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Gerrish Ltd, from whom bt by Tate Gallery (earlier provenance given in individual entries where known) Lit: Andrew Wilton, Turner in the British Museum, exh. Messrs Hurst & Robinson are to have half the work on condition they find all the capital necessary - so that I have half the Drawings and half the Profits at no risk - I shall send you fine Proofs of course of the whole work It is clear from this letter that Heath's original intention was to publish 120 subjects, although in the event only ninety-six appeared, published in twenty-four parts of four each between 18.
I mean to have them engraved by all the first Artists.
Only one for the series, ‘Saltash’, is dated, to the year 1825, and this was not engraved until 1827 (it appeared in part III) - although since it seems to have been among the first drawings made by Turner for the series, the delay which ensued before it was engraved may have been caused by the project getting off to a slow start.
The letter from Heath to Dawson Turner also indicates that Hurst and Robinson were initially intended to be co-publishers with Heath for the series, and to put up all the capital.
below); various papers and sizes; some annotated in pencil with names of collectors Purchased (Grant-in-Aid) 1986 Prov: ...; N. Turner apparently received thirty proofs of each print (Alaric Watts: quoted in Shanes 1979, p.10).
It was Longmans who decided to terminate publication in 1838. The engravings and plates for England and Wales were still in Turner's London house in Queen Anne Street when he died, and were disposed of as the Fifth Portion of the massive Chancery sales of ‘The Valuable Engravings of the Works of the Late J. In fact very little had been published in line on steel as early as 18 when the project was first conceived (except for images on a much smaller scale), so whether steel was actually considered a realistic option at this date is not know. Andrew Wilton has described the subjects ‘as modern “history pictures” in which the common man is the hero’ (introduction to Shanes 1979), and certainly it is the relationship of man to the which is the series' constant theme.In January 1826, however, the country suffered a severe economic downturn, and Hurst and Robinson were bankrupted in the resulting ‘crash’.The first part of England and Wales was not published until 1 March 1827 by a City firm of print-publishers, Robert Jennings & Co, who had taken over from Hurst and Robinson as co-publishers (although the financial responsibility seems still to have been shared with Heath: see Shanes 1979, p.10); Jennings also took on marketing and distribution.Rawlinson stated that he had been told by the publisher Henry Graves that ‘the plates were usually engraved as fast as Turner supplied the drawings, so that the date on each print always corresponds within about a year with that of the drawing’ (Rawlinson I 1908, p.117).
However, Shanes has argued that this may not always have been the case (Shanes 1979, p.11).
Altogether, nineteen engravers were employed on the project, some of whom already had experience of working with Turner over the previous ten to fifteen years: Edward Goodall, John Horsburgh, William Miller, William Radclyffe and Richard Wallis had all contributed plates to the Southern Coast (see under ); and Thomas Higham (1795–1844) executed a plate of ‘Wilton House’ in 1825 for Hoare's History of Modern Wiltshire.