Joseph Mallord William Turner Sold at Auction Prices
Etcher, Painter, Naval painter, Mezzotintostecher, Landscape painter, Miniature painter, Still life painter, b. 1775 - d. 1851
Artist William Turner was born in London in 1775 and is recognized for his vivid depictions of natural light when painting landscapes. When he was ill as a young boy, he was sent to live with his uncle in the countryside. It was during this period he began to paint, and by the time he returned to the city in his early teens he was successfully selling his paintings at his father's barbershop. JMW Turner's paintings were realistic depictions of the British countryside painted in oil with bright, dramatic colors.
By the time he turned 17, artist William Turner had been awarded the Great Silver Pallet by the Royal Society of Arts for landscape drawing. Among Joseph Malford William Turner's prints are a series of engravings he created for publishers Copper Plate Magazine and Pocket Magazine. Browse eye-catching landscape paintings for sale online at Invaluable to complete your art collection.
British School, late 18th century- View of the White Cliffs of Dover; pencil, grey, and brown wash on paper, bears modern inscription 'Monro School, 1750-1833 / Joseph Mallord William Turner, R.A. 1775-1851 / and Thomas Girtin, 1775-1802. / (Pencil by Girtin, Washes by Turner) / circa. 1794/7' to the reverse of the frame, 11.4 x 18.4 cm.
Robert Brandard, after Joseph Mallord William Turner, British 1805-1862- and British 1775-1851- Rain, Steam and Speed; and Snow-Storm; coloured engravings on paper, each 21.3 x 26.7 cm., two (2).
JOSEPH MALLORD WILLIAM TURNER RA (1775-1851), landscape, watercolour with the authorized blind stamps of Wedlake Letts & Burns, with the Turner number W5134, initial of JOHN RUSKIN, noted from the Collection of EDWARD BELLAIS no.45, 8.5 x 12cm, 34 x 31cm
After Joseph Mallord William Turner (1775-1851). St Benedetto, Looking towards Fusina, c. 1870 * After Joseph Mallord William Turner (1775-1851). St Benedetto, looking towards Fusina, circa 1870, watercolour heightened with bodycolour on wove, some scattered spotting, mount aperture 46.5 x 68 cm (18 1/4 x 26 3/4 ins), framed and glazed (74 x 97 cm), printed George Rowney & Compy. label to backboard QTY: (1) NOTE: The original oil painting on canvas by Turner was exhibited at the Royal Academy in 1843, measuring 62.5 × 92 cm. It was accepted by the nation as part of the Turner Bequest in 1856 and transferred to the Tate Gallery in 1968 (Ref: N00534). Ruskin commented that the title was partly imaginary, with no church of San Benedetto being visible in reality. Several buildings to the right in the painting were also imaginary in their detail. An engraving of the original by Turner was by James Charles Armytage published 1859-61, captioned 'Approach to Venice'. An example of the print held at the Tate has a manuscript correction to the title 'St Benedetto, looking towards Fusina RA 1843'.
William Turner (1775-1851) color lithograph for an exhibition at the Tate Britain in London in 1985. The underlying piece used for the poster is titled Peace Burial at Sea, after the original which was painted in 1842 and is now on display in the Tate Britain in London. This original exhibition poster was produced on heavy stock 300 gsm, museum paper. With frame, it measures 29.5 inches x 35.5 inches. It is matted and framed under acrylic in a simple black tone frame. It was produced in 1985. This piece was acquired from a Metro Washington DC estate.
Oil on canvas painting by esteemed artist J.M.W. Turner. A ship is shown through the mist in heavy seas. Back of canvas is inscribed "Shipwreck - Wales, J.M.W. Turner, 1805, To my friend the Earl of ?". There is also an interesting wax seal on the stretcher. 26" x 21 1/2", framed 38" x 33". 26 lbs.
Joseph Mallord William TURNER (1775-1851) Engraving 4 1/8" x 5 1/2" Frame: 15.5" x 19.5" Black and white engraving. Framed under glass. In good condition.
Edward Finden (1791 London - 1857 ibid.) after Joseph Mallord William Turner (1775 London - 1851 ibid.): The Sinai Desert, rocky landscape, 1834, Steel engraving Technique: Steel engraving on Paper Date: 1834 Description: Steel engraving by Edward Finden, inscribed: "Drawn by J. M . W. Turner, R. A. from a sketch by Major Felix Engraved by E. Finden The Desert of Sinai: With the Rock by the Arabs to be that which Moses struck. "That great and terrible Wilderness. Deut. VIII. 16. London Published 1834 by J. Murry & Sold by C. Tilt, 86, Flect Street". Very impressive view of a large rock in the desert of Sin, on which Moses is said to have struck to get water. A huge mountain range towers in the background, making the staffage figures of the foreground look dainty and small. Edward Finden (London 1791 - ibid. 1857) was a British copper and steel engraver. Finden was apprenticed to James Mitan from 1806, in 1810 he won the Silver Palette of the Soc. of Arts for a drawing of Laocoon. Participates in exhibitions, engravings for the publisher John Murray. From c. 1829 he runs a studio with his brother William and illustrates numerous books. Keywords: 19th century, Romanticism, Landscape, Egypt, Size: Paper: 15,3 cm x 23,0 cm (6 x 9,1 in)
Mezzotint Engraving Printed on Wove Paper by Joseph Mallord William Turner (1775-1851). Entitled "Ramsgate". Plate executed by Thomas Lupton C. 1825. Comes with Global Fine Art COA. Measures 19.25" tall x 22.25" wide. All invoices must be paid within 24 hours of the sale. We offer multiple shipping options please read the shipping terms to understand your options. We also offer Pick-Ups Thursday, Friday, Saturday, and Monday immediately following the sale. BY APPOINTMENT ONLY.
