2nd trial proof of Turner's unpublished etching, with the incomplete removal of Charles Turner's mezzotint addition, for Rawlinson's later edition of the unpublished plates of the Liber Studiorum, etching in dark brown ink on old Van Gelder watermarked laid paper, 207 x 290mm., the full sheet, with marginal browning, with printer's or Rawlinson's own marginal annotations, 2nd Trial, Delete (?p....), From the charcoaled down plate , [R.74; F.74], hinged into mount, framed and glazed, [c.1873]. This was one of a group of plates intended for publication in Turner's 'Liber Studiorum', but not included at the time for various reasons. The composition derives from a drawing by Turner in the 'Skies' sketchbook in the Tate, made in 1818 on a visit to the Windsor area with the family of his patron, Walter Fawkes, to visit his sons at Eton. This is one of the plates etched by Turner, himself, with mezzotint engraving added by Charles Turner, but which led to a dispute between artist and engraver that took 19 years to resolve. Rawlinson describes the later history of the plate in his volume, 'Turner's Liber studiorum : a description and a catalogue' (1878): The nearly-finished copper-plate was sold in 1873, and many impressions were taken from it, but with the same unsatisactory results as in the case of Apuleia in Search of Apuleius (PI. 72). These impressions, apart from their thin, poor look, can at once be recognized by their being on modern paper. When the plate was done with, I purchased it, believing that below the worn mezzotint the etching might still be recoverable. Accordingly, I had the mezzotint surface charcoaled down, and finding that all but the faintest lines of the Etching were still in fairly good preservation, I had a few impressions printed.