William Turner 1775 – 1851

Joseph Mallord William Turner
J. M. W. Turner
Joseph Mallord William Turner RA (23 April 1775 – 19 December 1851), known as J. M. W. Turner and contemporarily as William Turner,[a] was an English Romantic painter, printmaker and watercolourist, known for his expressive colourisation, imaginative landscapes and turbulent, often violent marine paintings. Turner was born in Maiden Lane, Covent Garden, London, to a modest lower middle-class family. He lived in London all his life, retaining his Cockney accent and assiduously avoiding the trappings of success and fame. A child prodigy, Turner studied at the Royal Academy of Arts from 1789, enrolling when he was 14, and exhibited his first work there at 21. During this period, he also served as an architectural draftsman. He earned a steady income from commissions and sales, which due to his troubled, contrary nature, were often begrudgingly accepted. He opened his own gallery in 1804 and became professor of perspective at the Academy in 1807, where he lectured until 1828, although he was viewed as profoundly inarticulate. He traveled to Europe from 1802, typically returning with voluminous sketchbooks.
An intensely private, eccentric and reclusive man, he was a controversial figure throughout his career. He did not marry, but fathered two daughters, Eveline (1801–1874) and Georgiana (1811–1843), by his housekeeper Sarah Danby. He became more pessimistic and morose as he got older, especially after the death of his father, after which his outlook deteriorated, and his gallery fell into disrepair and neglect. He lived in poor health from 1845, dying in London in 1851 aged seventy-six. He is buried in Saint Paul's Cathedral, London.
He left behind over 2,000 paintings and 19,000 drawings and sketches. He had been championed by the leading English art critic John Ruskin from 1840, and is today regarded as having elevated landscape painting to an eminence rivaling history painting. Widely considered one of the greatest masters of British watercolour landscape and marine painting, he is sometimes referred to as "the painter of light". A deeply experimental and progressive artist, his influence can be found in the works of painters as diverse as Claude Monet and Mark Rothko.

William Turner - A View of the City of Oxford 1787 William Turner - Clifton, Nuneham Courtnay, near Abingdon 1787 William Turner - Folly Bridge and Bacon's Tower (after M. A. Rooker) 1787 William Turner - A Street in Margate, Looking down to the Harbour 1788 William Turner - Distant View of Minster, Isle of Thanet, Kent 1788 William Turner - Minster Church, Isle of Thanet, Kent 1788 William Turner - St John's Church, Margate 1788 William Turner - Christ Church, Oxford from Merton Fields 1789 William Turner - Distant View of Oxford from the Abingdon Road 1789
A View of the City of Oxford 1787; 30x46cm watercolor on paper; Tate Britain, London, UK Clifton, Nuneham Courtnay, near Abingdon 1787; 29x42cm watercolor on paper; Tate Britain, London, UK Folly Bridge and Bacon's Tower (after M. A. Rooker) 1787; 30x43cm watercolor on paper; Tate Britain, London, UK A Street in Margate, Looking down to the Harbour 1788; 27x40cm pen and ink and watercolor on paper; Private collection Distant View of Minster, Isle of Thanet, Kent 1788; 27x37cm pen and ink and watercolor on paper; Private collection Minster Church, Isle of Thanet, Kent 1788; 30x42cm pen and ink and watercolor on paper; Private collection St John's Church, Margate 1788; 30x43cm pen and ink and watercolor on paper; Private collection Christ Church, Oxford from Merton Fields 1789; 27x33cm watercolor on paper; Tate Britain, London, UK Distant View of Oxford from the Abingdon Road 1789; 24x43cm watercolor on paper; Tate Britain, London, UK
William Turner - Distant View of Oxford from the South 1789 William Turner - East Malling Abbey, Kent 1789 William Turner - Interior of Fountains Abbey, Yorkshire 1789 William Turner - Radley Hall, Oxfordshire from the North-West 1789 William Turner - Radley Hall, Oxfordshire from the South-East 1789 William Turner - Self-Portrait at the Age of Sixteen 1791-1792 William Turner - The Sick Cat: A Cottage Interior 1789 William Turner - View of the Archbishop's Palace, Lambeth 1790 William Turner - Oxford, Christ Church from Merton Fields 1790
Distant View of Oxford from the South 1789; 19x25cm pen and ink and watercolor on paper; Private collection East Malling Abbey, Kent 1789; 21x226cm pen and ink and watercolor on paper; Private collection Interior of Fountains Abbey, Yorkshire 1789; 27x37cm pen and ink and watercolor on paper; Private collection Radley Hall, Oxfordshire from the North-West 1789; 34x44cm watercolor on paper; Tate Britain, London, UK Radley Hall, Oxfordshire from the South-East 1789; 29x43cm watercolor on paper; Tate Britain, London, UK Self-Portrait at the Age of Sixteen 1791-1792; 52x42cm oil/canvas; Indianapolis Museum of Art, US The Sick Cat: A Cottage Interior 1789; 24x32cm watercolor on paper; Tate Britain, London, UK View of the Archbishop's Palace, Lambeth 1790; 26x37cm watercolor on paper; Indianapolis Museum of Art, Indiana, US Oxford, Christ Church from Merton Fields 1790; 19x28cm watercolor on paper; Tate Britain, London, UK
William Turner - The 'Apollo Belvedere' 1790 William Turner - View of the Archbishop's Palace, Lambeth 1790 William Turner - Westminster Abbey with Henry VII's Chapel 1790 William Turner - Ruins of West Front, Tintern Abbey 1794-1795 William Turner - Bath Abbey from the North-East 1791 William Turner - Bristol Cathedral from College Green 1791 William Turner - Dent de Lion, Margate 1791 William Turner - Hot Wells, from St Vincent's Rock, Bristol 1791 William Turner - Malmesbury Abbey from the South-East 1791
The 'Apollo Belvedere' 1790; 46x26cm chalk on grey paper; Tate Britain, London, UK View of the Archbishop's Palace, Lambeth 1790; 26x37cm watercolor on paper; Indianapolis Museum of Art, Indiana, US Westminster Abbey with Henry VII's Chapel 1790; 30x45cm pen and ink and watercolor on paper; Private collection Ruins of West Front, Tintern Abbey 1794-1795; 32x23cm watercolour and graphite on paper; Museu Calouste Gulbenkian, Lisbon Bath Abbey from the North-East 1791; 36x28cm watercolor on paper; Tate Britain, London, UK Bristol Cathedral from College Green 1791; 34x31cm watercolor on paper; Tate Britain, London, UK Dent de Lion, Margate 1791; 25x34cm watercolor on paper; Yale Center for British Art, New Haven, Connecticut, US Hot Wells, from St Vincent's Rock, Bristol 1791; 35x41cm watercolor on paper; Bristol Museum and Art Gallery, UK Malmesbury Abbey from the South-East 1791; 18x25cm watercolor on paper; Tate Britain, London, UK
William Turner - Malmesbury Abbey 1791 William Turner - Self-Portrait 1791 William Turner - Stoke House, Bristol 1791 William Turner - The Avon near Wallis's Wall 1791 William Turner - The 'Belvedere Antinoüs' 1791 William Turner - The Dover Mail 1791 William Turner - The Mouth of the Avon, near Bristol, seen from below Clifton 1791 William Turner - The West Tower of Malmesbury Abbey 1791 William Turner - The West Tower of Malmesbury Abbey 1791
Malmesbury Abbey 1791; 19x26cm pen and ink and watercolour on paper; Private collection Self-Portrait 1791; 9x7cm watercolour on paper; National Portrait Gallery, London, UK Stoke House, Bristol 1791; 29x41cm pen and ink and watercolor on paper; Private collection The Avon near Wallis's Wall 1791; 23x29cm watercolor on paper; Tate Britain, London, UK The 'Belvedere Antinoüs' 1791; 39x20cm black and white chalk on brown paper; Tate Britain, London, UK The Dover Mail 1791; 37x49cm watercolor with pen, brown ink and rubbing out on paper; Private collection The Mouth of the Avon, near Bristol, seen from below Clifton 1791; 22x28cm watercolor with pen, brown ink and rubbing out on paper; Bristol Museum and Art Gallery, UK The West Tower of Malmesbury Abbey 1791; 27x21cm watercolor on paper; Tate Britain, London, UK The West Tower of Malmesbury Abbey 1791; 32x24cm watercolor on paper; Tate Britain, London, UK
William Turner - View in the Avon Gorge 1791 William Turner - Watermill and Stream 1791 William Turner - South Porch of St Mary Redcliffe, Bristol 1791 William Turner - South Porch of St Mary Redcliffe, Bristol 1791 William Turner - Self-Portrait at the Age of Sixteen 1791-1792 William Turner - Canterbury, The West Gate, from the River Stour 1792 William Turner - Christ Church Gate, Canturbury 1792 William Turner - Christchurch Gate, Canterbury 1792 William Turner - Gate of St Augustine's Monastery, Canterbury 1792
View in the Avon Gorge 1791; 23x29cm watercolor on paper; Tate Britain, London, UK Watermill and Stream 1791; 24x29cm watercolor on paper; Tate Britain, London, UK South Porch of St Mary Redcliffe, Bristol 1791; 35x29cm pen, brown ink and watercolor; Bristol Museum and Art Gallery, UK South Porch of St Mary Redcliffe, Bristol 1791; 35x29cm pen, brown ink and watercolor; Bristol Museum and Art Gallery, UK Self-Portrait at the Age of Sixteen 1791-1792; 52x42cm oil/canvas; Indianapolis Museum of Art, US Canterbury, The West Gate, from the River Stour 1792; 21x27cm graphite and watercolour on paper; Tate Britain, London, UK Christ Church Gate, Canturbury 1792; 21x26cm watercolor on paper; Tate Britain, London, UK Christchurch Gate, Canterbury 1792; 26x26cm watercolor on paper; Fitzwilliam Museum, University of Cambridge, UK Gate of St Augustine's Monastery, Canterbury 1792; watercolor on paper; Yale Center for British Art, New Haven, Connecticut, US
William Turner - Intern Abbey, West Front 1792 William Turner - Landscape Composition with a Ruined Castle on a Cliff 1792 William Turner - Lanthony Abbey, Monmouthshire 1792 William Turner - Male Nude Seated Cross-Legged on Rocks, with Chin in His Hand 1792 William Turner - Malmesbury Abbey 1792 William Turner - Malmsbury Abbey 1792 William Turner - Rochester Castle from the River Medway 1792 William Turner - St Mary's from Oriel Lane, Oxford 1792 William Turner - The Avon Gorge at Bristol, with the Old Hot Wells House 1792
