Oil paint on canvas
Tate Collection
Works with images
Joseph Mallord William Turner
Turner Bequest
Oil paintings
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>
A Ship Aground Yarmouth Sample
Accepted by the nation as part of the Turner Bequest 1856
architecture
boat, sailing
coast
pier
sandbank
sea
seascapes and coasts
ship, sailing
ship, warship
shipwreck
society
sunset
times of the day
townscapes / man-made features
transport: water
wave
<p>One of Turner’s patrons was the Earl of Egremont, the owner of Petworth House. The Earl commissioned Turner to paint Petworth and other subjects to go on display in the house. This study is the same format and a similar finish as a set of pictures still at Petworth. This work may have been painted for the Earl as part of the same series.</p><p><em>Gallery label, July 2020</em></p>
painting oil paint canvas
18 June 2001 – 14 July 2002
2002-07-14
18 June 2001 – 14 July 2002
2002-07-14
2001-06-18
Tate Britain (London, UK)
http://www.tate.org.uk/britain/
2001-06-18
From Studio to Gallery: Sketches in the Turner Bequest
Collection based display
4 July 2002 – 29 September 2002
2002-09-29
4 July 2002 – 29 September 2002
2002-09-29
2002-07-04
National Trust: Petworth House (Petworth, UK)
2002-07-04
Turner at Petworth
Loan-out
7 November 2003 – 8 February 2004
2004-02-08
7 November 2003 – 8 February 2004
2004-02-08
2003-11-07
Birmingham Museum and Art Gallery (Birmingham, UK)
http://www.bmag.org.uk
2003-11-07
Turner's Britain
Loan-out
1 October 2007 – 21 September 2008
2008-09-21
1 October 2007 – 6 January 2008
2008-01-06
2007-10-01
National Gallery of Art (Washington DC, USA)
10 February 2008 – 18 May 2008
2008-05-18
2008-02-10
Dallas Museum of Art (Dallas, USA)
http://www.DallasMuseumofArt.org
23 June 2008 – 21 September 2008
2008-09-21
2008-06-23
Metropolitan Museum of Art (New York, USA)
http://www.metmuseum.org
2007-10-01
JMW Turner
Tate partnerships & programmes
21 September 2009 – 19 September 2010
2010-09-19
22 February 2010 – 23 May 2010
2010-05-23
2010-02-22
Galeries Nationales du Grand Palais (Paris, France)
21 June 2010 – 19 September 2010
2010-09-19
2010-06-21
Museo Nacional del Prado (Madrid, Spain)
2009-09-21
Turner and the Masters
Exhibition
22 February 2010 – 19 September 2010
2010-09-19
21 September 2009 – 3 January 2010
2010-01-03
2009-09-21
Tate Britain (London, UK)
http://www.tate.org.uk/britain/
22 February 2010 – 23 May 2010
2010-05-23
2010-02-22
Galeries Nationales du Grand Palais (Paris, France)
21 June 2010 – 19 September 2010
2010-09-19
2010-06-21
Museo Nacional del Prado (Madrid, Spain)
2010-02-22
Turner and the Masters
Loan-out
8 February 2013 – 13 April 2014
2014-04-13
8 February 2013 – 19 May 2013
2013-05-19
2013-02-08
Art Gallery of South Australia (Adelaide, Australia)
http://www.artgallery.sa.gov.au
4 June 2013 – 8 September 2013
2013-09-08
2013-06-04
National Gallery of Australia (Canberra, Australia)
8 October 2013 – 18 December 2013
2013-12-18
2013-10-08
Toyko Metropolitan Art Museum (Toyko, Japan)
1 January 2014 – 13 April 2014
2014-04-13
2014-01-01
Kobe City Museum (Kobe, Japan)
2013-02-08
J.M.W. Turner: Makings of a Master
Loan-out
30 July 2016 – 1 March 2020
2020-03-01
30 July 2016 – 1 March 2020
2020-03-01
2016-07-30
Tate Britain (London, UK)
http://www.tate.org.uk/britain/
2016-07-30
Clore 106 Sea Painter
Collection based display
6 April 2020 – 27 November 2022
2022-11-27
6 April 2020
2020-04-06
Tate Britain (London, UK)
http://www.tate.org.uk/britain/
2020-04-06
Clore 105
Collection based display
A Ship Aground, Yarmouth; Sample Study
support: 698 × 1359 mm
frame: 1003 × 1666 × 128 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
<div class="text">
<p>One of Turner’s patrons was the Earl of Egremont, the owner of Petworth House. The Earl commissioned Turner to paint Petworth and other subjects to go on display in the house. This study is the same format and a similar finish as a set of pictures still at Petworth. This work may have been painted for the Earl as part of the same series.  </p>
</div>

Display caption
2020-07-01T00:00:00
display-caption
DISPLAY_CAPTION
