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Creator:
Joseph Mallord William Turner, 1775–1851
Title:
Dort or Dordrecht: The Dort Packet-Boat from Rotterdam Becalmed [1818, Royal Academy of Arts, London, exhibition catalogue]
Date:
1818
Materials & Techniques:
Oil on canvas
Dimensions:
62 × 92 inches (157.5 × 233.7 cm), Frame: 73 × 102 × 5 inches (185.4 × 259.1 × 12.7 cm)
Inscription(s)/Marks/Lettering:

Signed and dated, lower right: "JMW Turner RA 1818"

Inscribed, lower right: "Dort"

Credit Line:
Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
B1977.14.77
Classification:
Paintings
Collection:
Paintings and Sculpture
Link to Frame:
B1977.14.77FR
Subject Terms:
church | city | cityscape | cityscape | crowd | flags | flotsam | fruit | jars | marine art | market (event) | men | reflection | river | rowboats | rubbish | sea | seascape | ships | sunlight | vegetables | women
Associated Places:
Dordrecht | Dordrecht, Gemeente | Netherlands | Noord | Our Dear Lady Church | Rotterdam
Access:
On view at the Yale University Art Gallery
Link:
https://collections.britishart.yale.edu/catalog/tms:34
Export:
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IIIF Manifest:
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J. M.W. Turner made his second Continental tour in 1817 in the aftermath of the Napoleonic Wars and passed through Dordrecht on his way home. This view, one of Turner’s masterpieces, was painted after his return to London in December 1817 and was exhibited at the Royal Academy in April 1818. The Swan, a packet boat from Rotterdam, is traveling down the river Meuse towards Dordrecht and is being provisioned by passing boats while it is becalmed. A vision of peaceful serenity, the picture contrasted with Turner’s other exhibit that year, a view of the bloody battlefield of Waterloo by moonlight. In Dort, Turner was emulating the celebrated Dutch painter Aelbert Cuyp (1620–1691), whose work was avidly collected by British connoisseurs. The painting’s extraordinary luminosity and brightness of color dazzled the critics, one claiming it was “one of the most magnificent pictures ever exhibited.” John Constable was probably referring to this picture when, many years later, he remembered it as “the most complete work of genius I ever saw.”

Gallery label for installation of YCBA collection, 2022


J. M. W. Turner made his second Continental tour in 1817 in the aftermath of the Napoleonic Wars and passed through Dordrecht on his way home. This view, one of Turner’s masterpieces, was painted after his return to London in December 1817 and was exhibited at the Royal Academy in April 1818. The Swan, a packet boat from Rotterdam, is traveling down the river Meuse towards Dordrecht and is being provisioned by passing boats while it is becalmed. A vision of peaceful serenity, the picture contrasted with Turner’s other exhibit that year, a view of the bloody battlefield of Waterloo by moonlight. In Dort, Turner was emulating the celebrated Dutch painter Aelbert Cuyp (1620–1691), whose work was avidly collected by British connoisseurs. The painting’s extraordinary luminosity and brightness of color dazzled the critics, one claiming it was “one of the most magnificent pictures ever exhibited.” John Constable was probably referring to this picture when, many years later, he remembered it as “the most complete work of genius I ever saw.” Dort was bought immediately by Turner’s friend and patron Walter Fawkes and hung in his drawing room at Farnley Hall, his country house in North Yorkshire.

Gallery label for installation of YCBA collection, 2016


In 1817, two years after the end of the Napoleonic wars, Joseph Mallord William Turner traveled to Continental Europe. In Dordrecht, a port city in Holland, Turner began plans for a composition of boats becalmed, creating a number of sketches in a leather-bound notebook similar in size to one also on view in this exhibition. The present painting, completed the following year as the result of his studies, was exhibited at the Royal Academy in London alongside a painting of the aftermath of the Battle of Waterloo. In contrast to that scene of destruction, Turner shows in Dort—both through the subject matter of the many well-cared-for boats, the well-fed passengers, and the calm waters of the Merwede River, and in the glowing, even light depicted in the painting—that peace was as central to the flowering of artistic creation in the Romantic period as the wars that shook the Continent.

