List of paintings by J. M. W. Turner
Paintings by English artist William Turner
This is an incomplete list of the oil paintings of J. M. W. Turner (23 April 1775 – 19 December 1851),[1] a master noted for his skill in the portrayal of light, and in the painting of maritime scenes.[2]
Timeline
- 1787–1801 Student
- 1802–1818 Academician
- 1819–1835 Extensive wanderer
- 1836–1851 Modernism
Paintings by Turner
This list includes paintings attributed to Turner.
In substitute of specific knowledge on the date of a painting's creation (in cases where this is not known), the year of exhibition has been put, is it would likely correlate.
1787–1801 Student
Image | Title | Year | Location | Dimensions (cm.) | Comments |
---|---|---|---|---|---|
Landscape with Windmill and Rainbow (partly after Gainsborough) | 1795–1800 | Tate Britain, London | 70.5 x 90.2 | The Painting is attributed to Turner. It is highly likely to be a Turner work, and part of the Turner Bequest also.[3] | |
Interior of a Romanesque Church | c.1795–1800 | Tate Britain, London | 61 x 50.2 | ||
Fishermen at Sea | 1796 | Tate Britain, London | 91.4 × 122.2 | ||
Diana and Callisto (after Wilson) | 1796 | Tate Britain, London | 56.5 x 91.4 | ||
Interior of a Gothic Church | 1797 | Tate Britain, London | 27.9 × 40.6 | ||
Moonlight, a Study at Millbank | 1797 | Tate Britain, London | 31.5 × 40.5 | ||
Limekiln at Coalbrookdale | 1797 | Yale Center for British Art, Connecticut | 28.9 x 40.3 | ||
Beech Trees at Norbury Park | c. 1797 | National Gallery of Ireland, Dublin | 44 x 43.1 | Turner was invited to Norbury Park in Surrey by the owner William Lock in 1797. The painting was bequeathed to the gallery in 1900 by Henry Vaughan.[4][5] | |
Aeneas and the Sibyl, Lake Avernus | 1798 | Tate Britain, London | 76.5 × 98.4 | ||
Caernarvon Castle | 1798 | Tate Britain, London | 15.2 × 23.2 | ||
Shipping by a Breakwater | 1798 | Tate Britain, London | 30.2 x 19.4 | ||
View of a Town | 1798 | Tate Britain, London | 24.1 x 32.4 | ||
Buttermere Lake, with Part of Cromackwater, Cumberland, a Shower | 1798 | Tate Britain, London | 88.9 × 119.4 | ||
Dunstanburgh Castle, north-east coast of Northumberland, sunrise after a squally night | 1798 | National Gallery of Victoria, Melbourne | 92.2 × 123.2 | ||
Tivoli and the Roman Campagna (after Wilson) | 1798 | Tate Britain, London | 72.4 × 96.5 | ||
Morning amongst the Coniston Fells, Cumberland | 1798 | Tate Britain, London | 122.9 × 89.9 | ||
Kilgarren Castle, Pembrokeshire | 1798-1799 | Cragside, Rothbury | 89 x 19.7 | ||
Self-Portrait | 1799 | Tate Britain, London | 74.3 x 58.4 | ||
Harlech Castle, from Tygwyn Ferry, Summer's Evening Twilig | 1799 | Yale Center for British Art, Connecticut | 87 x 119.4 | ||
View in Wales: Mountain Scene with Village and Castle - Evening | 1799-1800 | Tate Britain, London | 58.1 x 72.7 | ||
A Beech Wood with Gypsies Seated in the Distance | 1799-1801 | Fitzwilliam Museum, Cambridge | 27 x 19 | ||
A Beech Wood with Gypsies round a Campfire | 1799-1801 | Fitzwilliam Museum, Cambridge | 27 x 19 | ||
View on Clapham Common | 1800-1805 | Tate Britain, London | 32.1 x 44.5 | ||
Welsh Mountain Landscape | 1799-1800 | Fitzwilliam Museum, Cambridge | 64.1 x 98.8 | ||
Dolbadarn Castle | 1799–1800 | The National Library of Wales, Aberystwyth | 45.5 x 30 | ||
Landscape with Lake and Fallen Tree | 1800 | Tate Britain, London | 39.1 × 60.6 | ||
Dolbadern Castle | 1800 | The Royal Academy, London | 119.4 x 90.2 | ||
The Fifth Plague of Egypt | 1800 | Indianapolis Museum of Art, Indianapolis | 120 × 180 | ||
Dutch Boats in a Gale | 1801 | National Gallery, London on long term loan from The Capricorn Foundation | 162.5 × 221 |
1802–1818 Academician
Image | Title | Year | Location | Dimensions (cm.) | Comments |
---|---|---|---|---|---|
Jason | 1802 | Tate Britain, London | 90.2 x 119.7 | ||
Fishermen upon a Lee Shore in Squally Weather | 1802 | Southampton Art Gallery | 91.5 x 122 | ||
The Tenth Plague of Egypt | 1802 | Tate Britain, London | 143.5 x 236.2 | ||
Grenoble Seen from the River Drac with Mont Blanc in the Distance | 1802 | Tate Britain, London | 36.2 x 64.1 | ||
Ships Bearing up for Anchorage ('The Egremont Seapiece') | 1802 | Tate Britain, London | 112 x 18 | ||
Mountain Scene with Castle, Probably Martigny | 1802-1803 | Tate Britain, London | 43.8 x 54 | ||
Tummel Bridge, Perthshire | 1802-1803 | Yale Center for British Art, Connecticut | 28.9 x 46.7 | ||
Chateaux de St Michael, Bonneville, Savoy | 1802-1803 | Yale Center for British Art, Connecticut | 91.4 x 121.9 | ||
Bonneville, Savoy | 1803 | Dallas Museum of Art, Dallas | 92.71 × 122.56 | ||
A Coast Scene with Fishermen Hauling a Boat Ashore | 1803-1804 | Kenwood House, London | 91.8 x 122.5 | ||
The Festival of the Opening of the Vintage at Mâcon, France | 1803 | Museums Sheffield | 182.5 x 274.4 | ||
Holy Family | 1803 | Tate Britain, London | 102.2 x 141.6 cm | ||
Calais Pier, with French Poissards preparing for Sea: an English Packet arriving | 1803 | National Gallery, London | 172 x 240 | ||
Fishing Boats Entering Calais Harbor | 1803 | Frick Collection, New York City | 73.7 x 98.4 | ||
The Pass of Saint Gotthard, Switzerland | 1803–1804 | Birmingham Museums Trust | 80.6 x 64.2 | ||
