See notes to D04880; Turner Bequest LXXIX F for drawings of the Valley of Chamonix and Mer de Glace made on large loose sheets of grey-washed English paper. Of these, this is the closest to a still larger watercolour (Yale Center for British Art, New Haven, Connecticut)1 long thought to have been exhibited in 1803 but to be redated c.1814 and retitled Mer de Glace, in the Valley of Chamouni, Switzerland in the opinion of Eric Shanes.2 As Lindsay Stainton has observed, this drawing anticipates the ‘epic scale’ of the Yale watercolour and develops its central motifs, with groups of trees including the pair of smaller dead and leafless trunks in the middle distance at the edge of the Mer de Glace.
Wilton 1979, p.341 no.365, as ‘Glacier and Source of the Arveron, Going up to the Mer de Glace’ and exhibited at the Royal Academy, 1803.
Eric Shanes, ‘Identifying Turner’s Chamonix Water-colours’, The Burlington Magazine, vol.142 no.1172, November 2000, pp.692–4. For a cautious response to the redating see Gillian Forrester in John Baskett, Jules David Prown, Duncan Robinson and others, Paul Mellon’s Legacy: A Passion for British Art: Masterpieces from the Yale Center for British Art, exhibition catalogue, Yale Center for British Art, New Haven 2007, p.283.
Forrester 1996, p.122.
Martin Butlin and Evelyn Joll, The Paintings of J.M.W. Turner, revised ed.1984, New Haven and London 1984, pp.77–8 no.109 (pl.118).
For the paper and preparation see D04875.