 to a selection of persons and institutions 
 
 that the museum thinks especially interested 
 
 in the art of engraving 
 
 Cornell University Library 
 642.T95B74 
 
 A catalogue of the co'lection of 
 
 prints) 
 
 3 1924 020 503 003 
 
CATALOGUE OF THE BULLARD COLLECTION OF PRINTS 
 FROM TURNER'S LIBER STUDIORUM 
 
A CATALOGUE OF 
 THE COLLECTION OF PRINTS FROM THE 
 
 Liber Studiorum 
 
 of 
 
 Joseph Mallord William Turner 
 
 FORMED BY THE LATE FRANCIS BULLARD 
 OF BOSTON MASSACHUSETTS 
 
 AND BEQUEATHED BY HIM TO THE 
 
 MUSEUM OF FINE ARTS 
 
 IN BOSTON 
 
 BOSTON 
 
 Privately Printed 
 
 1916 
 
 
COPYRIGHT, 1916, BY GRENVILLE LINDALL WINTHROP 
 
 '^ 
 
 J^blfi^atfS?/ 
 
 D. B. UPDIKE • THE MERRYMO0NT PRESS • BOSTON 
 
IN MEMORY OF FRANCIS BULLARD 
 1862-1913 
 
PREFACE 
 
 THE Collection of prints from the Liber Studiorum of Joseph 
 Mallord William Turner, catalogued in the following pages, 
 was formed by the late Francis BuUard, of Boston, Massachusetts, 
 between the years 1900 and 1913. 
 
 In the autumn of 1900 Mr. Bullard bought the collection of prints 
 from Turner's Liber Studiorum formed by the late Edward Brown 
 Lees, of Thurland Castle, England, which comprised prints from all 
 the published plates, most of them in the first states, thirty engrav- 
 ers' proofs, including proofs from unpublished plates, and forty-five 
 of the preliminary etchings. During the following years he greatly 
 enlarged and improved this collection by new purchases and by dis- 
 carding less good for better impressions of the prints, until in impor- 
 tance his collection was classed with the two leading private collec- 
 tions of prints from Turner's Liber Studiorum owned, in England, 
 respectively by the late John Edward Taylor and by William George 
 Rawlinson,Esquire.In the summer of 1912 the Taylor Collection was 
 sold at auction, and many of the finest and of the most interesting 
 prints were bought by Mr. Bullard and by Mr. Rawlinson. A few 
 months later, toward the end of the same year, Mr. Bullard bought 
 the Rawlinson Collection, and at his death in February, 1913, Mr. 
 Bullard bequeathed to the Museum of Fine Arts in Boston, Massa- 
 chusetts, the collection which is now known as the Bullard Collection. 
 This bequest gave to the Museum a collection of prints from Turner's 
 Liber Studiorum not only of unrivalled quality and interest, but also 
 the most comprehensive in existence — the greatest of its kind ever 
 formed. 
 
 G. L. W. 
 
ACKNOWLEDGMENT 
 
 / gratefully acknowledge my obligation to the President and Trustees of the 
 Museum of Fine Arts in Boston, Massachusetts, for permission to have a 
 Catalogue printed of the valuable collection of prints from the Liber Studiorum 
 of Joseph Mallord William Turner formed by my friend, the late Francis 
 Bullard of Boston, and to use the descriptions of the prints prepared for the 
 Museum by Mr. Emil Heinrich Richter, Associate Curator of the Depart- 
 ment of Prints of the Museum. I wish also to express my appreciation of 
 the services rendered by Mr. William Aspenwall Bradley in editing the text 
 of this Catalogue, and my especial gratitude to Mr. Daniel Berkeley Updike, 
 of The Merrymount Press, for the study he has given in making the pages 
 
 both beautiful and practical. 
 
 Grenville Lindall Winthrop 
 
 Qroton Place 
 
 Lenox, Massachusetts 
 1916 
 
CATALOGUE OF THE BULLARD COLLECTION OF PRINTS 
 FROM TURNER'S LIBER STUDIORUM 
 
1. THE FRONTISPIECE 
 
 DRAWN, ETCHED, AND PICTURE IN CENTRE ENGRAVED 
 
 BY J. M. W.TURNER 
 
 ENGRAVED BY J. C. EASLING 
 
 THE ETCHING 
 FIRST STATE 
 
 Picture in centre drawn with pencil, city at right. Black ink. 
 From the Stokes, Gambier Parry, and Rawlinson Collections. 
 
 THIRD STATE 
 
 Picture in centre etched, as in second state, city at left. Castle and details of 
 masonry added lightly in dry-point. Many slight lines rebitten. Dark brown 
 ink. 
 
 engraver's proofs 
 
 1. Border of picture in centre mezzotinted. Before letters. Sepia. 
 From the Stokes, Gambier Parry, and Rawlinson Collections. 
 
 2. Picture in centre mezzotinted. Before letters. Sepia. 
 From the Stokes and Taylor Collections. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Lights added on clouds, especially above temple, and on sand at right. Surf 
 
 I 3 ] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 added at right. Mountain at right lightened. Lettered. Before mark in mar- 
 gin. Sepia. 
 From the Heugh and Rawlinson Collections. 
 
 FIRST STATE 
 
 Another impression. Paler. Sepa. 
 From the Lees Collection. 
 
 FIRST STATE 
 
 Another impression. Mountain at right has disappeared. Sepia. 
 
 INTERMEDIATE STATE 
 
 Strong lights reduced in sky. Shadows deepened with mezzotint. Castle be- 
 yond temple darkened. Lower masonry made perpendicular. Diagonal stroke 
 under word "Drawn" in margin at left lower corner. Sepia. 
 
 THIRD STATE 
 
 Diagonal stroke under word ' ' Drawn ' ' in margin at left lower corner com- 
 pleted to capital A (partly erased). Cool sepia. 
 From tiie Rawlinson Collection. 
 
 FOURTH STATE 
 
 Extensively reworked with mezzotint and aquatint. White clouds added in 
 low-toned aquatint sky. Hills added in right distance. Sea darkened. Surf- 
 line curved from foreground to town. High lights added on figure of Europa. 
 Sepia. 
 From the Rawlinson Collection. 
 
 Note : Two pen and ink sketches, by Turner, of die Frontispiece are included in Mr. BuUard's 
 bequest to tiie Museum. 
 
 [4 J 
 
2. THE BRIDGE AND COWS 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 Dark brown ink. 
 
 From the Buccleuch Collection. 
 
 THE ETCHING 
 
 Another impression. Signed by Charles Turner. Reddish brown ink. 
 From the Rawlinson Collection. 
 
 ENGRAVER S PROOFS 
 
 1. Sky even tone. Large cloud blocked in lightly at left. Before letters. Cool 
 sepia. 
 
 2. Sky faintly streaked with bands of clouds. Cumulus cloud added at left. 
 Light cloud added above cumulus cloud. Foliage added on large tree in middle. 
 Lights added on all foliage, on bridge, on water, and in foreground. Before 
 letters. Cool sepia. 
 
 From the Stokes and Taylor Collections. 
 
 3. Clouds developed and touched with pencil. Bands of clouds at left of large 
 tree behind bridge burnished. Tone added on foliage at right, and on water. 
 Before letters. Cool sepia. 
 
 From the Gambier Parry and Rawlinson Collections. 
 
 C5] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Corrections on clouds carried out. Lettered. Initial letter (P) tall, slender, open 
 capital about Vie inch from top of plate. Sepia. 
 From the Rawlinson Collection. 
 
 THIRD STATE 
 
 Mezzotint added on foliage, on water, on figures, on animals and their shad- 
 ows. Weeds in foreground connected by dark shadows. Initial letter open, as 
 in first published state, but shorter and broader, and about Vs inch from top 
 of plate. Sepia. 
 From the Rawlinson Collection. 
 
 FOURTH STATE 
 
 Mezzotint, added in third published state, has disappeared. High lights added 
 on pollard, on cottage wall, and elsewhere. Dot in bow of initial letter. Sepia. 
 
 FOURTH STATE 
 
 Another impression. All mezzotint has practically disappeared. Light reddish 
 brown ink. 
 
 CO 
 
3. THE WOMAN AND TAMBOURINE 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 
 Signed by Charles Turner. Dark brown ink. 
 From the Rawlinson Collection. 
 
 engraver's proofs 
 
 1. Sky, clouds, and far and middle distances, treated broadly in flat tones 
 with little detail. Before letters. Sepia. 
 
 From the Gambler Parry and Rawlinson Collections. 
 
 2. Sky darkened above, lightened below. Cumulus cloud added. Paper scraped 
 for high lights on clouds, on near horizon, and on woman with tambourine. 
 Middle distance developed. Closely trimmed. Sepia. 
 
 From the Taylor Collection. 
 
 3. Corrections carried out. Clouds further defined. Lights added on foliage, 
 on distant buildings, on figures, and in foreground. Before letters. Cool sepia. 
 From the Buccleuch and Lees Collections. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Clouds further defined by lights. High lights intensified. Foreground dark- 
 
 c 7:1 
 
cata;.ogue of the bullard collection 
 
 ened. Lettered. Initial letters (E. P) tall, slender, open capitals Vig inch from 
 top of plate. Sepia. 
 
 FIRST STATE 
 
 Another impression. Shadows rich. Sky light. Signed by Charles Turner. 
 
 Sepia. 
 
 From the Rawlinson Collection. 
 
 FOURTH STATE 
 
 Sky more even in tone. Lights on clouds subdued. Many high lights added 
 in middle distance, on man in boat, on road at left, and elsewhere. Road at 
 left extended nearly to top of hill. Initial letters open, as in third published 
 state, shorter and broader than in first published state, and about Vis inch from 
 top of plate. Dot added in bow of initial letter "P." Sepia. 
 From the Rawlinson Collection. 
 
 C8] 
 
4. FLINT CASTLE— VESSELS UNLOADING 
 
 (ALSO CALLED FLINT CASTLE SMUGGLERS, AND SCENE ON THE FRENCH COAST) 
 
 DRAWN AND ETCHED BY J. M.W.TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 
 Signed by Charles Turner. Dark brown ink. 
 From the Rawlinson Collection. 
 
 ENGRAVER S PROOFS 
 
 1 . Completed except in sky. Window openings in castle white. Before letters. 
 Sepia. 
 
 From the Taylor Collection. 
 
 2. Paper scraped for high lights on clouds. WindoAV openings in castle dark- 
 ened. Lettered as in first published state, except that initial letter is small 
 italic "w." Sepia. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 [9] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 Small dark patch in light clouds near right upper corner removed. Initial 
 letter (M) tall, slender, open capital ^/ig inch from top of plate. Signed by 
 Charles Turner. Sepia. 
 From the Rawlinson Collection. 
 
 C lo;] 
 
5. BASLE 
 
 DRAWN AND ETCHED BY J. M.W.TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 FIRST STATE 
 
 Distance faint. Farther spire indicated by single dotted outline. In lower 
 margin, faintly scratched in Roman letters: "Basle [space] Switzerland." 
 Brown ink with carmine tinge. 
 
 FIRST STATE 
 
 Another impression. Fainter. Title not inked. Signed by Charles Turner. 
 Sepia. 
 
 From the Rawlinson Collection. 
 
 ENGRAVER S PROOFS 
 
 1 . Sky and middle distance unfinished. Rays of sun sharply defined. Horizon- 
 tal layers of clouds crossed by rays of sun and edged with Ught. Four birds 
 etched in sky at right. Before letters. Grayish brown ink. 
 
 From the Stokes and Buccleuch Ck)llections. 
 
 XT' 
 
 2. Reworked and in places re-etched. Outlines of both spires doubled and 
 strengthened. Skyline of town altered. Sky at left and below sun light- 
 
 i 11 :} 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 ened. Rays of sun subdued. Birds almost effaced. Lettered as in first pub- 
 lished state. Grayish brown ink. 
 From the Hippisley and Rawlinson Collections. 
 
 3. Rays of sun restored. Upward rays of sun added. Clouds above sun edged 
 with bright light. Lettered as before. Signed by Charles Turner. Warm sepia. 
 From the Rawlinson Collection. 
 
 4. Lights on buildings beyond bridge reduced with pencil. Lettered as before. 
 Sepia. 
 
 From the Lees Collection. 
 
 5. Another impression from plate in same state. Darker. Rays of sun more 
 distinct. Lettered as before. Sepia. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Lights added in sky, on buildings, and on spire. Bright bow-shaped cloud 
 added under, and at left of, sun. Initial letter (A) and letters of title tall, slen- 
 der, open capitals. Initial letter Vie inch from top of plate. Sepia. 
 
 THIRD STATE 
 
 Initial letter and letters of title open, as in first published state, but shorter and 
 broader. Initial letter ^/g inch from top of plate. Reddish brown ink. 
 
 FOURTH STATE 
 
 Many light clouds added below sun and above roof of church. Mezzotint 
 added, especially in foreground. Dot in upper bow of "B" in title. Reddish 
 brown ink. 
 From the Pocock and Rawlinson Collections. 
 
 [ 12 ] 
 
6. JASON 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 FIRST STATE 
 
 Marginal line at right imperfectly bitten. Space between left thigh and leg 
 of Jason darkened with pencil. Cliff at right shaded. Lines added on coil of 
 dragon and on ledge at left. Foliage touched with white. Ledge touched with 
 pencil. (Corrections not carried out.) On lower margin, in pencil by Turner 
 (partly illegible or cut away) : "On looking over this Etching this Morning 
 I find that a few lines would make it much better looking . . . [befo] re you 
 take the Dozen * Prints off to put them in as marked in pencil. If you are at 
 home send this back . . . bring it as I will shadow it in brown, it being on 
 hard paper. If it is possible to have the prints . . . with it today I should be 
 very glad. Take 15 prints off instead of a dozen*. [Partial sketch of figure, 
 showing space between thigh and leg] + to be dark but to add the armour on 
 the thigh behind the tree." Margins not cleaned. Signed by Charles Turner. 
 Dark brown ink. 
 
 SECOND STATE 
 
 Marginal line completed. Chief corrections carried out. Margins cleaned. 
 Dark brown ink. 
 
 1 13 :\ 
 
catalogue of the bullard collection 
 
 engraver's proofs 
 
 1. Dark. Light centred on figure of Jason. Subdued lights on coil of dragon. 
 Before letters. Signed by Charles Turner. Dark sepia. 
 
 From the Hawkins and Taylor Collections. 
 
 2. Light and shade harmonized by new mezzotint. Lights and details added 
 on foliage, and on trunks and stumps of trees. Coil of dragon slightly reduced 
 in tone. Opening of cavern recessed and gloom intensified. Before letters. 
 Sepia. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 High lights added in sky, on ledge, on dragon, on figure of Jason, on stumps 
 of trees, and in foreground. Work added on trunk of tree in foreground at 
 right. Initial letter (H) tall, slender, open capital about Yie inch from top of 
 plate. Letters of title in open capitals with strokes of equal thickness. Signed 
 by Charles Turner. Sepia. 
 From the Rawlinson Collection. 
 
 FIRST STATE 
 
 Another impression. Gradations in deep shadows largely lost. Sepia. 
 
 SECOND STATE 
 
 Initial letter filled up. Letters of title have right strokes thicker than leftstrokes. 
 Light impression. Cool sepia. 
 
 INTERMEDIATE STATE 
 
 ' ' Pict. 3 Ft. by 4 " added under ' ' Drawn and Etched ..." at left. Sepia. 
 
 THIRD STATE 
 
 Retouched. Initial letter open, as in first published state, but shorter and 
 slightly broader, and nearly 7i6 inch from top of plate. Title as in first pub- 
 lished state, but with "3X4" added after "Jason." Sepia. 
 
 FOURTH STATE 
 
 Mouth of cavern enlarged. Shadows added in woods and on ledge, especially 
 behind stumps of trees at left. Shadows on fallen trees, on figure of Jason, 
 and in foreground deepened. High lights reburnished. High lights added on 
 trunks and stumps of trees, on bushes, and elsewhere. Sepia. 
 
 C 14] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 I 
 
 SIXTH STATE 
 
 Reworked. Sombre tone restored. Light again centred on figure of Jason. Two 
 small stones added in foreground, below and to left of figure of Jason. Dot 
 in "o" of "Jason" in title, as in fifth published state. Sepia. 
 
 t 15;] 
 
7. THE STRAW-YARD 
 
 (ALSO CALLED THE WHITE HORSE) 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 Dark brown ink. 
 
 THE ETCHING 
 
 ENGRAVER S PROOFS 
 
 1. Lettered as in first published state, except that there is a comma between 
 "Street" and "Fitzrcy," and a slight diiFerence in shape of initial letter (P). 
 Sepia. 
 
 From the Lees Collection. 
 
 2. Lights and shadows on clouds accented. Door of barn defined by lights. 
 Interior of barn darkened. Accents of tone added on thatch and on hayrick. 
 High light added on hind-quarter of dark horse. Shadows added in dry-point 
 on and about man at left, and throughout foreground. Lettering removed. 
 Cool sepia. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Lights added in sky. Tone added in shading of clouds. High light on door of 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 barn brightened. Lettered. Comma between ' ' Street ' ' and ' ' Fitzroy ' ' erased. 
 Initial letter (P) open capital. 
 
 FOURTH (OR LATER) STATE 
 
 Lightened throughout. Slight shading added. Wall of barn scraped. Closely 
 
 trimmed. Sepia. 
 
 From the Rawlinson Collection. 
 
 t 18 H 
 
I 
 
 8. THE CASTLE ABOVE THE MEADOWS 
 
 (ALSO CALLED OAKHAMPTON CASTLE, AND PASTORAL WITH THE WHITE COW) 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 FIRST STATE 
 
 Black ink. 
 
 From the Rawlinson Collection. 
 
 SECOND STATE 
 
 Lines added on castle and on rock. Sepia. 
 From the Buccleuch Collection. 
 
 engraver's proof 
 
 Sky unfinished. High hght on white cow in foreground. Rock, castle, and 
 foreground at right, touched with pencil. Before letters, but with initial let- 
 ters in pencil. Signed by Charles Turner. Sepia. 
 From the Gambler Parry and Rawlinson Collections. 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 Lights added on clouds, on castle, on rocks, on trees, and in foreground. Bright 
 
 1 19 : 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 spots on face of boy and on stile burnished. Lettered. Initial letters (E P) 
 open capitals. Signed by Charles Turner. Sepia. 
 From the Rawlinson Collection. 
 
 [ 20 J 
 
9. MT. ST. GOTHARD 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 
 In lower margin , scratched in open Roman letters : ' ' Mt. St. Gothard. ' ' Signed 
 by Charles Turner. Sepia. 
 From the Rawlinson Collection. 
 
 ENGRAVER S PROOFS 
 
 1 . On upper margin, in pencil by Turner : ' ' this part of the sky do [es] very 
 well." "X" below refers to note, "X too dark," on upper margin. Shad- 
 ing indicated elsewhere with pencil lines or by numbers. Paper scraped for 
 high lights on snow-capped peak. On lower margin, in pencil by Turner: 
 My advice is first to fill up the rotten parts or Y2 lights in No 1 to make it 
 an equal tint but lighter near No 2 — The whole of the snow Mountain 3 de- 
 grees lighter — and the Hghts pure paper (and if you can take my lines out.) 
 — 3 make darker and sparkling pieces of snow upon it but not white ones. 
 4 lighter than the sky / the cloud below. 5 lighter 1 Degree and fill up the 
 rotten parts towards the side 55. gradua[l]ly lighter towards 6. and yet mind 
 all this mass must be lighter than the Mountain. 7 //// These things being 
 
 I 21 n 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 well attended to may save the sky. " Margins not cleaned. Title as before. 
 Signed by Charles Turner. Sepia. 
 From the Taylor Collection. 
 