Mezzotint Engraving Printed on Wove Paper by Joseph Mallord William Turner (1775-1851). Entitled "Dover". Plate executed by Thomas Lupton C. 1825. The edge of the engraving is coming loose on one corner. Comes with Global Fine Art COA. Measures 19.25" tall x 22.25" wide. All invoices must be paid within 24 hours of the sale. We offer multiple shipping -options please read the shipping terms to understand your options. We also offer Pick-Ups Thursday, Friday, Saturday, and Monday immediately following the sale. BY APPOINTMENT ONLY.
Dido Building-Carthage & Crossing The Brook Colored Engravings on Paper 7 x 10.25 inches (sight) & 10 x 8 inches (sight) 18 x 22 inches (frame) Overall good condition. E.T. Newell Auction labels.Â
Knowle Park & Lake Lucerne Pencil Drawing on Paper each signed l.l. 5 x 8.5 inches (sight) & 5.5 x 8.5 inches (sight) 12.5 x 15.5 (frame) Lake Lucerne in good overall condition. Knowle Park with stains to paper and possible vertical tear.Â
William Turner (1775-1851) color lithograph for an exhibition at the Tate Britain in London in 1985. The underlying piece used for the poster is titled Bridge if Sighs, Ducal Palace and Custom-House, after the original which was painted in 1833, and is now on display in the Tate Britain in London. This original exhibition poster was produced on heavy stock 300 gsm, museum paper. With frame, it measures 29.5 inches x 35.5 inches. It is matted and framed under acrylic in a simple black tone frame. It was produced in 2004. This piece was acquired from a Metro Washington DC estate.
William Turner (1775-1851) color lithograph for an exhibition at the Tate Britain in London in 1985. The underlying piece used for the poster is titled Peace Burial at Sea, after the original which was painted in 1842 and is now on display in the Tate Britain in London. This original exhibition poster was produced on heavy stock 300 gsm, museum paper. With frame, it measures 29.5 inches x 35.5 inches. It is matted and framed under acrylic in a simple black tone frame. It was produced in 1985. This piece was acquired from a Metro Washington DC estate.
LOCH LONG VON ARROCHAR GESEHEN Graphitzeichnung aquarelliert auf Papier. Blattmaße: 10,5 x 17,9 cm. Auf dem Untersatz ein Trome L’oeil Titel „J.M.W. Turner, 1775 - 1851“; abgeschnittene Watermark „JWHATMAN 18...“. Verso mit Monogramm „J.M.W.T.“ sowie Anochar Head of Loch Long und Fremdhinweis. Auf mit Tusche alt bezeichnetem Karton, hinter Glas gerahmt. Von leicht erhöhtem Betrachterstandpunkt aus gesehen, das Ufer in des Loch Long mit seiner bescheidenen aber effizient wiedergegebenen Vegetation, dem im Sonnenlicht sich kräuselnden Gewässer, das am Ufer bricht und den Segelschiffen, die sich vor den angrenzenden Gebirgszügen abzeichnen, die mit dem Sonnenlicht verschwimmen und von rotbraun bis hellgelb variieren, während sich links über dem Gebirgszug eine mauve bis violette Himmelszone abzeichnet, die sich im Uferbereich zu spiegeln scheint. Turner scheint sich mehrfach auf Reisen in dieser Gegend aufgehalten zu haben: In der Londoner Tate Gallery werden mehrere aquarellierte Zeichnungen Turners mit Darstellungen schottischer Lochs aufbewahrt: a) in ähnlich feiner, zeichnerischer Ausführung zeigt eine Zeichnung von 1801 eine Bucht, vermutlich des Loch Lomond bei Inveruglas. Auch hier wird durch dezente Weißhöhung akzentuiert. Weitere Beispiele aus dem Skizzenbuch von 1801 bieten motivische Vergleiche. b) Auch ein Skizzenbuch zum Beispiel mit einer Zeichnung in der Tate Britain von 1831, betitelt Ben Arthur from Arrochar, mag als Beleg gelten. Weitere darin befindliche Zeichnungen von 1831 wie „Arrochar Alps Across Loch Lomond“ belegen seine Tätigkeit in dieser Gegend. c) Ein in der Tate Gallery befindliches Skizzenbuch Turners von 1834 mit zahlreichen Darstellungen etwas des Loch Ard. Anmerkung: In den Scottish Highlands gelegen, erstreckt sich Loch Long über 30 Kilometer. Bereits im 13. Jahrhundert segelten Wikinger den Loch entlang und nahmen Arrochar, eine alte keltische Siedlung, ins Visier, wurden jedoch 1263 im Battle of Largs geschlagen. Papier von J. Whatman wurde von J.M.W. Turner regelmäßig für seine komplizierten Techniken genutzt, denn das Papier hatte besondere Eigenschaften. Das Velinpapier Whatmans war stärker als Büttenpapier, da es in einem Gelantinebad aus gekochten Hufen und Knochen getränkt war, sodass es extrem stark und wenig absorbierend wurde: mehrere Farbschichten konnten so aufgetragen, abgewischt, gekratzt oder abgeschabt werden. Neben Turner nutzten auch John Robert Cozens, John Sell Cotman und Cornelius Varley dieses Papier. (14100712) (13)