Gallery label for the Critique of Reason: Romantic Art (Yale Center for British Art, 2015-03-06 - 2015-07-26)


In summer 1817, Turner visited Dordrecht (sometimes known as Dort) on a tour of the Netherlands. He spent a day and a half there and made many pencil sketches, some of which were the basis for this grand view of the city from the north. The river is the Noord, and the becalmed packet or market-boat is The Swan, which sailed regularly between Dordrecht and Rotterdam. While awaiting a change in the wind or tide, the passengers are buying food and drink from enterprising local people in rowboats. Ever matching himself against other landscapists, Turner imitates the style of the seventeenth-century Dutch master Aelbert Cuyp, a native of Dordrecht, particularly in the high contrast of dark elements against luminous sky and water. Dort belonged to one of Turner's best patrons, Walter Fawkes of Farnley Hall in Yorkshire, and hung there in the dining room until 1966, when it was purchased by Paul Mellon.

Gallery label for installation of YCBA collection, 2009


In summer 1817, Turner visited Dordrecht (sometimes known as Dort) on a tour of the Netherlands. He spent a day and a half there and made many pencil sketches, some of which were the basis for this grand view of the city from the north. The river is the Noord, and the becalmed packet or market-boat is The Swan, which sailed regularly between Dordrecht and Rotterdam. While awaiting a change in the wind or tide, the passengers are buying food and drink from enterprising local people in rowboats. Ever matching himself against other landscapists, Turner imitates the style of the seventeenth-century Dutch master Aelbert Cuyp, a native of Dordrecht, particularly in the high contrast of dark elements against luminous sky and water. Dort belonged to one of Turner's best patrons, Walter Fawkes of Farnley Hall in Yorkshire, and hung there in the dining room until 1966, when it was purchased by Paul Mellon.

Gallery label for Paul Mellon's Legacy: A Passion for British Art (Yale Center for British Art, 2007-04-18 - 2007-07-29)
In 1817, in the aftermath of the Napoleonic Wars, Turner visited the Netherlands for the first time. He spent just a day and a half in Dordrecht (known locally as Dort), making numerous pencil sketches, and exhibited this luminous view of the city from the north at the Royal Academy in 1818. Turner, who often indulged in playful rivalry with his fellow artists, may have been stimulated by Augustus Wall Callcott’s homage to the Dutch Old Masters, “The Pool of London” (Bowood Settlement, Wiltshire), exhibited to acclaim at the Royal Academy in 1816. Described by the “Morning Chronicle” in May 1818 as “one of the most magnificent pictures ever exhibited,” Dort was immediately acquired by Turner's patron Walter Fawkes. The price was five hundred guineas, a huge sum, though as James Hamilton has recently noted, it is likely that Turner was never paid, since Fawkes was in chronic debt, and Turner had himself lent him three thousand pounds (Hamilton, 2001). The painting hung in the Drawing Room at Farnley Hall until 1966, when it was purchased by Paul Mellon.

Although Turner did not visit the Netherlands until he was over forty, he was familiar with important Dutch Old Master paintings in British collections from early in his career, and his first Royal Academy submission, Fishermen at Sea (Tate, London), testifies to his admiration for Rembrandt. Dort pays tribute to one of Turner’s most formative Dutch influences, Aelbert Cuyp; the motif of the packet boat is directly borrowed from Cuyp’s Maas at Dordrecht (National Gallery of Art, Washington, D.C.), which was exhibited at the British Institution in 1815. Dort is as much a personal artistic statement as an homage to an Old Master, however; its contrast of cool and warm colors and bright chromatic scale (a contemporary viewer told the diarist Joseph Farington that “it almost puts your eyes out” [Farington, “Diary”, vol. 15, p. 5191]) mark the emergence of Turner the colorist and anticipate the brilliance of his work of the 1820s.

