Joseph Mallord William Turner Figures Waiting near a Diligence 1819
Joseph Mallord William Turner 1775–1851
Folio 32 Verso:
Figures Waiting near a Diligence 1819
D14041
Turner Bequest CLXXIII 32 a
Turner Bequest CLXXIII 32 a
Pencil on white wove paper, 114 x 185 mm
Inscribed by the artist in pencil ‘R’ within sketch of figure, centre
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.I, p.504, as ‘Figures resting near a diligence’.
1981
Maurice Guillaud, Nicholas Alfrey, Andrew Wilton and others, Turner en France: aquarelles, peintures, dessins, gravures, carnets de croquis / Turner in France: Watercolours, Paintings, Drawings, Engravings, Sketchbooks, exhibition catalogue, Centre Culturel du Marais, Paris 1981, p.111, reproduced fig.188, as ‘Figures resting near a diligence’.
1984
Cecilia Powell, ‘Turner on Classic Ground: His Visits to Central and Southern Italy and Related Paintings and Drawings’, unpublished Ph.D thesis, Courtauld Institute of Art, University of London 1984, p.74 note 22.
1987
Cecilia Powell, Turner in the South: Rome, Naples, Florence, New Haven and London 1987, p.21, reproduced pl.16, as ‘Travellers waiting by a diligence’.
Turner journeyed through France and northern Italy by diligence, a public stagecoach where the luggage was kept covered by canvas on the roof. Described as the ‘cheapest, and perhaps the most convenient for men of business and single gentlemen,1 these large horse-drawn vehicles followed prescribed routes between staging posts and connected most of the major towns in France. Fares could be booked ahead in stages and it is likely that Turner arranged his travel in Calais, Paris, Lyon and Chambéry respectively.2 Each coach could carry up to fourteen passengers and in the French diligence there were four places for people to sit: the coupé, or front compartment of the interior, generally believed to be the most desirable location; the berline, or middle part of the interior; the rotonde, or back of the interior, the least recommended placing, described by one guidebook as a ‘receptacle of dust, dirt and bad company’; and finally, the banquette or imperial, which was outside at the front of the carriage above the coupé.3
This sketch depicts a diligence with a mixed group of men and women waiting beside it, presumably Turner’s fellow travellers waiting to set off for the day. The location is unknown although in this part of the sketchbook the subjects tend to alternate between views on the River Saône (where the artist was journeying by boat) and mountainous scenery (possibly the ascent to the Pass of Mont Cenis). The study may therefore have been drawn during the latter. For an inscription by Turner concerning a conversation in a diligence see folio 2 (D13992). Sketches of these vehicles frequently feature within Turner’s European sketchbooks (see for example Tate D13010; Turner Bequest CLXII 8) and he even made them the subject of a couple of watercolours.4
Nicola Moorby
March 2013
How to cite
Nicola Moorby, ‘Figures Waiting near a Diligence 1819 by Joseph Mallord William Turner’, catalogue entry, March 2013, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, August 2013, https://www