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Etched by Joseph Mallord William Turner, 1775–1851, British, Marine Dabblers, 1811
- Title:
- Marine Dabblers
- Part Of:
- Date:
- 1811
- Materials & Techniques:
- Etching and mezzotint, printed in brown ink on medium, slightly textured, cream wove paper
- Dimensions:
- Sheet: 10 7/8 × 15 7/8 inches (27.6 × 40.3 cm), Plate: 8 1/4 × 11 3/8 inches (21 × 28.9 cm), Image: 7 × 10 1/4 inches (17.8 × 26 cm)
- Inscription(s)/Marks/Lettering:
Inscribed in graphite, upper left: "29"; in graphite, upper right: "26"; lower left: "1st | F.29I."; lower center: "(From Sir James Knowles Collection, 1908"; lower right: "B.7759(2)"; lower right: "3"
Watermark: J. Whatman 1810
Lettered above image: "M"; below image: "Drawn & Etched by J.M.W. Turner Esqr. R.A. | Engraved by W. Say Engraver to H.R.H. the Duke of Gloucester | MARINE DABBLERS | Published June 1811, by J.M.W. Turner, Queen Ann Street West."
- Credit Line:
- Yale Center for British Art, Paul Mellon Collection
- Copyright Status:
- Public Domain
- Accession Number:
- B1977.14.14010
- Classification:
- Prints
- Collection:
- Prints and Drawings
- Access:
- Accessible in the Study Room [Request]
- Link:
- https://collections.britishart.yale.edu/catalog/tms:38794
- Export:
- XML
- IIIF Manifest:
- JSON
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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