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

The page was used both ways up for two distinct subjects. In one half, inverted relative to the sketchbook’s foliation, are deft studies of figures Finberg identified as ‘Fisher women’,1 carrying large baskets behind their heads. They were likely observed around Calais or Boulogne (see respectively under folios 237 recto and 241 verso; D19310, D19319), and there is a related sketch on folio 241 recto opposite (D19318), see the book’s Introduction for discussion of its many figure scenes, and studies of individuals, their costume and headgear.

The other way up are studies of two successive stages of a sunset, with clouds, sunbeams and typical annotations regarding colours and effects. The word at the top right in relation to the upper view is difficult to make out. Finberg transcribed it and (apparently) a note on the opposite page as ‘Ostend’,2 although the relevant words are far from clear, and indeed seem to differ. This reading seems to have led Finberg to associate a sketch now identified as showing Boulogne on folio 243 verso (D19323), and the next few pages by association, with Ostend. He also rendered the note on folio 251 recto (D19338) as ‘Ostend Sands’, but an unrelated interpretation is offered in the present catalogue in relation to its apparently English subject. Compare the clearer ‘Ostend’ inscriptions from 1840’s Würzburg, Rhine and Ostend sketchbook (Tate D30471, D30498; Turner Bequest CCCIII 6a, 21) and 1844’s Ostend, Rhine and Berne book (D33048, D33079, D33086; CCCXXVII 6a, 22, 27a). For detailed notes on Ostend, see under D30460 (CCCIII 1) in the 1840 book.

It is not beyond the realms of possibility that the notes here refer to Ostend, but if so the pages were used out of sequence, falling between numerous views of Calais and Boulogne. Turner likely did not enter Ostend itself on this tour, passing instead a few miles inland along the Belgian canals between Bruges and Nieuwpoort, as discussed under folio 218 recto (D19272). One of the adjacent Calais sketches (folio 239 recto; D19314) includes the sun setting over the sea; see also folio 248 recto (D19332), where a similarly elusive word appears among more extensive notes of sunset effects following various Boulogne views.

Finberg’s apparent misinterpretation led to a longstanding assumption that Turner left the Continent via Ostend at the end of this tour, as followed by various later scholars. This seems unlikely given his seemingly straightforward progression westwards along the French coast implied by the sequence of this sketchbook, via Dunkirk (see under folio 227 verso; D19291) and Calais to Boulogne, none of which Finberg identified within its pages; see the Introductions to it and the overall tour.