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

D20494, D20495, D24704, D24707, D24778, D24826, D28956, D28959, D28968, D28970, D28975, D28982, D28994–D28996, D29002, D29004, D29025, D29027, D29031, D33732, D33734–D33735, D33748, D33775–D33776, D33919, D33976, D34010, D34028, D34191, D34192, D34197–D34201, D34203–D34204, D34210, D34212, D34229, N05237

Turner Bequest CCXXIV 185, 186, CCLIX 139, 142, 213, 261, CCXCII 9, 12, 21, 23, 28, 35, 47, 47v, 48, 53, 55, 74, 76, 80, CCCXLI 53, 55–56, 69, 96, 96v, 213, 261, 292, 309, CCCXLII 7–8, 13–17, 19–20, 24, 26, 38

All the forty–three works in this grouping have been dated to 1838 and relate to Turner’s tour of the South of France and the Mediterranean coast, which also comprises four sketchbooks (see the overall tour Introduction).

The first published attempt to assemble a list of individual sheets relating to the 1838 tour appeared in Ian Warrell’s 2016 exhibition catalogue Turner et la Couleur, within a section titled ‘La lumière de Gênes (The Light of Genoa)’ (see the Introduction to this tour for an overview of the significance of this exhibition in the evolution of the 1838 thesis).1 That catalogue includes thirteen watercolours within the Turner Bequest with an 1838 date, as well as six other works from different collections, both public and private.2 The latter, reproduced in colour with French titles, are:

A few other likely related works, not shown in 2016, appear in Andrew Wilton’s standard catalogue of Turner’s watercolours; Wilton’s titles are given first, with current identifications where they differ:

A further work listed by Wilton as ‘Sisteron, Basse Alpes’ (National Gallery of Ireland, Dublin), is now known as ‘Le Pont du Château, Luxembourg’ and dated to 1839.14

Warrell characterises the designs in the 2016 catalogue as ‘series of extravagantly coloured studies [depicting] jagged cliffs and small seaside harbours’, and points to their relative obscurity: ‘Most of these works have rarely, if ever, been exhibited; they have therefore retained all their liveliness and immediacy. It is clear, in any case, that Turner found a remarkable quality in the light and scenery of this coast.’15

As Warrell’s description implies, most of the drawings listed in the Couleur catalogue portray coastal locations, recording views along the stretch of Mediterranean shoreline between Marseille and Genoa, a route Turner followed on both his approach to and return from the latter city, the destination of this tour (see the Introduction to this tour for an overview of the artist’s itinerary). Both Marseille and Genoa are well represented, and there are also depictions of Monaco, Antibes and Noli. In addition to these seaside subjects, Warrell’s list also includes three views of Sisteron, a key stage of Turner’s itinerary through inland Provence (again, see the tour Introduction, and also under Tate D29562 for a wider discussion of this site and a list of related works).

One aspect of these striking designs worthy of note is the repeated depiction of the harbours and ports of these cities. By comparison, as Hannah Kaspar has outlined, the separate sheets he had used in 1828 are dominated by studies of bridges and aqueducts, ‘demonstrating Turner’s particular interest in the ancient Roman heritage’ of this region (see Kaspar’s ‘Second Italian Tour 1828–9’ section in the present catalogue, specifically the grouping ‘The Route to Rome: French and Italian Landscapes, Bridges, Buildings and Ruins 1828’). Ten years later, the artist’s attention appears to have turned to the area’s coastal infrastructure, at least in terms of the subjects deemed worthy of individual studies. As Warrell observes, in reference to Turner’s drawings of Genoa’s historic lighthouse specifically, ‘it is a monument that he studied several times during his two visits, but on the second occasion he had also made it the subject of a number of colour sketches’ (see under D24778).16 Turner’s particular interest in the Mediterranean ports is discussed in detail in an article by geographer and Turner researcher Roland Courtot.17

Regrettably, only six of the thirteen studies in the Bequest identified by Warrell are presently included in the present section of the catalogue (Tate D24704, D24778, D28968, D28975, D28996 and D29031; Turner Bequest CCLIX 139, 213, CCXCII 21, 28, 48, 80). The remaining seven works, having previously thought to be associated with other tours and groupings, have already been published in other sections of this catalogue (D24706, D28954, D28962, D28965, D28977, D29001, D29022; CCLIX 141; CCXCII 7, 15, 18, 30, 52, 71), although a brief addendum has been added to these records to highlight the newly–discovered link to the present tour.

