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Artwork
Joseph Mallord William Turner Dudley from the South-East 1830
Image 1 of 2
Joseph Mallord William Turner,
Dudley from the South-East
1830
Joseph Mallord William Turner 1775–1851
Folio 64 Recto:
Dudley from the South-East 1830
D22095
Turner Bequest CCXXXVIII 62
Turner Bequest CCXXXVIII 62
Pencil on white wove paper, 120 x 203 mm
Partial watermark ‘nard | 20’
Inscribed by John Ruskin in blue ink ‘62’ bottom left, upside down
Stamped in black ‘CCXXXVIII – 62’ top left, upside down
Partial watermark ‘nard | 20’
Inscribed by John Ruskin in blue ink ‘62’ bottom left, upside down
Stamped in black ‘CCXXXVIII – 62’ top left, upside down
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.731, CCXXXVIII 62, as ‘Do.’ (i.e. ditto: ‘Ruined castle on hill, Dudley, Worc.’).
1979
Eric Shanes, Turner’s Picturesque Views in England and Wales 1825–1838, London 1979, p.156, as a Dudley subject.
1990
Frank Milner, J.M.W. Turner: Paintings in Merseyside Collections: Walker Art Gallery; Sudley Art Gallery; Williamson Art Gallery; Lady Lever Art Gallery; Liverpool University Art Gallery, Liverpool 1990, pp.53–4 under no.26, as a Dudley subject.
Inverted relative to the sketchbook’s foliation, Dudley Castle is seen across open ground from the south-east, with the outline of the tower of St Edmund’s Church below it towards the left and the spire of St Thomas’s very lightly indicated at the extreme left beyond a conical chimney. Modern developments make the viewpoint difficult to establish, but a sense of the view is possible from around Watsons Green Road and Wolverton Road on Kates Hill, overlooking Dudley’s Southern Bypass. There are similar views on folio 63 verso opposite (D22094; Turner Bequest CCXXXVIII 61a) and on subsequent pages.
Frank Milner notes that this drawing and those on folio 65 recto (D22097; Turner Bequest CCXXXVIII 63) show that Turner ‘while sketching on the spot did not conceive Dudley as an industrial subject’, but used a ‘rural Claudian formula’ with a ‘centralised promontory ... above a valley with lollipop-like trees balancing to left and right’1 to evoke the idealised manner of Claude Lorrain (1604/5–1682), whom Turner so admired and so often emulated.2
For other views of Dudley see under folio 23 recto (D22016).
Matthew Imms
August 2013
How to cite
Matthew Imms, ‘Dudley from the South-East 1830 by Joseph Mallord William Turner’, catalogue entry, August 2013, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, September 2014, https://www