J.M.W. Turner: Sketchbooks, Drawings and Watercolours

Joseph Mallord William Turner Ship in a Storm c.1823-6

Joseph Mallord William Turner 1775–1851
Ship in a Storm circa 1823–6
D25432
Turner Bequest CCLXIII 309a
Pencil and watercolour on white wove paper, 241 x 300 mm
Inscribed by Turner in pencils with numbers ‘1’, ‘2’, ‘3’, ‘4’ and ‘5’ at various points across the composition
Blind-stamped with Turner Bequest monogram towards bottom right
Stamped in black ‘CCLXIII – 309(a)’ bottom right
 
Accepted by the nation as part of the Turner Bequest 1856
Engraved:
(see main catalogue text)
Luke Herrmann has observed that the rough pencil indications of the ship in this composition were made over the watercolour waves, already ‘a telling representation of the vortex effect of a storm at sea’,1 echoing Andrew Wilton’s comparison2 with Turner’ painting Snow Storm – Steam-Boat off a Harbour’s Mouth, exhibited in 1842 (Tate N00530).3 As Ian Warrell has noted, the Shields Lighthouse-related ‘Little Liber’ study of the moon behind clouds (Tate D25314; Turner Bequest CCLXIII 192) is similar technically in the addition of the slight pencil outline of a ship, the setting and effect being the primary concerns.4 Andrew Wilton has described the ‘opposing media’ of the ship and the sea, perhaps suggesting their ‘antagonism’;5 in the related ‘Little Liber’ mezzotint the ship is transformed into a solid black silhouette, evoking ‘greater horror’,6 to ‘considerably more menacing effect’7 than in this relatively pale watercolour. The numbers inscribed here may correspond to the broad tonal registers of the print.8
The mezzotint9 is traditionally ascribed to Turner himself (see the ‘Little Liber’ introduction). The steel plate was found in his studio after his death, from which some impressions were printed by Sir Francis Seymour Haden before it was sold to the London art dealers Colnaghi in 1873, who had the plate reworked before taking further impressions;10 possibly it was the plate called ‘Seapiece, with Shipping at Night’ in the 24 March 1873 Christie’s sale of prints from Turner’s studio11 (again, see the Introduction). Colnaghi’s presented it to the British Museum, London, in 1942. Turner’s development of the design through two trial proof stages is described by Rawlinson and Dupret, who mention the present watercolour as the source.12 The second stage consisted in adding definition to the ship and clouds.
The watercolour was exhibited at Marlborough House, London, in 1857 as no.114 (subsequently given the National Gallery number 572). John Ruskin noted:
Below it is placed temporarily an impression of the plate engraved from it by Turner himself. It will serve to show how much steady intention and conception there was in his slightest work. We are soon coming now to the slighter sketches, and perhaps shall be able better to interpret them after seeing how much Turner meant by those grey dashes of colour in 114.13
The watercolour and print were still shown together in 1904,14 and the latter was listed by Finberg soon afterwards as ‘[CCLXIII] 309. (b) ‘Proof of mezzotint from (a [the present work]), presumably by Turner. (Generally known as one of the “Little Liber” plates.) Exhibited Drawings, No.572b, N.G.’15 What became of it is unclear, as impression is registered in the Tate collection.
As discussed in the introduction, this ‘Little Liber’ subject is probably the one noted as ‘Ship – Storm’ among others listed inside the front cover of Turner’s Worcester and Shrewsbury sketchbook, in use in 1831 (Tate D41053; Turner Bequest CCXXXIX).
1
Herrmann 1990, p.152.
2
Wilton 1980, p.149; see also Dupret 1989, p.38.
3
Martin Butlin and Evelyn Joll, The Paintings of J.M.W. Turner, revised ed., New Haven and London 1984, pp.246–7 no.398, pl.404 (colour).
4
See Warrell 1991, p.38.
5
Wilton 1980, p.149.
6
Ibid.
7
Lyles and Perkins 1989, p.61.
8
See Wilton 1980, p.149; and Lyles and Perkins 1989, p.61.
9
W[illiam] G[eorge] Rawlinson, The Engraved Work of J.M.W. Turner, R.A., vol.I, London 1908, p.cx, and vol.II 1913, pp.210, 387 no.803.
10
Rawlinson II 1913, p.387; Dupret 1989, p.38.
11
The First Portion of the Valuable Engravings from the Works of the Late J.M.W. Turner, R.A. ..., Christie, Manson & Woods, London 24 March 1873 (927).
12
Rawlinson II 1913, p.387; Dupret 1989, p.38.
13
‘Catalogue of the Sketches and Drawings by J.M.W. Turner, R.A. Exhibited in Marlborough House in the Year 1857–8’ in Cook and Wedderburn 1904, p.280; see also Warrell 2004, p.83.
14
Cook and Wedderburn 1904, p.280 note 2.
15
Finberg 1909, II, p.838.
Verso:
Blank; not available for inspection for inscriptions at time of writing.

Matthew Imms
November 2011

How to cite

Matthew Imms, ‘Ship in a Storm c.1823–6 by Joseph Mallord William Turner’, catalogue entry, November 2011, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, December 2012, https://www.tate.org.uk/art/research-publications/jmw-turner/joseph-mallord-william-turner-ship-in-a-storm-r1133279, accessed 01 August 2015.