Joseph Mallord William Turner

List of Pictures, Prices and Clients (Inscriptions by Turner)


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

Joseph Mallord William Turner 1775–1851
Graphite on paper
Support: 119 x 73 mm
Accepted by the nation as part of the Turner Bequest 1856
Turner Bequest LXXXIV 67 a

Catalogue entry

The page is inscribed by Turner, mainly in pencil but with one name, Mr Parker, in ink, as follows:
    Two.              20        Mr. Hancock 
    Conway.           70        Mr. Leader          x 
    Kilgarron Castle  30 Gns     all gns.  .  .  .
                                   With Duke of Bridgewater 
    Historical        300       Ld. Carysford. 
    Whole Length
    Sea Piece                   Mr Bannister.
    Small do          10        Mr Tomkinson   x 
    Lancashire        40        Mr. Parker. 
    Mt. Blanc                   Mr. Green 
    3 F by 4 
See the note to folio 65 verso (D05240) for the lists of pictures in this sketchbook. Here, as in the previous list, not all works or patrons can be identified. Of the first two pictures and of Mr Hancock, nothing is known. The Conway is the Conway Castle of circa 1803 (Trustees of the Grosvenor Estate),1 acquired by William Leader. ‘Kilgarron Castle’ is presumably Kilgarran Castle on the Twyvey, Hazy Sunrise Previous to a Sultry Day, Royal Academy 1799 (The National Trust).2 The price, thirty guineas, is the same that Turner charged ‘a drawing master’ of Oxford (thought to be William Delamotte) for Kilgarran.3 Delamotte lived in Oxford until 1803 and the sale of the picture probably coincided with Turner’s visit to the city late in 1802 or some time the following year.4 Subsequently, and before 1808, the picture was bought by Sir John Leicester. Turner’s notes here indicate that the Duke of Bridgewater had also had it on approval, presumably prior to its purchase by Delamotte; the Duke’s death on 8 March 1803 could have resulted in its being returned to Turner. If on the other hand Turner is referring to one of the other known versions of the subject, for example that in the New Walk Museum and Art Gallery, Leicester,5 the timing of the Duke’s death undermines Beckett’s belief that these date from 1804.
As first suggested by Andrew Wilton, the historical subject for ‘Ld. Carysford’ (John Joshua Proby, 1st Earl of Carysfort) may be The Deluge (Tate N00493)6 as J.P. Quilley’s mezzotint of the picture was dedicated to him posthumously. Turner was at work on the picture during 1804 and probably exhibited it at his own gallery in 1805. If originally intended for Carysfort, it was not acquired by him. The actor Jack Bannister did buy the sea piece listed next, Seascape with a Squall Coming Up, dated by Butlin and Joll to 1803–4 partly on the evidence of the notes in this sketchbook (Malden Public Library, Malden, Massachusetts).7 Neither the further sea piece nor the client, Mr Tomkinson, is known.

David Blayney Brown
November 2004

Butlin and Joll 1984, pp.107–8 no.141 (pl.146).
Ibid., pp.8–9 no.11 (pl.9).
Undated letter from Brian Broughton, Oxford, to Mrs Langford Brooke, 12 Albemarle Street; cited ibid., p.8.
See the Rhine, Strassburg and Oxford sketchbook (Tate D04736–D04796, D40791–D40794; Turner Bequest LXXVII).
Butlin and Joll 1984, pp.29–30 no.37 (pl.33).
Ibid., pp.43–4 no.55 (pl.65).
Ibid., pp.108–9 no.143 (pl.148).
Andrew Wilton, The Life and Work of J.M.W. Turner, Fribourg 1979, p.332 no.291.
Butlin and Joll 1984, pp.49–50 (pl.62).
See especially the Petworth sketchbook (Tate D07512–D07536; D40276; Turner Bequest CIX).
Butlin and Joll 1984, pp.35–6 no.46 (pl.56), as ‘Châteaux de St Michael, Bonneville, Savoy’. For past confusion between the two pictures of Bonneville exhibited in 1803 see notes to D05240.

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