{'fraction_non_alphanumeric': 0.04201680672268908, 'fraction_numerical': 0.05042016806722689, 'mean_word_length': 5.022471910112359, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
In Pursuit of Provenance: J. M. W. Turner’s 1830 Midland Journey and His Dudley, Worcestershire Watercolour

ABSTRACT J. M. W. Turner (1775–1851) toured the English Midlands in summer 1830. An outcome of the journey was a watercolour now in the collection of the Lady Lever Art Gallery, Wirral, entitled Dudley, Worcestershire (Figure 1). A version of the same scene attributed to Turner entitled Lime Kilns with Dudley Castle (Figure 2) was bequeathed to the Dudley Art Gallery in 1947 by Henry Pearman Bagott (1861–1946), a Dudley solicitor. The provenance of the watercolours is considered in the light of questions posed by the re-discovery of a catalogue of the collection of Dr George Charles Williamson (1858–1942), a previous owner of the latter version. The catalogue links Turner’s relationship with the Birmingham-born artist, David Cox (1783–1859) to the involvement of the Wolverhampton industrialist, Laurence William Hodson (1864–1933), and forms the basis for possible further research on the provenance of the versions of Turner’s watercolours of Dudley.