Mill Near the Grand Chartreuse -- Dauphiny (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1886. Etching. Hardie 9. Image 7 3/8 x 10; plate 9 x 11 7/8; sheet 12 13/16 x 17. A fine, richly-inked proof printed on white wove paper. Signed in the plate. This is the preliminary etching for the mezzotint. $125.
The Grand Chartreuse runs through the Alps of Dauphine near Grenoble.
Mill Near the Grand Chartreuse -- Dauphiny (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1886. Mezzotint. Hardie 9.ii. Image 7 3/8 x 10; plate 9 x 11 7/8; sheet 12 1/2 x 17 1/4. A fine, richly-inked proof printed on white wove paper. Signed in the plate. This is the finished mezzotint. $250.
In 1807 Turner began his great enterprise of publishing a series of 100 plates known as the Liber Studiorum, inspired, in part, by Claude's own studio record, Liber veritatis (begun in 1635 and continued until his death in 1682). Turner's aim was to document the great variety and range of landscape; some of the subjects were taken from his own existing paintings and watercolours. He employed several engravers, although he supervised the work at every stage, etched some of the plates himself, and made innumerable preparatory drawings. The publication was issued in parts consisting of five plates each and covering all the styles of landscape composition, including historical, architectural, mountainous, pastoral, and marine. The first part appeared in June 1807 and the last in 1819, when Turner evidently lost interest in the project and abandoned it after the publication of 71 plates.
Frank Short worked on the uncompleted Liber Studiorumthroughout his career, completing 47 etched and mezzotinted plates.
British Fine Prints.
Allinson Gallery Index.
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