Turner, William (1775-1851) "Spithead", gestochen von W. Miller um 1835, Originalstahlstich. Eine Bootsmannschaft holt einen Anker zurück. Mittig bezeichnet. Links und rechts unten signiert mit "J.M.W. Turner, R.A. Pinx", "W. Miller Sculpt". Druckplatte 18,5 x 25,5 cm; Passepartout, im Rahmen 38 x 43 cm. Standort: Engen Turner, William (1775-1851) "Spithead", engraved by W. Miller around 1835, original steel engraving. A boat crew retrieving an anchor. Inscribed in the centre. Signed lower left and right "J.M.W. Turner, R.A. Pinx", "W. Miller Sculpt". Print plate 18.5 x 25.5 cm; passe-partout, in frame 38 x 43 cm. (1775-1851) "Spithead", engraved by W. Miller around 1835, original steel engraving. A boat crew retrieving an anchor. Inscribed in the centre. Signed lower left and right "J.M.W. Turner, R.A. Pinx", "W. Miller Sculpt". Print plate 18.5 x 25.5 cm; passe-partout, in frame 38 x 43 cm. Location: Engen
"Glacier and Source of the Arveiron Going up to the Mer de Glace" by J.M.W. Turner, 1987 Unsigned Offset Lithograph. Paper size is 30 x 20 inches, with an image size of 10.5 x 16 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated B: Very Good Condition, with signs of handling or age. Additional details: Exhibition poster for Wordsworth and the Borders of Romanticism whcih was held at the Yale Center for British Art in 1987.
Joseph Mallord William Turner coloured print titled 'The Fighting Temeraire'. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Joseph Mallord William TURNER (1775-1851) Engraving 4 1/8" x 5 1/2" Frame: 15.5" x 19.5" Black and white engraving. Framed under glass. In good condition.
Turner (Joseph Mallord William). A collection of 55 proof engravings of European views, circa 1830s * Turner (Joseph Mallord William, 1775-1851). A collection of 55 proof engravings of European views after J. M. W. Turner, circa 1830s, proof engravings on India paper, mostly landscape format, many with pencil captions to lower margin, engravers include J. B. Allen, J. C. Armytage, R. Brandard, J. Cousen, S. Fisher, T. Higham, T. Jeavons, W. Miller, W. Radclyffe, J. Smith, R. Wallis, and J. T. Willmore, plate size approximately 150 x 230 mm (6 x 9 ins), sheet size 290 x 420 mm (11 1/2 x 16 5/8 ins), loosely contained together in 19th-century black morocco-backed cloth covered portfolio with brass lock clasp, portfolio titled 'Annual Tour' in gilt QTY: (55)
Joseph Mallord William Turner (English, 1775-1851). Graphite on paper drawing depicting figures along a beach. Turner's artistic practice involved creating pencil sketches on location, which would later form the basis of a painting. Every summer, Turner would go on a sketching tour, recording scenes that interested him in one of the several sketchbooks he carried with him. He was thorough, consulting guidebooks, interviewing individuals, and collecting evidence to ensure that his paintings were as true to life as they could possibly be, especially for his works recording historical events.
Joseph Mallord William Turner (English, 1775-1851). Graphite on paper drawing depicting a field with large, voluminous clouds overhead in the vast sky. Turner's artistic practice involved creating pencil sketches on location, which would later form the basis of a painting. Every summer, Turner would go on a sketching tour, recording scenes that interested him in one of the several sketchbooks he carried with him. He was thorough, consulting guidebooks, interviewing individuals, and collecting evidence to ensure that his paintings were as true to life as they could possibly be, especially for his works recording historical events.
