Joseph Mallord William Turner The Banks of the River Seine by Villequier ?1829
Joseph Mallord William Turner 1775–1851
Folio 55 Verso:
The Banks of the River Seine by Villequier ?1829
D23807
Turner Bequest CCLIII 55a
Turner Bequest CCLIII 55a
Pencil on pale cream laid paper, 107 x 156 mm
Inscribed by Turner in pencil ‘Ay’ towards bottom right
Inscribed by Turner in pencil ‘Ay’ towards bottom right
Accepted by the nation as part of the Turner Bequest 1856
References
1909
A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.II, p.770, CCLIII 55a, as ‘Banks of Seine. See Engraving, entitled “Between Quilleboeuf and Villequier” in “Wanderings by the Seine,” 1834, p.182’.
1979
Andrew Wilton, J.M.W. Turner: His Life and Work, Fribourg 1979, p.414 under no.968.
1981
Dimitrios Papastamos, John Gage and Lindsay Stainton, J.M.W. Turner (1775–1851) / ΤΖ.Μ.Γ. Τερνερ (1775–1851), exhibition catalogue, National Pinakothiki, Athens 1981, p.136 note 81.
1992
Anne Lyles, Turner: The Fifth Decade: Watercolours 1830–1840, exhibition catalogue, Tate Gallery, London 1992, pp.60–1 under no.30.
1995
Judy Egerton, Martin Wyld and Ashok Roy, Making & Meaning: Turner: The Fighting Temeraire, exhibition catalogue, National Gallery, London 1995, p.136 under no.44.
1999
Ian Warrell, Turner on the Seine, exhibition catalogue, Tate Gallery, London 1999, pp.148, 260 note 76, 274 under no.125.
The page contains two sketches, both drawn horizontally, of hilly landscapes. Finberg identified this page as ‘Banks of Seine’, comparing the engraving noted below.1 Various art historians have noted2 that this formed the preliminary sketch for Turner’s later watercolour, Between Quillebeuf and Villequier, c.1832 (Tate D24669; Turner Bequest CCLIX 104),3 which was engraved for Turner’s Annual Tour – Wanderings by the Seine, 1834 (Tate impressions: T05609, T06241). There, Turner contrasts sailing boats and steamboats as old and new, a juxtaposition later seen in his renowned painting, The Fighting ‘Temeraire’, tugged to her Last Berth to be broken up, 1838, exhibited in 1839 (Turner Bequest, National Gallery, London).4
Art historian Ian Warrell explains that the lower sketch shows the slopes of the Brotonne forest on the southern side of the River Seine, whilst the upper sketch shows the northern side at Villequier with sailboats on the river, and that Turner brought these two sketches together to form a continuous scene in the watercolour. The church at Aizier is depicted at lower right, and to the right of the church Turner has included a rough annotation ‘Ay’ to indicate Aizier.5 The Aizier and Villequier locations have also been confirmed elsewhere.6
Caroline South
May 2017
Papastamos and others 1981, p.136 note 81; Egerton and others 1995, p.136 no.44; Wilton 1979, p.414 under no.968; Warrell 1999, p.274 no.125.
Martin Butlin and Evelyn Joll, The Paintings of J.M.W. Turner, revised ed., New Haven and London 1984, pp.229–31 no.377, pl.381 (colour); see Lyles 1992, pp.18–19, 61 under no.30.
How to cite
Caroline South, ‘The Banks of the River Seine by Villequier ?1829 by Joseph Mallord William Turner’, catalogue entry, May 2017, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, November 2019, https://www