About 1812 or 1813 Turner began making the drawings which were engraved and published in Cooke’s “Picturesque Views of the Southern Coast of England.” Between 1815 and 1840 nearly all his work in
PLATE IV.
(In the possession of J. F. Schwann, Esq.)
“LAUNCESTON.” BY J. M. W. TURNER, R.A.
water-colour was done to be engraved and published in similar undertakings. Turner’s fame as a water-colour painter rested during his lifetime chiefly on these drawings. Among them are many of the most beautiful works which have ever been produced in this medium. It is a pity, therefore, that they are not more adequately represented in our public galleries. This remark applies particularly to the drawings in transparent colour (like the Launceston, for instance, which is here reproduced, Plate IV), for those in body-colour—the “Rivers of France”—are nearly all either in the National Gallery, Ashmolean or Fitzwilliam Museums. But with the exception of Hornby Castle (V. & A. Museum) and most of the originals of the “Rivers” and “Ports of England” series (in the National Gallery), nearly all Turner’s drawings made for the engravers are in private collections. We may perhaps allow ourselves to hope that some time in the future a separate gallery may be founded to do justice to British water-colours, in which such drawings would have to be properly represented.
After about 1840 Turner only worked in water-colours for his own pleasure and for that of a small circle of friends and admirers. The drawings made for his own pleasure are now nearly all in the National Gallery, where they have never been properly exhibited and where most of them cannot be seen by the public. These formed part of the Turners which the Trustees wanted to sell about a year ago. The drawings made for his friends and admirers include the Constance, Lucerne, and others of what have been called “The Epilogue” drawings. The public is able to catch glimpses of these occasionally at loan exhibitions and in auction rooms.