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拍品专文
This exquisitely detailed watercolour was painted for Walter Fawkes as the title-page to six illustrations to the poets listed. A manuscript list by a member of the Fawkes family in the National Art Library, Victoria & Albert Museum, London, states that they were 'all drawings of 1822.' The six other watercolours show Norham Castle, illustrating a line from Sir Walter Scott's Marmion; Rokeby with two quotations from Scott's Rokeby; Glen Artney, with a reference to Scott's Lady of the Lake; The Acropolis, Athens (now in the Vouros-Eutaxias Museum, Athens), signed and dated 'J M W Turner R.A. 22' and inscribed 'T'is living Greece no more' from Lord Byron's The Giaour; Melrose Abbey, withtwo lines from Scott's The Lay of the Last Minstrel; and Lalla Rookh illustrating Thomas Moore's poem of that name (Wilton, op. cit., pp. 424-5, nos. 1052-57, three examples illustrated).
Turner went on to illustrate further publications of all three writers' works: Scott's Poetical Works, 1833-4, and Miscellaneous Prose, 1834-6; Byron's Life and Works, 1832-3; and Moore's The Epicurean, 1839. He also exhibited six oil paintings with quotations from Byron between 1818 and 1844, though he seems never to have met the author. He did meet Thomas Moore, at a dinner in Rome with Lawrence, Chantrey and John Jackson, and worked closely with Sir Walter Scott on his illustrations, staying with him in 1831.
Turner depicts the monument having three wreath-encircled roundels each containing facsimilies of the poet's signature. On top are placed an Irish harp for Moore, a bugle for Byron and bagpipes for Scott together with two hats, white with a plume for Byron and a highlander's cap for Scott. On the left, climbing up the hill, is King James V of Scotland, incognito as the huntsman FitzJames. In the distance Turner shows the snow-capped peak of Benvenu and, below, Loch Katrine, its vivid blue an allusion to the eyes of the 'Lady of the Lake'; Turner had referred to this simile by Sir Walter Scott in his verse letter of 16 January 1811 to John Tayler (J. Gage, ed., Collected Correspondence of J.M.W. Turner, London,1980, p. 47).
The conceit of the reference to the 'Three Kingdoms' (i.e. England, Scotland and Ireland) seems to derive from the opening of Dryden's poem 'Under Mr. Milton's portrait, before his Paradise Lost';
Three Poets in three distant ages born,
Greece, Italy and England did adorn.'
The seven watercolours were not part of an album with texts but rather were, like Fawkes' famous Rhine watercolours, described as being 'in cases'. They are now divided between the museum in Athens and various private collections.
Turner went on to illustrate further publications of all three writers' works: Scott's Poetical Works, 1833-4, and Miscellaneous Prose, 1834-6; Byron's Life and Works, 1832-3; and Moore's The Epicurean, 1839. He also exhibited six oil paintings with quotations from Byron between 1818 and 1844, though he seems never to have met the author. He did meet Thomas Moore, at a dinner in Rome with Lawrence, Chantrey and John Jackson, and worked closely with Sir Walter Scott on his illustrations, staying with him in 1831.
Turner depicts the monument having three wreath-encircled roundels each containing facsimilies of the poet's signature. On top are placed an Irish harp for Moore, a bugle for Byron and bagpipes for Scott together with two hats, white with a plume for Byron and a highlander's cap for Scott. On the left, climbing up the hill, is King James V of Scotland, incognito as the huntsman FitzJames. In the distance Turner shows the snow-capped peak of Benvenu and, below, Loch Katrine, its vivid blue an allusion to the eyes of the 'Lady of the Lake'; Turner had referred to this simile by Sir Walter Scott in his verse letter of 16 January 1811 to John Tayler (J. Gage, ed., Collected Correspondence of J.M.W. Turner, London,1980, p. 47).
The conceit of the reference to the 'Three Kingdoms' (i.e. England, Scotland and Ireland) seems to derive from the opening of Dryden's poem 'Under Mr. Milton's portrait, before his Paradise Lost';
Three Poets in three distant ages born,
Greece, Italy and England did adorn.'
The seven watercolours were not part of an album with texts but rather were, like Fawkes' famous Rhine watercolours, described as being 'in cases'. They are now divided between the museum in Athens and various private collections.