Gillian Forrester

John Baskett, Paul Mellon's legacy, a passion for British art: masterpieces from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 2007, pp. 30,33,284-85, no. 90, N5220 M552 P38 2007 OVERSIZE (YCBA)

YUAG European Galleries (Yale University Art Gallery, 2023-12-01 - 2025-01-15) [YCBA Objects in the Exhibition]

In a New Light: Paintings from the Yale Center for British Art (Yale University Art Gallery, 2023-03-24 - 2023-12-03) [YCBA Objects in the Exhibition] [Exhibition Description]

The Critique of Reason : Romantic Art, 1760–1860 (Yale University Art Gallery, 2015-03-06 - 2015-07-26) [YCBA Objects in the Exhibition]

An American's Passion for British Art - Paul Mellon's Legacy (Royal Academy of Arts, 2007-10-20 - 2008-01-27) [YCBA Objects in the Exhibition]

An American's Passion for British Art - Paul Mellon's Legacy (Yale Center for British Art, 2007-04-18 - 2007-07-29) [YCBA Objects in the Exhibition]

Great British Paintings from American Collections: Holbein to Hockney (Yale Center for British Art, 2001-09-27 - 2001-12-30) [YCBA Objects in the Exhibition] [Exhibition Description]

J. M. W. Turner - A Selection of Paintings from the Collection of Mr. and Mrs. Paul Mellon (National Gallery of Art, 1968-10-31 - 1969-04-21) [YCBA Objects in the Exhibition]

[Yale University Press Advertisement ] Dort or Dordrecht:, The Dort Packed-boat from Rotterdam Becalmed , Art Journal (CAA), 37, no. 1, Autumn 1977, p. 81, N81 A887 + OVERSIZE (HAAS) Available online in JSTOR [ORBIS]

Sir Geoffrey Agnew, Yale's 1700 Mellon Pictures, The Times (London), , April 28, 1977, p. 9, Times Digital Archive [ORBIS]

Brian Allen, The Sport of Collecting : Paul Mellon and British Art, Apollo, v.165,no.542, April 2007, pp. 38, 39, fig. 9, N1 A54 + (YCBA) [YCBA]

Nina Amstutz, Landscape and the Architecture of Light: John Constable's Clouds at the Yale Center for British Art, Oxford University Press, London, 2017, p. 9, fig. 7, V 2736 (YCBA) [YCBA]

Arts Council of Great Britain, Shock of recognition, the landscape of English romanticism and the Dutch seventeenth-century school [catalogue of an exhibition held at] the Mauritshuis, the Hague, 24 November 1970 to 10 January 1971 [and] the Tate Gallery, London, 22 January to 28 February 1971. , Arts Council of Great Britain, London, 1971, no. 44, ND1314.4 S3613 (YCBA) [YCBA]

Alfred Gustave Herbert Bachrach, The Field of Waterloo and Beyond, Turner Studies, vol. 1, 1981, pp. 4-13, NJ18 T85 T87 + (YCBA) [YCBA]

Alfred Gustave Herbert Bachrach, Turner and Rotterdam, 1817, 1825, 1841, De Lange/van Leer, [S.l., 1970, pp. 18-20, NJ18 T85 B33 (YCBA) [YCBA]

Alfred Gustave Herbert Bachrach, Turner's Holland, Dutch Quarterly Review of Anglo-American Letters, vol. 6, 1976, p. 112, PE9 D87 (SML) [ORBIS]

Alfred Gustave Herbert Bachrach, Turner's Holland, Tate Gallery , Tate Publishing, London, 1994, pp. 17-18, 42-43, no. 9, NJ18 T85 B34 1994 (YCBA) [YCBA]

Anthony Bailey, Standing in the sun, a life of J. M. W. Turner , Sinclair-Stevenson, London, 1997, pp. 216-17, NJ18 T85 B35 1997 (YCBA) [YCBA]