Narcissus and Echo | 1804 | Tate Britain, London | 86.5 x 117 | ||
Boats Carrying Out Anchors to the Dutch Men of War | c.1804 | National Gallery of Art, Washington, D.C. | 101.6 × 130.81 | ||
The Shipwreck | 1805 | Tate Britain, London | 170.5 x 241.6 | ||
Cattle in a Stream under a Bridge | 1805-1807 | Tate Britain, London | 31.4 x 39.4 | ||
Guildford from the Banks of the Wey | 1805 | Tate Britain, London | 25.4 x 19.7 | ||
Cows in a Landscape with a Footbridge | 1805-1807 | Tate Britain, London | 47.9 x 71.1 | ||
The Thames at Weybridge | 1805-1806 | Tate Britain, London | 90.5 x 121.7 | ||
The Hero of a Hundred Fights | 1800- 1810 | Tate Britain, London | 90.8 x 121.3 | Reworked and exhibited in 1847. It depicts a bronze statue of Wellington being removed from its mould. | |
Windsor Castle from the Thames | 1805 | Tate Britain, London | 91 x 122 | ||
Venus and the Dead Adonis | 1805? | Tate Britain, London | 31.8 x 45.1 | ||
The Deluge | 1805 | Tate Britain, London | 142.9 x 235.6 | ||
Windsor Castle from the Meadows | 1805 | Tate Britain, London | 22.2 x 55.6 | ||
Sunset on the River | 1805 | Tate Britain, London | 15.6 x 18.7 | ||
The Destruction of Sodom | 1805 | Tate Britain, London | 146 x 237.5 | ||
Walton Reach | 1805 | Tate Britain, London | 36.8 x 73.7 | ||
Windsor from Lower Hope | 1805 | Tate Britain, London | 32.1 x 73.7 | ||
Godalming from the South | 1805 | Tate Britain, London | 20.3 x 34.9 | ||
A Thames Backwater with Windsor Castle in the Distance | 1805 | Tate Britain, London | 86.7 x 121 | ||
Willows beside a Stream | 1805 | Tate Britain, London | 86 x 116.2 | ||
Fall of the Rhine at Schaffhausen | c.1805-06 | Museum of Fine Arts, Boston | 148.6 x 239.7 | ||
The ‘Victory’ Returning from Trafalgar, in Three Positions | 1806 | Yale Center for British Art, Connecticut | 67 x 100.3 | ||
The Goddess of Discord Choosing the Apple of Contention in the Garden of the Hesperides | 1806 | Tate Britain, London | 155.3 x 218.4 | ||
Abingdon | 1806? | Tate Britain, London | 01.6 x 130.2 | ||
Walton bridges | c.1806 | National Gallery of Victoria, Melbourne | 91.2 × 122. | ||
Sun rising through Vapour: Fishermen cleaning and selling Fish | pre 1807 | National Gallery, London | 134 x 179.5 | ||
Barge on the River, Sunset | 1806-1807 | Tate Britain, London | 85.1 x 116.2 | ||
Margate | 1806-1807 | Tate Britain, London | 85.7 x 116.2 | ||
Men with Horses Crossing a River | 1806-1807 | Tate Britain, London | 87.9 x 118.4 | ||
The Thames Glimpsed between Trees, possibly at Kew Bridge | 1806-1807 | Tate Britain, London | 91.1 x 121.6 | ||
Weir and Cattle | 1806-1807 | Tate Britain, London | 88.3 x 120 | ||
Washing Sheep | 1806-1807 | Tate Britain, London | 84.5 x 116.5 | ||
Sketch for 'Harvest Dinner, Kingston Bank' | 1806-1807 | Tate Britain, London | 61 x 91.4 | ||
Shipping at the Mouth of the Thames | 1806-1807 | Tate Britain, London | 85.7 x 116.8 | ||
Coast Scene with Fishermen and Boats | 1806-1807 | Tate Britain, London | 85.7 x 116.2 | ||
Caversham Bridge with Cattle in the Water | 1806-1807 | Tate Britain, London | 85.4 x 115.8 | ||
Goring Mill and Church | 1806-1807 | Tate Britain, London | 85.7 x 116.2 | ||
River Scene with Weir in Middle Distance | 1806-1807 | Tate Britain, London | 85.4 x 115.6 | ||
Hampton Court from the Thames | 1806-1807 | Tate Britain, London | 85.7 x 120 | ||
Trees beside the River, with Bridge in the Middle Distance | 1806-1807 | Tate Britain, London | 87.9 x 120.6 | ||
House beside the River, with Trees and Sheep | 1806-1807 | Tate Britain, London | 90.5 x 116.5 | ||
Newark Abbey | 1806-1807 | Yale Center for British Art, Connecticut | 91.4 x 123.2 | ||
Gipsy Camp | 1807 | Tate Britain, London | 121.9 x 91.4 | ||
Cassiobury Park: Reaping | 1807 | Tate Britain, London | 90.2 x 121.9 | ||
Newark Abbey | 1807 | Tate Britain, London | 29.5 x 35.2 | ||
An Artists' Colourman's Workshop | 1807 | Tate Britain, London | 62.2 x 91.4 | ||
St Catherine's Hill, Guildford | 1807 | Tate Britain, London | 36.5 x 73.7 | ||
Linlithgow Palace | 1807 | Walker Art Gallery, Liverpool | 92 x 122.5 | ||
The Thames near Windsor | 1807 | Tate Britain, London | 18.7 x 26 | ||
The Junction of the Thames and the Medway | 1807 | National Gallery of Art, Washington, D.C. | 108.8 x 143.7 | ||
A Narrow Valley | 1807 | Tate Britain, London | 20.6 x 16.5 | ||
Newark Abbey on the Wey | 1807 | Tate Britain, London | 36.8 x 73.7 | ||
Windsor Castle from Salt Hill | 1807 | Tate Britain, London | 27.6 x 73.7 | ||
On the Thames (?) | 1807 | Tate Britain, London | 29.8 x 34.9 | ||
Windsor Castle from the River | 1807 | Tate Britain, London | 20 x 36.8 | ||
The Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory | 1806-1808 | Tate Britain, London | 170.8 x 238.8 | ||
Spithead: Two Captured Danish Ships Entering Portsmouth Harbour | 1807-1809 | Tate Britain, London | 171.4 x 233.7 | ||
Eton, from the River | 1807? | Tate Britain, London | 35.6 x 66 | ||
Tree Tops and Sky, Guildford Castle(?), Evening | 1807? | Tate Britain, London | 27.6 x 73.7 | ||
Cliveden on Thames | 1807? | Tate Britain, London | 28.4 x 58.4 | ||
A Country Blacksmith Disputing upon the Price of Iron, and the Price Charged to the Butcher for Shoeing his Poney | 1807? | Tate Britain, London | 54.9 x 77.8 | ||
