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A View of the City of Oxford 1787; 30x46cm watercolor on paper; Tate Britain, London, UK |
Clifton, Nuneham Courtnay, near Abingdon 1787; 29x42cm watercolor on paper; Tate Britain, London, UK |
Folly Bridge and Bacon's Tower (after M. A. Rooker) 1787; 30x43cm watercolor on paper; Tate Britain, London, UK |
A Street in Margate, Looking down to the Harbour 1788; 27x40cm pen and ink and watercolor on paper; Private collection |
Distant View of Minster, Isle of Thanet, Kent 1788; 27x37cm pen and ink and watercolor on paper; Private collection |
Minster Church, Isle of Thanet, Kent 1788; 30x42cm pen and ink and watercolor on paper; Private collection |
St John's Church, Margate 1788; 30x43cm pen and ink and watercolor on paper; Private collection |
Christ Church, Oxford from Merton Fields 1789; 27x33cm watercolor on paper; Tate Britain, London, UK |
Distant View of Oxford from the Abingdon Road 1789; 24x43cm watercolor on paper; Tate Britain, London, UK |
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Distant View of Oxford from the South 1789; 19x25cm pen and ink and watercolor on paper; Private collection |
East Malling Abbey, Kent 1789; 21x226cm pen and ink and watercolor on paper; Private collection |
Interior of Fountains Abbey, Yorkshire 1789; 27x37cm pen and ink and watercolor on paper; Private collection |
Radley Hall, Oxfordshire from the North-West 1789; 34x44cm watercolor on paper; Tate Britain, London, UK |
Radley Hall, Oxfordshire from the South-East 1789; 29x43cm watercolor on paper; Tate Britain, London, UK |
Self-Portrait at the Age of Sixteen 1791-1792; 52x42cm oil/canvas; Indianapolis Museum of Art, US |
The Sick Cat: A Cottage Interior 1789; 24x32cm watercolor on paper; Tate Britain, London, UK |
View of the Archbishop's Palace, Lambeth 1790; 26x37cm watercolor on paper; Indianapolis Museum of Art, Indiana, US |
Oxford, Christ Church from Merton Fields 1790; 19x28cm watercolor on paper; Tate Britain, London, UK |
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The 'Apollo Belvedere' 1790; 46x26cm chalk on grey paper; Tate Britain, London, UK |
View of the Archbishop's Palace, Lambeth 1790; 26x37cm watercolor on paper; Indianapolis Museum of Art, Indiana, US |
Westminster Abbey with Henry VII's Chapel 1790; 30x45cm pen and ink and watercolor on paper; Private collection |
Ruins of West Front, Tintern Abbey 1794-1795; 32x23cm watercolour and graphite on paper; Museu Calouste Gulbenkian, Lisbon |
Bath Abbey from the North-East 1791; 36x28cm watercolor on paper; Tate Britain, London, UK |
Bristol Cathedral from College Green 1791; 34x31cm watercolor on paper; Tate Britain, London, UK |
Dent de Lion, Margate 1791; 25x34cm watercolor on paper; Yale Center for British Art, New Haven, Connecticut, US |
Hot Wells, from St Vincent's Rock, Bristol 1791; 35x41cm watercolor on paper; Bristol Museum and Art Gallery, UK |
Malmesbury Abbey from the South-East 1791; 18x25cm watercolor on paper; Tate Britain, London, UK |
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Malmesbury Abbey 1791; 19x26cm pen and ink and watercolour on paper; Private collection |
Self-Portrait 1791; 9x7cm watercolour on paper; National Portrait Gallery, London, UK |
Stoke House, Bristol 1791; 29x41cm pen and ink and watercolor on paper; Private collection |
The Avon near Wallis's Wall 1791; 23x29cm watercolor on paper; Tate Britain, London, UK |
The 'Belvedere Antinoüs' 1791; 39x20cm black and white chalk on brown paper; Tate Britain, London, UK |
The Dover Mail 1791; 37x49cm watercolor with pen, brown ink and rubbing out on paper; Private collection |
The Mouth of the Avon, near Bristol, seen from below Clifton 1791; 22x28cm watercolor with pen, brown ink and rubbing out on paper; Bristol Museum and Art Gallery, UK |
The West Tower of Malmesbury Abbey 1791; 27x21cm watercolor on paper; Tate Britain, London, UK |
The West Tower of Malmesbury Abbey 1791; 32x24cm watercolor on paper; Tate Britain, London, UK |
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View in the Avon Gorge 1791; 23x29cm watercolor on paper; Tate Britain, London, UK |
Watermill and Stream 1791; 24x29cm watercolor on paper; Tate Britain, London, UK |
South Porch of St Mary Redcliffe, Bristol 1791; 35x29cm pen, brown ink and watercolor; Bristol Museum and Art Gallery, UK |
South Porch of St Mary Redcliffe, Bristol 1791; 35x29cm pen, brown ink and watercolor; Bristol Museum and Art Gallery, UK |
Self-Portrait at the Age of Sixteen 1791-1792; 52x42cm oil/canvas; Indianapolis Museum of Art, US |
Canterbury, The West Gate, from the River Stour 1792; 21x27cm graphite and watercolour on paper; Tate Britain, London, UK |
Christ Church Gate, Canturbury 1792; 21x26cm watercolor on paper; Tate Britain, London, UK |
Christchurch Gate, Canterbury 1792; 26x26cm watercolor on paper; Fitzwilliam Museum, University of Cambridge, UK |
Gate of St Augustine's Monastery, Canterbury 1792; watercolor on paper; Yale Center for British Art, New Haven, Connecticut, US |
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Intern Abbey, West Front 1792; 41x31cm watercolor on paper; British Museum, London, UK |
Landscape Composition with a Ruined Castle on a Cliff 1792; 21x27cm pen and ink and watercolor on paper; Private collection |
Lanthony Abbey, Monmouthshire 1792; 21x27cm watercolor on paper; Indianapolis Museum of Art, Indiana, US |
Male Nude Seated Cross-Legged on Rocks, with Chin in His Hand 1792; 52x40cm chalk on paper; Tate Britain, London, UK |
Malmesbury Abbey 1792; 24x20cm watercolor on paper; Smith College Museum of Art, Northampton, Massachusetts, US |
Malmsbury Abbey 1792; 54x38cm watercolor on paper; Norwich Castle Museum and Art Gallery, UK |
Rochester Castle from the River Medway 1792; 21x26cm watercolor on paper; Tate Britain, London, UK |
St Mary's from Oriel Lane, Oxford 1792; 27x21cm watercolor on paper; Tate Britain, London, UK |
The Avon Gorge at Bristol, with the Old Hot Wells House 1792; 27x34cm graphite and watercolour on paper; The Courtauld Gallery, London, UK |
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The Pantheon, the Morning after the Fire 1792; 39x51cm graphite and watercolour on paper; Tate Gallery, London, UK |
The Pantheon, the Morning after the Fire 1792; 39x51cm watercolor over pencil; British Museum, London, UK |
Tom Tower, Christ Church, Oxford 1792; 31x24cm pen and ink and watercolor on paper; Private collection |
West Gate, Canturbury 1792; 21x27cm watercolor on paper; Tate Britain, London, UK |
