Editing Dunstanburgh Castle (section)

===17th – 19th centuries===
[[File:Thomas Girtin - Dustanborough Castle from a Distance - Google Art Project.jpg|thumb|A sketch of the castle by [[Thomas Girtin]], 1796]]
In 1603, the [[Union of the Crowns|unification of the Scottish and English crowns]] eliminated any residual need for Dunstanburgh Castle as a royal fortress.<ref>{{harvnb|Oswald|Ashbee|2011|p=35}}</ref> The following year, King [[James I of England|James I]] sold the castle to Sir Thomas Windebank, Thomas Billott and William Blake, who in turn sold it onto Sir Ralph Grey, a nearby landowner, the following year.<ref>{{harvnb|Oswald|Ashbee|Porteous|Huntley|2006|p=20}}; {{cite web | url=http://www.english-heritage.org.uk/daysout/properties/dunstanburgh-castle/history-and-research/history/4-wars-of-the-roses/ | title=The Wars of the Roses|mode=cs2 |access-date=23 August 2014 | publisher=English Heritage}}</ref> Ralph's son, [[William Grey, 1st Baron Grey of Werke]], was affirmed as the owner of the castle in 1625.<ref>{{harvnb|Tate|1869–72|p=91}}; {{harvnb|Bates|1891|p=187}}; {{cite web | url=http://reed.dur.ac.uk/xtf/view?docId=ead/gre/greyest.xml | title=Estate records of the Earls Grey and Lords Howick|mode=cs2 |access-date=23 August 2014 | publisher=Durham University}}</ref>

The Grey dynasty maintained their ownership of the castle, which passed into Lady [[Charles Bennet, 1st Earl of Tankerville|Mary Grey]]'s side of the family following a law case in 1704.<ref>{{harvnb|Oswald|Ashbee|Porteous|Huntley|2006|p=20}}; {{harvnb|Tate|1869–72|pp=91–92}}</ref> The lands around the castle and the outer bailey were used for growing wheat, [[barley]] and [[oats]], and the walls were robbed of their stone for other building work.<ref name="oswald36">{{harvnb|Oswald|Ashbee|2011|p=36}}</ref> A small settlement, called Nova Scotia or Novia Scotia, was built on the site of the castle's harbour, possibly by Scottish immigrants.<ref>{{harvnb|Middleton|Hardie|2009|p=25}}</ref> Several engravings were published of the castle in the 18th century, including a somewhat inaccurate depiction by [[Samuel and Nathaniel Buck]] in 1720, and by [[Francis Grose]] and [[William Hutchinson (topographer)|William Hutchinson]] in 1773 and 1776 respectively.<ref>{{harvnb|Oswald|Ashbee|Porteous|Huntley|2006|p=9}}</ref>

[[File:Gatehouse of Dunstanburgh Castle, 1884.jpg|thumb|upright|left|The Great Gatehouse in 1884, showing the partially-blocked passageway]]
Mary's descendants, the [[Earl of Tankerville|Earls of Tankerville]], owned the property until the heavily indebted [[Charles Bennet, 6th Earl of Tankerville]], sold it for £155,000 in 1869 to the trustees of the estate of the late Samuel Eyres.<ref>{{harvnb|Oswald|Ashbee|Porteous|Huntley|2006|p=20}}; {{harvnb|Tate|1869–72|p=92}}; {{cite web | url=http://reed.dur.ac.uk/xtf/view?docId=ead/gre/greyest.xml | title=Estate records of the Earls Grey and Lords Howick|mode=cs2 |access-date=23 August 2014 | publisher=Durham University}}</ref>{{refn|£155,000 in 1869 would be worth between £13&nbsp;million and £244&nbsp;million in 2013 terms, depending on the financial measure used.<ref>{{cite web | url=http://www.measuringworth.com/ukcompare/relativevalue.php | title=Five Ways to Compute the Relative Value of a UK Pound Amount, 1270 to Present | author1=Lawrence H. Officer | author2=Samuel H. Williamson | mode=cs2 |year=2014 | access-date=23 August 2014 | publisher=MeasuringWorth | archive-url=https://web.archive.org/web/20140826042917/http://www.measuringworth.com/ukcompare/relativevalue.php | archive-date=26 August 2014 | url-status=dead }}</ref>|group="nb"}} There had been some attempts at restoration in the early 19th century, and the passageway through the gatehouse was modified and reopened in 1885.<ref>{{harvnb|Oswald|Ashbee|2011|p=37}}; {{cite web | url=http://list.historicengland.org.uk/resultsingle.aspx?uid=1007507 | title=List Entry|mode=cs2 |access-date=6 July 2015 | publisher=Historic England}}</ref> The historian [[Cadwallader John Bates]] undertook fieldwork at the castle in the 1880s, publishing a comprehensive work in 1891, and a professional architectural plan of the ruins was produced in 1893.<ref>{{harvnb|Oswald|Ashbee|Porteous|Huntley|2006|pp=9–10}}</ref> Nonetheless, a representative of the estate expressed his concern to the [[Society of Antiquaries of Newcastle upon Tyne]] about the condition of the castle in 1898, noting the poor repair of much of the stonework and the importance of the ongoing preservation work that the estate was undertaking.<ref>{{harvnb|The Society of Antiquaries of Newcastle-upon-Tyne|1898|pp=113–114}}</ref>

