Hind Head Hill - YCBA Collections Search

Etched by Joseph Mallord William Turner, 1775–1851, British, Hind Head Hill, 1811

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Creator:

Etched by Joseph Mallord William Turner, 1775–1851
Engraved by Robert Dunkarton, 1744–1811
after Joseph Mallord William Turner, 1775–1851

Title:

Hind Head Hill

Additional Title(s):

Hind Head Hill on the Portsmouth Road

Part Of:

Collective Title: Liber Studiorum

Date:

1811

Materials & Techniques:

Etching and mezzotint with chine collé, printed in brown ink on moderately thick, slightly textured, cream wove paper

Dimensions:

Sheet: 11 × 16 1/8 inches (27.9 × 41 cm), Plate: 8 1/8 × 11 3/8 inches (20.6 × 28.9 cm), Image: 7 × 10 1/4 inches (17.8 × 26 cm)

Inscription(s)/Marks/Lettering:

Inscribed in graphite, upper right: "17 | 12"; lower left: "25.I"; inscribed on verso in graphite, upper left: "334"; lower left: "25. I"; lower center: "Cotswold Gallery 1824. ea G.E.Blood."

Collector’s mark: G. E. Blood (Lugt 265c)

Lettered above image, center: "M"; below image, lower left: "Drawn & Etched by J.M.W.Turner, R.A. P.P."; lower center: "HIND HEAD HILL. | On the Portsmouth Road | Published Jany. 1. 1811, by Mr. Turner; Queen Ann street West."; lower right: "Engraved by Dunkarton"

Credit Line:

Yale Center for British Art, Paul Mellon Collection

Copyright Status:

Public Domain

Accession Number:

B1977.14.8131

Classification:

Prints

Collection:

Prints and Drawings

Subject Terms:

hills | landscape | sheep

Access:

Accessible in the Study Room [Request]

Link:

https://collections.britishart.yale.edu/catalog/tms:26234

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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)

Picturesque and Sublime - Thomas Cole's Trans-Atlantic Inheritance (Thomas Cole National Historic Site, 2018-04-29 - 2018-11-04) [YCBA Objects in the Exhibition]

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

Turner and the Sublime (British Museum, 1981-05-15 - 1981-09-20) [YCBA Objects in the Exhibition]

Turner and the Sublime (Yale Center for British Art, 1981-02-11 - 1981-04-19) [YCBA Objects in the Exhibition]

Turner and the Sublime (Art Gallery of Ontario, 1980-11-01 - 1981-01-04) [YCBA Objects in the Exhibition]

Timothy J. Barringer, Picturesque and sublime : Thomas Cole's trans-Atlantic inheritance, Yale University Press, New Haven and London, 2018, pp. 110-113, no. 11, NJ18 .C67 B37 2018 (YCBA) [YCBA]

Eric M. Lee, Translations : Turner and printmaking, Yale Center for British Art, New Haven, 1993, p. 15, no. 21, NJ18 .T85 L44 1993 (YCBA) [YCBA]

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