Browse: 1470 objects
© University of Oxford - Ashmolean Museum
- Reference URL
Actions
Mezzotint of Turner's "Peat Bog, Scotland" (from the Liber Studiorum) Turner
-
Details
- Artist/maker
-
after Turner (Joseph Mallord William Turner) (1775 - 1851) (etcher, designer)Thomas Goff Lupton (1791 - 1873) (engraver)after George Clint (1770 - 1854) (engraver)
- Object type
- Material and technique
- etching and mezzotint on paper
- Dimensions
- 215 x 292 mm (plate); 338 x 499 mm (sheet)
- Associated people
-
after Turner Joseph Mallord William Turner (1775 - 1851) (publisher)
- Associated place
-
- Europe › United Kingdom › Scotland › Scotland (subject)
- Inscription
- Recto:
all within the plate mark, etched:
bottom left: J M W Turner
bottom centre: 1864 | Peat Bog. Scotd,
bottom right: Proof
Verso:
bottom left, in graphite: "R163"
centre, in graphite: Lupton's facsimile ingraved [sic] on steel cf F.45
bottom right, in graphite: F.45 copy c
bottom right, the Ruskin School's stamp
just below, in ink: T.1
- Provenance
-
Presumably presented by John Ruskin to the Ruskin Drawing School (University of Oxford); first recorded in the Ruskin Drawing School in 1878; transferred from the Ruskin Drawing School to the Ashmolean Museum c.1949
- No. of items
- 1
- Accession no.
- WA.RS.RUD.163
-
Subject terms allocated by curators:
Subjects
-
References in which this object is cited include:
References
Finberg, Alexander J., The History of Turner's Liber Studiorum: With a New Catalogue Raisonné (London: Ernest Benn, 1924), no. 45.Copy
Ruskin, John, ‘Rudimentary Series 1878’, 1878, Oxford, Oxford University Archives, cat. Rudimentary no. 163
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. 163
Location
-
- Western Art Print Room
Ruskin's Catalogues
-
Ruskin's revision to the Rudimentary series (1878)
163. Peat Bog ?Next to the brightest I give the darkest of Scottish heather and Scottish Land. Under the influence of such scenery Turner learned to despise the affectations of Italian landscape and the comforts of Dutch, and prepared himself for the higher grandeur and more threatening gloom of the Alps.
