Joseph Mallord William Turner (1775 - 1851)

A Storm at Sea Sold

Watercolour on white paper.
180 x 291 mm. (7 1/8 x 11 1/2 in.)

ACQUIRED BY THE MINNEAPOLIS INSTITUTE OF ARTS, MINNEAPOLIS, MINNESOTA.

ENQUIRE

In 1831 J. M. W. Turner made a visit to Scotland at the invitation of Sir Walter Scott, with the intention of making drawings to illustrate a new edition of Scott’s Poetical Works. During a period of several weeks in Scotland, Turner travelled extensively in the Highlands and the Isles. The present sheet may be tentatively dated to this period, and may be a first idea or ‘colour beginning’ for the sea and sky in Turner’s major painting Staffa, Fingal’s Cave, today in the collection of the Yale Center for British Art in New Haven, CT.

Turner visited Staffa – an uninhabited island in the Inner Hebrides in Scotland, dominated by a large sea cave known as Fingal’s Cave, formed of basalt columns - in August or September 1831, and the painting was exhibited at the Royal Academy the following year. Like the present watercolour, the painting depicts an arching storm cloud over a stormy sea. In the painting, the clouds are paralleled by the smoke from the funnel of a steamship at the right of the composition, and what may be a mast or funnel can just be seen as a vertical element above the waves near the left edge of the composition of this watercolour.

Turner’s late, ephemeral watercolours were an aspect of his working process that he kept very much to himself, and the present sheet is a rare example of one of these private works which seems to have left the artist’s studio in his lifetime or soon afterwards. (Although Turner produced numerous watercolours of this type, colour studies such as the present watercolour are only rarely found outside of the Turner Bequest at the Tate.)

A superb example of Turner’s remarkable gifts as a watercolourist, this expressive study of a storm at sea represents an aspect of the artist’s method that, as historian Richard Johns has noted, has only recently been studied; 'The private world of Turner’s sketchbooks and studio has been investigated, exposed and selectively called upon as evidence in the shifting assessment of the painter’s long-term significance for the history of art. This is nowhere more apparent than in those drawings and watercolours that are concerned with the sea.’

Provenance:
Arthur James Balfour, 1st Earl of Balfour, Carlton Gardens, London and Whittingehame House, East Lothian
Thence by descent until 1986, when purchased by a private collector
Private collection, until 2008
Anonymous sale, London, Christie’s, 4 June 2008
W/S Fine Art, London.

Literature:
J. R. Piggott, ‘Salesrooms Report’, Turner Society News, No.110, December 2008, pp.18-19; Sophie Barling, ‘Serious Pursuits’, The World of Interiors, August 2012, p.25; J. R. Piggott, ‘Salesrooms Report’, Turner Society News, No.118, Autumn 2012, p.35; Pieter van der Merwe, ‘Bonington and Turner off Boulogne’, Turner Society News, No.119, Spring 2013, p.16; Richard Johns, ‘Imagining the Sea’, in Christine Riding and Richard Johns, Turner and the Sea, exhibition catalogue, Greenwich and Salem, 2013-2014, p.211.

Joseph Mallord William TURNER

A Storm at Sea

720

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