The Thames near Windsor | 1807? | Tate Britain, London | 89 x 119.5 | ||
The Raft | 1807 | Tate Britain, London | 41 x 59 | ||
The Thames at Eton | 1808 | Tate Britain, London | 60.5 x 90.5 | ||
Margate | 1808 | Tate Britain, London | 90 x 120.5 | ||
The Forest of Bere | 1808 | Tate Britain, London | 89 x 119.5 | ||
Tabley, Cheshire, the Seat of Sir J. F. Leicester, Bt: Windy Day | 1808 | Tabley House, Knutsford | 91.5 x W 120.6 | ||
View of Richmond Hill and Bridge | 1808 | Tate Britain, London | 91.4 x 121.9 | ||
A Subject from the Runic Superstitions ... | 1808 | Tate Britain, London | 92.1 x 121.9 | ||
Union of the Thames and Isis ('Dorchester Mead, Oxfordshire') | 1808 | Tate Britain, London | 90.8 x 121.3 | ||
The Confluence of the Thames and the Medway | 1808 | Tate Britain, London | 91 x 12 | ||
Near the Thames' Lock, Windsor | 1809 | Tate Britain, London | 89 x 118 c | ||
Harvest Home | 1809 | Tate Britain, London | 90.5 x 120.3 c | ||
The Sun Setting through Vapour | 1809 | Barber Institute, Birmingham | 69.2 x 101.6 c | ||
The Trout Stream | 1809 | Taft Museum of Art, Cincinnati | |||
Tabley, Cheshire, the Seat of Sir J. F. Leicester, Bart.: Calm Morning | 1809 | Tate Britain, London | 91 x 121.5 | ||
Ploughing Up Turnips, near Slough ('Windsor') | 1809 | Tate Britain, London | 101.9 x 130.2 | ||
Sketch of a Bank, with Gipsies | 1809 | Tate Britain, London | 61.3 x 83.8 | ||
London from Greenwich Park | 1809 | Tate Britain, London | 90.2 x 120 c | ||
Thomson's Aeolian Harp | 1809 | Manchester Art Gallery | 166.7 x 306 | ||
Fishing upon the Blythe-Sand, Tide Setting In | 1809 | Tate Britain, London | 88.9 x 119.4 | ||
View of the High Street, Oxford | 1809-1810 | Ashmolean Museum, Oxford | 68.6 x 99.7 | Commissioned by James Wyatt | |
Harvest Dinner, Kingston Bank | 1809 | Tate Britain, London | 90.2 x 121 | ||
The Quiet Ruin, Cattle in Water; A Sketch, Evening | 1809 | Tate Britain, London | 61.2 x 76.5 | ||
The Garreteer's Petition | 1809 | Tate Britain, London | 55.2 x 79.1 | ||
River Scene with Cattle | 1810 | Tate Britain, London | 128.3 x 174 | ||
The Fall of an Avalanche in the Grisons | 1810 | Tate Britain, London | H 90.2 x 120 | ||
Petworth, Sussex, the Seat of the Earl of Egremont: Dewy Morning | 1810 | Tate Britain, London | 91.5 x 120.5 | ||
Cockermouth Castle | 1810 | Tate Britain, London | 60.5 x 90 c | ||
Apollo and Python | 1811 | Tate Britain, London | 145.4 x 237.5 | ||
Somer Hill, Tonbridge | 1811 | National Galleries of Scotland | 92 x 122 c | ||
St Mawes at the Pilchard Season | 1812 | Tate Britain, London | 91.1 x 120.6 | ||
Snow Storm: Hannibal and his Army Crossing the Alps | 1812 | Tate Britain, London | 146 × 237.5 | ||
Hulks on the Tamar | 1812 | Tate Britain, London | 89.2 x 120.2 | ||
Teignmouth | 1812 | Tate Britain, London | 90 x 120.5 | ||
Frosty Morning | 1813 | Tate Britain, London | 113.7 x 174.6 | ||
Apullia in Search of Appullus | 1814 | Tate Britain, London | 148.5 x 241 | ||
Dido and Aeneas | 1814 | Tate Britain, London | 146 x 237. | ||
Lake Avernus: Aeneas and the Cumaean Sibyl | 1814- 15 | Yale Center for British Art, Connecticut | 71.8 x 97.2 | ||
Crossing the Brook | 1815 | Tate Britain, London | 193 x 165.1 | ||
Dido building Carthage, or The Rise of the Carthaginian Empire | 1815 | National Gallery, London | 155.5 x 230 | ||
The Eruption of the Soufrière Mountains in the Island of St Vincent, 30 April 1812 | 1815 | Victoria Gallery, Liverpool | 79 x 105 | ||
The Decline of the Carthaginian Empire ... | 1817 | Tate Britain, London | 170.2 x 238.8 | ||
The Field of Waterloo | 1818 | Tate Britain, London | 147.3 x 238.8 | ||
The Dort | 1818 | Yale Center for British Art, Connecticut | 157.5 x 233.7 |
1819–1835 Extensive wanderer
Image | Title | Year | Location | Dimensions (cm.) | Comments |
---|---|---|---|---|---|
Richmond Hill with Girls Carrying Corn | 1819 | Tate Britain, London | 48 x 239.3 | ||
Entrance of the Meuse: Orange-Merchant on the Bar, Going to Pieces; Brill Church bearing S. E. by S., Masensluys E. by S. | 1819 | Tate Britain, London | 175.3 x 246.4 | ||
England: Richmond Hill, on the Prince Regent's Birthday | 1819 | Tate Britain, London | 180 x 334.6 | ||
The Rialto, Venice | 1820 | Tate Britain, London | 177.5 x 335.3 | ||
Tynemouth Priory | 1820-1825 | Tate Britain, London | 31.8 x 61 | ||
Rome from the Vatican | 1820 | Tate Britain, London | 177.2 x 335.3 | ||
George IV at St Giles's, Edinburgh | 1822 | Tate Britain, London | 74.6 x 91.8 | ||
George IV at the Provost's Banquet in the Parliament House, Edinburgh | 1822 | Tate Britain, London | 68.6 x 91.8 | ||
George IV's Departure from the 'Royal George', 1822 | 1822 | Tate Britain, London | 75.2 x 92.1 | ||
An Avenue of Trees | 1822 | Tate Britain, London | 49.5 x 53.7 | ||
The Battle of Trafalgar, 21 October 1805 | 1822-1824 | The National Maritime Museum, London | 261.5 x 368.5 | ||
The Bay of Baiae, with Apollo and the Sibyl | 1823 | Tate Britain, London | 145.4 x 237.5 | ||
First Sketch for 'The Battle of Trafalgar' | 1823 | Tate Britain, London | 90.2 x 121.3 | ||
Second Sketch for 'The Battle of Trafalgar' | 1823 | Tate Britain, London | 90.2 x 121.3 | ||
Landscape: Christ and the Woman of Samaria | 1825 | Tate Britain, London | 147.3 x 238.8 | ||
