Joseph Mallord William Turner Tornaro, for Rogers's 'Poems' c.1830-2
Joseph Mallord William Turner 1775–1851
Tornaro, for Rogers’s ‘Poems’ circa 1830–2
D27689
Turner Bequest CCLXXX 172
Turner Bequest CCLXXX 172
Pencil and watercolour, approximately 190 x 170 mm on white wove paper, 287 x 238 mm
Stamped in black ‘CCLXXX 172’ bottom right
Stamped in black ‘CCLXXX 172’ 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 (230).
1975
Turner and the Poets: Engravings and Watercolours from his Later Period, Marble Hill House, Twickenham, April–June 1975, University of East Anglia, Norwich, June–July 1975, Central Art Gallery, Wolverhampton, July–August 1975 (X).
1983
J.M.W. Turner: Dibujos y acuarelas del Museo Británico, exhibition catalogue, Museo del Prado, Madrid, February–March 1983 (38, reproduced in colour).
1986
Turner Exhibition, National Museum of Western Art, Tokyo, August–October 1986, Municipal Museum of Art, Kyoto, October–November 1986 (84, reproduced in colour).
1992
Turner as Professor: The Artist and Linear Perspective, Tate Gallery, London, October 1992–January 1993 (146).
1998
J.M.W. Turner: “That Greatest of Landscape Painters”: Watercolors from London Museums, Philbrook Museum of Art, Tulsa, February–April 1998 (28, reproduced in colour).
2002
Turner: Reflections of Sea and Light: Paintings and Watercolors by J.M.W. Turner from Tate, Baltimore Museum of Art, February–May 2002 (no catalogue).
2002
Turner y el mar: Acuarelas de la Tate, Fundación Juan March, Madrid, September 2002–January 2003 (36, reproduced in colour).
2005
Turner and the Sea, Tate Britain, London, March–October 2005 (no catalogue).
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.902, as ‘Tornaro’.
1966
Adele Holcomb, ‘J.M.W. Turner’s Illustrations to the Poets’, unpublished Ph.D thesis, University of California, Los Angeles 1966, pp.80, 81, 82–3.
1975
Mordechai Omer, Turner and the Poets: Engravings and Watercolours from his Later Period, exhibition catalogue, Marble Hill House, Twickenham 1975, [pp.23–4].
1979
Andrew Wilton, The Life and Work of J.M.W. Turner, Fribourg 1979, p.441 no.1185, reproduced.
1983
Lindsay Stainton and Andrew Wilton, J.M.W. Turner: Dibujos y acuarelas del Museo Británico, exhibition catalogue, Museo del Prado, Madrid 1983, pp.58 no.38, 59, reproduced (colour).
1986
Haruki Yaegashi, Martin Butlin, Evelyn Joll and others, Turner Exhibition, exhibition catalogue, National Museum of Western Art, Tokyo 1986, pp.214–15 no.84, reproduced (colour).
1992
Maurice Davies, Turner as Professor: The Artist and Linear Perspective, exhibition catalogue, Tate Gallery, London 1992, p.121 no.146.
1993
Jan Piggott, Turner’s Vignettes, exhibition catalogue, Tate Gallery, London 1993, p.97.
1998
Richard P. Townsend, Andrew Wilton, David Blayney Brown and others, J.M.W. Turner: “That Greatest of Landscape Painters”: Watercolors from London Museums, exhibition catalogue, Philbrook Museum of Art, Tulsa 1998, pp. 8, 20, 38, 61, 70, 128–9 no.28, reproduced (colour).
2002
Ian Warrell, José Jiménez, Nicola Moorby and others, Turner y el mar: Acuarelas de la Tate, exhibition catalogue, Fundación Juan March, Madrid 2002, p.78 no.36, reproduced (colour).
The shepherd on Tornaro’s misty brow,
And the swart seaman, sailing far below,
Not undelighted watch the morning ray
Purpling the orient – till it breaks away,
And burns and blazes into glorious day!
(Poems, p.80)
And the swart seaman, sailing far below,
Not undelighted watch the morning ray
Purpling the orient – till it breaks away,
And burns and blazes into glorious day!
(Poems, p.80)
Tornaro is unusual among the designs for Poems due to its large size and highly finished execution. The landscape is almost certainly an imaginary one, although Ruskin observed that ‘in the colour of the sea and boldness of precipice, [it] resembles only the scenery of the Sicilian islands’.3 The contrast between the small shepherd seated at the edge of the vertiginous cliff highlights the sublime qualities of this scene. The jewel-like palette, brilliant light effects, and delicate brushwork make this one of Turner’s most striking and evocative vignettes.
Verso:
Inscribed by unknown hands in pencil ‘16’ top centre and ‘17’ (encircled) centre and ‘CCLXXX 172’ bottom centre
Stamped in black ‘CCLXXX 172’ lower centre
Stamped in black ‘CCLXXX 172’ lower centre
Meredith Gamer
August 2006
How to cite
Meredith Gamer, ‘Tornaro, 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