Intern Abbey, West Front 1792; 41x31cm watercolor on paper; British Museum, London, UK Landscape Composition with a Ruined Castle on a Cliff 1792; 21x27cm pen and ink and watercolor on paper; Private collection Lanthony Abbey, Monmouthshire 1792; 21x27cm watercolor on paper; Indianapolis Museum of Art, Indiana, US Male Nude Seated Cross-Legged on Rocks, with Chin in His Hand 1792; 52x40cm chalk on paper; Tate Britain, London, UK Malmesbury Abbey 1792; 24x20cm watercolor on paper; Smith College Museum of Art, Northampton, Massachusetts, US Malmsbury Abbey 1792; 54x38cm watercolor on paper; Norwich Castle Museum and Art Gallery, UK Rochester Castle from the River Medway 1792; 21x26cm watercolor on paper; Tate Britain, London, UK St Mary's from Oriel Lane, Oxford 1792; 27x21cm watercolor on paper; Tate Britain, London, UK The Avon Gorge at Bristol, with the Old Hot Wells House 1792; 27x34cm graphite and watercolour on paper; The Courtauld Gallery, London, UK
William Turner - The Pantheon, the Morning after the Fire 1792 William Turner - The Pantheon, the Morning after the Fire 1792 William Turner - Tom Tower, Christ Church, Oxford 1792 William Turner - West Gate, Canturbury 1792 William Turner - A Bay on a Rocky Coast with a Man Running 1792-1793 William Turner - A Rocky Shore, with Men Attempting to Rescue a Storm-Tossed Boat 1792-1793 William Turner - A Shipwreck on a Rocky Coastline, with a Ruined Castle 1792-1793; William Turner - Dover, harbour and shipping 1792-1793; William Turner - River Landscape with Distant Mountains 1792-1793;
The Pantheon, the Morning after the Fire 1792; 39x51cm graphite and watercolour on paper; Tate Gallery, London, UK The Pantheon, the Morning after the Fire 1792; 39x51cm watercolor over pencil; British Museum, London, UK Tom Tower, Christ Church, Oxford 1792; 31x24cm pen and ink and watercolor on paper; Private collection West Gate, Canturbury 1792; 21x27cm watercolor on paper; Tate Britain, London, UK A Bay on a Rocky Coast with a Man Running 1792-1793; 21x26cm watercolor on paper; Tate Britain, London, UK A Rocky Shore, with Men Attempting to Rescue a Storm-Tossed Boat 1792-1793; 15x23cm watercolor on paper; Tate Britain, London, UK A Shipwreck on a Rocky Coastline, with a Ruined Castle 1792-1793; 15x23cm watercolor on paper; The Whitworth, University of Manchester Dover, harbour and shipping 1792-1793; Fitzwilliam Museum, University of Cambridge, UK River Landscape with Distant Mountains 1792-1793; 21x26cm watercolor on paper; Tate Britain, London, UK
William Turner - Sailors Getting Pigs on board in a Gale 1792-1793; William Turner - Arch of the Old South Abbey, Evesham 1793 William Turner - Britain at Peace. Imaginary Landscape with Windsor Castle 1793 William Turner - East Malling Alley Abbey, Kent 1793; William Turner - Evesham, The Church of St Lawrence, Seen through the Arch of the Bell Tower 1793 William Turner - Gate of St Augustine's Monastery, Canterbury 1793 William Turner - Hereford Cathedral 1793 William Turner - Interior of King John's Palace, Eltham 1793 William Turner - Rochester 1793
Sailors Getting Pigs on board in a Gale 1792-1793; 21x27cm watercolor on paper; Tate Britain, London, UK Arch of the Old South Abbey, Evesham 1793; 21x27cm blue and grey washes, watercolor and black ink over pencil on paper; Rhode Island School of Design Museum of Art, Providence, US Britain at Peace. Imaginary Landscape with Windsor Castle 1793; 46x74cm watercolor on paper; Tate Britain, London, UK East Malling Alley Abbey, Kent 1793; watercolor on paper; Private collection Evesham, The Church of St Lawrence, Seen through the Arch of the Bell Tower 1793; 21x27cm watercolor on paper; Tate Britain, London, UK Gate of St Augustine's Monastery, Canterbury 1793; 34x49cm watercolor on paper;Yale Center for British Art, New Haven, Connecticut, US Hereford Cathedral 1793; 30x41cm watercolor on paper; Hereford Museum and Art Gallery, Herefordshire, UK Interior of King John's Palace, Eltham 1793; 33x27cm watercolor on paper; Yale Center for British Art, New Haven, Connecticut, US Rochester 1793; 21x28cm watercolor on paper; Sterling and Francine Clark Art Institute, Williamstown, MA, US
William Turner - The Wreck of a Transport Ship 1810 William Turner - St Mary's Church and the Radcliffe Camera from Oriel Lane 1793 William Turner - The Constable's Tower, Dover Castle 1793 William Turner - The Founder's Tower, Magdalene College 1793 William Turner - The West Gate, Canterbury, Kent 1793 William Turner - King Edgar's Gate, Worcester 1794 William Turner - Llangollen, North Wales 1794 William Turner - Matlock 1794 William Turner - Old London Brige 1794
The Wreck of a Transport Ship 1810; 241x173cm oil/canvas; Calouste Gulbenkian Foundation Museum, Lisbon, Portugal St Mary's Church and the Radcliffe Camera from Oriel Lane 1793; 52x38cm watercolor on paper; Tate Britain, London, UK The Constable's Tower, Dover Castle 1793; watercolor on paper; Private collection The Founder's Tower, Magdalene College 1793; 35x26cm watercolor on paper; British Museum, London, UK The West Gate, Canterbury, Kent 1793; 27x20cm watercolor on paper; National Gallery of Ireland, Dublin King Edgar's Gate, Worcester 1794; watercolor on paper; Indianapolis Museum of Art, Indianapolis, Indiana, US Llangollen, North Wales 1794; 20x26cm watercolor over pencil on paper; The Whitworth, University of Manchester, UK Matlock 1794; watercolor on paper; Indianapolis Museum of Art, Indianapolis, Indiana, UK Old London Brige 1794; 26x35cm graphite and watercolour on paper; Tate Gallery, London, UK
William Turner - Welsh Bridge at Shrewsbury 1794 William Turner - The Falls of the Anio at Tivoli near Rome (probably after J. R. Cozens) 1794 William Turner - The Old Water Mill 1794 William Turner - Tintern Abbey: The Crossing and Chancel, Looking towards the East Window 1794 William Turner - Old Welsh Bridge, Shrewsbury, Shropshire 1794 William Turner - Ruins of West Front, Tintern Abbey 1794-1795 William Turner - A Lime Kiln by Moonlight 1795 William Turner - Ariccia, near Rome 1795 William Turner - Cathedral Church at Lincoln 1795
Welsh Bridge at Shrewsbury 1794; watercolors; Private Collection The Falls of the Anio at Tivoli near Rome (probably after J. R. Cozens) 1794; 49x32cm watercolor on paper; Victoria and Albert Museum, London, UK The Old Water Mill 1794; 25x18cm watercolors; The Whitworth, University of Manchester, UK Tintern Abbey: The Crossing and Chancel, Looking towards the East Window 1794; watercolor on paper; Tate Britain, London, UK Old Welsh Bridge, Shrewsbury, Shropshire 1794; 22x27cm watercolor on paper; The Whitworth, University of Manchester, UK Ruins of West Front, Tintern Abbey 1794-1795; 32x23cm watercolour and graphite on paper; Museu Calouste Gulbenkian, Lisbon A Lime Kiln by Moonlight 1795; 16x24cm watercolor on paper; Herbert Art Gallery and Museum, Coventry, UK Ariccia, near Rome 1795; watercolors; Private Collection Cathedral Church at Lincoln 1795; 45x35cm watercolor on paper; British Museum, London, UK
William Turner - St David's, The Entrance to the Great Hall of the Bishop's Palace 1795 William Turner - Wolverhampton, Staffordshire 1796 William Turner - A Bridge at Lewes, Sussex 1796 William Turner - Aberdulais Mill 1796 William Turner - Fishermen at Sea 1796 William Turner - Keyes Mill, Pembury 1796 William Turner - St Erasmus and Bishop Islip's Chapel, Westminster Abbey 1796 William Turner - Limekiln at Coalbrookdale 1797 William Turner - View of Harewood Castle from the Southeast 1797
St David's, The Entrance to the Great Hall of the Bishop's Palace 1795; 41x25cm watercolor on paper; Tate Britain, London, UK Wolverhampton, Staffordshire 1796; 31x41cm watercolour on paper; Art Gallery and Museum, Kelvingrove, Glasgow, Scotland A Bridge at Lewes, Sussex 1796; 15x21cm watercolor on paper; Tate Britain, London, UK Aberdulais Mill 1796; 35x50cm watercolor on paper; Llyfrgell Genedlaethol Cymru, Aberystwyth, UK Fishermen at Sea 1796; 91x122cm oil/canvas; Museum de Fundatie, Zwolle, Netherlands Keyes Mill, Pembury 1796; watercolors; Private Collection St Erasmus and Bishop Islip's Chapel, Westminster Abbey 1796; 54x39cm watercolor on paper; British Museum, London, UK Limekiln at Coalbrookdale 1797; 28x42cm oil/panel; Yale Center for British Art, Paul Mellon Collection View of Harewood Castle from the Southeast 1797; 42x58cm Oil on paper laid down on canvas; Private collection
William Turner - Beech Trees at Norbury Park, Surrey 1797 William Turner - Beech Trees at Norbury Park, Surrey 1797 William Turner - Ely Cathedral, South Transept 1796 William Turner - London from Lambeth, with Westminster 1795-1797 William Turner - Moonlight, A Study at Millbank 1797 William Turner - Mountain Stream, Coniston 1797 William Turner - Old Dover Harbour 1794-1797 William Turner - Sheffield, from Derbyshire Lane 1797 William Turner - Tivoli, Villa of Maecenas, after John Robert Cozens 1794-1797
Beech Trees at Norbury Park, Surrey 1797; 44x43cm watercolor on paper; National Gallery of Ireland, Dublin Beech Trees at Norbury Park, Surrey 1797; 28x33cm watercolor on paper; Private collection Ely Cathedral, South Transept 1796; 62x48cm watercolor on paper; Corsham Court, Wiltshire, UK London from Lambeth, with Westminster 1795-1797; 31x45cm watercolor on paper; Private collection Moonlight, A Study at Millbank 1797; 31x40cm oil/panel; Tate Britain, London, UK Mountain Stream, Coniston 1797; 36x26cm pencil/watercolor; Private Collection Old Dover Harbour 1794-1797; watercolor on paper; Scottish National Gallery, National Galleries of Scotland, Edinburgh, UK Sheffield, from Derbyshire Lane 1797; 11x16cm watercolour on paper; Sheffield Galleries & Museums Trust Tivoli, Villa of Maecenas, after John Robert Cozens 1794-1797; 48x31cm watercolour on paper; Huntington Library, San Marino, California, US
