![]() ![]() Turner's fee is stated in the letter to have been 30 guineas for each drawing, which confirms the suspicion amongst recent writers that Rawlinson had exaggerated when stating that Turner received ‘sixty to seventy guineas apiece’ (Rawlinson I 1908, p.xlvii). It is clear from this letter that Heath's original intention was to publish 120 subjects, although in the event only ninety-six appeared, published in twenty-four parts of four prints each between 18. Messrs Hurst & Robinson are to have half the work on condition they find all the capital necessary - so that I have half the Drawings and half the Profits at no risk - I shall send you fine Proofs of course of the whole work I mean to have them engraved by all the first Artists. The Drawings, what is very unusual they will yield a Profit as much as the Plates, they will be engraved the size of the coast work of Cookes, any one who has seen them says it will be the best and most lucrative speculation ever executed of that description. he is making me 120 Drawings of England and Wales - I have just got four and they are the finest things I ever saw they cost me 30 Gins each and I have been offered 50 Gins each by two or three different Gentlemen. I have just begun a most splendid work from Turner the Academician. From the 1820s, however, Heath began to devote his energies to publishing: besides England and Wales, he launched a number of popular illustrated annuals and the ‘Rivers of France’, for which Turner was also engaged to make designs (see T05105- T05109 and T04678- T04726).Ī recently discovered letter from Charles Heath to the Yarmouth banker and patron of the arts, Dawson Turner, dated February 1825, throws much light on the genesis of the project (see Shanes 1984, pp.52–4): The project was the idea of the engraver Charles Heath, who had first worked with Turner in 1811 when he engraved the figures in John Pye's translation of Turner's oil of ‘Pope's Villa at Twickenham’ (Butlin and Joll 1984, no.72). Picturesque Views in England and Wales was the most ambitious of the engraving projects with which Turner became associated in the 1820s and 1830s. Gerrish Ltd 1982 Eric Shanes, ‘New Light on the England and Wales Series’, Turner Studies, vol.4, no.1, Summer 1984, pp.52–4 Eric Shanes, Turner's England 1810–38, 1990 cat., British Museum 1975 Eric Shanes, Turner's Picturesque Views in England and Wales, 1979 Picturesque Views in England and Wales by J.M.W. Lit: Andrew Wilton, Turner in the British Museum, exh. Gerrish Ltd, from whom bt by Tate Gallery (earlier provenance given in individual entries where known) One hundred and ten etchings and line-engravings by various engravers and in various states, comprising sixty-nine subjects out of a total of ninety-six (see also T05081- T05104 below) various papers and sizes some annotated in pencil with names of collectors ![]() Picturesque Views in England and Wales pub.1827–38
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