A Bay on a Rocky Coast with a Man Running 1792-1793; 21x26cm watercolor on paper; Tate Britain, London, UK |
A Rocky Shore, with Men Attempting to Rescue a Storm-Tossed Boat 1792-1793; 15x23cm watercolor on paper; Tate Britain, London, UK |
A Shipwreck on a Rocky Coastline, with a Ruined Castle 1792-1793; 15x23cm watercolor on paper; The Whitworth, University of Manchester |
Dover, harbour and shipping 1792-1793; Fitzwilliam Museum, University of Cambridge, UK |
River Landscape with Distant Mountains 1792-1793; 21x26cm watercolor on paper; Tate Britain, London, UK |
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Sailors Getting Pigs on board in a Gale 1792-1793; 21x27cm watercolor on paper; Tate Britain, London, UK |
Arch of the Old South Abbey, Evesham 1793; 21x27cm blue and grey washes, watercolor and black ink over pencil on paper; Rhode Island School of Design Museum of Art, Providence, US |
Britain at Peace. Imaginary Landscape with Windsor Castle 1793; 46x74cm watercolor on paper; Tate Britain, London, UK |
East Malling Alley Abbey, Kent 1793; watercolor on paper; Private collection |
Evesham, The Church of St Lawrence, Seen through the Arch of the Bell Tower 1793; 21x27cm watercolor on paper; Tate Britain, London, UK |
Gate of St Augustine's Monastery, Canterbury 1793; 34x49cm watercolor on paper;Yale Center for British Art, New Haven, Connecticut, US |
Hereford Cathedral 1793; 30x41cm watercolor on paper; Hereford Museum and Art Gallery, Herefordshire, UK |
Interior of King John's Palace, Eltham 1793; 33x27cm watercolor on paper; Yale Center for British Art, New Haven, Connecticut, US |
Rochester 1793; 21x28cm watercolor on paper; Sterling and Francine Clark Art Institute, Williamstown, MA, US |
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The Wreck of a Transport Ship 1810; 241x173cm oil/canvas; Calouste Gulbenkian Foundation Museum, Lisbon, Portugal |
St Mary's Church and the Radcliffe Camera from Oriel Lane 1793; 52x38cm watercolor on paper; Tate Britain, London, UK |
The Constable's Tower, Dover Castle 1793; watercolor on paper; Private collection |
The Founder's Tower, Magdalene College 1793; 35x26cm watercolor on paper; British Museum, London, UK |
The West Gate, Canterbury, Kent 1793; 27x20cm watercolor on paper; National Gallery of Ireland, Dublin |
King Edgar's Gate, Worcester 1794; watercolor on paper; Indianapolis Museum of Art, Indianapolis, Indiana, US |
Llangollen, North Wales 1794; 20x26cm watercolor over pencil on paper; The Whitworth, University of Manchester, UK |
Matlock 1794; watercolor on paper; Indianapolis Museum of Art, Indianapolis, Indiana, UK |
Old London Brige 1794; 26x35cm graphite and watercolour on paper; Tate Gallery, London, UK |
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Welsh Bridge at Shrewsbury 1794; watercolors; Private Collection |
The Falls of the Anio at Tivoli near Rome (probably after J. R. Cozens) 1794; 49x32cm watercolor on paper; Victoria and Albert Museum, London, UK |
The Old Water Mill 1794; 25x18cm watercolors; The Whitworth, University of Manchester, UK |
Tintern Abbey: The Crossing and Chancel, Looking towards the East Window 1794; watercolor on paper; Tate Britain, London, UK |
Old Welsh Bridge, Shrewsbury, Shropshire 1794; 22x27cm watercolor on paper; The Whitworth, University of Manchester, UK |
Ruins of West Front, Tintern Abbey 1794-1795; 32x23cm watercolour and graphite on paper; Museu Calouste Gulbenkian, Lisbon |
A Lime Kiln by Moonlight 1795; 16x24cm watercolor on paper; Herbert Art Gallery and Museum, Coventry, UK |
Ariccia, near Rome 1795; watercolors; Private Collection |
Cathedral Church at Lincoln 1795; 45x35cm watercolor on paper; British Museum, London, UK |
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St David's, The Entrance to the Great Hall of the Bishop's Palace 1795; 41x25cm watercolor on paper; Tate Britain, London, UK |
Wolverhampton, Staffordshire 1796; 31x41cm watercolour on paper; Art Gallery and Museum, Kelvingrove, Glasgow, Scotland |
A Bridge at Lewes, Sussex 1796; 15x21cm watercolor on paper; Tate Britain, London, UK |
Aberdulais Mill 1796; 35x50cm watercolor on paper; Llyfrgell Genedlaethol Cymru, Aberystwyth, UK |
Fishermen at Sea 1796; 91x122cm oil/canvas; Museum de Fundatie, Zwolle, Netherlands |
Keyes Mill, Pembury 1796; watercolors; Private Collection |
St Erasmus and Bishop Islip's Chapel, Westminster Abbey 1796; 54x39cm watercolor on paper; British Museum, London, UK |
Limekiln at Coalbrookdale 1797; 28x42cm oil/panel; Yale Center for British Art, Paul Mellon Collection |
View of Harewood Castle from the Southeast 1797; 42x58cm Oil on paper laid down on canvas; Private collection |
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Beech Trees at Norbury Park, Surrey 1797; 44x43cm watercolor on paper; National Gallery of Ireland, Dublin |
Beech Trees at Norbury Park, Surrey 1797; 28x33cm watercolor on paper; Private collection |
Ely Cathedral, South Transept 1796; 62x48cm watercolor on paper; Corsham Court, Wiltshire, UK |
London from Lambeth, with Westminster 1795-1797; 31x45cm watercolor on paper; Private collection |
Moonlight, A Study at Millbank 1797; 31x40cm oil/panel; Tate Britain, London, UK |
Mountain Stream, Coniston 1797; 36x26cm pencil/watercolor; Private Collection |
Old Dover Harbour 1794-1797; watercolor on paper; Scottish National Gallery, National Galleries of Scotland, Edinburgh, UK |
Sheffield, from Derbyshire Lane 1797; 11x16cm watercolour on paper; Sheffield Galleries & Museums Trust |
Tivoli, Villa of Maecenas, after John Robert Cozens 1794-1797; 48x31cm watercolour on paper; Huntington Library, San Marino, California, US |
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Transept of Ewenny Priory, Glamorganshire 1797; 40x55cm watercolors; National Museum Wales, UK |
Aeneas and the Sibyl, Lake Avernus 1798; 76x98cm oil/canvas; Tate Britain, London, UK |
Buttermere Lake, with Part of Cromackwater, Cumberland, a Shower 1798; 88x119cm oil/canvas; Tate Gallery, London, UK |
Caernarvon Castle 1798; 15x23cm oil/canvas; Tate Britain, London, UK |
Conway Castle, North Wales 1798; 53x76cm watercolor and gum arabic with graphite underdrawing; J. Paul Getty Museum, US |
Conway Castle, North Wales 1798; 53x76cm watercolor and gum arabic with graphite underdrawing; J. Paul Getty Museum, US |
Morning Amongst the Coniston Fells, Cumberland 1798; 123x90cm oil/canvas; Tate Britain, London, UK |
Norham Castle, Sunrise 1798; 50x70cm graphite, watercolour and bodycolour on paper; Cecil Higgins Art Gallery, Bedford, UK |
Shipping by a Breakwater 1798; 30x19cm oil/mahogany; Tate Britain Gallery, London, UK |
