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>
Cobblers Home
Accepted by the nation as part of the Turner Bequest 1856
adults
architecture
chair
child
children
cobbler
domestic
door
eating
eating and drinking
family
family
features
furnishings
industrial and crafts
interiors
leisure and pastimes
living room
man
objects
people
society
stair / step
table
woman
work and occupations
<p>Turner occasionally showed an interest in rustic narrative subjects, in the manner of the fashionable pictures of his colleague David Wilkie. These paintings show Turner's response to British life as well as landscape. This example is probably not entirely finished and was not exhibited, so it is difficult to date. Turner's interest in Wilkie's style was strongest around 1807-10, but the way the paint is applied is characteristic of Turner's work at a later date.</p><p><em>Gallery label, August 2004</em></p>
painting oil paint canvas
30 July 2001 – 23 June 2002
2002-06-23
30 July 2001 – 23 June 2002
2002-06-23
2001-07-30
Tate Britain (London, UK)
http://www.tate.org.uk/britain/
2001-07-30
Painting the English Landscape
Collection based display
The Cobbler’s Home
support: 597 × 800 mm
frame: 840 × 1040 × 125 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>Turner occasionally showed an interest in  rustic <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/n/narrative" title="Glossary definition for 'Narrative'"><span>narrative</span></a> subjects, in the manner of the fashionable pictures of his colleague David Wilkie. These <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>paintings</span></a> show Turner's response to British life as well as <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>landscape</span></a>. This example is probably not entirely finished and was not exhibited, so it  is difficult to date. Turner's interest in Wilkie's style was strongest around 1807-10, but the way the paint is applied is characteristic of Turner's work  at a later date.</p>
Display caption
2004-08-31T00:00:00
display-caption
DISPLAY_CAPTION
<p><b>258. </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-the-cobblers-home-n02055" title="View the details of this artwork"><span>N02055</span></a>]<b> The Cobbler's Home</b> <i>c.</i> 1825</p>
<p>THE TATE GALLERY, LONDON (2055)</p>
<p>Mahogany, 23 1/2 × 31 1/2 (59·5 × 80)</p>
<p><b>Coll.</b> Turner Bequest 1856 (? 155, ‘1 panel’ 2'7 1/2" × 2'0"); transferred to the Tate Gallery 1910.</p>
<p><b>Exh.</b> Tate Gallery 1931 (29); Arts Council tour 1952 (6).</p>
<p><b>Lit.</b> MacColl 1920, p. 33; Ziff 1980, p. 167; Marks 1981, p. 345.</p>
<p>A Wilkie-like interior of the kind first treated in <i>A Country Blacksmith</i> exhibited in 1807 (No. 68 [<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-country-blacksmith-disputing-upon-the-price-of-iron-and-the-price-charged-to-the-n00478" title="View the details of this artwork"><span>N00478</span></a>]), and dated <i>c.</i>
1808–10 by MacColl. However in style it probably dates from the time of Turner's return to figure subjects in the early 1820s or even later; there are similarities in handling to 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/p/painting" title="Glossary definition for 'Painting'"><span>paintings</span></a> of George IV's visit to Edinburgh in 1822 (Nos. 247 [<a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/turner-george-iv-at-st-giless-edinburgh-n02857" title="View the details of this artwork"><span>N02857</span></a>] and 248 [<a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/turner-george-iv-at-the-provosts-banquet-in-the-parliament-house-edinburgh-n02858" title="View the details of this artwork"><span>N02858</span></a>]) and even to <i>Pilate washing his Hands</i>, exhibited in 1830 (No. 332 [<a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/turner-pilate-washing-his-hands-n00510" title="View the details of this artwork"><span>N00510</span></a>]).</p>
<p>Since the first edition of this catalogue both Ziff and Marks have supported the traditional, earlier dating but the liquid quality of the paint in particular, which is much more apparent in front of the actual picture than in reproduction, leads the compiler to retain a dating in the 1820s.</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/></p>

Catalogue entry
2004-09-23T00:00:00
catalogue-entry
CATALOGUE_ENTRY
adults architecture chair child children cobbler domestic door eating eating and drinking family family features furnishings industrial and crafts interiors leisure and pastimes living room man objects people society stair / step table woman work and occupations