William TURNER (1775-1861) , d'après Ruines d'un château au bord d'un fleuve Début du XXe siècle Aquarelle sur papier Encadrée 22,5 x 16 cm (Quelques rousseurs) .
Joseph Mallord William Turner, RA, British 1775-1851- Sixteen etchings from 'Liber Studiorum'; etchings on wove paper, fourteen bearing the artist's studio blindstamp, three with watermark 'J WHATMAN / 1810', one with watermark 'J WHATMAN / 1809', 21.8 x 28.9 cm. and smaller, sixteen (16). (unframed). Provenance: Private Collection, UK. Note: Includes plate 22: 'Juvenile Tricks'; 27: 'Windmill and Lock'; 29: 'Marine Dabblers'; 32: 'Young Anglers'; 36: 'From Spensers "Fairy Queen"'; 37: 'Water Mill'; 38: 'Scene in the Campagna'; 45: 'Peat Bog, Scotland'; 47: 'Hedging and Ditching'; 48: 'River Wye, originally called Chepstow Castle'; 56: 'Dumblaine Abbey, Scotland'; 59: 'Ville de Thun, Switzerland'; 61: 'The Tenth Plague of Egypt'; 62: 'Watercress Gatherers'; 64: 'Bonneville, Savoy'; and 66: 'Aesacus and Hesperie'. 'Liber Studiorum' is a collection of seventy-one prints by Turner which he produced and printed between 1807 and 1819. The present prints are examples of Turner's etchings of the scenes, which were later worked into mezzotints by collaborating engravers.
After Joseph Mallord William Turner, RA, British 1775-1851- Hornby Castle, Yorkshire; watercolour on paper, 28.7 x 40.5 cm.: together with William Radcliffe, British 1783-1855- Hornby Castle, after Turner; engraving on paper, 26.5 x 36 cm., two (2), (part unframed). Provenance: (the first) with the Fine Art Society, London. Note: The present watercolour is a version after Turner's watercolour of Hornby Castle in the collection of the Victoria & Albert Museum [FA.88]. The original watercolour was given to the nation by the industrialist and art collector John Sheepshanks (1787-1863), as part of his large donation to the Victoria & Albert Museum (then the South Kensington Museum) in 1856-7. The works were accessible to art students as educational tools for developing their artistic skill, and it may be that the present work, which closely resembles Turner's original in its atmospheric use of colour, was painted by someone who studied Turner's version first-hand in the South Kensington galleries.
JOSEPH MALLORD WILLIAM TURNER, R.A. (LONDON 1775-1851). Looking towards Lake Thun, from opposite Scherzligen, with Schloss Schadau and.... watercolour and blue and red ink, on paper 9 7⁄8 x 14 3⁄16 in. (25.2 x 36.5 cm.).
JOSEPH MALLORD WILLIAM TURNER, R.A. (LONDON 1775 - 1851). A distant view of Newark Castle: with a carriage on the path in the distance.... pencil and watercolour, heightened with touches of white and gum arabic on card 11 x 6 ¾ in. (27.7 x 17 cm.); and a subsidiary study of a man leading a horse (verso).
JOSEPH MALLORD WILLIAM TURNER, R.A. (LONDON 1775-1851). Queen Eleanor's Cross, Waltham, Middlesex. pencil, pen and grey ink and blue,grey and ochre wash on paper 11 x 8 ¼ in. (27.7 x 21 cm.).
Joseph Mallord William Turner, R.A. (London 1775 - 1851) Chale Farm, Isle of Wight Watercolour over pencil on wove paper watermarked J Whatman; signed lower left/centre: Turner 219 by 156 mm
Property of a descendent of Sir John Reid (1861-1933) Joseph Mallord William Turner, R.A. (London 1775 - 1851) View down the Mosel from the Hillside above Pallien Bodycolour and watercolour on blue paper (made by Bally, Ellen and Steart) 140 by 182 mm
Property of a descendent of Sir John Reid (1861-1933) Joseph Mallord William Turner, R.A. (London 1775 - 1851) Lulworth Cove, Dorset Watercolour over traces of pencil, heightened with bodycolour, stopping out, scratching out and gum arabic 145 by 217 mm
Turner, William (1775-1851) "Spithead", gestochen von W. Miller um 1835, Originalstahlstich. Eine Bootsmannschaft holt einen Anker zurück. Mittig bezeichnet. Links und rechts unten signiert mit "J.M.W. Turner, R.A. Pinx", "W. Miller Sculpt". Druckplatte 18,5 x 25,5 cm Passepartout; Glas; Rahmen 38 x 43 cm. Turner, William (1775-1851) "Spithead", engraved by W. Miller around 1835, original steel engraving. A boat crew retrieving an anchor. Inscribed in the centre. Signed lower left and right "J.M.W. Turner, R.A. Pinx", "W. Miller Sculpt". Print plate 18.5 x 25.5 cm Passepartout; glass; frame 38 x 43 cm.