William Turner - Transept of Ewenny Priory, Glamorganshire 1797 William Turner - Aeneas and the Sibyl, Lake Avernus 1798 William Turner - Buttermere Lake, with Part of Cromackwater, Cumberland, a Shower 1798 William Turner - Caernarvon Castle 1798 William Turner - Conway Castle, North Wales 1798 William Turner - Conway Castle, North Wales 1798 William Turner - Morning Amongst the Coniston Fells, Cumberland 1798 William Turner - Norham Castle, Sunrise 1798 William Turner - Shipping by a Breakwater 1798
Transept of Ewenny Priory, Glamorganshire 1797; 40x55cm watercolors; National Museum Wales, UK Aeneas and the Sibyl, Lake Avernus 1798; 76x98cm oil/canvas; Tate Britain, London, UK Buttermere Lake, with Part of Cromackwater, Cumberland, a Shower 1798; 88x119cm oil/canvas; Tate Gallery, London, UK Caernarvon Castle 1798; 15x23cm oil/canvas; Tate Britain, London, UK Conway Castle, North Wales 1798; 53x76cm watercolor and gum arabic with graphite underdrawing; J. Paul Getty Museum, US Conway Castle, North Wales 1798; 53x76cm watercolor and gum arabic with graphite underdrawing; J. Paul Getty Museum, US Morning Amongst the Coniston Fells, Cumberland 1798; 123x90cm oil/canvas; Tate Britain, London, UK Norham Castle, Sunrise 1798; 50x70cm graphite, watercolour and bodycolour on paper; Cecil Higgins Art Gallery, Bedford, UK Shipping by a Breakwater 1798; 30x19cm oil/mahogany; Tate Britain Gallery, London, UK
William Turner - Abergavenny Bridge, Monmountshire 1799 William Turner - Caernarvon Castle 1799 William Turner - Dolbadern Castle 1799 William Turner - Perspective View of Fonthill Abbey from the South West 1799 William Turner - Self-Portrait 1799 William Turner - Harlech Castle, from Twgwyn Ferry, Summer's Evening Twilight 1799 William Turner - South View of Christ Church, from the Meadows 1799 William Turner - The Chapter House, Salisbury Chathedral 1799 William Turner - Warkworth Castle, Northumberland; Thunderstorm Approaching at Sunset 1799
Abergavenny Bridge, Monmountshire 1799; 41x63cm watercolour on paper; Victoria and Albert Museum, UK Caernarvon Castle 1799; 82x57cm watercolors; Private Collection Dolbadern Castle 1799; 67x97cm pencil/watercolor; Tate Gallery, London, UK Perspective View of Fonthill Abbey from the South West 1799; 77x50cm gouache/watercolor; Bolton Museum and Art Gallery, Lancashire, UK Harlech Castle, from Twgwyn Ferry, Summer's Evening Twilight 1799; 87x119cm oil/canvas; Yale Center for British Art, New Haven, Connecticut, US Self-Portrait 1799; 74x58cm oil/canvas; Tate Britain, London, UK South View of Christ Church, from the Meadows 1799; 45x31cm watercolors; Ashmolean Museum, Oxford, UK The Chapter House, Salisbury Chathedral 1799; watercolors; Whitworth Art Gallery, The University of Manchester, UK Warkworth Castle, Northumberland; Thunderstorm Approaching at Sunset 1799; watercolors; Musee du Louvre, Paris, France
William Turner - A Canal Tunnel Near Leeds 1799-1801 William Turner - The Fifth Plague of Egypt 1800 William Turner - The Siege of Seringapatam 1800 William Turner - Dolbadarn Castle, Study for Diploma Picture 1800-1802 William Turner - The Hero of a Hundred Fights 1800–1810 William Turner - An Old Church 1800s William Turner - Passage of Mount Cenis 1800s William Turner - Windy Day 1800s William Turner - The Kitchen of Wells’s Cottage, Knockholt 1801
A Canal Tunnel Near Leeds 1799-1801; 40x25cm watercolors; Tate Gallery, London, UK The Fifth Plague of Egypt 1800; 48x72cm oil/canvas; Indianapolis Museum of Art, Indianapolis, Indiana, USA The Siege of Seringapatam 1800; 42x65cm watercolour, gouache and graphite on paper; Tate Gallery, London, UK Dolbadarn Castle, Study for Diploma Picture 1800-1802; 46x34cm oil/panel; The National Library of Wales, UK The Hero of a Hundred Fights 1800–1810; 90x121cm oil/canvas; Art Gallery of Ontario,Toronto, Canada An Old Church 1800s; 17x23cm watercolor and graphite on buff wove paper; Philadelphia Museum of Art, US Passage of Mount Cenis 1800s; watercolor; Birmingham Museums and Art Gallery, US Windy Day 1800s; oil/canvas; Tabley House Collection, University of Manchester, UK The Kitchen of Wells’s Cottage, Knockholt 1801; 27x36cm oil, watercolour and ink on paper; Tate Gallery, London, UK
William Turner - Ships Bearing up for Anchorage ‘The Egremont Seapiece’ 1802 William Turner - The Fall of the Clyde, Lanarkshire, Noon Vide Akenside’s Hymn to the Naiads 1802 William Turner - A Coast Scene with Fishermen Hauling a Boat Ashore ‘The Iveagh Seapiece’ 1803-1804 William Turner - The Devil’s Bridge, St Gothard 1803-1804 William Turner - The Passage of Mount St Gothard, Taken from the Centre of the Teufels Broch, Devil’s Bridge, Switzerland 1804 William Turner - Dolbadarn Castle, Study for Diploma Picture 1800-1802 William Turner - The Hero of a Hundred Fights 1800–1810 William Turner - Dutch Boats in a Gale 1801 William Turner - Dutch Fishing Boats in a Storm 1801
Ships Bearing up for Anchorage ‘The Egremont Seapiece’ 1802; 112x83 oil/canvas; Tate Britain Gallery, UK The Fall of the Clyde, Lanarkshire, Noon Vide Akenside’s Hymn to the Naiads 1802; 74x105cm watercolour on paper; National Museums and Galleries on Merseyside, UK A Coast Scene with Fishermen Hauling a Boat Ashore ‘The Iveagh Seapiece’ 1803-1804; 91x122 oil/canvas; Private Collection The Devil’s Bridge, St Gothard 1803-1804; 76x62cm oil/canvas; Private collection The Passage of Mount St Gothard, Taken from the Centre of the Teufels Broch, Devil’s Bridge, Switzerland 1804; 98x68cm watercolor; Abbot Hall Art Gallery, Kendal, Cumbria, UK Dolbadarn Castle, Study for Diploma Picture 1800-1802; 46x34cm oil/panel; The National Library of Wales, UK The Hero of a Hundred Fights 1800–1810; 90x121cm oil/canvas; Art Gallery of Ontario,Toronto, Canada Dutch Boats in a Gale 1801; 163x221cm oil/canvas; National Gallery, London, UK Dutch Fishing Boats in a Storm 1801; oil/canvas; National Gallery, London, UK
William Turner - Pembroke Caselt, South Wales, Thunder Storm Approaching 1801 William Turner - The Kitchen of Wells’s Cottage, Knockholt 1801 William Turner - Fishermen upon a Lee-Shore, in Squally Weather 1802 William Turner - Grenoble Seen from the River Drac with Mont Blanc in the Distance 1802 William Turner - Lake Lucerne 1802 William Turner - Nude Swiss Girl and a Companion on a Bed 1802 William Turner - Ships Bearing up for Anchorage ‘The Egremont Seapiece’ 1802 William Turner - Ships Bearing up for Anchorage ‘The Egremont Seapiece’ 1802 William Turner - The Fall of the Clyde, Lanarkshire, Noon Vide Akenside’s Hymn to the Naiads 1802
Pembroke Caselt, South Wales, Thunder Storm Approaching 1801; 99x50cm oil/canvas; Private Collection The Kitchen of Wells’s Cottage, Knockholt 1801; 27x36cm oil, watercolour and ink on paper; Tate Gallery, London, UK Fishermen upon a Lee-Shore, in Squally Weather 1802; 91x122cm oil/canvas; Southampton City Art Gallery, UK Grenoble Seen from the River Drac with Mont Blanc in the Distance 1802; 36x64cm oil/canvas; Tate Britain Gallery, UK Lake Lucerne 1802; 30x46cm watercolor; Tate Gallery, London, UK Nude Swiss Girl and a Companion on a Bed 1802; 16x19cm graphite and watercolour on paper; Tate Britain Gallery, UK Ships Bearing up for Anchorage ‘The Egremont Seapiece’ 1802; 112x83 oil/canvas; Tate Britain Gallery, UK Ships Bearing up for Anchorage ‘The Egremont Seapiece’ 1802; 112x83 oil/canvas; Tate Britain Gallery, UK The Fall of the Clyde, Lanarkshire, Noon Vide Akenside’s Hymn to the Naiads 1802; 74x105cm watercolour on paper; National Museums and Galleries on Merseyside, UK
William Turner - Chateau de St. Michael, Bonneville, Savoy 1802-1803 William Turner - Tumble Bridge, Perthshire 1801 William Turner - Bonneville, Savoy with Mont Blanc 1803 William Turner - Calais Pier, with French Poissards Preparing for Sea, an English Packeet Arriving 1803 William Turner - Genda 1803 William Turner - Glacier and Source of the Arveron, Going Up to the Mer de Glace 1803 William Turner - Holy Family 1803 William Turner - The Festival of the Opening of the Vintage, Macon 1803 William Turner - A Coast Scene with Fishermen Hauling a Boat Ashore ‘The Iveagh Seapiece’ 1803-1804
Chateau de St. Michael, Bonneville, Savoy 1802-1803; 91x121cm oil canvas; Yale Center for British Art, Paul Mellon Collection Tumble Bridge, Perthshire 1801; 28x46cm oil/canvas; Yale Center for British Art, New Haven, Connecticut, US Bonneville, Savoy with Mont Blanc 1803; 92x123cm oil/canvas; Dallas Museum of Art, US Calais Pier, with French Poissards Preparing for Sea, an English Packeet Arriving 1803; 240x170cm oil/canvas; The National Gallery, Trafalgar Square, London Genda 1803; 18x13cm pencil/watercolor; Private Collection Glacier and Source of the Arveron, Going Up to the Mer de Glace 1803; 101x68 watercolor; Yale University Art Gallery, New Haven, Connecticut, USA Holy Family 1803; 102x141cm oil/canvas; Tate Britain Gallery, UK The Festival of the Opening of the Vintage, Macon 1803; 237x146cm oil/canvas; Sheffield Galleries and Museums Trust, UK A Coast Scene with Fishermen Hauling a Boat Ashore ‘The Iveagh Seapiece’ 1803-1804; 91x122 oil/canvas; Private Collection
William Turner - The Devil’s Bridge, St Gothard 1803-1804 William Turner - Kilchern Castle, with the Cruchan Ben Mountains, Scotland Noon 1804 William Turner - The Devil's Bridge, St. Gothard 1804 William Turner - The Great Fall of the Reichenbach, in the Valley of Hasle, Switzerland 1804 William Turner - The Passage of Mount St Gothard, Taken from the Centre of the Teufels Broch, Devil’s Bridge, Switzerland 1804 William Turner - Godalming from the South 1805 William Turner - Interior of Salisbury Cathedral 1805 William Turner - The Battle of Trafalgar 1805 William Turner - The Deluge 1805
