Latest news with #JMWTurner
Daily Mail
4 days ago
- Entertainment
- Daily Mail
'Lost' work by Turner bought last year for $500 sells for $2.5m
A antiques collector who paid $500 for an oil painting is celebrating after it sold for $2.5million because it turned out to be a lost work by JMW Turner. The vendor took a chance on the late-18th century unsigned landscape painting at a sale last year and paid the nominal fee for it. They had it professionally cleaned and this exposed the signature of the great English artist. The painting depicting a former hot spa in Bristol was shown to Turner scholars who agreed it was by the master. They were able to say that Turner produced the work in 1792 when he was aged 17. This was three years before what was believed to be Turner's earliest exhibited work. Its whereabouts was a mystery for 150 years until it came up for sale last year. The 23in by 2ft 5in painting was attributed to an artist follower of English landscape painter Julius Caesar Ibbetson and was bought by the anonymous vendor for the lowly sum. It was then entered for sale at London auctioneers Sothebys titled The Rising Squall, Hot Wells, from St Vincent's Rock, Bristol by JMW Turner and given a pre-sale estimate of $270,000 to $400,000. Four serious bidders drove the hammer price up to $2m. With auctioneer's fees added on the total price paid by the winning bidder was $2.5m. A spokesperson for Sotheby's said: 'The painting was pursued by four determined bidders, selling to a UK private collector for $2.5, nearly eight times the estimate. 'The rediscovery and auction coincided with the 250th anniversary of Turner's birth, with institutions across the United Kingdom celebrating the legacy of one of Britain's most beloved and influential artists.' Research has shown the painting was produced by Turner based on an on-the-spot drawing by him that was found in his sketchbook from the time of his tour of the West Country in 1791. The finished work was shown at the Royal Academy in 1793 where it was bought by the Rev Robert Nixon who was a friend of Turner. When he died in 1837 the painting was inherited by his son, the Rev. Dr Francis Russell Nixon who took it with him when he emigrated to Tasmania in 1842. While living there he lent the painting to two exhibitions held in Hobart in the mid-19th century. In 1862 he returned to England, bringing the Turner with him and he died in 1879. Before his death he sold the painting to art dealer Joseph Hogarth who sold it at auctioneers Christie's in London in 1864. Since then the painting had been in private hands and 'lost' to the art world until its re-emergence last year when it was bought for $500.
Wales Online
05-07-2025
- Wales Online
Pretty riverside village has the most romantic ruins in Wales
Pretty riverside village has the most romantic ruins in Wales Famous for its ruined Cistercian abbey, Tintern has spectacular views, river walks and a smattering of dog-friendly pubs and cafes Who doesn't love a village with striking historical ruins, proper pubs, and scenic walks? (Image: Getty ) Who doesn't love a riverside village with striking historical ruins, proper pubs, and scenic walks? Luckily, several are found in the Wye Valley, which borders England and Wales and is an Area of Outstanding Natural Beauty. It's a peaceful part of Wales with rolling countryside, attractive market towns, hiking trails, mountains, and outdoor activities. About five miles from Chepstow, Tintern is a scenic riverside village worth visiting. Famous for its ruined Cistercian abbey, Tintern has spectacular views, river walks and a smattering of dog-friendly pubs and cafes. The real showstopper here is Tintern Abbey, one of our greatest monastic ruins, the best-preserved medieval abbey in Wales, and the second Cistercian foundation to be built in Britain. Tintern Abbey Tintern Abbey in Monmouthshire (Image: © Cadw, Welsh Assembly Government (Crown Copyright), all rights reserved. ) This roofless marvel was founded in 1131 by Cistercian monks and has a long history, including the dissolution of the monasteries, which led to the abbey slowly turning into a majestic ruin. Tintern Abbey isn't just a romantic ruin; it's a place bursting with history. It was the first spot in Britain to produce brass and churn out wire on an industrial scale. Article continues below And the abbey's dramatic, sprawling ruins? They've captured the imaginations of greats like William Wordsworth, who wrote poetry about it, and JMW Turner, who captured its unique