Joseph Mallord William Turner Hampton Court Bridge, with a Thames Barge and Other Boats and Figures c.1827
Joseph Mallord William Turner 1775–1851
Folio 42 Verso:
Hampton Court Bridge, with a Thames Barge and Other Boats and Figures c.1827
D20798
Turner Bequest CCXXVII 40a
Turner Bequest CCXXVII 40a
Pencil on white wove paper, 110 x 185 mm
Partial watermark ‘nsell | 17’
Inscribed by Turner in pencil ‘Blue’ bottom left
Partial watermark ‘nsell | 17’
Inscribed by Turner in pencil ‘Blue’ bottom left
Accepted by the nation as part of the Turner Bequest 1856
References
1827
A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.II, p.699, CCXXVII 40a, as ‘River Scene: Wooden bridge with stone supports, boats and figures (seated) in foreground. Possible Old Chelsea Bridge’, c.1827.
1975
Gerald Wilkinson, Turner’s Colour Sketches 1820–34, London 1975, reproduced p.38, as ‘Chelsea?’.
1991
Horst Koch, William Turner, Kirchdorf/Inn 1988, trans. Stephen Gorman, London 1991, reproduced, p.81.
1991
Ian Warrell, Turner: The Fourth Decade: Watercolours 1820–1830, exhibition catalogue, Tate Gallery, London 1991, p.47 under no.40.
1997
Eric Shanes, Turner’s Watercolour Explorations 1810–1842, exhibition catalogue, Tate Gallery, London 1997, p.96, Appendix I, under ‘“England and Wales” Series’ subjects, p.102, Appendix I, under ‘Thames Views, from Chelsea to Hampton’.
2008
Ian Warrell in Anna Poznanskaya, Warrell, Matthew Imms and others, ¿¿¿¿¿¿ [Turner], exhibition catalogue, Pushkin Museum of Art, Moscow 2008, p.111 under no.63.
2009
Ian Warrell in Fan Di’an, Warrell, Matthew Imms and others, Turner from the Tate Collection, exhibition catalogue, National Art Museum of China, Beijing 2009, p.176 under no.63.
In the context of other Thames views in this sketchbook (see the Introduction), Ian Warrell first related this drawing of ‘a wooden bridge’ to a ‘colour beginning’ watercolour (Tate D25224; Turner Bequest CCLXIII 102),1 which Eric Shanes subsequently linked to Old Chelsea Bridge,2 based on Finberg’s description of the present drawing as ‘River scene: Wooden bridge with stone supports, boats and figures (seated) in foreground. Possibly Old Chelsea Bridge’.3 By this Finberg meant Old Battersea Bridge, linking Battersea to Chelsea, as seen in the background of Turner’s copy-drawing of about 1797 (Tate D00857; Turner Bequest XXXII A), and in 1870s paintings by Walter Greaves (1846–1930) and James Abbott McNeill Whistler (1834–1903) (respectively Tate N04598 and N01959). However, that bridge had wooden piers reinforced above water level with lattices of timbers, whereas Turner’s pencil sketch here shows solid supports, apparently with timberwork above.
Warrell has since identified the bridge in the colour study as that at Hampton Court,4 just upstream of the palace (see under folio 2 verso (D20736). This is confirmed by a watercolour inscribed ‘Hampton Bridge’ by Thomas Rowlandson (1756–1827) showing an almost identical view to Turner’s pencil study, with the bridge springing from enclosed timber piers on the left and the same buildings on the right on the far bank (Victoria and Albert Museum, London).5 The main elements of this drawing were translated directly into the colour structure. The bridge has since been replaced and the buildings have not survived. Turner’s thumbnail sketch of figures, trees and perhaps a boat or too probably shows another aspect of the same scene.
Warrell noted that folio 40 recto (D20793; Turner Bequest CCXXVII 38), a rough tonal pencil study on a page prepared with grey wash, shows the same view.6 He suggests that the colours in D25224, ‘together with the suggestion of a blustery, cumulus-filled sky’, are comparable with those in Turner’s finished design Hampton Court Palace of about 1827 (private collection),7 engraved in 1829 for the Picturesque Views in England and Wales (Tate impression: T04550), ‘suggesting that the two watercolours were almost certainly painted as part of the same working session’.8
There are sketches used for the England and Wales palace view at both ends of this sketchbook (see under folio 2 verso; D20736), while others formed the basis of another colour study (Tate D25145; Turner Bequest CCLXIII 23), showing the river at nearby Hampton (see under folio 21 verso; D20764; Turner Bequest CCXXVII 21).
See also variant reproduced as ‘1790: Second Hampton Court Bridge (1778–1866), print by Thomas Rowlandson’ at ‘Hampton Court Bridge’, Where Thames Smooth Waters Glide, accessed 26 October 2015, http://thames.me.uk/s00370.htm .
Technical notes:
There is an offset of grey watercolour at the top left from the ground used to prepare folio 42 recto opposite (D20799; Turner Bequest CCXXVII 41).
Matthew Imms
November 2015
How to cite
Matthew Imms, ‘Hampton Court Bridge, with a Thames Barge and Other Boats and Figures c.1827 by Joseph Mallord William Turner’, catalogue entry, November 2015, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, November 2016, https://www