First run of spring or Chinook salmon ( Oncorhynchus tshawytscha) up the Fraser River above Lillooet; eyes same color as the buttercups John Ruskin said that an early patron, Thomas Monro, Principal Physician of Bedlam, and a collector and amateur artist, was a significant influence on Turner's style: Wilton, Andrew (2006). Turner in His Time (reviseded.). London: Thames & Hudson. ISBN 978-0-500-23830-1. Around 1786, Turner was sent to Margate on the north-east Kent coast. There he produced a series of drawings of the town and surrounding area that foreshadowed his later work. [14] By this time, Turner's drawings were being exhibited in his father's shop window and sold for a few shillings. [9] His father boasted to the artist Thomas Stothard that: "My son, sir, is going to be a painter". [15] In 1789, Turner again stayed with his uncle who had retired to Sunningwell (now part of Oxfordshire). A whole sketchbook of work from this time in Berkshire survives as well as a watercolour of Oxford. The use of pencil sketches on location, as the foundation for later finished paintings, formed the basis of Turner's essential working style for his whole career. [13] December); winter solstice month, when the days start getting longer; people celebrate and decorate their winter homes

Turner was born in Morpeth, Northumberland, in or around 1508. His father was probably a tanner of the same name. He studied at Pembroke Hall, Cambridge University, from 1526 to 1533, where he received his B.A. in 1530 and his M.A. in 1533. [5] He was a Fellow and Senior Treasurer of Pembroke Hall, Cambridge. While at Cambridge he published several works, including Libellus de re herbaria, in 1538. He spent much of his leisure in the careful study of plants which he sought for in their native habitat, and described with an accuracy hitherto unknown in England. Lacayo, Richard (11 October 2007). "The Sunshine Boy". Time. Archived from the original on 12 October 2007. At the turn of the 18th century, history painting was the highest purpose art could serve, and Turner would attempt those heights all his life. But his real achievement would be to make landscape the equal of history painting. For the past decade, Bird & Bird has been the go-to international legal firm for companies being changed by technology and the digital world. Whether traditional businesses leveraging cutting-edge technology or start-ups changing the status quo, it guides clients through all the regulatory, legal and commercial aspects of this fast-moving environment. The firm combines exceptional legal expertise with deep industry knowledge and refreshingly creative thinking to help clients operating at the forefront of their industries to achieve their goals. Types of work undertaken: Bird & Bird organises itself around its clients, with its lawyers typically arranged in groups which focus on key industries and sectors. This structure drives the firm to develop and maintain high-level expertise in practice areas and geographic regions which serve the needs of its client base. The firm provides a broad advisory, transactional and contentious capability, with the sector and practice groups interacting to provide the best possible service to its clients.Bird & Bird is highly knowledgeable, professional, and very client service-focused. They delivered excellent outcomes in a very difficult and complex case. I would highly recommend Bird & Bird to any company needing commercial litigation representation.’

Acted for Gilead in patent revocation and infringement proceedings against NuCana PLC over patents concerning the drug sofosbuvir. NuCana’s patents were directed towards cancer treatment although were asserted to cover the Gilead new class of antivirals products. Judgment was handed down on 21 March 2023 and held that the two patents were invalid on practically all grounds.

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It seems that more than 20 years after his tour of Cornwall the countryside and its people were still providing one of the greatest artists of the 19th century with continued inspiration. Townsend, Joyce H. (1993). "The Materials of J. M. W. Turner: Pigments". Studies in Conservation. 38 (4): 231–254. doi: 10.2307/1506368. JSTOR 1506368.