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拍品专文
Turner’s depiction of the aftermath of a shipwreck in the large picture of 1805 (Tate Britain) remains one of his most intensely dramatic images, epitomizing his achievements as a marine painter. Our empathy is powerfully engaged by the representation of human suffering, but the sensation is considerably heightened by the vivid and boldly painted recreation of the sea in motion.
Soon after it was first exhibited Turner was approached by a former classmate at the Royal Academy schools, Charles Turner (not a relative), who proposed engraving the image in mezzotint. Financial support was sought and secured through a prospectus, which attracted an impressive array of Turner’s early patrons. In the meantime the painting had been reserved for Sir John Leicester, the foremost collector of contemporary British art. Fortunately, permission was obtained from him for the engraving process to take place before he formerly took ownership of the canvas.
In addition to the standard mezzotint, the two Turners planned a limited number of coloured impressions. Although the contract gave J.M.W. Turner the right to buy proofs for this purpose, it is unlikely (as Anne Lyles has outlined) that the colours were actually applied by the artist himself. Instead a highly-skilled specialist printer would have prepared a single plate to print from, based on a maquette coloured to Turner’s satisfaction.
Impressions of the standard mezzotint format are rare, but very few examples of this coloured state survive in such good condition.
We are grateful to Ian Warrell for his help in preparing this catalogue entry.
Soon after it was first exhibited Turner was approached by a former classmate at the Royal Academy schools, Charles Turner (not a relative), who proposed engraving the image in mezzotint. Financial support was sought and secured through a prospectus, which attracted an impressive array of Turner’s early patrons. In the meantime the painting had been reserved for Sir John Leicester, the foremost collector of contemporary British art. Fortunately, permission was obtained from him for the engraving process to take place before he formerly took ownership of the canvas.
In addition to the standard mezzotint, the two Turners planned a limited number of coloured impressions. Although the contract gave J.M.W. Turner the right to buy proofs for this purpose, it is unlikely (as Anne Lyles has outlined) that the colours were actually applied by the artist himself. Instead a highly-skilled specialist printer would have prepared a single plate to print from, based on a maquette coloured to Turner’s satisfaction.
Impressions of the standard mezzotint format are rare, but very few examples of this coloured state survive in such good condition.
We are grateful to Ian Warrell for his help in preparing this catalogue entry.