Joseph Mallord William TurnerA Steamer Leaving Folkestone Harbour c.1845

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Artwork details

Artist
Title
A Steamer Leaving Folkestone Harbour
From Ideas of Folkestone Sketchbook
Turner Bequest CCCLVI
Date c.1845
MediumWatercolour on paper
Dimensionssupport: 230 x 328 mm
Collection
Tate
Acquisition Accepted by the nation as part of the Turner Bequest 1856
Reference
D35363
Turner Bequest CCCLVI 3
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Catalogue entry

Joseph Mallord William Turner 1775–1851
Folio 2 Recto:
A Steamer Leaving Folkestone Harbour c.1845
D35363
Turner Bequest CCCLVI 3
Watercolour on white wove paper, 230 x 328 mm
Inscribed in pencil by Turner ‘Folk’ towards bottom left
Inscribed by John Ruskin in red ink ‘3’ bottom right
Blind stamped with Turner Bequest monogram towards bottom centre
Stamped in black ‘CCCLVI–3’ bottom right
 
Accepted by the nation as part of the Turner Bequest 1856
Here Turner depicts a steamer packet at sea, perhaps recently departed from a berth at Folkestone harbour. By 1845 the vessels ‘regularly plied their trade from the port’ operating chartered crossings to Boulogne, France.1 With vigorous handling, Turner has rendered the Channel and sombre sky to full effect in washes of grey pigment. The foreground has been left unpainted in parts and is lightly streaked with the palest of wash in others. A pier suggested at the left in brown and red paint applied with quick, dry strokes. Beyond, the profile of the steamer has been rendered in dark slate grey heightened with red, lending it a rusted industrial character. Puffs of steam emit from the funnel, leaving wispy trails behind.
According to art historian William Rodner, steamers were ‘essential elements’ in Turner’s works in the 1830s and early 1840s. The steamer’s role in the emergence of the industrial revolution occupied Turner. He explored, through drawing and watercolour, ‘their mechanical energies and ... their relationship to the early nineteenth-century milieu, which witnessed the dramatic growth and popularity of steam navigation’.2 Steamer packets are represented elsewhere in the sketchbook, on folios 3, 18, and 22 recto (D35364, D35380, D35384).
1
Upstone 1993, p.55 no.43.
2
Rodner 1997, p.27.
Technical notes:
Some of the watercolour continues onto the opposite page.

Alice Rylance-Watson
February 2013

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