View full screen - View 1 of Lot 17. JOSEPH MALLORD WILLIAM TURNER, R.A.  |  OFF MARGATE, 1840.
17

JOSEPH MALLORD WILLIAM TURNER, R.A. | OFF MARGATE, 1840

Estimate:

12,000

to
- 18,000 GBP

PROPERTY FROM ANDREW CLAYTON-PAYNE, LONDON

JOSEPH MALLORD WILLIAM TURNER, R.A. | OFF MARGATE, 1840

JOSEPH MALLORD WILLIAM TURNER, R.A. | OFF MARGATE, 1840

Estimate:

12,000

to
- 18,000 GBP

Lot sold:

25,000

GBP

PROPERTY FROM ANDREW CLAYTON-PAYNE, LONDON

JOSEPH MALLORD WILLIAM TURNER, R.A.

London 1775 - 1851

OFF MARGATE, 1840


pencil and white chalk on blue paper

unframed: 13.5 x 18.5 cm., 5 ¼ x 7 ¼ in.

framed: 30 by 36.2 cm., 11 3/4 by 14 1/4 in.


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The blue paper has very largely retained its original colour. There is a suggestion of very minor browning (possibly from an old mount) along the left and lower edges (this can hardly be seen with the naked eye). There is a soft virtcule crease running through the centre of the sheet - this can only be seen in raking light. The medium (pencil and white chalk) is very well preserved.

The sheet has not been laid down. 


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Mrs Sophia Booth (1798-1875), the artist’s landlady;

John Pound, her son;

Lawrence W. Hodson, Compton Hall by 1884;

Thence by descent until 1978;

Anonymous sale, London, Sotheby’s, November 30, 1978, lot 97;

With Richard Feigen & Co., New York;

Private Collection, UK.

"This work sees Turner returning to one of his favourite themes: coastal life. Turner not only records the elegant lines of the beached fishing boat, but most intriguingly - with only flicks of white chalk - he captures the sparking sunlight that dances in the surf and picks out the landscape and lighthouse beyond. With its economy and its nod towards the abstract, this sheet reminds me of another work by Turner: Study of a castle by a lake (159 by 234 mm.) that Sotheby's sold for £302,500 (estimate: £50,000-70,000), in the iconic sale: From Goya to Picasso, Works from the Private Collection of Jan Krugier, 6 February 2014, lot 141."


Mark Griffith-Jones


The subject matter of this free impressionist sketch by Turner has only recently been identified. It shows Turner looking northwest across Kingsgate Bay towards Kingsgate Castle in the far distance. The ship shown is either the Claudine or Westminster and depicts an incident which Turner witnessed at Margate on 22nd November, 1840 in which two East Indiamen were deliberately grounded on the sands to the east of Margate to prevent them losing their cargo in a storm. Their cargo was then unloaded on the shore and damage to the ships was repaired. Turner first visited Margate as an eleven year old staying with relatives of his parents. From the 1830s, he visited Margate regularly due to his romantic liaison with Sophia Booth (1798-1875), his landlady, whose house overlooked the jetty.


Sophia Booth, who owned this sketch, was more than twenty years older than Turner and it seems that he viewed her as some sort of muse. From the late 1840s, they lived together on Cheyne Walk, Chelsea, to all intents and purposes as man and wife.


We are very grateful to Ian Warrell for his help in identifying the subject of this drawing.