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Abergavenny Bridge, Monmountshire 1799; 41x63cm watercolour on paper; Victoria and Albert Museum, UK |
Caernarvon Castle 1799; 82x57cm watercolors; Private Collection |
Dolbadern Castle 1799; 67x97cm pencil/watercolor; Tate Gallery, London, UK |
Perspective View of Fonthill Abbey from the South West 1799; 77x50cm gouache/watercolor; Bolton Museum and Art Gallery, Lancashire, UK |
Harlech Castle, from Twgwyn Ferry, Summer's Evening Twilight 1799; 87x119cm oil/canvas; Yale Center for British Art, New Haven, Connecticut, US |
Self-Portrait 1799; 74x58cm oil/canvas; Tate Britain, London, UK |
South View of Christ Church, from the Meadows 1799; 45x31cm watercolors; Ashmolean Museum, Oxford, UK |
The Chapter House, Salisbury Chathedral 1799; watercolors; Whitworth Art Gallery, The University of Manchester, UK |
Warkworth Castle, Northumberland; Thunderstorm Approaching at Sunset 1799; watercolors; Musee du Louvre, Paris, France |
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A Canal Tunnel Near Leeds 1799-1801; 40x25cm watercolors; Tate Gallery, London, UK |
The Fifth Plague of Egypt 1800; 48x72cm oil/canvas; Indianapolis Museum of Art, Indianapolis, Indiana, USA |
The Siege of Seringapatam 1800; 42x65cm watercolour, gouache and graphite on paper; Tate Gallery, London, UK |
Dolbadarn Castle, Study for Diploma Picture 1800-1802; 46x34cm oil/panel; The National Library of Wales, UK |
The Hero of a Hundred Fights 1800–1810; 90x121cm oil/canvas; Art Gallery of Ontario,Toronto, Canada |
An Old Church 1800s; 17x23cm watercolor and graphite on buff wove paper; Philadelphia Museum of Art, US |
Passage of Mount Cenis 1800s; watercolor; Birmingham Museums and Art Gallery, US |
Windy Day 1800s; oil/canvas; Tabley House Collection, University of Manchester, UK |
The Kitchen of Wells’s Cottage, Knockholt 1801; 27x36cm oil, watercolour and ink on paper; Tate Gallery, London, UK |
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Ships Bearing up for Anchorage ‘The Egremont Seapiece’ 1802; 112x83 oil/canvas; Tate Britain Gallery, UK |
The Fall of the Clyde, Lanarkshire, Noon Vide Akenside’s Hymn to the Naiads 1802; 74x105cm watercolour on paper; National Museums and Galleries on Merseyside, UK |
A Coast Scene with Fishermen Hauling a Boat Ashore ‘The Iveagh Seapiece’ 1803-1804; 91x122 oil/canvas; Private Collection |
The Devil’s Bridge, St Gothard 1803-1804; 76x62cm oil/canvas; Private collection |
The Passage of Mount St Gothard, Taken from the Centre of the Teufels Broch, Devil’s Bridge, Switzerland 1804; 98x68cm watercolor; Abbot Hall Art Gallery, Kendal, Cumbria, UK |
Dolbadarn Castle, Study for Diploma Picture 1800-1802; 46x34cm oil/panel; The National Library of Wales, UK |
The Hero of a Hundred Fights 1800–1810; 90x121cm oil/canvas; Art Gallery of Ontario,Toronto, Canada |
Dutch Boats in a Gale 1801; 163x221cm oil/canvas; National Gallery, London, UK |
Dutch Fishing Boats in a Storm 1801; oil/canvas; National Gallery, London, UK |
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Pembroke Caselt, South Wales, Thunder Storm Approaching 1801; 99x50cm oil/canvas; Private Collection |
The Kitchen of Wells’s Cottage, Knockholt 1801; 27x36cm oil, watercolour and ink on paper; Tate Gallery, London, UK |
Fishermen upon a Lee-Shore, in Squally Weather 1802; 91x122cm oil/canvas; Southampton City Art Gallery, UK |
Grenoble Seen from the River Drac with Mont Blanc in the Distance 1802; 36x64cm oil/canvas; Tate Britain Gallery, UK |
Lake Lucerne 1802; 30x46cm watercolor; Tate Gallery, London, UK |
Nude Swiss Girl and a Companion on a Bed 1802; 16x19cm graphite and watercolour on paper; Tate Britain Gallery, UK |
Ships Bearing up for Anchorage ‘The Egremont Seapiece’ 1802; 112x83 oil/canvas; Tate Britain Gallery, UK |
Ships Bearing up for Anchorage ‘The Egremont Seapiece’ 1802; 112x83 oil/canvas; Tate Britain Gallery, UK |
The Fall of the Clyde, Lanarkshire, Noon Vide Akenside’s Hymn to the Naiads 1802; 74x105cm watercolour on paper; National Museums and Galleries on Merseyside, UK |
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Chateau de St. Michael, Bonneville, Savoy 1802-1803; 91x121cm oil canvas; Yale Center for British Art, Paul Mellon Collection |
Tumble Bridge, Perthshire 1801; 28x46cm oil/canvas; Yale Center for British Art, New Haven, Connecticut, US |
Bonneville, Savoy with Mont Blanc 1803; 92x123cm oil/canvas; Dallas Museum of Art, US |
Calais Pier, with French Poissards Preparing for Sea, an English Packeet Arriving 1803; 240x170cm oil/canvas; The National Gallery, Trafalgar Square, London |
Genda 1803; 18x13cm pencil/watercolor; Private Collection |
Glacier and Source of the Arveron, Going Up to the Mer de Glace 1803; 101x68 watercolor; Yale University Art Gallery, New Haven, Connecticut, USA |
Holy Family 1803; 102x141cm oil/canvas; Tate Britain Gallery, UK |
The Festival of the Opening of the Vintage, Macon 1803; 237x146cm oil/canvas; Sheffield Galleries and Museums Trust, UK |
A Coast Scene with Fishermen Hauling a Boat Ashore ‘The Iveagh Seapiece’ 1803-1804; 91x122 oil/canvas; Private Collection |
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The Devil’s Bridge, St Gothard 1803-1804; 76x62cm oil/canvas; Private collection |
Kilchern Castle, with the Cruchan Ben Mountains, Scotland Noon 1804; 53x37cm watercolor; Private Collection |
The Devil's Bridge, St. Gothard 1804; 105x85cm watercolour and white wax crayon on wove paper; Yale Center for British Art, Paul Mellon Fund, USA |
The Great Fall of the Reichenbach, in the Valley of Hasle, Switzerland 1804; 102x68cm watercolour on paper; Cecil Higgins Art Gallery, Bedford, England |
The Passage of Mount St Gothard, Taken from the Centre of the Teufels Broch, Devil’s Bridge, Switzerland 1804; 98x68cm watercolor; Abbot Hall Art Gallery, Kendal, Cumbria, UK |
Godalming from the South 1805; 20x34cm oil/panel; Tate Britain Gallery, UK |
Interior of Salisbury Cathedral 1805; 50x66cm watercolor; Private Collection |
The Battle of Trafalgar 1805; 261x368cm oil/canvas; National Maritime Museum, Greenwich, London, Greenwich Hospital Collection |
The Deluge 1805; 142x235cm oil/canvas; Tate Britain Gallery, UK |
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The Destruction of Sodom 1805; 146x237cm oil/canvas; Tate Gallery, London, UK |
The Shipwreck 1805; 171x240cm oil/canvas; Tate Gallery, London, UK |
The Thames near Walton Bridges 1805; 37x73cm oil paint on mahogany veneer; Tate Gallery, London, UK |