beauty in paint. Today, you can visit this important heritage site in Wales and marvel at the scale of the roofless abbey and the British Gothic architecture. Tickets can be bought on arrival at the visitor centre, and a selection of guidebooks can help you learn more about this beautiful abbey. From superstar gigs to cosy pubs, find out What's On in Wales by signing up to our newsletter here Cafes and pubs in Tintern Views of the village Tintern (Image: WalesOnline/ Rob Browne ) Around the corner from Tintern Abbey, you'll find Abbey Mill, an award-winning family business trading in Tintern village since 1936. This Independent craft and shopping complex has a recently renovated old water wheel and offers coffee, crafts, clothes, food, cider, and gifts. It also hosts various events, including raft races, vintage car shows, tractor festivals, bike rallies, and live music. The Filling Station cafe is also a great place to stop after exploring the monastery. It serves freshly brewed coffee, teas, cakes, and light meals. The lovely Anchor Inn has a large beer garden perfect for the summer months or as a mid-walk stop throughout the year, especially if you stumble across the pub while serving their generous Sunday carvery packed with local produce. It has fabulous unspoilt views of the Gothic abbey, a children's playground and a large sports field. Nearby, the Wye Valley Hotel offers a warm welcome and freshly made dishes. This small, family-run country inn is where you can tuck into a post-hike meal by the crackling fire in the cosy bar, unwind in the light-filled dining room complete with inviting reading nooks, or soak up the sunshine on the south-facing patio when the Welsh weather plays nice. Alongside a tasty menu, there's a decent selection of beers, wines, and spirits to enjoy. Walking in Tintern The Wye Valley is a recognised Area of Outstanding Natural Beauty (Image: Portia Jones ) The Monmouthshire village is a hotspot for walkers and cyclists due to its ideal location along walking and cycling paths. It's located on the Wye Valley Walk and just off The Offa's Dyke walk. There's also a gentle riverside walk that stretches from St Michael's Church to Tintern Old Station. Another option is the old railway line to Brockweir, which starts at Old Station Tintern. One of the best long-distance hikes in this area is the 136-mile Wye Valley Walk, a long-distance footpath in Wales and England that follows the course of the River Wye. It's a beautiful trail that passes small orchards, postcard-perfect villages, and rolling fields. If you don't fancy trekking the entire trail, the Chepstow to Tintern section isn't too taxing if you're an experienced walker and takes you on a winding track where you'll spot wildlife and heritage features. If you take the circular route, you'll pass "Limekilns Catch" and spot a small path leading to an old Tintern Limekiln used from the 1700s to 1902. You'll also be treated to an utter highlight of the walk: the Eagle's Nest viewpoint. On the edge of the steep Wyndcliff, 700ft above the Wye, this is the highest point of the Piercefield Walks, with outstanding views of the river, Wintour's Leap beyond. Stop here for a rest, soak up the view, and get some epic snaps for your socials. Article continues below
ITV News
03-07-2025
- Entertainment
- ITV News
Bristol Museum outbid in attempt to buy Turner oil painting of city
Bristol Art Gallery's efforts to buy a Turner painting depicting the city have failed after being outbid at auction. 'The Rising Squall, Hot Wells, from St Vincent's Rock, Bristol' was painted in 1792, when JMW Turner was aged just 17. The artwork depicts a former hot spring and spa viewed from the East Bank of the River Avon but before the Clifton Suspension Bridge was built. It was his first oil painting ever exhibited - at the Royal Academy one year later. The work was later 'lost' in a private collection for over a century and only rediscovered in a restoration project last year. The art gallery had launched a crowdfunding campaign to support its bid to 'Bring Turner Home' which raised over £100,000 from 1,700 people in just five days. Although auction house Sotheby's had put the estimate at £2-300,000 the winning bid reached £1.9m - around eight times as much - from a private UK collector. Bristol Museum and Art Gallery says it will explore if the work might be put on loan for display to mark its link and history with the city. All the money received for the fundraiser will be returned to those who donated.
