62. Quay at Coblenz. 7¾” × 12¼". (Christie’s, 1890.) 63. Bridge over the Moselle, Coblenz. 7⅝” x 12¼". (Christie’s, 1890; Rev. W. Macgregor.) 64. Neuweid and Weissenthurm. 7¾” × 12¼". (Christie’s, 1890; Agnew’s Gallery, 1901.) 65. Weissenthurm, with Hoche’s Monument. 7⅞” × 12½". 66. Andernach. 7¾” × 12¼". (Christie’s, 1890.) 67. Roman Tower, Andernach. 7¾” × 12¼". (Christie’s, 1890.) 68. Hammerstein. 7⅝” × 12⅜". (Christie’s, 1890.) 69. Remagen and Linz. 7¾” × 12⅜". (Christie’s, 1890; Sir J. Gibson Carmichael, Bart.) 70. Rolandswerth Nunnery and Drachenfels. 7¾” × 12⅛". (Christie’s, 1890; Sir Donald Currie.) 71. Drachenfels and Nunnery. 9⅛” × 11⅜". (Christie’s, 1890.) 72. Drachenfels. 9¼” × 11¼". 73. Godesberg. 7¾” × 11⅞". (Christie’s, 1890.) 74. RhineGate, Cologne. 7¾” × 12". (Christie’s, 1890.) 75. Cologne. 7¾” × 12". (Christie’s, 1890.) Details of the circumstances under which these fifty-one drawings were produced have been already given. No man, not even Turner, could possibly have sketched and worked up these subjects in the short space of a fortnight. But to have made even the sketches for this series of drawings in the short space of time Turner had at his disposal proves the marvellous rapidity with which he worked. The drawings themselves are full of picturesque detail and accurate observation, but they are, perhaps, more remarkable for their technical skill than for their subject-matter. The deadly sureness of touch and almost incredible dexterity in the manipulation of washes of colour, remind one more of the calligraphic art of the Chinese and Japanese than of the work of an English landscape painter. If the early Swiss drawings in this collection may be described as an aftermath of Turner’s romantic period, the Rhine drawings may be said to be the first instalment of the treasures of art which the great magician was to give us in the series of drawings of the Seine and Loire, and the later sketches of the Rhine and Moselle. Though nearly three-quarters of this series were sold in 1890, the sixteen best drawings were carefully retained. YORKSHIRE, MARINE, AND OTHER SUBJECTS. 76. Scarborough Town and Castle: Morning. Boys collecting Crabs. Exhibited R.A. 1811. 27” × 40". (Plate IV.) 77. Flounder Fishing, Putney Bridge. Exhibited R.A. 1811, under title November--Flounder Fishing. 24½” × 18½". 78. Cottage Steps; Children feeding Chickens. Exhibited R.A. 1811, under title May--Chickens. 24½” × 18½". 79. The Strid, Bolton Woods. 11¼” × 15½". (Plate VI.) 80. Bolton Abbey, from the South. Signed “J. M. W. Turner, R.A.” 11¼” × 15½". (Plate XIII.) 81. Lancaster Sands. Signed “J. M. W. Turner, R.A., p.p.” 11⅛” × 15½". 82. Man-of-War making Signals off the Mouth of the Tagus. 11” × 15½". 83. Wreck of an East Indiaman. 11¼” × 15¾".