Turner Bequest CCLXIII 98
Inscribed in red ink ‘98’ bottom right
Blind-stamped with Turner Bequest monogram towards bottom right
Stamped in black ‘CCLXIII – 98’ bottom right
As Eric Shanes notes,1 this is one of four Oxford colour studies which are closely related physically. Tate D36314 (Turner Bequest CCCLXV 24, watermarked 1837) and Tate D25218 (Turner Bequest CCLXIII 96) have matching serrations at the bottom of their respective compositions where the original super royal-format sheet was torn in half. The two were worked up on opposite faces of the overall sheet, presumably after it was halved, as there is no overlap of watercolour wash from the front of one to the back of the other. All of the above applies to the present work and Tate D25217 (Turner Bequest CCLXIII 95), also originally a single sheet. Shanes observes that ‘all four drawings manifest extremely similar serrations that resulted from the two super royal sheets being torn in half simultaneously’.2 As noted in the main catalogue entry above, he also deduces that their ‘distinctive, shared characteristics’, along with those of a fifth Oxford study, Tate D36316 (Turner Bequest CCCLXV 26, watermarked 1837), suggest that they ‘may have been made during the same work session’.3
Blank (not examined out of frame).
How to cite
Matthew Imms, ‘Oxford from North Hinksey c.1837–9 by Joseph Mallord William Turner’, catalogue entry, March 2013, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2013, https://www