Turner's Sketches and Drawings

by A. J. Finberg

(The numbers, etc., in brackets refer to the position of the Drawings in the Official Inventory.)

	The Pass of Faïdo,St. Gothard,	[Frontispiece]
	Water Colour. 1844. (CCCLXIV. 209.)
PLATE		PAGES
[I.]	St. Vincent’s Tower, Naples,	Between [6-7]
	Water-Colour. About 1787. (I.E.)
[II.]	Central Portion of an Aquatint by Paul Sandby, after Fabris, entitled ‘Part of Naples, with the Ruin’d Tower of St. Vincent.’ Published 1st Jan. 1778,	Between [6-7]
[III.]	Radley Hall: South Front,	Facing [11]
	Water-Colour. About 1789. (III. D).
[IV.]	View on the Avon, from Cook’s Folly,	Facing [14]
	Water-Colour and Ink. About 1791. (VI. 24).
[V.]	Lincoln Cathedral,	Between [20-21]
	Water Colour, exhibited at Royal Academy, 1795. In Print Room, British Museum.
[VI.]	Lincoln Cathedral, from the South-west,	Between [20-21]
	Pencil. 1794. (XXI. 0).
[VII.]	Pony and Wheelbarrow,	Facing [23]
	Pencil. 1794. (XXI. 27a).
[VIII.]	Melincourt Fall, Vale of Neath,	Facing [26]
	Pencil, part in Water-Colour. 1795. (XXVI. 8).
[IX.]	Interior of Ripon Cathedral: North Transept,	Facing [28]
	Pencil. 1797. (XXXV. 6).
[X.]	Conway Falls, near Bettws-y-Coed,	Facing [30]
	Water-Colour. About 1798. (XXXVIII. 71.)
[XI.]	Conway Castle,	Facing [32]
	Pencil. About 1798. (XXXVIII. 50a).
[XII.]	Ruined Castle on Hill,	Facing [34]
	Water-Colour. About 1798. (L. K.).
[XIII.]	Study of Fallen Trees,	Facing [36]
	Water-Colour. About 1798. (XLII. 18-19.)
[XIV.]	Caernarvon Castle,	Facing [37]
	Pencil. 1799. (XLVI. 51.)
[XV.]	Cassiobury: North-west View,	Facing [38]
	Pencil. About 1800. (XLVII. 41.)
[XVI.]	Blair’s Hut on the Montanvert and Mer de Glace.
	Sketch for the Water-Colour in the Farnley Collection,	Facing [39]
	Water-Colour. 1802. (LXXV. 22.)
[XVII.]	Study for the ‘Bridgewater Sea-piece,’	Facing [42]
	Pen and ink, wash, and white chalk on blue paper. About 1801.(LXXXI. 122-123.)
[XVIII.]	Study of a Barge with Sails Set,	Facing [43]
	Pen and ink, wash, and white chalk on blue paper. About 1802.(LXXXI. 138-139.)
[XIX.]	Fishermen launching Boat in a rough Sea,	Facing [44]
	Pen and ink and wash. About 1802. (LXVIII. 3.)
[XX.]	Study for ‘Sun rising through Vapour,’	Facing [45]
	Black and white chalk on blue paper. About 1804. (LXXXI. 40.)
[XXI.]	Study for ‘The Shipwreck,’	Facing [47]
	Pen and ink and wash. About 1805. (LXXXVII. 16.)
[XXII.]	Men-of-War’s Boats fetching Provisions (1),	Facing [49]
	Pencil. About 1808. (XCIX. 18.)
[XXIII.]	Men-of-War’s Boats fetching Provisions (2),	Facing [50]
	Pencil. About 1808. (XCIX. 22.)
[XXIV.]	‘The Inscrutable,’	Facing [52]
	Pencil. About 1808. (CI. 18.)
[XXV.]	Sketch for ‘Hedging and Ditching,’	Between [56-57]
	Pencil. About 1807. (C. 47.)
[XXVI.]	‘Hedging and Ditching,’	Between [56-57]
	Wash drawing in Sepia for ‘Liber Studiorum.’ About 1808. (CXVII. W.)
[XXVII.]	(a) Mill on the Grand Junction Canal, near Hanwell,
	Pencil. About 1809. (CXIV. 72a-73).	Facing [61]
	(b) ‘Windmill and Lock,’	Facing [61]
	Engraving published in ‘Liber Studiorum,’ 1st June, 1811. (R. 27).
[XXVIII.]	Whalley Bridge and Village,	Facing [62]
	Pencil. About 1808. (CIII. 8).
[XXIX.]	Whalley Bridge. Sketch for the Picture exhibited at the Royal Academy. 1811. (Now in Lady Wantage’s Collection),	Facing [63]
	Pencil. About 1808. (CIII. 6.)