The Devil’s Bridge, St Gothard 1803-1804; 76x62cm oil/canvas; Private collection Kilchern Castle, with the Cruchan Ben Mountains, Scotland Noon 1804; 53x37cm watercolor; Private Collection The Devil's Bridge, St. Gothard 1804; 105x85cm watercolour and white wax crayon on wove paper; Yale Center for British Art, Paul Mellon Fund, USA The Great Fall of the Reichenbach, in the Valley of Hasle, Switzerland 1804; 102x68cm watercolour on paper; Cecil Higgins Art Gallery, Bedford, England The Passage of Mount St Gothard, Taken from the Centre of the Teufels Broch, Devil’s Bridge, Switzerland 1804; 98x68cm watercolor; Abbot Hall Art Gallery, Kendal, Cumbria, UK Godalming from the South 1805; 20x34cm oil/panel; Tate Britain Gallery, UK Interior of Salisbury Cathedral 1805; 50x66cm watercolor; Private Collection The Battle of Trafalgar 1805; 261x368cm oil/canvas; National Maritime Museum, Greenwich, London, Greenwich Hospital Collection The Deluge 1805; 142x235cm oil/canvas; Tate Britain Gallery, UK
William Turner - The Destruction of Sodom 1805 William Turner - The Shipwreck 1805 William Turner - The Thames near Walton Bridges 1805 William Turner - Fall of the Rhine at Schaffhausen 1805-1806 William Turner - Abingdon 1805 William Turner - The Goddess of Discord Choosing the Apple of Contention in the Garden of the Hesperides 1806 William Turner - The Lake of Thun, Switzerland 1806 William Turner - The Victory Returning from Trafalgar, in Three Positions 1806 William Turner - Windsor Castle from the Thames 1806
The Destruction of Sodom 1805; 146x237cm oil/canvas; Tate Gallery, London, UK The Shipwreck 1805; 171x240cm oil/canvas; Tate Gallery, London, UK The Thames near Walton Bridges 1805; 37x73cm oil paint on mahogany veneer; Tate Gallery, London, UK Fall of the Rhine at Schaffhausen 1805-1806; 148x239cm oil/canvas; Museum of Fine Arts, Boston, US Abingdon 1805; 101x130cm oil/canvas; Tate Britain, UK The Goddess of Discord Choosing the Apple of Contention in the Garden of the Hesperides 1806; 155x218cm oil/canvas; Tate Britain, London, UK The Lake of Thun, Switzerland 1806; 39x28cm watercolor; Private Collection The Victory Returning from Trafalgar, in Three Positions 1806; 67x100cm oil/canvas; Yale Center for British Art, Paul Mellon Collection Windsor Castle from the Thames 1806; 119x88cm oil/canvas; Private Collection
William Turner - Margate 1806-1807 William Turner - Newark Abbey 1806-1807 William Turner - The Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory 1806-1808 William Turner - A Country Blacksmith Disputing upon the Price of Iron, and the Price Charged to the Butcher for Shoeing his Poney 1807 William Turner - Gipsy Camp 1807 William Turner - Newark Abbey 1807 William Turner - Sun Rising through Vagour Fishermen Cleaning and Sellilng Fish 1807 William Turner - The Junction of the Thames and the Medway 1807 William Turner - The Thames near Walton Bridges 1805
Margate 1806-1807; 85x116cm oil/canvas; Tate Britain Gallery, UK Newark Abbey 1806-1807; 91x123cm oil/canvas; Yale Center for British Art, Paul Mellon Collection The Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory 1806-1808; 170x238cm oil/canvas; Tate Gallery, London, UK A Country Blacksmith Disputing upon the Price of Iron, and the Price Charged to the Butcher for Shoeing his Poney 1807; 54x77cm oil/canvas; Tate Britain Gallery, UK Gipsy Camp 1807; 121x91cm oil paint on oak; Tate Britain Gallery, UK Newark Abbey 1807; 29x35cm oil/panel; Tate Britain Gallery, UK Sun Rising through Vagour Fishermen Cleaning and Sellilng Fish 1807; 179x134cm oil/canvas; National Gallery, London, UK The Junction of the Thames and the Medway 1807; 108x143cm oil/canvas; National Gallery of Art Washington The Thames near Walton Bridges 1805; 37x73cm oil paint on mahogany veneer; Tate Gallery, London, UK
William Turner - The Thames near Windsor 1807 William Turner - Tree Tops and Sky, Guildford Castle 1807 William Turner - Spithead,Two Captured Danish Ships Entering Portsmouth Harbour 1807-1809 William Turner - Gordale Scar 1808 William Turner - Margate 1808 William Turner - Pope's Villa, at Twickenham 1808 William Turner - The Thames at Eton 1808 William Turner - View of Richmond Hill and Bridge 1808 William Turner - Fishing upon the Blythe-Sand, Tide Setting In 1809
The Thames near Windsor 1807; 89x119cm oil/canvas; Tate Britain Gallery, UK Tree Tops and Sky, Guildford Castle 1807; 27x73cm oil paint on mahogany veneer; Tate Gallery, London, UK Spithead,Two Captured Danish Ships Entering Portsmouth Harbour 1807-1809; 171x233cm oil/canvas; Tate Britain Gallery, UK Gordale Scar 1808; 54x76cm oil and graphite on paper; Tate Britain, UK Margate 1808; 90x120cm oil/canvas; Petworth House, UK Pope's Villa, at Twickenham 1808; 120x92cm oil/canvas; Private Collection The Thames at Eton 1808; 60x90cm oil/canvas; Tate Britain Gallery, UK View of Richmond Hill and Bridge 1808; 91x12cm1 oil/canvas; Tate Gallery, London, UK Fishing upon the Blythe-Sand, Tide Setting In 1809; 88x119cm oil/canvas; Tate Gallery, London, UK
William Turner - London from Greenwich Park 1809 William Turner - Ploughing up Turnips, near Slough 1809 William Turner - High Street, Oxford 1810 William Turner - Petworth, Sussex, the Seat of the Earl of Egremont, Dewy Morning 1810 William Turner - The big connection channel at Southall Mill 1810 William Turner - The Fall of an Avalanche in the Grisons 1810 William Turner - The Lake Geneva seen from Montreux 1810 William Turner - The Wreck of a Transport Ship 1810 William Turner - England, Richmond Hill, on the Prince Regent’s Birthday 1819
London from Greenwich Park 1809; 90x120cm oil/canvas; Tate Gallery, London, UK Ploughing up Turnips, near Slough 1809; 102x130cm oil/canvas; Tate Gallery, London, UK High Street, Oxford 1810; 68x100cm oil/canvas; Private Collection Petworth, Sussex, the Seat of the Earl of Egremont, Dewy Morning 1810; 91x120cm oil/canvas; Petworth House, UK The big connection channel at Southall Mill 1810; 92x122cm oil/canvas; Private Collection The Fall of an Avalanche in the Grisons 1810; 120x90cm oil/canvas; Tate Gallery, London, UK The Lake Geneva seen from Montreux 1810; 102x162cm oil/canvas; Los Angeles County Museum of Art, US The Wreck of a Transport Ship 1810; 241x173cm oil/canvas; Calouste Gulbenkian Foundation Museum, Lisbon, Portugal England, Richmond Hill, on the Prince Regent’s Birthday 1819; 180x334 oil/canvas; Tate Britain Gallery, UK
William Turner - Apollo and Python 1811 William Turner - Saltash with the Water Ferry, Cornwall 1811 William Turner - Scarborough Town and Castle. Morning. Boys Catching Crabs 1811 William Turner - Weymouth 1811 William Turner - Bonneville, Savoy 1812 William Turner - Snow Storm, Hannibal and His Army Crossing the Alps 1812 William Turner - St Mawes at the Pilchard Season 1812 William Turner - Frosty Morning 1813 William Turner - Frosty Morning 1813
Apollo and Python 1811; 145x237cm oil/canvas; Tate Britain Gallery, UK Saltash with the Water Ferry, Cornwall 1811; 89x120cm oil/canvas; The Metropolitan Museum of Art NY, US Scarborough Town and Castle. Morning. Boys Catching Crabs 1811; 101x68 watercolor; Private Collection Weymouth 1811; 21x14cm watercolor; Yale Center for British Art, Paul Mellon Collection, Wallington, Connecticut, USA Bonneville, Savoy 1812; 92x123cm oil/canvas; Philadelphia Museum of Art, US Snow Storm, Hannibal and His Army Crossing the Alps 1812; 237x146cm oil/canvas; Tate Gallery, London, UK St Mawes at the Pilchard Season 1812; 91x120cm oil/canvas; Tate Britain, UK Frosty Morning 1813; 113x174cm oil/canvas; Tate Britain, UK Frosty Morning 1813; 113x174cm oil/canvas; Tate Britain, UK
William Turner - Dido and Aeneas 1814 William Turner - The Mew Stone at the Entrance of Plymouth Sound 1814 William Turner - Ivy Bridge, Devonshire 1814-1815 William Turner - Lake Avernus: Aeneas and the Cumaean Sibyl 1814-1815 William Turner - Crossing the Brook 1815 William Turner - Dido Building Carthage 1815 William Turner - The Battle of Fort Rock, Val d'Aoste, Piedmont 1815 William Turner - The Eruption of the Souffrier Mountains, in the Island of St Vincent, at Midnight, on the 30th of April, 1812. 1815 William Turner - Ingleborough From The Terrace Of Hornby Castle 1816
Dido and Aeneas 1814; 146x237cm oil/canvas; Tate Britain, UK The Mew Stone at the Entrance of Plymouth Sound 1814; watercolor; National Gallery of Ireland, Dublin, Ireland Ivy Bridge, Devonshire 1814-1815; 28x40cm watercolour on paper; Tate Britain Gallery, UK Lake Avernus: Aeneas and the Cumaean Sibyl 1814-1815; 71x97cm oil/canvas; Yale Center for British Art, New Haven, Connecticut, US Crossing the Brook 1815; 165x193cm oil/canvas; Tate Gallery, London, UK Dido Building Carthage 1815; 155x232cm oil/canvas; National Gallery, London, UK The Battle of Fort Rock, Val d'Aoste, Piedmont 1815; 69x101cm watercolor; British Museum, London, UK The Eruption of the Souffrier Mountains, in the Island of St Vincent, at Midnight, on the 30th of April, 1812. 1815; 79x104cm oil/canvas; University of Liverpool Art Gallery & Collections Ingleborough From The Terrace Of Hornby Castle 1816; 41x29cm pencil/watercolor; Private Collection
William Turner - Pendennis Castle, Cornwall Scene after a Wreck 1816 William Turner - The Vale of Ashburnham 1816 William Turner - Landscape Composition of Tivoli 1817 William Turner - Mount Vesuvius in Eruption 1817 William Turner - Raby Castle, Residence of the Earl of Darlington 1818 William Turner - The Decline of the Carthaginian Empire 1817 William Turner - The Field of Waterloo 1817 William Turner - View of La Riccia, Ariccia 1817 William Turner - A First Rate Taking In Stores 1818
