Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
B1976.7.162
Classification:
Paintings
Collection:
Paintings and Sculpture
Subject Terms:
clouds | livestock | salvage | genre subject | landscape | bridge (built work) | workers | construction | lumber | men | river | mountains | houses
Associated Places:
United Kingdom | Scotland | Tummel | Perthshire
Currently On View:
On view
Exhibition History:
J.M.W. Turner: Romance & Reality (Yale Center for British Art, 2025-03-29 - 2025-07-27)Turner and Constable: The Inhabited Landscape (Clark Art Institute, 2018-12-15 - 2019-03-10)Oil on Water - Oil Sketches by British Watercolorists (Yale Center for British Art, 1986-08-26 - 1986-11-09)Turner in Scotland (Aberdeen Art Gallery and Museums, 1982-10-01 - 1983-01-05)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)Painting in England 1700-1850 - From The Collection of Mr. and Mrs. Paul Mellon (Yale University Art Gallery, 1965-04-15 - 1965-06-20)
Publications:
A handbook to the gallery of British paintings in the Art Treasures Exhibition : being a reprint of critical notices originally published in The Manchester Guardian, , Bradbury and Evans, London, 1857, p. 63, N5056 M6 H3 1857 (YCBA) Available in YCBA Rare Books & ManuscriptsSir Walter Armstrong, Turner, Thos. Agnew and Sons Ltd., London, 1902, p. 233, Folio A N 11 (YCBA)Art Sales, The Times (London), London, March 2, 1880, p. 4, Times Digital ArchiveMartin Butlin, The paintings of J.M.W. Turner, The Paul Mellon Centre for Studies in British Art, New Haven, 1984, pp. 32, 125, no. 41, pl. 37, NJ18 T85 B885 1984 OVERSIZE (YCBA)Martin Butlin, The paintings of J.M.W. Turner, The Paul Mellon Centre for Studies in British Art, New Haven, 1977, p. 26, no. 44, fig. 40, NJ18 T85 B885 OVERSIZE (YCBA)Catalogue of the art treasures of the United Kingdom : collected at Manchester in 1857, Bradbury and Evans, London, 1857, p. 88, no. 245, N5056 .M35 M25 1857 (YCBA)Malcolm Cormack, Concise Catalogue of Paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 224-225, N590.2 .A83 (YCBA)Malcolm Cormack, Oil on water : oil sketches by British watercolorists, , Yale Center for British Art, New Haven, 1986, pp. 56-57, fig. 63, ND467 C67 (YCBA)Catherine M. Gordon, British paintings Hogarth to Turner, Frederick Warne, London, 1981, p. 67, ND466 .G67 (YCBA)Adele M. Holcomb, Turner and the Sublime, RACAR : Revue d'art canadienne / Canadian Art Review, vol. 8, 1981, pp. 158-159, JSTORJ.M.W. Turner : a selection of paintings from the collection of Mr. and Mrs. Paul Mellon, , National Gallery of Art, Washington, D.C., 1968, pp. 13, 19, no. 4, fig. 4, NJ18 T85 U5 (YCBA)John Cassell's Art treasures exhibition : containing engravings of the principal masterpieces of the English, Dutch, Flemish, French and German schools, with biographical sketches of the painters, and critical notices of their productions, , W. Kent and Co., London, 1858, p. 97, N5056 .M36 C3 1858 (YCBA) Available in YCBA Rare Books & ManuscriptsL'Opera Completa di Turner, Rizzoli, Milan, 1982, vol. 1, pp. 76-77, no. 44, NJ18 T85 A12 J6516 OVERSIZE (YCBA)Painting in England 1700-1850 from the Collection of Mr. and Mrs. Paul Mellon, The Royal Academy of Arts Winter Exhibition 1964-65., , Royal Academy of Arts, London, UK, 1964, p. 44 (v.1), no. 164, N5220.M45 R69 1964 (YCBA)Elizabeth A. Pergam, The Manchester Art Treasures Exhibition of 1857 : entrepreneurs, connoisseurs and the public, , Ashgate Publishing, Surrey, UK and Burlington, VT, 2011, pp. 231, 312, no. 245, N5056 M35 P47 2011 (YCBA)Graham Reynolds, Turner, Thames & Hudson, London, 2020, fig. 39, NJ18.T85 R49 2020 (YCBA)The Art Treasures Exhibition : the English school, Manchester Guardian, no. 6, Manchester : UK, May 13, 1857, ProQuest Historical Newspapers : The Guardian and The ObserverThe Companion to a Walk Through the Art Exhibition of Paintings and Engravings at Old Trafford Palace, A. Ireland and Co., Manchester : UK, 1857, p. 76, no. 245, https://babel.hathitrust.org/cgi/pt?id=gri.ark:/13960/t10p4pj8s&view=1up&seq=1The Sale Room, The Times (London), London, November 27, 1926, p. 15, Times Digital ArchiveTurner in Scotland, Aberdeen Art Gallery and Museums, Aberdeen, 1982, pp. 36-37, no. 23, NJ18 T85 I77 (YCBA)Ian Warrell, Turner, Yale Center for British Art, New Haven, 2025, pp. 48-49, pl. 13, NJ18 .T85 W37 2025 (YCBA)Andrew Wilton, Life and Work of J.M.W. Turner, Academy Editions, London, 1979, p. 256, no. 41, NJ18 T85 W577 OVERSIZE (YCBA)Andrew Wilton, The life and work of J.M.W. Turner, Academy Editions, London, 1979, p. 256, no. P41, NJ18 T85 +W577 OVERSIZE (YCBA)Andrew Wilton, Turner in His Time, , Thames and Hudson, London, 2006, pp. 51, 228, NJ18 T85 W592 2006 OVERSIZE (YCBA)Yale University Art Gallery, Painting in England, 1700-1850, from the collection of Mr. and Mrs. Paul Mellon : [exhibition at] Yale University Art Gallery, April 15-June 20, 1965, , vol. 1, W. Clowes and sons, New Haven, 1965, p. 51 (v. 1), no. 193, ND466 Y35 (YCBA)
Provenance:
Created by Joseph Mallord William Turner (1775–1851), the artist; …; acquired by Richard Nicholson (1793–1849), York [1][a]; purchased at auction by Wallis & Son [2], London, at Christie & Manson, London, July 13–14, 1849 (lot 207, ‘Dummel Bridge’), in "Very important collection of pictures of the greatest English artists" [3][b]; …; acquired by Sigismund Rucker (1810–1875), London, by 1852 [4][c]; purchased at auction by Jean Joseph Ernest Theodore Gambart (1814–1902) [5], London, at Christie & Manson, London, April 1, 1852 (lot 84, ‘Dummil bridge, Fifeshire, Painted in 1812’), in "Capital English pictures" [d][e]; ...; acquired by John Miller (1798–1876), Liverpool, by 1857 [6][f]; purchased at auction by Thos. Agnew & Sons, Manchester, at Christie, Manson & Woods, London, May 20–22, 1858 (lot 244, ‘View of the Tummel Bridge’), in "English pictures and drawings" [g]; acquired by ‘Rought,’ possibly Thomas Rought (1801–1872), London [7]; purchased by Thos. Agnew & Sons, Manchester, August 30,1858 [h]; purchased by R.P. Greg, possibly Robert Philips Greg (1826–1906), Manchester, September 8, 1858 [8][i]; purchased by Thos. Agnew & Sons, London, February 5, 1863 [j]; purchased by James Fenton (1819–1882), Gloucestershire, April 30, 1863 [k]; purchased at auction by Samson Wertheimer (1811–1892), London, at Christie, Manson & Woods, London, February 26–28, 1880 (lot 405, ‘The Tummell Bridge’), in "Extensive and Valuable Collection of Ancient and Modern Pictures of James Fenton, Esq., Removed from Norton Hall, Gloucestershire" [9][l]; …; acquired by Anna Clara Georgina Tempest-Hicks (née Hemery) (1854–1935), Hertfordshire, by 1926 [10][m]; purchased at auction by "Temple" at Christie, Manson & Woods, London, November 26, 1926 (lot 116, ‘The Tummel Bridge, Perthshire’), in "Choice drawings by J. M. W. Turner, R. A." [11][n][o]; purchased by Pawsey & Payne, Ltd., London; purchased by Thos. Agnew & Sons, London, December 2, 1926 [p]; purchased by Robert Wylie Lloyd (1868–1958), January 27, 1927 [12][q]; acquired by Oscar and Peter Johnson, Ltd., London; purchased by Paul Mellon (1907–1999), November 1963 [r]; by whom given to the Yale Center for British Art, 1976. Notes: --- [1] Richard Nicholson (1794–1849) was a director of York, Newcastle, and Berwick Railway (YNBR) and an auditor of York and North Midland Company. His sister, Elizabeth Nicholson (1795–1886) was married to George Hudson (1800–1871), the "railway king," who worked in the Nicholson family business as a draper before becoming a railway financier. In 1849, the YNBR was accused of financial mismanagement by its shareholders, leading to Hudson’s eventual resignation as chairman, and presumably also Nicholson’s alleged suicide by drowning in May of the same year. Nicholson was known for his art collection, which after his death was sold at auction by Christie, Manson & Woods on July 13 and 14, 1849. [2] William Henry Wallis (1805–1890) was an engraver and dealer who worked for Jean Joseph Ernest Theodore Gambart (1814–1902) from at least 1861, eventually taking over the lease of Gambart’s gallery at 120/121 Pall Mall in 1867. Wallis’s older