[XXX.]	London, from Greenwich Park,	Facing [64]
	Pencil. About 1809. (CXX. H.)
[XXXI.]	Petworth House, from the Lake,	Facing [65]
	Pencil. About 1809. (CIX. 4.)
[XXXII.]	Petworth House, from the Park,	Facing [66]
	Pencil. About 1809. (CIX. 5.)
[XXXIII.]	Cockermouth Castle,	Facing [67]
	Pencil. About 1809. (CIX. 15.)
[XXXIV.]	Landscape near Plymouth,	Facing [68]
	Pencil. About 1812. (CXXXI. 96.)
[XXXV.]	(a) Sandycombe Lodge and Grounds,	Facing [69]
	Pen and Ink. About 1811. (CXIV. 73a-74.)
	(b) Plan of Garden: Sandycombe Lodge,	Facing [69]
	Pen and Ink. About 1812. (CXXVII. 21a.)
[XXXVI.]	Scene on the French Coast,	Between [74-75]
	Sepia. About 1806. (CXVI. C.)
[XXXVII.]	Scene on the French Coast. Generally known as ‘Flint Castle: Smugglers,’	Between [74-75]
	Print of etching, washed with Sepia. About 1807. (CXVI. D.)
[XXXVIII.]	Juvenile Tricks,	Facing [78]
	Sepia. About 1808. (CXVI. Z.)
[XXXIX.]	Berry Pomeroy Castle. Generally known as ‘Raglan Castle,’	Facing [79]
	Sepia. About 1813. (CXVIII. E.)
[XL.]	The Alcove, Isleworth. Generally known as ‘Twickenham—Pope’s Villa,’ etc.,	Facing [8]
	Sepia. About 1816. (CXVIII. I.)
[XLI.]	Sheep-Washing, Windsor,	Facing [81]
	Sepia. About 1818. (CXVIII. Q.)
[XLII.]	View of a River, from a Terrace. Sometimes called‘Macon,’	Facing [82]
	Sepia. About 1818. (CXVIII. Y.)
[XLIII.]	Crowhurst, Sussex,	Facing [83]
	Sepia. About 1818. (CXVIII. R.)
[XLIV.]	Kirkby Lonsdale Bridge,	Facing [84]
	Pencil. About 1816. (CXLVIII. 4c-5.)
[XLV.]	Raby Castle,	Facing [85]
	Pencil. About 1817. (CLVI. 16a-17.)
[XLVI.]	Raby Castle,	Facing [86]
	Pencil. About 1817. (CLVI. 19a-20.)
[XLVII.]	Raby Castle,	Facing [87]
	Pencil. About 1817. (CLVI. 18a-19.)
[XLVIII.]	Looking up the Grand Canal, Venice, from near the Accademia di Belle Arti,	Facing [90]
	Pencil. 1819. (CLXXV. 70a-71.)
[XLIX.]	St. Mark’s, Venice, with part of the Ducal Palace,	Facing [91]
	Pencil. 1819. (CLXXV. 45.)
[L.]	The Piazzetta, Venice, looking towards Isola di S. Giorgio Maggiore,	Facing [92]
	Pencil. 1819. (CLXXV. 46a.)
[LI.]	Rome, from Monte Mario,	Facing [93]
	Pencil and Water-Colour. 1819. (CLXXXIX. 33.)
[LII.]	Rome, from the Vatican,	Facing [94]
	Pen and ink and Chinese white on grey. 1819. (CLXXXIX. 41.)
[LIII.]	Trajan’s Column, in the Forum of Trajan,	Facing [95]
	Pencil. 1819. (CLXXXVIII. 48.)
[LIV.]	Study of Plants, Weeds, etc.,	Facing [96]
	Pencil. About 1823. (CCV. 1a.)
[LV.]	(a) Watchet, Somersetshire,	Facing [100]
	Pencil. About 1811. (CXXIII. 170a.)
	(b) Watchet, Somersetshire,	Facing [100]
	Engraving published in ‘The Southern Coast’, 1st April, 1820.
[LVI.]	(a) Boscastle, Cornwall,	Facing [101]
	Pencil. About 1811. (CXXIII. 182.)
	(b) Boscastle, Cornwall,	Facing [101]
	Engraving published in ‘The Southern Coast,’ 10th March, 1825.
[LVII.]	Hornby Castle, from Tatham Church,	Between [102-103]
	Pencil. About 1816. (CXLVII. 41a-42.)
[LVIII.]	Hornby Castle, from Tatham Church,	Between [102-103]
	Engraving, from the Water-Colour in the Victoria and Albert Museum, published in Whitaker’s ‘Richmondshire,’ June, 1822.
[LIX.]	(a) Heysham, with Black Combe, Coniston Old Man, Helvellyn, etc., in the distance,	Between [104]
	Pencil. About 1816. (CXLVII. 40a-41).
	(b) Heysham and Cumberland Mountains,	Between [104]