The Cobbler's Home | 1825 | Tate Britain, London | 59.7 x 80 | ||
Valley with a Distant Bridge and Tower | 1825 | Tate Britain, London | 91.1 x 122.2 | ||
Lake or River with Trees on the Right | 1825-1830 | Tate Britain, London | 41.3 x 59.7 | ||
Death on a Pale Horse (?) | 1825-1830 | Tate Britain, London | 59.7 x 75.6 | ||
Shipping | 1825-1830 | Tate Britain, London | 67.9 x 91.8 | ||
Rocky Coast | 1825-1830 | Tate Britain, London | 50.2 x 65.7 | ||
Seascape with a Sailing Boat and a Ship | 1825-1830 | Tate Britain, London | 46.7 x 61 | ||
A Sandy Beach | 1825-1830 | Tate Britain, London | 60 x 91.4 | ||
Italian Landscape with a Tower | 1825-1830 | Tate Britain, London | 58.4 x 76.2 | ||
Seascape with a Yacht (?) | 1825-1830 | Tate Britain, London | 50.2 x 66 | ||
Two Compositions: A Claudian Seaport and an Open Landscape | 1825-1830 | Tate Britain, London | 33.7 x 60.3 | ||
Forum Romanum, for Mr Soane's Museum | 1826 | Tate Britain, London | 145.7 x 236.3 | ||
Harbor of Dieppe: Changement de Domicile | 1826 | Frick Collection, New York City | 173.7 x 225.4 | ||
Cologne, the Arrival of a Packet-Boat: Evening | 1826 | Frick Collection, New York City | 168.6 x 224.2 | ||
Mortlake Terrace: Early Summer Morning | 1826 | Frick Collection, New York City | 93 x 123.2 | ||
View from the Terrace of a Villa at Niton, Isle of Wight, from Sketches by a Lady | 1826 | Museum of Fine Arts, Boston | 45.7 x 61 | ||
Port Ruysdael | 1826-27 | Yale Center for British Art, Connecticut | 92.1 x 122.6 | ||
The Harbour of Brest: The Quayside and Château | 1826-1828 | Tate Britain, London | 172.7 x 223.5 | ||
Dieppe: The Port from the Quai Henri IV | 1827-28 | Tate Britain, London | 60.3 x 89.2 | ||
Between Decks | 1827 | Tate Britain, London | 30.5 x 48.6 | ||
Sketch for 'East Cowes Castle, the Regatta Beating to Windward' No. 1 | 1827 | Tate Britain, London | 29.8 x 48.9 | ||
Sketch for 'East Cowes Castle, the Regatta Beating to Windward' No. 2 | 1827 | Tate Britain, London | 45.7 x 61 | ||
Sketch for 'East Cowes Castle, the Regatta Beating to Windward' No 3 | 1827 | Tate Britain, London | 46.4 x 72.4 | ||
A Sail Boat at Rouen | 1827-28 | Tate Britain, London | 60.3 x 90.8 | ||
Brighton Beach, with the Chain Pier in the Distance, from the West | 1827 | Tate Britain, London | 90.2 x 121.9 | ||
'Now for the Painter' (Rope) – Passengers Going on Board | 1827 | Manchester Art Gallery, Manchester | 174.3 x 223.5 | ||
Sketch for 'East Cowes Castle, the Regatta Starting for Their Moorings' No. 1 | 1827 | Tate Britain, London | 46.4 x 61.6 | ||
Sketch for 'East Cowes Castle, the Regatta Starting for Their Moorings' No. 2 | 1827 | Tate Britain, London | 44.5 x 73.7 | ||
Sketch for 'East Cowes Castle, the Regatta Starting for Their Moorings' No. 3 | 1827 | Tate Britain, London | 45.1 x 61 | ||
Shipping off East Cowes Headland | 1827 | Tate Britain, London | 46 x 60.3 | ||
Study of Sea and Sky, Isle of Wight | 1827 | Tate Britain, London | 32.1 x 50.2 | ||
East Cowes Castle | 1827-28 | Victoria and Albert Museum, London | 91.4 x 123.2 | ||
Rouen: A View from the Left Bank in the Faubourg St-Sever | 1827-28 | Tate Britain, London | 60.3 x 98.7 | ||
Three Seascapes | 1827 | Tate Britain, London | 90.8 x 60.3 | ||
Mortlake Terrace | 1827 | National Gallery of Art, Washington, D.C. | 92.1 x 122.2 | ||
Rocky Bay | 1827-28 | Tate Britain, London | 60.3 x 92.1 | ||
Rouen: The Left Bank, with Shipping Beyond | 1827-28 | Tate Britain, London | 60 x 84.8 | ||
Italian Bay | 1827-28 | Tate Britain, London | 60.3 x 102.2 | ||
Landscape with Tower, Trees and Figures; possibly Arcueil near Paris | 1827-28 | Tate Britain, London | 60 x 88.6 | ||
Classical Harbour Scene; possibly based on Le Havre | 1827-28 | Tate Britain, London | 60.3 x 101.9 | ||
Tivoli, the Cascatelle | 1827-28 | Tate Britain, London | 60.7 x 77.7 | ||
The Lake, Petworth, Sunset; Sample Study | 1827-28 | Tate Britain, London | 63.5 x 139.7 | ||
Italian Landscape with Bridge and Tower | 1827-28 | Tate Britain, London | 60.3 x 98.1 | ||
The Lake, Petworth, Sunrise | 1827-28 | Tate Britain, London | 64.8 x 125.7 | ||
Rocky Bay with Figures | 1827-28 | Tate Britain, London | 90.2 x 123.2 | ||
Archway with Trees by the Sea; Sketch for 'The Parting of Hero and Leander' | 1827-28 | Tate Britain, London | 59.4 x 87 | ||
Lake Nemi | 1827-28 | Tate Britain, London | 60.3 x 99.7 | ||
Claudian Harbour Scene: Study for 'Dido Directing the Equipment of the Fleet' | 1827-28 | Tate Britain, London | 60 x 93.7 | ||
Overlooking the Coast, with Classical Building | 1827-28 | Tate Britain, London | 60.3 x 84.5 | ||
A Ship Aground, Yarmouth; Sample Study | 1827-28 | Tate Britain, London | 69.8 x 135.9 | ||
Claudian Composition, possibly Arcueil at Dawn (formerly titled 'Ariccia (?): Sunset') | 1827-28 | Tate Britain, London | 60.6 x 79.4 | ||
Sketch for 'Ulysses Deriding Polyphemus' | 1827-28 | Tate Britain, London | 60 x 89.2 | ||
The Chain Pier, Brighton | 1828 | Tate Britain, London | 71.1 x 136.5 | ||
Petworth Park: Tillington Church in the Distance | 1828 | Tate Britain, London | 60 x 145.7 | ||
Chichester Canal | 1828 | Tate Britain, London | 65.4 x 134.6 | ||
The Rest on the Flight into Egypt | 1828 | Tate Britain, London | 150.5 x 111.8 | ||
