Introduction: Squall at St Vincent's Rock, Bristol: Evidence that JMW Turner's early oils are substantially different from his later oils

Squall at St Vincent's Rock, Bristol

Evidence that JMW Turner's early oils are substantially different from his later oils

The location of the scene depicted in 'Squall at St Vincent's Rock, Bristol' was determined by reference to two JMW Turner watercolour-drawings dating from 1791. It is well documented that Turner exhibited his oil on canvas, 'Fishermen at Sea', at the Royal Academy in 1796. We therefore examined (inter alia) JMW Turner's work in oil before 1796 to determine whether 'Squall at St Vincent's Rock, Bristol' was painted by JMW Turner or by some other artist. We found that whereas the drawings and watercolours exhibit continuous development, in contrast the oils show a fractured spectrum of development discernable only from the literature as there are only two examples not lost or misidentified;[Self Portrait age 16] [Watermill and Stream].

Commentaries show that Turner's early oils on canvas are stylistically and methodologically different from those that began to emerge in 1796 and illustrate that the concept that experts have "many years of experience (connoisseurship) of Turner's early oil paintings" is of little consequence if applied to the 'early' oils; specifically JMW Turner's first four oils on canvas, painted between September and December 1792. However, the commentaries quoted here are not restricted to those first four oils.

Birmingham Advertiser, 25th September 1834; Butlin & Joll cat. No.537

A work lent to Birmingham Society of Artists Exhibition:
• "Compared with his 'later style of colouring will be surprised at the 'subdued and sombre tone"
• "The prevailing tints are dark and obscure browns"

Birmingham Journal, 19th September 1835; Butlin & Joll cat. No.538

A work lent to Birmingham Society of Artists Exhibition:
• "Here we have a picture - an Italian - alpine landscape, in oil, an exhibition of his genius under a former avatar;"
• "differing in every quality from the characteristics of his present works."

Illustrated London News, May 1845

• "His very early works gave no great promise of after excellence in his art."

Art Journal 1856 page 188 col 3, top

At Samuel Rogers' sale; Christies 2nd May 1856 lot 528: view catalogue; note that commentary drawing distinction between early and later works appears in the Art Journal but not in the catalogue. [B&J 540]
• "A small 'sea-piece,' by J.M.W. Turner, painted in early life, but displaying none of the peculiarities which made him great" see Art Journal

Hobart Town Daily Mercury, 22nd June 1858: bottom of col 3 on second page

Rev. Dr. Francis Russell Nixon, Bishop of Tasmania owned five early works by JMW Turner and exhibited two oils in 1845 and again in 1858. On June 22nd 1858 his commentary about these two oils was published in the 'Hobart Town Daily Mercury' and included:
• "Those who are aquainted with the brilliancy of Turner's later works, would fail to recognise his master hand in these two paintings."

This refers to two works, one of which the Bishop called it 'Landscape'. Later auction sale evidence shows that this is, 'The rising squall, hot wells, from St. Vincent's rock, Bristol'.

Butlin and Joll (catalogue No. 20; 1984 2nd edition) in respect of 'Self Portrait Age 16' painted 1792

In the catalogue entry for the self portrait the difference in style between this very early oil and later work is discussed and summed up as follows:
• "The authenticity of ['Self Portrait age 16'] continues to be questioned...on the grounds of quality. ... Martin Butler is only very reluctantly persuaded by the provenance and by these similarities [NPG MW06422], that the work must be genuine."

This picture was painted at the same time as 'The rising squall, hot wells, from St. Vincent's rock, Bristol'.