The subject is drawn with the page turned horizontally. As Finberg suggested, this rapid study probably records the bank of the River Tyne near its mouth. David Hill suggests ‘?North Shields’. The economically indicated clutter of masts, roofs and figures adumbrates Turner’s interest in the subjects that he was to develop from his experience of the Tyne in his watercolour of Shields on the River Tyne for the Rivers of England series (Tate D18155; Turner Bequest CCVIII V)1 and its later elaboration, the painting of 1835, Keelmen Heaving in Coals by Night (National Gallery of Art, Washington, DC).2
Blank; stamped in brown ink with Turner Bequest monogram.