The Procuress; (?) Judith with the Head of Holofernes | 1828 | Tate Britain, London | 124.1 x 91.4 | ||
Coast Scene near Naples | 1828 | Tate Britain, London | 41 x 59.7 | ||
Hilly Landscape with Tower | 1828 | Tate Britain, London | 42.2 x 52.4 | ||
Reclining Venus | 1828 | Tate Britain, London | 75.3 x 248.9 | ||
Seacoast with Ruin, probably the Bay of Baiae | 1828 | Tate Britain, London | 41.3 x 60.3 | ||
Regulus | 1828 | Tate Britain, London | 89.5 x 123.8 | ||
Palestrina - Composition | 1828 | Tate Britain, London | 140.3 x 248.9 | Exhibited in 1830. Set to hang beside a landscape by Claude Lorrain in Egremont's his collection. | |
Boccaccio Relating the Tale of the Bird-Cage | 1828 | Tate Britain, London | 121.9 x 89.9 | ||
Hill Town on the Edge of the Campagna | 1828 | Tate Britain, London | 41 x 59.4 | ||
A Seashore | 1828 | Tate Britain, London | 41.6 x 52.1 | ||
Seascape with Burning Hulk | 1828 | Tate Britain, London | 24.1 x 41.6 | ||
Vision of Medea | 1828 | Tate Britain, London | 173.7 x 248.9 | ||
Seascape | 1828 | Tate Britain, London | 41.9 x 52.1 | ||
Landscape with a Tree on the Right | 1828 | Tate Britain, London | 27.9 x 41.6 | ||
Outline of a Venus Pudica | 1828 | Tate Britain, London | 135.6 x 98.1 | ||
Italian Landscape, probably Civita di Bagnoregio | 1828 | Tate Britain, London | 149.9 x 249.6 | ||
Landscape with Trees and a Castle | 1828 | Tate Britain, London | 41.6 x 60 | ||
Southern Landscape with an Aqueduct and Waterfall | 1828 | Tate Britain, London | 50.2 x 249.2 | ||
Southern Landscape | 1828 | Tate Britain, London | 176.5 x 251.8 | ||
View of Orvieto | 1828 | Tate Britain, London | 91.4 x 123.2 | Painted in Rome | |
Mountainous Landscape | 1828 | Tate Britain, London | 41.3 x 59.7 | ||
Two Recumbent Nude Figures | 1828 | Tate Britain, London | 174.6 x 249.2 | ||
Chichester Canal | 1829 | Tate Britain, London | 63.5 x 132 | ||
The Lake, Petworth: Sunset, a Stag Drinking | 1829 | Tate Britain, London | 63.5 x 132 | ||
The Lake, Petworth: Sunset, Fighting Bucks | 1829 | Tate Britain, London | 62 x 146 | ||
Brighton from the Sea | 1829 | Tate Britain, London | 63.5 x 132 | ||
The Loretto Necklace | 1829 | Tate Britain, London | 130.8 x 174.9 | ||
Ulysses deriding Polyphemus- Homer's Odyssey | 1829 | National Gallery, London | 132.5 x 203 | ||
Pilate Washing his Hands | 1830 | Tate Britain, London | 91.4 x 121.9 | ||
A Lady in a Van Dyck Costume | 1830-1835 | Tate Britain, London | 121.3 x 91.1 | ||
Dinner in a Great Room with Figures in Costume | 1830-1835 | Tate Britain, London | 90.8 x 121.9 | ||
The Evening Star | 1830 | National Gallery, London | 91.1 x 122.6 | ||
Funeral of Sir Thomas Lawrence | 1830 | The Tate, London | |||
Scene in a Church or Vaulted Hall | 1830 | The Tate, London | 74.9 x 99.1 | ||
Sunset | 1830-1835 | The Tate, London | 66.7 x 81.9 | ||
The Thames above Waterloo Bridge | 1830-1835 | The Tate, London | 90.5 x 121 | ||
Figures in a Building | 1830-1835 | The Tate, London | 91.4 x 121.9 | ||
Interior of a Great House: The Drawing Room, East Cowes Castle | 1830 | The Tate, London | 90.8 x 121.9 | ||
The Vision of Jacob's Ladder (?) | 1830 | The Tate, London | 123.2 x 188 | ||
Two Women with a Letter | 1830 | The Tate, London | 121.9 x 91.4 | ||
Jessica | 1830 | The Tate, London | 122 x 91.5 | ||
Calais Sands at Low Water: Poissards Collecting Bait | 1830 | Bury Art Museum | 68.5 x 105.5 | ||
Lifeboat and Manby Apparatus Going off to a Stranded Vessel Making the Signal (Blue Lights) of Distress | 1831 | Victoria & Albert Museum, London | 91.4 x 122 | ||
Extensive Landscape with River or Estuary and a Distant Mountain | 1830-1840 | The Tate, London | 141 x 251.5 | ||
Staffa, Fingal's Cave | 1831-32 | Yale Center for British Art, Connecticut | 90.8 x 121.3 | ||
Lucy, Countess of Carlisle, and Dorothy Percy's Visit to their Father Lord Percy, when under Attainder ... | 1831 | The Tate, London | 40 x 69.2 | ||
Watteau Study by Fresnoy's Rules | 1831 | The Tate, London | 40 x 69.2 | ||
Caligula's Palace and Bridge | 1831 | The Tate, London | 137.2 x 246.4 | The work was exhibited in Melbourne Australia by December 1882, but unable to be sold at £4000.[7] It was then being listed for sale in September 1884 from Gladstone Eyre's Sydney studio.[8] | |
Van Tromp's Barge Entering the Texel, 1645 | 1831 | Sir John Soane's Museum, London | 90.2 x 121.9 | ||
Christ Driving the Traders from the Temple | 1832 | The Tate, London | 92.1 x 70.5 | ||
Shrimpers: Lyme Regis | 1832 | Nunnington Hall | 21.5 x 29 | ||
The Prince of Orange, William III, Embarked from Holland, and Landed at Torbay, November 4th, 1688, after a Stormy Passage | 1832 | The Tate, London | 90.2 x 120 | ||
Shadrach, Meshach and Abednego in the Burning Fiery Furnace | 1832 | The Tate, London | 91.8 x 70.8 | ||
Childe Harold's Pilgrimage - Italy | 1832 | The Tate, London | 142.2 x 248.3 | ||
Van Tromp Returning after the Battle off the Dogger Bank | 1833 | The Tate, London | 90.5 x 120.6 | ||
Rotterdam Ferry-Boat | 1833 | National Gallery of Art, Washington, D.C. | 92.3 x 122.5 | ||
Antwerp: Van Goyen Looking Out for a Subject | 1833 | Frick Collection, New York City | 91.8 x 122.9 | ||
Wreckers – Coast of Northumberland, with a Steamboat Assisting a Ship off Shore | 1833-34 | Yale Center for British Art, Connecticut | 90.5 x 120.8 | ||
