Joseph Mallord William Turner An Old Woman in a Cottage Kitchen ('Internal of a Cottage, a Study at Ely') 1795-6
						  Joseph Mallord William Turner, 
						  An Old Woman in a Cottage Kitchen ('Internal of a Cottage, a Study at Ely')
						  1795-6
						  
						
						
					Joseph Mallord William Turner 1775–1851
An Old Woman in a Cottage Kitchen (‘Internal of a Cottage, a Study at Ely’)  1795–6
D00729
Turner Bequest XXIX X
Turner Bequest XXIX X
Pencil and watercolour with scraping-out on white wove paper, 204 x 270 mm mounted on card, 210 x 280 mm
Inscribed by Turner in watercolour ‘W Turner’ at foot of wall centre left, and ‘W Turner’ bottom right
Blind-stamped with Turner Bequest monogram towards bottom right
Stamped in black ‘XXIX X’ on both watercolour and mount bottom right
Inscribed by Turner in watercolour ‘W Turner’ at foot of wall centre left, and ‘W Turner’ bottom right
Blind-stamped with Turner Bequest monogram towards bottom right
Stamped in black ‘XXIX X’ on both watercolour and mount bottom right
Accepted by the nation as part of the Turner Bequest 1856
Exhibition history
1796
					Royal Academy, London 1796 (686, as ‘Internal of a cottage, a study at Ely’).
				1904
					National Gallery, London, various dates to at least 1904 (406, as ‘Cottage Interior’).
				1974
					Turner 1775–1851, Royal Academy, London, November 1974–March 1975 (14).
				1983
					J.M.W. Turner: Dibujos y acuarelas del Museo Británico, exhibition catalogue, Museo del Prado, Madrid, February–March 1983 (3, reproduced).
				1983
					J.M.W. Turner, à l’occasion du cinquantième anniversaire du British Council, Galeries nationales du Grand Palais, Paris, October 1983–January 1984 (81, reproduced).
				1986
					Turner Exhibition, National Museum of Western Art, Tokyo, August–October 1986, Municipal Museum of Art, Kyoto, October–November 1986 (53, reproduced in colour).
				1993
					J.M.W. Turner 1775–1851: Impressions de Gran Bretanya i el Continent Europeu / Impresiones de Gran Bretaña y el Continente Europeo, Centre Cultural de la Fundació ”la Caixa”, Barcelona, September–November 1993, Sala de Exposiciones de la Fundación ”la Caixa”, Madrid, November 1993–January 1994 (7, reproduced in colour).
				1998
					Moonlight and Firelight: Watercolours from the Turner Bequest, Tate Gallery, London, July–November 1998 (no catalogue).
				2001
					William Turner: Licht und Farbe, Museum Folkwang, Essen, September 2001–January 2002, Kunsthaus Zürich, February–May 2002 (6, reproduced in colour).
				2005
					Turner’s Picture of Britain, Clore Gallery, Tate Britain, London, June 2005–April 2006 (no catalogue).
				2007
					Hockney on Turner Watercolours, Tate Britain, London, June 2007–February 2008 (no number, reproduced in colour).
				References
1904
					E.T. Cook and Alexander Wedderburn eds., Library Edition: The Works of John Ruskin: Volume XIII: Turner: The Harbours of England; Catalogues and Notes, London 1904, p.256 no.23, as ‘Early Study of a Cottage’, p.628 no.406, as ‘Cottage Interior’.
				1882
					W[illiam] Cosmo Monkhouse, Turner, London 1882, p.9.
				1903
					Charles Holme ed., The Genius of J.M.W. Turner, R.A., London, Paris and New York 1903, p.vii (MW), pl.MW.5, as ‘The Kitchen in Maiden Lane, and Turner’s Mother (?)’.
				1909
					A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.I, p.60, XXIX X, as ‘Cottage Interior ... Perhaps “Internal of a Cottage: a study at Ely,” exhibited R.A., 1796’. c.1796.
				1910
					Alexander J. Finberg, Turner’s Sketches and Drawings, London 1910, pp.23–4.
				1979
					Andrew Wilton, J.M.W. Turner: His Life and Work, Fribourg 1979, p.315 no.141, pl.25.
				Technique and condition
In this work the wove paper is now a deep cream colour but originally was white. Graphite pencil drawing in visible where there are areas of thin paint. Heavy even washes have been overlain rather than mixed to create the colours in this work. Black has been used for the dark areas. The bricks and wickerwork have been depicted with single, well-planned and well-placed dabs in two successive colours. Washing-out with a brush loaded with plain water was used to create the light areas. Pigments used include brown and yellow ochres and indigo.
						Helen Evans
						October 2008
					
						Revised by Joyce Townsend
						February 2011
					
How to cite
Helen Evans, 'Technique and Condition', October 2008, revised by Joyce Townsend, February 2011, in Andrew Wilton, ‘An Old Woman in a Cottage Kitchen (‘Internal of a Cottage, a Study at Ely’) 1795–6 by Joseph Mallord William Turner’, catalogue entry, April 2012, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2012, https://wwwThe identification of this work with that exhibited at the Royal Academy in 1796 is generally accepted; no other plausible candidate is known. Assuming that the identification with the ‘study at Ely’ is correct, the subject must have been noted during the 1794 tour; as no preparatory sketch is known, it is likely that this watercolour was worked up over an outline drawing made on the spot. It was thought in the nineteenth century to show Turner’s mother in the kitchen at Maiden Lane, Covent Garden.
As an exercise in chiaroscuro this marks a significant development in Turner’s technical progress. He had already essayed a firelit interior at the age of fifteen or thereabouts (Tate D00187; Turner Bequest XVII L); as one would expect, this shows increased subtlety and flexibility in the relation between outline and tone; and the subject forms a kind of prelude to the sequence of dramatically lit ecclesiastical interiors that he was to produce in the next few years. Indeed, two of the finest of these, showing the interior of the Octagon at Ely Cathedral (private collection; Aberdeen Art Gallery)1 were based on a pencil drawing made on this Midland tour (Tate D00369; Turner Bequest XXII P).
Technical notes:
Like the view of Llangollen, Tate D00861 (Turner Bequest XXXII E), this work was mounted on thin card washed with grey; this has now been trimmed away to a width of only about 5 mm. Turner touched it at top and bottom with dark colour, presumably to fill the frame he had put the drawing into for exhibition.
Verso:
Blank; stamped in brown ink with Turner Bequest monogram; inscribed in a later hand ‘10’.
						Andrew Wilton
						April 2012
					
How to cite
Andrew Wilton, ‘An Old Woman in a Cottage Kitchen (‘Internal of a Cottage, a Study at Ely’) 1795–6 by Joseph Mallord William Turner’, catalogue entry, April 2012, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2012, https://www