 2. Corrections carried out. Snow-capped peak burnished. Deep shadows 
 added in foreground. Title as before, but with initial letter (M) in pencil. 
 Cool sepia. 
 
 From tiie Stokes and Buccleuch Collections. 
 
 3. Diminutive clouds added about snow-capped peak. Title as before, but 
 without initial letter in pencil. Signed by Charles Turner. Sepia. 
 
 From the Rawlinson Collection. 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 Tone added in sky, and in far and middle distances. Torrent in gorge at lower 
 right toned over at base to form part of cliff. Lights on head of mule, and on 
 rocks in foreground, brightened. Initial letters (M.S) and letters of title in 
 open capitals. Sepia. 
 
 C 22 ;] 
 
lo. SHIPS IN A BREEZE 
 
 (ALSO CALLED THE EGREMONT SEA-PIECE) 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 
 In lower margin, scratched in italics : "In the Possession of the Earl of Egre- 
 mont. " Signed by Charles Turner. Brown ink. 
 From the Rawlinson Collection. 
 
 ENGRAVER S PROOFS 
 
 1. Clouds flat and unfinished. Riggings of two ships in middle corrected with 
 pencil. Margins not cleaned. Inscription as before. Sepia. 
 
 From the Taylor Collection. 
 
 2. Lights and modelling added on clouds. Two white birds added on dark 
 cloud at left. Topmasts of ship at left redrawn. Lights added on flags and on 
 both top-hampers of farther ship in middle. Dark accents added on flags and 
 on sails of both ships at right. Mezzotint added on water in middle distance 
 and in foreground. Inscription as before. Margins cleaned. Sepia. 
 
 From the Stokes, Buccleuch, and Rawlinson Collections. 
 
 1 23 ;] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 Clouds and rays of light completed. High lights added on clouds, on ships, 
 and on sea. Birds burnished. Lettered. Initial letter (M) open capital. Sepia. 
 
 C 24 ;] 
 
11. HOLY ISLAND CATHEDRAL 
 
 DRAWN AND ETCHED BY J. M.W. TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 
 In lower margin, scratched in open Roman letters: "Holy-Island \^space^ 
 Northd." Signed by Charles Turner. Sepia. 
 From the Rawlinson Collection. 
 
 engraver's proofs 
 
 1. Title as before. Sepia. 
 From the Stokes Collection. 
 
 2. Lettered as in first published state. Signed by Charles Turner. Go/den 
 brown ink. 
 
 From the Hawkins and Rawlinson Collections. 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 Many high lights added on masonry and in foreground. Initial letter (A) and 
 letters of title open capitals. Sepia. 
 
 C 20 
 
12. PEMBURY MILL, KENT 
 
 DRAWN AND ETCHED BY J. M.W. TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 
 Signed by Charles Turner. Dark sepia. 
 From the Rawlinson Collection. 
 
 engraver's proof 
 
 Before letters. Signed by Charles Turner. Sepia. 
 From the Pocock and Rawlinson Collections. 
 
 PUBLISHED STATES 
 
 FIRST STATE 
 
 Rays of light added diagonally through doorway at right and reflected on 
 planks and path in foreground. High lights added on side of bird-house, 
 on woodwork, and about pump. Wall above doorway lightened. Stems of 
 creeper extended to left. Lettered. Initial letter (P) tall, broad, open capi- 
 tal. Letters of title open capitals. Word "Proof" faintly scratched above 
 initial letter, and in margin at left lower corner. Signed by Charles Turner. 
 Sepia. 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 THIRD STATE 
 
 Reworked with mezzotint throughout. "Pembury" changed to "Penbury" 
 in title. Word ' ' Proof ' ' above initial letter, and in nnargin at left lower corner, 
 erased. Initial letter smaller. Dark brown ink. 
 
 c 28 : 
 
13. THE BRIDGE IN MIDDLE DISTANCE 
 
 (ALSO CALLED WALTON BRIDGE, AND THE SUN BETWEEN TREES) 
 
 DRAWN AND ETCHED BY J. M.W. TURNER 
 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 
 Signed by Charles Turner. Dark broivn ink. 
 From the Rawlinson Collection. 
 
 engraver's proof 
 
 Ground-work of aquatint overlaid with mezzotint except in sky. Distant 
 reach of river in high light. Before letters. Brown ink. 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 Clouds above trees at left defined by lights. Distance along horizon darkened 
 and blurred by mezzotint over aquatint. High lights on distant reach of river 
 reduced. Intense lights added on figures and in foreground at left. Lettered. 
 Initial letters (E P) open capitals about Vig inch from top of plate. Word 
 "Proof" scratched in margin at left lower corner. Sepia. 
 From the Stokes and Rawlinson Collections. 
 
 C 29 H 
 
14. DUNSTANBOROUGH CASTLE 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 FIRST STATE 
 
 Many lines added*with pencil. In lower nnargin, scratched in open Roman 
 letters : "In the Possession of William Penn Esq^" Signed by Charles Tur- 
 ner. Black ink. 
 From the Reiss Collection. 
 
 SECOND STATE 
 
 Horizon line added at right. Inscription as before. Warm brown ink. 
 
 ENGRAVER S PROOFS 
 
 1. Sky, castle, part of rocks, and distant sea at right, pure aquatint. Lower 
 part of plate mezzotint. Sky and castle very light in tone. Closely trimmed. 
 Sepia. 
 
 From the Frank Short Collection. 
 
 2. Aquatint rebitten. Sky and castle darkened. Sky, walls of castle, rocks, 
 cottage, and sea, touched with white. Shade lines on shore indicated with 
 sepia. On lower margin, in pencil by Turner: "Dun[s]tanborough Castle. 
 
 L 31 :\ 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 Picture in the Poss. of William Penn Esq"". " / " Sir, You have done in aqua- 
 tinta all the Castle down to the rocks. Did I ever ask for such an indulgence," 
 Before letters. Signed by Charles Turner. Sepia. 
 From the Taylor Collection. 
 
 3. Corrections carried out. Mezzotint added on hillside and on castle. Aqua- 
 tint and mezzotint harmonized. Lights added on water and in foreground. 
 Walls of castle, and grassy slope below, touched with white. Lettered as in 
 first published state, except that in date "May 20" replaces "June 10," 
 and in tide "a Picture " replaces "the Picture." Signed by Charles Turner. 
 Sepia. 
 
 From the Hawkins and Rawlinson Collections. 
 
 4. Sky at upper right darkened, along horizon at left lightened. Lettered as 
 before. Sepia. 
 
 5 . Lettered as before, except that in date ' ' May 20 " is changed to " June 1 . " 
 Word "Proof" scratched in margin at left lower corner. Sepia. 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 Many lights added on wall of casde. Initial letter (A) tall open capital, nearly 
 Vie inch in height. In title " Dunstanborough " misspelt " Duntanborough," 
 and "a Picture" changed to "the Picture." Sepia. 
 
 C 32 ;] 
 
15. LAKE OF THUN, SWISS 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 
 Dry-point added on water and on outlines of distant mountains. In lower 
 margin, scratched in solid Roman letters: "Lac. du Thun." Signed by 
 Charles Turner. Dark brown ink. 
 From the Rawlinson Collection. 
 
 ENGRAVER S PROOFS 
 
 1. Mountain at left and distant water dark. Subdued light on sails of boats. 
 Closely trimmed. Dark brown ink. 
 
 From the Frank Short Collection. 
 
 2. Another impression from plate in same state. Before letters. Signed by 
 Charles Turner. Sepia. 
 
 3. Many lights on clouds near mountain at left reduced with pencil. Moun- 
 tain, opposing slopes, figures and shadows in foreground, shaded with pencil. 
 Arborescent lightning at base of mountain in middle distance indicated with 
 Chinese white. Sail of larger boat in foreground touched with white. Before 
 letters. Signed by Charles Turner. Warm sepia. 
 
 From the Hawkins, Reiss, and Rawlinson Collections. 
 
 C 33 ] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Arborescent lightning added at base of mountain in middle distance. Light 
 added on sail of larger boat and in foreground. Initial letter (M) and letters of 
 title open capitals. Initial letter Yg inch from top of plate. Comma after ' ' Thun ' ' 
 in title. Word "Proof" scratched above initial letter and above plate mark in 
 margin at left lower corner. Warm sepia. 
 
 FIRST STATE 
 
 Another impression. Lighter. Signed by Charles Turner. Sepia. 
 From the Rawlinson Collection. 
 
 THIRD STATE 
 
 Sky reworked. Initial letter broader than in first published state, and Vi6 JJ^ch 
 from top of plate. Title as in first published state except that comma after 
 Thun ' ' is erased . Word ' ' Proof ' ' above initial letter, and above plate mark 
 in margin at left lower corner, erased. Sepia. 
 From the Stokes Collection. 
 
 C 34 3 
 
16. THE FIFTH PLAGUE OF EGYPT 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 
 In upper margin, scratched in Roman letters: "Late in the Possession of 
 W Bee [k] ford Esq.;" in lower margin: "5 Plague [space] of Egypt." 
 Dark brown ink. 
 From the Reiss Collection. 
 
 engraver's PROOFS 
 
 1. Clouds broadly treated. Hills and plain toward left light. Inscription in 
 upper margin as before. On mount, in pencil by Charles Turner: "As the 
 Drawing was when I first received it. T." Signed by Charles Turner. Sepia. 
 From the Hawkins and Rawlinson Collections. 
 
 2. Many corrections in charcoal, in ink, in sepia, and in white. Sky reduced 
 in tone. Dark cloud at upper right extended. Distant hills darkened and 
 modified. Shadows of figures at right darkened and lengthened into road. 
 Line-work strengthened and extended along road down to left. Water in left 
 foreground darkened. On lower margin, in pencil by Turner: "5 plague 
 of Egypt Picture late in the Possess, of W. Beckford Esq"^." Inscription as 
 before. Sepia. 
 
 From the Stokes, Gambier Parry, and Rawlinson Collections. 
 
 i 35 ] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 PUBLISHED STATE 
 
 FIRST STATE 
 
 Corrections carried out. Lightning flashes added. Lettered. Initial letter (H) 
 open capital about V^ inch from top of plate. Word ' ' Proof ' scratched above 
 plate mark in margin at left lower corner. Sepia. 
 
 c 36 :i 
 
17. THE FARM-YARD WITH THE COCK 
 
 (ALSO CALLED COCKS AND HENS) 
 
 DRAWN AND ETCHED BY J. M.W. TURNER 
 
 ENGRAVED BY CHARLES TURNER 
 
 Reddish brown ink. 
 
 From the Buccleuch Collection. 
 
 THE ETCHING 
 
 ENGRAVER S PROOF 
 
 Pitchfork, edge of straw, rooster, head of pig, and about feet of pig in trough, 
 
 marked with pencil. On lower margin, in pencil by Turner: "Very much 
 
 improved. The cock is yet bad, and the Head of the Pig. Narrow the Head, 
 
 make it blacker and then t'will do. Light upon the Cock's head — take the 
 
 eye out if you can it is too large." Before letters. Signed by Charles Turner. 
 
 Sepia. 
 
 From the Stokes, Taylor, and Rawlinson Collections. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Corrections carried out. Lights added on straw. Lettered. Initial letter (P) 
 open capital. Signed by Charles Turner. Warm sepia. 
 From the Rawlinson Collection. 
 
 I 37 J 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 LATER STATE 
 
 Bright light in sky, between trees at right, reduced in tone. Tone added on 
 shadow of barrow and elsewhere. Shadow of pig in trough lightened. Work 
 added on heads of both pigs. Sepia. 
 
 t 38 ] 
 
18. DRAWING OF THE CLYDE 
 
 DRAWN AND ETCHED BY J. M.W.TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 
 In lower margin, scratched in open Roman letters : "Drawing 2 ^' e high Cylde 
 [^sic] Possession of JMWT." Signed by Charles Turner. Brown ink. 
 From the Rawlinson Collection. 
 
 ENGRAVER S PROOFS 
 
 1. Sky light. High light on upper falls. Cliff in middle, at right of falls, dark. 
 Paper scratched for light in long lines across cliffs at right of falls, on woods, 
 and on falls . Rays of light added from upper left. Bright lights added on foliage 
 above cliff at left. Lettered as in first pubhshed state, except that "Drawing 
 of the" is omitted before "Clyde" in title. Signed by Charles Turner. Sepia. 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 2. Corrections carried out. Lights added throughout distance, on cliffs and 
 foliage at right. Rays of light extended from upper left across face of cliff at 
 left. New rays of light added at different angles above falls. Left lower cor- 
 ner darkened. Figures of three bathers brought up in bright light. Lettered 
 as before. Golden brown ink. 
 
 From the Stokes and Taylor Collections. 
 
 c 39 :i 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 High lights added on lower fall. Directions of all slanting rays of light uni- 
 fied. Tone added on cliffs and foliage at right. Intense light on cliffs, on trees, 
 and on figures at left, reduced. Depth of shadow in foliage lessened by half 
 lights. "Drawing of the " added before " Clyde " in title. Initial letters (E. P.) 
 and "Clyde" in title open capitals, strokes of equal thickness. Signed by 
 Charles Turner. Sepia. 
 From the Rawlinson Collection. 
 
 THIRD STATE 
 
 Reworked. Left lower corner, except figures, again darkened. Fewer lights on 
 cliffs and foliage at right. Initial letters and "Clyde " in title have left strokes 
 thicker than right, as in second published state. Cool dark brown ink. 
 
 C 40 ;] 
 
19. LITTLE DEVIL'S BRIDGE OVER THE RUSS 
 ABOVE ALTDORFT, SWISS? 
 
 DRAWN AND ETCHED BY J. M.W.TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 
 Signed by Charles Turner. Dark brown ink. 
 From the Rawlinson Collection. 
 
 ENGRAVER S PROOFS 
 
 1. Clouds flat, unfinished. Before letters. Sepia. 
 From the Stokes Collection. 
 
 2. Clouds lightened and modified. Clouds and distant cliffs beyond bridge 
 washed with Chinese white. Rocks and stump in foreground at right touched 
 with white. Distant cliff" beneath bridge and tall stump before bridge touched 
 with pencil. Two birds added in foreground at right. Before letters. Signed 
 by Charles Turner. Dark brown ink. 
 
 From the Taylor Collection. 
 
 3. Filmy clouds changed to mist toward right. Two birds in foreground bur- 
 nished. Distance beneath bridge, and foliage at right of arch, washed with 
 white. Rocks and tall stump before bridge darkened with pencil. High lights 
 
 [:4i :\ 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 along top of bridge, and on right side of arch, touched with pencil. "X" in 
 foliage at edge of bridge refers to note on right margin, in pencil by Turner : 
 "Put a shade upon the top of the Bridge and under at the top of the Arch." 
 On lower margin, in pencil by Turner : ' ' This sky is much better but do not 
 understand the spots amongst the Light part. A slight indication of a ray of 
 bursting Light under the Bridge would improve that part, and a few sharp 
 white touches upon the Leaves mark'd + because they are now two black 
 spot[s] without connection with the stems of the Trees." Before letters. 
 Signed by Charles Turner. Sepia. 
 From the Bale Collection. 
 
 4. Corrections carried out. Rays of light added diagonally behind arch. Let- 
 tered as in first published state, but before the initial letter. ' ' Altdorft ' ' spelled 
 "Alldorft" in title. AS-^/fa. 
 
 5. Bird on branch at right painted out with sepia. Closely trimmed. Sepia. 
 From the Taylor Collection. 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 "Alldorft" changed to "Altdorft" in title. Initial letter (M") and letters of 
 title open capitals, strokes of equal thickness. Sepia. 
 From the Rawlinson Collection. 
 
 FIRST STATE 
 
 Another impression. Lighter. Distance more delicate. Sepia. 
 From the Buccleuch and Lees Collections. 
 
 C 42 ] 
 
20. THE LEADER SEA-PIECE 
 
 (ALSO CALLED THE GUARD-SHIP AT THE NORE, AND ORIGINAL SKETCH OF 
 A PICTURE FOR W. LEADER, ESq^-) 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 
 In lower margin, scratched in open Roman letters: "Possession of Wm. 
 Leader Esqr." Dark brown ink. 
 From the Reiss Collection. 
 
 ENGRAVER S PROOFS 
 
 1. Sky and sea unfinished. Scratched title removed. Dark brown ink. 
 From the Stokes and Lees Collections. 
 
 2. Another impression from plate in same state. Softer in tone. Closely 
 trimmed. Cut at top and bottom. Warm sepia. 
 
 From the Frank Short Collection. 
 
 3. Highlights added on clouds. Ship and boats added on horizon. St. Andrew's 
 cross added on ensign of warship. Topmast and flags added on smack. Spray 
 added on waves. Lettered as in first published state, but before initial letter. 
 Sepia. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 [ 43 J 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 Lights added or intensified. Initial letter (M) open capital, strokes of equal 
 thickness. Letters of title italics, all strokes of equal thickness. Signed by 
 Charles Turner. Sepia. 
 From the Rawlinson Collection. 
 
 [ 44 n 
 
21. MORPETH, NORTH"? 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 
 In lower margin, scratched in open Roman letters : 
 Signed by Charles Turner. Dark brown ink. 
 From the Rawlinson Collection. 
 
 ■Morpeth, Northld." 
 
 ENGRAVER S PROOFS 
 
 1. Title as before. Cool sepia. 
 
 2. Smoke, from house with scaffolding, indicated with Chinese white. Attic 
 window and roof at extreme right, skirt of woman with horse, and back 
 of man leaning against parapet of bridge, touched with white. Gable end of 
 house at right, scaffolding, sign with crescent, and left foreground, touched 
 with sepia. On lower margin, in pencil by Turner: "I think the whole sky 
 would be better a tone lighter, besides the light clouds lighter, wh[ich] will 
 make the hill more solid. The Whitewasht House cannot be too White or 
 the linen upon the stall the Etching line at the corner of the House must be 
 fainter and some bright bits upon tiling of Houses." Title as before. Signed 
 by Charles Turner. Sepia. 
 
 From the Taylor Collection. 
 
 C 45 n 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 3. Corrections carried out. Scratched title erased. Sepia. 
 From the Addington and Rawlinson Collections. 
 
 4. Another impression from plate in same state. Ruts in shaded foreground, 
 objects near house at left, sign with crescent, left leg of man leaning against 
 parapet, masonry of bridge, water below bridge, chimney of house with scaf- 
 folding, and house at fight, touched with pencil. Before letters, but with initial 
 letter (A) in pencil. Signed by Charles Turner. Sepia. 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 Corrections carried out. Tone on side of house with scaffolding broken. Initial 
 letter (A) and letters of title, open capitals, strokes of equal thickness. Signed 
 by Charles Turner. Sepia. 
 From the Rawlinson Collection. 
 
 C 46 ;] 
 
22. JUVENILE TRICKS 
 
 (ALSO CALLED SCENE IN HYDE PARK) 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY WILLtAM SAY 
 
 THE ETCHING 
 FIRST STATE 
 
 Black ink. 
 
 From the Rawlinson Collection. 
 
 SECOND STATE 
 
 Many lines added in dry-point. Trunk of second tree from right continued 
 to upper margin. Foliage of farther tree more fully indicated. Brown ink. 
 
 ENGRAVER S PROOFS 
 
 1. Flat and unfinished. Distant buildings faintly indicated. Before letters. 
 Signed by William Say. Sepia. 
 
 From the Rawlinson Collection. 
 
 2. Buildings defined. Many high lights added in sky, on trees, on figures, and 
 in foreground. Before letters. Sepia. 
 
 [47] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 Tones and lights added. Trousers of boy drying face darkened. Paper scraped 
 for five bright pebbles at left of boy drying face. High lights added on feet 
 of boy drying face. Lettered. Before any mark in margin. Dark sepia. 
 