	Engraving published in Whitaker’s ‘Richmondshire,’ 22nd August, 1822.
[LX.]	(a) Edinburgh, from Calton Hill,	Between [106-107]
	Pencil. 1818. (CLXVII. 39a.)
	(b) Edinburgh, from the Calton Hill,	Between [106-107]
	Engraving published in Scott’s ‘Provincial Antiquities of Scotland,’ 1st November, 1820.
	(c) Edinburgh, from Calton Hill,	Between [106-107]
	Pencil. 1818. (CLXVII. 40.)
	(d) Figures on Calton Hill,	Between [106-107]
	Pencil. 1818. (CLXVII. 40a.)
[LXI.]	(a) Borthwick Castle,	Facing [107]
	Pencil. 1818. (CLXVII. 76.)
	(b) Borthwick Castle,	Facing [107]
	Engraving published in Scott’s ‘Provincial Antiquities ofScotland,’ 2nd April, 1819.
[LXII.]	(a) Rochester,	Between [108-109]
	Pencil. About 1821. (CXCIX. 18.)
	(b) Rochester,	Between [108-109]
	Pencil. About 1821. (CXCIX. 21.)
[LXIII.]	Rochester on the River Medway,	Between [108-109]
	Water-Colour. About 1822. (CCVIII. W.)
[LXIV.]	Bolton Abbey,	Between [110-111]
	Pencil. About 1815. (CXXXIV. 81-82.)
[LXV.]	Bolton Abbey,	Between [110-111]
	Engraving published in ‘Picturesque Views in England andWales,’ 1827.
[LXVI.]	(a) Colchester,	Between [110-111]
	Pencil. About 1824. (CCIX. 6a.)
	(b) Colchester,	Between [110-111]
	Pencil. About 1824. (CCIX. 7a.)
[LXVII.]	Colchester, Essex,	Between [110-111]
	Engraving, published in ‘Picturesque Views in England andWales,’ 1827.
[LXVIII.]	Stamford, Lincolnshire,	Between [112-113]
	Pencil. 1797. (XXXIV. 86.)
[LXIX.]	Stamford, Lincolnshire,	Between [112-113]
	Engraving published in ‘Picturesque Views in England andWales,’ 1830.
[LXX.]	(a) Tynemouth Priory,	Facing [113]
	Pencil, with part in Water-Colour, 1797. (XXXIV. 35.)
	(b) Tynemouth, Northumberland,	Facing [113]
	Engraving, published in ‘Picturesque Views in England and Wales,’ 1831.
[LXXI.]	Bemerside Tower,	Between [118-119]
	Pencil. About 1831. (CCLXVII. 82a.)
[LXXII.]	Bemerside Tower,	Between [111-118]
	Engraving published in Scott’s ‘Poetical Works’ (Cadell),1834.
[LXXIII.]	Men chatting round Fireplace: Petworth House,	Facing [122]
	Water-Colour. About 1830. (CCXLIV. 82.)
[LXXIV.]	Teasing the Donkey: Petworth,	Facing [123]
	Water-Colour. About 1830. (CCXLIV. 97.)
[LXXV.]	Honfleur,	Facing [126]
	Water-Colour. About 1830. (CCLIX. 15.)
[LXXVI.]	Country Town on Stream,	Facing [127]
	Water-Colour. About 1830. (CCLIX. 16.)
[LXXVII.]	Sheep in the Trench,	Facing [128]
	Water-Colour. About 1830. (CCLIX. 17.)
[LXXVIII.]	Shipping on the Riva degli Schiavone,	Facing [129]
	Water-Colour. About 1839. (CCCXVI. 20.)
[LXXIX.]	The Approach to Venice: Sunset,	Facing [132]
	Water-Colour. About 1839. (CCCXVI. 16.)
[LXXX.]	Riva degli Schiavone, from near the Public Gardens,	Facing [133]
	Water-Colour. About 1839. (CCCXVI. 21.)
[LXXXI.]	Freiburg: The Descent from the Hôtel de Ville,	Facing [134]
	Water-Colour. About 1841. (CCCXXXV. 14.)
[LXXXII.]	Ruined Castle on Rock,	Facing [135]
	Water-Colour. About 1841. (CCCXXXIX. 5.)
[LXXXIII.]	Village and Castle on the Rhine,	Facing [140]
	Water-Colour. About 1844. (CCCXLIX. 22.)
[LXXXIV.]	The Via Mala,	Facing [141]
	Water-Colour. About 1844. (CCCLXIV. 362.)
[LXXXV.]	On the Rhine,	Facing [148]
	Water-Colour. 1844. (CCCXLIX. 20.)
[LXXXVI.]	Baden, looking North,	Facing [149]
	Water-Colour. 1844. (CCCXLIX. 14.)
[LXXXVII.]	Lucerne: Evening,	Facing [152]
	Water-Colour. 1844. (CCCXLIV. 324.)

