Joseph Mallord William TurnerClassical Landscape with Figures before an Arch: ?Mercury and Herse 1805

Share this artwork

Artwork details

Artist
Title
Classical Landscape with Figures before an Arch: ?Mercury and Herse
Date 1805
MediumPen and ink on paper
Dimensionssupport: 258 x 150 mm
Collection
Tate
Acquisition Accepted by the nation as part of the Turner Bequest 1856
Reference
D05573
Turner Bequest XC 52 a
View this artwork by appointment, at Tate Britain's Prints and Drawings Rooms

Catalogue entry

Joseph Mallord William Turner 1775–1851
Folio 52 Verso:
Classical Landscape with Figures before an Arch: ?Mercury and Herse 1805
D05573
Turner Bequest XC 52a
Pen and ink on off-white wove paper, prepared with a grey wash, 258 x 150 mm
Inscribed by Turner in ink ‘Dido and Aeneas | Nausicaa going to ... with the Nuptial Garments’ at top
 
Accepted by the nation as part of the Turner Bequest 1856
Turner’s inscription suggests alternative subjects for this upright classical composition, which has some resemblance to Mercury and Herse, 1811 (on the London art market in 2005)1 and should perhaps be compared with the variant sketches for it beginning on folio 57 of the sketchbook (D05581). Neither that picture, nor Dido and Aeneas, 1814 (Tate N00494)2 for which studies are on folios 17 and 21 (D05513, D05520), has an arch as sketched here. All these classical themes are linked by love or marriage. Turner probably took his idea of Nausicaa, the island-dwelling potential bride of Ulysses in Homer’s Odyssey, from Alexander Pope’s translation in Robert Anderson’s Works of the British Poets; for this source see note to folio 49 verso (D05568). Nicholson reads the figures sketched here as Nausicaa and her friends engaged in premature preparations for her marriage, washing her wedding garments in a pool. Nicholson points out that Turner addressed the next episode, Nausicaa’s encounter with the shipwrecked Ulysses, in a drawing in the Wey, Guildford sketchbook (Tate D06183; Turner Bequest XCVIII 3) which is rather more developed, with the addition of wash, and shows ‘attention to its charming details’.3

David Blayney Brown
August 2007

1
Martin Butlin and Evelyn Joll, The Paintings of J.M.W. Turner, revised ed., New Haven and London 1984, pp.80–2 no.114 (pl.122); Sotheby’s sale, 5 July 2005, lot 40.
2
Ibid., pp.92–3 no.129 (pl.135).
3
Nicholson 1990, p.272.

About this artwork