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

With the page turned horizontally, the upper drawing is a view of the Realeneiland waterfront within Amsterdam’s western harbour area off the River IJ,1 later developed as the Westerdok. The small island is the northernmost of three interlinked just off the north-western corner of the city, not far north-east of the Haarlemmerpoort gateway (see folio 102 verso and the recto; D19042–D19043). The houses shown still stand, running south along the tree-lined Zandhoek quay towards the elevating ophaalbrug-type Zandhoeksbrug (since replaced in similar style) crossing to Bickerseiland. There is a small boat in the foreground and larger vessels beyond, with the spires of Amsterdam in the distance. Turner’s capitalised label is presumably taken from local signage.

Below, the other way up towards the outer edge, are houses at the right-hand end of the row in the foreground of the first view; although the gable of the second is no longer stepped, most of the details can still be matched directly, particularly in terms of the continuous array of large windows along the lower floors. To the right, there is a deft costume study of a man in a sailor’s cap and clogs, perhaps waiting on the quay with his hands in his pockets.

The south-eastwards view towards the city’s towers and churches on folio 104 opposite (D19045) is from nearby, as are the prospects on folio 108 recto (D19053), where the same Realeneiland buildings or perhaps similar ones on Bickerseiland appear in the foreground. The riverfront has since been extensively developed, with more docks, the Victorian railway station and tower blocks. See under folio 81 recto (D18999) for other views in and around the city in this book and elsewhere, and the sketchbook’s Introduction for discussion of its many shipping and figure subjects, and studies of individuals, their costume and headgear.

Reproducing details of this page and its recto at ‘full size’, Gerald Wilkinson suggested that they ‘show that [Turner’s] sense of design did not sleep while his hand was so busy: we share his pleasure in the intimacies of Dutch architecture’.2