Joseph Mallord William Turner (English, 1775-1851) and Ebenezer Challis, John Pye Antique Engravings of Rome and Wycliffe Near Rokeby. Measures 16 inches x 20 inches each.
JOSEPH MALLORD WILLIAM TURNER, R.A. (BRITISH 1775-1851) RIVER LANDSCAPE IN FRANCE Watercolour and bodycolour on grey paper13.5 x 18.5cm (5¼ x 7¼ in.)Provenance:Probably Francis Gilmore Barnett (1847-1908) (according to pencil inscription on frame) Probably Rev. Hardwicke Drummond Rawnsley (1851-1920), a gift 1878 Sale, Sotheby's, London, 26 January, 1978, lot 214Sale, Christie's, London, 21 November 1978, lot 81Thomas Agnew & Sons Ltd., LondonFrom a Private Collection Literature:A. Wilton, The Life and Work of J M W Turner, Fribourg, 1978, p.422, no. 1033Turner's early training in architecture and perspective appear at odds with the informal and dynamic style that he developed from the 1820s. He had initially attended lessons in perspective given by Thomas Malton Junior (1748-1804), an architectural designer and topographical artist before entering the studio of the eminent architect Thomas Hardwick (1752-1829). In 1798 he entered the Royal Academy Schools, having spent three years at Dr Thomas Monro's informal Academy, where young artists were employed in the evenings to copy works by other more established artists. However, this solid grounding was crucial in his later development, giving him the confidence to become so technically daring. During the 1820s and 30s Turner began to work in series, developing a rapid system of working simultaneously on several sheets at a time, which as they developed were either rejected or not, as the artist began to see the direction of the finished work. William Leighton Leitch (1804-1883) described the process following a visit to the artist's studio; There were four drawing-boards, each of which had a handle screwed to the back. Turner, after sketching in his subject in a fluent manner, grasped the handle and plunged the whole drawing into a pail of water by his side. Then, quickly, he washed in the principal hues that he required, flowing tint into tint, until this stage of the work was complete. Leaving the first drawing to dry, he took the second board and repeated the operation. By the time the fourth drawing was laid in, the first would be ready for the finishing touches. (J. Gage, J.M.W. Turner, A Wonderful Range of Mind, London, 1987, p. 89).As is evident in works such as the present study, Turner became increasingly interested in the effects of light and shadow on his chosen subject. In order to capture the minute changes of form and colour wrought by ever changing atmospheric effects, his style became more abstract and experimental. Colour, overall form and an emotional interpretation became increasingly important. It is often difficult to identify the subjects of many of these studies, not only because of the artist's change in style and emphasis away but also because Turner travelled constantly during the 1820s and 1830s throughout Britain and Europe. Often referred to as 'Colour Beginnings', the expression has its source in an inscription pencilled on an abandoned watercolour, Beginning for Dear Fawkes of Farnley. John Ruskin, when he sorted through the works that Turner had left to the nation on his death, had grouped almost 400 unfinished watercolours into bundles which he labelled as Colour effects or Beginnings of. As Gerald Wilkinson states however, most of [these studies] are clearly ends in themselves - though of potential use in more complex works: they are ideas, thoughts observations, experiments - and sometimes they are beginnings given up for one reason or another. (G. Wilkinson, Turner's Colour Sketches 1820-34, London, 1975, p. 150).This study is likely to depict an as yet unidentified river scene in France, although it has also been previously suggested that it could depict the Syon House from across the River Thames (Sotheby's 1978). Between 1819 and 1832, France was central to Turner's travels through Europe, indeed during this period, there are only about five years when he was not specifically visiting or travelling through the country. However, until 1826, Turner had only concentrated on the narrow area between Dieppe and Calais; the route to Paris, Belgium, the Netherlands; or the well-worn route to the Alps. In 1826, Turner decided to explore the Loire River, travelling over 1500 miles between the end of August and the end of October. Following his return, Turner published twenty-one views as illustrations to Turner's Annual Tour in 1833, which became widely regarded as being amongst the artist's most accomplished series of engravings. The initial inspiration for this trip is uncertain, but Turner had long been fascinated by rivers and the Loire was the longest river in France. Furthermore, he must have been inspired by both his own work capturing the rivers and canals of England, for the publication of the same name (published 1822-6) and the work of his contemporaries, exploring European subjects, such as J F d'Ostervald's Excursion sur les côtes et dans les ports de Normandie (1823-5), or G. Reeves' The Coasts and Ports of France from Dunkerque to Havre de Grave, (1825). During his 1826 tour, Turner not only used the two different sized sketchbooks which he favoured, a smaller size where he could work rapidly capturing a subject from multiple viewpoints and a larger one that allowed a more detailed exploration of a view. He also took bundles of loose sheets, some white wove sheets and numerous sheets of a blue or blue-grey wove paper, such as used for the present study. This coloured paper was strong enough for Turner's needs, allowing him to carry them around