Norham Castle on the Tweed - YCBA Collections Search

Etched by Joseph Mallord William Turner, 1775–1851, British, Norham Castle on the Tweed, 1816

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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:

Norham Castle on the Tweed

Part Of:

Collective Title: Liber Studiorum

Date:

1816

Materials & Techniques:

Etching and mezzotint, printed in brown ink on medium, slightly textured, cream laid paper

Dimensions:

Sheet: 11 1/4 × 16 7/8 inches (28.6 × 42.9 cm), Plate: 8 1/4 × 11 1/2 inches (21 × 29.2 cm), Image: 7 × 10 1/4 inches (17.8 × 26 cm)

Inscription(s)/Marks/Lettering:

Inscribed in graphite, lower left: "Col | 57/I"; lower right: "1"; inscribed on verso in graphite, lower left: "57. I"; lower center: "Cotswold Gallery 424. ea G.E.Blood."; lower right: "a/8"

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

Lettered above image: "P"; below image, lower left: "Drawn & Etched by J.M.W.Turner"; lower center: "NORHAM CASTLE ON THE TWEED | the Drawing in the Possession of the late Lord Lascells | Publish'd Jan 1, 1816, by I.M.W.Turner, Queen Ann Street West"; lower right: "Engraved by C Turner"

Credit Line:

Yale Center for British Art, Paul Mellon Collection

Copyright Status:

Public Domain

Accession Number:

B1977.14.8173

Classification:

Prints

Collection:

Prints and Drawings

Access:

Accessible in the Study Room [Request]

Link:

https://collections.britishart.yale.edu/catalog/tms:30567

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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]

Nobleness and Grandeur - Forging Historical Landscape in Britain, 1760 - 1850 (Yale Center for British Art, 2005-01-27 - 2005-04-24) [YCBA Objects in the Exhibition] [Exhibition Description]

The Romantic Print in Britain - Yale Center for British Art (Carnegie Museum of Art, 2004-02-14 - 2004-05-09) [YCBA Objects in the Exhibition]

The Romantic Landscape Prints - The Chiaroscuro of Nature (Yale Center for British Art, 2002-09-25 - 2002-12-29) [YCBA Objects in the Exhibition] [Exhibition Description]

Translations - Turner and Printmaking (Yale Center for British Art, 1993-09-29 - 1993-12-05) [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. 12, NJ18 .C67 B37 2018 (YCBA) [YCBA]

Eric M. Lee, Translations : Turner and printmaking, Yale Center for British Art, New Haven, 1993, p. 15, no. 26, NJ18 .T85 L44 1993 (YCBA) [YCBA]

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