Joseph Mallord William Turner The Full Moon over the Sea, from a Beach c.1823-6
Joseph Mallord William Turner 1775–1851
The Full Moon over the Sea, from a Beach c.1823–6
D25328
Turner Bequest CCLXIII 206
Turner Bequest CCLXIII 206
Watercolour on white wove paper, 268 x 377 mm
Blind-stamped with Turner Bequest monogram towards bottom right
Inscribed in pencil ‘CCLXIII 206’ towards bottom right
Inscribed in red ink ‘206’ bottom right
Stamped in black ‘CCLXIII – 206’ bottom right
Blind-stamped with Turner Bequest monogram towards bottom right
Inscribed in pencil ‘CCLXIII 206’ towards bottom right
Inscribed in red ink ‘206’ bottom right
Stamped in black ‘CCLXIII – 206’ bottom right
Accepted by the nation as part of the Turner Bequest 1856
Exhibition history
1982
Turner and the Sea: Watercolours from the Turner Bequest, Loaned by the British Museum, Tate Gallery, London, January–June 1982 (no catalogue, as ‘Moonlight off the Coast’).
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 (27, as ‘Luz de luna azul sobre arenas amarillas’, c.1824, reproduced in colour).
2003
O mar e a luz: Aguarelas de Turner na colecção da Tate, Museu Calouste Gulbenkian, Lisbon, February–May 2003 (27, as ‘Blue moonlight over yellow sands’, c.1824, reproduced in colour).
2005
Turner: The Sea, Clore Gallery, Tate Britain, London, March–October 2005 (no catalogue, as ‘Blue Moonlight over Yellow Sands’).
2013
Turner from the Tate: The Making of a Master, Art Gallery of South Australia, Adelaide, February–May 2013, National Gallery of Australia, Canberra, June–September (79, as ‘Blue Moonlight over Yellow Sands’, c.1824, reproduced in colour).
2014
Turner from the Tate: The Making of a Master, Tokyo Metropolitan Art Museum, October – December 2013, Kobe City Museum, January–April 2014 (71, as ‘Blue Moonlight over Yellow Sands’, c.1824, reproduced in colour).
2016
Turner et la Couleur / J.M.W. Turner: Adventures in Colour, Hotel de Caumont Centre d’art, Aix-en-Provence, May–September 2016, Turner Contemporary, Margate, October 2016–January 2017 (55, as ‘Clair de lune bleu sur sables jaunes’, c.1824, reproduced in colour).
References
1820
A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.II, p.830, CCLXIII 206, as ‘Moonlight off the coast’, c.1820–30.
1997
Eric Shanes, Turner’s Watercolour Explorations 1810–1842, exhibition catalogue, Tate Gallery, London 1997, pp.100 Appendix I ‘Moonlight Depictions’, 102 Appendix I ‘Sky Sketches’.
1824
Ian Warrell in Warrell, José Jiménez, Nicola Moorby et al., Turner y el mar: Acuarelas de la Tate, exhibition catalogue, Fundación Juan March, Madrid 2002, p.64, reproduced in colour p.69, p.133 no.27, as ‘Luz de luna azul sobre arenas amarillas’, c.1824.
1824
Ian Warrell, Nicola Moorby, Sarah Taft et al., O mar e a luz: Aguarelas de Turner na colecção da Tate, exhibition catalogue, Museu Calouste Gulbenkian, Lisbon 2003, p.70, reproduced in colour p.72, pp.147, p.152 no.27, as ‘Blue moonlight over yellow sands’, c.1824.
1824
Ian Warrell, Alexandra Loske, Joyce H. Townsend and others, Turner et la Couleur, exhibition catalogue, Hotel de Caumont Centre d’art Aix-en-Provence 2016, p.72 no.55, as ‘Clair de lune bleu sur sables jaunes’, c.1824, reproduced in colour.
Ian Warrell has associated this composition with the ‘Little Liber’;1 the elemental, luminous image is comparable with Shields Lighthouse (Tate D25431; Turner Bequest CCLXIII 308), one of the canonical watercolours engraved for the series. See also Tate D25305 (Turner Bequest CCLXIII 183) and D40138 in the present subsection.
Loose pencil marks presumably indicate waves, although the sea is barely developed except where a vertical strip of colour has been lifted to indicate the path of the moon’s reflection. The washes of the sky have been extensively worked while wet with the colour lifted in small rounded patches, perhaps using the fingertips, to suggest a halo of light, fluffy clouds around the moon, intensifying its brightness.
Verso:
Blank; not available for inspection at time of writing.
Matthew Imms
September 2016
How to cite
Matthew Imms, ‘The Full Moon over the Sea, from a Beach c.1823–6 by Joseph Mallord William Turner’, catalogue entry, September 2016, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2016, https://www