Bridge of Sighs, Ducal Palace and Custom-House, Venice: Canaletti Painting | 1833 | Tate Britain, London | 51.1 x 81.6 | ||
Venice: The Dogana and San Giorgio Maggiore, 1834 | 1834 | National Gallery of Art, Washington, D.C. | 91.5 x 122 | ||
The Fountain of Indolence | 1834 | Beaverbrook Art Gallery, Fredericton | 106.5 × 166.4 | ||
The Golden Bough | 1834 | Tate Britain, London | 104.1 x 163.8 | ||
St Michael's Mount, Cornwall | 1834 | Victoria and Albert Museum, London | 61 x 77.4 | ||
The Burning of the Houses of Lords and Commons, 16th October, 1834 | 1834-1835 | Philadelphia Museum of Art, Philadelphia | 92 x 123.1 | ||
The Burning of the Houses of Lords and Commons, 16th October, 1834 | 1834-1835 | Cleveland Museum of Art, Cleveland | 92 x 123 | ||
The Long Cellar at Petworth | 1835 | Tate Britain, London | 74.9 x 91.4 | ||
The Arch of Constantine, Rome | 1835 | Tate Britain, London | 91.4 x 121.9 | ||
Rome, From Mount Aventine | 1835 | Private Collection | 92 × 125 | ||
Keelmen Heaving in Coals by Moonlight | 1835 | National Gallery of Art, Washington, D.C. | 92.3 x 122.8 | ||
A Sailing Boat off Deal | 1835 | National Museum Wales, Cardiff | 22.6 x 30.3 | ||
Line Fishing, off Hastings | 1835 | Victoria and Albert Museum, London | 58.4 x 76.2 | ||
The Cave of Despair | 1835 | Tate Britain, London | 50.8 x 81.3 | ||
Music Party, East Cowes Castle | 1835 | Tate Britain, London | 121.3 x 90.5 | ||
Tivoli: Tobias and the Angel | 1835 | Tate Britain, London | 90.5 x 121 | ||
A Disaster at Sea | 1835 | Tate Britain, London | 171.4 x 220.3 | ||
Venice, from the Porch of Madonna della Salute | c. 1835 | Metropolitan Museum of Art, New York City | 91.4 × 122.2 | ||
Venice, the Piazzetta with the Ceremony of the Doge Marrying the Sea | 1835 | Tate Britain, London | 91.4 x 121.9 | ||
Stormy Sea with Blazing Wreck | 1835-1840 | Tate Britain, London | 99.4 x 141.6 | ||
Stormy Sea with Dolphins | 1835-1840 | Tate Britain, London | 90.2 x 121.3 | ||
Margate Harbour | 1835-1845 | Sudley House, Liverpool | 45.9 x 61.1 | ||
The Morning after the Wreck | 1835-1845 | National Museum Wales, Cardiff | 38.7 x 61.8 | ||
Breakers on a Flat Beach | 1835–1840 | Tate Britain, London | 90.2 x 121 | ||
Seascape | 1835–1840 | Tate Britain, London | 90.2 x 121 | ||
The Beacon Light | 1835-1845 | National Museum Wales, Cardiff | 61.5 x 96 | ||
Head of a Person Asleep | 1835 | Tate Britain, London | 24.4 x 30.2 |
1836–1851 Modernism
Image | Title | Year | Location | Dimensions (cm.) | Comments |
---|---|---|---|---|---|
Margate (?), from the Sea | 1835-1840 | National Gallery, London | 91.2 x 122.2 | ||
Valley of Aosta: Snowstorm, Avalanche, and Thunderstorm | 1836-37 | Art Institute of Chicago, Chicago | 92.2 × 123 | ||
The Parting of Hero and Leander - from the Greek of Musaeus | pre1837 | National Gallery, London | 146 x 236 | ||
The Death of Actaeon, with a Distant View of Montjovet, Val d'Aosta | 1837 | Tate Britain, London | 149.2 x 111.1 | ||
Story of Apollo and Daphne | 1837 | Tate Britain, London | 109.9 x 198.8 | ||
The Grand Canal: Scene - a Street in Venice | c.1837 | Huntington Library, San Marino, California | 150.5 x 112.4 | ||
Fishing Boats with Hucksters Bargaining for Fish | 1837-38 | Art Institute of Chicago, Chicago | 174.5 × 224.9 | ||
Steamer and Lightship; a study for 'The Fighting Temeraire' | 1838-39 | Tate Britain, London | 91.4 x 119.7 | ||
Modern Italy: The Pifferari | 1838 | Kelvingrove Art Gallery and Museum, Glasgow | 92.6 x 123.2 | ||
Phryne Going to the Public Baths as Venus: Demosthenes Taunted by Aeschines | 1838 | Tate Britain, London | 193 x 165.1 | ||
The Fighting Temeraire | 1839 | National Gallery, London | 90.7 x 121.6 | ||
Ancient Rome; Agrippina Landing with the Ashes of Germanicus | 1839 | Tate Britain, London | 91.4 x 121.9 | ||
Modern Rome – Campo Vaccino | 1839 | J. Paul Getty Museum, Los Angeles | 90.2 × 122 | ||
Margate Jetty | 1840 | National Museum Wales, Cardiff | 47 x 37 | ||
Waves Breaking against the Wind | 1840 | Tate Britain, London | 60.4 x 95 | ||
Waves Breaking on a Lee Shore at Margate (Study for 'Rockets and Blue Lights') | 1840 | Tate Britain, London | 59.7 x 95.2 | ||
The Slave Ship | 1840 | Museum of Fine Arts, Boston | 91 × 123 | ||
Seascape with Distant Coast | 1840 | Tate Britain, London | 91.4 x 121.9 | ||
Seascape with Buoy | 1840 | Tate Britain, London | 91.4 x 121.9 | ||
Bacchus and Ariadne | 1840 | Tate Britain, London | 78.7 x 78.7 | ||
The New Moon; or, 'I've lost My Boat, You shan't have Your Hoop' | 1840 | Tate Britain, London | 5.4 x 81.3 | ||
Neapolitan Fisher-girls Surprised Bathing by Moonlight | c.1840 | Huntington Library, San Marino, California | 65.7 x 81 | ||
Venice, from the Giudecca | 1840 | Victoria & Albert Museum, London | 61 x 91.4 | ||
Venice, the Bridge of Sighs | 1840 | Tate Britain, London | |||
Seascape with Storm Coming On | 1840 | Tate Britain, London | |||
Sun Setting over a Lake | 1840 | Tate Britain, London | |||
Giudecca, La Donna della Salute and San Giorgio | 1841 | Private Collection | 61 x 91.5 | ||
Schloss Rosenau, Bavaria, Seat of HRH Prince Albert of Coburg | 1841 | Sudley House, Liverpool | |||
Dawn of Christianity (Flight into Egypt) | 1841 | Ulster Museum, Belfast | 79 x 79 | ||