 C 48 ] 
 
23. THE HINDOO WORSHIPPER 
 
 (ALSO CALLED HINDOO DEVOTIONS) 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 
 ENGRAVED BY ROBERT DUNKARTON 
 
 THE ETCHING 
 
 Dark brown ink. 
 
 Another impression. Li gliter brown ink. 
 
 ENGRAVER S PROOFS 
 
 1 . Sky even in tone, few clouds indicated. Sky mottled (mottling more pro- 
 nounced in later impressions). Before letters. Sepia. 
 
 From the Hawkins and Rawlinson Collections. 
 
 2. Another impression from plate in same state. Distance and foreground 
 extensively touched with pencil. Paper slightly scraped for lights in sky near 
 horizon. Before letters. Sepia. 
 
 From the Stokes Collection. 
 
 3. Corrections partly carried out. Shadows darkened. Lights added in sky 
 near horizon, and on rise of ground beyond trees in left middle distance. Let- 
 tered as in first published state. Warm sepia. 
 
 C 49 ] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 4. High lights added on short double band of clouds above, and to right of, 
 roof of ruined temple and elsewhere in sky. Lettered as before. Sepia. 
 
 5. Lights added on clouds above hill at right. Lettered as before. Sepia. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Light along horizon at left of ruined temple intensified. Tone in upper sky 
 broken by several light bands of clouds. Initial letters (EP) open capitals. 
 Before any mark in margin. Sepia. 
 From the Rawlinson Collection. 
 
 SECOND STATE 
 
 Sky entirely changed. Upper part covered with long diagonal lines of light 
 clouds. Tone added on trees and elsewhere. Cool sepia. 
 
 SECOND STATE 
 
 Another impression. Cool sepia. 
 From the Hawkins Collection. 
 
 INTERMEDIATE STATE (BETWEEN THIRD AND FOURTH STATES) 
 
 High light added on top of lower wall in right middle distance. Light added 
 on near edge of small architectural fragment at left of large fragment in right 
 middle foreground. Marks resembling capital H in margin at both lower 
 corners, as in third published state. Sepia. 
 From the Lees Collection. 
 
 FIFTH STATE 
 
 Reworked. Dot in bow of initial letter " P," as in fourth published state. Red- 
 dish ink. 
 From the Hawkins Collection. 
 
 C 50 ;] 
 
24. COAST OF YORKSHIRE NEAR WHITBY 
 
 DRAWN AND ETCHED BY J. M.W. TURNER 
 ENGRAVED BY WILLIAM SAY 
 
 THE ETCHING 
 SECOND STATE 
 
 Lines added about lighthouse and about cliiFs. Reddish brown ink. 
 
 engraver's proof 
 
 Wreckage added in right lower corner. Before letters. Warm sepia. 
 From the Stokes Collection. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 High lights on lighthouse, on clouds, on sea, and on surf, intensified. Many 
 lights added in small cove at left, and on spray. Gull added in sky near base 
 of cliff at right. Lettered. Initial letter (M) open capital. Before any mark in 
 margin. Sepia. 
 From the Rawlinson Collection. 
 
 FOURTH STATE 
 
 Much worn. Mark resembling capital H in margin at left lower corner, as 
 
 in third published state. Dot in 
 
 ink. 
 
 ' o " of " Yorkshire, ' ' in title. Golden brown 
 I 51 J 
 
25. HIND HEAD HILL ON THE PORTSMOUTH ROAD 
 
 DRAWN AND ETCHED BY J. M.W. TURNER 
 ENGRAVED BY ROBERT DUNKARTON 
 
 THE ETCHING 
 Dark brown ink. 
 
 engraver's proofs 
 
 1. Paper scraped for lights in sky, and on smoke below gallows. Hill at right 
 light with dark ridges. Slopes extensively touched for shadows with pencil. 
 Before letters. Sepia. 
 
 From the Stokes and Rawlinson Collections. 
 
 2. Corrections carried out. Tone added on hill at right. Dark accents added 
 on woods at left. Left slope of Hind Head Hill darkened. Upward ray of 
 light added above Hind Head Hill. Bright light added at base of fire. Before 
 letters. Sepia. 
 
 From the 'Taylor Collection. 
 
 3. Small clouds with high lights added in left lower sky. Cloud above gal- 
 lows darkened. Sky about cloud above gallows lightened. Rays of light added 
 above gallows. Lights in foreground intensified. Lettered as in first published 
 state. Sepia. 
 
 From the Rawlinson Collection. 
 
 L 53 : 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 4. Lights on clouds burnished. Two small light clouds added in sky at left 
 of gallows. Lettered as before. Sepia. 
 From the Taylor Collection. 
 
 PUBLISHED STATES 
 riR.ST STATE 
 
 Bands of white clouds added behind gallows, and above dark cloud behind 
 gallows. Outline of gallows strengthened with dry-point. High lighten brook 
 at extreme left intensified. Initial letter (M) open capital. Before any mark in 
 margin. Sepia. 
 
 THIRD STATE 
 
 Sky throughout lightened, brightest behind gallows. Bright clouds added at 
 left. Rays of light above gallows almost obliterated. Dark cloud behind Hind 
 Head Hill lightened in parts. Distant hills lightened. Lines added in thicker 
 members of initial letter. Mark like irregular capital H in margin at left lower 
 corner. Sepia. 
 
 INTERMEDIATE STATE 
 
 Lights added on horizon, and on road and hillside at right. Fire below hill 
 intensified. Sunshine on shoulder of Hind Head Hill, and on wooded slopes 
 above fire, indicated. Sepia. 
 
 FOURTH STATE 
 
 Light clouds on horizon at left dulled in tone. Dot in "d" of "Head" in 
 title. Warm sepia. 
 
 C 54 ] 
 
26. LONDON FROM GREENWICH 
 
 DRAWN AND ETCHED BY J. M.W.TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 
 In lower margin, scratched in open Roman letters: "In the Possession of 
 Walter Fawkes Esqr., Farnley." Signed by Charles Turner. Black ink. 
 From the Rawlinson Collection. 
 
 ENGRAVER S PROOFS 
 
 1. Sky flat. Reflections on river of buildings and ships, accents on buildings 
 of hospital, on shadows of deer, and in foreground, added in pencil. River 
 and lawn near hospital touched with white. On lower margin, in pencil by 
 Turner: "Water about the Chimneys pure White and the smoke near St. 
 Pauls very light." Before letters. Signed by Charles Turner. Sepia. 
 
 From the Hawkins and Taylor Collections. 
 
 2. Sky near horizon in middle distance much lightened. Cumulus clouds 
 faintly defined. Lights on river behind hospital brightened. Right foreground 
 reduced in tone. Distant reach of river, and trees in left foreground, touched 
 with pencil. Shadows of deer, and weeds in foreground, heavily touched with 
 black. Before letters. Signed by Charles Turner. Sepia. 
 
 From the Hawkins, Taylor, and Rawlinson Collections. 
 
 C 56 3 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 3. Sky lightened. Clouds added at upper right. Thin curls of smoke in back- 
 ground, on both sides of cupola at right, indicated. Farther bank of river, and* 
 lawn of hospital, lightened. Heavily etched lines added on trees at left, and in 
 foreground. Before letters. Sepia. 
 
 PUBLISHED STATE 
 
 FIRST STATE 
 
 Thin curls of smoke in background, on both sides of cupola at right, dimin- 
 ished. Flags of ship at right of hospital burnished. Lights on river and in 
 distance intensified. Lettered. Initial letter (A) open capital. Before any mark 
 in margin. Sepia. 
 
 Note : A pencil sketch, by Turner, of this subject is included in Mr. Bulkrd's bequest to the 
 Museum. 
 
 c 56 :\ 
 
27. WINDMILL AND LOCK 
 
 DRAWN AND ETCHED BY J. M.W.TURNER 
 ENGRAVED BY WILLIAM SAY 
 
 THE ETCHING 
 FIRST STATE 
 
 Lightly bitten. Hind-quarters and tail of horse heavily outlined, neck partly 
 indicated with pencil. Black ink. 
 From the Rawlinson Collection. 
 
 SECOND STATE 
 
 Outline of horse corrected and completed. Lines on bridge, on masonry, and 
 on lock, strengthened. Dark brown ink. 
 From the Stokes and Reiss Collections. 
 
 ENGRAVER S PROOFS 
 
 \. Diameter of sun Y4 inch. Five bright parallel ripples near lock. Before letters. 
 Signed by William Say. Sepia. 
 From the Rawlinson Collection. 
 
 2. Diameter of sun Vie inch. Sky about sun lightened. Bands of clouds with 
 high lights on lower edges added above sun. Landscape lightened. Ripples 
 near lock less distinct and more widely spaced. Before letters. Sepia. 
 From the Say, Buccleuch, and Lees Collections. 
 
 C 51 ] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 3. Many light fleecy clouds added in upper sky. Before letters. Sepia. 
 From the Taylor Collection. 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 Tone throughout deepened. High lights added in parallel bands upward from 
 sun. Sky below sun darkened. Horse darkened. Lettered. Initial letter (P) 
 open capital. Before any mark in margin. Sepia. 
 From the Ruskin Collection. 
 
 c 58 :\ 
 
28. JUNCTION OF SEVERN AND WYE 
 
 DRAWN, ETCHED, AND ENGRAVED 
 BY J. M.W.TURNER 
 
 THE ETCHING 
 
 Indications of experimental rocking, foul biting and burnishing. Dark brown 
 
 ink. 
 
 From the Rawlinson Collection. 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 Sky aquatint. Lettered. Initial letters (EP) open capitals. Before any mark 
 in margin. Sepia. 
 
 FIRST STATE 
 
 Another impression. Lighter. Sepia. 
 From the Rawlitison Collection. 
 
 [59 J 
 
29. MARINE DABBLERS 
 
 DRAWN AND ETCHED BY J. M.W. TURNER 
 ENGRAVED BY WILLIAM SAY 
 
 THE ETCHING ~ 
 FIRST STATE 
 
 Lines on distant sea, imperfectly bitten, corrected with gray colour. Black 
 
 ink. 
 
 From the Rawlinson Collection. 
 
 SECOND STATE 
 
 Lines on distant sea and in foreground added with dry-point. Dark brown 
 ink. 
 
 ENGRAVER S PROOFS 
 
 1. Sky mottled. Cumulus clouds faintly edged with light. Three gulls, and 
 distant sail, burnished. On lower margin, at left, in pencil by William Say: 
 "Drawn and Etched by J. M. W. Turner R.A.; " at right, "Acquafortis by 
 W. Say," Before letters. Sepia. 
 
 2. Reworked and darkened. Sky developed. Clouds at right reduced in tone. 
 Dark accents added on two upper gulls. Modelling added on small white sail 
 at right. Stripes on jersey of man at rudder of smack, and on sleeve of boy 
 kneeling near toy boat, strengthened. Jersey and right sleeve of weeping boy 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 darkened. Curved lines of surf and shadows added among pebbles in right 
 foreground. Before letters. Sepia. 
 From the Rawlinson Collection. 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 Sails added in distance. High lights added on water about two sailors at right. 
 Reflection of toy boat on water near shore lengthened by new lights. Work 
 added in right foreground. Lettered. Initial letter (M) open capital. Before 
 dot in "D" in title. Sepia. 
 
 I 62 ] 
 
30. NEAR BLAIR ATHOL, SCOTLAND 
 
 DRAWN AND ETCHED BY J. M.W.TURNER 
 ENGRAVED BY WILLIAM SAY 
 
 THE ETCHING 
 FIRST STATE 
 
 Black ink. 
 
 From the Rawlinson Collection. 
 
 SECOND STATE 
 
 Rocks at left of gorge in background shaded with strokes slanting from left 
 to right. Dark brown ink. 
 
 engraver's proofs 
 
 1. Rocks flat. Water light with few reflections. Lower part of rod of angler 
 
 white. Before letters. Sepia. 
 
 From the Say, Taylor, and Rawlinson Collections. 
 
 2., Dark shadows added among stones and cliffs at left. Water darkened. Re- 
 flection of angler strengthened. Rod of angler reduced in tone. Rocks modelled. 
 Series of square dots added diagonally down side of big rock near angler. 
 FoHage near upper right darkened. Before letters. Signed by William Say. 
 Sepia. 
 From the Stopford Brooke Collection. 
 
 [63 3 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 Lightened throughout. Light on water near rocks at left intensified. Bright 
 reflection from left sleeve of angler added. Entire rod of angler white. Let- 
 tered. Initial letter (M) open capital. Before any mark in margin. Sepia. 
 
 FIRST STATE 
 
 Another impression. Light more even in depth of gorge and in shadow of 
 woods at right. Sepia. 
 
 t 64 ^ 
 
31. LAUFFENBOURGH ON THE RHINE 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY THOMAS HODGETTS 
 
 THE ETCHING 
 
 In lower margin, scratched in open Roman letters: " Laffuenbourg " (sic). 
 
 Dark brown ink. 
 
 From the RawEnson Collection. 
 
 ENGRAVER S PROOFS 
 
 1. Sky broadly treated. Subdued light on town. Water dark. Title as before. 
 Sepia. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 2. Another impression from plate in same state. Paper scraped for lights in 
 sky above distant hills, on river beyond bridge, on several houses at left, 
 on water below, on waves, and on figures in foreground. Title as before. 
 Sepia. 
 
 3. Corrections carried out. Light bands of clouds added in sky above and 
 below bridge. Lights on driftwood in immediate foreground reduced. Lettered 
 as in first published state. Sepia. 
 
 C 65 : 
 
CATALOGUE OF THE BULLARD COLLECTION 
 PUBLISHED STATES 
 
 FIRST STATE 
 
 Bands of clouds burnished. Initial letter (A) open capital. Before any mark 
 in margin. Cool sepia. 
 From the Rawlinson Collection. 
 
 THIRD STATE 
 
 Light clouds left of belfry further extended. Lights added on buildings and 
 hillside at left, Mark resembling capital H in margin at left lower corner. 
 
 Sepia. 
 
 rOtJRTH STATE 
 
 Reworked. Lights added on faint cumulus clouds, on details of masonry of 
 house at right, on buildings at left, and on rocks and water in foreground. 
 Details added on figures. Sailboat added on river beyond bridge. Mark re- 
 sembling figure 4 above plate mark in margin at left lower corner. Dot in 
 "o" of " Lauffenbourgh " in title. Sepia. 
 
 C 60 
 
32. YOUNG ANGLERS 
 
 (also called boys fishing, and Jew's harp) 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY ROBERT DUNKARTON 
 
 Dark brown ink. 
 
 THE ETCHING 
 
 ENGRAVER S PROOFS 
 
 1. Clouds faintly indicated. Before letters. Cool sepia. 
 From the Rawlinson Collection. 
 
 2. Clouds at upper left defined. Before letters. Brown ink. 
 From the Hawkins and Reiss Collections. 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 Eaves of tower at left indicated with dry-point. Bandage on head of boy ver- 
 tically shaded. Shading and lights added elsewhere. Lettered. Initial letter 
 (P) open capital. Before any mark in margin. Sepia. 
 From the Rawlinson Collection. 
 
33. ST. CATHERINE'S HILL NEAR GUILFORD 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY J. C. EASLING 
 
 THE ETCHING 
 
 In lower margin, scratched in Roman letters: "St. Catherine's Hill [space] 
 near Guilford." Black ink. 
 From the Stokes Collection. 
 
 engraver's proofs 
 
 1. Sky, hill, and ruin, light. Soft cumulus cloud broadly treated. Trees, horse, 
 coping of wall, cow, and ruts in road, touched with sepia. Left foreground 
 touched with white. Title as before. Sepia. 
 
 From the Stokes and Taylor Collections. 
 
 2. Sky, hill, and ruin, darkened. Clouds completed and burnished. Correc- 
 tions carried out. Foreground darkened. Ruts added in road. Title as before. 
 Sepia. 
 
 PUBLISHED STATE 
 
 FIRST STATE 
 
 High Ughts, especially in sky between trees at left, burnished. Initial letters 
 (E P) open capitals. Before any mark in margin. Sepia. 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 FIRST STATE 
 
 Another impression. Less brilliant, softer in tone. Sep.a. 
 From the Rawlinson Collection. 
 
 C 70 : 
 
34. MARTELLO TOWERS NEAR BEXHILL, SUSSEX 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY WILLIAM SAY 
 
 THE ETCHING 
 FIRST STATE 
 
 Foreground at right light. In lower margin, scratched in Roman letters ; 
 "Martello Towers near Bexhill." Black ink. 
 From the Rawlinson Collection. 
 
 SECOND STATE 
 
 Foreground at right rebitten. Title as before. Dark brown ink. 
 
 ENGRAVER S PROOFS 
 
 1. Harsh transitions in clouds. Title as before. Signed by William Say. 
 Sepia. 
 
 From the Rawlinson Collection. 
 
 2. Transitions in clouds harmonized. Lower surface of thunder-cloud light- 
 ened. Ragged fringe of cloud below thunder-cloud subdued. High lights 
 added and intensified throughout. Lettered as in first published state. 
 Sepia. 
 
 1 71 :\ 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Lower surface of thunder-cloud darkened, transition to lighter clouds ren- 
 dered abrupt. Initial letter (M) open capital. Sepia. 
 From the Rawlinson Collection. 
 
 SECOND STATE 
 
 White line of breakers added beyond surf. Bright lights added about settle- 
 ment on brow of hill at left of cliff. Sepia. 
 
 1 72 :\ 
 

 .^B 
 
 
 
 " ^^'^'1 
 
 
 ^KS&n;».r.,-r'V'-f.t=e-^ -..-, , -.-.-^ 
 
 35. INVERARY PIER. LOCH FYNE. MORNING 
 
 DRAWN, ETCHED, AND ENGRAVED 
 BY J. M.W.TURNER 
 
 THE ETCHING 
 
 FIRST PLATE 
 
 Many lines added in dry-point, especially in distance. Mast of large boat, 
 and foreground, touched with dry-point. Upper lines of pier at left burred. 
 Fluke of anchor S-'Yig inches from margin line at right. Dark brown ink. 
 
 (Similar to second plate actually used for mezzotint, except that in second 
 plate lowered sail of middle boat rises ^/g inch above sand-spit, and fluke of 
 anchor is SYig inches from margin line at right.) 
 
 ENGRAVER S PROOFS 
 
 1. Sky marred by coarse aquatint ground imperfectly bitten. Few small be- 
 ginnings with rocker along upper margin. Light aquatint tone on distant 
 mountains covered in part with slight mezzotint. Rest of plate more heavily 
 bitten and rocked. Mountain at right rises unbroken from edge of water. 
 Left side of plate carried much farther than right side. Half lights and vel- 
 vety shadows on hillside, on pier, on boats, and on reflections on water. Mar- 
 gins not cleaned. Before letters. Sepia. 
 
 2. Much developed. Sky mixtureofaquatint, mezzotint, foul biting, dry-point, 
 
 C 73 ] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 scraping, and burnishing. Modelling added on mountain at right. Nearer hill 
 indicated. Dark sailboat added in right distance. Buoy added at right lower 
 corner. Figures about boat and pier roughly finished. High lights added on 
 ripples. Margins not cleaned. Before letters. Sepia. 
 From the Stokes, Gambler Parry, and Rawlinson Collections. . 
 
 3. Sky at upper left, and over mountain at right, lightened. Many high lights 
 added on clouds. Minute white sail, at left of dark sail, faintly indicated. 
 Details added in foreground. Dark spot on beach at left turned into stone. 
 Margins not cleaned. Before letters. Sepia. 
 
 From the Hawkins Collection. 
 
