Oil on board
Tate Collection
Works with images
Joseph Mallord William Turner
Turner Bequest
Collection
Turner owned by Tate
<a href="https://www.tate.org.uk/art/artists/joseph-mallord-william-turner-558" aria-label="More by Joseph Mallord William Turner" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Mallord William Turner</a>
Shore Scene with Waves and Breakwater
Accepted by the nation as part of the Turner Bequest 1856
architecture
beach
breakwater
sea
seascapes and coasts
townscapes / man-made features
wave
<p>No less remarkable than Turner's late marine canvases are some small oils on millboard that address similar subjects in a manner more abstract and perfunctory than anything he ever painted in oil. These also can hardly have been made outdoors, for Turner seems to have entered into the very spray and surge of the breakers as they crash on the shore. Rather he is recreating the experience of his walks on the sands, from memory and, perhaps, inspired by the movement of paint itself. Even if not painted within the elements they describe, few of his oil sketches convey more sense of the open air.</p><p><em>Gallery label, August 2004</em></p>
paper unique oil board
20 April 2006 – 13 August 2006
2006-08-13
20 April 2006 – 13 August 2006
2006-08-13
2006-04-20
Oklahoma City Museum of Art (Oklahoma, USA)
http://www.okcmoa.com
2006-04-20
Tempests and Romantic Visionaries: Images of Storms in European and American Art
Loan-out
23 March 2009 – 3 August 2009
2009-08-03
20 March 2009 – 3 August 2009
2009-08-03
2009-03-20
Tate Britain (London, UK)
http://www.tate.org.uk/britain/
2009-03-23
Limitless Horizons: Turner's Later Seascapes
Collection based display
10 September 2014 – 20 September 2015
2015-09-20
10 September 2014 – 25 January 2015
2015-01-25
2014-09-10
Tate Britain (London, UK)
http://www.tate.org.uk/britain/
2014-09-10
Late Turner: Painting Set Free
Exhibition
Shore Scene with Waves and Breakwater
support: 227 × 304 mm
frame: 448 × 600 × 25 mm
Accepted by the nation as part of the <a href="/search?gid=999999781" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Turner Bequest</a> 1856
<p>No less remarkable than Turner's late marine <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/c/canvas" title="Glossary definition for 'Canvas'"><span>canvases</span></a> are some small oils on millboard that address similar subjects in a manner more <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/a/abstract-art" title="Glossary definition for 'Abstract art'"><span>abstract</span></a> and perfunctory than anything he ever painted in oil. These also can hardly have been made outdoors, for Turner seems to have entered into the very spray and surge of the breakers as they crash on the shore. Rather he is recreating the experience of his walks on the sands, from memory and, perhaps, inspired by the movement of paint itself. Even if not painted within the elements they describe, few of his oil sketches convey more sense of the open air.</p>
Display caption
2004-08-18T00:00:00
display-caption
DISPLAY_CAPTION
<p>[from]<b> Nos. 453–86: Late Unfinished Sea Pieces, <i>c</i>. 1830–45</b></p>
<p>THERE are two main problems about this group of works. The first is the question of dating: the dates adopted here are highly tentative and are based on the supposition that there is a logical progression from a more substantial, three-dimensional style to one that is more impressionistic and less solid, together with a feeling that Turner's colouring was perhaps at its strongest from the early to the mid 1830s. However, as will be noted, the compilers do not always agree on even the tentative datings given here. In any case, what may look like a less three-dimensional picture may in fact be merely a less finished picture.</p>
<p>The second problem is that of <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/p/provenance" title="Glossary definition for 'Provenance'"><span>provenance</span></a> and authenticity, in particular as it concerns smaller pictures outside the Turner Bequest, Nos. 474–84, together with the somewhat similar works no longer accepted as genuine, Nos. 555–8. That some such unfinished works escaped the Turner Bequest is certain, and a foundation is provided by those works that can be definitely or tentatively traced to John Pound, the son by her first marriage of Mrs Booth, Turner's mistress and housekeeper. In reviews of our first edition, exception was taken to some of our attributions by Luke Herrmann (Nos. 475, 478 and 484) and Jerrold Ziff (Nos. 480 and 481); interestingly, they do not agree. Of the works they doubt, No. 478 seems definitely to have been in the Pound sale at Christie's in 1865, while Nos. 480, 481 and 484 bear labels or are said to come from the Pound family.</p>
<p>However, one should never let an apparently sound provenance stand in the way of one's judgment based on the visual evidence, and in this case there is one further element, the fact that, from 1848, for apparently the only time in his life, Turner employed an assistant, Francis Sherrell. According to Bernard Falk (1938, p. 213), whose reference is based on an obituary in the <i>Isle of Thanet Gazette</i> for 23 September 1916, Turner gave Sherrell lessons in return for various services such as stretching his <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/c/canvas" title="Glossary definition for 'Canvas'"><span>canvases</span></a> and running errands; John Gage (1969, p. 171) suggests that Sherrell may also have cleaned some of the pictures in Turner's studio at the instigation of the dealer Thomas Griffith, who was active in trying to obtain sales for Turner at this time. Nothing further seems to be known about Sherrell save that he died at Thanet in 1916. It is perhaps an unworthy suspicion to suggest that he, more than anybody else, would have been in a position to imitate Turner's late style and that such imitations could have been left in Turner's studio and acquired by the Pound family.</p>
<p>Another suspicious circumstance is that, although Turner tended to work on standard sizes of canvas, only a few of those of this group of pictures that are outside the Turner Bequest can be matched with works in the Bequest: No. 472, near enough Turner's standard three feet by four feet; No. 474, much the same size as Nos. 457 [<a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/turner-waves-breaking-against-the-wind-n02881" title="View the details of this artwork"><span>N02881</span></a>] and 458 [<a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/turner-waves-breaking-on-a-lee-shore-at-margate-study-for-rockets-and-blue-lights-n02882" title="View the details of this artwork"><span>N02882</span></a>]; Nos. 475, 482, and 556a, close to No. 459 [<a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/turner-waves-breaking-on-a-shore-n05495" title="View the details of this artwork"><span>N05495</span></a>]; and Nos. 483 and 484, the same size as Nos. 485 [<a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/turner-riders-on-a-beach-d36675" title="View the details of this artwork"><span>D36675</span></a>] and 486.</p>
<p><b>Lit.</b> Rothenstein and Butlin 1964, p. 62; Herrmann 1978, p. 773; Wilton 1979, p. 224; Ziff 1980, p. 167.</p>
<p></p>
<p><b>486. </b>[<a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/turner-shore-scene-with-waves-and-breakwater-d36680" title="View the details of this artwork"><span>D36680</span></a>]<b> Shore Scene with Waves and Breakwater</b> <i>c.</i>
1835</p>
<p>THE BRITISH MUSEUM, LONDON (1974. U. 850)</p>
<p>Millboard, 9 × 12 (23 × 30·5)</p>
<p><b>Coll.</b> Turner Bequest 1856.</p>
<p>See No. <span>D36675</span>.</p>
<p><b>Published in:</b>
<br/>Martin Butlin and Evelyn Joll, <i>The Paintings of J.M.W. Turner</i>, revised ed., New Haven and London 1984
<br/>
<br/></p>

Catalogue entry
2004-09-22T00:00:00
catalogue-entry
CATALOGUE_ENTRY
architecture beach breakwater sea seascapes and coasts townscapes / man-made features wave
M 1974 U850