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Lawrence Gowing, at the Turner Symposium held at Johns Hopkins University, Baltimore in April 1975, suggested that Turner may have painted this series as a trial run to see if such ‘sketchy’ pictures were marketable. Brown that bear stamps of a form that does not seem to have been used before about 1839 and also, in one case, a second stamp incorporating an element that gives the year in which the canvas was made: Norham Castle, Sunrise (No. 1835–40 given in the first edition of this catalogue must be wrong and that the whole group must date from c.

At the same symposium Jerrold Ziff suggested that, although towards the end of his life Turner appeared to become increasingly occupied with images of disaster, this group of oils, mainly of ‘elevated pastoral’ or ‘pastoral’ subjects, shows that Turner still felt that there was a place for the idyllic in the repertoire of a landscape painter and that he may have intended the group to stand as a reaffirmation of his faith in Nature in her more tranquil moods. 512 []) bears an example of this second form of stamp implying the date 1844 (see Butlin, loc. 1840 or later, with Norham Castle, Sunrise after 1844. 1974–5 (622); European Landscape Painting, National Museum of Western Art, Tokyo, September–October 1978 (49, repr.); Paris 1983–4 (78, repr.).

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