Joseph Mallord William Turner Columbus Setting Sail, for Rogers's 'Poems' c.1830-2
Joseph Mallord William Turner 1775–1851
Columbus Setting Sail, for Rogers’s ‘Poems’ circa 1830–2
D27706
Turner Bequest CCLXXX 189
Turner Bequest CCLXXX 189
Pencil, watercolour, and pen and ink, approximately 102 x 155 mm on white wove paper, 240 x 310 mm
Inscribed by ?the engraver in pencil ‘x | Head-piece –’ top centre
Stamped in black ‘CCLXXX 189’ bottom right
Inscribed by ?the engraver in pencil ‘x | Head-piece –’ top centre
Stamped in black ‘CCLXXX 189’ bottom right
Accepted by the nation as part of the Turner Bequest 1856
Exhibition history
1904
National Gallery, London, various dates to at least 1904 (247).
1963
Turner Watercolors from The British Museum: A Loan Exhibition Circulated by the Smithsonian Institution, National Gallery of Art, Washington DC, September–October 1963, Museum of Fine Arts of Houston, Texas, November 1963, M.H. de Young Memorial Museum, San Francisco, December 1963–January 1964, Cleveland Museum of Art, Ohio, January–March 1964, William Rockhill Nelson Gallery of Art, Kansas City, Missouri, March–April 1964, Brooklyn Museum, New York, May 1964, National Gallery of Canada, Ottawa, June–July 1964 (48).
1993
Turner’s Vignettes, Tate Gallery, London, September 1993–February 1994 (21, reproduced).
1997
J.M.W. Turner 1775–1851: A Tate Gallery Collection Exhibition, Yokohama Museum of Art, June–August 1997, Fukuoka Art Museum, September–October 1997, Nagoya City Art Museum, October–December 1997 (63, reproduced in colour).
1997
Joseph Mallord William Turner, Bank Austria Kunstforum, Vienna, March–June 1997 (72, reproduced in colour).
References
1903
E.T. Cook and Alexander Wedderburn (eds.), Library Edition: The Works of John Ruskin: Volume I: Early Prose Writings 1834–1843, London 1903, pp.233, 244.
1904
E.T. Cook and Alexander Wedderburn (eds.), Library Edition: The Works of John Ruskin: Volume XIII: Turner: The Harbours of England; Catalogues and Notes, London 1904, pp.380–1.
1906
E.T. Cook and Alexander Wedderburn (eds.), Library Edition: The Works of John Ruskin: Volume XXI: The Ruskin Art Collection at Oxford, London 1906, p.214.
1909
A.J. Finberg, A Complete Inventory of the Drawings in the Turner Bequest, London 1909, vol.II, p.903, as ‘Departure of Columbus’.
1963
Edward Croft-Murray, Turner Watercolors from The British Museum: A Loan Exhibition Circulated by the Smithsonian Institution, exhibition catalogue, National Gallery of Art, Washington DC 1963, p.20 no.48.
1966
Adele Holcomb, ‘J.M.W. Turner’s Illustrations to the Poets’, unpublished Ph.D thesis, University of California, Los Angeles 1966, pp.91–2, reproduced fig.50.
1979
Andrew Wilton, The Life and Work of J.M.W. Turner, Fribourg 1979, p.443 no.1203, reproduced.
1992
Jan Piggott, “Turner’s ‘Columbus’ Vignettes”, Turner Society News, no.61, August 1992, p.11.
1993
Jan Piggott, Turner’s Vignettes, exhibition catalogue, Tate Gallery, London 1993, pp.41–4, 85 no.21 reproduced, 97.
1997
David Blayney Brown, Yasuhide Shimbata and Hideko Numata, J.M.W. Turner 1775–1851: A Tate Gallery Collection Exhibition, exhibition catalogue, Yokohama Museum of Art 1997, pp.37, 122 no.63, reproduced (colour).
1997
David Blayney Brown, Klaus Albrecht Schröder, Evelyn Benesch and others, Joseph Mallord William Turner, exhibition catalogue, Bank Austria Kunstforum, Vienna 1997, pp. 36, 256 no.72, reproduced (colour).
This is one of seven illustrations that Turner produced for ‘The Voyage of Columbus’, a miniature epic poem which is the final work in the published volume of Rogers’s Poems (for a brief description of the poem, see Tate D27705; Turner Bequest CCLXXX 188). The seven vignettes in order of their appearance in Rogers’s text are: Tate D27705, D27706, D27714, D27707, D27708, D27719, D27709; Turner Bequest CCLXXX 188, 189, 197, 190, 191, 202, 192.
This illustration, Columbus Setting Sail appears as the head-piece to Canto I of ‘The Voyage of Columbus’.1 Like all of the ‘Columbus’ series, it was engraved by Edward Goodall.2 Although the scene does not illustrate a specific passage in Rogers’s text, it aptly complements the opening lines, which celebrate the hero and his courageous, legendary voyage:
Say who, when age on age had rolled away,
And still, as sunk the golden Orb of day,
The seaman watched him, while he lingered here,
With many a wish to follow, many a fear,
...
Who the great secret of the Deep possessed,
And, issuing through the portals of the West,
Fearless, resolved, with every sail unfurled,
Planted his standard in the Unknown World?
...
Him could not I exalt – by Heaven designed
To lift the veil that covered half mankind!
(Poems, pp.227–8)
And still, as sunk the golden Orb of day,
The seaman watched him, while he lingered here,
With many a wish to follow, many a fear,
...
Who the great secret of the Deep possessed,
And, issuing through the portals of the West,
Fearless, resolved, with every sail unfurled,
Planted his standard in the Unknown World?
...
Him could not I exalt – by Heaven designed
To lift the veil that covered half mankind!
(Poems, pp.227–8)
Turner’s vignette shows Columbus and his three ships setting sail from Palos, in the Gulf of Cadiz. The quay is filled with countless figures, waving as the ships pull away. The viewer’s attention is caught in particular by the foreground group of a mother and two sons, watching the departing vessels, presumably carrying the father on board. Rogers does not describe the scene in his poem and Jan Piggott has suggested that Turner probably based the composition upon an engraving of Palos that appeared in Washington Irving’s Voyages and Discoveries of the Companions of Columbus (1831), although he embellished and enlivened the scene significantly.3 The billowing sails of the three ships, the Niña, the Pinta and the Santa Maria, which are especially visible in the engraving, suggest an auspicious start for the long voyage to come.
Piggott has also noted the preponderance of cruciform shapes in this vignette (visible in the masts and spars of the ships, and the anchor in the foreground), which is a common theme throughout the ‘Columbus’ series.4
Turner produced two preliminary studies of this subject (see Tate D27535; Turner Bequest CCLXXX 18 and D27536; Turner Bequest CCLXXX 19). There are also several small thumbnail sketches of sailing ships in the margins of Turner’s working copy of the 1827 edition of Poems (see Tate D36330; Turner Bequest CCCLXVI pp.232, 245, 314).
Verso:
Inscribed by unknown hands in pencil ‘2’ top centre and ‘25 | a’ centre right and ‘CCLXXX.189’ bottom centre, and in red ink ‘1026’ bottom left
Stamped in black ‘CCLXXX 189’ lower centre
Stamped in black ‘CCLXXX 189’ lower centre
Meredith Gamer
August 2006
How to cite
Meredith Gamer, ‘Columbus Setting Sail, for Rogers’s ‘Poems’ c.1830–2 by Joseph Mallord William Turner’, catalogue entry, August 2006, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2012, https://www