| Andrew Wilton, Post tenebras lux: J.M.W. Turner, James Wyatt and the importance of staned glass, in Burlington Magazine, 154, 2012 pp. 322-329
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| Kimberly Nichols, Turner's Use of Graphite Underdrawing in His Watercolor "Cassiobury Park, Hertfordshire", in Master Drawings, 40, 2002 pp. 299-304
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| Eric Shanes, Identifying Turner's Chamonix Water-Colours, in Burlington Magazine, 142, 2000 pp. 687-694
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| Christine MacKay, Turner's 'Llandeilo Bridge and Dynevor Castle', in Burlington Magazine, 140, 1998 pp. 383-386
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| Michele L. Miller, J.M.W. Turner's Ploughing Up Turnips, near Slough: The Cultivation of Cultural Dissent, in Art Bulletin, 77, 1995 pp. 573-583
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| Peter Schatborn, 'There Is Nothing More lovely, or true...' Een Turner voor het Rijksprentenkabinet, in Bulletin van het Rijksmuseum, 38, 1990 pp. 276-287
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| Graham Smith, David Octavius Hill, David Roberts, and J.M.W. Turner's "Wreck of a Transport Ship", in The J. Paul Getty Museum Journal, 14, 1986 pp. 153-156
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Lynn R. Matteson, The Poetics and Politics of Alpine Passage: Turner's Snowstorm: Hannibal and His Army Crossing the Alps, in Art Bulletin, 62, 1980 pp. 385-398
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| G. Reynolds, Turner and Dutch marine painting, in L.D. Couprie, B. Haak en J.W. Niemeijer (eds.), Nederlands Kunsthistorisch Jaarboek 1970, Bussum, 1970, pp 383-390
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| A.J. Finberg, Turner's "Southern Coast", in The Print Collector's Quarterly, 16, 1929 pp. 165-181
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