Dunstanburgh's ruins became a popular subject for artists from the end of the 18th century onwards.<ref name="oswald36"/> [[Thomas Girtin]] toured the region and painted the castle, his picture dominated by what art historian [[Souren Melikian]] describes as "the forces of nature unleashed", with "wild waves" and dark clouds swirling around the ruins.<ref>{{cite book | url=http://www.tate.org.uk/art/research-publications/jmw-turner/joseph-mallord-william-turner-dunstanborough-castle-r1131720 | title=J.M.W. Turner: Sketchbooks, Drawings and Watercolours|year = 2008| author = Matthew Imms|mode=cs2 |access-date=23 August 2014 | work=Tate Etc.| isbn=9781849763868}}; {{cite news | url=https://www.nytimes.com/2002/09/14/style/14iht-melik_ed3_.html | title=London Exhibition : A Draftsman's Sense, an Artist's Sensibility|year = 2002| author = Souren Melikian|mode=cs2 |access-date=23 August 2014 | newspaper=The New York Times}}</ref> [[J. M. W. Turner]] was influenced by Girtin, and when he first painted the castle in 1797 he similarly focused on the wind and the waves around the ancient ruins, taking some [[artistic licence]] with the view of the castle to reinforce its sense of isolated and former grandeur.<ref>{{harvnb|Bryant|1996|p=64}}; {{cite web | url=http://www.twmuseums.org.uk/engage/blog/jmw-turners-dunstanburgh-castle-poetry-imagination-and-reality/ | title=JMW Turner's 'Dunstanburgh Castle': poetry, imagination and reality|mode=cs2 |author= Sarah Richardson|year = 2012| access-date=23 August 2014 | publisher=Tyne and Wear Museums}}; {{cite web | url=http://www.english-heritage.org.uk/daysout/properties/dunstanburgh-castle/history-and-research/research/ | title=Research on Dunstanburgh Castle|mode=cs2 |access-date=23 August 2014 | publisher=English Heritage}}; {{cite book | url=http://www.tate.org.uk/art/research-publications/jmw-turner/joseph-mallord-william-turner-dunstanborough-castle-r1131720 | title=J.M.W. Turner: Sketchbooks, Drawings and Watercolours|year = 2008| author = Matthew Imms|mode=cs2 |access-date=23 August 2014 | work=Tate Etc.| isbn=9781849763868}}</ref> Turner drew on his visit to produce further works in [[oil painting|oils]], [[watercolour]]s, [[etching]]s, and [[sketch (drawing)|sketch]]es, through until the 1830s, making the castle one of the most common subjects in his corpus of work.<ref>{{cite book | url=http://www.tate.org.uk/art/research-publications/jmw-turner/joseph-mallord-william-turner-dunstanborough-castle-r1131720 | title=J.M.W. Turner: Sketchbooks, Drawings and Watercolours|year = 2008| author = Matthew Imms|mode=cs2 |access-date=23 August 2014 | work=Tate Etc.| isbn=9781849763868}}; {{harvnb|Middleton|Hardie|2009|p=69}}</ref>

A similarly wild view was painted by [[Thomas Allom]] showing a ship in a heavy sea offshore, the wreck of which is taken up by [[Letitia Elizabeth Landon]] in her poetical illustration to an engraving of that work {{ws|[[s:Letitia Elizabeth Landon (L. E. L.) in Fisher's Drawing Room Scrap Book, 1839/Dunstanburgh Castle|Dunstanburgh Castle]]}}<ref>{{cite book|last=Landon|first=Letitia Elizabeth|title=Fisher's Drawing Room Scrap Book, 1839|url=https://play.google.com/books/reader?id=ufpcAAAAcAAJ&pg=GBS.PA58|section=picture|year=1838|publisher=Fisher, Son & Co.}}{{cite book|last=Landon|first=Letitia Elizabeth|title=Fisher's Drawing Room Scrap Book, 1839|url=https://play.google.com/books/reader?id=ufpcAAAAcAAJ&pg=GBS.PA60|section=poetical illustration|pages=61-62|year=1838|publisher=Fisher, Son & Co.}}</ref> published in Fisher's Drawing Room Scrap Book, 1839.