Joseph Mallord William Turner A Diagram; and Inscriptions 1821
Joseph Mallord William Turner 1775–1851
Folio 10 Recto:
A Diagram; and Inscriptions 1821
D18540
Turner Bequest CCXI 10
Turner Bequest CCXI 10
Brown ink and pencil on white wove paper, 189 x 113 mm
Inscribed in pencil and brown ink by Turner, see transcription below
Inscribed in red ink by John Ruskin ‘10’ top right running vertically
Stamped in black ‘CCXI – 10’ top right running vertically
Inscribed in pencil and brown ink by Turner, see transcription below
Inscribed in red ink by John Ruskin ‘10’ top right running vertically
Stamped in black ‘CCXI – 10’ top right running vertically
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.643, CCXI 10, as ‘A diagram, in pen and ink’.
1980
David Hill, Stanley Warburton, Mary Tussey and others, Turner in Yorkshire, exhibition catalogue, York City Art Gallery 1980, pp.49 under no.74, 62 under no.95, 64 under no.96 and no.98.
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Powell, ‘Turner on Classic Ground: His Visits to Central and Southern Italy and Related Paintings and Drawings’, unpublished Ph.D thesis, Courtauld Institute of Art, University of London 1984, pp.222 notes 8 and 9 and 10, pp.69, 448 note 6.
1987
Cecilia Powell, Turner in the South: Rome, Naples, Florence, New Haven and London 1987, pp.104, 205 note 5.
1996
David Hill, Turner in the North: A Tour through Derbyshire, Yorkshire, Durham, Northumberland, the Scottish Borders, the Lake District, Lancashire and Lincolnshire in the Year 1797, New Haven and London 1996, pp.131, 202 note 61.
1997
Martin F. Krause, Turner in Indianapolis: The Pantzer Collection of Drawings and Watercolors by J.M.W. Turner and his Contemporaries at the Indianapolis Museum of Art, Indianapolis 1997, p.140 under no.40.
1999
Ian Warrell, Turner on the Seine, exhibition catalogue, Tate Gallery, London 1999, pp.24, 253 note 41.
2003
Ian Warrell, David Laven, Jan Morris and others, Turner and Venice, exhibition catalogue, Tate Britain, London 2003, pp.101, 263 note 3.
Drawn in brown ink at the bottom right of the page is a diagram, probably to do with perspective. Across the top half of the page Turner has inscribed in pencil a list of watercolour commissions for Walter Fawkes, some of which can be identified and dated to 1821, helping to confirm the date of this sketchbook:
‘Mt. Cenis –
Vesuvius
Fusina }150 Gs [Venice from Fusina, 1821 (private collection)]1
Venice [Venice: The Rialto, 1820–1 (Indianapolis Museum of Art, Gift in memory of Dr. and Mrs. Hugo O. Pantzer by their Children)]2
Windermere [Windermere, 1821 (Abbot Hall Art Gallery, Kendal, Cumbria)]3
St. Peters – [Interior of St Peter’s Rome, 1821 (The Morgan Library & Museum, New York )]4
Vesuvius
Fusina }150 Gs [Venice from Fusina, 1821 (private collection)]1
Venice [Venice: The Rialto, 1820–1 (Indianapolis Museum of Art, Gift in memory of Dr. and Mrs. Hugo O. Pantzer by their Children)]2
Windermere [Windermere, 1821 (Abbot Hall Art Gallery, Kendal, Cumbria)]3
St. Peters – [Interior of St Peter’s Rome, 1821 (The Morgan Library & Museum, New York )]4
Swords and Illustrations to Book. 5 Gs [a Fairfaxiana watercolour]
Oak Chest. Farnley D. 10 Gs’ [Fairfaxiana – Cabinet with Opening Doors, c.1815 (private collection)]
Oak Chest. Farnley D. 10 Gs’ [Fairfaxiana – Cabinet with Opening Doors, c.1815 (private collection)]
The following calculations are inscribed in pencil beneath:
‘165 – 173 – 5
Interest of 750. one year 37 – 10. 37 – 10
Total. 210 – 15’
Interest of 750. one year 37 – 10. 37 – 10
Total. 210 – 15’
And inscribed beneath that in brown ink:
‘Milan
Florence
Simplon
Ramage’
Florence
Simplon
Ramage’
Thomas Ardill
March 2013
How to cite
Thomas Ardill, ‘A Diagram; and Inscriptions 1821 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 2014, https://www