J.M.W. Turner: Sketchbooks, Drawings and Watercolours

The subject is unidentified, but may be Italian; see the Introduction to this section for further brief discussion and dating. There may be a bridge in the foreground, or possibly it is a separate architectural note below the castellated gateway surrounding a classical arch with a pediment. Finberg plausibly suggested that Tate D33706 and D33707 (Turner Bequest CCCXLI 27, 28) show the same site.1

Technical notes:

This drawing was made on one sixteenth of an Imperial-format sheet (overall approximately 559 x 762 mm; 22 x 30 inches) of ‘medium-weight pale grey-green wove’ paper, made by Thomas Smith and Henry Allnutt of Great Ivy Mill, Maidstone, Kent.1 Paper conservator Peter Bower has identified all but a handful of the constituents of three such sheets, each with the watermark ‘Smith & Allnutt | 1827’, which were carefully torn up by Turner for sketching.2 They are ‘the only examples of his working on coloured papers from this maker’, although he had previously used their white wove papers.3

These torn-up sheets all fall within an extensive grouping dated in Finberg’s 1909 Inventory to about 1830–41, comprising drawings of similar format and technique:

Miscellaneous: Black and White. | (a) Grey Paper. | A number of sketches of mountain scenery, mostly unidentified. Among them are probably German subjects, in the neighbourhood of the Rhine and Danube, scenes in the Austrian Alps and North Italy, as well as scenes in Switzerland and elsewhere. | The drawings are grouped according to the paper they are made on.4

Presumably on the advice of Tate curators, Bower dates the use of one of these virtually reconstructed sheets to 1840, when Turner travelled to Venice via Germany, without further elaboration or discussion of the individual subjects;5 by implication the others were used around that time. Although it seems likely that these torn-up sheets were used within a short period at a relatively late stage of Turner’s career and perhaps kept together in bundles at least initially, the subjects, dating and sequence of use after their 1827 manufacture, and hence the precise relationships between these and other sheets in Finberg’s portmanteau ‘Grey Paper’ section among which they are widely scattered, remain to be confirmed.

Verso:

Blank; inscribed by John Ruskin in pencil ‘234 | O’ bottom right. The surface is stained, perhaps through water damage in the 1928 Tate Gallery flood.