 4. Sky, mountains, and water, completed. Cloud added at extreme right over 
 mountain. Layer of white mist added over distant water. Minute white sail 
 enlarged. High lights added on water, and on masonry and masts of boat 
 at left. Buoy darkened. Margins cleaned. Lettered as in first published state. 
 Sepia. 
 
 From the Stokes and Taylor Collections. 
 
 5.. Enlarged white sail reduced in tone. Distant water down to sailboat in fore- 
 ground overlaid with mezzotint. Lettered as before. Sepia. 
 From the Stevenson and Rawlinson Collections. 
 
 6. Enlarged white sail darkened. Two small white sails added at right of dark 
 sail. Reflection of light added on water beyond men with rowboat. Lettered 
 as before. Sepia. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Sky and water bright. High lights intensified. Two small white sails at right 
 of dark sail enlarged. Flying gull added at left of buoy. Reflection of flying 
 gull added on water. Initial letter (M) open capital. Before any mark in mar- 
 gin. Sepia. 
 
 FIRST STATE 
 
 Another impression. Lighter. Sepia. 
 From the Stokes Collection. 
 
 THIRD STATE 
 
 Sky paler. Dark accents on clouds emphasized. Mark like irregular capital H 
 in margin at right lower corner. Sepia. 
 
 I 74!] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 INTERMEDIATE STATE 
 
 Lower sky scraped and burnished. Faint tones in lower sky turned into cloud- 
 shadows. Body of distant mountains restored, and shape modified by scraping 
 and burnishing, and probably by acid tone. Sepia. 
 
 FOURTH STATE 
 
 Tone throughout lowered. Sky entirely reworked, chiefly with aquatint. 
 Many small dark clouds added. Shape of mountains materially modified by 
 aquatint overlaid with mezzotint. Slight mists added over water at foot of 
 distant mountains. White sails, and light on water, reduced in tone. Flying 
 gull, and reflection at left of buoy, eflfaced. Foreground darkened. Sepia. 
 From the Rawlinson Collection. 
 
 FOURTH STATE 
 
 Another impression. Worn. Sepia. 
 
 C 75 3 
 
36. FROM SPENSER'S FAIRY QUEEN 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY THOMAS HODGETTS 
 
 THE ETCHING 
 
 Dark brown ink. 
 
 ENGRAVER S PROOFS 
 
 1. Summit of peak concealed by cloud. Before letters. Cool sepia. 
 From the CJambier Parry and Rawlinson Collections. 
 
 2. Summit of peak added above narrow band of cloud. Lights added on 
 upper edges of cumulus cloud at right of flying birds. Lettered as in first pub- 
 lished state. Sepia. 
 
 I 77] 
 
37. WATER-MILL 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY ROBERT DUNKARTON 
 
 THE ETCHING 
 
 Dry-point added on slope between woman at left and shed. TVarm black , 
 ink. 
 
 Another impression. Burr of dry-point on slope between woman at left and * 
 shed has disappeared. Dark brown ink. 
 From the Rawlinson Collection. 
 
 EJSTGRAVER S PROOFS 
 
 1. Dark. Sky and trees at right unfinished. Dog added in mezzotint. Before 
 letters. Sepia. * 
 
 From the Addington and Rawlinson Collections. 
 
 2. Sky and clouds completed. Trees at right, end of mill, and foregrourid, 
 lightened. Tail of dog eflFaced. Before letters. Sepia. 
 
 Fsom the Stokes Collection. 
 
 3. Mezzotint added throughout. Roof of mill reduced in tone. Outlines of 
 trees at right, brick-work in foundation of mill, and shade lines on dog, 
 
 C 79 ^ 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 etched. Tail of dog, and white marking on muzzle of dog, added. Before let- 
 ters. Dark sepia. 
 From the Stokes and Taylor Collections. 
 
 4. Lights added on cumulus cloud above mill, on plaster wall, on millstone, 
 on woman at left, and on sheaf carried by woman. White cap of woman 
 increased in size. Lettered as in first published state. Sepia. 
 
 From the Lees Collection. 
 
 5. High lights on water below wheel of mill reduced. Reflections of horses 
 dulled, shadows darkened. Light reflection below leg of rider turned into 
 shade. High lights added on left side of vertical stone at bottom of stairway. 
 Left part of door of shed whitened. Shadow added on chimney cap. Lettered 
 as heiovQ. Sepia. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Reworked. High lights reduced. White lines added between bricks of mill and 
 between stones of steps at left. Initial letter (P) open capital. Before any mark 
 in margin. Sepia. 
 From the Rawlinson Collection. 
 
 SECOND STATE 
 
 Lights added on cumulus cloud above gable of mill. Mark resembling capital 
 A in margin at left lower corner. Sepia. 
 
 I 8o ] 
 
38. SCENE IN THE CAMPAGNA 
 
 (ALSO CALLED WOMAN AT A TANK, MINERVA MEDICA, AND HINDOO ABLUTIONS) 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY WILLIAM SAY 
 
 THE ETCHING 
 SECOND STATE 
 
 Outlines of distant hills added. Dark brown ink. 
 From the Rawlinson Collection. 
 
 engraver's proof 
 
 Bands of clouds, from stone pine to top of small tree at left, dark. Distant hills 
 
 pale and remote. Before letters. Sepia. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Band of clouds, from stone pine to top of small tree at left, lightened. Distant 
 hills darkened. Lights added on foliage at left, on slab of stone at right below 
 tank, and in left foreground. High light added on girdle of woman. Lettered. 
 Initial letters (E. P) open capitals. Before any mark in margin. Sepia. 
 
 [ 81 :\ 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 FIRST STATE 
 
 Another impression. Paler. Sepia. 
 
 SECOND STATE 
 
 Mark resembling capital A in margin at left lower corner. Sepia. 
 
 C 82 ] 
 
39. CRYPT OF KIRKSTALL ABBEY 
 
 DRAWN, ETCHED, AND ENGRAVED 
 BY J. M. W. TURNER 
 
 THE ETCHING 
 
 Beginnings with rocker in corners. Spotted with aquatint tone. Sepia. 
 From the Rawliiison Collection. 
 
 engraver's PROOFS 
 
 1. Wall at left light. Arch and bracket at extreme right dark. Before letters. 
 Sepia. 
 
 From the Stokes and Rawlinson Collections. 
 
 2. Remezzotinted. Light wall at left reduced in tone. Short ray of light added 
 from left. Lights added on masonry and curve of arch above second cow 
 from left, and on arch and bracket at right. Lettered as in first published 
 state. Sepia. 
 
 3. High lights added on bright wall at left, and on masonry at right of door- 
 way. Slender line of light on left side of column at right extended. Lettered 
 as before. Sepia. 
 
 From the Stokes and Rawlinson Collections. 
 
 c 83 :\ 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Shadow on bright wall at left cut by ray of light. Initial letter (A) open capital. 
 Before any mark in margin. Sepia. 
 
 INTERMEDIATE STATE 
 
 Remezzotinted. Bright wall at left flooded with subdued light from left. Land- 
 scape through doorway altered and defined. Clump of trees increased in size 
 and darkened. Sepia. 
 From the Stokes and Lees Collections. 
 
 SECOND STATE 
 
 Reworked. Light added on column and window at left. Short line of half light 
 added on left side of column at right. Mark resembling capital A in margin at 
 left lower corner. Sepia. 
 
 THIRD STATE 
 
 Again remezzotinted. Bright wall at left darkened. Aquatint shading added 
 on cows and elsewhere. Light added on left side, and effaced on right side, 
 of column at right. Clump of trees blended in single tone. Cool dark sepia. 
 
 FOURTH STATE 
 
 Heavily remezzotinted throughout. Column at left and other light parts mot- 
 tled. High light on column, and on capital of column, at right effaced. Sepia. 
 
 [ 84 J 
 
40. THE MILDMAY SEA-PIECE 
 
 (also called picture in the possession of Sm JOHN MILDMAY, BART.) 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 
 ENGRAVED BY W. T. ANNIS AND J. C. EASLING 
 
 THE ETCHING 
 SECOND STATE 
 
 Men added in boat at right. In lower margin, scratched in open Roman let- 
 ters : " In the Possession of Sr John Milbmay [sic] Bart. ' ' Reddish brown ink. 
 From the Rawlinson Collection. 
 
 engraver's proof 
 
 Upper edge of sun irregular. Upward rays of sun faintly indicated. Dark 
 reflection of anchor on wet sand. Barrels and planks at left dark and unfin- 
 ished. Margins not cleaned. Title as before. Sepia. 
 From the Stokes and Taylor Collections. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Upper edge of sun regular. Upward rays of sun lengthened and defined. 
 Sunlight added on horizon. Reflection of anchor reduced to darkened patches 
 under fluke and stock. Barrels and planks at left finished. Lettered. Initial 
 letter (M) open capital. Before any mark in margin. Sepia. 
 From the Rawlinson Collection. 
 
 C 85 3 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 FIRST STATE 
 
 Another impression. Darker. Sepia. 
 
 SECOND STATE 
 
 Small clouds added above rays of sun. Light on wet sand and in path of 
 sun brightened. Mast of beached boat redrawn and strengthened. Faint 
 indications of halyards added to mast of beached boat. Double shadow cast 
 by fluke of anchor. Wide shadow cast by long board in foreground above 
 ' ' Picture ' ' in title. Mark resembling capital A in margin at left lower corner. 
 Sepia. 
 
 FOURTH STATE 
 
 Remezzotinted. Horizon line defined. Shadows of figures and of objects in 
 foreground lengthened. Lights added on crew and mast of beached boat. 
 Light line of surf added beyond running boy. Dark reddish brown ink. 
 
 CsO 
 
41. PROCRIS AND CEPHALUS 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY GEORGE CLINT 
 
 THE ETCHING 
 Dark brown ink. 
 
 From the Norton Collection. 
 
 engraver's proof 
 
 Sky unfinished. Before letters. Sepia. 
 From the Stokes and Rawlinson Collections. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Small cloud added at extreme right. Lettered. Initial letter (H) open capital. 
 Before any mark in margin. Sepia. 
 From the Rawlinson Collection. 
 
 FIRST STATE 
 
 Another impression. Stronger contrasts. Sepia. 
 
 SECOND STATE 
 
 Mark resembling capital A in margin at left lower corner. Sepia. 
 
 [87 J 
 
42. WINCHELSEA, SUSSEX 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY J. C. EASLING 
 
 THE ETCHING 
 Dark brown ink. 
 
 From the Rawlinson Collection. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Lettered. Initial letter (P) open capital. Before any mark in margin. Sepia. 
 From the Stopford Brooke and Rawlinson Collections. 
 
 THIRD STATE 
 
 Small Stones in left lower corner darkened. Mark resembling capital A in 
 margin at left lower corner. Reddish brown ink. 
 
 C 89 J 
 
43. THE BRIDGE AND GOATS 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY F. C. LEWIS 
 
 Black ink. 
 
 From the Stokes and Reiss Collections. 
 
 THE ETCHING 
 
 ENGRAVER S PROOFS 
 
 1. Aquatint throughout. Sky and distance light, with few details and shad- 
 ows. Sun same tone as lightest clouds. Closely trimmed. Sepia. 
 
 From the Taylor and Rawlinson Collections. 
 
 2. Shading added in aquatint. Sun burnished. Trees and foreground touched 
 with sepia. Middle distance at right darkened with sepia. Before letters. Sepia. 
 From the Hawkins and Taylor Collections. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Sky darkened. Sun changed in shape and crossed by narrow band of cloud. 
 Spotty high lights on foliage at right covered with tone. High lights added 
 on stone walls both sides of road, on figures, on animals, and on distant reach 
 of river above bridge. Lettered. Initial letters (E. P) open capitals. Before any 
 mark in margin. Reddish sepia. 
 
 1 91 :\ 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 FIRST STATE 
 
 Another impression. Sun subdued. Bank of clouds on horizon has almost dis- 
 appeared. Reddish sepia. 
 From the Rawlinson Collection. 
 
 FOURTH STATE 
 
 Covered with aquatint tone. Sky reworked. Light clouds and rays of light 
 added about sun. Band of light added on horizon below sun. Lights in fore- 
 ground reduced in tone. Slight mezzotint added over aquatint in foregound 
 at right. Mark resembling capital A in margin at left lower corner, as in 
 third published state. Dot in bow of initial letter "P." Reddish sepia. 
 From the Rawlinson Collection. 
 
 : 92 J 
 
44- CALM 
 
 DRAWN, ETCHED, AND ENGRAVED 
 BY J. M. W. TURNER 
 
 ENGRAVER S PROOFS 
 
 1. Soft-ground etching and slight aquatint tone, covered with heavier aqua- 
 tint. Deep accents of tone added on water at left, on boat and crew, and on 
 reflections on water at right. Reflections on water of men in rowboat white. 
 Before letters. Cool sepia. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 2. Mezzotint added. Outlines and shade lines on sails, on riggings, and on 
 hulls of boats etched. Small boat at left, and larger boat at right, of hay- 
 boat, added in pencil. Dark jib of sloop in middle shaded with pencil. Anchor 
 chain of sloop in middle extended to water at left. Hull of light boat along- 
 side sloop in middle darkened with pencil. Shadows on water at right margin, 
 masts, spars, lines of hulls of boats, and figures in boats and on beach at 
 right, indicated with pencil. Deeply bitten etched work added on men in row- 
 boat. Reflections on water of men in rowboat effaced. Before letters. Margins 
 not cleaned. Sepia. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 3. Corrections carried out. Small boat added at left, and larger boat at right, 
 
 C 93 3 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 of hay-boat. High lights added on sails, on flags, and on water and shore at 
 right. Lettered as in first published state. Margins cleaned. Sepia. 
 From the Rawlinson Collection. 
 
 4. Jib of sloop in middle covered with tone, Rowboat and reflection darkened. 
 Lettered as before. Sepia. 
 
 From the Stokes Collection. 
 
 5. Scratches in sky turned into gulls. Lettered as before. Sepia. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 High lights subdued. Lights added on clouds at left. Gulls in sky completed. 
 Gull added above buoy at lower left. Lights added on side and stern of 
 hay-boat, and on tender. Sail of hay-boat darkened. Lights on ships in left 
 distance, on white sail and flag at right of middle, and on shore, reduced in 
 tone. Lights added on sails near yard of square-rigged ship at right, and on 
 water at stern of rowboat. Initial letter (M) open capital. Before any mark in 
 margin. Sepia. 
 
 SECOND STATE 
 
 First stroke of capital A in margin at left lower corner. Sepia. 
 
 FOURTH STATE 
 
 Sky covered with aquatint tone. Lights in sky at left reduced. Bank of fog 
 added near horizon. Small dark clouds added above horizon. Water, boats, 
 and sails touched with mezzotint. Lights added on ships and reflections in 
 left distance, and on two white sails in middle. Dark accents added on flag 
 of hay-boat. Pennant of sloop in middle striped. Vertical white seams on 
 foresail of sloop in middle indicated. White sail with flag, at right of sloop 
 in middle, shaded vertically Avith slight aquatint tone. Mark completed to 
 capital A in margin at left lower corner, as in third published state. Sepia. 
 
 FIFTH STATE 
 
 Clouds on horizon extended almost to top of dark sail in middle. Hay-boat 
 at left, and two dark sailboats at right, completely covered with heavy aqua- 
 tint tone. Third sail from right effaced. Light seams on mainsail of sloop in 
 middle obscured nearly to top with mezzotint. High light on water near buoy 
 effaced. Other high lights added. Shore at right burnished. Sepia. 
 From the Reiss and Rawlinson Collections. 
 
 [ 94 ;] 
 
45. PEAT BOG, SCOTLAND 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY GEORGE CLINT 
 
 THE ETCHING 
 
 In lower margin, scratched in italics: Peat Bog Scot''." Dark brown ink. 
 From the Ruskin Collection. 
 
 engraver's proofs 
 
 1 . Two rainbows on dark clouds at upper right, and vague lights on side of 
 mountain below, indicated. Smoke from fire at right light and distinct. Peat 
 bog dark. Margins not cleaned. Title as before. Dark sepia. 
 
 From the Hawkins and Taylor Collections. 
 
 2. Sky at right lightened. Rainbows much reduced. Rain-cloud merged in 
 mist at right. Details on side of mountain at right roughly indicated by abrupt 
 high lights. Smoke from fire reduced in tone. Reflection of smoke on peat bog 
 brightened. Peat bog lightened in foreground. Left side of plate carried much 
 farther than right side. Sky, and middle and far distances, nearly completed. 
 Margins not cleaned. Title as before. Sepia. 
 
 3. Rain-cloud darkened at right and ramified with touches of sepia. (Correc- 
 tions not carried out.) Lower rainbow painted with white. Paper scraped for 
 
 I 95 : 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 lights at upper right, about lower rainbow, and on side of mountain below. 
 Margins not cleaned. Title as before. Sepia. 
 From the Rawlinson Collection. 
 
 4. Rainbows roughly reworked and intensified. Mist lightened at right. Side 
 of mountain below mist nearly completed. Three parallel rows of horizontal 
 Hghts added on peat bog at right. Margins not cleaned. Title as before. Warm 
 sepia. 
 
 5. Light clouds added on rain-cloud near upper margin. Lower rainbow and 
 side of mountain below blended. Lights added and accented on peat bog. 
 Checked pattern added on skirt of woman at left of horse. Margins cleaned. 
 Title as before. Warm sepia. 
 
 From the Stokes Collection. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Lower rainbow and side of mountain further blended. High light added on 
 stones above " Scotland " in title. Lettered. Initial letter (M) open capital. 
 Before any mark in margin. Sepia. 
 From the Rawlinson Collection. 
 
 FIRST STATE 
 
 Another impression. Clouds and side of mountain softer. Sepia. 
 
 FOURTH STATE 
 
 Mezzotint added in sky at left. Light added on lower rainbow. Tone added 
 on hillocks beyond peat bog. Smoke and fire reburnished. Reflection of smoke 
 effaced. Road in middle distance lightened. Plaid pattern added on apron of 
 woman at left of horse. Capital A in margin at left lower corner. Warm sepia. 
 
 [96] 
 
46. RISPAH 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY ROBERT DUNKARTON 
 
 THE ETCHING 
 FIRST STATE 
 
 Foul biting along left margin. Black ink. 
 From the Rawlinson Collection. 
 
 SECOND STATE 
 
 Foul biting along left margin removed. Line of grass above extended arm 
 of woman shortened. Reddish ink. 
 
 ENGRAVER S PROOFS 
 
 1. Extensively touched with brown colour and Chinese white. Paper scraped 
 for lights on moon, on clouds, on stars, on smoke of torch, on figure of Ris- 
 pah, on shrouds, on bushes, on trees, on water, and in foreground. Before 
 letters. Sepia. 
 
 From the Hawkins and Rawlinson Collections. 
 
 2. Many corrections carried out. Strokes in distant sky turned into birds. 
 Paper again scraped for lights on smoke of torch, on figure of Rispah, on 
 shrouds, on field at right, on tree at left, and on water. Shadows of dead 
 
 C 91 n 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 bodies, trees at left, and foreground, touched with black. Before letters. 
 
 Sepia. 
 
 From the Hawkins and Taylor Collections. 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 Corrections carried out. Crescent moon added. Lettered. Initial letter (H) open 
 capital. Before any mark in margin. Sepia. 
 
 FIRST STATE 
 
 Another impression. Warm sepia. 
 From the Lees Collection. 
 
 [ 98 ] 
 
47. HEDGING AND DITCHING 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY J. C. EASLING 
 
 THE ETCHING 
 
 Brown ink. 
 