Fall of the Rhine at Schaffhausen 1805-1806; 148x239cm oil/canvas; Museum of Fine Arts, Boston, US |
Abingdon 1805; 101x130cm oil/canvas; Tate Britain, UK |
The Goddess of Discord Choosing the Apple of Contention in the Garden of the Hesperides 1806; 155x218cm oil/canvas; Tate Britain, London, UK |
The Lake of Thun, Switzerland 1806; 39x28cm watercolor; Private Collection |
The Victory Returning from Trafalgar, in Three Positions 1806; 67x100cm oil/canvas; Yale Center for British Art, Paul Mellon Collection |
Windsor Castle from the Thames 1806; 119x88cm oil/canvas; Private Collection |
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Margate 1806-1807; 85x116cm oil/canvas; Tate Britain Gallery, UK |
Newark Abbey 1806-1807; 91x123cm oil/canvas; Yale Center for British Art, Paul Mellon Collection |
The Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory 1806-1808; 170x238cm oil/canvas; Tate Gallery, London, UK |
A Country Blacksmith Disputing upon the Price of Iron, and the Price Charged to the Butcher for Shoeing his Poney 1807; 54x77cm oil/canvas; Tate Britain Gallery, UK |
Gipsy Camp 1807; 121x91cm oil paint on oak; Tate Britain Gallery, UK |
Newark Abbey 1807; 29x35cm oil/panel; Tate Britain Gallery, UK |
Sun Rising through Vagour Fishermen Cleaning and Sellilng Fish 1807; 179x134cm oil/canvas; National Gallery, London, UK |
The Junction of the Thames and the Medway 1807; 108x143cm oil/canvas; National Gallery of Art Washington |
The Thames near Walton Bridges 1805; 37x73cm oil paint on mahogany veneer; Tate Gallery, London, UK |
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The Thames near Windsor 1807; 89x119cm oil/canvas; Tate Britain Gallery, UK |
Tree Tops and Sky, Guildford Castle 1807; 27x73cm oil paint on mahogany veneer; Tate Gallery, London, UK |
Spithead,Two Captured Danish Ships Entering Portsmouth Harbour 1807-1809; 171x233cm oil/canvas; Tate Britain Gallery, UK |
Gordale Scar 1808; 54x76cm oil and graphite on paper; Tate Britain, UK |
Margate 1808; 90x120cm oil/canvas; Petworth House, UK |
Pope's Villa, at Twickenham 1808; 120x92cm oil/canvas; Private Collection |
The Thames at Eton 1808; 60x90cm oil/canvas; Tate Britain Gallery, UK |
View of Richmond Hill and Bridge 1808; 91x12cm1 oil/canvas; Tate Gallery, London, UK |
Fishing upon the Blythe-Sand, Tide Setting In 1809; 88x119cm oil/canvas; Tate Gallery, London, UK |
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London from Greenwich Park 1809; 90x120cm oil/canvas; Tate Gallery, London, UK |
Ploughing up Turnips, near Slough 1809; 102x130cm oil/canvas; Tate Gallery, London, UK |
High Street, Oxford 1810; 68x100cm oil/canvas; Private Collection |
Petworth, Sussex, the Seat of the Earl of Egremont, Dewy Morning 1810; 91x120cm oil/canvas; Petworth House, UK |
The big connection channel at Southall Mill 1810; 92x122cm oil/canvas; Private Collection |
The Fall of an Avalanche in the Grisons 1810; 120x90cm oil/canvas; Tate Gallery, London, UK |
The Lake Geneva seen from Montreux 1810; 102x162cm oil/canvas; Los Angeles County Museum of Art, US |
The Wreck of a Transport Ship 1810; 241x173cm oil/canvas; Calouste Gulbenkian Foundation Museum, Lisbon, Portugal |
England, Richmond Hill, on the Prince Regent’s Birthday 1819; 180x334 oil/canvas; Tate Britain Gallery, UK |
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Apollo and Python 1811; 145x237cm oil/canvas; Tate Britain Gallery, UK |
Saltash with the Water Ferry, Cornwall 1811; 89x120cm oil/canvas; The Metropolitan Museum of Art NY, US |
Scarborough Town and Castle. Morning. Boys Catching Crabs 1811; 101x68 watercolor; Private Collection |
Weymouth 1811; 21x14cm watercolor; Yale Center for British Art, Paul Mellon Collection, Wallington, Connecticut, USA |
Bonneville, Savoy 1812; 92x123cm oil/canvas; Philadelphia Museum of Art, US |
Snow Storm, Hannibal and His Army Crossing the Alps 1812; 237x146cm oil/canvas; Tate Gallery, London, UK |
St Mawes at the Pilchard Season 1812; 91x120cm oil/canvas; Tate Britain, UK |
Frosty Morning 1813; 113x174cm oil/canvas; Tate Britain, UK |
Frosty Morning 1813; 113x174cm oil/canvas; Tate Britain, UK |
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Dido and Aeneas 1814; 146x237cm oil/canvas; Tate Britain, UK |
The Mew Stone at the Entrance of Plymouth Sound 1814; watercolor; National Gallery of Ireland, Dublin, Ireland |
Ivy Bridge, Devonshire 1814-1815; 28x40cm watercolour on paper; Tate Britain Gallery, UK |
Lake Avernus: Aeneas and the Cumaean Sibyl 1814-1815; 71x97cm oil/canvas; Yale Center for British Art, New Haven, Connecticut, US |
Crossing the Brook 1815; 165x193cm oil/canvas; Tate Gallery, London, UK |
Dido Building Carthage 1815; 155x232cm oil/canvas; National Gallery, London, UK |
The Battle of Fort Rock, Val d'Aoste, Piedmont 1815; 69x101cm watercolor; British Museum, London, UK |
The Eruption of the Souffrier Mountains, in the Island of St Vincent, at Midnight, on the 30th of April, 1812. 1815; 79x104cm oil/canvas; University of Liverpool Art Gallery & Collections |
Ingleborough From The Terrace Of Hornby Castle 1816; 41x29cm pencil/watercolor; Private Collection |
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Pendennis Castle, Cornwall Scene after a Wreck 1816; watercolor; Private Collection |
The Vale of Ashburnham 1816; watercolor; Private Collection |
Landscape Composition of Tivoli 1817; 67x102cm oil/canvas; Private Collection |
Mount Vesuvius in Eruption 1817; 39x28cm watercolor; Yale Center for British Art, Paul Mellon Collection, Wallington, Connecticut, USA |
Raby Castle, Residence of the Earl of Darlington 1818; 119x180cm oil/canvas; Private Collection |
The Decline of the Carthaginian Empire 1817; 170x239cm oil/canvas; Tate Britain, UK |
The Field of Waterloo 1817; 28x40cm watercolour, graphite and scratching out on paper; The Fitzwilliam Museum, Cambridge |
View of La Riccia, Ariccia 1817; 13x21cm watercolor and gouache; The Clark Art Institute Williamstown |
A First Rate Taking In Stores 1818; 39x28cm pencil/watercolor; Cecil Higgins Art Gallery, Bedford, Bedfordshire, UK |
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Dort, the Dort Packet Boat from Rotterdam Bacalmed 1818; 233x157cm oil/canvas; Yale University Art Gallery, New Haven, Connecticut, USA |
Kirby Londsale Churchyard 1818; 41x28cm watercolor; Private Collection |
Raby Castle, the Seat of the Earl of Darlington 1817; 119x180cm oil/canvas; The Walters Art Museum, Baltimore, Maryland, US |
The Field of Waterloo 1818; 147x238cm oil/canvas; Tate Britain Gallery, UK |
Bell Rock Lighthouse 1819; 30x45cm watercolour, gouache and scraping out on paper; The National Gallery of Scotland |
