TURNER, Joseph Mallord William (1775-1851). Liber studiorum . London: J.M.W. Turner, 1812 [plates watermarked 1807-1810].
TURNER, Joseph Mallord William (1775-1851). Liber studiorum . London: J.M.W. Turner, 1812 [plates watermarked 1807-1810]. 2 volumes, oblong 2° (300 x 440mm). 71 etched mezzotint and aquatint plates by J.M.W. Turner, J.C. Easling, Charles Turner William Say Robert Dunkarton Thomas Hodgetts, William Annis, George Clint F.C. Lewis, Henry Dawe, Thomas Lupton, and S.W. Reynolds after Turner, printed in coloured and black inks, the prints disbound with original stab holes showing and placed in contemporary mounts, edges uncut. Contemporary manuscript index leaves in both vols. 11 plates in first state, including 'The Junction of the Severn and Wye' which Turner mezzotinted himself, 48 in second or third state, and 12 in later states. (Frontispiece mount broken, small ink spots on ‘Hindhead Hill’ and in margin of ‘Marine dabblers’, 'Interior of a church' with remains of old mount to verso and accompanying creases and repaired tears in margin, ‘Goats over bridge’ with three short tears within image, but without loss, occasional browning and spotting, heavier to 'Entrance to Calais Harbour' and 'Norham Castle'.) Contemporary green morocco gilt portfolios (spines worn with joints splitting at head and tail, extremities rubbed). COMPLETE SET OF THIS 'MONUMENTAL WORK OF ART ... TAK[ING] RANK WITH THE HIGHEST PRODUCTIONS OF THE GREATEST LANDSCAPE-PAINTER ... THE WORLD HAS YET SEEN' (Rawlinson, p.lvi). Turner conceived the Liber studiorum in part as a response to Claude Lorrain's volume of drawings entitled Liber veritatis , of which prints were published by John Boydell in three volumes under the same title (London, 1777-1804). The principal purpose of the Liber veritatis was to provide the artist with a private record of his finished oils and their owners, which also served the purpose of providing a reference by which genuine works could be distinguished from forgeries. Whereas Turner's Liber studiorum was always intended for publication, it shared some similarity of purpose. The 71 plates were issued in 14 parts (each containing five etchings) over some four years; in addition to these, a further 20 were printed, but not published. Lowndes pp.2722-2723; W.G. Rawlinson, Turner's Liber studiorum (London, 1906, second edition).
TURNER, Joseph Mallord William (1775-1851). Liber studiorum . London: J.M.W. Turner, 1812 [plates watermarked 1807-1810].
TURNER, Joseph Mallord William (1775-1851). Liber studiorum . London: J.M.W. Turner, 1812 [plates watermarked 1807-1810]. 2 volumes, oblong 2° (300 x 440mm). 71 etched mezzotint and aquatint plates by J.M.W. Turner, J.C. Easling, Charles Turner William Say Robert Dunkarton Thomas Hodgetts, William Annis, George Clint F.C. Lewis, Henry Dawe, Thomas Lupton, and S.W. Reynolds after Turner, printed in coloured and black inks, the prints disbound with original stab holes showing and placed in contemporary mounts, edges uncut. Contemporary manuscript index leaves in both vols. 11 plates in first state, including 'The Junction of the Severn and Wye' which Turner mezzotinted himself, 48 in second or third state, and 12 in later states. (Frontispiece mount broken, small ink spots on ‘Hindhead Hill’ and in margin of ‘Marine dabblers’, 'Interior of a church' with remains of old mount to verso and accompanying creases and repaired tears in margin, ‘Goats over bridge’ with three short tears within image, but without loss, occasional browning and spotting, heavier to 'Entrance to Calais Harbour' and 'Norham Castle'.) Contemporary green morocco gilt portfolios (spines worn with joints splitting at head and tail, extremities rubbed). COMPLETE SET OF THIS 'MONUMENTAL WORK OF ART ... TAK[ING] RANK WITH THE HIGHEST PRODUCTIONS OF THE GREATEST LANDSCAPE-PAINTER ... THE WORLD HAS YET SEEN' (Rawlinson, p.lvi). Turner conceived the Liber studiorum in part as a response to Claude Lorrain's volume of drawings entitled Liber veritatis , of which prints were published by John Boydell in three volumes under the same title (London, 1777-1804). The principal purpose of the Liber veritatis was to provide the artist with a private record of his finished oils and their owners, which also served the purpose of providing a reference by which genuine works could be distinguished from forgeries. Whereas Turner's Liber studiorum was always intended for publication, it shared some similarity of purpose. The 71 plates were issued in 14 parts (each containing five etchings) over some four years; in addition to these, a further 20 were printed, but not published. Lowndes pp.2722-2723; W.G. Rawlinson, Turner's Liber studiorum (London, 1906, second edition).
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