The Woman and Tambourine - YCBA Collections Search

Etched by Joseph Mallord William Turner, 1775–1851, British, The Woman and Tambourine, 1807

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Creator:

Etched by Joseph Mallord William Turner, 1775–1851
Engraved by Charles Turner, 1774–1857
after Joseph Mallord William Turner, 1775–1851

Title:

The Woman and Tambourine

Part Of:

Collective Title: Liber Studiorum

Date:

1807

Materials & Techniques:

Etching and mezzotint, printed in brown ink; first published state on medium, slightly textured, cream laid paper

Dimensions:

Sheet: 10 1/8 × 14 7/8 inches (25.7 × 37.8 cm), Plate: 8 1/4 × 11 3/8 inches (21 × 28.9 cm), Image: 7 1/4 × 10 1/2 inches (18.4 × 26.7 cm)

Inscription(s)/Marks/Lettering:

Inscribed in graphite, upper right: "3"; inscribed on verso in graphite, lower left: "1st State"

Turner sale mark: J. M. W. Turner (Lugt 1498); collector’s mark: Earl George Cathcart (Lugt 483)

Lettered above image: "EP"; below image: "Drawn & Etched by J.M.W.Turner, R.A. | Engraved by C.Turner | Published as the Act directs by J.M.W.Turner Harley Street."

Credit Line:

Yale Center for British Art, Paul Mellon Collection

Copyright Status:

Public Domain

Accession Number:

B1977.14.8098

Classification:

Prints

Collection:

Prints and Drawings

Subject Terms:

Access:

Accessible in the Study Room [Request]

Link:

https://collections.britishart.yale.edu/catalog/tms:26111

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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)

Translations - Turner and Printmaking (Yale Center for British Art, 1993-09-29 - 1993-12-05) [YCBA Objects in the Exhibition]

Classic Ground - British Artists and the Landscape of Italy, 1740-1830 (Yale Center for British Art, 1981-07-29 - 1981-09-20) [YCBA Objects in the Exhibition]

Duncan Bull, Classic ground : British artists and the landscape of Italy, 1740-1830, , Yale Center for British Art, New Haven, 1981, pp. 7, 20, 26, no. 8, ND1354.4 B85 (YCBA) [YCBA]

Eric M. Lee, Translations : Turner and printmaking, Yale Center for British Art, New Haven, 1993, p. 15, no. 13, NJ18 .T85 L44 1993 (YCBA) [YCBA]

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