Pendennis Castle, Cornwall Scene after a Wreck 1816; watercolor; Private Collection The Vale of Ashburnham 1816; watercolor; Private Collection Landscape Composition of Tivoli 1817; 67x102cm oil/canvas; Private Collection Mount Vesuvius in Eruption 1817; 39x28cm watercolor; Yale Center for British Art, Paul Mellon Collection, Wallington, Connecticut, USA Raby Castle, Residence of the Earl of Darlington 1818; 119x180cm oil/canvas; Private Collection The Decline of the Carthaginian Empire 1817; 170x239cm oil/canvas; Tate Britain, UK The Field of Waterloo 1817; 28x40cm watercolour, graphite and scratching out on paper; The Fitzwilliam Museum, Cambridge View of La Riccia, Ariccia 1817; 13x21cm watercolor and gouache; The Clark Art Institute Williamstown A First Rate Taking In Stores 1818; 39x28cm pencil/watercolor; Cecil Higgins Art Gallery, Bedford, Bedfordshire, UK
William Turner - Dort, the Dort Packet Boat from Rotterdam Bacalmed 1818 William Turner - Kirby Londsale Churchyard 1818 William Turner - Raby Castle, the Seat of the Earl of Darlington 1817 William Turner - The Field of Waterloo 1818 William Turner - Bell Rock Lighthouse 1819 William Turner - England, Richmond Hill, on the Prince Regent’s Birthday 1819 William Turner - Entrance of the Meuse, Orange-Merchant on the Bar, Going to Pieces 1819 William Turner - Heriot's Hospital, Edinburgh 1819 William Turner - Rainbow 1819
Dort, the Dort Packet Boat from Rotterdam Bacalmed 1818; 233x157cm oil/canvas; Yale University Art Gallery, New Haven, Connecticut, USA Kirby Londsale Churchyard 1818; 41x28cm watercolor; Private Collection Raby Castle, the Seat of the Earl of Darlington 1817; 119x180cm oil/canvas; The Walters Art Museum, Baltimore, Maryland, US The Field of Waterloo 1818; 147x238cm oil/canvas; Tate Britain Gallery, UK Bell Rock Lighthouse 1819; 30x45cm watercolour, gouache and scraping out on paper; The National Gallery of Scotland England, Richmond Hill, on the Prince Regent’s Birthday 1819; 180x334 oil/canvas; Tate Britain Gallery, UK Entrance of the Meuse, Orange-Merchant on the Bar, Going to Pieces 1819; 175x246cm oil/canvas; Tate Britain, UK Heriot's Hospital, Edinburgh 1819; 16x25 watercolor/paper; National Galleries of Scotland Rainbow 1819; watercolor/paper; Private Collection
William Turner - Rome, The Forum with a Rainbow 1819 William Turner - San Giorgio Maggiore in the Morning 1819 William Turner - St. Peter's from the south 1819 William Turner - Venice, Looking East from the Guidecca, Sunrise 1819 William Turner - Wilderness A Engedi & Convent of Santa Saba 1819 William Turner - Rome From Monte Testaccio 1820 William Turner - Rome, from the Vatican. Raffaelle, Accompanied by La Fornarina, Preparing his Pictures for the Decoration of the Loggia 1820 William Turner - Rome, The Colosseum 1820 William Turner - Forum Romanum, for Mr Soane’s Museum 1826
Rome, The Forum with a Rainbow 1819; 36x22cm pencil/watercolor; British Museum, London, UK San Giorgio Maggiore in the Morning 1819; 28x22cm watercolour on paper; British Museum, London, UK St. Peter's from the south 1819; 22x36 watercolor/paper; British Museum, London, UK Venice, Looking East from the Guidecca, Sunrise 1819; 28x22cm watercolor/paper; British Museum, London, UK Wilderness A Engedi & Convent of Santa Saba 1819; watercolor/paper; Private Collection Rome From Monte Testaccio 1820; 21x13cm pencil/watercolor; Private Collection Rome, from the Vatican. Raffaelle, Accompanied by La Fornarina, Preparing his Pictures for the Decoration of the Loggia 1820; 177x335cm oil/canvas; Tate Gallery, London, UK Rome, The Colosseum 1820; 29x27cm watercolor/paper; British Museum, London, UK Forum Romanum, for Mr Soane’s Museum 1826; 145x236cm oil/canvas; Tate Britain, London, UK
William Turner - Rope. Passengers Going on Board ‘Pas de Calais’ 1827 William Turner - Richmond Hill 1820-1825 William Turner - Margate from the Sea, Whiting Fishing 1822 William Turner - Melrose Abbey 1822 William Turner - Norham Castle on the Tweed 1822 William Turner - What You Will! 1822 William Turner - A Storm, Shipwreck 1823 William Turner - A Storm, Shipwreck 1823 William Turner - Childe Harold 1823
Rope. Passengers Going on Board ‘Pas de Calais’ 1827; 174x213cm oil/canvas; Manchester City Galleries, UK Richmond Hill 1820-1825; 29x48cm watercolour and bodycolour on paper; National Museums and Galleries on Merseyside Margate from the Sea, Whiting Fishing 1822; 42x64 watercolor/paper; Tate Gallery, London, UK Melrose Abbey 1822; 19x13cm watercolor on cream wove paper; Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, USA Norham Castle on the Tweed 1822; 19x14cm watercolor/paper; Private Collection What You Will! 1822; 53x48cm oil/canvas; Sterling and Francine Clark Art Institute at Williamstown, MA, USA A Storm, Shipwreck 1823; 43x63cm watercolor/paper; The British Museum, UK A Storm, Shipwreck 1823; 43x63cm watercolor/paper; The British Museum, UK Childe Harold 1823; 142x248cm oil/canvas; Tate Gallery, London, UK
William Turner - Norham Castle, on the River Tweed 1823 William Turner - Rye, Sussex 1823 William Turner - Shields, on the River Tyne 1823 William Turner - The Bay of Baiae, with Apollo and the Sibyl 1823 William Turner - Stangate Creek, on the River Medway 1823-1824 William Turner - The Battle of Trafalgar 1805 William Turner - Arundel Castle on the River Arun, with a Rainbow 1824 William Turner - Boscastle, Cornwall 1824 William Turner - Grenoble Bridge 1824
Norham Castle, on the River Tweed 1823; 13x21cm watercolor/paper; British Museum, London, UK Rye, Sussex 1823; watercolor/paper; National Museum of Wales ,UK Shields, on the River Tyne 1823; 15x21cm watercolor; Tate Gallery, London, UK The Bay of Baiae, with Apollo and the Sibyl 1823; 145x237cm oil/canvas; Tate Gallery, London, UK Stangate Creek, on the River Medway 1823-1824; 16x24cm watercolour on paper; Tate Gallery, London, UK The Battle of Trafalgar 1805; 261x368cm oil/canvas; National Maritime Museum, Greenwich, London, Greenwich Hospital Collection Arundel Castle on the River Arun, with a Rainbow 1824; 16x23 watercolor/paper; British Museum, London, UK Boscastle, Cornwall 1824; 14x23cm watercolor/paper; Ashmolean Museum, University of Oxford, UK Grenoble Bridge 1824; 53x71cm transparent and opaque watercolor with scraping over traces of graphite; The Baltimore Museum of Art, US
William Turner - Hythe, Kent 1824 William Turner - Rhodes, for Lord Byron's Works 1824 William Turner - The Bass Rock, for The Provincial Antiquities of Scotland 1824 William Turner - Totnes, in the River Dart 1824 William Turner - Folkestone from the Sea 1824-1825 William Turner - Dover Castle 1825 William Turner - Falmouth Harbor 1825 William Turner - Rievaulx Abbey, Yorkshire 1825 William Turner - Scarborough 1825
Hythe, Kent 1824; 14x22cm watercolour on paper; Guildhall Art Gallery Rhodes, for Lord Byron's Works 1824; 22x13cm watercolor; Private Collection The Bass Rock, for The Provincial Antiquities of Scotland 1824; 25x15cm watercolor/paper; Lady Lever Art Gallery, Port Sunlight, United Kingdom Totnes, in the River Dart 1824; 16x23 watercolor/paper; Tate Gallery, London, UK Folkestone from the Sea 1824-1825; 48x68cm gouache and watercolour on paper; Private Collection Dover Castle 1825; 23x15cm watercolor/paper; Museum Of Fine Arts, Boston, USA Falmouth Harbor 1825; 15x22cm watercolor and gouache, with scraping, on cream wove paper; The Sterling and Francine Clark Art Institute, UK Rievaulx Abbey, Yorkshire 1825; watercolor/paper; Private Collection Scarborough 1825; 15x22cm watercolors/paper; Tate Gallery, London, UK
William Turner - Shipwreck off Hastings 1825 William Turner - Storm Clouds Sunset 1829 William Turner - Death on a Pale Horse 1825-1830 William Turner - Fall of the Trees, Yorkshire 1826 William Turner - Forum Romanum, for Mr Soane’s Museum 1826 William Turner - Okehampton 1826 William Turner - Prudhoe Castle, Northumberland 1826 William Turner - View from the Terrace of a Villa at Niton, Isle of Wight 1826 William Turner - Port Ruysdael, between 1826-1827
Shipwreck off Hastings 1825; watercolor/paper; National Gallery of Ireland, Dublin, Ireland Storm Clouds Sunset 1829; 24x34 watercolor/paper; British Museum, London, UK Death on a Pale Horse 1825-1830; 60x75cm oil/canvas; Tate Gallery, London, UK Fall of the Trees, Yorkshire 1826; watercolor/paper; Private Collection Forum Romanum, for Mr Soane’s Museum 1826; 145x236cm oil/canvas; Tate Britain, London, UK Okehampton 1826; 41x28cm watercolour, pencil and grey ink wash with touches of gouache and gum arabic and sponging and scratching out ;National Gallery of Victoria, Melbourne, Australia Prudhoe Castle, Northumberland 1826; 40x29cm watercolor/paper; British Museum, London, UK View from the Terrace of a Villa at Niton, Isle of Wight 1826; 61x45cm oil/canvas; Private Collection Port Ruysdael, between 1826-1827; 92x122cm oil/canvas, Yale Center for British Art, Paul Mellon Collection
William Turner - Rope. Passengers Going on Board ‘Pas de Calais’ 1827 William Turner - A man seated at a table in the Old Library 1827 William Turner - A Yorkshire River 1827 William Turner - Cowes, Isle of Wight 1827 William Turner - Louth, Lincolnshire 1827 William Turner - Mortlake Terrace 1827 William Turner - Stonehenge 1827 William Turner - Study of Sea and Sky, Isle of Wight 1827 William Turner - The Artist and his Admirers 1827
Rope. Passengers Going on Board ‘Pas de Calais’ 1827; 174x213cm oil/canvas; Manchester City Galleries, UK A man seated at a table in the Old Library 1827; 14x19cm watercolour and gouache on paper; Tate Gallery, London, UK A Yorkshire River 1827; 29x41cm watercolor on wove paper; National Gallery of Art Washington, US Cowes, Isle of Wight 1827; watercolor/paper; Private Collection Louth, Lincolnshire 1827; 42x28cm watercolor/paper; British Museum, London, UK Mortlake Terrace 1827; 92x122cm oil/canvas; National Gallery of Art, Washingon, DC, USA Stonehenge 1827; 27x40cm watercolour on paper; Salisbury and South Wiltshire Museum, UK Study of Sea and Sky, Isle of Wight 1827; 32x50cm oil/canvas; Tate Gallery, London, UK The Artist and his Admirers 1827; 13x19cm watercolour and bodycolour on pape; Tate Gallery, London, UK
