Falmouth Art Gallery

FAMAG 1000.86

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The Ports or Harbours of England

This mezzotint is the only one in Falmouth Art Gallery Collection from this engraving project initiated by Thomas Lupton. Having already supplied plates for George Cooke's 'Rivers of England' series, illustrated by Turner between 1822-25, Lupton was anxious to expand into publishing himself. Consequently he invited the artist to create a set of twenty-five watercolours for a twelve-part, two-print publication plus vignette wrapper. Lupton succeeded in receiving permission to dedicate the entire work to HM George IV. His prospectus appealing to patriotic sentiment from a seafaring nation of potential subscribers. A pioneer engraver Lupton had been awarded the gold medal of the Society of Arts in 1822 for his innovatory development of steel-faced printing plates.

In the event only thirteen finished drawings including the vignette were forthcoming and the project stalled after a mere three parts had appeared between 1826 and 1828. First of all capricious Lupton and irascible Turner disagreed over the series title and delays in production. The a fierce dispute arose over Turner's refusal to pass proofs on an unrelated large mezzotint reproduction of the artist's 1803 oil painting 'Calais pier; an English Packet arriving', another commission on which Lupton happened to be working at the time.

Upon the scheme's abandonment Lupton simply stored the material he held in his possession. The project was subsequently revived in 1856 after Turner's death when John Ruskin was prevailed upon to write an introduction and commentary for each plate. However, he did so on the proviso that the title revert to Tuner's original 'Harbours of England'. All original six published subjects plus the other unused six were issued in collaboration with Messrs E. Gambart and printed by Spottiswoode & Co. The style of the drawings themselves have much in common with the 'Rivers of England' forebears. Equal in scale and pictorial detail with extensive stippling employed to add texture and tonal variety, Both series were printed on the same fine white paper averaging 160 x 230 mm in size.

As we have seen Turner was uncharacteristically slow in accepting the replacement of copper by steel in the printing process. A reluctance that undoubtedly hindered the smooth running of a number of his publishing ventures.

In this work, although entitled 'Falmouth,' the main feature is in fact the castle of St Mawes. The view across the Carrick roads to Falmouth and Pendennis Castle is from the north east and based on drawings in the Devonshire Coast Number1 sketchbook.1 In order to accommodate both fortifications Turner has heightened the hill on which Pendennis stands. From this viewpoint smoke from the various castle batteries and men o' war can be seen as they fire their salvoes of salute. This, the passing storm clouds and winds on the right (see billowing sails, flags and pennant), the woman laying out her washing in sunshine, all suggest celebration marking the end to hostilities in the Napoleonic war.


the original for this print is in a Private collection, UK