Overview

No overview available.

Inscription

Marks and Labels

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Provenance

Painted for Henry McConnel [1801-1871], The Polygon, Ardwick, Manchester; sold 1849 to John Naylor, Leighton Hall, Liverpool;[1] passed to his wife; purchased 1910 through (Dyer and Sons) by (Thos. Agnew & Sons, Ltd., London); re-entered April 1910 in Agnew's stock in joint ownership with (Arthur J. Sulley & Co., London); purchased 13 June 1910 from (Arthur J. Sulley & Co., London) by Peter A.B. Widener, Elkins Park, Pennsylvania; inheritance from estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park.

Exhibition History

1834
Modern Artists, Royal Manchester Institution, 1834, no. 53.
1834
Royal Academy of Arts, London, 1834, no. 175.
1854
Pictures Exhibited at a Soirée Given by John Buck Lloyd, Esquire, Mayor of Liverpool, Town Hall, Loverpool, 23 September 1854, no. 2.
1914
Paintings by Thomas Gainsborough, R.A. and J.M.W. Turner, R.A., M. Knoedler & Co., Inc., New York, 1914, no. 35.
1997
Venezia Da Stato a Mito [Venice: From a State to a Myth], Fondazione Giorgio Cini, Venice, 1997, no. 66, repro.
1998
"Near Turner's Point of View": Paintings by J.M.W. Turner and Thomas Moran, The Philbrook Museum of Art, Tulsa, 1998, no. 2, fig. 32.
2003
Turner and Venice, Tate Britain, London; Kimbell Art Museum, Fort Worth, 2003-2004, no. 37, repro.
2003
Turner: The Late Seascapes, Sterling and Francine Clark Art Institute, Williamstown; Manchester Art Gallery; The Burrell Collection, Glasgow, 2003-2004, unnumbered catalogue, fig. 22, repro. (shown only in Williamstown).
2007
J.M.W. Turner, National Gallery of Art, Washington, D.C.; Dallas Museum of Art; The Metropolitan Museum of Art, New York, 2007-2008, no. 105, repro.

Bibliography

1834
_Athenaeum 341 (10 May 1834): 355.
1834
_London Literary Gazette, no. 903, 10 May 1834: 331.
1834
_Manchester Courier and Lancashire General Advertiser, 10, no. 512, 18 October 1834.
1834
_Manchester Guardian, 30 August 1834.
1834
_Morning Chronicle, 26 May 1834.
1834
_Spectator, 7, no. 306, 10 May 1834: 447.
1861
_Athenaeum 1781 (14 December 1861): 808.
1915
Roberts, William. Pictures in the Collection of P.A.B. Widener at Lynnewood Hall, Elkins Park, Pennsylvania: British and Modern French Schools, Philadelphia, 1915: unpaginated, repro.
1923
_Paintings in the Collection of Joseph Widener at Lynnewood Hall. Intro. by Wilhelm R. Valentiner. Elkins Park, Pennsylvania, 1923: unpaginated, repro.
1931
_Paintings in the Collection of Joseph Widener at Lynnewood Hall. Intro. by Wilhelm R. Valentiner. Elkins Park, Pennsylvania, 1931: 14, repro.
1942
_Works of Art from the Widener Collection. Foreword by David Finley and John Walker. National Gallery of Art, Washington, 1942: 7.
1948
_Paintings and Sculpture from the Widener Collection. National Gallery of Art, Washington, 1948 (reprinted 1959): 98, repro.
1960
Cooke, Hereward Lester. British Painting in the National Gallery of Art. Washington, D.C., 1960 (Booklet Number Eight in Ten Schools of Painting in the National Gallery of Art, Washington, D.C.): 40, color repro.
1964
Rothenstein, John and Martin Butlin. Turner. London, 1964: 52, pl. 98.
1965
_Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 132.
1968
_European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 119, repro.
1971
George, Hardy. "Turner in Venice." The Art Bulletin 53, no. 1 (March 1971): 84-87.
1975
_European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 354, repro.
1975
Walker, John. National Gallery of Art, Washington. New York, 1975: no. 603, color repro.
1984
Butlin, Martin, and Evelyn Joll. The Paintings of J.M.W. Tuner. 2 vols. New Haven and London, 1977. (2d rev. ed., 1984): 1:no. 356; 2:color pl. 362.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 413, no. 588, color repro.
1985
_European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 405, repro.
1986
Treuherz, Julian. "The Turner Collector: Henry McConnel, Cotton Spinner." Turner Studies 6 (1986): 38-39, 40-41, 42, fig. 2.
1992
Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 274-277, color repro. 275.
1998
Townsend, Richard P., J.M.W. Turner: The Greatest of Landscape Painters. Oklahoma, 1998: 34, no. 32, repro.
2008
Schwander, Martin, ed. Venice: From Canaletto and Turner to Monet. Ostfildern, 2008: 61, fig. 3.

Technical Summary

The canvas is finely plain woven; it was lined in 1971. The ground is white; it is thickly applied and masks the weave of the canvas. There appear to be layers of gray and beige imprimatura in some areas. The painting is executed in freely handled opaque layers ranging from rich, fluid glazes to thick paint; the strongest whites are thickly impasted. Glazes and scumbles are drawn, scraped, and dragged over the paint layers, and the scumbles of white and light-colored paint that create the luminous effect may be gouache or watercolor. The details of architecture and rigging are accomplished with very thin fluid paint occasionally reworked by scratching in with a blunt tool. The thinner paint seems to have been abraded. There is extensive craquelure. Retouching is largely limited to the corners and edges, and to the concealment of cracks. There are substantial residues of an earlier natural resin varnish, which has discolored yellow to a significant degree, beneath the dammar varnish applied in 1971.

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