with him and to work outside, directly from nature and to cope with the full range of his techniques. Turner used paper from numerous mills and manufacturers throughout Europe, but his understanding of the nature of paper and the effects that different papers had on his work was highly informed and he was discriminating in his selection. He is known to have regularly visited mills and sampled papers to see how they responded. He needed strong papers that could stand up to his treatment, including wetting the sheets, building up layers of colour and scratching out areas of pigment. As Peter Bower discusses in Turner's Later Papers: A Study of the Manufacture, Selection, and Use of His Drawing Papers 1820-1851 Turner's life spanned the enormous changes in the production of paper, from being largely a small-scale, craft-based industry and evolving into a large-scale, heavily industrialised, factory-based system. The blue paper that Turner began to use from the mid 1820s, was supplied as full imperial size sheets, 22 x 30 inches which he then tore up, using a wooden ruler, into ½, ¼ or ⅛ size or most popularly 1/16, or 7 x 5 inches, as in the present work. Made by George Steart of Bally, Ellen and Steart, De Montalt Mill, Combe Down, Bath, from about 1821, using the best of the new techniques, their range of coloured paper provided Turner and his contemporaries with sheets suitable for a wide range of uses. Other artists including Constable, Cox, de Wint, Varley, Bonington and Cotman all used their papers. Previously Turner had only been able to access a cheaper blue paper, which he reserved for compositional studies in his studio. If he wanted a colour paper suitable for sketching directly from nature, he had tinted his preferred Whatman paper. The appeal of blue paper was that it provided an instant warm tone and thus saved Turner time in having to prepare his sheets to create this effect. George Steart was experimental, he explored different finishes and produced a flecked blue wove paper in a variety of weights, tones and colours. The paper that Turner preferred was a linen paper, finished with a gelatine sizing to provide an additional strength the surface of the paper. Steart was highly regarded by his competitors and when he died in 1837, several manufacturers continued to produce coloured papers emulating the De Montalt Mill paper, citing the fact that the original was no longer available. It is often difficult to see the B E & S watermark without using a fibre optic light source or x-ray, so many of their papers appear not to be watermarked. Furthermore, with Turner tearing down the sheets, many of them are only part of a larger sheet, so individually do not have a watermark. Andrew Wilton (op cit.) notes that there was an old inscription on the back of the old frame which noted 'given to HDR 1878 by Frank Barnett'. Francis Gilmore Barnett was the younger brother of the Church of England Cleric and eminent social reformer, Canon Samuel Barnett. He continued to work in the family iron manufacturing company in Bristol and was active in local politics as a Liberal Councillor . He also founded the Bristol Tavern and Club Company, to establish temperance taverns throughout the city. He was assisted for a time by the Anglican priest, social reformer, conservationist, local politician and writer, Canon Hardwicke Drummond Rawnsley, who amongst other things, was one of the three founders of the National Trust in 1895, along with Octavia Hill and Robert Hunter. Rawnsley had begun to take an interest in social reform whilst studying at Balliol College, where he came under the influence of John Ruskin and through him met Hunter and Hill (co-incidentally, Hill was also a friend of Samuel Barnett's wife). Rawnsley married Edith Fletcher in 1878, which suggests that the present work may have been a wedding present.
JOSEPH MALLORD WILLIAM TURNER, R.A. (BRITISH 1775-1851) THE STRAW YARD Oil on paper 27 x 41cm (10½ x 16 in.)Provenance:George Butler R.W.S. (1909-1999)Christie's, London, 30 June 1981, lot 75 (£9,500 hammer)With Thomas Agnew & Sons Ltd., LondonFrom a Private CollectionExhibited:London, Tate Gallery, Turner's 'Drawing Book': The Liber Studiorum, 20 February - 2 June 1996, handlist no. 28 (cat. 7)Literature:M. Butlin and E. Joll, The Paintings of J.M.W. Turner, 2nd edition, New Haven and London, 1984, pp. 127- 128, no. 208a, ill., pl. 207G. Forrester, Turner's 'Drawing Book': The Liber Studiorum, London, 1996, pp. 53-54, ill., No. 7Matthew Imms, The Straw Yard c. 1806-7 by Joseph Mallord William Turner, catalogue entry August 2008, in David Blaney Brown (ed.) J. M. W. Turner: Sketchbooks Drawings and Watercolours, Tate Research Publication, December 2012, https://www.tate.org.uk/art/research-publications/jmw-turner/joseph-mallord-william-turner-the-straw-yard-r1131712Engraved:Etching, mezzotint and drypoint by J.M.W. Turner and Charles Turner, untitled, published Charles Turner, 20 February 1808The present oil study is related to Turner's Liber Studiorum, a project conceived to explore and present his ideas on landscape painting. Initially intended as a series of 100 mezzotints, it was never fully finished and in the end 71 mezzotints were released in 14 parts and with a frontispiece, over a period of about a dozen years between 1807 and 1817. The engravings were of drawings specially created for the project by Turner. As Gillian Forrester notes, Turner derived his subject-matter form a variety of sources, including his own finished oil paintings and watercolours, and works by other artists; reverting to his training as a topographical draughtsman, he also made use of material gathered on his sketching