England, Richmond Hill, on the Prince Regent’s Birthday 1819; 180x334 oil/canvas; Tate Britain Gallery, UK |
Entrance of the Meuse, Orange-Merchant on the Bar, Going to Pieces 1819; 175x246cm oil/canvas; Tate Britain, UK |
Heriot's Hospital, Edinburgh 1819; 16x25 watercolor/paper; National Galleries of Scotland |
Rainbow 1819; watercolor/paper; Private Collection |
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Rome, The Forum with a Rainbow 1819; 36x22cm pencil/watercolor; British Museum, London, UK |
San Giorgio Maggiore in the Morning 1819; 28x22cm watercolour on paper; British Museum, London, UK |
St. Peter's from the south 1819; 22x36 watercolor/paper; British Museum, London, UK |
Venice, Looking East from the Guidecca, Sunrise 1819; 28x22cm watercolor/paper; British Museum, London, UK |
Wilderness A Engedi & Convent of Santa Saba 1819; watercolor/paper; Private Collection |
Rome From Monte Testaccio 1820; 21x13cm pencil/watercolor; Private Collection |
Rome, from the Vatican. Raffaelle, Accompanied by La Fornarina, Preparing his Pictures for the Decoration of the Loggia 1820; 177x335cm oil/canvas; Tate Gallery, London, UK |
Rome, The Colosseum 1820; 29x27cm watercolor/paper; British Museum, London, UK |
Forum Romanum, for Mr Soane’s Museum 1826; 145x236cm oil/canvas; Tate Britain, London, UK |
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Rope. Passengers Going on Board ‘Pas de Calais’ 1827; 174x213cm oil/canvas; Manchester City Galleries, UK |
Richmond Hill 1820-1825; 29x48cm watercolour and bodycolour on paper; National Museums and Galleries on Merseyside |
Margate from the Sea, Whiting Fishing 1822; 42x64 watercolor/paper; Tate Gallery, London, UK |
Melrose Abbey 1822; 19x13cm watercolor on cream wove paper; Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, USA |
Norham Castle on the Tweed 1822; 19x14cm watercolor/paper; Private Collection |
What You Will! 1822; 53x48cm oil/canvas; Sterling and Francine Clark Art Institute at Williamstown, MA, USA |
A Storm, Shipwreck 1823; 43x63cm watercolor/paper; The British Museum, UK |
A Storm, Shipwreck 1823; 43x63cm watercolor/paper; The British Museum, UK |
Childe Harold 1823; 142x248cm oil/canvas; Tate Gallery, London, UK |
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Norham Castle, on the River Tweed 1823; 13x21cm watercolor/paper; British Museum, London, UK |
Rye, Sussex 1823; watercolor/paper; National Museum of Wales ,UK |
Shields, on the River Tyne 1823; 15x21cm watercolor; Tate Gallery, London, UK |
The Bay of Baiae, with Apollo and the Sibyl 1823; 145x237cm oil/canvas; Tate Gallery, London, UK |
Stangate Creek, on the River Medway 1823-1824; 16x24cm watercolour on paper; Tate Gallery, London, UK |
The Battle of Trafalgar 1805; 261x368cm oil/canvas; National Maritime Museum, Greenwich, London, Greenwich Hospital Collection |
Arundel Castle on the River Arun, with a Rainbow 1824; 16x23 watercolor/paper; British Museum, London, UK |
Boscastle, Cornwall 1824; 14x23cm watercolor/paper; Ashmolean Museum, University of Oxford, UK |
Grenoble Bridge 1824; 53x71cm transparent and opaque watercolor with scraping over traces of graphite; The Baltimore Museum of Art, US |
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Hythe, Kent 1824; 14x22cm watercolour on paper; Guildhall Art Gallery |
Rhodes, for Lord Byron's Works 1824; 22x13cm watercolor; Private Collection |
The Bass Rock, for The Provincial Antiquities of Scotland 1824; 25x15cm watercolor/paper; Lady Lever Art Gallery, Port Sunlight, United Kingdom |
Totnes, in the River Dart 1824; 16x23 watercolor/paper; Tate Gallery, London, UK |
Folkestone from the Sea 1824-1825; 48x68cm gouache and watercolour on paper; Private Collection |
Dover Castle 1825; 23x15cm watercolor/paper; Museum Of Fine Arts, Boston, USA |
Falmouth Harbor 1825; 15x22cm watercolor and gouache, with scraping, on cream wove paper; The Sterling and Francine Clark Art Institute, UK |
Rievaulx Abbey, Yorkshire 1825; watercolor/paper; Private Collection |
Scarborough 1825; 15x22cm watercolors/paper; Tate Gallery, London, UK |
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Shipwreck off Hastings 1825; watercolor/paper; National Gallery of Ireland, Dublin, Ireland |
Storm Clouds Sunset 1829; 24x34 watercolor/paper; British Museum, London, UK |
Death on a Pale Horse 1825-1830; 60x75cm oil/canvas; Tate Gallery, London, UK |
Fall of the Trees, Yorkshire 1826; watercolor/paper; Private Collection |
Forum Romanum, for Mr Soane’s Museum 1826; 145x236cm oil/canvas; Tate Britain, London, UK |
Okehampton 1826; 41x28cm watercolour, pencil and grey ink wash with touches of gouache and gum arabic and sponging and scratching out ;National Gallery of Victoria, Melbourne, Australia |
Prudhoe Castle, Northumberland 1826; 40x29cm watercolor/paper; British Museum, London, UK |
View from the Terrace of a Villa at Niton, Isle of Wight 1826; 61x45cm oil/canvas; Private Collection |
Port Ruysdael, between 1826-1827; 92x122cm oil/canvas, Yale Center for British Art, Paul Mellon Collection |
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Rope. Passengers Going on Board ‘Pas de Calais’ 1827; 174x213cm oil/canvas; Manchester City Galleries, UK |
A man seated at a table in the Old Library 1827; 14x19cm watercolour and gouache on paper; Tate Gallery, London, UK |
A Yorkshire River 1827; 29x41cm watercolor on wove paper; National Gallery of Art Washington, US |
Cowes, Isle of Wight 1827; watercolor/paper; Private Collection |
Louth, Lincolnshire 1827; 42x28cm watercolor/paper; British Museum, London, UK |
Mortlake Terrace 1827; 92x122cm oil/canvas; National Gallery of Art, Washingon, DC, USA |
Stonehenge 1827; 27x40cm watercolour on paper; Salisbury and South Wiltshire Museum, UK |
Study of Sea and Sky, Isle of Wight 1827; 32x50cm oil/canvas; Tate Gallery, London, UK |
The Artist and his Admirers 1827; 13x19cm watercolour and bodycolour on pape; Tate Gallery, London, UK |
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Three Seascapes 1827; 90x60cm oil/canvas; Tate Gallery, London, UK |
Lake Nemi 1827-1828; 60x99cm oil/canvas; Tate Britain Gallery, UK |
Tivoli, the Cascatelle 1827-1828; 60x77cm oil/canvas; Tate Britain Gallery, UK |
Vision of Medea 1828; 173x248cm oil/canvas; Tate Britain, UK |
A Ship Aground 1828; 136x70cm oil/canvas; Tate Gallery, London, UK |
Alnwick Castle, Northumberland 1828; watercolor/paper; National Gallery of South Australia, Adelaide, Australia |
Archway with Trees by the Sea 1828; 87x60cm oil/canvas; Tate Gallery, London, UK |