<p>[from]<b> Nos. 282–91 : Petworth Landscapes, <i>c.</i> 1828–30</b></p>
<p>THESE fall into two groups, plus the separate <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/painting" title="Glossary definition for 'Painting'"><span>painting</span></a> relating to the two versions of <i>Chichester Canal</i> (No. 282 [<a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/turner-the-lake-petworth-sunrise-n05563" title="View the details of this artwork"><span>N05563</span></a>]). The first group consists of the five works from the Turner Bequest now in the Tate Gallery (Nos. 283–7); the second of the four rather more finished pictures still at Petworth (Nos. 288–91). These latter works originally hung below full-length seventeenth-century <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/portrait" title="Glossary definition for 'Portrait'"><span>portraits</span></a> in the Grinling Gibbons panelled dining-room, and are more or less closely based on four of the Tate Gallery pictures, at least one of which seems originally to have hung in the place later occupied by one of the more finished pictures.</p>
<p>Although Turner had painted a view of Petworth House in 1810 (No. 113 [<a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/turner-petworth-sussex-the-seat-of-the-earl-of-egremont-dewy-morning-t03880" title="View the details of this artwork"><span>T03880</span></a>]) and had sold a considerable number of pictures to Lord Egremont, he became a more frequent visitor to Petworth after the death of his father in 1829. In particular it is known that he stayed there from December 1830 to January 1831. Nearly all recent writers on Turner have followed Finberg in assuming that it was then that the <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/l/landscape" title="Glossary definition for 'Landscape'"><span>landscapes</span></a> were painted, or at least begun. On the other hand, Collins Baker dates them <i>c.</i> 1829–30, with the exception of the <i>Brighton</i>, which he assigns definitely to 1830. MacColl, following earlier National Gallery catalogues, dates the sketches for <i>Petworth Park</i> and <i>Chichester Canal</i> (Nos. 283 [<a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/turner-petworth-park-tillington-church-in-the-distance-n00559" title="View the details of this artwork"><span>N00559</span></a>] and 285 [<a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/turner-chichester-canal-n00560" title="View the details of this artwork"><span>N00560</span></a>]) to 1829. Thornbury dates the <i>Petworth Park</i> even earlier, 1828.</p>
<p>In fact, the first known reference to the landscapes occurs in a letter from Thomas Creevey to Miss Ord of 18 August 1828, giving an account of his visit to Petworth on 16–17 August. After describing ‘the sixty foot dining room’ with its full-length portraits, he goes on, ‘Immense as these pictures are with all their garniture there are still <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/panel" title="Glossary definition for 'Panel'"><span>panels</span></a> to spare, and as he [Lord Egremont] always has artists ready in the house, in one of these compartments, you have Petworth Park by Turner, in another Lord Egremont taking a walk with nine dogs, that are his constant companions, by the same artist ...’ The second of the pictures mentioned must be the Tate Gallery's <i>Petworth Park: Tillington Church in the Distance</i> (No. 283 [<span>N00559</span>]), the dogs in which are omitted from the more finished version at Petworth (No. 288 [<a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/turner-the-lake-petworth-sunset-fighting-bucks-t03883" title="View the details of this artwork"><span>T03883</span></a>]). The other picture is presumably the Tate's <i>Lake, Petworth, Sunset</i> (No. 284 [<a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/turner-the-lake-petworth-sunset-sample-study-n02701" title="View the details of this artwork"><span>N02701</span></a>]), unless the more finished version (No. 289 [<a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/turner-the-lake-petworth-sunset-a-stag-drinking-t03884" title="View the details of this artwork"><span>T03884</span></a>]) was already <i>in situ</i>.</p>
