Joseph Mallord William Turner

A Pastoral

c.1807–19

View this artwork by appointment, at Tate Britain's Prints and Drawings Rooms

Artist
Joseph Mallord William Turner 1775–1851
Medium
Graphite and watercolour on paper
Dimensions
Support: 182 x 262 mm
Collection
Tate
Acquisition
Accepted by the nation as part of the Turner Bequest 1856
Reference
D08184
Turner Bequest CXVIII d

Catalogue entry

Engraved:
(see main catalogue entry)
Although it was included in early lists of Liber Studiorum subjects in the National Gallery and associated with the fifty original drawings in the Turner Bequest for engraved compositions, the present design was not engraved. It has usually been known as Pastoral, as per one of Turner’s categories for the published prints in the series, though it has more in common with the ‘EP’ subjects (probably ‘Elevated Pastoral’), derived in varying degrees from Claude Lorrain’s Liber Veritatis (see general Liber introduction).
Including it as no.100 in the first edition of his Liber catalogue, Rawlinson saw it as ‘a Claude-like subject, much resembling Apuleia in search of Apuleius’.1 However, the latter composition,2 engraved for the Liber but unpublished and usually called Apullia in Search of Appullus, is entirely different in its general arrangement. It was derived directly from Turner’s 1814 painting (Tate N00495),3 and, at one remove, from Lord Egremont’s Claude, Jacob with Laban and his Daughters (Petworth House, West Sussex).4 There are individual ‘Claudian’ elements in common: a river, a bridge, a prominent hill isolated in the distance, trees, classical buildings and foreground figures. Comparisons of this kind could equally well be made with the published ‘EP’ plates such as Woman and Tambourine or The Bridge in the Middle Distance (for drawings see Tate D08103, D08117; Turner Bequest CXVI B, P). Another Claude painting with a hill on the horizon, and known directly to Turner, is the Landscape with the Marriage of Isaac and Rebecca (National Gallery, London).5
Rawlinson’s revised 1906 edition of his Liber catalogue concludes with no.99, as he had decided to limit himself to the plates and designs ‘concerning which there are virtually no doubts’;6 he dropped the present work, albeit still mentioning it after the last entry.7 However, in the 1911 Miniature Edition of Liber reproductions it was again included, as no.‘100?’ – seemingly by or at the suggestion of Rawlinson, who gave ‘generous help and advice all through.’8
1
Rawlinson 1878, p.178.
2
Ibid., pp.144–5 no.72; 1906, pp.169–70 no.72; Alexander J. Finberg, The History of Turner’s Liber Studiorum with a New Catalogue Raisonné, London 1924, pp.287–90 no.72.
3
Martin Butlin and Evelyn Joll, The Paintings of J.M.W. Turner, revised ed., New Haven and London 1984, pp.91–2 no.128, pl.134.
4
Ibid., p.92, pl.567.
5
Ian Warrell, in Warrell, Blandine Chavanne and Michael Kitson, Turner et le Lorrain, exhibition catalogue, Musée des beaux-arts, Nancy 2002, p.189.
6
Rawlinson 1906, p.168.
7
Ibid., p.204.
8
Miniature Edition, 1911, p.[3]
9
Hardie 1938, p.77 no.47, reproduced p.[127] pl.XXIV B.
10
Tate Gallery: Illustrated Catalogue of Acquisitions 1986 – 88, London 1996, p.77.
1
Joyce Townsend, circa 1995, Tate conservation files.

Matthew Imms
May 2006

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