John Baskett, Paul Mellon's Legacy: a Passion for British Art: Masterpieces from the Yale Center for British Art, , Yale Center for British Art, New Haven, CT, 2007, pp. 30,33,284-85, no. 90, N5220 M552 P38 2007 OVERSIZE (YCBA) [YCBA]

Hugh Belsey, Exhibition reviews : Paul Mellon's legacy : New Haven and London, Burlington Magazine, vol. 149, October 2007, p. 714, fig. 52, N1 .B87 Oversize (YCBA) [YCBA]

David Bindman, The History of British Art, Yale Center for British Art, New Haven, CT, 2008, pp. 208-09 (v.2), fig. 134, N6761 +H57 2008 Oversize (YCBA) [YCBA]

Mila Boutan, Turner et Moi, RMN Jeunesse, Paris, 2010, p. 23, No copy available at Yale Only locations given in WorldCat (4/21/12) are in France. N.B. This is a book written for a "Juvenile" audience

British Art at Yale, Apollo, v.105, April 1977, pp. 290-1, fig. 8, N1 .A54 + OVERSIZE (YCBA) [YCBA]

David Blayney Brown, Augustus Wall Callcott, Tate Gallery, 1981, pp.5, 36, 78, 79, fig. 8, NJ18 C1278 B76 (YCBA) [YCBA]

David Blayney Brown, The art of J.M.W. Turner, Headline Book Publishing, London, 1990, pp. 62,65,124, 147, 159, NJ18 T85 B79 1990 + (YCBA) [YCBA]

David Blayney Brown, Turner's Modern World, Tate Publishing, London, p. 59, no. 33, NJ18.T85 A12 2020a Oversize (YCBA) [YCBA]

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Martin Butlin, The paintings of J.M.W. Turner, The Paul Mellon Centre for Studies in British Art, New Haven, 1984, pp. 102-04..., no. 137, pl. 140, NJ18 T85 B885 1984 OVERSIZE (YCBA) [YCBA]

By Turner, The Times (London), Friday, February 6, 1953, p.12, Available Online : Times Digital Archive Also Available on Microfilm : An T482 (SML) [ORBIS]

Christie Advertisement, On Friday July 2, 1937 Important Pictures by Old Masters , The Times (London), Tuesday, June 22, 1937, p. 29, Available Online : Times Digital Archive Also available on microfilm : An T482 (SML) [ORBIS]

Christie Advertisement, On Friday July 2, 1937 : Important Pictures by Old Masters , The Times (London), Tuesday, July 2, 1937, p. 31, Available Online : Times Digital Archive Also Available on Microfilm: An T482 (SML) [ORBIS]

Christie Advertisement, On Friday July 2, 1937 : Important Pictures by Old Masters , The Times (London), Tuesday, June 29, 1937, p. 31, Available Online : Times Digital Archive Also Avaiable on microfilm : AN T482 (SML) [ORBIS]

Christie's sale catalogue : Catalogue of Important Pictures by Old Masters : 2 July 1937, Christie's, Christie, Manson & Woods, London, July 2, 1937, p. 24, Lot 61, Fiche B51 Fiche# 2781 (YCBA) [YCBA]

Peter Conrad, Light Work, RA : the magazine for the Friends of the Royal Academy, no. 96, Autumn 2007, p. 76, V 1906 (YCBA) Detached from RA, no.96 (2007:Autumn) [YCBA]

David Cordingly, Ships and seascapes, an introduction to maritime prints, drawings and watercolours , P. Wilson, London [Wappingers' Falls, N.Y., 1997, pp. 99-100, N8230 C67 1997 (YCBA) [YCBA]

David Cordingly, Turner and the Sea, Turner Society News, no. 121, Spring 2014, p. 25, NJ18 T85 T86 OVERSIZE (YCBA) [YCBA]

Richard Cork, A Roaring Gale of Inspiration, August 9, 1994, p. 29, Available Online : Times Digital Archive [ORBIS]

