Joseph Mallord William Turner R.A.

Private collection, UK;
Private collection, Switzerland;
with Galerie Jan Krugier, Geneva;
from whom purchased by the present owner

Vienna, Albertina Museum, Goya bis Picasso. Meisterwerke der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 8 April - 28 August 2005, p. 92, no. 33 (illustrated p. 93)

Turner has used a sheet of blue grey paper to support this watercolour, which has been taken out of the centre of a larger sheet as it is torn on all four sides. The paper is now a light buff having been framed and glazed for some time. There are strips of blue at the edges that have been covered by a mount, which demonstrate the original colour of the sheet. A few fox marks show in the image area. The condition is good. Medium The medium is also in good condition, though slightly faded in the more delicate tints as this watercolour has been framed and glazed for display. Note: This work was viewed outside studio conditions.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This vividly coloured and spontaneous watercolour is dateable to the latter half of Turner's career c. 1830. With a combination of rapidly applied watercolour, red and blue ink, scratching out, pencil and coloured chalks, Turner depicts the port of Genoa from the sea. Sparkling in the afternoon sun, two fishing boats are buffeted by choppy seas in the near foreground, while the lighthouse, harbour and Apennine hills form the rest of the composition beyond.

Turner first visited Italy in 1819, 1828 and possibly again in 1830. The Mediterranean scenery greatly impressed Turner who wrote to his friend and fellow academician George Jones (1786-1869) that 'Genoa and all the sea-coast from Nice to Spezzia is remarkably rugged and fine.' [1] 

Turner executed a series of coloured works of Genoa with which the present watercolour is most closely associated. For example; Genoa from the Sea (Turner Bequest CCLIX-213) and Ruins and Cliffs on the Meditteranean Coast (Turner Bequest CCXCII-71). All are painted on blue or grey paper and are of a comparable size and though once thought to be from Turner's 1828 trip, it is now believed that they are later in date to c. 1830. Though the details of this later trip are still unclear, we might assume it was similar to that of 1828 when Turner had left London in early August and after several days in Paris, travelled south through Orleans and Lyon to Marseilles. He then boarded a boat which took him along the Mediterranean coast via Genoa to Livorno. He continued his tour through the Italian interior before finally arriving in Rome. Turner remained there for the winter months before returning home via the Alps in early 1829.

Turner returned to the subject of Genoa on two further occasions. Once in the form of a vignette, which he painted for Edward Finden's 1832-4 edition of The Works of Lord Bryon,[2] and secondly in one of his latest works dated to 1850-1 which is now in the collection of the Manchester City Art Gallery.[3]

[1] A. Wilton, Turner Aboard, France, Italy, Germany, Switzerland, 1982, p. 47.
[2] A. Wilton, op. cit, 1979, no. 1231
[3] A. Wilton, op.cit, 1979, no. 1569