William Turner - Three Seascapes 1827 William Turner - Lake Nemi 1827-1828 William Turner - Tivoli, the Cascatelle 1827-1828 William Turner - Vision of Medea 1828 William Turner - A Ship Aground 1828 William Turner - Alnwick Castle, Northumberland 1828 William Turner - Archway with Trees by the Sea 1828 William Turner - Ariccia Sunset 1828 William Turner - Carisbrook Castle, Isle of Wight 1828
Three Seascapes 1827; 90x60cm oil/canvas; Tate Gallery, London, UK Lake Nemi 1827-1828; 60x99cm oil/canvas; Tate Britain Gallery, UK Tivoli, the Cascatelle 1827-1828; 60x77cm oil/canvas; Tate Britain Gallery, UK Vision of Medea 1828; 173x248cm oil/canvas; Tate Britain, UK A Ship Aground 1828; 136x70cm oil/canvas; Tate Gallery, London, UK Alnwick Castle, Northumberland 1828; watercolor/paper; National Gallery of South Australia, Adelaide, Australia Archway with Trees by the Sea 1828; 87x60cm oil/canvas; Tate Gallery, London, UK Ariccia Sunset 1828; 79x60cm oil/canvas; Private Collection Carisbrook Castle, Isle of Wight 1828; watercolor/paper; Private Collection
William Turner - Chichester Canal 1828 William Turner - East Cowes Castle, the seat of J.Nash, Esq. the Regatta beating to windward 1828 William Turner - Hill Town on the Edge of the Campagna 1828 William Turner - Interior at Petworth 1828 William Turner - Lancaster Sands 1828 William Turner - Palestrina 1828 William Turner - Petworth Park, Tillington Church in the Distance 1828 William Turner - Petworth, the Drawing room 1828 William Turner - Playing Billiards, Petworth 1828
Chichester Canal 1828; 65x134cm oil/canvas; Tate Gallery, London, UK East Cowes Castle, the seat of J.Nash, Esq. the Regatta beating to windward 1828; 120x90cm oil/canvas; Indianapolis Museum of Art, Indianapolis, Indiana, USA Hill Town on the Edge of the Campagna 1828; 41x59cm watercolor/paper; Tate Gallery, London, UK Interior at Petworth 1828; 14x19cm watercolor/paper; British Museum,London, UK Lancaster Sands 1828; 27x40cm watercolor and bodycolour on paper; Private Collection Palestrina 1828; 140x248cm oil/canvas; Tate Britain, UK Petworth Park, Tillington Church in the Distance 1828; 60x145cm oil/canvas; Tate Gallery, London, UK Petworth, the Drawing room 1828; 19x14cm watercolors/paper; British Museum, London, UK Playing Billiards, Petworth 1828; 35x48cm watercolor/paper; British Museum, London, UK
William Turner - Seascape 1828 William Turner - Stamford 1828 William Turner - The Chain Pier, Brighton 1828 William Turner - Two Recumbent Nude Figures 1828 William Turner - Alnwick Castle, Northumberland 1829 William Turner - Brighton from the Sea 1829 William Turner - Chichester Canal 1829 William Turner - The Lake, Petworth, Sunset, a Stag Drinking 1829 William Turner - The Lake, Petworth, Sunset, Fighting Bucks 1829
Seascape 1828; 41x52cm oil paint on millboard; Tate Gallery, London, UK Stamford 1828; 42x29cm gouache/scrapings/watercolor; Lincolnshire County Council, Usher Gallery, Lincoln, UK The Chain Pier, Brighton 1828; 71x136cm oil/canvas; Tate Gallery, London, UK Two Recumbent Nude Figures 1828; 17x28cm oil/canvas; Tate Britain, UK Alnwick Castle, Northumberland 1829; 28x48cm watercolor/paper; Art Gallery of South Australia, Adelaide Brighton from the Sea 1829; 63x132cm oil/canvas; Petworth House, UK Chichester Canal 1829; 63x132cm oil/canvas; Tate Britain Gallery, UK The Lake, Petworth, Sunset, a Stag Drinking 1829; 63x132cm oil/canvas; Tate Gallery, UK The Lake, Petworth, Sunset, Fighting Bucks 1829; 62x146cm oil/canvas; Tate Gallery, London, UK
William Turner - Ulysses deriding Polyphemus. Homer's Odyssey 1829 William Turner - View of Orvieto 1829 William Turner - Virginia Water 1829 William Turner - Interior of a Great House, The Drawing Room, East Cowes Castle 1830 William Turner - Jessica 1830 William Turner - Kenilworth Castle 1830 William Turner - Mont Blanc from Fort Roch, Val D'Aosta 1830 William Turner - Scene on the Loire 1830 William Turner - The Evening Star 1830
Ulysses deriding Polyphemus. Homer's Odyssey 1829; 203x132cm oil/canvas; National Gallery, London, UK View of Orvieto 1829; 91x123cm oil/canvas; Tate Gallery, London, UK Virginia Water 1829; 44x29cm watercolor/paper; Private Collection Interior of a Great House, The Drawing Room, East Cowes Castle 1830 90x121cm oil/canvas Tate Britain, UK Jessica 1830; 122x91cm oil/canvas; Tate Gallery, London, UK Kenilworth Castle 1830; 45x29cm watercolor/paper; Museum of Fine Art, San Francisco, USA Mont Blanc from Fort Roch, Val D'Aosta 1830; 69x104cm oil/canvas; Private Collection Scene on the Loire 1830; 14x19cm watercolor/paper; Ashmolean Museum, Oxford, UK The Evening Star 1830; 123x92cm oil/canvas; National Gallery, London, UK
William Turner - View of Saint Germain en Laye and its Chateau 1830 William Turner - Caligula’s Palace and Bridge 1831 William Turner - Childe Harold’s Pilgrimage, Italy 1832 William Turner - Breakers on a Flat Beach 1835–1840 William Turner - Steamer and Lightship; a study for ‘The Fighting Temeraire’ 1838–1839 William Turner - Sunset 1800-1835 William Turner - The Thames above Waterloo Bridge 1830-1835 William Turner - The Scarlet Sunset 1830-1840 William Turner - Caligula’s Palace and Bridge 1831
View of Saint Germain en Laye and its Chateau 1830; 29x46cm watercolor/paper; Musee du Louvre, Paris, France Caligula’s Palace and Bridge 1831; 137x246 oil/canvas; Tate Britain, UK Childe Harold’s Pilgrimage, Italy 1832; 142x248cm oil/canvas; Tate Britain Gallery, UK Breakers on a Flat Beach 1835–1840; 90x121cm oil/canvas; Tate Gallery, London, UK Steamer and Lightship; a study for ‘The Fighting Temeraire’ 1838–1839; 91x119cm oil/canvas; Tate Britain, UK Sunset 1800-1835; 66x81cm oil/canvas; Tate Britain Gallery, UK The Thames above Waterloo Bridge 1830-1835; 90x121cm oil/canvas; Tate Gallery, London, UK The Scarlet Sunset 1830-1840; 13x18cm watercolour and gouache on paper; Tate Gallery, London, UK Caligula’s Palace and Bridge 1831; 137x246 oil/canvas; Tate Britain, UK
William Turner - Fort Vimieux 1831 William Turner - Staffa, Fingal's Cave 1832 William Turner - Childe Harold’s Pilgrimage, Italy 1832 William Turner - Helvoetsluys, the City of Utrecht, Going to Sea 1832 William Turner - Kidwelly Castle, South Wales 1832 William Turner - Rouen Cathedral 1832 William Turner - Shadrach, Meshach and Abednego in the Burning Fiery Furnace 1832 William Turner - Staffa, Fingal's Cave 1832 William Turner - The Prince of Orange, William III, Embarked from Holland, and Landed at Torbay, November 4th, 1688, after a Stormy Passage 1832
Fort Vimieux 1831; 106x71cm oil/canvas; Private Collection Staffa, Fingal's Cave 1832; 122x91cm oil/canvas; Yale University Art Gallery, New Haven, Connecticut, USA Childe Harold’s Pilgrimage, Italy 1832; 142x248cm oil/canvas; Tate Britain Gallery, UK Helvoetsluys, the City of Utrecht, Going to Sea 1832; 91x122cm oil/canvas; Tokyo Fuji Art Museum Kidwelly Castle, South Wales 1832; 44x28 watercolor/paper; Harris Museum and Art Gallery, Preston, UK Rouen Cathedral 1832; 14x19cm gouache and watercolour on paper; Tate Gallery, London, UK Shadrach, Meshach and Abednego in the Burning Fiery Furnace 1832; 91x70cm oil/mahogany; Museum Zwolle, Netherlands Staffa, Fingal's Cave 1832; 122x91cm oil/canvas; Yale University Art Gallery, New Haven, Connecticut, USA The Prince of Orange, William III, Embarked from Holland, and Landed at Torbay, November 4th, 1688, after a Stormy Passage 1832; 90x120cm oil/canvas; Museum Zwolle, Netherlands
William Turner - View over Town at Sunset, a Cemetery in the Foreground 1832 William Turner - Wreckers - Coast of Northumberland, with a Steam-Boat Assisting a Ship off Shore 1833-1834 William Turner - The Valley of the Brook at Kidron, Jerusalem, Absalom's Tomb 1833-1836 William Turner - The Burning of the Houses of Lords and Commons, October 16, 1834 1834 William Turner - The Burning of the Houses of Parliament 1834 William Turner - The Burning of the Houses of Lords and Commons, October 16, 1834 1834 William Turner - The Golden Bough 1834 William Turner - The Temple of Poseidon at Sunium, Cape Colonna 1834 William Turner - Venice, The Dogana and San Giorgio Maggiore 1834
View over Town at Sunset, a Cemetery in the Foreground 1832; 19x14cm watercolor/paper; British Museum, London, UK Wreckers - Coast of Northumberland, with a Steam-Boat Assisting a Ship off Shore 1833-1834; 90x122 oil/canvas, Yale Center for British Art, Paul Mellon Collection The Valley of the Brook at Kidron, Jerusalem, Absalom's Tomb 1833-1836; 14x20cm pencil and watercolour with scratching out; Private Collection The Burning of the Houses of Lords and Commons, October 16, 1834 1834; 92x123cm oil/canvas; Philadelphia Museum of Art, US The Burning of the Houses of Parliament 1834; 23x32 watercolor/paper; British Museum, London, UK The Burning of the Houses of Lords and Commons, October 16, 1834 1834; 92x123cm oil/canvas; Philadelphia Museum of Art, US The Golden Bough 1834; 104x163cm oil/canvas; Tate Gallery, London, UK The Temple of Poseidon at Sunium, Cape Colonna 1834; 38x58cm graphite, watercolour and gouache on paper; Tate Gallery, London, UK Venice, The Dogana and San Giorgio Maggiore 1834; 228x309cm oil/canvas; National Gallery of Art, Washingon, DC, USA
William Turner - Wreckers Coast of Northumberland 1834 William Turner - The Burning of the Houses of Parliament 1834-1835 William Turner - The Arch of Constantine, Rome 1835 William Turner - A Disaster at Sea 1835 William Turner - Dinner in a Great Room with Figures - in Costume 1835 William Turner - Keelmen Heaving in Coals by Moonlight 1835 William Turner - Landscape with a River and a Bay in the Background 1835 William Turner - Longship Lighthouse, Lands End 1835 William Turner - Music Party, East Cowes Castle 1835
