NAVAL VICTORIES. 385 Napoleon dies, 1821. Marengo, 1800. Austerlitz, 1805. Beresina, 1812. Leipsic, 1813. The dates of our great naval victories will show the powerful effect such glories must have had on the mind of Turner. Cape St. Vincent, 1780. Howe, 1794. Cape St. Vincent, 1797. Camperdown, 1797. Nile, 1798. Texel, 1799. Copenhagen, 1801. Trafalgar, 1805. Dardanelles, 1807. Basque Roads, 1809. Algiers, 1816. CHAPTER XXIII. TURNER'S PRICES. FROM some account books of Mr. W. B. Cooke's, kindly lent me by Mr. Lupton, I obtain a very clear view of the prices Turner obtained for drawings from 1817 to 1824. As I give all the figures in the Appendix, I will here only select a few of the leading items to comment on. For such drawings (prepared for the engraver's use) as "Brixham," "Fowey," "Ilfracombe," Turner received 107. 10s.; for the loan of drawings for the "Rivers of Devon," such as "the Eddystone," "the Junction of the Tamar," &c., not made, I suppose, on purpose for the work, but lying by him in his portfolio, he obtained 51. 5s. But the charges vary, I suppose, according to certain degrees of finish and goodness, as I find two drawings of Vesuvius, for some work on Pompeii, paid 317. for; and drawings of Battle Abbey (1816), and Winchelsea (1817), paid as low as 61. 6s. Then come, on the creditor side, in August, 1818, charges for copper supplied for the "Liber Studi In the same year, 1818, "Hastings, from the Sea," CHARGE FOR DRAWINGS, 387 for Mr. Fuller's work, is charged at 421. This, I suppose, is the purchase-money for a work perhaps in oil; and further on, 1897. is paid for "Dover (large drawing for Exhibition, 1823)-Shipwreck,” and "Margate-Sunrise." I find also charges of 21. 2s. for touching Tomkinson's "Cuyp" and Girtin's "Kirkstall." The same year, 1822, the drawings of Colne, Rochester, and Norham are charged 81. 8s. each. In 1822 three drawings of the Rhine are charged 851. In 1824 a large drawing of "Smugglers fishing Gin," is marked 631. Then comes a counter item, in 1824, of fourteen numbers of the "Liber Studiorum," at 17. 1s. each, 20 per cent. allowed; making a total of 117. 15s. 66 In 1824 Turner's charges for lending drawings increase. He now receives 251. for the loan of Brougham Castle, Totnes," and "Oakhampton Castle," for the "Rivers." For the first two drawings, for the continuation of the Coast (bought by Mr. Tomkinson), Turner receives 527. 10s. His oil-pictures might not sell; but he was still getting money in many ways-by making drawings and lending drawings, by publishing the "Liber,” and by retouching paintings. The Times, in 1851, says 120 guineas have not unfrequently been given for a small sketch of Turner's in water-colours; and a small sketch-book containing chalk drawings of one of his river tours on the Continent has lately fetched the enormous sum of 600 guineas. The prices of his more finished oil-paintings have ranged, in the last few years, from 700 to 1200 or 1400 guineas. All his works have now acquired triple or quadruple the value of the sums originally paid for them. Apropos of prices, we are told that one day Mr. Gillott, the well-known manufacturer of Birmingham, sallied forth from his hotel, determined at any price to obtain admission to the enchanted house in Queen Anne-street. He was rich, he was enthusiastic-he believed strongly in the power of the golden key to open any door. He arrived at the blistered dirty door of the house with the black-crusted windows. He pulled at the bell; the bell answered with a querulous, melancholy tinkle. There was a long inhospitable pause; then an old woman with a diseased face looked up from the area, and presently ascended and tardily opened the door, keeping the filthy chain up, however, as a precaution. She snappishly asked Mr. Gillott's business. He told her in his blandest voice. "Can't let 'e in," was the answer, and she tried to slam the door. But during the parley the crafty and determined Dives had put his foot in, and now, refusing to any longer parley, he pushed past the feeble enraged old she-Cerberus, and hurried upstairs to the gallery. In a moment Turner was out upon him like a spider on another spider who has invaded his web. Mr. Gillott bowed, introduced himself, and stated that he had come to buy. "Don't want to sell," or some such rebuff, was the answer; but Gillott shut his ears to all Turner's angry vituperations. "Have you ever seen our Birmingham pictures, Mr. Turner?" was his only remark. PECKSNIFF. "Never 'eard of 'em," said Turner. 389 Gillott pulled from his pocket a silvery fragile bundle of Birmingham bank-notes (about 5000l. worth). "Mere paper," said Turner, with grim humour, a little softened, and enjoying the joke. "To be bartered for mere canvas," said Gillott, waving his hand at the "Building of Carthage" and its companions. "You're a rum fellow!" said Turner, slowly entering into negotiations, which ended in Gillott eventually carrying off in his cab some 5000l. worth of Turner's pictures. trons. It was the manufacturers, as I have said, and not the noblemen of England, who were Turner's best paAnd here is an apropos story of Mr. Britton, whose memory many artists still living hold at its proper value. Turner was busy one morning in the bedroom at Maiden-lane, working at some drawings for one of Britton's patrons-I think for the Earl of Essex. Suddenly the door opens and Britton enters, nominally to inquire how the drawings progressed, really to spy out all he could of Turner's fessional secrets. In an instant Turner covered up his drawings, and ran to stop the crafty intruder's entrance. "I've come to see the drawings for the Earl." "You shan't see 'em," said Turner. pro "Is that the answer I am to take back to his lordship?" "Yes; and mind the next time you come through the shop, and not up the back way. I allow no one to come here;" and so shutting the door on sly |