Ariccia Sunset 1828; 79x60cm oil/canvas; Private Collection |
Carisbrook Castle, Isle of Wight 1828; watercolor/paper; Private Collection |
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Chichester Canal 1828; 65x134cm oil/canvas; Tate Gallery, London, UK |
East Cowes Castle, the seat of J.Nash, Esq. the Regatta beating to windward 1828; 120x90cm oil/canvas; Indianapolis Museum of Art, Indianapolis, Indiana, USA |
Hill Town on the Edge of the Campagna 1828; 41x59cm watercolor/paper; Tate Gallery, London, UK |
Interior at Petworth 1828; 14x19cm watercolor/paper; British Museum,London, UK |
Lancaster Sands 1828; 27x40cm watercolor and bodycolour on paper; Private Collection |
Palestrina 1828; 140x248cm oil/canvas; Tate Britain, UK |
Petworth Park, Tillington Church in the Distance 1828; 60x145cm oil/canvas; Tate Gallery, London, UK |
Petworth, the Drawing room 1828; 19x14cm watercolors/paper; British Museum, London, UK |
Playing Billiards, Petworth 1828; 35x48cm watercolor/paper; British Museum, London, UK |
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Seascape 1828; 41x52cm oil paint on millboard; Tate Gallery, London, UK |
Stamford 1828; 42x29cm gouache, scrapings, watercolor; Lincolnshire County Council, Usher Gallery, Lincoln, UK |
The Chain Pier, Brighton 1828; 71x136cm oil/canvas; Tate Gallery, London, UK |
Two Recumbent Nude Figures 1828; 17x28cm oil/canvas; Tate Britain, UK |
Alnwick Castle, Northumberland 1829; 28x48cm watercolor/paper; Art Gallery of South Australia, Adelaide |
Brighton from the Sea 1829; 63x132cm oil/canvas; Petworth House, UK |
Chichester Canal 1829; 63x132cm oil/canvas; Tate Britain Gallery, UK |
The Lake, Petworth, Sunset, a Stag Drinking 1829; 63x132cm oil/canvas; Tate Gallery, UK |
The Lake, Petworth, Sunset, Fighting Bucks 1829; 62x146cm oil/canvas; Tate Gallery, London, UK |
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Ulysses deriding Polyphemus. Homer's Odyssey 1829; 203x132cm oil/canvas; National Gallery, London, UK |
View of Orvieto 1829; 91x123cm oil/canvas; Tate Gallery, London, UK |
Virginia Water 1829; 44x29cm watercolor/paper; Private Collection |
Interior of a Great House, The Drawing Room, East Cowes Castle 1830 90x121cm oil/canvas Tate Britain, UK |
Jessica 1830; 122x91cm oil/canvas; Tate Gallery, London, UK |
Kenilworth Castle 1830; 45x29cm watercolor/paper; Museum of Fine Art, San Francisco, USA |
Mont Blanc from Fort Roch, Val D'Aosta 1830; 69x104cm oil/canvas; Private Collection |
Scene on the Loire 1830; 14x19cm watercolor/paper; Ashmolean Museum, Oxford, UK |
The Evening Star 1830; 123x92cm oil/canvas; National Gallery, London, UK |
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View of Saint Germain en Laye and its Chateau 1830; 29x46cm watercolor/paper; Musee du Louvre, Paris, France |
Caligula’s Palace and Bridge 1831; 137x246 oil/canvas; Tate Britain, UK |
Childe Harold’s Pilgrimage, Italy 1832; 142x248cm oil/canvas; Tate Britain Gallery, UK |
Breakers on a Flat Beach 1835–1840; 90x121cm oil/canvas; Tate Gallery, London, UK |
Steamer and Lightship; a study for ‘The Fighting Temeraire’ 1838–1839; 91x119cm oil/canvas; Tate Britain, UK |
Sunset 1800-1835; 66x81cm oil/canvas; Tate Britain Gallery, UK |
The Thames above Waterloo Bridge 1830-1835; 90x121cm oil/canvas; Tate Gallery, London, UK |
The Scarlet Sunset 1830-1840; 13x18cm watercolour and gouache on paper; Tate Gallery, London, UK |
Caligula’s Palace and Bridge 1831; 137x246 oil/canvas; Tate Britain, UK |
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Fort Vimieux 1831; 106x71cm oil/canvas; Private Collection |
Staffa, Fingal's Cave 1832; 122x91cm oil/canvas; Yale University Art Gallery, New Haven, Connecticut, USA |
Childe Harold’s Pilgrimage, Italy 1832; 142x248cm oil/canvas; Tate Britain Gallery, UK |
Helvoetsluys, the City of Utrecht, Going to Sea 1832; 91x122cm oil/canvas; Tokyo Fuji Art Museum |
Kidwelly Castle, South Wales 1832; 44x28 watercolor/paper; Harris Museum and Art Gallery, Preston, UK |
Rouen Cathedral 1832; 14x19cm gouache and watercolour on paper; Tate Gallery, London, UK |
Shadrach, Meshach and Abednego in the Burning Fiery Furnace 1832; 91x70cm oil/mahogany; Museum Zwolle, Netherlands |
Staffa, Fingal's Cave 1832; 122x91cm oil/canvas; Yale University Art Gallery, New Haven, Connecticut, USA |
The Prince of Orange, William III, Embarked from Holland, and Landed at Torbay, November 4th, 1688, after a Stormy Passage 1832; 90x120cm oil/canvas; Museum Zwolle, Netherlands |
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View over Town at Sunset, a Cemetery in the Foreground 1832; 19x14cm watercolor/paper; British Museum, London, UK |
Wreckers - Coast of Northumberland, with a Steam-Boat Assisting a Ship off Shore 1833-1834; 90x122 oil/canvas, Yale Center for British Art, Paul Mellon Collection |
The Valley of the Brook at Kidron, Jerusalem, Absalom's Tomb 1833-1836; 14x20cm pencil and watercolour with scratching out; Private Collection |
The Burning of the Houses of Lords and Commons, October 16, 1834 1834; 92x123cm oil/canvas; Philadelphia Museum of Art, US |
The Burning of the Houses of Parliament 1834; 23x32 watercolor/paper; British Museum, London, UK |
The Burning of the Houses of Lords and Commons, October 16, 1834 1834; 92x123cm oil/canvas; Philadelphia Museum of Art, US |
The Golden Bough 1834; 104x163cm oil/canvas; Tate Gallery, London, UK |
The Temple of Poseidon at Sunium, Cape Colonna 1834; 38x58cm graphite, watercolour and gouache on paper; Tate Gallery, London, UK |
Venice, The Dogana and San Giorgio Maggiore 1834; 228x309cm oil/canvas; National Gallery of Art, Washingon, DC, USA |
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Wreckers Coast of Northumberland 1834; 125x90cm oil/canvas; Yale University Art Gallery, New Haven, Connecticut, USA |
The Burning of the Houses of Parliament 1834-1835; 30x44cm Watercolour and gouache on paper; Tate Gallery, London, UK |
The Arch of Constantine, Rome 1835; 91x121cm oil/canvas; Tate Gallery, London, UK |
A Disaster at Sea 1835; 171x220cm oil/canvas; Tate Gallery, London, UK |
Dinner in a Great Room with Figures - in Costume 1835; 91x122cm oil/canvas; Tate Gallery, London, UK |
Keelmen Heaving in Coals by Moonlight 1835; 92x122cm oil/canvas; National Gallery of Art Washington, US |
Landscape with a River and a Bay in the Background 1835; 93x123cm oil/canvas; Musee du Louvre, Paris, France |
Longship Lighthouse, Lands End 1835; 28x44cm watercolor and gouache, scraped by the artist; J. Paul Getty Museum, Los Angeles, US |