Peace - Burial at Sea | 1842 | Tate Britain, London | 87 x 86.7 | ||
The Dogano, San Giorgio, Citella, from the Steps of the Europa | 1842 | Tate Britain, London | 61.6 x 92.7 | ||
War. The Exile and the Rock Limpet | 1842 | Tate Britain, London | 79.4 x 79.4 | ||
Snow Storm: Steam-Boat off a Harbour's Mouth | 1842 | Tate Britain, London | 91.4 x 121.9 | ||
The Opening of the Wallhalla, 1842 | 1843 | Tate Britain, London | 112.7 x 200.7 | ||
Shade and Darkness - the Evening of the Deluge | 1843 | Tate Britain, London | 78.7 x 78.1 | ||
St Benedetto, Looking towards Fusina | 1843 | Tate Britain, London | 62.2 x 92.7 | ||
The Sun of Venice Going to Sea | 1843 | Tate Britain, London | 61.6 x 92.1 | ||
Light and Colour (Goethe's Theory) – The Morning after the Deluge – Moses Writing the Book of Genesis | 1843 | Tate Britain, London | 78.7 x W 78.7 | ||
The Evening of the Deluge | c. 1843 | National Gallery of Art, Washington, D.C. | 76 x 76 | ||
Lake Lucerne: the Bay of Uri from above Brunnen | 1844 | Tate Britain, London | 72.7 x 98.3 | ||
Heidelberg | 1844-5 | Tate Britain, London | 132.1 x 201.9 | ||
Sunset From the Top of the Rigi | 1844 | Tate Britain, London | 71.1 x 96.5 | ||
Off the Nore | 1840-1845 | Yale Center for British Art, Connecticut | 30.5 x 45.7 | ||
A River Seen from a Hill | 1840-1845 | Tate Britain, London | 78.7 x 79.4 | ||
Landscape with Water | 1840-1845 | Tate Britain, London | 121.9 x 182.2 | ||
The Arrival of Louis-Philippe at Portsmouth, 8 October 1844 | 1844-45 | Tate Britain, London | 90.8 x 121.3 | ||
The Disembarkation of Louis-Philippe at Portsmouth, 8 October 1844 | 1844-45 | Tate Britain, London | 90.2 x 120.6 | ||
Rough Sea with Wreckage | 1840-1845 | Tate Britain, London | 92.1 x 122.6 | ||
Yacht Approaching the Coast | 1840-1845 | Tate Britain, London | 102.2 x 142.2 | ||
Venetian Scene | 1840-1845 | Tate Britain, London | 79.4 x 78.7 | ||
Sunrise, with a Boat between Headlands | 1840-1845 | Tate Britain, London | 91.4 x 121.9 | ||
Landscape | 1840-1845 | Walker Art Gallery, Liverpool | 92 x 122. | ||
The Ponte Delle Torri, Spoleto | 1840-1845 | Tate Britain, London | 91.4 x 121.9 | ||
Venice with the Salute | 1840-1845 | Tate Britain, London | 62.2 x 92.7 | ||
A Wreck, with Fishing Boats | 1840-1845 | Tate Britain, London | 91.4 x 122.2 | ||
Sunrise, a Castle on a Bay: 'Solitude' | 1840-1845 | Tate Britain, London | 90.8 x 121.9 | ||
The Storm | 1840-1845 | National Museum Wales, Cardiff | 54.6 x 77 | ||
The Morning after the Storm | 1840-1845 | National Museum Wales, Cardiff | 32.6 x 54.4 | ||
Scene in Venice | 1840-1845 | Tate Britain, London | 62.2 x 92.7 | ||
Rough Sea | 1840-1845 | Tate Britain, London | 91.4 x 121.9 | ||
Stormy Sea Breaking on a Shore | 1840-1845 | Yale Centre for British Art, Connecticut | 44.5 x 63.5 | ||
Venice Quay, Ducal Palace | 1844 | Tate Britain, London | 62.2 x 92.7 | ||
Approach to Venice | 1844 | National Gallery of Art, Washington, D.C. | 62 x 94 | ||
Rain, Steam and Speed – The Great Western Railway | 1844 | The National Gallery, London | 91 x 121.8 | ||
Venice - Maria della Salute | 1844 | Tate Britain, London | 61.3 x 92.1 | ||
Fishing Boats Bringing a Disabled Ship into Port Ruysdael | 1844 | Tate Britain, London | 91.4 x 123.2 | ||
Whalers | 1845 | Tate Britain, London | 91.1 x 121.9 | ||
Venice - Sunset, a Fisher | 1845 | Tate Britain, London | 61.3 x 92.1 | ||
Venice - Noon | 1845 | Tate Britain, London | 61 x W 91.8 | ||
Venetian Festival | 1845 | Tate Britain, London | 72.4 x 113.3 | ||
Inverary Pier, Loch Fyne: Morning | 1845 | Yale Center for British Art, Connecticut | 91.4 x 121.9 | ||
The Falls of the Clyde | 1845 | Lady Lever Art Gallery, Wirral | 89 x 119.5 | ||
Falls of Schaffhausen (Val d’Aosta) | 1845 | National Gallery of Victoria, Melbourne | 91.5 × 122.0 | ||
Sunrise with Sea Monsters | 1845 | Tate Britain, London | 91.4 x 121.9 | ||
Riva degli Schiavone, Venice: Water Fête | 1845 | Tate Britain, London | 72.4 x 113 | ||
Norham Castle, Sunrise | 1845 | Tate Britain, London | 90.8 x 121.9 | ||
Whalers | c. 1845 | Metropolitan Museum of Art, New York City | 91.8 × 122.6 | ||
'Hurrah! for the Whaler Erebus! Another Fish!' | 1846 | Tate Britain, London | 90.2 x 120.6 | ||
Going to the Ball (San Martino) | 1846 | Tate Britain, London | 61.6 x 92.4 | ||
Queen Mab's Cave | 1846 | Tate Britain, London | 92.1 x 122.6 | ||
The Angel Standing in the Sun | 1846 | Tate Britain, London | 78.7 x 78.7 | ||
Undine Giving the Ring to Massaniello, Fisherman of Naples | 1846 | Tate Britain, London | 79.1 x 79.1 | ||
Returning from the Ball (St Martha) | 1846 | Tate Britain, London | 61.6 x 92.4 | ||
Whalers (Boiling Blubber) Entangled in Flaw Ice, Endeavouring to Extricate Themselves | 1846 | Tate Britain, London | 89.9 x 120 | ||
The Wreck Buoy | 1849 | Sudley House, Liverpool | 92.7 x 123.2 | ||
Mercury Sent to Admonish Aeneas | 1850 | Tate Britain, London | 90.2 x 120.6 | ||
The Visit to the Tomb | 1850 | Tate Britain, London | 91.4 x 121.9 | ||
The Departure of the Fleet | 1850 | Tate Britain, London | 89.9 x 120.3 |
References
- ^ "J.M.W. Turner | Biography, Paintings, & Facts". Encyclopedia Britannica. Archived from the original on 30 January 2010. Retrieved 17 January 2021.