Malcolm Cormack, A Selective Promenade, Apollo, v.105, April 1977, p. 290-1, fig. 8, N1 A54 + (YCBA) [YCBA]

Malcolm Cormack, Concise Catalogue of Paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 226-227, N590.2 A83 (YCBA) [YCBA]

Malcolm Cormack, The Dort, Some Further Observations , Turner Studies, vol. 2, 1983, pp. 37-9, NJ18 T85 T87 + (YCBA) [YCBA]

Gabriele Crepaldi, Turner, Prestel, Munich ; London, 2011, pp. 78-81, NJ18.T85 C75 2011 (YCBA) [YCBA]

Dordrecht: The Dort Packet-boat from Rotterdam Becalmed, Architectural Review, vol. 149, April 1971, p. 251, NK1125 A3 OVERSIZE (HAAS) [ORBIS]

Dort or Dordrecht: The Dort Packet-boat from Rotterdam Becalmed, Magazine Antiques, vol. 111, May 1977, p. 864, NK1125 A3 (HAAS) [ORBIS]

Dort or Dordrecht: The Dort Packet-boat from Rotterdam Becalmed, ART News, vol. 76, November 1977, p. 57, N1 A6 OVERSIZE (HAAS) [ORBIS]

Dort or Dordrecht: The Dort Packet-boat from Rotterdam Becalmed, Magazine Antiques, vol. 95, February 1969, p. 210, NK1125 A3 OVERSIZE (HAAS) [ORBIS]

Martina Droth, Britain in the world: Highlights from the Yale Center for British Art in honor of Amy Meyers, Yale University Press, New Haven, London, p. 104, p. 107 (detail), N6761 .Y33 2019 (LC) (YCBA) [YCBA]

Exhibition Catalogue. 1818. 50th, Exhibition of the Royal Academy of Arts, no. 50, Royal Academy of Arts, London, 1818, p. 12, no. 166, N5054 A53 v. 3 (YCBA) [YCBA]

Patricia Failing, Best-loved art from American museums, C. N. Potter, New York, 1983, p. 33, N6505 F34 1983 (YCBA) [YCBA]

Joseph Farington, The Diary of Joseph Farington, , Yale University Press, New Haven, CT, 1978, vol. 15. pp. 5190-91, NJ18 F2164 A3 1978 (YCBA) [YCBA]

John Gage, J.M.W. Turner, "a wonderful range of mind" , Yale University Press, New Haven, 1987, P. 122, pl. 160, NJ18 T85 G36 (YCBA) [YCBA]

John Gage, J.M.W. Turner: "a wonderful range of mind", Yale University Press, New Haven, CT, p. 112, fig. 160, NJ18 T85 G36 (LC) (YCBA) [YCBA]

Susan Grace Galassi, Turner's Modern and Ancient Ports : Passages Through Time, New York : The Frick Collection , New Haven : Yale University Press, 2017, p. 10, cat. 9, NJ18 T85 +A12 2017 [ORBIS]

Michael Glover, Scenes from Afar, The Times (London), Saturday, September 22, 2007, pp. 26-27, Available Online : Times Digital Arcive Also available on Microfilm: Film An T482 (SML) [ORBIS]

Catherine M. Gordon, British paintings Hogarth to Turner, Frederick Warne, London, 1981, p.67, ND466 G67 (YCBA) [YCBA]

Charlotte Gould, British art and the environment : changes, challenges, and responses since the Industrial Revolution, New York, p. 174, fig. 10.3, N8217.E28 B75 2022 (YCBA) [YCBA]

Mark Hallett, The Great Spectacle: 250 years of the Royal Academy's Summer Exhibition, Royal Academy of Arts, [London], p. 69, fig. 44, N5054 .H35 2018 (LC) Oversize (YCBA) [YCBA]

James Hamilton, Turner, a life, Hodder and Stoughton, London, 1997, NJ18 T85 H35 1997B (YCBA) [YCBA]