brother was Robert William Wallis (1794–1878), an accomplished engraver who collaborated frequently with Turner. He retired in 1859. [3] This lot sold on the second day of the sale, July 14. [4] Sigismund Rucker (1810–1875) was a broker and arts patron from West Hill, Wandsworth in London. Provenance entries provided in publications by Martin Butlin, Evelyn Joll, and Andrew Wilton and previous YCBA information indicate that Rucker owned the painting in the period between Wertheimer and Tempest-Hick. However, Rucker was deceased by this point in time. Furthermore, the 1862 publication The Life of J.M.W. Turner by George Walter Thornbury places the painting in the possession of Rucker prior to 1852. It is currently unknown how this later ownership was established given that Rucker’s life dates and his ownership pre-1862 do not align with the possibility that he owned the painting between 1880 and 1926. [5] Jean Joseph Ernest Thoedore Gambart (1814–1902) was a prominent Belgian-English dealer active in the middle of the nineteenth century, best known as a publisher of prints. His dealership was an early model for what would become standard practice in commercial art galleries. In the same year Gambart purchased Tummel Bridge, Perthshire, he published an engraving of the painting by J. Barnard. [6] John Miller (1798–1876) was a Scottish tobacco and timber merchant in Liverpool. He was known for his affiliation with the Pre-Raphaelites and for collecting works by British landscape artists such as Turner and Constable from at least the 1840s. He had a residence in North Wales, which artist Ford Madox Brown (1821–1893) described as filled works from his collection, from which he periodically would sell over the latter course of his life. Miller lent a work titled "Highland Bridge" (no. 245) to the exhibition "Art Treasures of the United Kingdom" in Manchester in 1857, and it is possible it was this picture. [7] Thomas Rought (1801–1872) was an art dealer and antiques collector. His personal property was auctioned by Christie, Manson & Woods on July 9, 1872. Rought dealt several Turners with the prolific Birmingham collector Joseph Gillott (1799–1872). [8] Robert Philips Greg (1826–1906) was a judicial officer and scholar of astronomy and mineralogy. Greg was a key figure in the foundation of the Mineralogical Society and operated as the group’s Treasurer during its first 10 years of operation. Greg extensively collected mineralogical specimens and some antiquities. [9] Samson Wertheimer (1811–1892) was a bronze manufacturer, embosser, and picture dealer who was active in auction salerooms in London between 1860 and 1880. Wertheimer purchased this lot on the third day of the sale, February 28. [10] Anna Clara Georgina Tempest-Hicks (née Hemery) (1854–1935) was the daughter of Charles Hemery (1819–1904), a general merchant for the East India Company. Upon Hemery’s death in 1904, he bequeathed his estate to be split between Tempest-Hicks and her brother, John Vincent Hemery (1857–1944). It is possible she acquired the painting through this bequest. [11] In their provenance entry for Tummel Bridge, Perthshire, Martin Butlin and Evelyn Joll state that the painting was bought in at this sale while contemporary newspapers report ‘Temple’ as the buyer. It is possible that Temple purchased the unsold painting directly after the sale and resold it to Pawsey and Payne. [12] Robert Wylie Lloyd (1868–1958) was an entomologist, collector, and the former chairman of Christie’s auction house. He worked alongside his brother, Nathaniel Lloyd (1867–1933), at the latter’s lithographic printing business until the late 1930s. In 1939, as many of Christie’s partners joined World War II, Lloyd was appointed advisory director by managing director Sir Alec Martin (1884–1971) before later becoming chairman. Upon Lloyd’s death, he bequeathed his collection of drawings and watercolors by Turner to the British Museum. His remaining collection was auctioned by Christie’s on May 29, 1959. However, this painting does not appear in that sale.