tours and several of his itineraries are woven into the fabric of the Liber (G. Forrester, op. cit, p.14). Above each print was a letter, linking each image to a specific type of landscape, Mountainous, Historical, Marine, Architectural or Pastoral and Turner initially intended that each part was to incorporate at least one example from each category. The Pastoral category was further divided into 'P' for modern-day country scenes, such as the present subject, or 'E.P.' signifying idealised, classical landscapes inspired by artists such as Claude Lorrain (1600-1682) and Richard Wilson (1713-1782). The Straw Yard was published as plate 7 in Part II. It was one of two farm-yard subjects included in Liber Studiorum; the other being The Farm-Yard with the Cock, published the following year as plate 17, part IV. It is one of 14 published works that come under the pastoral category. The image was originally untitled when it was published in 1808 and became known as The Straw Yard, by early scholars and collectors of the Liber. In one of his sketchbooks, Turner lists the intended subjects of the plates for the Liber and refers to the present subject as the White Horse (Tate D12156). Later in the sketchbook it is listed as 2 Farmyard, (Tate D12160). W.R. Rawlinson described the present subject as the first and probably the best of the purely domestic subjects of the Liber. But though there is a certain homely interest about it, and a pleasant effect of space and light on the horizon, I think Turner cared little for such scenes, and drew this plate and a few others only because he thought it needful that such subjects should be represented in the Liber - possibly some rivalry with Morland was in his mind. He continues, as an 'arrangement' in light and shade the Straw Yard is singularly fine. The white horse is so telling as a central light. (W. G. Rawlinson, op. cit, 1906, p. 25). The Liber series was abandoned shortly before Turner set off for Italy, probably in part because it was proving uncommercial. The print market was at a low point throughout the period Turner was working on the series. There appears to have been a lack of advertising, so the project was not widely marketed to the public, hampering sales. Furthermore, Turner was asking a comparatively high price for his prints, especially given the simplicity of presentation and small size of the sets. Turner's style and range began to change dramatically from the 1820s and it has been suggested that this might have been a further cause for the project to be abandoned. However, Turner continued to think about the series long after 1819. He periodically made new designs and even worked on plates through the early 1820s. In 1845, he printed a further set for Ruskin and worked on a group of elevated classical landscape paintings, which were probably the result of the artist's desire to draw a line under the project. At the time, printed images were the main way for an artist to disseminate his work to a wider audience and Turner, who had been brought up in the tradition of topographical and antiquarian print publishing, would have been familiar with those by artists such as Paul Sandby and Thomas Gainsborough, as well as by the Old Masters. Widely regarded as the single most important achievement of the artist's career during the 19th Century, Turner intended the Liber Studiorum as a direct response to Claude Lorrain's celebrated Liber Veritatis; a private book of drawings recording his paintings. It was widely known, but little seen until it was published in the 1770s, nearly a century after Claude's death. Turner conceived his Liber in order to illustrate his whole range of powers, and to embrace every kind of subject of which he considered himself master. Projected therefore with this aim, the groundwork of every plate the work of his own hand, and each after-stage entrusted to the best engravers of his day over whom he kept strictest supervision, it is not surprising ... that the Liber Studiorum, ... came forth a truly monumental work, taking rank with the highest expressions of his genius. (W. G. Rawlinson, Turner's Liber Studiorum: a description and a catalogue, London, 1906, p. xv). The present work is unique in Turner's workings for Liber Studiorum, as it is the only known version in oil of a subject and its purpose is something of a mystery. It was produced at the same time as the engraving; is in the same direction as the engraved object and compositionally it is closer to the print than the preparatory drawing, although the handling is sketchier than the drawing. Butlin and Joll (op. cit), wonder if it could have been produced as an aid to the printer, as does Andrew Wilton (Christie's sale catalogue 30 June 1981, lot 75) but as Butlin and Joll go on to point out, Charles Turner was an accomplished print maker and had made the earlier plates without such help. Gillian Forrester suggests that it could have been intended as way for Turner to further explore the balance of light and shade in the composition (op.cit).
J.M.W. (William) Turner (1775-1851) Giclee on board titled The Fighting Temeraire, which is after the original which was painted in 1839. With frame, it measures 24 inches x 31 inches. It is mounted in a lovely golden frame, and it measure 24 inches x 31 inches. This piece was acquired from a Metro Washington DC estate.
J.M.W. (William) Turner (1775-1851) Giclee on board titled The Fighting Temeraire, which is after the original which was painted in 1839. With frame, it measures 24 inches x 31 inches. It is mounted in a lovely golden frame, and it measure 24 inches x 31 inches. This piece was acquired from a Metro Washington DC estate.
