Presented by John Ruskin to the Ruskin Drawing School (University of Oxford), 1875; transferred from the Ruskin Drawing School to the Ashmolean Museum, c.1949.
Ruskin, John, The Ruskin Art Collection at Oxford: Catalogue of the Rudimentary Series, in the Arrangement of 1873, ed. Robert Hewison (London: Lion and Unicorn Press, 1984), cat. Rudimentary no. 300, RUD.300
Ruskin, John, Instructions in the Preliminary Exercises Arranged for the Lower Drawing-School (London: Smith, Elder, 1872), cat. Rudimentary no. 300
Ruskin, John, ‘The Ruskin Art Collection at Oxford: Catalogues, Notes and Instructions’, Edward T. Cook and Alexander Wedderburn, eds, The Works of John Ruskin: Library Edition, 39 (London: George Allen, 1903-1912), 21, cat. Rudimentary no. 300
Ruskin, John, ‘Rudimentary Series 1878’, 1878, Oxford, Oxford University Archives, cat. Rudimentary no. 299
Ruskin, John, Instructions in the Preliminary Exercise Arranged For the Lower Drawing-School (London: Spottiswoode, 1873), cat. Rudimentary no. 300
Ruskin, John, Instructions in Practice of Elementary Drawing, Arranged with Reference to the First Series of Examples in the Drawings Schools of the University of Oxford (n.p., [1872]), cat. Rudimentary no. 300
Herrmann, Luke, and Colin Harrison, J. M. W. Turner, Ashmolean Museum Handbooks (Oxford: Ashmolean Museum, 2000), no. 17
Herrmann, Luke, Ruskin and Turner: A Study of Ruskin as a Collector of Turner, Based on His Gifts to the University of Oxford: Incorporating a Catalogue Raisonné of the Turner Drawings in the Ashmolean Museum (London: Faber & Faber, 1968), no. 75
Ruskin, John, ‘Notes By Mr. Ruskin ... on His Drawings by the Late J. M. W. Turner, R. A., [and] on His Own Handiwork Illustrative of Turner’, Edward T. Cook and Alexander Wedderburn, eds, The Works of John Ruskin: Library Edition, 39 (London: George Allen, 1903-1912), 13, no. 31 = XIII.433-435
The last but one of our Rudimentary Series; an entirely consummate sketch of by Turner of a Landscape Composition, at the period of the Liber Studorium, but not intended for it; the drawings of the Liber being all of the proper size for the Book. It is impossible to see more done with the pen and sepia, or to find a better example of wild grace in vegetation. I prized this Drawing as one of my very chief Turner-treasures, and hope that Oxford will also, one day, be proud of it. Nothing can rival it but the work of Florence herself.