Music Party, East Cowes Castle 1835; 121x90cm oil/canvas; Tate Britain Gallery, UK |
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Riders on a Beach 1835; oil/board; Private Collection |
Shore Scene with Waves and Breakwater 1835; oil/board; Tate Gallery, London, UK |
The Bright Stone of Honour, Ehrenbreitstein and the Tomb of Marceau, from Byron's 'Childe Harold' 1835; 123x93cm oil/canvas; Private Collection |
The Burning of the Houses of Lords and Commons, 16 October 1834 1835; 123x153cm oil/canvas; Cleveland Museum of Art, US |
The Burning of the Houses of Lords and Commons, 16 October 1834 1835; 123x153cm oil/canvas; Cleveland Museum of Art, US |
The High Street, Oxford 1835; 35x51cm watercolor/paper; British Museum, London, UK |
The Rainbow 1835; gouache and watercolour on paper; Private Collection |
Two women and a letter 1835; 121x91cm oil/canvas; Tate Gallery, London, UK |
Venice, from the Porch of Madonna della Salute 1835; 91x122cm oil/canvas; The Metropolitan Museum of Art NY, US |
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Waves Breaking on a Shore 1835; 46x60cm oil/canvas; Tate Britain, UK |
Wolf's Hope, Eyemouth 1835; 10x16cm watercolor and gouache over graphite; The Clark Art Institute Williamstown, US |
Yacht Approaching the Coast 1835; 102x142cm oil/canvas; Tate Gallery, London, UK |
Breakers on a Flat Beach 1835–1840; 90x121cm oil/canvas; Tate Gallery, London, UK |
Grey Clouds over the Sea 1835-1840; 19x28cm gouache and watercolour; Tate Gallery, London, UK |
Margate, from the Sea 1835-1840; 91x122cm oil/canvas; The National Gallery, Trafalgar Square, London |
Stormy Sea with Blazing Wreck 1835-1840; 99x141cm oil/canvas; Tate Gallery, London, UK |
Stormy Sea with Dolphins 1835-1840; 90x121cm oil/canvas; Tate Gallery, London, UK |
A Packet Boat off Dover 1836; 19x27cm watercolor and gouache; National Gallery of Art Washington, US |
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Juliet And Her Nurse 1836; oil/canvas; Colección de Arte Amalia Lacroze de Fortabat, Buenos Aires |
Rome from Mount Aventine 1836; 124x91cm oil/canvas; Private Collection |
Ivrea 1836-1845; 22x30cm watercolor and resist on cream wove paper; The Clark Art Institute Williamstown, US |
Hero and Leander's farewell 1837; 146x236cm oil/canvas; The National Gallery, Trafalgar Square, London, UK |
Interior of Petworth House 1837; 90x122cm oil/canvas; Tate Gallery, London, UK |
Regulus 1837; 89x123cm oil/canvas; Tate Gallery, London, UK |
The Grand Canal Scene, A Street In Venice 1837; 150x112cm oil/canvas; The Huntington Library, Art Collections, and Botanical Gardens, UK |
Ancient Italy. Ovid Banished from Rome 1838; 125x94cm oil/canvas; National Gallery of Victoria, UK |
Flint Castle 1838; watercolor/paper; Private Collection |
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Modern Italy, the Pifferari 1838; oil/canvas; Glasgow Museum, UK |
Phryne Going to the Public Baths as Venus, Demosthenes Taunted by Aeschines 1838; 193x165cm oil/canvas; Tate Gallery, London, UK |
Steamer and Lightship; a study for ‘The Fighting Temeraire’ 1838–1839; 91x119cm oil/canvas; Tate Britain, UK |
Ancient Rome Agrippina Landing with the Ashes of Germanicus 1839; 91x121cm oil/canvas; Tate Gallery, London, UK |
Modern Rome, Campo Vaccino 1839; 90x122cm oil/canvas; J. Paul Getty Museum, Los Angeles, US |
The Fighting Temeraire tugged to her last berth to be broken up 1839; 91x122cm oil/canvas; National Gallery, London, UK |
The Rape of Proserpine 1839; 92x123cm oil/canvas; National Gallery of Art Washington, US |
Ehrenbreitstein and Coblenz 1840; 28x22cm watercolor/paper; Indianapolis Museum of Art, Indianapolis, Indiana, USA |
Oberwesel 1840; 35x53cm watercolor and gouache; National Gallery of Art Washington, US |
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Rockets and Blue Lights to Warn Steamboats of Shoal Water 1840; 92x122cm oil/canvas; The Clark Art Institute Williamstown, US |
Seascape with Distant Coast 1840; 91x121cm oil/canvas; Museum Zwolle, Netherlands |
Seascape with Storm Coming On 1840; 91x121cm oil/canvas; Tate Britain Gallery, UK |
Sun Setting over a Lake 1840; 91x122cm oil/canvas; Tate Gallery, London, UK |
Sunrise, with a Boat between Headlands 1840; 91x122cm oil/canvas; Tate Gallery, London, UK |
The New Moon or ‘I’ve lost My Boat, You shan’t have Your Hoop’ 1840; 65x81cm oil/canvas; Tate Gallery, London, UK |
The Slave Ship 1840; 90x122cm oil/canvas; Museum of Fine Arts, Boston, MA, USA |
Turner’s Bedroom in the Palazzo Giustinian,the Hotel Europa, Venice 1840; 23x30cm watercolour and bodycolour on paper; Tate Gallery, London, UK |
Venice 1840; 91x122cm oil/canvas; Private Collection |
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Venice, Moonrise 1840; 22x31cm watercolour on paper; Tate Gallery, London, UK |
Venice, seen from the Giudecca Canal 1840; 61x91cm oil/canvas; Tate Gallery, London, UK |
Venice, the Bridge of Sighs 1840; 68x91cm oil/canvas; Tate Gallery, London, UK |
View off Margate, Evening 1840; 32x48cm oil/canvas; The Clark Art Institute Williamstown, US |
Waves Breaking against the Wind 1840; 60x95cm oil/canvas; Tate Britain Gallery, UK |
Waves Breaking on a Lee Shore at Margate, Study for ‘Rockets and Blue Lights’ 1840; 59x95cm oil/canvas; Art Gallery of Ontario,Toronto, Canada |
Goldau, with the Lake of Zug in the Distance, Sample Study 1842–1843; 22x29cm graphite, watercolour and pen on paper; Tate Gallery, London, UK |
Queen Mab’s Cave 1846; 92x122cm oil/canvas; Tate Britain, UK |
Landscape with Water 1840-1845; 121x182cm oil/canvas; Tate Gallery, London, UK |
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Rough Sea 1840-1845; 91x121cm oil/canvas; Tate Gallery, London, UK |
Rough Sea with Wreckage 1840-1845; 92x122cm oil/canvas; Art Gallery of Ontario,Toronto, Canada |
Stormy Sea Breaking on a Shore 1840-1845; 44x63cm oil/canvas; Yale Center for British Art, Paul Mellon Collection |
Sunrise, with a Boat between Headlands 1840-1845; 91x121cm oil/canvas; Art Gallery of Ontario,Toronto, Canada |
The Ponte Delle Torri, Spoleto 1840-1845; 91x121cm oil/canvas; Art Gallery of Ontario, Toronto, Canada |
Venice with the Salute 1840-1845; 62x92cm oil/canvas; Tate Gallery, London, UK |
Yacht Approaching the Coast 1840-1845; 102x142cm oil/canvas; Tate Gallery, London, UK |
Dawn after the Wreck 1841; 25x36cm watercolor/paper; Courtauld Institute Gallery, London, UK |
Fire at the Grand Storehouse of the Tower of London 1841; 23x32cm watercolour on paper; Tate Britain Gallery, UK |
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Giudecca, la Donna della Salute and San Georgio 1841; 91x61cm oil/canvas; Private Collection |
