1 January 1825

Advertisement for the publications of William Bernard Cooke (1778–1855) includes details of the Rivers of England.

The RIVERS of ENGLAND, (a new and beautiful work,) engraved from Original Drawings, by J.M.W.TURNER, R.A. and the late celebrated artist, THOMAS GIRTIN.

The 3d Number of this work is now published, containing –

1. YORK MINSTER, on the river Foss.

2. DARTMOUTH CASTLE, on the river Dart, Devonshire.

3. KIRKSTALL ABBEY, on the river Aire, Yorkshire.

The style in which the Plates are engraved, is peculiarly adapted to the powerful effects of light and shade, in the varieties of Twilight – Sun-rise – Mid-day – and Sun-set – represented in the masterly productions of TURNER and GIRTIN. They are engraved in Mezzotinto on Steel, by eminent Engravers. Twelve numbers will form the Volume, which will be complete in itself, displaying the principal Landscape beauties of the country, the Cities, Towns, Seats, and Villas, near which the Rivers flow, and will be intermixed with Views of a Marine and more open character towards the Conflux of the Rivers with the Sea.

Royal Quarto, each Number containing Three Plates, 10s. – PROOFS, Imperial Quarto, 14s. – INDIA PAPER PROOFS, ditto, 16s.

      No.IV. will be published early in the Spring of 1825, containing –

1. A VIEW OF TOTNESS, Devonshire, on the river Dart.

2. OKEHAMPTON CASTLE, on the river Torridge, Devon, from Drawings by J.M.W. TURNER, R.A.

3. RIPPON MINSTER, on the river Ouse, Yorkshire, from Drawing by THOMAS GIRTIN.

1 March 1825

Thomas Lupton’s (1791–1873) mezzotint Ripon Minster on the Rivers Ure and Skell (see print after TG1666) is published as plate twelve of William Bernard Cooke’s (1778–1855) Rivers of England (republished as The River Scenery of England, 1827).

March 1825

Amédée Pichot, Historical and Literary Tour of a Foreigner in England and Scotland (Pichot, 1825, vol.1, p.111)

Looking at present-day artists, Amédée Pichot (1795–1877) complains that their landscapes ‘are merely sketches, very different from the dioramas created by the magic pencils of Girtin or Turner’. The former he describes as ‘An artist of extraordinary talent who died a few years ago’.

Summer 1825

Advertisement for the publications of William Bernard Cooke (1778–1855) includes details of the Rivers of England.

No.5, of THE RIVERS OF ENGLAND, engraved from Drawings by J.M.W.TURNER, R.A. and the late celebrated artist THOMAS GIRTIN; containing Brougham Castle, Bolton Abbey, and the Town of Dartmouth. This work is engraved in Mezzotinto on Steel, by MESSRS. T. LUPTON, CHARLES TURNER, W. SAY, S.W. REYNOLDS, and J. BROMLEY, and is printed uniform with “COOKE’S SOUTHERN COAST OF ENGLAND.” The style on which the plates are engraved is adapted to the powerful effects of Light and Shade in the masterly productions of TURNER and GIRTIN. Each Number contains Three Plates, Royal Quarto, 10s. – Proofs, Imperial Quarto, 14s. – India Paper Proofs, 14s.

Twelve Numbers will form the Volume

1 June 1825

John Bromley’s (1795–1839) mezzotint Bolton Abbey on the River Wharfe (see print after TG1680) is published as plate fourteen of William Bernard Cooke’s (1778–1855) Rivers of England (republished as The River Scenery of England, 1827)).

24 September 1825

The Literary Gazette, and Journal of Belles Lettres, Arts, Sciences, &c., no.453 (24 September 1825), p.620

In a review of William Bernard Cooke’s (1778–1855) Rivers of England, the mezzotint Bolton Abbey on the River Wharfe (see print after TG1680) is described as ‘one of the most beautiful of Girtin’s twilight effects’.

November 1825

The Lady’s Magazine, new series, vol.6 (November 1825), p.696

Reviewing the mezzotints in William Bernard Cooke’s (1778–1855) Rivers of England, the writer notes the general improvement in the art of engraving since the executants are now ‘better draughtsmen’. The rivers ‘continue their course … the artificial course which is assigned to them by the masterly drawings of Turner and Girtin’. The fifth number is ‘rendered particularly worthy of notice by the skillful representation of three kinds of light, the full light of the sun, twilight, and gloomy light after a shower. In the view of Bolton Abbey, the effect of the second species is happily delineated.’

November 1825

La Belle Assemblée, new series, vol.2 (November 1825) p.228

Reviewing the mezzotints in William Bernard Cooke’s (1778–1855) Rivers of England, the writer praises Bolton Abbey on the River Wharfe (see print after TG1680): ‘The names and merits of the designers are too justly appreciated to require any eulogy from us.’ This number is ‘at least equal in excellence to any of its predecessors. Every admirer of the beautiful, the impressive, and the sublime in nature, ought to patronize this publication.’

December 1825

The Eclectic Review, new series, vol.1 (December 1825), p.526

In a review of the prints in William Bernard Cooke’s (1778–1855) Rivers of England, the mezzotint Bolton Abbey on the River Wharfe (see print after TG1680) is censured:

Girtin’s share in the work does not please us quite so well. The scenes from his drawings are heavy and black, and this we suspect to be the fault of the engraver, as the view of Bolton Abbey is spirited and rich; nor is there any such character in the fine aquatinted etchings which were published from his Parisian sketches, shortly after his death.

1800 - 1801

Ripon Minster, from the South East

TG1666

1801

Bolton Abbey, from the River Wharfe

TG1680

1801

Bolton Abbey, from the River Wharfe

TG1680

1801

Bolton Abbey, from the River Wharfe

TG1680

1801

Bolton Abbey, from the River Wharfe

TG1680