- ^ "Joseph Mallord William Turner (1775 - 1851) | National Gallery, London". www.nationalgallery.org.uk. Archived from the original on 19 January 2021. Retrieved 17 January 2021.
- ^ "The Tate". Tate Gallery. Archived from the original on 5 December 2020.
- ^ "Beech Trees at Norbury Park, Leatherhead, Surrey". National Gallery of Ireland. Archived from the original on 25 April 2021. Retrieved 25 April 2021.
- ^ Dunne, Aidan (28 December 2019). "Art in Focus – Beech Trees at Norbury Park by JMW Turner (1775-1851)". The Irish Times. Dublin. Archived from the original on 31 March 2021. Retrieved 25 April 2021.
- ^ a b c d "Art UK | Discover Artworks". artuk.org. Archived from the original on 27 January 2021. Retrieved 18 January 2021.
- ^ "Colonial news". The Tasmanian. Vol. XI, no. 49. Tasmania, Australia. 9 December 1882. p. 1362. Retrieved 2 October 2021 – via National Library of Australia.
- ^ "Advertising". The Sydney Morning Herald. No. 14, 487. New South Wales, Australia. 1 September 1884. p. 2. Retrieved 2 October 2021 – via National Library of Australia.
- v
- t
- e
- Interior of a Romanesque Church (c. 1795–1800)
- Landscape with Windmill and Rainbow (c. 1795–1800)
- Diana and Callisto (c. 1796)
- Fishermen at Sea (1796)
- Interior of a Gothic Church (c. 1797)
- Limekiln at Coalbrookdale (c. 1797)
- Moonlight, a Study at Millbank (1797)
- Aeneas and the Sibyl, Lake Avernus (c. 1798)
- Buttermere Lake, with Part of Cromackwater, Cumberland, a Shower (1798)
- Caernarvon Castle (c. 1798)
- Morning amongst the Coniston Fells, Cumberland (1798)
- Shipping by a Breakwater (1798)
- Tivoli and the Roman Campagna (c. 1798)
- View of a Town (c. 1798)
- Dolbadarn Castle (1798–1799)
- Self-Portrait (c. 1799)
- View in Wales: Mountain Scene with Village and Castle – Evening (c. 1799–1800)
- Welsh Mountain Landscape (c. 1799–1800)
- A Beech Wood with Gypsies round a Campfire (c. 1800)
- A Beech Wood with Gypsies Seated in the Distance (c. 1800)
- Landscape with Lake and Fallen Tree (c. 1800)
- View on Clapham Common (c. 1800–1805)
- The Shipwreck (1805)
- London from Greenwich Park (1809)
- The Fifth Plague of Egypt (1810)
- High Street, Oxford (1810)
- Snow Storm: Hannibal and his Army
Crossing the Alps (1812) - Dido building Carthage, or,
The Rise of the Carthaginian Empire (1815) - Dort or Dordrecht:
The Dort packet-boat from Rotterdam becalmed (1818) - The Field of Waterloo (1818)
- England: Richmond Hill, on the Prince Regent's Birthday (1819)
- Rome, from the Vatican (1820)
- The Battle of Trafalgar (1822)
- Port Ruysdael (1826)
- Chichester Canal (1828)
- Ulysses Deriding Polyphemus (1829)
- Funeral of Sir Thomas Lawrence (1830)
- Childe Harold's Pilgrimage - Italy (1832)
- The Fountain of Indolence (1834)
- The Golden Bough (1834)
- The Burning of the Houses of Lords and Commons, 16th October, 1834 (1835)
- Rome, From Mount Aventine (1835)
- Venice, from the Porch of Madonna della Salute (c. 1835)
- The Fighting Temeraire Tugged to Her Last Berth
to Be Broken up (1838) - Modern Rome – Campo Vaccino (1839)
- Slave Ship
(Slavers Throwing Overboard the Dead and Dying, (1840)Typhoon Coming On) - Snow Storm: Steam-Boat off a Harbour's Mouth (1842)
- The Blue Rigi (1842)
- The Red Rigi (1842)
- Peace – Burial at Sea (1842)
- War. The Exile and the Rock Limpet (1842)
- Light and Colour (Goethe's Theory) –
The Morning after the Deluge – (1843)Moses Writing the Book of Genesis - Rain, Steam and Speed – The Great Western Railway (1844)
- Sunrise with Sea Monsters (1845)
- Norham Castle, Sunrise (c. 1845)
- Whalers (c. 1845)
- The Beacon Light (unknown)
- Liber Studiorum (1807–1819)
- The Painter (2011 play)
- Mr. Turner (2014 film)
- Thomas Price Turner
- Turner Prize
- Turner Contemporary
- Category