Andrew Hemingway, Landscape Between Ideology and the Aesthetic : Marxist Essays on British Art and Art Theory, 1750-1850, Leiden, 2017, p. 435, fig. 106, HX521 H46 2017 (YCBA) [YCBA]

Historic Trends in English Painting, The Times (London), Friday, December 2, 1966, p. 20, Available Online : Times Digital Archive Also available on microfilm : An T48.2 (SML) [ORBIS]

In the light of Cuyp : Aelbert Cuyp & Gainsborough, Constable, Turner, Zwolle, Dordrecht, NL, pp. 176-177, ND653.C8 A4 2021+ (YCBA) [YCBA]

J.M.W. Turner : a selection of paintings from the collection of Mr. and Mrs. Paul Mellon., Exhibition held Oct. 31, 1968-Apr. 21, 1969 in the National Gallery of Art , National Gallery of Art, Washington, D.C., 1968, pp. 13, 25, no. 10, fig. 10, NJ18 T85 U5 (YCBA) [YCBA]

Evelyn Joll, The Oxford companion to J.M.W. Turner, Oxford University Press, Oxford New York, 2001, pl. 11, NJ18 O84 2001 (YCBA) [YCBA]

Wouter Th. Kloek, Aelbert Cuyp, land, water, light , Rijksmuseum, Amsterdam, 2002, p. 46, NJ18 C985 K64 2002 (HAAS) [ORBIS]

Literature and Arts, Books and Exhibitions of the Year , The Times (London), Saturday, January 1, 1938, Reiew of the Year, p. X, Available Online : Times Digital Archive Also available on Microfilm : An T482 (SML) [ORBIS]

Michael Lloyd, Turner, National Gallery of Australia, Canberra, 1996, p. 19, NJ18 T85 L57 1996 + (YCBA) [YCBA]

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Mr Paul Mellon, Reflections in a silver spoon, a memoir , W. Morrow, New York, 1992, btwn pp. 382-3, N5220 M552 1992 (YCBA) [YCBA]

Franny Moyle, Turner : The Extraordinary Life and Momentous Times of J.M.W. Turner, New York, 2016, pp, fig. 30, NJ18 T85 M79 2016 (YCBA) [YCBA]

Frederic Ogee, Turner, les paysages absolus , Hazan, Paris, 2010, pp. 12-13, 36-37, NJ18 T85 O34 2010 (YCBA) [YCBA]

John Parker, A formal and historical sociology of western picture-making with special reference to J.M.W. Turner, power, space, and light , Edwin Mellen Press, Lewiston, 1998, pl. 16, NJ18 T85 P27 1998 (YCBA) [YCBA]

Paul Mellon's Legacy : a passion for British art [large print labels], , Yale Center for British Art, New Haven, CT, 2007, v. 3, N5220 M552 P381 2007 OVERSIZE (YCBA) [YCBA]

Paul Mellon's legacy, a passion for British art : April 18-July 29, 2007 , Yale Center for British Art, New Haven, Conn., 2007, pp. 7, 14, V 1735 (YCBA) [YCBA]

Paul Mitchell, Picture Framing, Notes on Turner's Picture Frames , Museum Management and Conservatorship, vol. 17, no. 3, 1998, p. 326, N8550 A7 (YCBA CONSERVATION) Collection of photocopies of material on picture frames [ORBIS]

Realism and romance in English painting : Illustrated catalogue price two shillings and sixpence : November 14-December 10, 1966, Thos. Agnew & Sons, Ltd., Thos. Agnew & Sons, London, 1966, lot 6, no. 6, DealerCat Thos. Agnew (YCBA) [YCBA]

Inge Reist, British models of art collecting and the American response : reflections across the pond, Ashgate Publishing, Burlington, 2014, p. 34, N5202.G7 B75 2014 (YCBA) [YCBA]

Graham Reynolds, Turner : with a new introduction by David Blayney Brown, Thames & Hudson, London, fig. 74, NJ18.T85 R49 2020 (YCBA) [YCBA]