 From the Reiss Collection. 
 
 engraver's proof 
 Pasture at left dark. Margins not cleaned. Before letters. Sepia. 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 Sky and clouds lightened, high lights added. Lights added on road, on trees, 
 on sheep, on fields, and on horizon. Two birds added in sky. Pasture lightened 
 and broken in tone. Bright lights added on pool at left of tree in foreground. 
 Margins cleaned. Lettered. Initial letter (P) open capital. Before any mark in 
 margin. Sepia. 
 From the Rawlinson Collection. 
 
 FIRST STATE 
 
 Another impression. Lighter. Cool sepia. 
 
 I 99 ^ 
 
48. RIVER WYE 
 
 (ALSO CALLED CHEPSTOW CASTLE) 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 
 ENGRAVED BY W. T. ANNIS 
 
 THE ETCHING 
 SECOND STATE 
 
 Figures of bathers distinct. In lower margin, scratched in open Roman letters : 
 "Chepstow [j^acf] Castle." Dark brown ink. 
 
 SECOND STATE 
 
 Another impression. Bathers very faintly printed. Title as before. Reddish 
 brown ink. 
 
 From the Rawlinson Collection. 
 
 ENGRAVER S PROOFS 
 
 1. Sky dark, brightening behind ruins at right. Slope below ruins at right in 
 deep shade. Smoke at right of barge faintly indicated. Reflection of light on 
 water about standing bather. Margins not cleaned. Title as before. Cool sepia. 
 From the Taylor Collection. 
 
 2. Sky lightened. Cloud forms developed. Details of masonry added on ruins 
 in centre. Lights on foliage and on slope of bank indicated. High lights added 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 on parallel ripples about standing bather. Margins cleaned. Title as before. 
 
 Sepia. 
 
 From the Taylor Collection. 
 
 3. Entirely changed. Sky lightened throughout. High lights added on clouds 
 and on ruins at left. Ruins in centre darkened with mezzotint same shade as 
 slope below, windows closed. Smoke at right of barge nearly eiFaced. Smoke 
 added at left of barge. Light outlines added on foliage. Standing cow, clump 
 of trees behind horse, and foreground at lower left, darkened. Lights added on 
 horse, on reclining cows, on seated bather, on water, and on left bank. Dark 
 patches added on reclining cows. Mezzotint added on water. Dark reflection 
 added below barge. Title as before. Warm sepia. 
 From the Stokes, Bale, and Rawlinson Collections. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Landscape throughout lightened. Windows and details of masonry again 
 lightened. Lights and details added in distance. Foreground at left restored, as 
 in early proof. Bright reflections of seated bather and of clothes added on water 
 in foreground. Lettered. Title changed to ' ' River Wye." Initial letters (E. P.) 
 open capitals. Before any mark in margin. Sepia. 
 From the Rawlinson Collection. 
 
 FOURTH STATE 
 
 Accidental scratch in sky at left. Ray of light from break in walls of ruins in 
 centre to mast of barge indicated. Shadows on water below seated bather and 
 at extreme left darkened. Mark resembling capital A in margin at left lower 
 corner, as in third published state. Cool sepia. 
 
 FIFTH STATE 
 
 Extensively reworked. Sky darkened, clouds and details added. High lights 
 added on foliage below ruins at right. Cliffs, and bushes on steep bank at 
 right, lightened. Smoke at left of barge lightened and extended toward left. 
 Sepia. 
 
 FIFTH STATE 
 
 Another impression. Late. Sepia. 
 
 [ 102 ] 
 
49. CHAIN OF ALPS 
 FROM GRENOBLE TO CHAMBERI 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY WILLIAM SAY 
 
 Dark brown ink. 
 
 THE ETCHING 
 
 ENGRAVER S PROOF 
 
 Rays of sun not defined. Smoke from fire on plain at right brightly lighted 
 at base. Middle distance dark with bright lights. Before letters. Signed by 
 William Say. Sepia. 
 From the Rawlinson Collection. 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 Rays of sun strengthened. Smoke from fire on plain at right straightened and 
 subdued. Plain in foreground remezzotinted and scraped. Lettered. Initial 
 letter (M) open capital. Before any mark in margin. Sepia, 
 From the Rawlinson Collection. 
 
 FIRST STATE 
 
 Another impression. Clouds slightly heavier. Plain lighter. Sepia. 
 
 I 103 ] 
 
50. MER DE GLACE— VALLEY OF CHAMOUNI 
 
 —SAVOY 
 
 DRAWN, ETCHED, AND ENGRAVED BY J. M. W. TURNER 
 
 THE ETCHING 
 Dry-point added . Dark brorun ink. 
 
 ENGRAVER S PROOFS 
 
 1. Sky about jagged peaks light. Slight high lights on glacier in foreground. 
 Margins not cleaned. Before letters. Dark brown ink. 
 
 From the Stokes Collection. 
 
 2. Peak of Mont Blanc changed in shape, moved to left of centre, and envel- 
 oped in light clouds. Lights added on cloucis above Mont Blanc. High lights 
 added on glacier. Slanting ray of light added through gap at right. Lettered 
 as in first published state. Sepia. 
 
 3. Mezzotint added diagonally down sky to dark peak at left. Peak of Mont 
 Blanc sharply defined and whitened. Clouds surrounding Mont Blanc defined. 
 Slanting ray of light added in distance beyond base of dark cliff at right. 
 Bird added over glacier in left foreground. Scratch near base of cliff in mid- 
 dle distance turned into bird. Lettered as before. Sepia. 
 
 From the Ruskin and Rawlinson Collections. 
 
 C 105 ] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Clouds near top of dark peak at left modelled. Initial letter (M) open capital. 
 Before any mark in margin. Sepia. 
 From the Stokes and Taylor Collections. 
 
 FIRST STATE 
 
 Another impression. Later. Sky at right lighter. Sepia. 
 From the Ruskin and Rawlinson Collections. 
 
 THIRD STATE 
 
 Remezzotinted. Peak of Mont Blanc changed in shape. Clouds enveloping 
 peak of Mont Blanc darkened. Slanting ray of light in distance beyond base 
 of dark cliff at right efiaced. Nearer seracs strongly lighted. Accents of light 
 added at right. Capital A in margin at left lower corner. Cool sepia. 
 
 FOURTH STATE 
 
 Heavily reworked throughout. Band of light horizontal cloud added below ini- 
 tial letter. Light on Mont Blanc and on surrounding clouds, and slanting ray 
 of light through gap at right, subdued. Glacier in foreground darkened. Sepia. 
 From the Rawlinson Collection. 
 
 C 106 ] 
 
51. RIVAUX ABBEY, YORKSHIRE 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY HENRY DAWE 
 
 Dark brown ink. 
 From the Reiss Collection. 
 
 THE ETCHING 
 
 ENGRAVER S PROOFS 
 
 1. Masonry dark and flat in tone. Closely trimmed. Dark sepia. 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 2. High lights added on masonry and on trunks of trees at right. Before let- 
 ters. Warm sepia. 
 
 From the Hawkins Collection. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Lettered. Initial letter (A) open capital. Before any mark in margin, except 
 
 accidental scratch at left lower corner, which is on all impressions. Warm 
 
 sepia. 
 
 From the Bale and Rawlinson Collections. 
 
 SECOND STATE 
 
 Lights in foreground. Foliage in foreground extended to margin. First stroke 
 of capital A in margin at left lower corner. Warm sepia. 
 
52. SOLWAY MOSS 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY THOMAS LUPTON 
 
 THE ETCHING 
 FIRST PLATE 
 
 Length of lower marginal line 1 V2 inches . Marginal lines imperfectly bitten , 
 especially at right. Patch of reed grass and weeds at left Y2 inch from lower 
 margin. Dark brown ink. 
 From the RawlLnson Collection. 
 
 SECOND PLATE 
 
 Length of lower marginal line 10 Vie inches. Patch of reed grass and weeds 
 at left broken into two masses, and extended almost to lower and left margins. 
 Dark brown ink. (The second plate was used for mezzotint.) 
 From the Stokes and Reiss Collections. 
 
 ENGRAVER S PROOFS 
 
 1 . Mass of dark clouds at right not defined. Margins not cleaned. Figure 2 in 
 margin at left lower corner. Before letters. Sepia. 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 2. Dark strip of ground on Moss in middle distance at right shortened and 
 tapered by high lights. Margins not cleaned. Before letters. Sepia. 
 
 From the Stokes Collection. 
 
 3. Sky, clouds, and distant hills at left, lightened. Clouds at right completed. 
 Reflection of clouds on Moss strengthened. Second line of smoke at right 
 defined and extended. Foreground lightened. Middle distance to right, and 
 foreground, touched minutely with pencil and gray ink. Margins cleaned. 
 Before letters. Warm sepia. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 4. Sky, clouds, and distant hills at left, again lightened. Two lines of smoke 
 blended into one long line. Dark shadow on water at left extended to fore- 
 ground. High land in foreground at right accented with dry-point. Flash 
 of lightning below dark cloud at left faintly indicated. High lights on dark 
 cloud over hills at right shaded with pencil. Middle foreground touched with 
 gray colour and pencil. Before letters. Sepia. 
 
 From the Stokes and Taylor Collections. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Lights added on upper clouds toward left. Flash of lightning below dark 
 cloud at left doubled and burnished. Clouds in far distance remezzotinted, 
 outlines altered. Long line of smoke at right reduced in tone. Lettered. Initial 
 letter (P) open capital. Before any mark in margin. Reddish brown ink. 
 From the Stokes Collection. 
 
 FIRST STATE 
 
 Another impression. Warmer. Shadows richer. Reddish brown ink. 
 From the Lees Collection. 
 
 INTERMEDIATE STATE 
 
 Sky in upper middle lightened. Sky in middle distance near horizon bright- 
 ened. Head of cumulus cloud above hills in far distance almost dissolved in 
 intense light. Shorter flash of lightning added below and to left of flash of 
 lightning below dark cloud at left. Reddish brown ink. 
 
 SECOND STATE 
 
 Diagonal stroke in margin at left lower corner. Warm brown ink. 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 THIRD STATE 
 
 Lightened throughout. Two parallel diagonal strokes in margin at left lower 
 corner. Sepia. 
 
 I 111 ;] 
 
53. SOLITUDE 
 
 (ALSO CALLED THE READING MAGDALEN) 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY WILLIAM SAY 
 
 THE ETCHING 
 
 Slight drj^-point and stippling added. Dark brown ink. 
 From the Heugh and Rawlinson Collections. 
 
 engraver's proofs 
 
 1. Light. Sky fairly even in tone. Before letters. Sepia. 
 From the Hawkins and Reiss Collections. 
 
 2. Sky about castle and on horizon lightened, above castle and at left dark- 
 ened. Scratch in sky above tree at left of castle. Distant bushes, sea, castle, 
 and cliff, darkened. Lights added at base of cliff between trunks of trees. 
 Trunk of tree, with upright light- toned branch, added behind bent tree at 
 right. Small leafy twig added to bent tree at right. Foliage of trees at left 
 denser and darker. High lights added above branches of largest tree. Slender 
 trunk of tree added at right of last tree at left. Rays of light down middle 
 distance indicated. Light blades of reed-grass added in foreground. Dark 
 accents added on ripples and on small stones. Before letters. Sepia. 
 
 From the Stokes Collection. 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 3. Sky above castle lightened. Castle and sea softened in tone. High lights 
 added on foliage of trees at left. Before letters. Signed by William Say. Sepia. 
 From the Rawlinson Collection. 
 
 PUBLISHED STATES 
 
 FIRST STATE 
 
 Sky reduced in tone. Scratch in sky above tree at left of castle turned into 
 bird. Foliage added on bare branches and on bare spaces at right upper cor- 
 ner. Initial letters (E. P.) open capitals. Lettered. Before any mark in margin. 
 Reddish brown ink. 
 From the Rawlinson Collection. 
 
 FOURTH STATE 
 
 Reworked throughout. Sky darkened. Sun strengthened. Bird above tree at 
 left of castle almost effaced. Foliage added in right upper corner. Tw^o par- 
 allel diagonal strokes in margin at left lower corner, as in third published 
 state. Dot in bow of initial letter "P." Reddish brown ink. 
 From the Say Collection. 
 
 INTERMEDIATE STATE (BETWEEN FOURTH AND FIFTH STATES) 
 
 Again reworked. Lights added in sky and on cliff at left. Light at base of 
 cliff at left strengthened. Triangular rock in right lower corner effaced. Warm 
 sepia. 
 
 I 114 ] 
 
54. MILL NEAR THE GRAND CHARTREUSE, DAUPHINY 
 
 DRAWN AND PROBABLY ETCHED BY J. M. W. TURNER 
 ENGRAVED BY HENRY DAWE 
 
 THE ETCHING 
 FIRST STATE 
 
 Outlines of steep slope in distance distinct. Warm black ink. 
 From the Stokes and Reiss Collections. 
 
 SECOND STATE 
 
 Outlines of steep slope in distance nearly effaced. Shading added on lower 
 third of large rock near left lower corner. Sepia. 
 From the Rawlinson Collection. 
 
 engraver's proof 
 
 Three narrow, horizontal, white clouds in sky. Paper scraped for lights on 
 large white boulder and on foliage. Paper scraped for foam on waterfall 
 between trees in right foreground. Before letters. Sepia. 
 From the Taylor and Rawlinson Collections. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Sky filled with light clouds. Many lights added on foliage, on rocks, on trunks 
 
 C 115 n 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 of trees, on water, and on right slope above and below bridge. Waterfall 
 added between trees in right foreground. Water below boulder at lower left 
 indicated. Lettered. Initial letter (M) open capital. Before any mark in mar- 
 gin. Sepia. 
 From the Pocock Collection. 
 
 FIRST STATE 
 
 Another impression. Lighter and more luminous. Warm sepia. 
 From the Lees Collection. 
 
 THIRD STATE 
 
 High lights on foliage, on rocks, and on water, intensified. Two parallel diag- 
 onal strokes in margin at left lower corner. Sepia. 
 From the Reiss Collection. 
 
 THIRD STATE 
 
 Another impression. Darker. Sepia. 
 From the Rawlinson Collection. 
 
 C 116] 
 
55. ENTRANCE OF CALAIS HARBOUR 
 
 DRAWN, ENGRAVED, AND SUBSEQUENTLY ETCHED 
 BY J. M. W. TURNER 
 
 ENGRAVER S PROOFS 
 
 1. Dark and unfinished throughout. Margins not cleaned. Before letters. 
 
 Sepia. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 2. Clouds added in upper sky. Light on ships in centre bright. Light on 
 horizon, on pier-head, on buoy, on brig at pier at left, and on distant town, 
 softened and subdued. Lights and foam added on water. Margins cleaned. 
 Before letters. Sepia. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 3. Remezzotinted. Etched outlines added throughout. Lettered as in first pub- 
 lished state. Reddish brown ink. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Lower half of hull of nearest smack darkened. Initial letter (M) open capital. 
 Before any mark in margin. Reddish brown ink. 
 From the Halsted and Rawlinson Collections. 
 
 1 117 ;] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 INTERMEDIATE STATE 
 
 Clouds extended to left margin. Many small lights added on clouds at left 
 above town. Dark patches of mezzotint added on water and on hulls of two 
 incoming smacks in centre. Reddish brown ink. 
 
 SECOND STATE 
 
 Three parallel bands of high Ught added on flag of outgoing ship. Reddish 
 
 brovm ink. 
 
 From the Rawlinson Collection. 
 
 c 118 :i 
 
56. DUMBLAIN ABBEY, SCOTLAND 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY THOMAS LUPTON 
 
 THE ETCHING 
 
 Dark brown ink. 
 
 ENGRAVER S PROOFS 
 
 1 . Sky covered with light mottled tone of mezzotint. Landscape flat and unfin- 
 ished. Margins not cleaned. Before letters. Sepia. 
 From the Hawkins and Taylor Collections. 
 
 2. Sky, except just above Abbey, darkened. Cloud near horizon almost 
 merged in general tone. Bands of clouds added along upper margin. Lights 
 and shadows added on wooded slope. Margins not cleaned. Before letters. 
 Reddish brown ink. 
 
 From the Bale and Rawlinson Collections. 
 
 3. Sky above Abbey harmonized. Cloud near horizon defined. Shaded por- 
 tion of wooded slope, and boulder in water at right, darkened. Paper scraped 
 for lights on water, on trees, and in foreground about woman in tub. (Cor- 
 rections not carried out.) Margins not cleaned. Before letters. Signed by 
 Thomas Lupton. Sepia. 
 
 From the Taylor Collection. 
 
 c 119 : 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 4. Sky above Abbey darkened. Sky elsewhere lightened. Lights added on 
 bands of clouds near upper margin. Small dark clouds added in middle sky 
 at right. Abbey and trees below lightened. Tree added in faint tone at left of 
 farthest group at right on bluff. Ripples added below woman in tub. Margins 
 cleaned. Before letters. Sepia. 
 
 From the Buccleuch and Rawlinson Collections. 
 
 5. Transitions in sky harmonized. Cloud lights added above Abbey. High 
 lights added on Abbey, on trees throughout, on water, and in foreground. 
 Paper scraped for lights about woman in tub, and about bridge and water at 
 right. Boulder in water at right darkened. Before letters. Sepia. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 High lights added on clouds near horizon, on trees, and on figures. Right 
 lower corner reduced in tone. Lettered. Initial letter (A) open capital. Before 
 any mark in margin. JFarm sepia. 
 From the Rawlinson Collection. 
 
 SECOND STATE 
 
 Light clouds in upper sky less distinct. Single diagonal stroke in margin at 
 right lower corner. Cool sepia. 
 From the Rawlinson Collection. 
 
 I 120 -} 
 
57. NORHAM CASTLE, ON THE TWEED 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 Heavily printed. Signed by Charles Turner. Sepia. 
 
 Another impression. Lighter. Sepia. 
 From the Rawlinson Collection. 
 
 engraver's PROOFS 
 
 1. Dark, even tone. Clouds summarily indicated. Reflections of castle and 
 sail separated on water by strip of light. Closely trimmed. Sepia. 
 
 2. Sky and water lightened. Clouds modelled. Details and lights added on 
 landscape. Reflections of castle and sail merged. Closely trimmed. Sepia. 
 
 3. Intense light and vague cloud-lights added about castle. Upward rays of 
 light toward left faintly indicated. Bright lights added on bands of clouds 
 about castle and at left. Modelling on cumulus cloud at left. Sailboat and wake, 
 and shore and water below castle, reduced in tone. Reflections subdued. Let- 
 tered as in first published state. Sepia. 
 
 c 121 :] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 PUBLISHED STATE 
 
 FIRST STATE 
 
 Upward rays of light completed. Many lights added on surrounding clouds. 
 Cumulus cloud at left lengthened toward right. Initial letter (P) open capital. 
 Before any mark in margin. Sepia. 
 
 FIRST STATE 
 
 Another impression. Lighter throughout. Light behind castle extremely 
 bright. Sepia. 
 
 FIRST STATE 
 
 Another impression. Lights subdued, range of tones narrowed. Sepia. 
 From the Gambler Parry and Rawlinson Collections. 
 
 C 122 ] 
 
58. RAGLAN CASTLE 
 
 (ALSO CALLED BERRY POMEROY) 
 
 DRAWN, ENGRAVED, AND PROBABLY ETCHED BY 
 J. M. W. TURNER 
 
 ENGRAVER S PROOFS 
 
 1. Blocked out in mezzotint. Margins not cleaned. Before letters. Sepia. 
 From the Stokes, Ruskin, and Rawlinson Collections. 
 
 2. Sky at horizon lightened. Lights added on foliage at left and at right, 
 on lilies, and on bank above lilies. Lights reflected on water beyond bridge. 
 Margins not cleaned. Before letters. Black ink. 
 
 From the Stokes Collection. 
 
