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Print made by Joseph Mallord William Turner, 1775–1851, British, Ploughing, Eton, 1813 to 1823
- Title:
- Ploughing, Eton
- Part Of:
- Date:
- 1813 to 1823
- Materials & Techniques:
- Etching, printed in brown ink; first plate, 2nd state, printed for Rawlinson on medium, slightly textured, cream wove paper
- Dimensions:
- Sheet: 11 1/4 × 15 1/2 inches (28.6 × 39.4 cm), Plate: 8 1/4 × 11 1/2 inches (21 × 29.2 cm), Image: 7 × 10 3/8 inches (17.8 × 26.4 cm)
- Inscription(s)/Marks/Lettering:
Inscribed in graphite, lower left: "79 | Etching | From Plate: | All Turner's work. | One of a few impressions taken by Mr. W.G.Rawlinson."; lower center: "Ex. W. Kingsley"; lower right: "1837 | RSH | 79"; inscribed on verso in graphite, lower left to lower center: "No.79 | ? Print taken when plate in W.G. Rawlinson's possession. It is 2nd State of 1st Etching"; lower right: "Finberg's date 'Whatman 1879 | obviously not final"
Watermark: J. Whatman 1882
- Credit Line:
- Yale Center for British Art, Paul Mellon Collection
- Copyright Status:
- Public Domain
- Accession Number:
- B1977.14.8206
- Classification:
- Prints
- Collection:
- Prints and Drawings
- Access:
- Accessible in the Study Room [Request]
- Link:
- https://collections.britishart.yale.edu/catalog/tms:30651
- Export:
- XML
- IIIF Manifest:
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According to Turner, all landscapes belong to one of six fundamental categories: Architectural, Historical, Marine, Mountainous, Pastoral, and Elevated Pastoral. These prints are part of a systematic publication, the Liber Studiorum (“Book of Studies”), containing examples from each of these categories. This work provides further testimony to the enduring influence of Claude Lorrain. Claude made sepia ink and wash drawings to record all his authentic compositions and brought them together to form his celebrated Liber Veritatis (“Book of Truth”). These drawings came to be seen as the epitome of the art of landscape and were later reproduced as fine mezzotints. They inspired Turner to make his own, even more ambitious equivalents. Though imitating the format and sepia coloring of Claude’s drawings, Turner’s plates were intended not as a record of his paintings but to illustrate his own original theory of landscape art. Although never completely finished, the Liber Studiorum is among the artist’s most personal and pioneering contributions to the practice of printmaking. Gallery label for J. M. W. Turner: Romance and Reality (Yale Center for British Art, March - 29, 2025 - July 27, 2025)
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