Overview

No overview available.

Inscription

on reverse of lining canvas in black ink: The Junction of the / THAMES and MEDWAY, from the / NOREBUOY, with a distant view / of SHEERNESS and the Isle of SHEPPY. / Painted by J.W.M. [sic] TURNER Esq r RA / In o [sic] Newington Hughes Esq.r.; below: No54

Marks and Labels

null

Provenance

Purchased 1807, almost certainly from Turner's gallery, by Thomas Lister Parker [1779-1858], Brownsholme Hall, Yorkshire; (sale, 1808, bought in).[1] (sale, Christie, Manson & Woods, London, 9 March 1811, no. 29, bought in.) John Newington Hughes [-1848], Winchester, after 1826; (sale, Christie, Manson & Woods, London, 14-15 April 1848, 2nd day, no. 147); (Thomas Rought); sold 3 May 1848 to Joseph Gillott, Birmingham; (sale, Christie, Manson & Woods, London, 19-20, 26-27 April 1872, 4th day, no. 306); (Thos. Agnew & Sons, London); sold 1872 to Richard Hemming [died c. 1892], Bentley Manor, Bromsgrove, and London; by inheritance to his wife; sold 1892 to (Thos. Agnew & Sons, London); sold 1893 to (Wallis & Son, London); purchased 10 March 1894 through John G. Johnson 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; gift 1942 to NGA.

Exhibition History

1807
Turner's gallery, 1807.
1852
Modern Works of Art, Birmingham Society of Artists, 1852, no. 37.
1857
Art Treasures of the United Kingdom: Paintings by Modern Masters, Art Treasures Palace, Manchester, 1857, no. 288.
1868
National Exhibition of Works of Art, Infirmory, Leeds, 1868, no. 1107.
1894
Forty-First Annual Exhibition of Selected High-Class Pictures, by British and Foreign Artists, French Galleries, (Wallis & Son), London, 1894, no. 26.

Bibliography

1807
Morning Post, 6 May 1807.
1826
Carey, William Paulet. Patronage and Progress of the Fine Arts. London, 1826: 115.
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: 190, repro.
1948
Paintings and Sculpture from the Widener Collection. National Gallery of Art, Washington, 1948 (reprinted 1959): 96, repro.
1952
Cairns, Huntington, and John Walker, eds., Great Paintings from the National Gallery of Art. New York, 1952: 144, color repro.
1963
Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 322, repro.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 133.
1966
Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 2:368, color repro.
1968
Cooke, Hereward Lester. Painting Lessons from the Great Masters. London, 1968: 44, fig. 29.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 120, repro.
1975
Brown, David. "Turner, Callcott and Thomas Lister Parker: New Light on Turners' `Junction of the Thames and the Medway' in Washington." The Burlington Magazine 117 (1975): 719-722.
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. 599, color repro.
1984
Butlin, Martin, and Evelyn Joll. The Paintings of J.M.W. Turner. 2 vols. New Haven and London, 1977. (2d rev. ed., 1984): 1:no. 62; 2:pl. 73.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 413, no. 584, color repro.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 406, repro.
1986
Chapel, Jeannie. "The Turner Collector: Joseph Gillott, 1799-1872." Turner Studies 6 (1986): 44-45.
1991
Kopper, Philip. America's National Gallery of Art: A Gift to the Nation. New York, 1991: 199, color repro.
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: 264-268, repro. 265.
2007
Warrell, Ian, ed. J.M.W. Turner. Exh. cat. National Gallery of Art, Washington, D.C.; Dallas Museum of Art; The Metropolitan Museum of Art, New York. London and Washington, D.C., 2007: 242.
2011
Pergam, Elizabeth A. The Manchester Art Treasures Exhibition of 1857: Entrepreneurs, Connoisseurs and the Public. Farnham and Burlington, 2011: 313.

Technical Summary

The canvas has been lined. The ground is off- white, thinly and smoothly applied. There are traces of a buff-colored imprimatura above the ground in some areas. The painting is executed in very thin, transparent glazes in the darks; the sky is more opaquely rendered; moderate impasto is used in the highlights, especially in the waves. X-radiographs reveal pentimenti in the rowing boat: the boat was originally 2 cm. longer at the bow; the figure in the stern, now leaning over the side of the boat, originally sat with his back to the spectator; a rowing figure in the center of the boat has been painted out; the figure at the bow of the boat originally sat facing the spectator. The picture is very abraded in numerous thinly painted areas, and has been extensively retouched with small, feathered repaints that have darkened considerably. The moderately thick natural resin varnish has discolored yellow-brown to a significant degree.

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