Unpublished manuscript catalogue for proposed re-organisation of the Rudimentary series.
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. 154, RUD.154
Finberg, Alexander J., The History of Turner's Liber Studiorum: With a New Catalogue Raisonné (London: Ernest Benn, 1924), cat. 76.d, p.305
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. 154
Ruskin, John, Instructions in the Preliminary Exercises Arranged for the Lower Drawing-School (London: Smith, Elder, 1872), cat. Rudimentary no. 154
Ruskin, John, Instructions in the Preliminary Exercise Arranged For the Lower Drawing-School (London: Spottiswoode, 1873), cat. Rudimentary no. 154
Ruskin, John, ‘Rudimentary Series 1878’, 1878, Oxford, Oxford University Archives, cat. Rudimentary no. 160
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. 160
This unpublished Plate, seen here in its finest state, is the most elaborate piece of work which Turner gave to wood scenery in the Liber. He seems R.Crowhurst to have meant to make it extremely beautiful and the record of a most solemn impression on his own mind from the Downs of Sussex, under light-falling snow with heavier storm coming on in twilight. The brown colour, however, of the engraving defeats his purpose: but the study is full of passages with which all students of English Landscape are so familiar that I take it for the most perfect introduction to all the following variety of English Scenes in the Book itself. It must represent all of them here, for we have only Fifteen more subjects to divide between Scotland and Switzerland, having already given ten to England.