Christine Riding, Turner & the sea, Thames & Hudson, London, 2013, pp. 11, 12, 22, 131, 136, 169, fig. 1, NJ18.T85 R52 2013 OVERSIZE (YCBA) [YCBA]

Christine Riding, Turner on Tour, National Gallery Global, London, London, 2022, pp. 9, 10, 15, fig. 1, NJ18 T85 R53 2022 (YCBA) [YCBA]

Catherine Roach, Frame works : paintings-within-paintings in nineteenth-century Britain, Thesis (Ph. D.)--Columbia University, 2009. , University Microfilms International, Ann Arbor, MI, 2009, pp. 105-07, 272, fig. 2.13, ND1460.P35 R63 2009 (YCBA) [YCBA]

Catherine Roach, Pictures-within-pictures in nineteenth-century Britain, Routledge (Taylor & Francis Group), Abingdon, New York, 2016, p. 90, ND1460.P35 R63 2016 (YCBA) [YCBA]

Simon Schama, The Yale Centre for British Art, TLS, the Times Literary Supplement, , May 20, 1977, p. 620, TLS Historical Archive [ORBIS]

Eric Shanes, The life and masterworks of J.M.W. Turner, Parkstone Press, New York, 2008, pp. 138-9, NJ18 T85 S441 2008 + OVERSIZE (YCBA) [YCBA]

Sam Smiles, 'Splashers,' Scrawlers' and 'Plasterers' : British landscape painting and the language of criticism, 1800-40, Turner Studies, Vol. 10, London, Summer 1990, pp. 5-11, NJ18 T85 T87+ (YCBA) [YCBA]

David H. Solkin, Turner and the masters, Tate Publishing, London, 2009, pp. 25,38, 80, 164-67, 187, pl. 62, NJ18 T85 T8352 2009+ (YCBA) [YCBA]

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Tate Publishing, J.M.W. Turner : The 'Skies' Sketchbook : with an introduction by David Blayney Brown, London, 2016, pp. 12-13, pl. 4, NJ18 T85 +A12 2016a (YCBA) [YCBA]

The Dort Packet-boat from Rotterdam Becalmed, Water-colour Acquired by Usher Gallery, Lincoln , The Times (London), December 22, 1966, p. 15, Avaialble on Line : Times Digital Archive Also available on Microfilm : Film AN T482 (SML Microfilm) [ORBIS]

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Joyce H. Townsend, How Turner Painted: Materials & Techniques, Thames & Hudson, London, p. 141, NJ18.T85 T642 2019 (LC) (YCBA) [YCBA]

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Unfamiliar Turner Paintings, Whitechapel Gallery Collection , The Times (London), Thursday, February 5, 1953, p. 3, Available Online : Times Digital Archive Also available on Microfilm : An T482 (SML) [ORBIS]

Upcoming Exhibits, Burlington Magazine, Vol. 108, No.765, December 1966, p. 643, N1 B87 + (YCBA) Available online in JSTOR [YCBA]

Malcolm Warner, Great British paintings from American collections : Holbein to Hockney, , Yale Center for British Art, New Haven, CT, 2001, pp. 171-73, no. 50, ND464 W27 2001 (YCBA) [YCBA]

Ian Warrell, J.M.W. Turner, Tate Publishing, London, 2007, pp. 17, 18, 166, fig. 33, NJ18 T85 A12 2007 + (YCBA) [YCBA]

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Andrew Wilton, The life and work of J.M.W. Turner, Academy Editions, London, 1979, pp. 157, 267, No. P137, pl. 170, NJ18 T85 +W577 OVERSIZE (YCBA) [YCBA]

K. Woodbridge, Sacred landscape: Painters and the Lake-garden of Stourhead, Apollo, v. 88, no. 79, London, England, September 1968, pp. 210-14, N1 A54 + (YCBA) [YCBA]

Yale Center for British Art, Selected paintings, drawings & books, Yale University Press, New Haven, CT, 1977, front , p. 37, N590.2 A82 (YCBA) [YCBA]


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