View full screen - View 1 of Lot 50. Purfleet and the Essex Shore as seen from Long Reach | 《在朗里奇眺望珀弗利特與埃塞克斯海岸》.

Joseph Mallord William Turner, R.A.

Purfleet and the Essex Shore as seen from Long Reach | 《在朗里奇眺望珀弗利特與埃塞克斯海岸》

The Property of a Family



Joseph Mallord William Turner, R.A.

Joseph Mallord William Turner, R.A.

Purfleet and the Essex Shore as seen from Long Reach | 《在朗里奇眺望珀弗利特與埃塞克斯海岸》

Purfleet and the Essex Shore as seen from Long Reach | 《在朗里奇眺望珀弗利特與埃塞克斯海岸》

The Property of a Family

Joseph Mallord William Turner, R.A.

London 1775 - 1851

Purfleet and the Essex Shore as seen from Long Reach

signed and dated, lower right: IMW Turner RA PP / 1808

oil on canvas

89.5 x 120 cm.; 35 ¼ x 47 ¼ in.



倫敦,1775 - 1851年


款識:藝術家簽名並紀年IMW Turner RA PP / 1808(右下)


89.5 x 120 公分;35 ¼ x 47 ¼ 英寸

The following condition report is provided by Sarah Walden who is an external specialist and not an employee of Sotheby's:

Joseph Mallord William Turner. Purfleet and the Essex Shore as seen from Long Reach. Signed and dated IMW Turner PP/1808

This painting has a comparatively recent lining, probably from the second half of the last century, and a strong older stretcher probably from the turn of the nineteenth to the twentieth century. There have clearly been past adjustments to the side edges, traces of old wear, particularly down the left edge, perhaps connected with framing, then lining and the stretcher.

The surface texture is well preserved overall, with some mild impasto in the luminous centre of the sky, although not yet the full dramatic impasted brushwork of the later painting. The horizon with minute distant shipping and fine detail is rather Dutch in its gentle light and precision, and is beautifully intact, including some far distant rigging. The magnificent details and full rigging of the main ship is also beautifully preserved throughout. The furled sail in the centre shows a distinct pentiment half way down, with a brilliant sweep of light across the uppermost furl in a characteristic tribute to the power of light and the weather.

Some of the rather more abstract painting in the water appears partly the result of wear in some areas. Under ultra violet light older wear can be seen blurring some of the lower central waves, and the water beneath the ship on the right and beneath the prow of the central rowing boat. Similar slight wear is visible down the side edges, as also in one or two places in the sky such as where the lightest cloud meets the darkest. Ultra violet light also shows small more recent touches scattered in similar areas.

The powerful impact of this vision of the Thames Estuary retains its original purity and beautiful overall condition nevertheless.

This report was not done under laboratory conditions.

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.

Please note this lot will be taken to our Greenford Park Warehouse after the sale and not as stated in the printed catalogue.

Bought from Turner's Gallery in 1808 by the George Capel-Coningsby, 5th Earl of Essex (1757-1839), for Cassiobury Park;

By inheritance to George Capell, 7th Earl of Essex (1857-1916), at Cassiobury Park;

His sale ('Modern Pictures from Cassiobury Park collected early in the century by George, 5th Earl of Essex'), London, Christie's, 22 July 1893, lot 48; 

John H. McFadden (1850-1921), Philadelphia, by 1899;

George J. Gould (1864-1923), Lakewood, New Jersey by 1900;

Alistair McDonald;

His sale, London, Christie's, 1 June 1945, lot 65, to Goris (on behalf of the grandfather of the present owners).

J. Farington, Diary, 5th July 1809;

Sir W. Armstrong, Turner, London 1902, p. 230, reproduced facing p. 76;

A. J. Finberg, The Life of JMW Turner RA, London 1961, pp. 145, 149, 173, 469, no. 119;

M. Butlin et al., Turner 1775-1851, Tate exh. cat., London 1974, p.73, under no. 153;

M. Butlin and E. Joll, The Paintings of J.M.W. Turner, 2 vols., New Haven and London 1977, text vol., p. 49, no. 74, plates vol. reproduced pl. 75;

A. Wilton, The Life and Work of JMW Turner, London 1979, p. 260, no. p74;

J. Gage (ed.), Collected Correspondence of JMW Turner, London 1980, p. 34;

M. Butlin and E. Joll, The Paintings of JMW Turner, revised ed., 2 vols, New Haven and London 1984, text vol. p. 57, no. 74, plates vol., reproduced pl. 84;

L. Herrmann, ‘John Landseer on Turner: Reviews of Exhibitions in 1808, 1839 and 1840’, in Turner Studies, Summer 1987, vol. 7, no. 1, p. 31;

C. Riding and R. Johns, Turner & the Sea, exh. cat., London 2014, p. 183. 

London, Turner's Gallery, Harley Street, 1808;

Manchester, Art Treasures of the United Kingdom, 1857, no. 609;

London, Royal Academy, 1884, no. 212;

London, Agnew's, 1895, no. 19;

London, Guildhall, Corporation of London Art Gallery, Loan Collection of Pictures and Drawings by J.M.W. Turner, R.A. and a selection of Pictures by some of his Contemporaries, April – July 1899, no. 15;

Paris, Loan Collection and Exhibits in the British Royal Pavilion, 1900, no. 47 (lent by George Gould).