J.M.W. Turner
Joseph Mallord William Turner Dordrecht and the Grote Kerk, Looking across the River Merwede from Zwijndrecht 1817
Image 1 of 2
Joseph Mallord William Turner,
Dordrecht and the Grote Kerk, Looking across the River Merwede from Zwijndrecht
1817
Folio 76 Verso:
Dordrecht and the Grote Kerk, Looking across the River Merwede from Zwijndrecht 1817
D13143
Turner Bequest CLXII 77a
Turner Bequest CLXII 77a
Pencil on ‘blue’ laid writing paper, 93 x 156 mm
Partial watermark: ‘Pro Patria’ design
Inscribed by Turner in pencil ‘Dead Calm water lighter | in the [?North]’ bottom right
Partial watermark: ‘Pro Patria’ design
Inscribed by Turner in pencil ‘Dead Calm water lighter | in the [?North]’ bottom right
Accepted by the nation as part of the Turner Bequest 1856
References
1909
A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.I, p.472, CLXII 77a, as ‘Dort, “Dead Calm, water lighter in the port.”’.
1977
Gerald Wilkinson, Turner Sketches 1789‒1820, London 1977, p.163.
1974
A.G.H. Bachrach, Turner and Rotterdam: 1817 – 1825 – 1841, Wassenaar and Oxford [1974], pp.36, 37.
1983
Malcolm. Cormack, ‘“The Dort”: some further observations’, Turner Studies, vol.2, no.2, Winter 1983, pp.37‒9.
1994
A.G. H. Bachrach, Turner’s Holland, exhibition catalogue, Tate Gallery, London 1994, p.43, fig.9c.
1997
James Hamilton, Turner: A Life, London 1997, pp.183, 324 note 7.
2001
Alan Chong, ‘Aristocratic Imaginings: Aelbert Cuyp’s Patrons and Collectors’, in Arthur K. Wheelock Jr. (ed.), Aelbert Cuyp, exhibition catalogue, National Gallery of Art, Washington 2001, p.51 note 47.
2021
Marlies Enklaar and Sander Paarlberg (eds.), In the Light of Cuyp: Aelbert Cuyp & Gainsborough Constable Turner, exhibition catalogue, Dordrechts Museum, Dordrecht 2021, p.197 note 2.
Turner spent a day and a half in Dordrecht as he returned across Holland at the end of his continental tour in 1817; see his dated route in his Itinerary Rhine Tour pocketbook (Tate (D12696; Turner Bequest CLIX 100). Despite limited time he made numerous drawings as well as the extensive notes on the packet-boat De Zwaan on the recto (D13142), and must already have been planning the painting Dort or Dordrecht. The Dort Packet-Boat from Rotterdam becalmed (1818; Yale Center for British Art, New Haven, Connecticut).1
With the page turned horizontally, this drawing from near the landing-stage at Zwijndrecht, looking across the River Merwede to Dordrecht with the Grote Kerk, windmills and other buildings, is a different composition with shipping including a merchantman. Nevertheless its ‘Dead Calm water’, sky flecked with the tinted clouds characteristic of the Dordrecht master Aelbert Cuyp (1620‒1691) and reeds along the riverbank anticipate important elements in the painting. As noted by Malcolm Cormack,2 the reeds in the foreground of the drawing are a major feature of the picture, stretching far into the distance on the right. Their presence around Dordrecht was described by Charles Campbell in his guide to the Low Countries, used (and lost) during Turner’s tour in 1817.3
Quirine van der Meer Mohr
December 2013
David Blayney Brown
September 2025
How to cite
Quirine van der Meer Mohr and David Blayney Brown, ‘Dordrecht and the Grote Kerk, Looking across the River Merwede from Zwijndrecht 1817’, catalogue entry, September 2025, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, June 2026, https://www
