Categorized & AnnotatedPaintings in Museums and Public Art Galleries Worldwide: NEW!, Washington D.C. NEW!Most but not all artists in the NGA database have works online, London, UK, UK7 paintings online, Ohio, London, UK, MassachusettsHarvard have works in their collections, but unfortunately you have to type in the search yourself, KansasTintagel, 1836National Art Databases and Museum Inventories:5 works online when last checkedArt Market:(e.g. Records of past sales at auction; sites providing examples of the artist's signature)(database goes as far back as 1991; images go about as far back as 1999)(database goes as far back as 1998; images where permitted by copyright go about as far back as 2001)Pictures from Image Archives:Additional Image Search Tools:(SafeSearch set to 'strict'; go to Advanced Search (Flickr/Google) or Preferences (Bing) to change)Flickr: 'William Turner of Oxford'.

Andrew Wilton has suggested that the group of five was made between about 1830 and 1835, based on a pencil drawing in the 1830 Kenilworth sketchbook (Tate; Turner Bequest CCXXXVIII 1a), made from the junction with Queen’s Lane, with The Queen’s College in the right foreground, University College further down the High Street on the left, the spire of St Mary’s Church beyond All Souls College on the right, and the spire of All Saints Church in the distance. There are separate sketches showing variations on the view, made in about 1798 (Tate,; Turner Bequest XXVII E, CXX F) and two later ones in the Oxford sketchbook, in use between about 1834 and 1838 (Tate,; Turner Bequest CCLXXXV 2a, 5a). Anne Lyles has noted that the Kenilworth sketch only corresponds closely with (CCLXIII 4) and the present work. Wilton’s suggestion that the five colour studies were ‘almost certainly preliminary exercises’ towards a design for Turner’s Picturesque Views in England and Wales has been followed by later commentators; his assertion that ‘the whole group was evidently done at one sitting’ seems feasible.

However, his dating of all five to the early 1830s is rendered impossible by the 1837 watermark of (CCLXIII 362), as is John Gage’s ‘ c.1832/5’, relating them to the watercolour Christ Church College, Oxford of about 1832 (Ashmolean Museum, Oxford), engraved in that year for England and Wales (Tate impressions:, ). Lyles has suggested that the five studies actually represent two campaigns, with (CCLXIII 3, watermarked 1816) and (CCLXIII 5) having been made as early as ‘? C.1820–5’, and the others (including the one watermarked 1837) around ‘1837–9’.

The first two, with their ‘colder colour ranges of blues, yellows and greys’, might have been for England and Wales, but as the project concluded prematurely in 1838 she argues that Turner would be have been unlikely to embark on further studies after 1837. Instead she proposes that the three further studies, including the present work, with their common ‘pinks, purples and blues’, might have been intended for a central Oxford counterpoint to the watercolour (Manchester Art Gallery) commissioned by the Oxford printseller James Ryman and engraved in 1841 as Oxford from North Hinksey. Tate (Turner Bequest CCLXIII 98) is a colour study related to the latter. Eric Shanes has acknowledged the possibility of two phases of High Street views, without making any link from the second to Oxford from North Hinksey (see the introduction to this Oxford subsection for connections between a colour study for the latter and other views in the city).

Baldry, William Turner of Oxford (no. 11 Walker’s Quarterly 1923) Luke Herrman, 'William Turner of Oxford (1789–1862)', Oxoniensia XXVI/XXVII, 1961–2; Hibbert, The Encyclopaedia of Oxford, 1988; The plaque was unveiled at 16 St John Street, Oxford on 29 October 2002. Radeon x570 drivers.

He has suggested that the existence of five variants suggests that Turner ‘encountered some fundamental problem with the design’. Colin Harrison has noted that the extensive studies show that ‘Turner attached a great deal of importance to this new view’, assuming that the five all date to the later 1830s, along with other Oxford colour studies: ‘They cannot be placed in any logical order, and, while some compositions correspond more closely with the sketches in the “Oxford” sketchbook, this is almost accidental.’.