The sketchbook is the only one of its size to be devoted entirely to the working out of the compositions of large-scale subject pictures and marines. The use of chalk and brown wash on blue paper indicates Turner's concern with the broadest problems of massing and pictorial organisation, though many of the designs are highly atmospheric as well. A number of large studies of nude figures in various positions probably relate specifically to historical pictures, rather than being routine Academic exercises as in the ‘Academical' Sketchbook, T.B.XLIII (No.44). For example, the supine male nude on f.25 (the Inventory numbering is by pages, up to 170) relates to the 'Fifth Plague of Egypt of 1800 (No.70). The pictures on which Turner was working principally in this book are:

'Shipwreck' (No.82), 'Jason' (No.73), 'Sun rising through Vapour', exh. R.A. 1807 (National Gallery, London, 479), 'The Parting of Venus and Adonis’ (No.78), ‘The Opening of the Vintage, Macon' (No. 76), 'Calais Pier' (No.75), 'The Egremont Sea Piece' (No.72), 'Fishermen on a lee Shore' exh. PR.A. 1802 (Iveagh Bequest, Kenwood), ‘The Deluge' (No.8I), 'The Bridgewater Sea Piece' (No.71), ‘The Holy Family - Rest on the Flight' (No.77).

The exhibited sketch is one of a series of preparatory drawings for 'Dutch Boats in a Gale: fishermen endeavouring to put their fish on board' commissioned by the Duke of Bridgewater, 1801, as a companion piece to a painting by Van de Velde (see No.71).