 3. Many lights added on foliage above left end of bridge. Dark reflection of 
 bridge partly obliterated by lights on water. Lights added on both towers 
 of castle. Margins not cleaned. Before letters. Fery dark brown ink. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 4. Sky lightly reworked. High light introduced on horizon at right. Small 
 white clouds above towers of castle and above trees scraped and burnished. 
 Waterhen added under bridge. Wake of waterhen indicated. Margins not 
 cleaned. Before letters. Sepia. 
 
 From the Stokes and Taylor Collections. 
 
 C 123 H 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 PUBLISHED STATES 
 
 FIRST STATE 
 
 Light clouds added throughout sky. Etched lines added on windows of towers 
 and on trunk and branches of gnarled tree at lower right. Rays of sun added 
 from third window at right. Dark accents and lights added on trees. High 
 lights added on stump at right. Slanting prop added to bridge. All supports 
 of bridge lengthened and mirrored on water. Foliage about bridge darkened. 
 Lights added on water about right end of bridge. Margins cleaned. Lettered. 
 Initial letters (E. P.) open capitals. Before any mark in margin. Sepia. 
 
 FIRST STATE 
 
 Another impression. Sky about castle clean wiped and very bright. High lights 
 on bushes at lower right reduced in printing. Sepia. 
 
 THIRD STATE 
 
 Remezzotinted. Sky lightened. Lights on tall trees in centre, on underbrush 
 below tall trees in centre, and on bush above left end of bridge, intensified. 
 Two parallel diagonal strokes in margin at right lower corner. Sepia. 
 
 H 124 H 
 
59. VILLE DE THUN, SWITZERLAND 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY THOMAS HODGETTS 
 
 THE ETCHING 
 
 In lower margin, scratched in open Roman letters : ' ' Thun. ' ' Dark brown ink. 
 From the Rawlinson Collection. 
 
 ENGRAVER S PROOFS 
 
 1. Clouds soft and faintly defined. Title as before. Cool sepia. 
 From the Stokes, Reiss, and Rawlinson Collections. 
 
 2. Wall below keep lightened. Lights added among trees. Cool sepia. 
 From the Taylor Collection. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Remezzotinted. Etched outline added on clouds. Work added on figures and 
 in foreground. Zigzag lights added on water at lower right. Lettered. Initial 
 letter (A) open capital. Before any mark in margin. Reddish brown ink. 
 
 FIRST STATE 
 
 Another impression. Snow mountains less accented. Sepia. 
 From the Rawlinson Collection. 
 
 [ ^25 3 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 THIRD STATE 
 
 Lights on houses, on snow mountains, and on clouds, intensified. Two parallel 
 diagonal lines in margin at left lower corner. Sepia. 
 
 [ 126 ] 
 
6o. THE SOURCE OF THE ARVERON IN THE VALLEY 
 OF CH AMOUNT, SAVOY 
 
 DRAWN AND ENGRAVED BY J. M. W. TURNER 
 ETCHED PROSABLY BY HENRY DAWE 
 
 THE ETCHING 
 SECOND STATE 
 
 Foreground at right rebitten by Turner. Dark brown ink. 
 From the Rawlinson Collection. 
 
 engraver's proofs 
 
 1. Dark. Clouds, mountains, glaciers, boulders at right, and valley, exten- 
 sively drawn upon w^ith white chalk and Chinese white. Shadows on firs, 
 and on boulders, indicated in pencil. Before letters. Sepia. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 2. Corrections carried out. Great break of light added over snow peak at right. 
 Paper scraped for lights on clouds. Lights added on glacier at right of firs. 
 Transverse lines on field near left lower corner extended to margin. Margins 
 not cleaned. Before letters. Sepia. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 [ 127 :] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 V 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Slanting rays of light added from bright cloud in distance to snow-clad slope 
 below. Shadows on distant mountains lightened. Glacier at right of firs ex- 
 tended to margin. Left lower corner lightened. Margins cleaned. Lettered. 
 Initial letter (M) open capital. Before any mark in margin. Reddish sepia. 
 
 SECOND STATE 
 
 Single diagonal stroke in margin at left lower corner. Reddish sepia. 
 
 THIRD STATE 
 
 Glacier burnished. Two nearly parallel diagonal strokes in margin at left 
 
 lower corner. Warm sepia. 
 
 From the Stokes and Rawlinson Collections. 
 
 C 128 ;] 
 
61. THE TENTH PLAGUE OF EGYPT 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY WILLIAM SAY 
 
 THE ETCHING 
 FIRST STATE 
 
 Unfinished. Margins not cleaned. Corrections on tower, and on stump, indi- 
 cated in blue colour. Corrections on figures in foreground indicated in pencil. 
 Dark brown ink. 
 From the RawEnson Collection. 
 
 SECOND STATE 
 
 Corrections carried out. Margins cleaned. Dark brown ink. 
 
 engraver's proof 
 
 Before letters. Signed by William Say. Sepia. 
 From the Rawlinson Collection. 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 Grass added between two women in foreground. Details of masonry added 
 on side of stairway at right, and on buildings. Initial letter (H) open capital. 
 Before any mark in margin. Reddish brown ink. 
 
 I 129 ] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 FIRST STATE 
 
 Another impression. Lighter. Reddish brown ink. 
 From the Rawlinson Collection. 
 
 [ ISO ;] 
 
62. WATERCRESS GATHERERS 
 RAIL'S HEAD, FERRY BRIDGE, TWICKENHAM 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY THOMAS LUPTON 
 
 THE ETCHING 
 Lower lines slightly doubled. Dark broivn ink. 
 
 ENGRAVER S PROOFS 
 
 1. Foreground and middle distance throughout touched with Chinese white. 
 Paper scraped for lights in sky at right. Before letters. Sepia. 
 
 From the Stokes and Taylor Collections. 
 
 2. Clouds in middle distance, and on horizon at right, washed with Chinese 
 white. Paper scraped for lights on clouds, in distance at right and at left, on 
 trees, on water, on banks, on coping of wall, on masonry of bridge, on figures 
 at left, and on coat of man at left. Coat of man at left painted yellow. Girl 
 carrying child drawn with sepia in middle foreground. Before letters. Sepia. 
 From the Stokes and Taylor Collections. 
 
 3. Corrections carried out. Lines of braid on back of coat of man at left, and 
 bricks of bridge, indicated. Before letters. Sepia. 
 
 From the Rawlinson Collection. 
 
 C 131 ] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 4. Lights added on clouds above bridge. Clouds at right, trees, and reflec- 
 tions, darkened. Lights added on water, on girl carrying child, and on child. 
 White lines added between bricks of bridge. Double lines of braid added on 
 back of coat of man at left. Before letters. Sepia. 
 
 From the Stokes Collection. 
 
 5. Small dark clouds added with sepia in upper sky above bridge. Sky at 
 extreme right washed with white. Before letters. Sepia. 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 Dark clouds added in upper sky at left. Rain added from clouds at upper 
 right. White clouds above horizon burnished. High lights added on bridge, 
 on figures, and throughout landscape. Cap-stone of pillar of bridge increased 
 in size. Triangle of light added at right on cap-stone of pillar of bridge. Initial 
 letter (P) open capital. Before any mark in margin. Sepia. 
 From the Rawlinson Collection. 
 
 C 132 ] 
 
6s. THE ALCOVE, ISLEWORTH 
 
 (also called TWICKENHAM, POPe's VILLA, AND GARKICk's TEMPLE 
 AND HAMPTON CHURCH) 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY HENRY DAWE 
 
 THE ETCHING 
 
 Dark brown ink. 
 
 ENGRAVER S PROOFS 
 
 1. Light clouds near upper margin at left. Middle distance about buildings 
 broadly handled. Reflection of light on dark shadoAv below clump of trees 
 in middle slanting. Windows of building at left slightly indicated. Closely 
 trimmed. Sepia. 
 
 2. Light and dark clouds added in sky. Tower of church tapered toward top. 
 Outlines of tower of church etched. Details added in middle distance. High 
 lights added on foliage. Reflections of both clumps of trees darkened. Reflec- 
 tion of light on dark shadow below clump of trees in middle straightened. 
 Lettered as in first published state. Sepia. 
 
 3. Another impression from plate in same state. Lighter. Warm sepia. 
 From the Rawlinson Collection. 
 
 C 133 ] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Tower of church lightened. Pinnacles of church defined in reflection. Initial 
 letters (E. P) open capitals. Before any mark in margin. Sepia. 
 From the Buccleuch Collection. 
 
 THIRD STATE 
 
 Church covered with mezzotint tone. Two parallel horizontal strokes in mar- 
 gin at right lower corner. Sepia. 
 
 t 134 ] 
 
64. BONNEVILLE, SAVOY 
 
 DRAWN BY J. M. W. TURNER 
 ENGRAVED AND PROBABLY ETCHED BY HENRY DAWE 
 
 Hark brown ink. 
 
 THE ETCHING 
 
 ENGRAVER S PROOF 
 
 Small dark cloud and thin edges of light clouds in upper sky above snow 
 mountain. Lights under arches of bridge. Before letters. Sepia. 
 From the Stokes and Taylor Collections. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Darkened. Light clouds extended to mountain at left. Lights under arches 
 of bridge effaced. Left lower corner reduced in tone. Second stone at right 
 of boulder lightened. Lettered. Initial letter (M.) open capital. Before any 
 mark in margin, except accidental stroke in left lower corner, which is on 
 all impressions. Sepia. 
 
 SECOND STATE 
 
 Light clouds added in sky. Left end of bridge lightened. Single diagonal 
 stroke in margin at right lower corner. Sepia. 
 
 C ^S6 ] 
 
65. INVERARY CASTLE AND TOWN, SCOTLAND 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 
 Reddish brown ink. 
 
 ENGRAVER S PROOFS 
 
 1. Three dark streaks of mezzotint in right loAver corner. Etched outline 
 of canvas shield of farther boat in middle foreground unfinished. Closely 
 trimmed. Sepia. 
 
 2. Tone added on water above rowboat leaving shore. Three dark streaks of 
 mezzotint in right lovrer corner turned into wave-shadows. Canvas shield of 
 farther boat in middle foreground, and masts of brig at right, strengthened 
 with dry-point. Details of boats, figures, and waves touched with pencil. 
 (Corrections not carried out.) Before letters. Sepia. 
 
 From the Hawkins and Rdss Collections. 
 
 3. Remezzotinted in middle distance, high lights subdued. Before letters. 
 Signed by Charles Turner. Sepia. 
 
 From the Rawlinson Collection. 
 
 4. Many sharp high lights added on clouds and on water. Work added in 
 
 C 137 '] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 middle distance near woman on shore. Spray added above stern of second 
 boat at left. Dry-point added at top of tall mast. Before letters. Warm sepia. 
 From tlie Buccleuch Collection. 
 
 PUBLISHED STATES 
 
 FIRST STATE 
 
 High lights burnished. Dry-point at top of tall mast removed. Blocks and 
 ropes added to masts in foreground. Extra rigging added on brig at right. 
 Initial letter (M) open capital. Before any mark in margin. Warm sepia. 
 
 SECOND STATE 
 
 Tvi^o dots in margin at right lower corner. Warm sepia. 
 
 C 138 J 
 
66. ^SACUS AND HESPERIE 
 
 DRAWN, ETCHED, AND ENGRAVED 
 BY J. M. W. TURNER 
 
 THE ETCHING 
 FIRST STATE 
 
 Line of water below Hesperie and other lines added with pencil. Dark brown 
 
 ink. 
 
 From the Rawlinson Collection. 
 
 SECOND STATE 
 
 Corrections carried out. Brown ink. 
 
 ENGRAVER S PROOFS 
 
 1. Hesjjerie draped in white. Line of high light on water extended to plants 
 in left lower corner. Before letters. Warm sepia. 
 
 From the Taylor Collection. 
 
 2. Darkened. High lights on brook at lower left, and on steep path behind 
 Hesperie, brightened. Foliage added on bushes above Hesperie. Figure of 
 Hesperie, naked to waist, altered with sepia. Face of Hesperie darkened, light 
 on forehead indicated, drapery about legs modelled and shaded. Shadow 
 behind Hesperie lengthened. Before letters. TVarm sepia. 
 
 From the Stokes Collection. 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 3. Landscape lightened throughout. Figure of Hesperie naked to knees, 
 drapery darkened. White robe on ground behind Hesperie. Reflection of 
 boulder in foreground completed. Foam and lights added on brook at left. 
 Figure of iEsacus darkened with etched work. Ferns lightened. Right lower 
 corner reduced in tone. Lettered as in first published state, but before initial 
 letter (H). Sepia. 
 
 From the Ruskin Collection. 
 
 4. Boulders at left of Hesperie lightened. Ray of light added behind head 
 of Hesperie. Light and reflection added on water below and beyond rocks at 
 left. Dark leaves added on water in left lower corner. Lettered as before. 
 
 Warm sepia. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Rays of light added diagonally from upper left above Hesperie. Drapery of 
 Hesperie darkened and slightly altered. Initial letter (H) open capital. Before 
 any mark in margin. Sepia. 
 
 SECOND STATE 
 
 Lights added on trees and on foliage. Face of Hesperie turned to left and 
 hidden by hair. Drapery about Hesperie reflected in water, ^sacus shod with 
 sandals. Garment of iEsacus slightly altered. Warm sepia. 
 
 SECOND STATE 
 
 Another impression. Less brilliant. Warm sepia. 
 
 FIFTH STATE 
 
 Plate reworked throughout. Head of Hesperie lightened. Two nearly parallel 
 lines in margin at right lower corner. Sepia. 
 
 FIFTH STATE 
 
 Another impression. Less brilliant. Sepia. 
 
 [ 140 ] 
 
■■ \ j 
 
 m 
 
 
 
 
 
 
 W ] 
 
 67. EAST GATE, WINCHELSEA, SUSSEX 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY S. W. REYNOLDS 
 
 THE ETCHING 
 
 Black ink. 
 
 From the Stokes and Reiss Collections. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Initial letter (P) open capital. Before any mark in margin. Sepia. 
 
 SECOND STATE 
 
 High lights on trees at right and at left burnished. Two dots in margin at 
 right lower corner. Sepia. 
 
 I 141 ] 
 
68. ISIS 
 
 (ALSO CALLED SILENCE) 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY WILLIAM SAY 
 
 THE ETCHING 
 
 Signed by William Say. Dark brown ink. 
 From the Rawlinson Collection. 
 
 engraver's proofs 
 
 1. Before letters. Signed by William Say, Sepia. 
 From the Rawlinson Collection. 
 
 2. Another impression from plate in same state. Bird at left clean wiped. 
 Before letters. Sepia. 
 
 From the Say Collection. 
 
 PUBLISHED states 
 FIRST STATE 
 
 Lights added on weeping tree at left. Reflections on water brightened. Initial 
 letters (E P) open capitals. Before any mark in margin. Reddish brown ink. 
 From the Stokes Collection. 
 
 C 143 n 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 SECOND STATE 
 
 Two dots in margin at right lower corner. Reddish brown ink. 
 
 C 144 '] 
 
69. BEN ARTHUR, SCOTLAND 
 
 (ALSO CALLED GLEN CEOE) 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY THOMAS LUPTON 
 
 THE ETCHING 
 
 Dark brown ink. 
 
 From the Stokes and Rawlinson Collections. 
 
 ENGRAVER S PROOFS 
 
 1. Valley at right, and clouds above valley, dark. Faint break of light about 
 Ben Arthur in distance at right. Peak of Ben Arthur angular and unfinished. 
 Lights on slopes and on clouds about summit of mountain at left. Margins 
 not cleaned. Before letters. Sepia. 
 
 2. Sky, clouds, slope at left to brook, and shadow over lower part of slope at 
 left and over rocky foreground, lightened. Head of valley and slope at right 
 dark. Lights added on clouds at right. Break of light about Ben Arthur in 
 distance at right brightened. Margins partly cleaned. Before letters. Sepia. 
 From the Hawkins and Reiss Collections. 
 
 3. Outline of peak of mountain at left altered and extended toward left. Part 
 of mountain at left below peak shaded with pencil. Lights added on shaded 
 
 C 145 J 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 surface, shadows added on light surface, of left slope of mountain at left. 
 Paper scraped for light in sky about peak and slope of Ben Arthur. Summit 
 of Ben Arthur changed to twin peaks. Modelling added on clouds above Ben 
 Arthur. Slope and foreground at right Ughtened. Paper, scraped in valley 
 in middle distance, darkened again with pencil. Before letters. Sepia. 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 White peak added above mountain at upper left. Lights added on slope at 
 left and on clouds above slope. Break of light about peak and slope of Ben 
 Arthur lessened or obliterated. Cloud below peak of Ben Arthur broken and 
 reduced in tone. Nearer part of slope at right lightened and blended with fore- 
 ground. Foreground throughout subdued. Lettered. Initial letter (M) open 
 capital. Before mark in margin. Sepia. 
 
 FIRST STATE 
 
 Another impression. Dark, brilliant. Sepia. 
 
 FIRST STATE 
 
 Another impression. Lighter. Cool sepia. 
 From the Buccleuch Collection. 
 
 THIRD STATE 
 
 Two parallel horizontal strokes, with dot between, in margin at right lower 
 corner. Cool sepia. 
 
 THIRD STATE 
 
 Another impression. Lighter. Warm sepia. 
 
 C 146 J 
 
70. INTERIOR OF A CHURCH 
 
 DRAWN, ETCHED, AND ENGRAVED 
 BY J. M. W, TURNER 
 
 THE ETCHING 
 FIRST STATE 
 
 In soft-ground. Before letters. Margins not cleaned. Black ink. 
 From the Stokes and Taylor Collections. 
 
 SECOND STATE 
 
 Shading added in soft-ground, in aquatint, and probably by the "textile 
 process." Light added from unseen sources above. Before letters. Margins 
 cleaned. Black ink. 
 From the Stokes and Taylor Collections. 
 
 ENGRAVER S PROOFS 
 
 1. Mezzotinted. Etched outlines added. Lighting unified. Rays of light added 
 from unseen source at upper right. Left side of nearest column, and wall space 
 beyond nearest column, shaded in soft-ground. Before letters. Margins not 
 cleaned. Dark broxvn ink. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 2. Remezzotinted. Many etched lines added. Shading in soft-ground on near- 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 est column, and on wall space beyond nearest column, has mostly disappeared. 
 Intensely lighted walls beyond second arch reduced in tone. Inscription added 
 on memorial tablet at left. Closely trimmed. Sepia. 
 Presented to Charles Turner by J. M.W. Turner. 
 
 3. Blurred. Lights added on panelling of pulpit, and on mouldings of arches 
 in foreground. Tablet at left, and inscription on remaining tablet, effaced. 
 Remaining tablet supported by bracket. Stained glass added in small win- 
 dow under arch in background. Candles in chandelier and on reading-desk 
 dimly lighted. High lights in foreground reduced in tone. Lettered as in first 
 published state, except that date of year in publication line is "1816." Dark 
 brown ink. 
 
 From the Stokes and Taylor Collections. 
 
 4. Heavily remezzotinted. Church dimly lighted. Faint reflections about walls 
 and about arches. Lettered as before. Dark sepia. 
 
 From the Hawkins and Rawlinson Collections. 
 
 5. Church brilliantly lighted. Lights and shadows intensified. Lettering added 
 over royal arms above altar. Architectural details defined. Indications of 
 masonry added above pulpit and above nearest arches. Lettered as before. 
 Warm sepia. 
 
 PUBLISHED STATES 
 FIRST STATE 
 
 Tone reduced by new mezzotint. Indications of masonry above pulpit, and 
 above nearer arches, effaced. Beams above chandelier brought out by lines of 
 light. Date of year in publication line changed to "1819." Initial letter (A) 
 open capital. Before any mark in margin. Warm sepia. 
 