<p>John Gage has recently discovered that Turner was at Petworth in August 1827, and the landscapes may have been begun then. On the other hand, Gage has also suggested that the Tate Gallery pictures were begun in London and rejected because they turned out to be too large (1969, p. 260 n. 91), but Creevey's report makes this highly unlikely unless the pictures he saw were somehow only temporarily superimposed on the panels. In any case, the Tate pictures are not consistently larger than the final versions. It may therefore be that Lord Egremont, whose collection had hitherto been confined to Turner's earlier style, found the first set of pictures too sketchy in style; the history of <i>Palestrina</i> (No. 295 [<a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/turner-palestrina-composition-n06283" title="View the details of this artwork"><span>N06283</span></a>]) suggests another instance of Lord Egremont failing to appreciate Turner's mature work.</p>
<p>That Turner painted some if not all of the Petworth landscapes in the studio specially provided for him in the house is suggested by an anecdote in George Jones' manuscript <i>Recollections of Sir Francis Chantrey,</i> written in 1849: ‘When Turner painted a series of landscapes at Petworth, for the dining-room, he worked with his door locked against everybody but the master of the house. Chantrey was there at the time, and determined to see what Turner was doing; he imitated Lord Egremont's peculiar step, and the two distinct raps on the door by which his lordship was accustomed to announce himself: and the key being immediately turned, he slipped into the room before the artist could shut him out, which joke was mutually enjoyed by the two attached friends’ (reprinted in Finberg 1961, p. 325).</p>
<p><b>Lit.</b> Thornbury 1862, i, p. 306; 1877, p. 439; Collins Baker 1920, pp. 124–5; MacColl 1920, p. 27; John Gore (ed.), <i>Creevey's life and Times: A Further Selection from the Correspondence of Thomas Creevey</i> 1934, p. 277; John Gore (ed.), <i>Creevey</i> 1948, p. 293; Finberg 1961, p. 325; Herrmann 1975, pp. 34, 231–2; Joll 1977, pp. 374–9; Young-blood 1983, p. 16.</p>
<p><b>287. </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-a-ship-aground-yarmouth-sample-study-n02065" title="View the details of this artwork"><span>N02065</span></a>]<b> A Ship Aground</b> <i>c.</i> 1828</p>
<p>THE TATE GALLERY, LONDON (2065)</p>
<p>Canvas, 27 1/2 × 53 1/2 (70 × 136)</p>
<p><b>Coll.</b> Turner Bequest 1856 (? one of 236 to 238, ‘Roll of 3 separate Canvasses Petworth Chain Pier and another’, no dimensions given); transferred to the Tate Gallery 1906.</p>
<p><b>Exh.</b> Amsterdam, Berne, Paris, Brussels, Liege (31), Venice and Rome (35) 1947–8; R.A. 1974–5 (329, repr.).</p>
<p><b>Lit.</b> MacColl 1920, p. 34; Rothenstein and Butlin 1964, p. 46, pl. 88; Gage 1969, p. 260 n. 91; Joll 1977, p. 379.</p>
<p>The <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/composition" title="Glossary definition for 'Composition'"><span>composition</span></a> was not used for the more finished pictures at Petworth but was developed in two paintings exhibited at the Royal <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/academy" title="Glossary definition for 'Academy'"><span>Academy</span></a> in 1831, <i>Fort Vimieux</i> (No. 341) and to a lesser extent <i>Life-Boat and Manby Apparatus</i> (No. 336). See under No. 290 [<a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/turner-chichester-canal-t03885" title="View the details of this artwork"><span>T03885</span></a>] for a suggestion that this subject may have been painted as a possible substitute for <i>Chichester Canal</i>.</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
2004-09-23T00:00:00
catalogue-entry
CATALOGUE_ENTRY
architecture boat, sailing coast pier sandbank sea seascapes and coasts ship, sailing ship, warship shipwreck society sunset times of the day townscapes / man-made features transport: water wave