J.M.W. (William) Turner (1775-1851) Giclee on board titled The Fighting Temeraire, which is after the original which was painted in 1839. With frame, it measures 24 inches x 31 inches. It is mounted in a lovely golden frame, and it measure 24 inches x 31 inches. This piece was acquired from a Metro Washington DC estate.
Joseph Mallord William Turner (English, 1775-1851) and Ebenezer Challis, John Pye Antique Engravings of Rome and Wycliffe Near Rokeby. Measures 16 inches x 20 inches each.
These lots are based on the engravings and etchings of Joseph Mallord William Turner (1775 - 1851), an English Romantic painter, printmaker, and watercolorist who was known for his imaginative landscapes and turbulent, often violent marine paintings. He signed many of his works "J. M. B. Turner" and was perhaps the greatest landscape artist of the 19th century. He studied at the Royal Academy of Arts, hence you often see "R.A." after his name, and his works were exhibited there when he was just fifteen. He had a love for seaside towns- you can see that in his pieces here - and he was a controversial figure who never married, but had two daughters, he became pessimistic and morose after the death of his father in 1829, and Turner lived in squalor and poor health towards the end of his life. The engravings and etchings come from a two-volume set of books by Turner called Picturesque Views of the Southern Coast of England, published in 1826, and we sold both volumes at auction earlier this year. See The Engraved Work of J. M. W. Turner by William George Rawlinson (1840 - 1928), a silk merchant who catalogued the prints of Joseph Turner. In 1878 he published Turner's Liber Studiorum: A Description and a Catalogue, and the two-volume set The Engraved Work of J. M. W. Turner came out in 1908 and 1913. The lots follow Rawlinson's numbering system: there are seven lots altogether - five have four works by Turner in each lot, one has five, and the last lot has three works by Turner, for a total of 28 pieces by the famous artist, and "R111" mean "Rawlinson's catalogue number 111", which was a view of Torbay from Brixham etched by William B. Cooke. Willam Bernard Cooke (1778 - 1855) was an English line engraver who worked with his brother and fellow-engraver George Cooke (1781 - 1834) to complete many of the drawings for Turner's Picturesque Views of the Southern Coast of England, and when you see "W. B. Cooke" on the etchings and engravings, that stands for William B. Turner's paintings go anywhere from $10 to $47,000,000, depending on the size and medium of the artwork, so choose wisely and you may get a bargain here. The last lot of Turner engravings and etchings consists of R125 (Mount Edgecombe), R126 (an engraving of Dover from Shakespeare Cliff), and R126A (a later engraving of Dover from Shakespeare Cliff). R125 is undated and entitled, but it is an engraver's proof of Mount Edgecombe in Devonshire done around 1826, according to the Tate Gallery. It reads "Drawn by J M W Turner R. A." under the plate on the lower left and "Engraved by E Goodall" under the plate on the lower right, and it is inscribed "R125 EP" in pencil in the lower left margin and "Mount Edgecombe" in pencil in the center of the bottom margin. ("EP" stands for "Engraver's Proof".) The backside is inscribed "R125 1st State Engraver's Proof Before the titles" in pencil. The image portrays more turbulent waters for Turner, and Edward Goodall was another engraver hired by W B Cooke to speed up the publication process for Picturesque Views on the Southern Coast of England, Turner's two-volume set of books which came out in 1826. The outer margins are 8 3/4 x 11 1/2 in. wide and the image itself is 6 3/8 x 9 3/8 in. wide, with a clean image, creases in the top left corner, nicks at the top margin, and faint browning on the front and backsides. R126 is an undated and untitled engraving of Dover from Shakespeare Cliff, and it was done in 1826, according to the Tate Gallery. It portrays a castle in the background and a military sentry at the entrance to the defenses on the Western Heights, strengthened to protect the harbor during the Napoleonic War. It reads "Drawn by J M W Turner R. A." under the plate on the lower left and "Engraved by George Cooke" under the plate on the lower right, it is inscribed "R126 Engraver's Proof Dover" in pencil in the lower left margin, and it is stamped "18321" on the backside. The margins measure 10 3/8 x 14 3/8 in. wide and the image measures 6 3/8 x 9 1/2 in. wide, the image has faint brown spots on it, with browning in the margins on the front and faint browning on the back. R126A is another engraving of Dover from Shakespeare Cliff, done in April, 1860. It does not mention Turner's name under the plate on the left, but says "WC April 1860" under the plate on the right, and it is inscribed "Engraver's Proof (39) R126A" in the bottom margin on the left and "Brall 12/1929" in pencil on the back-side. The margins measure 10 3/8 x 13 1/8 in. wide and the image measures 6 3/8 x 9 3/8 in. wide, with a clean image, a partial crease going up near the middle of the bottom margin, an uneven margin at the bottom, and faint browning on the front and back. #5130 #5131 #5132 Location U4
