Turnbull, a folio plate in lithography, drawn by James Archer, and printed by Fr. Schenk at Edinburgh.
He formed a very extensive and valuable collection of books, which was dispersed by auction in a fourteen days' sale in November 1851. Another library, subsequently collected by him, was sold in London by Sotheby & Wilkinson, 27 Nov.—3 Dec. 1863 (Herald and Genealogist, ii. 170).
For the Abbotsford Club he edited: 1. ‘Ancient Mysteries,’ 1835. 2. ‘Compota Domestica Familiarum de Bukingham et Angoulême,’ 1836, and emendations to the same volume, 1841. 3. ‘Account of the Monastic Treasures in England,’ 1836. 4. ‘Mind, Will, and Understanding, a Morality,’ 1837, being a supplement to the ‘Ancient Mysteries.’ 5. ‘Arthour and Merlin, a metrical romance,’ 1838. 6. ‘The Romances of Sir Guy of Warwick and Rembrun his son,’ 1840. 7. ‘The Cartularies of Balmerino and Lindores,’ 1841. 8. ‘Extracta è variis Chronicis Scocie,’ 1842. 9. ‘A Garden of Grave and Godlie Flowers: by Alexander Gardyne, 1609; The Theatre of Scotish Kings, by A. G., 1709; and ‘Miscellaneous Poems, by J. Lundie,’ 1845.
Other old authors edited by Turnbull were: 10. ‘The Blame of Kirk-Buriall, by William Birnie,’ 1836. 11. ‘The Anatomie of Abuses, by Philip Stubbes,’ 1836. 12. ‘The Romance of Bevis of Hamptoun,’ 1837. 13. ‘Horæ Subsecivæ: by Joseph Henshawe, D.D., Bishop of Peterborough,’ 1839. 14. ‘Legendæ Catholicæ, a lytle boke of seyntlie gestes,’ 1840. 15. ‘The Visions of Tundale,’ 1843. 16. ‘Domestic Details of Sir David Hume of Crossrig,’ 1843. 17. ‘Selection of Letters of Mary Queen of Scots, translated from the Collection of Prince Labanoff,’ 1845. 18. ‘Sir Thomas More's Dialogue of Comfort against Tribulation,’ 1847. 19. ‘An Account of the Chapter erected by William [Bishop] titular Bishop of Chalcedon; by William Sergeant,’ 1853.
For the ‘Library of Translations’ he translated from the French, 20. Audin's ‘History of the Life, Writings, and Doctrines of Luther,’ 2 vols. London, 1854, 8vo.
For the ‘Library of Old Authors’ he edited 21. ‘The Poetical Works of Richard Crashaw,’ 1856. 22. ‘The Poetical Works of William Drummond of Hawthornden,’ 1856. 23. ‘The Poetical Works of Robert Southwell,’ 1856.
His genealogical works are: 24. ‘The Claim of Molineux Disney, Esq., to the Barony of Hussey, 1680,’ Edinburgh, 1836, 8vo. 25. ‘The Stirling Peerage,’ 1839. 26. ‘Factions of the Earl of Arran touching the Restitution of the Duchy of Chatelherault, 1685,’ Edinburgh, 1843, 8vo. 27. ‘British American Association and Nova Scotia Baronets,’ 1846. 28. ‘Memoranda of the State of the Parochial Registers of Scotland,’ 1849.
He formed considerable collections for a continuation of William Robertson's ‘Proceedings relating to the Peerage of Scotland’ (1790), and a folio manuscript volume containing a portion of this continuation was purchased by Mr. Boone at the sale of Turnbull's library in 1863 for 4l. 12s. Another of his projects was a Monasticon for Scotland, for which he obtained a numerous subscription list.
[Gent. Mag. 1863, i. 805; Times, 24 April 1863, p. 12, col. 4; Tablet, April and May 1863, pp. 262, 285, 300, 301; Notes and Queries, 1st ser. viii. 515, 552.]
TURNER, CHARLES (1774–1857), engraver, son of Charles and Jane Turner of Old Woodstock, Oxfordshire, was born there on 31 Aug. 1774. His father, who was a collector of excise, was ruined by the temporary loss of some valuable documents, and his mother then obtained from the Duchess of Marlborough, in whose service she had lived, a residence at Blenheim with the charge of the china closet. Young Turner came about 1795 to London, where he was employed by Boydell and studied in the schools of the Royal Academy. He worked successfully in stipple and also aquatint, but practised mainly in mezzotint, and became a very distinguished artist in that style. He produced more than six hundred plates, of which about two-thirds are portraits. Of these the most noteworthy are the Marlborough family and a group of the Dilettanti Society, after Reynolds; George IV, Charles X of France, the Marquis Wellesley, and Mrs. Stratton, after Lawrence; Prince Blücher on horseback, after C. Back; Napoleon on board the Bellerophon, after Eastlake; Lord Nelson, after Hoppner; Sir Walter Scott and Lord Newton, after Raeburn; Henry Grattan, after Ramsay; and Edmund Kean as Richard III, after John James Halls; also some fine copies of early prints published by Woodburn. His subject-plates comprise ‘Surrender of the Children of Tippoo Sultaun,’ after Stothard; ‘Age of Innocence,’ after Reynolds; ‘Hebe,’ after H. Villiers; ‘The Beggars,’ after William Owen; ‘Water Mill,’ after Callcott; ‘A Famous Newfoundland Dog,’ after Henry Bernard Chalon; and an admirable rendering of J. M. W. Turner's ‘Shipwreck,’ now in the National Gallery. Among his aquatint plates are eight views of