Goldau 1841; 47x30cm watercolor/paper; Private Collection |
Hafod 1841; 47x30cm watercolor/paper; National Museums and Galleries on Merseyside, UK |
South of Bellinzona 1841; 23x33cm watercolor/paper; British Museum, London, UK |
Campo Santo, Venice 1841; 61x91cm oil/canvas; Toledo Museum of Art, Toledo, OH, USA |
Peace 1842; 87x86cm oil/canvas; Tate Gallery, London, UK |
Storm Seam Boat off a Harbour's Mouth Making Signals in Shallow Water, and Going by the Lead 1842; 91x121cm oil/canvas; Tate Gallery, London, UK |
The Blue Rigi Lake of Lucerne Sunrise 1842; 45x29 watercolor/paper; Private Collection |
The Dark Rigi 1842; 30x45 watercolor/paper; Tate Gallery, London, UK |
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The Dogana, San Giorgio, Citella, From the Steps of the Europa 1842; 61x92cm oil/canvas; Tate Gallery, London, UK |
The Opening of the Wallhalla 1842; 112x200cm oil/mahogany; Tate Britain, London, UK |
War. The Exile and the Rock Limpet 1842; 79x79cm oil/canvas; Tate Gallery, London, UK |
Approach to Venice 1844; 62x94cm oil/canvas; National Gallery of Art, Washingon, DC, USA |
Approach to Venice 1844; 62x94cm oil/canvas; National Gallery of Art, Washingon, DC, USA |
Shade and Darkness, the Evening of the Deluge 1843; 78x78cm oil/canvas; Tate Gallery, London, UK |
St Benedetto, Looking towards Fusina 1843; 62x92cm oil/canvas; Tate Gallery, London, UK |
The Dogana and Santa Maria della Salute, Venice 1843; 62x93cm oil/canvas; National Gallery of Art Washington, US |
The Evening of the Deluge 1843; 76x76cm oil/canvas; National Gallery of Art Washington, US |
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The Lake of Zug 1843; 29x46cm watercolor over graphite; The Metropolitan Museum of Art, New York, US |
The Morning after the Deluge 1843; 78x78cm oil/canvas; Tate Gallery, London, UK |
The Sun of Venice Going to Sea 1843; 61x92cm oil/canvas; Art Gallery of Ontario,Toronto, Canada |
Approach to Venice 1844; 62x94cm oil/canvas; National Gallery of Art, Washingon, DC, USA |
Fishing Boats Bringing a Disabled Ship into Port Ruysdael 1844; 91x123cm oil/canvas; Tate Gallery, London, UK |
Lake Lucerne, the Bay of Uri from above Brunnen 1844; 72x98cm oil/canvas; Tate Gallery, London, UK |
Rain Steam and Speed, The Great Western Railway 1844; 121x90cm oil/canvas; National Gallery, London, UK |
Venice, Maria della Salute 1844; 61x92cm oil/canvas; Tate Gallery, London, UK |
Heidelberg 1844-1845; 132x201cm oil/canvas; Tate Britain Gallery, UK |
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The Disembarkation of Louis-Philippe at the Royal Clarence Yard, Gosport, 8 October 1844 1844-1845; 90x121cm oil/canvas; Art Gallery of Ontario, Toronto, Canada |
Brunnen, from the Lake of Lucerne 1845; 47x28 watercolor/paper; Sterling and Francine Clark Art Institute at Williamstown, MA, USA |
Coast Scene 1845; 28x47cm watercolor/paper; Private Collection |
Figures on a Beach 1845; watercolor/paper; Private Collection |
Fluelen, from the Lake of Lucerne 1845; 29x47cm watercolor with gouache; Cleveland Museum of Art, US |
Inverary Pier, Loch Fyne, Morning 1845; 91x121cm oil/canvas; Yale Center for British Art, Paul Mellon Collection |
Norham Castle, Sunrise 1845; 91x122cm oil/canvas; Tate Gallery, London, UK |
Sunset Seen from a Beach with Breakwater 1845; oil/canvas; Private Collection |
Red Sky over a Beach 1845; watercolor/paper; Private Collection |
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Riva degli Schiavone, Venice, Water Fete 1845; 72x113cm oil/canvas; Tate Gallery, London, UK |
Sailing Boat in a Rough Sea 1845; watercolor/paper; Private Collection |
Ship in a Storm 1845; 9x15cm watercolor/paper; Tate Gallery, London, UK |
Sunrise with Sea Monsters 1845; 91x122cm oil/canvas; Tate Gallery, London, UK |
Two Figures on a Beach with a Boat 1845; watercolor/paper; Tate Gallery, London, UK |
Venice with the Salute 1845; 61x92cm oil/canvas; Tate Britain, London, England, UK |
Waves Breaking on a Beach 1845; 28x44cm watercolour on paper; Private Collection |
Whalers 1845; 91x122cm oil/canvas; The Metropolitan Museum of Art NY, US |
Whalers 1845; 91x121cm oil/canvas; Tate Britain Gallery, UK |
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Going to the Ball, San Martino 1846; 61x92cm oil/canvas; Tate Gallery, London, UK |
Heidelberg 1846; 37x55cm watercolour, pen and ink and scraping out on paper; National Gallery of Scotland |
Returning from the Ball, St Martha 1846; 61x92cm oil/canvas; Tate Gallery, London, UK |
The Angel Standing in the Sun 1846; 78x78cm oil/canvas; Tate Gallery, London, UK |
Undine Giving the Ring to Massaniello, Fisherman of Naples 1846; 79x79cm oil/canvas; Art Gallery of Ontario, Toronto, Canada |
Undine Giving the Ring to Massaniello, Fisherman of Naples 1846; 79x79cm oil/canvas; Tate Gallery, London, UK |
Whalers, Boiling Blubber, Entangled in Flaw Ice, Endeavouring to Extricate Themselves 1846; 89x120cm oil/canvas; Art Gallery of Ontario,Toronto, Canada |
Valley of Aosta: Snowstorm, Avalanche, and Thunderstorm 1836-1837; 92x123cm oil/canvas; Art Institute of Chicago, US |
The Brunig Pass, from Meringen 1846; 45x30cm watercolor/paper; Private Collection |
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Ulysses Deriding Polyphemus 1848; 132x203cm oil/canvas; National Gallery, London, UK |
Mercury Sent to Admonish Aeneas 1850; 90x120cm oil/canvas; Art Gallery of Ontario, Toronto, Canada |
The Departure of the Fleet 1850; 89x120cm oil/canvas; Art Gallery of Ontario,Toronto, Canada |
The Visit to the Tomb 1850; 91x121cm oil/canvas; Art Gallery of Ontario,Toronto, Canada |
A bed, drapery 1827 study; 14x19cm watercolor/paper; Tate Britain, UK |
Conway Castle 1798; 53x76cm atercolor and gum arabic with graphite underdrawing; The J. Paul Getty Trust, US |
The Departure of the Fleet 1850; 89x120cm oil/canvas; Art Gallery of Ontario,Toronto, Canada |
Falmouth Harbour, Cornwall 1811; watercolor/paper; Falmouth Art Gallery, UK |
One bedroom; 14x19cm watercolor; British Museum, London, UK |
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Painter at the easel; 14x19cm watercolor/paper; British Museum, London, UK |
Portsmouth 1824-1825; watercolor/paper; Private Collection |
Salon; 14x19cm watercolor/paper; British Museum, London, UK |
Salon; 14x19cm watercolor/paper; British Museum, London, UK |
The Nordgalerie; 14x19cm watercolor/paper; British Museum, London, UK |
Whitby 1822-1824; watercolour on paper; Private Collection |
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