Wreckers Coast of Northumberland 1834; 125x90cm oil/canvas; Yale University Art Gallery, New Haven, Connecticut, USA The Burning of the Houses of Parliament 1834-1835; 30x44cm Watercolour and gouache on paper; Tate Gallery, London, UK The Arch of Constantine, Rome 1835; 91x121cm oil/canvas; Tate Gallery, London, UK A Disaster at Sea 1835; 171x220cm oil/canvas; Tate Gallery, London, UK Dinner in a Great Room with Figures - in Costume 1835; 91x122cm oil/canvas; Tate Gallery, London, UK Keelmen Heaving in Coals by Moonlight 1835; 92x122cm oil/canvas; National Gallery of Art Washington, US Landscape with a River and a Bay in the Background 1835; 93x123cm oil/canvas; Musee du Louvre, Paris, France Longship Lighthouse, Lands End 1835; 28x44cm watercolor and gouache, scraped by the artist; J. Paul Getty Museum, Los Angeles, US Music Party, East Cowes Castle 1835; 121x90cm oil/canvas; Tate Britain Gallery, UK
William Turner - Riders on a Beach 1835 William Turner - Shore Scene with Waves and Breakwater 1835 William Turner - The Bright Stone of Honour, Ehrenbreitstein and the Tomb of Marceau, from Byron's 'Childe Harold' 1835 William Turner - The Burning of the Houses of Lords and Commons, 16 October 1834 1835 William Turner - The Burning of the Houses of Lords and Commons, 16 October 1834 1835 William Turner - The High Street, Oxford 1835 William Turner - The Rainbow 1835 William Turner - Two women and a letter 1835 William Turner - Venice, from the Porch of Madonna della Salute 1835
Riders on a Beach 1835; oil/board; Private Collection Shore Scene with Waves and Breakwater 1835; oil/board; Tate Gallery, London, UK The Bright Stone of Honour, Ehrenbreitstein and the Tomb of Marceau, from Byron's 'Childe Harold' 1835; 123x93cm oil/canvas; Private Collection The Burning of the Houses of Lords and Commons, 16 October 1834 1835; 123x153cm oil/canvas; Cleveland Museum of Art, US The Burning of the Houses of Lords and Commons, 16 October 1834 1835; 123x153cm oil/canvas; Cleveland Museum of Art, US The High Street, Oxford 1835; 35x51cm watercolor/paper; British Museum, London, UK The Rainbow 1835; gouache and watercolour on paper; Private Collection Two women and a letter 1835; 121x91cm oil/canvas; Tate Gallery, London, UK Venice, from the Porch of Madonna della Salute 1835; 91x122cm oil/canvas; The Metropolitan Museum of Art NY, US
William Turner - Waves Breaking on a Shore 1835 William Turner - Wolf's Hope, Eyemouth 1835 William Turner - Yacht Approaching the Coast 1835 William Turner - Breakers on a Flat Beach 1835–1840 William Turner - Grey Clouds over the Sea 1835-1840 William Turner - Margate, from the Sea 1835-1840 William Turner - Stormy Sea with Blazing Wreck 1835-1840 William Turner - Stormy Sea with Dolphins 1835-1840 William Turner - A Packet Boat off Dover 1836
Waves Breaking on a Shore 1835; 46x60cm oil/canvas; Tate Britain, UK Wolf's Hope, Eyemouth 1835; 10x16cm watercolor and gouache over graphite; The Clark Art Institute Williamstown, US Yacht Approaching the Coast 1835; 102x142cm oil/canvas; Tate Gallery, London, UK Breakers on a Flat Beach 1835–1840; 90x121cm oil/canvas; Tate Gallery, London, UK Grey Clouds over the Sea 1835-1840; 19x28cm gouache and watercolour; Tate Gallery, London, UK Margate, from the Sea 1835-1840; 91x122cm oil/canvas; The National Gallery, Trafalgar Square, London Stormy Sea with Blazing Wreck 1835-1840; 99x141cm oil/canvas; Tate Gallery, London, UK Stormy Sea with Dolphins 1835-1840; 90x121cm oil/canvas; Tate Gallery, London, UK A Packet Boat off Dover 1836; 19x27cm watercolor and gouache; National Gallery of Art Washington, US
William Turner - Juliet And Her Nurse 1836 William Turner - Rome from Mount Aventine 1836 William Turner - Ivrea 1836-1845 William Turner - Hero and Leander's farewell 1837 William Turner - Interior of Petworth House 1837 William Turner - Regulus 1837 William Turner - The Grand Canal Scene, A Street In Venice 1837 William Turner - Ancient Italy. Ovid Banished from Rome 1838 William Turner - Flint Castle 1838
Juliet And Her Nurse 1836; oil/canvas; Colección de Arte Amalia Lacroze de Fortabat, Buenos Aires Rome from Mount Aventine 1836; 124x91cm oil/canvas; Private Collection Ivrea 1836-1845; 22x30cm watercolor and resist on cream wove paper; The Clark Art Institute Williamstown, US Hero and Leander's farewell 1837; 146x236cm oil/canvas; The National Gallery, Trafalgar Square, London, UK Interior of Petworth House 1837; 90x122cm oil/canvas; Tate Gallery, London, UK Regulus 1837; 89x123cm oil/canvas; Tate Gallery, London, UK The Grand Canal Scene, A Street In Venice 1837; 150x112cm oil/canvas; The Huntington Library, Art Collections, and Botanical Gardens, UK Ancient Italy. Ovid Banished from Rome 1838; 125x94cm oil/canvas; National Gallery of Victoria, UK Flint Castle 1838; watercolor/paper; Private Collection
William Turner - Modern Italy, the Pifferari 1838 William Turner - Phryne Going to the Public Baths as Venus, Demosthenes Taunted by Aeschines 1838 William Turner - Steamer and Lightship; a study for ‘The Fighting Temeraire’ 1838–1839 William Turner - Ancient Rome Agrippina Landing with the Ashes of Germanicus 1839 William Turner - Modern Rome, Campo Vaccino 1839 William Turner - The Fighting Temeraire tugged to her last berth to be broken up 1839 William Turner - The Rape of Proserpine 1839 William Turner - Ehrenbreitstein and Coblenz 1840 William Turner - Oberwesel 1840
Modern Italy, the Pifferari 1838; oil/canvas; Glasgow Museum, UK Phryne Going to the Public Baths as Venus, Demosthenes Taunted by Aeschines 1838; 193x165cm oil/canvas; Tate Gallery, London, UK Steamer and Lightship; a study for ‘The Fighting Temeraire’ 1838–1839; 91x119cm oil/canvas; Tate Britain, UK Ancient Rome Agrippina Landing with the Ashes of Germanicus 1839; 91x121cm oil/canvas; Tate Gallery, London, UK Modern Rome, Campo Vaccino 1839; 90x122cm oil/canvas; J. Paul Getty Museum, Los Angeles, US The Fighting Temeraire tugged to her last berth to be broken up 1839; 91x122cm oil/canvas; National Gallery, London, UK The Rape of Proserpine 1839; 92x123cm oil/canvas; National Gallery of Art Washington, US Ehrenbreitstein and Coblenz 1840; 28x22cm watercolor/paper; Indianapolis Museum of Art, Indianapolis, Indiana, USA Oberwesel 1840; 35x53cm watercolor and gouache; National Gallery of Art Washington, US
William Turner - Rockets and Blue Lights to Warn Steamboats of Shoal Water 1840 William Turner - Seascape with Distant Coast 1840 William Turner - Seascape with Storm Coming On 1840 William Turner - Sun Setting over a Lake 1840 William Turner - Sunrise, with a Boat between Headlands 1840 William Turner - The New Moon or ‘I’ve lost My Boat, You shan’t have Your Hoop’ 1840 William Turner - The Slave Ship 1840 William Turner - Turner’s Bedroom in the Palazzo Giustinian,the Hotel Europa, Venice 1840 William Turner - Venice 1840
Rockets and Blue Lights to Warn Steamboats of Shoal Water 1840; 92x122cm oil/canvas; The Clark Art Institute Williamstown, US Seascape with Distant Coast 1840; 91x121cm oil/canvas; Museum Zwolle, Netherlands Seascape with Storm Coming On 1840; 91x121cm oil/canvas; Tate Britain Gallery, UK Sun Setting over a Lake 1840; 91x122cm oil/canvas; Tate Gallery, London, UK Sunrise, with a Boat between Headlands 1840; 91x122cm oil/canvas; Tate Gallery, London, UK The New Moon or ‘I’ve lost My Boat, You shan’t have Your Hoop’ 1840; 65x81cm oil/canvas; Tate Gallery, London, UK The Slave Ship 1840; 90x122cm oil/canvas; Museum of Fine Arts, Boston, MA, USA Turner’s Bedroom in the Palazzo Giustinian,the Hotel Europa, Venice 1840; 23x30cm watercolour and bodycolour on paper; Tate Gallery, London, UK Venice 1840; 91x122cm oil/canvas; Private Collection
William Turner - Venice, Moonrise 1840 William Turner - Venice, seen from the Giudecca Canal 1840 William Turner - Venice, the Bridge of Sighs 1840 William Turner - View off Margate, Evening 1840 William Turner - Waves Breaking against the Wind 1840 William Turner - Waves Breaking on a Lee Shore at Margate, Study for ‘Rockets and Blue Lights’ 1840 William Turner - Goldau, with the Lake of Zug in the Distance, Sample Study 1842–1843 William Turner - Queen Mab’s Cave 1846 William Turner - Landscape with Water 1840-1845
Venice, Moonrise 1840; 22x31cm watercolour on paper; Tate Gallery, London, UK Venice, seen from the Giudecca Canal 1840; 61x91cm oil/canvas; Tate Gallery, London, UK Venice, the Bridge of Sighs 1840; 68x91cm oil/canvas; Tate Gallery, London, UK View off Margate, Evening 1840; 32x48cm oil/canvas; The Clark Art Institute Williamstown, US Waves Breaking against the Wind 1840; 60x95cm oil/canvas; Tate Britain Gallery, UK Waves Breaking on a Lee Shore at Margate, Study for ‘Rockets and Blue Lights’ 1840; 59x95cm oil/canvas; Art Gallery of Ontario,Toronto, Canada Goldau, with the Lake of Zug in the Distance, Sample Study 1842–1843; 22x29cm graphite, watercolour and pen on paper; Tate Gallery, London, UK Queen Mab’s Cave 1846; 92x122cm oil/canvas; Tate Britain, UK Landscape with Water 1840-1845; 121x182cm oil/canvas; Tate Gallery, London, UK
William Turner - Rough Sea 1840-1845 William Turner - Rough Sea with Wreckage 1840-1845 William Turner - Stormy Sea Breaking on a Shore 1840-1845 William Turner - Sunrise, with a Boat between Headlands 1840-1845 William Turner - The Ponte Delle Torri, Spoleto 1840-1845 William Turner - Venice with the Salute 1840-1845 William Turner - Yacht Approaching the Coast 1840-1845 William Turner - Dawn after the Wreck 1841 William Turner - Fire at the Grand Storehouse of the Tower of London 1841
Rough Sea 1840-1845; 91x121cm oil/canvas; Tate Gallery, London, UK Rough Sea with Wreckage 1840-1845; 92x122cm oil/canvas; Art Gallery of Ontario,Toronto, Canada Stormy Sea Breaking on a Shore 1840-1845; 44x63cm oil/canvas; Yale Center for British Art, Paul Mellon Collection Sunrise, with a Boat between Headlands 1840-1845; 91x121cm oil/canvas; Art Gallery of Ontario,Toronto, Canada The Ponte Delle Torri, Spoleto 1840-1845; 91x121cm oil/canvas; Art Gallery of Ontario, Toronto, Canada Venice with the Salute 1840-1845; 62x92cm oil/canvas; Tate Gallery, London, UK Yacht Approaching the Coast 1840-1845; 102x142cm oil/canvas; Tate Gallery, London, UK Dawn after the Wreck 1841; 25x36cm watercolor/paper; Courtauld Institute Gallery, London, UK Fire at the Grand Storehouse of the Tower of London 1841; 23x32cm watercolour on paper; Tate Britain Gallery, UK
