Joseph Mallord William TurnerClovelly from Buck's Mills 1811

Share this artwork

Artwork details

Artist
Title
Clovelly from Buck's Mills
From Devonshire Coast, No.1 Sketchbook
Turner Bequest CXXIII
Date 1811
MediumGraphite on paper
Dimensionssupport: 75 x 117 mm
Collection
Tate
Acquisition Accepted by the nation as part of the Turner Bequest 1856
Reference
D08766
Turner Bequest CXXIII 223
View this artwork by appointment, at Tate Britain's Prints and Drawings Rooms

Catalogue entry

Joseph Mallord William Turner 1775–1851
Folio 226 Recto:
Clovelly from Buck’s Mills 1811
D08766
Turner Bequest CXXIII 223
Pencil on white wove writing paper, 75 x 117 mm
Inscribed by Turner in pencil ‘Lundy’ top right
Inscribed by John Ruskin in red ink ‘223’ top left, ascending vertically
Stamped in black ‘CXXIII – 223’ top right, ascending vertically
 
Accepted by the nation as part of the Turner Bequest 1856
Eric Shanes has noted that this sketch is the basis for the watercolour Clovelly Bay of about 1822 (National Gallery of Ireland, Dublin),1 engraved in 1824 for the Picturesque Views on the Southern Coast of England (see the concordance of the series in the 1811 tour introduction). He also mentions several related drawings in the contemporary Cornwall and Devon sketchbook (Tate D41322–D41324, D41346, D41347; Turner Bequest CXXV a 43, 44, 45, 64, 65).2 There are further views in that book (Tate D41370, D41373; Turner Bequest CXXV a 88, 90), and what may be a view of Buck’s Mills itself, looking up from the beach (Tate D41341; Turner Bequest CXXV a 60). A single view made in Clovelly itself is on folios 224 verso–225 recto (D41521, D08765) of the present sketchbook.
This drawing defines the overall composition of the watercolour, complete with foreground cliffs and donkeys, while the Cornwall and Devon studies provide supplementary details of the distant village and coastline. Some sixteen miles off the Devon coast beyond Clovelly, Lundy island is seen to the north-west (see also folios 201 recto and 250 verso; D08726, D08766; CXXIII 198, 247a). The foreground of the watercolour includes details not recorded here, including boats and a pool, perhaps for salting locally caught fish, and the structures on the left are clarified as lime kilns.3 For a lime kiln at Combe Martin, further along Turner’s Devon route, see folio 150 recto (D08646; CXXIII 147).
1
Wilton 1979, p.354 no.472, reproduced.
2
Shanes 1981, p.152.
3
See ibid., p.27.
Verso:
Blank

Matthew Imms
June 2011

About this artwork