TURNER’S SKETCHES AND DRAWINGS

INTRODUCTORY

The nature of our subject-matter—The difference between sketches and finished works—The character of our subject-matter, as embryonic forms of artistic expression, prescribes the method of study we must adopt—Our method is broadly chronological—But to follow Turner’s work year by year in detail would carry us beyond the limits of our present undertaking—I have, therefore, broken up Turner’s career into eight stages or phases of development.

THE object of the following pages is to re-study the character of Turner’s art in the light of his sketch-books and drawings from nature.

During Turner’s lifetime his rooted objection to part with any of his sketches, studies, or notes often formed the subject of ill-natured comment. Yet we owe it to this peculiarity that the drawings and sketches included in the Turner Bequest at the National Gallery comprise practically the whole of the great landscape painter’s work done direct from nature. The collection is, therefore, of very great psychological interest. It shows clearly upon what basis of immediately presentative elements the airy splendour of Turner’s richly imaginative art was built: and amongst the twenty odd thousand sheets of drawings in all stages of elaboration, the embryonic forms of most of the painter’s masterpieces can be easily traced.

A careful examination of the drawings shows that Turner’s objection to part with his sketches and notes was not the outcome of a blind and deeply ingrained passion for accumulation, but that it was the necessary result of the painter’s clearly defined conception of the radical difference between the raw material of the painter’s art, and its fully articulated products—the difference between mere sketches and studies and fugitive memoranda, and the fully elaborated works of art to which such preliminaries are subservient, but with which they should never be confused. From Turner’s point of view the properly finished pictures were all that the public had a right to see or possess; the notes and studies were meant only for his own eye. Even in his later years, when he consented to exhibit what he expressly called a ‘record’ of a scene he had witnessed, he grumbled when it was admired and treated as a picture, although in this case the ‘record’ was not a hurried memorandum, but a fully elaborated attempt ‘to show what such a scene was like.’[1]