 INTERMEDIATE STATE (BETWEEN FIRST AND SECOND STATES) 
 
 Light on column above "Church" in title effaced. Warm sepia. 
 From the Rawlinson Collection. 
 
 C 148 ] 
 
71. CHRIST AND THE WOMAN OF SAMARIA 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY S. W. REYNOLDS 
 
 THE ETCHING 
 
 In lower margin, scratched in open Roman letters: "The Woman of Sama- 
 ria." Dark brown ink. 
 
 engraver's proof 
 
 Before letters. Sepia. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 PUBLISHED STATE 
 FIRST STATE 
 
 High lights added about arm of disciple at left. Lights added on bushes above 
 figure of Christ. Lettered. Initial letter (H) open. Before any mark in margin. 
 Reddish brown ink. 
 
 I 149 ] 
 
THE UNPUBLISHED PLATES 
 
72. APULEIA IN SEARCH OF APULEIUS 
 
 (ALSO CALLED THE PREMIUM LANDSCAPE) 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY WILLIAM SAY 
 
 ENGRAVER S PROOFS 
 
 THE ETCHING 
 Reddish brown ink. 
 From the Stokes Collection. 
 
 1. Sepia. 
 
 From the Say Collection. 
 
 2. Lights on clouds, trees at right, middle distance, and foreground, touched 
 with white. Building added at foot of hills in far distance. Lights added on 
 figures, on sheep, and on reflection of bridge. Veil over head of Apuleia added 
 with paint. Busts of two figures at left of Apuleia, and trunk and base of 
 tree at right of middle, touched with sepia. Dress of Apuleia darkened, light 
 border added. Details added on other figures. Sepia. 
 
 From the Say Collection. 
 
 3. Corrections carried out. Printed on buff paper. Sepia. 
 From the Bale and Rawlinson Collections. 
 
 Late impression. Grayish brown ink. 
 
 [ 153 ] 
 
73. GLAUCUS AND SCYLLA 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY WILLIAM SAY 
 
 THE ETCHING 
 FIRST STATE 
 
 Outlines of distant mountains, of water, of waves, and other corrections, 
 added in pencil. Signed by William Say. Dark brown ink. 
 From the Rawlinson Collection. 
 
 SECOND STATE 
 
 Corrections carried out in dry-point. Brown ink. 
 
 engraver's proofs 
 
 1 . Bright dots of high light on distant sea at extreme left, and on outline of 
 headland below sun. Sepia. 
 
 From the Say, Stokes, Gambler Parry, and Rawlinson Collections. 
 
 2. Distant hills lightened. Bright dots of high light on distant sea at extreme 
 left reduced in tone. Clouds above upward ray of sun, distant headland 
 below sun, reflection of light on water near lower' margin, trees, bushes, cav- 
 ern, and cliff at right, touched with white. Foreground in places washed prob- 
 ably with gum arable. Sepia. 
 
 From the Say and Rawlinson Collections. 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 3. Corrections carried out. Sun enlarged. Rays of sun reduced in number. 
 Remezzotinted at right. Cool sepia. 
 
 From the Stokes and Taylor Collections. 
 
 4. Right side of distant headland below sun turned into steep cliiF. Lights 
 added on bushes, on trees, on ledge below bushes and trees, on beach, and on 
 water. Six short, broad bars of light added near margin at lower left. Light 
 added on hair of Glaucus. Sepia. 
 
 5. Upward ray of sun lengthened by high lights above clouds. Distant hills 
 at left lightened. Distant hills and sea touched with pencil. Paper scraped for 
 lights on trees, on cliffs and beach at right, and on water down to foreground. 
 Paper scraped for sails in left distance. Waves extended toward Scylla. Sepia. 
 From the Say Collection. 
 
 Late impression. Corrosion in sky at left extended to upper margin. Light 
 on hair of Glaucus reduced in tone. Sepia. 
 
 C 156 ] 
 
74. SHEEP- WASHING, WINDSOR 
 
 (ALSO CALLED WINDSOR CASTLE FROM SALT HILL) 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY CHARLES TURNER 
 
 THE ETCHING 
 
 Dark brown ink. 
 
 ENGRAVER S PROOFS 
 
 1. Sky flat and unfinished. Left tower of castle not defined. Slender tree slant- 
 ing toward castle added with gray colour in copse at right. Grass, water, 
 and shadow of dog at left, touched with gray. Sepia. 
 
 From the Buccleuch and Lees Collections. 
 
 2. Sky completed. Left tower of castle taller and defined. Shading added in 
 dry-point on back of man leaning against parapet. Work added on boy and 
 on wall. On margin, in pencil by Charles Turner: "As the drawing was." 
 Signed by Charles Turner. Sepia. 
 
 From the Hawkins and Reiss Collections. 
 
 3. Cloud above trees at left darkened with pencil. Sky scraped for light near 
 margin at upper middle. Castle redrawn and shaded with pencil. Windows 
 of castle indicated. Flag added with sepia above round tower at right. Castle, 
 
 t 157 : 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 hill, and distant trees touched with sepia. Shadows of figures on hill in left 
 distance, and of trees at left, and foreground, accented with sepia. Slender 
 tree in copse at right slanting toward castle again drawn in with pencil and 
 sepia. On lower margin, in pencil by Turner: "Put in the Tree and I will 
 Etch the Lines afterwards." Paper scraped for lights throughout. Sepia. 
 From the Stokes and Bale Collections. 
 
 4. Corrections carried out, except in foreground. Many light clouds added in 
 sky. Sheep and foreground remezzotinted. Sepia. 
 
 From the Stokes Collection. 
 
 5. Another impression from plate in same state. Figures, especially farmer 
 and dog at left, trees at right, sky, and foreground, touched with white. 
 Signed by Charles Turner. Sepia. 
 
 From the Hawkins Collection. 
 
 6. Outlines etched, and pencil shading added, on slender tree in copse at right 
 slanting toward castle, and on new foliage at upper right. Etched lines added 
 in foreground. Sky, castle, figures, and foreground, corrected with pencil. 
 Sepia. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 Late impression. Sepia. 
 
 Another late impression. Mezzotint removed. Castle and distance have almost 
 
 disappeared. Sepia. 
 
 From the Buccleuch Collection. 
 
 I 158 ] 
 
75. DUMBARTON ROCK 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED BY THOMAS LUPTON 
 
 THE ETCHING 
 Dark brown ink. 
 
 engraver's proofs 
 
 1. Dark cloud near upper margin at right. Twin peaks of Dumbarton 
 Rock of equal height. Figure on foot-bridge dark. Impression on buff paper. 
 Sepxa. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 2. Sky lightened and harmonized. Twin peaks of Dumbarton Rock changed 
 in outline and raised above mountains in far distance. Paper scraped for lights 
 on clouds from middle toward left, on distant reaches of water, on ships and 
 water in middle distance, and throughout foreground. Paper scraped for two 
 sails near foot of Dumbarton Rock. Outlines of mountains in far distance, 
 ships, shore, rocks, grass in middle distance, and water in foreground, touched 
 with pencil. Margins not cleaned. Cool sepia. 
 
 From the Stokes and Buccleuch Collections, 
 
 3. Corrections in foreground carried out. Sky behind slender birch at left, 
 and clouds on horizon about Dumbarton Rock, lightened. Dark clouds added 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 at upper right. Many lights added in distance. Hill at right heavily oudined 
 with dry-point. Scratches in lower margin. Cool sepia. 
 
 4. Clouds in upper right modelled with shadows and high lights. Lower clouds 
 in upper right lightened. Distance elaborated. Grove beyond light trees, bushes 
 at right, and thicket at left, darkened. High lights on thicket at left subdued. 
 High lights added on trees and road in foreground. Margins not cleaned. 
 Black ink. 
 From die Hawkins Collection. 
 
 Late impression. Water in middle distance at right lightened. Lights added 
 on rocks and water in left foreground. Margins cleaned. Cool sepia. 
 
 Another late impression. Lettered. Sepia. 
 
 c 160 :] 
 
76. CROWHURST, SUSSEX 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED PROBABLY BY HENRY DAWE 
 
 THE ETCHING 
 Black ink. 
 Another impression. Brown ink. 
 
 engraver's proofs 
 
 1. Warm sepia. 
 
 From the Stokes and Taylor Collections. 
 
 2. Sun added as faint disk near horizon at left. Dark sky above hill at right 
 scraped and reduced in tone. Snow added in foreground at left and on lower 
 hillside at right. Water darkened in space between stump and bushes at lower 
 right. Sepia. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 I 161 ] 
 
77. THE TEMPLE OF JUPITER IN THE ISLAND OF 
 
 ^GINA 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED PROBABLY BY HENRY DAWE 
 
 Dark brown ink. 
 
 THE ETCHING 
 
 ENGRAVER S PROOFS 
 
 1. Paper scraped for lights in sky, on sea, on foliage, in middle distance, and 
 in foreground. Foliage shaded with pencil. On lower margin, in pencil by 
 Turner : "Darks and Lights. Fullness or richness of work is wanting over 
 the whole with sparkling Hghts upon the figures." Sepia. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 2. Corrections carried out. Sky flat and striped. Minute high lights added 
 on clump of trees in middle. Sepia. 
 
 From the Taylor Collection. 
 
 C 163 H 
 
78. SWISS BRIDGE, MONT ST. GOTHARD 
 
 (ALSO CALLED VIA MALA) 
 
 DRAWN, ETCHED, AND PROBABLY ENGRAVED 
 BY J. M. W. TURNER 
 
 Dark brown ink. 
 
 Sepia. 
 
 THE ETCHING 
 
 ENGRAVER S PROOF 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 C 165 ] 
 
79. PLOUGHING, ETON 
 
 DRAWN, AND FIRST PLATE ETCHED, BY J. M. W. TURNER 
 
 SECOND AND THIRD PLATES ETCHED AND ENGRAVED 
 
 BY THOMAS LUPTON 
 
 FIRST plate: the ETCHING 
 THIRD STATE 
 
 Late impression. Centre blank. Outlines of seated girl, of child, and of chapel, 
 partly effaced. Whip in right hand of boy. Brown ink. 
 From the Rawlinson Collection. 
 
 SECOND plate: THE ETCHING 
 
 (Strengthened and completed by Turner.) Eight windows in side of chapel, 
 the two at left hidden by trees. Whip in left hand of boy. End of whip rests 
 on ground. Dark brown ink. 
 From the Rawlinson Collection. 
 
 ENGRAVER S PROOF 
 
 Sky at right touched with white. Head of girl turned to right with Chinese 
 white. Bonnet of girl added. Ground and bank about girl touched with mixed 
 
 c 167:1 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 lake and white. Grass, basket, bottles, and toy of child, touched with thick 
 white. Margins not cleaned. Cool sepia. 
 From the Hawkins Collection. 
 
 Late impression. Corrections carried out. Sky brightened. Margins not 
 cleaned. Warm sepia. 
 From tlie Rawlinson Collection. 
 
 THIRD PLATE: ENGRAVER S PROOFS 
 
 1. Six windows in side of chapel. Head of girl turned to left. Face of plough- 
 boy light. Circle under initials on milestone. Sepia. 
 
 From the Rawlinson Collection. 
 
 2. Remezzotinted. Face of plough-boy darkened. Cool brown ink. 
 
 c 168 :i 
 
80. PAN AND SYRINX 
 
 DRAWN BY J. M. W. TURNER 
 ETCHER UNKNOWN 
 
 {JVot included in the Bullard Collection. The plate was not carried beyond the 
 etching., of which three impressions only are known. One impression is in the 
 British Museum, another is in the New York Public Library. The third impres- 
 sion was in the late Taylor Collection.) 
 
 C 169 ] 
 
81. STONEHENGE AT DAYBREAK 
 
 drawn and engraved by j. m. w. turner 
 
 engraver's proofs 
 
 1. Sepia. 
 
 From the Stokes, Taylor, and Rawlinson Collections. 
 
 2. Another impression. Darker and stronger. Rich sepia. 
 
 Late impression. Lower part of plate rubbed down and remezzotinted. Details 
 merged in even, subdued tone. Cool dark brown ink. 
 
 C 171 ] 
 
82. THE FELUCCA 
 
 DRAWN BY J. M. W. TURNER 
 ENGRAVED PROBABLY BY HENRY DAWE 
 
 ENGRAVER S PROOFS 
 
 1. Dark mezzotint tone in sky, and thunder-cloud broadly treated, at upper 
 left. Lines added in dry-point on masts at right and on town beyond. Dark 
 sepia. 
 
 From the Stokes, Taylor, and Rawlinson Collections. 
 
 2. Thunder-cloud modelled, and lightened at upper left. Fleecy clouds added 
 at right. Rays of light at right extended across dark cloud. Entire sky above 
 town, and water in immediate foreground, lightened. Dark sepia. 
 
 Late impression. Mast at extreme left strengthened, pennant effaced. St. 
 Andrew's cross added on flag at left. Figures, spray, distance, and thunder- 
 cloud, covered with tone. Lightning lengthened to right of lighthouse. Spray 
 added on waves. In lower margin, scratched in script: "One of the first 
 edition of 30 Impressions printed by DeMtre. London." PFarm black ink. 
 
 t 173 n 
 
83. THE STORK AND AQUEDUCT 
 
 (also called the heron's pool) 
 
 DRAWN AND ETCHED BY J. M. W. TURNER 
 ENGRAVED PROBABLY BY HENRY DA WE 
 
 THE ETCHING 
 FIRST STATE 
 
 Rocks touched with red. Brown ink. 
 From the Stokes and Lees Collections. 
 
 SECOND STATE 
 
 Lines added on pool and on waterfall. Upper edge of large rock strongly 
 defined. Dark brown ink. 
 From the Rawlinson Collection. 
 
 engraver's proofs 
 
 1. Dark and flat in tone. Sepia. 
 From the Stokes and Buccleuch Collections. 
 
 2. Sky lightened. Large rock darkened. Diagonal shadows across large rock 
 widened and subdued. Foam on brook above stones indicated. Lights added 
 on waterfall at left. Sepia. 
 
 From the Stokes, Gambler Parry, and Rawlinson Collections. 
 
 C 175 J 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 3. Sky, distant slope beyond aqueduct, and large rock, lightened. Dark 
 accents added on top of large rock. Lights added along edges of large rock. 
 Dark stones added in brook at right. Lights and details added on stones in 
 foreground. Lights added* on waterfall, and on tree above herons. Water 
 darkened at lower left. Sepia. 
 From the Taylor Collection. 
 
 Late impression. High lights on clouds, on trees of right slope about and 
 beyond aqueduct, on large rock, on falls at right and left, on stones, and on 
 heron, burnished. Reflection of heron white. Sepia. 
 From the Ruskin and Knowles Collections. 
 
 Another impression from plate in same state. Reddish brown ink. 
 
 I 176:1 
 
84. THE LOST SAILOR 
 
 (ALSO CALLED THE DROWNING SAILOR, AND STORM OVER THE LIZARD) 
 
 engraved probably throughout by j. m. w. turner 
 
 engraver's proofs 
 
 1. Aquatint-ground overlaid with mezzotint and with the "textile process." 
 Cliffs at left faintly indicated. Etched outlines added on sailor and on cask. 
 Margins not defined. Sepia. 
 
 From the Lees Collection. 
 
 2. Entirely reworked. Sky and clilfs at left defined. Nearer cliff at left light 
 against dark background. Sailor redrawn larger, old outline visible on leg. 
 Wreckage added at left. Distance and sky added at right. Forms of waves 
 altered. Much delicate work added on surf, on spray, and on cliffs. Proof cut 
 down, false margin added. Sepia. 
 
 From the Gambler Parry and Rawlinson Collections. 
 
 3. Another impression from plate in same state. Black ink. 
 From the Knowles Collection. 
 
 4. Sky darkened. Lighthouse taller. Smoke added above lighthouse. Light 
 added on right side of lighthouse. Nearer cliff at left, and water below cliff, 
 reduced in tone. Heavy lines on cliffs and wreckage at left, and outlines on 
 farther cliff at left and on sailor, etched. Cliff, partly covered by surf, touched 
 
 C 177 ] 
 
CATALOGUE OF THE BUULARD COLLECTION 
 
 with dry-point. Many lights added on water. Trough of sea widened. Slant 
 of wave at right made steeper. Headland at right turned into waves and surf. 
 White spray on cliffs in foreground lessened. Sepia. 
 From the Stokes and Ruskin Collections. 
 
 : 178 :\ 
 
85. MOONLIGHT AT SEA. THE NEEDLES 
 
 DRAWN, ENGRAVED, AND SUBSEQUENTLY ETCHED 
 BY J. M. W. TURNER 
 
 Late impression. Touched with aquatint. ClifFs at right faint. Boats mere 
 blurs of dark tone. Sepia. 
 From the Rawlinson Collection. 
 
 C 179 ^ 
 
86. MOONLIGHT ON THE MED WAY AT CHATHAM 
 
 DRAWN BY J. M. W. TURNER 
 ENGRAVED PROBABLY BY HENRY DAWE 
 
 ENGRAVER S PROOFS 
 
 1. Dark patches in sky above sails. Closely trimmed. Black ink. 
 
 2. Dark patches in sky above sails subdued and turned into cloud-shadows. 
 Dark sepia. 
 
 From the Bale and Rawlinson Collections. 
 
 3. Light bands of clouds added above and below moon. Masts and details 
 added on two boats at left. Light figure added in farther boat. Dark figures 
 added in nearer boat. Turret added on high building against dark cloud at 
 right. Faint image of moon added on reflection on water. Sails of windmill 
 enlarged. Dark sepia. 
 
 From the Hawkins Collection. 
 
 1 181 :\ 
 
87. KINGSTON BANK 
 
 DRAWN AND ENGRAVED BY J. M. W. TURNER 
 
 Late impression. Mezzotint overlaid with aquatint and with the "textile pro- 
 cess." Dark brown ink. 
 
 I 183 ] 
 
88. THE DELUGE 
 
 drawn and probably engraved by j. m. w. turner 
 
 engraver's proof 
 
 Sky dark. Paper scraped for lights on figures at right. Space between figures 
 at right touched with pencil. Closely trimmed. Sepia. 
 From the Gambler Parry and Rawlinson Collections. 
 
 c 185 :\ 
 
89. FLOUNDER FISHING, BATTERSEA 
 
 ENGRAVED AND SUBSEgUENTLY ETCHED PROBABLY 
 BY J. M. W. TURNER 
 
 ENGRAVER S PROOF 
 
 Flat even tone. Margins not cleaned. Sepia. 
 From the Pocock Collection. 
 
 Late impression. Sky modelled. Bridge in background darkened and defined. 
 Buildings and ships added at right. Lights on figures at left, on sails in 
 centre, and on ripples, brightened. Purplish brown ink. 
 
 1 187:] 
 
90. NARCISSUS AND ECHO 
 
 ETCHED IN SOFT-GROUND BY J. M. W. TURNER 
 
 THE ETCHING 
 
 1. Foliage at upper right touched with Chinese white. Paper scraped for 
 lights on figures, on hills, in sky, and in foreground. On back in pencil: 
 "This Etching — done by Turner himself — was by him given to me — at 
 Petworth — It is from his own picture in the Gallery there — of Narcissus 
 and Echo — Eliz"* Phillips." Closely trimmed. Dark brown ink. 
 
 From the Taylor and Rawlinson Collections. 
 
 2. Washed with brown colour, chiefly about pool and in foreground. Dark 
 brown ink. 
 
 C 189 ] 
 
91. SAND BANK WITH GIPSIES 
 
 ETCHED IN SOFT-GROUND BY J. M. W. TURNER 
 
 THE ETCHING 
 
 Black ink. 
 