William Turner - Giudecca, la Donna della Salute and San Georgio 1841 William Turner - Goldau 1841 William Turner - Hafod 1841 William Turner - South of Bellinzona 1841 William Turner - Campo Santo, Venice 1841 William Turner - Peace 1842 William Turner - Storm Seam Boat off a Harbour's Mouth Making Signals in Shallow Water, and Going by the Lead 1842 William Turner - The Blue Rigi Lake of Lucerne Sunrise 1842 William Turner - The Dark Rigi 1842
Giudecca, la Donna della Salute and San Georgio 1841; 91x61cm oil/canvas; Private Collection Goldau 1841; 47x30cm watercolor/paper; Private Collection Hafod 1841; 47x30cm watercolor/paper; National Museums and Galleries on Merseyside, UK South of Bellinzona 1841; 23x33cm watercolor/paper; British Museum, London, UK Campo Santo, Venice 1841; 61x91cm oil/canvas; Toledo Museum of Art, Toledo, OH, USA Peace 1842; 87x86cm oil/canvas; Tate Gallery, London, UK Storm Seam Boat off a Harbour's Mouth Making Signals in Shallow Water, and Going by the Lead 1842; 91x121cm oil/canvas; Tate Gallery, London, UK The Blue Rigi Lake of Lucerne Sunrise 1842; 45x29 watercolor/paper; Private Collection The Dark Rigi 1842; 30x45 watercolor/paper; Tate Gallery, London, UK
William Turner - The Dogana, San Giorgio, Citella, From the Steps of the Europa 1842 William Turner - The Opening of the Wallhalla 1842 William Turner - War. The Exile and the Rock Limpet 1842 William Turner - Approach to Venice 1844 William Turner - Approach to Venice 1844 William Turner - Shade and Darkness, the Evening of the Deluge 1843 William Turner - St Benedetto, Looking towards Fusina 1843 William Turner - The Dogana and Santa Maria della Salute, Venice 1843 William Turner - The Evening of the Deluge 1843
The Dogana, San Giorgio, Citella, From the Steps of the Europa 1842; 61x92cm oil/canvas; Tate Gallery, London, UK The Opening of the Wallhalla 1842; 112x200cm oil/mahogany; Tate Britain, London, UK War. The Exile and the Rock Limpet 1842; 79x79cm oil/canvas; Tate Gallery, London, UK Approach to Venice 1844; 62x94cm oil/canvas; National Gallery of Art, Washingon, DC, USA Approach to Venice 1844; 62x94cm oil/canvas; National Gallery of Art, Washingon, DC, USA Shade and Darkness, the Evening of the Deluge 1843; 78x78cm oil/canvas; Tate Gallery, London, UK St Benedetto, Looking towards Fusina 1843; 62x92cm oil/canvas; Tate Gallery, London, UK The Dogana and Santa Maria della Salute, Venice 1843; 62x93cm oil/canvas; National Gallery of Art Washington, US The Evening of the Deluge 1843; 76x76cm oil/canvas; National Gallery of Art Washington, US
William Turner - The Lake of Zug 1843 William Turner - The Morning after the Deluge 1843 William Turner - The Sun of Venice Going to Sea 1843 William Turner - Approach to Venice 1844 William Turner - Fishing Boats Bringing a Disabled Ship into Port Ruysdael 1844 William Turner - Lake Lucerne, the Bay of Uri from above Brunnen 1844 William Turner - Rain Steam and Speed, The Great Western Railway 1844 William Turner - Venice, Maria della Salute 1844 William Turner - Heidelberg 1844-1845
The Lake of Zug 1843; 29x46cm watercolor over graphite; The Metropolitan Museum of Art, New York, US The Morning after the Deluge 1843; 78x78cm oil/canvas; Tate Gallery, London, UK The Sun of Venice Going to Sea 1843; 61x92cm oil/canvas; Art Gallery of Ontario,Toronto, Canada Approach to Venice 1844; 62x94cm oil/canvas; National Gallery of Art, Washingon, DC, USA Fishing Boats Bringing a Disabled Ship into Port Ruysdael 1844; 91x123cm oil/canvas; Tate Gallery, London, UK Lake Lucerne, the Bay of Uri from above Brunnen 1844; 72x98cm oil/canvas; Tate Gallery, London, UK Rain Steam and Speed, The Great Western Railway 1844; 121x90cm oil/canvas; National Gallery, London, UK Venice, Maria della Salute 1844; 61x92cm oil/canvas; Tate Gallery, London, UK Heidelberg 1844-1845; 132x201cm oil/canvas; Tate Britain Gallery, UK
William Turner - The Disembarkation of Louis-Philippe at the Royal Clarence Yard, Gosport, 8 October 1844 1844-1845 William Turner - Brunnen, from the Lake of Lucerne 1845 William Turner - Coast Scene 1845 William Turner - Figures on a Beach 1845 William Turner - Fluelen, from the Lake of Lucerne 1845 William Turner - Inverary Pier, Loch Fyne, Morning 1845 William Turner - Norham Castle, Sunrise 1845 William Turner - Sunset Seen from a Beach with Breakwater 1845 William Turner - Red Sky over a Beach 1845
The Disembarkation of Louis-Philippe at the Royal Clarence Yard, Gosport, 8 October 1844 1844-1845; 90x121cm oil/canvas; Art Gallery of Ontario, Toronto, Canada Brunnen, from the Lake of Lucerne 1845; 47x28 watercolor/paper; Sterling and Francine Clark Art Institute at Williamstown, MA, USA Coast Scene 1845; 28x47cm watercolor/paper; Private Collection Figures on a Beach 1845; watercolor/paper; Private Collection Fluelen, from the Lake of Lucerne 1845; 29x47cm watercolor with gouache; Cleveland Museum of Art, US Inverary Pier, Loch Fyne, Morning 1845; 91x121cm oil/canvas; Yale Center for British Art, Paul Mellon Collection Norham Castle, Sunrise 1845; 91x122cm oil/canvas; Tate Gallery, London, UK Sunset Seen from a Beach with Breakwater 1845; oil/canvas; Private Collection Red Sky over a Beach 1845; watercolor/paper; Private Collection
William Turner - Riva degli Schiavone, Venice, Water Fete 1845 William Turner - Sailing Boat in a Rough Sea 1845 William Turner - Ship in a Storm 1845 William Turner - Sunrise with Sea Monsters 1845 William Turner - Two Figures on a Beach with a Boat 1845 William Turner - Venice with the Salute 1845 William Turner - Waves Breaking on a Beach 1845 William Turner - Whalers 1845 William Turner - Whalers 1845
Riva degli Schiavone, Venice, Water Fete 1845; 72x113cm oil/canvas; Tate Gallery, London, UK Sailing Boat in a Rough Sea 1845; watercolor/paper; Private Collection Ship in a Storm 1845; 9x15cm watercolor/paper; Tate Gallery, London, UK Sunrise with Sea Monsters 1845; 91x122cm oil/canvas; Tate Gallery, London, UK Two Figures on a Beach with a Boat 1845; watercolor/paper; Tate Gallery, London, UK Venice with the Salute 1845; 61x92cm oil/canvas; Tate Britain, London, England, UK Waves Breaking on a Beach 1845; 28x44cm watercolour on paper; Private Collection Whalers 1845; 91x122cm oil/canvas; The Metropolitan Museum of Art NY, US Whalers 1845; 91x121cm oil/canvas; Tate Britain Gallery, UK
William Turner - Going to the Ball, San Martino 1846 William Turner - Heidelberg 1846 William Turner - Returning from the Ball, St Martha 1846 William Turner - The Angel Standing in the Sun 1846 William Turner - Undine Giving the Ring to Massaniello, Fisherman of Naples 1846 William Turner - Undine Giving the Ring to Massaniello, Fisherman of Naples 1846 William Turner - Whalers, Boiling Blubber, Entangled in Flaw Ice, Endeavouring to Extricate Themselves 1846 William Turner - Valley of Aosta: Snowstorm, Avalanche, and Thunderstorm 1836-1837 William Turner - The Brunig Pass, from Meringen 1846
Going to the Ball, San Martino 1846; 61x92cm oil/canvas; Tate Gallery, London, UK Heidelberg 1846; 37x55cm watercolour, pen and ink and scraping out on paper; National Gallery of Scotland Returning from the Ball, St Martha 1846; 61x92cm oil/canvas; Tate Gallery, London, UK The Angel Standing in the Sun 1846; 78x78cm oil/canvas; Tate Gallery, London, UK Undine Giving the Ring to Massaniello, Fisherman of Naples 1846; 79x79cm oil/canvas; Art Gallery of Ontario, Toronto, Canada Undine Giving the Ring to Massaniello, Fisherman of Naples 1846; 79x79cm oil/canvas; Tate Gallery, London, UK Whalers, Boiling Blubber, Entangled in Flaw Ice, Endeavouring to Extricate Themselves 1846; 89x120cm oil/canvas; Art Gallery of Ontario,Toronto, Canada Valley of Aosta: Snowstorm, Avalanche, and Thunderstorm 1836-1837; 92x123cm oil/canvas; Art Institute of Chicago, US The Brunig Pass, from Meringen 1846; 45x30cm watercolor/paper; Private Collection
William Turner - Ulysses Deriding Polyphemus 1848 William Turner - Mercury Sent to Admonish Aeneas 1850 William Turner - The Departure of the Fleet 1850 William Turner - The Visit to the Tomb 1850 William Turner - A bed, drapery 1827 study William Turner - Conway Castle 1798 William Turner - The Departure of the Fleet 1850 William Turner - Falmouth Harbour, Cornwall 1811 William Turner - One bedroom
Ulysses Deriding Polyphemus 1848; 132x203cm oil/canvas; National Gallery, London, UK Mercury Sent to Admonish Aeneas 1850; 90x120cm oil/canvas; Art Gallery of Ontario, Toronto, Canada The Departure of the Fleet 1850; 89x120cm oil/canvas; Art Gallery of Ontario,Toronto, Canada The Visit to the Tomb 1850; 91x121cm oil/canvas; Art Gallery of Ontario,Toronto, Canada A bed, drapery 1827 study; 14x19cm watercolor/paper; Tate Britain, UK Conway Castle 1798; 53x76cm atercolor and gum arabic with graphite underdrawing; The J. Paul Getty Trust, US The Departure of the Fleet 1850; 89x120cm oil/canvas; Art Gallery of Ontario,Toronto, Canada Falmouth Harbour, Cornwall 1811; watercolor/paper; Falmouth Art Gallery, UK One bedroom; 14x19cm watercolor; British Museum, London, UK
William Turner - Painter at the easel William Turner - Portsmouth 1824-1825 William Turner - Salon William Turner - Salon William Turner - The Nordgalerie William Turner - Whitby 1822-1824
Painter at the easel; 14x19cm watercolor/paper; British Museum, London, UK Portsmouth 1824-1825; watercolor/paper; Private Collection Salon; 14x19cm watercolor/paper; British Museum, London, UK Salon; 14x19cm watercolor/paper; British Museum, London, UK The Nordgalerie; 14x19cm watercolor/paper; British Museum, London, UK Whitby 1822-1824; watercolour on paper; Private Collection