Warrell does not claim to be exhaustive in his account of the separate sheets from 1838. Indeed, the research undertaken for the present catalogue, including the consideration and scrutiny of several unpublished sources focused on Turner’s artistic output relating to the sites and locations he is now known to have visited on this tour, has revealed a number of other related studies within the Bequest. The principal sources for these discoveries are the research notes of literary scholar and Turner enthusiast Bernard Richards, and the various articles and online blog series, Carnets de Voyage de Turner by the French geographer Roland Courtot (see the overall tour Introduction for an overview of their respective contributions to this catalogue and a wider discussion of these sources).18 Richards has identified several drawings as views of Grenoble (see, for example, D28959; CCXCII 12). Courtot is responsible for the identification of the three aforementioned pencil sketches of Avignon (D33976, D34010, D34028; CCCXLI 261, 292, 309), as well as recognising the site of the dramatic scene depicted in D28996 (CCXCII 48) as Viviers on the River Rhône.

Some of the sheets included here, specifically two of the drawings showing views of Sisteron, were first identified in Maurice Guillaud’s 1981 seminal exhibition catalogue, Turner en France (see D34191, D34192; CCCXLII 7, 8).19 Although Guillaud referred to these designs as evidence of an unspecified ‘later trip’ to Sisteron, it is now known that Turner only visited Sisteron once, on the occasion of the present tour in 1838. There are, in fact, three other Sisteron subjects in this grouping; see under D34191 for a list, and for a wider discussion of Turner’s engagement with this important historic site.

In addition to the works already identified by Warrell, Guillaud, Courtot and Richards, there are many sheets in the present grouping that have been included on the basis of stylistic or technical commonalities (most specifically, the type of support), which point to a similar date or occasion of execution. See, for example, D28970 and D29027 (CCXCII 23, 76). This process has been aided by the new and evolving understanding of the 1838 tour and Turner’s associated itinerary. Several designs have been included owing to a specific aspect of their colouring: a bold and extravagant palette reminiscent of the watercolours so enthusiastically celebrated by Warrell in his original 2016 catalogue. See, for example, D24707 and D28994 (CCLIX 142, CCXCII 47).

Aside from Warrell’s text, which was primarily focused on the colour studies, this catalogue represents the first attempt to compile a coherent list of the individual sheets associated with the 1838 tour. As outlined above, it brings together a collection of works that have been discussed and identified in various different sources. However, much like the seven watercolours from Warrell’s 2016 list that were allocated to other groupings prior to the emergence of the 1838 thesis (listed above), there are a number of other works that are unfortunately not currently included here, despite now being recognised by Courtot, Richards and Tate researchers as 1838 subjects, having already been published in various more generic sections. Technical issues prevent the immediate resolution of this issue, but it is hoped that it may be remedied in due course.

As with Warrell’s selection, a brief note has been added to these records, so as to foster and promote the link with the present tour. The list of these works below includes proposed updates to the identifications, following the object reference numbers. The phrase ‘coastal colour study’ identifies those designs that have been recognised as comparable coastal views of the South of France or Italy; they can now be associated with the present 1838 group with some confidence, owing to the new understanding of this tour and a stylistic resemblance to many of the individual sheets included directly in this newly constituted section:

One entry currently in the ‘Colour Studies of the Sun, Skies and Clouds c.1815–45’ section by Matthew Imms:

Tate D29026 (Turner Bequest CCXCII 75): coastal colour study

Twenty–four entries currently in the ‘?South of France and Italy c.1820–41’ section by John Chu:

One entry currently in the ‘Coastal Scenes and Shipping c.1820–45’ section by John Chu:

D24775 (CCLIX 220): coastal colour study

Two entries currently in the ‘European Rivers and Lowland Scenes c.1824–39’ by Ben Pollitt:

Twenty–five entries currently in the ‘Italy c.1828–43’ section by Matthew Imms:

Whilst it is regrettable that these works do not appear here in their appropriate context, this situation reflects the novel status of the 1838 tour, its interpretation and understanding, as a new and evolving thesis. It is possible that more related studies will come to light as a result of this catalogue.