 From the Taylor Collection. 
 
 C 191 ] 
 
INDEXES 
 
5 
 
 ALPHABETICAL INDEX OF PLATES 
 
 "^'-'^ PLATE 
 
 -^gina, The Temple of Jupiter m the Island of yT" 
 
 ^sacus and Hesperie gg 
 
 Alcove, The, Isleworth g3 
 
 Anglers, Young 22 
 
 Apuleia in search of Apuleius 72 
 
 Aqueduct, The Stork and g3 
 
 Arveron, The Source of the, in the Valley of Chamouni, Savoy • 60 
 Basle 
 
 Battersea, Flounder Fishing 89 
 
 Ben Arthur, Scotland 59 
 
 Berry Pomeroy 58 
 
 Bexhill, Martello Towers near, Sussex 34 
 
 Blair Athol, Scotland, Near 30 
 
 Bonneville, Savoy 64 
 
 Boys Fishing, Jew's Harp 32 
 
 Breeze, Ships in a 10 
 
 Bridge and Cows, The • 2 
 
 Bridge and Goats, The 43 
 
 Bridge in Middle Distance, The 13 
 
 Bridge over the Russ above Altdorft, Swiss*?, Little Devil's 19 
 
 Bridge, Swiss, Mont St. Gothard 78 
 
 Calais Harbour, Entrance of 55 
 
 Calm 44 
 
 Campagna, Scene in the 38 
 
 Castle above the Meadows, The 8 
 
 Cathedral, Holy Island 11 
 
 Cephalus and Procris 41 
 
 Chain of Alps from Grenoble to Chamberi 49 
 
 Chamberi, Chain of Alps from Grenoble to 49 
 
 Chamouni, Mer de Glace — Valley of, Savoy 50 
 
 Chamouni, The Source of the Arveron in the Valley of, Savoy 60 
 
 Chartreuse, Mill near the Grand, Dauphiny 54 
 
 Chatham, Moonlight on the Medway at 86 
 
 Chepstow Castle 48 
 
 Christ and the Woman of Samaria 71 
 
 C 195 ] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 TITLE PLATE 
 
 Church, Interior of a 70 
 
 Clyde, Drawing of the 18 
 
 Coast of Yorkshire near Whitby 24 
 
 Cocks and Hens 17 
 
 Cows, The Bridge and 2 
 
 Crowhurst, Sussex 76 
 
 Crypt of Kirkstall Abbey 39 
 
 Dabblers, Marine 29 
 
 Deluge, The 88 
 
 Devil's Bridge, Little, over the Russ above Altdorft, Swiss? 19 
 
 Devotions, Hindoo 23 
 
 Ditching, Hedging and 47 
 
 Drawing of the Clyde 18 
 
 Drowning Sailor, The 84 
 
 Dumbarton Rock 75 
 
 Dumblain Abbey, Scotland 56 
 
 Dunstanborough Castle 14 
 
 East Gate, Winchelsea, Sussex 67 
 
 Echo, Narcissus and 90 
 
 Egremont Sea-Piece, The 10 
 
 Egypt, The Fifth Plague of 16 
 
 Egypt, The Tenth Plague of 61 
 
 Entrance of Calais Harbour ss 
 
 Eton, Ploughing 79 
 
 Fairy Queen, From Spenser's 36 
 
 Farm- Yard with the Cock, The 17 
 
 Felucca, The 82 
 
 Fifth Plague of Egypt, The 16 
 
 Flint Castle — Vessels Unloading 4 
 
 Flounder Fishing, Battersea 89 
 
 Frontispiece, The 1 
 
 Garrick's Temple and Hampton Church 63 
 
 Gipsies, Sand Bank with 91 
 
 Glaucus and Scylla 73 
 
 Glen Croe 69 
 
 Goats, The Bridge and 43 
 
 Grand Chartreuse, Mill near the, Dauphiny 54 
 
PLATE 
 
 ALPHABETICAL INDEX OF PLATES 
 
 TITLE 
 
 Greenwich, London from 26 
 
 Grenoble, Chain of Alps from, to Chamberi 49 
 
 Guard-Ship at the Nore, The 20 
 
 Guilford, St. Catherine's Hill near 33 
 
 Hedging and Ditching ^y. 
 
 Heron's Pool, The 33 
 
 Hesperie, iEsacus and gg 
 
 Hind Head Hill on the Portsmouth Road 25 
 
 Hindoo Ablutions 3g 
 
 Hindoo Devotions 23 
 
 Hindoo Worshipper, The 23 
 
 Holy Island Cathedral U 
 
 Hyde Park, Scene in 22 
 
 Interior of a Church jtq 
 
 Inverary Castle and Town, Scotland 65 
 
 Inverary Pier. Loch Fyne. Morning 35 
 
 Isis 68 
 
 Isleworth, The Alcove 63 
 
 Jason 6 
 
 Junction of Severn and Wye 28 
 
 Jupiter, The Temple of, in the Island of ^gina 77 
 
 Juvenile Tricks 22 
 
 Kingston Bank 87 
 
 Kirkstall Abbey, Crypt of 39 
 
 Lake of Thun, Swiss. 15 
 
 Lauifenbourgh on the Rhine 31 
 
 Leader Sea-Piece, The 20 
 
 Litde Devil's Bridge over the Russ above Altdorft, Swiss? 19 
 
 Lizard, Storm over the 84 
 
 Loch Fyne. Inverary Pier. Morning 35 
 
 Lock, Windmill and 27 
 
 London from Greenwich 26 
 
 Lost Sailor, The 84 
 
 Magdalen, The Reading 33 
 
 Marine Dabblers 29 
 
 Martello Towers near Bexhill, Sussex 34 
 
 Medway, Moonlight on the, at Chatham 86 
 
 n 197 ;] 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 TITLE PLATE 
 
 Mer de Glace — Valley of Chamouni — Savoy 50 
 
 Mildmay Sea-Piece, The 40 
 
 Mill near the Grand Chartreuse, Dauphiny ■ 54 
 
 Minerva Medica 38 
 
 Mt. St. Gothard 9 
 
 Mont St. Gothard, Swiss Bridge 78 
 
 Moonlight at Sea. The Needles 85 
 
 Moonlight on the Medway at Chatham 86 
 
 Morning. Inverary Pier. Loch Fyne 35 
 
 Morpeth, North'? 21 
 
 Narcissus and Echo 90 
 
 Near Blair Athol, Scotland 30 
 
 Needles, The. Moonlight at Sea 85 
 
 Nore, The Guardship at the 20 
 
 Norham Castle, on the Tweed 57 
 
 Oakhampton Castle 8 
 
 Original Sketch of a Picture for W. Leader, Esq. 20 
 
 Pan and Syrinx 80 
 
 Pastoral with the White Cow, The 8 
 
 Peat Bog, Scotland 45 
 
 Pembury Mill, Kent 12 
 
 Plague of Egypt, The Fifth 16 
 
 Plague of Egypt, The Tenth 61 
 
 Ploughing, Eton 79 
 
 Pope's VUla, Twickenham 63 
 
 Premium Landscape, The y2 
 
 Procris and Cephalus 41 
 
 Raglan Castle 58 
 
 Reading Magdalen, The 53 
 
 Rispah 46 
 
 Rivaux Abbey, Yorkshire 51 
 
 River Wye 48 
 
 Sailor, The Lost 84 
 
 St. Catherine's Hill near Guilford 33 
 
 St. Gothard, Mt. g 
 
 St. Gothard, Swiss Bridge, Mont ^8 
 
 Salt HiU, Windsor Castle from ^4 
 
ALPHABETICAL INDEX OF PLATES 
 
 TITLE 
 
 Samaria, Christ and the Woman of ^j 
 
 Sand Bank with Gipsies q^ 
 
 Scene in Hyde Park 
 
 Scene in the Campagna 
 
 Scene on the French Coast 
 
 Scylla, Glaucus and 
 
 Sea- Piece, The Egremont jq 
 
 Sea-Piece, The Leader 2o 
 
 Sea- Piece, The Mildmay ^q 
 
 Severn and Wye, Junction of 28 
 
 Sheep- Washing, Windsor ^^ 
 
 Ships in a Breeze 
 
 Silence 
 
 PLATE 
 
 22 
 
 38 
 
 4 
 
 73 
 
 10 
 
 68 
 
 Smugglers, Flint Casde 4 
 
 Solitude 23 
 
 Solway Moss ^2 
 
 Source of the Arveron, The, in the Valley of Chamouni, Savoy 60 
 
 Spenser's Fairy Queen, From 3g 
 
 Stonehenge at Daybreak gj 
 
 Stork, The, and Aqueduct 83 
 
 Storm over the Lizard 84 
 
 Straw- Yard, The jr 
 
 Sun between Trees, The 13 
 
 Swiss Bridge, Mont St. Gothard 78 
 
 Syrinx, Pan and 80 
 
 Tambourine, The Woman and 3 
 
 Temple of Jupiter, The, in the Island of iEgina "Jf 
 
 Tenth Plague of Egypt, The 61 
 
 Thun, Lake of, Swiss. 15 
 
 Thun, Ville de, Switzerland 59 
 
 Twickenham, Pope's Villa 63 
 
 Valley of Chamouni — Mer de Glace — Savoy 50 
 
 Vessels Unloading — Flint Castle 4 
 
 Via Mala 78 
 
 ViUe de Thun, Switzerland 59 
 
 Walton Bridge 13 
 
 Watercress Gatherers, Rail's Head, Ferry Bridge, Twickenham 62 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 TITLE PLATE 
 
 Water-MiU 37 
 
 Whitby, Coast of Yorkshire near 24 
 
 White Cow, The Pastoral with the 8 
 
 White Horse, The 7 
 
 Winchelsea, East Gate, Sussex 67 
 
 Winchelsea, Sussex 42 
 
 Windmill and Lock 27 
 
 Windsor, Sheep-Washing 74 
 
 Windsor Castle from Salt Hill 74 
 
 Woman and Tambourine, The 3 
 
 Woman at a Tank 38 
 
 Woman of Samaria, Christ and the 71 
 
 Worshipper, The Hindoo 23 
 
 Wye, Junction of Severn and 28 
 
 Wye, River 48 
 
 Yorkshire, Coast of, near Whitby 24 
 
 Young Anglers 32 
 
 C 200 J 
 
NUMERICAL INDEX OF PLATES AND ENGRAVERS 
 
 1 The Frontispiece Issued May 23, 1812 
 
 Part I Issued January 20, 1807 
 
 2 The Bridge and Cows 
 
 3 The Woman and Tambourine 
 
 4 Flint Castle — Vessels Unloading 
 
 5 Basle 
 
 6 Jason 
 
 Part II Issued February 20, 1808 
 
 7 The Straw- Yard 
 
 8 The Castle above the Meadows 
 
 9 Mt. St. Gothard 
 
 10 Ships in a Breeze 
 
 11 Holy Island Cathedral 
 
 Part III Issued June 10, 1808 
 
 12 Pembury Mill, Kent 
 
 13 The Bridge in Middle Distance 
 
 14 Dunstanborough Castle 
 
 15 Lake of Thun, Swiss. 
 
 16 The Fifth Plague of Egypt 
 
 Part IV Issued March 29, 1809 
 
 ir The Farm- Yard with the Cock 
 
 18 Drawing of the Clyde 
 
 19 Little Devil's Bridge over the Russ above 
 
 Altdorft, Swiss"? 
 
 20 The Leader Sea-Piece 
 
 21 Morpeth, North'? 
 
 Part V Issued January 1, 1811 
 
 22 Juvenile Tricks 
 
 23 The Hindoo Worshipper 
 
 24 Coast of Yorkshire near Whitby 
 
 25 Hind Head Hill on the Portsmouth Road 
 
 26 London from Greenwich 
 
 Part VI Issued June 1, 1811 
 
 27 Windmill and Lock 
 
 C 201 J 
 
 ENGnAVER 
 
 INITIAI. 
 
 
 LETTER 
 
 J. M.W. Turner 
 
 
 J. C. Easling 
 
 
 Charles Turner 
 
 P 
 
 Charles Turner 
 
 E. P 
 
 Charles Turner 
 
 M 
 
 Charles Turner 
 
 A 
 
 Charles Turner 
 
 H 
 
 Charles Turner 
 
 P 
 
 Charles Turner 
 
 EP 
 
 Charles Turner 
 
 M. S 
 
 Charles Turner 
 
 M 
 
 Charles Turner 
 
 A 
 
 Charles Turner 
 
 P 
 
 Charles Turner 
 
 EP 
 
 Charles Turner 
 
 A 
 
 Charles Turner 
 
 M 
 
 Charles Turner 
 
 H 
 
 Charles Turner 
 
 P 
 
 Charles Turner 
 
 E. P. 
 
 Charles Turner 
 
 M5 
 
 Charles Turner 
 
 M 
 
 Charles Turner 
 
 A 
 
 William Say 
 
 P 
 
 Robert Dunkarton 
 
 EP 
 
 William Say 
 
 M 
 
 Robert Dunkarton 
 
 M 
 
 Charles Turner 
 
 A 
 
 William Say 
 
 P 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 28 Junction of Severn and Wye 
 
 29 Marine Dabblers 
 
 30 Near Blair Athol, Scotland 
 
 31 Lauffenbourgh on the Rhine 
 
 32 
 33 
 34 
 35 
 36 
 
 37 
 38 
 39 
 
 40 
 
 41 
 
 42 
 43 
 44 
 45 
 46 
 
 4r 
 
 48 
 49 
 50 
 51 
 
 52 
 53 
 54 
 55 
 56 
 
 Part VII Issued June 1, 1811 
 
 Young Anglers 
 
 St. Catherine's Hill near Guilford 
 Martello Towers near Bexhill, Sussex 
 Inverary Pier. Loch Fyne. Morning 
 From Spenser's Fairy Queen 
 
 Part VIII 
 
 Issued February 1, 1812 
 
 Water-Mill 
 
 Scene in the Campagna 
 
 Crypt of Kirkstall Abbey 
 
 The Mildmay Sea-Piece 
 
 Procris and Cephalus 
 
 Part IX Issued April 23, 1812 
 
 Winchelsea, Sussex 
 
 The Bridge and Goats 
 
 Calm 
 
 Peat Bog, Scotland 
 
 Rispah 
 
 Part X Issued May 23, 1812 
 
 Hedging and Ditching 
 
 River Wye 
 
 Chain of Alps from Grenoble to Chamberi 
 
 Mer de Glace — Valley of Chamouni — Save 
 
 Rivaux Abbey, Yorkshire 
 
 Part XI Issued January 1, 1816 
 
 Solway Moss 
 
 Solitude 
 
 Mill near the Grand Chartreuse, Dauphiny 
 
 Entrance of Calais Harbour 
 
 Dumblain Abbey, Scotland 
 
 ENGRAVER 
 
 INITIAL 
 LETTER 
 
 J. M.W. Turner 
 
 EP 
 
 William Say 
 
 M 
 
 William Say 
 
 M 
 
 Thomas Hodgetts 
 
 A 
 
 Robert Dunkarton 
 
 P 
 
 J. C. Easling 
 
 EP 
 
 William Say 
 
 M 
 
 J. M.W.Turner 
 
 M 
 
 Thomas Hodgetts 
 
 H 
 
 Robert Dunkarton 
 
 P 
 
 William Say 
 
 E. P 
 
 J. M.W. Turner 
 
 A 
 
 W. T. Annis 
 
 
 J. C. Easling 
 
 M 
 
 George Clint 
 
 H 
 
 J. C. Easling 
 
 P 
 
 F. C. Lewis 
 
 E. P 
 
 J. M.W. Turner 
 
 M 
 
 George Clint 
 
 M 
 
 Robert Dunkarton 
 
 H 
 
 J. C. Easling 
 
 P 
 
 W. T. Annis 
 
 E. P. 
 
 William Say 
 
 M 
 
 J. M.W. Turner 
 
 M 
 
 Henry Dawe 
 
 A 
 
 Thomas Lupton 
 
 P 
 
 William Say 
 
 E. P 
 
 Henry Dawe 
 
 M 
 
 J. M.W.Turner 
 
 M 
 
 Thomas Lupton 
 
 A 
 
 C 202 ] 
 
NUMERICAL INDEX OF PLATES AND ENGRAVERS 
 
 Part XII Issued January 1, 1816 
 
 57 Norham Castle, on the Tweed 
 
 58 Raglan Castle 
 
 59 Ville de Thun, Switzerland 
 
 60 The Source of the Arveron in the Valley of 
 
 Chamouni, Savoy 
 
 61 The Tenth Plague of Egypt 
 
 Part XIII Issued January 1, 1819 
 
 62 Watercress Gatherers, Rail's Head, Ferry 
 
 Bridge, Twickenham 
 
 63 The Alcove, Isleworth 
 
 64 Bonneville, Savoy 
 
 65 Inverary Castle and Town, Scotland 
 
 66 iEsacus and Hesperie 
 
 Part XIV Issued January 1, 1819 
 
 67 East Gate, Winchelsea, Sussex 
 
 68 Isls 
 
 69 Ben Arthur, Scotland 
 
 70 Interior of a Church 
 
 71 Christ and die Woman of Samaria 
 
 ENGRAVER 
 
 INITIAL 
 
 
 LETTER 
 
 Charles Turner 
 
 P 
 
 J. M.W. Turner 
 
 E. P. 
 
 Thomas Hodgetts 
 
 A 
 
 J. M.W.Turner 
 
 M 
 
 William Say 
 
 H 
 
 Thomas Lupton 
 
 p 
 
 Henry Dawe 
 
 E. P 
 
 Henry Dawe 
 
 M. 
 
 Charles Turner 
 
 M 
 
 J. M.W. Turner 
 
 H 
 
 S. W. Reynolds 
 
 P 
 
 William Say 
 
 EP 
 
 Thomas Lupton 
 
 M 
 
 J. M.W.Turner 
 
 A 
 
 S. W. Reynolds 
 
 H 
 
 THE UNPUBLISHED PLATES 
 
 72 Apuleia in search of Apuleius 
 
 73 Glaucus and ScyUa 
 
 74 Sheep- Washing, Windsor 
 
 75 Dumbarton Rock 
 
 76 Crowhurst, Sussex 
 
 77 The Temple of Jupiter in the Island of jEgina 
 
 78 Swiss Bridge, Mont St. Gothard 
 
 79 Ploughing, Eton 
 
 80 Pan and Syrinx 
 
 81 Stonehenge at Daybreak 
 
 82 The Felucca 
 
 83 The Stork and Aqueduct 
 
 84 The Lost Sailor 
 
 85 Moonlight at Sea. The Needles 
 
 86 Moonlight on the Medway at Chatham 
 
 87 Kingston Bank 
 
 C 203 H 
 
 William Say 
 
 William Say 
 
 Charles Turner 
 
 Thomas Lupton 
 
 Henry Dawe (probably) 
 
 Henry Dawe (probably) 
 
 J. M. W. Turner (probably) 
 
 Thomas Lupton 
 
 Not engraved 
 
 J. M.W. Turner 
 
 Henry Dawe (probably) 
 
 Henry Dawe (probably) 
 
 J. M.W. Turner 
 
 J. M.W. Turner 
 
 Henry Dawe (probably) 
 
 J. M.W. Turner 
 
CATALOGUE OF THE BULLARD COLLECTION 
 
 ENGRAVER 
 
 88 The Deluge J. M.W. Turner (probably) 
 
 89 Flounder Fishing, Battersea J. M.W. Turner (probably) 
 
 90 Narcissus and Echo Not engraved 
 
 91 Sand Bank with Gipsies Not engraved 
 
r^ 
 
'^%''^i^S;l 
 
 ■1 - .