Joseph Mallord William Turner, R.A. (London 1775-1851)
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Joseph Mallord William Turner, R.A. (London 1775-1851)

Greatheart conducted through the River

細節
Joseph Mallord William Turner, R.A. (London 1775-1851)
Greatheart conducted through the River
pencil and watercolour with gum arabic and with scratching out, vignette
8 1/8 x 6 1/8 in. (20.6 x 15.5 cm.)
來源
Possibly H.A.J. Munro of Novar.
Possibly E.M. Micholls [sic].
with Agnew's, Manchester.
出版
A. Wilton, The Life and Work of J.M.W. Turner, Fribourg and London, 1979, p. 456, no. 1302.
J. Piggott, Turner's Vignettes, London, 1993, p. 100, no. 120.
刻印
E. Goodall for Fisher's Pilgrim's Progress, 1836, frontispiece.
拍場告示
We are grateful to Jan Piggott for the following additional information:

There is a proof engraving of the watercolour in the Victoria and Albert Museum, Turner's notes in the margin give Turner's own identification of the figures and features in the watercolour. St Paul's Cathedral appears to be in the centre of the city and it has been suggested that Turner may also have placed the Mansion House below the Cathedral. The foreground image is that of the Evangelist saving Christian from the River of Death. He identifies the 'City of Desolation' to the right of the Madonna and Child. For further information see J. Piggott, Turner's Vignettes, London, 1993, pp. 61-2.

榮譽呈獻

Harriet West
Harriet West

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拍品專文

This watercolour, Turner's only illustration to John Bunyan's Pilgrim's Progress, was engraved by Edward Goodall as the frontispiece to the edition of the text published by Fisher, Son and Co. in 1836 (W.G. Rawlinson, The Engraved Works of J.M.W. Turner R.A., II, London, 1913, pp. 204, 315, no. 605). It illustrates the conclusion of Part Two, when Greatheart led a group of Pilgrims including Christiana to the River dividing Beulah from the Celestial City. Here she was approached by a Messenger with 'an Arrow with a Point sharpened with Love, let easily into her Heart' as a token of her imminent death and passing over the River. Given Bunyan's Puritan nature, Turner's imagery is strangely traditional with its allusions to St Michael and to the Madonna and Child, presumably derived from his knowledge of Italian Catholic art.

Sir Walter Armstrong gives a muddled reference to what may be this work: 'Vignette. Figure stretching out arms to a cross, lost in a blaze of light. Probably Turner's last work for the engraver.' This seems to be based on Armstrong's mistaken belief that Fisher's edition was first published in 1847, it is also Armstrong that provides the tentative early provenance.

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