Times
02-07-2025
- Business
- Times
Churchill may be dropped from banknotes for diverse designs
The Bank of England may drop historical figures from banknotes as it seeks suggestions from the public on replacing Sir Winston Churchill, Jane Austen and JMW Turner. Banknotes have featured notable historical figures since 1970, when William Shakespeare became the first person other than the monarch to be depicted. The Bank said it wished to give the public 'the opportunity to express their views on what theme they would like us to feature on the next series of our banknotes' over a month-long consultation. Winston Churchill on the £5 note Although notable historical figures remain an option, the Bank is expanding possible subjects to architecture and landmarks, arts, culture and sport, noteworthy events in history, technological innovations and nature. People who are alive, other than the monarch, will be excluded. Victoria Cleland, the Bank of England's chief cashier, said that gender, ethnicity and disability could be taken into account when planning the designs. She said: 'Banknotes are more than just an important means of payment — they serve as a symbolic representation of our collective national identity and an opportunity to celebrate the UK. I am really keen to hear what themes the public would like to see represented on the next series of notes.' A £10 note featuring Jane Austen CHRIS J RATCLIFFE/REUTERS The public will be able to suggest their own ideas for themes or for people who should be included but the final decision will be made by the governor of the Bank, Andrew Bailey, to avoid the embarrassment of a 'Notey McNoteface'. The consultation raises the potential for Stonehenge, oak trees, fish and chips or football to appear on notes. Cash in Scotland and Northern Ireland already carries images of landmarks and nature, such as otters. JMW Turner on the £20 note ALAMY A mock-up series of designs published alongside the consultation launch feature images of the Angel of the North, wind farms and the DNA double helix. Although the use of cash has declined over the past decade, cash is still the preferred payment method for about one in five people and used by many more. The Bank said it was committed to providing cash for those who wished to use it. People can submit their views through an online form on the Bank's website, or by post, by the end of July.
Daily Mail
01-07-2025
- Entertainment
- Daily Mail
This isn't Strictly Come Dancing! A public vote on what they would like to see on banknotes will be a grim orgy of virtue signalling, writes A. N. WILSON
When you have been abroad and change your currency back into sterling, is it not reassuring to see that great painter JMW Turner looking out at you from the £20 note? Doesn't the humble fiver – with Churchill on one side and the late Queen or, increasingly, the King overleaf – tell you that you're home? As the Bank of England 's chief cashier, Victoria Cleland, says: 'Banknotes are more than just an important means of payment – they serve as a symbolic representation of our national identity and an opportunity to celebrate the UK.' Why then, having lovingly created a suite of designs in recent years that evokes a Britishness all of us are content with – from Churchill on the £5, Jane Austen on the £10, Turner on the £20 and wartime code breaker and computing genius Alan Turing on the £50 – does the Bank now want to risk it all in the pursuit of the dreaded D-word: diversity? From today, the Bank invites the public to suggest artwork and figures to adorn the next tranche of notes. We have a month in which to submit our ideas to the Bank's website – and Ms Cleland is anxious to make her own priorities clear when she urges us to think about 'the great diversity in the UK'. 'It may be we can get real diversity through a different theme than historic figures,' she trills. Well, this is a classic case of 'if it ain't bust, don't fix it'. Yes, the choice of figures on banknotes has long been rather boring. Civil engineer George Stephenson and his Rocket locomotive, for instance, were stalwarts of the fiver in the Nineties, while the great 17th century architect, Sir Christopher Wren, graced the £50 note from 1981 to 1994. But surely only such titanic figures from our past are suitable for something as vital and familiar as our currency. Ms Cleland is right: banknotes are not just a means of exchange. They are an expression of who 'we' are. And while diversity is undeniably a feature of modern Britain, now the risk is introducing notes that make a controversial or political point, or which might put some people's backs up for championing a special-interest group. The chief cashier is wrong, then, if she thinks that throwing out this opportunity to the public will necessarily improve the notes. The world is teeming with discontented minorities who still believe they lack a 'voice' – despite how loudly they clamour on social media. I, for example, would love to see Captain James Cook on the banknotes: the first man to map New Zealand and the eastern coast of Australia and who met his untimely end by being murdered by furious natives in Hawaii. But these days, of course, Cook is seen for all his brilliance as a monstrous coloniser – and the sad truth is that his presence on the notes would offend large numbers of people. In that context, a moment's consideration should show us that the chief cashier has fallen into a massive trap. She is not about to be bombarded with suggestions of great and under-recognised figures from our past. Instead, the Bank's online submissions page is now destined to become a magnet for lobbyists for every cause. And because Ms Cleland is probably a nice person, with the instinctual British hunch that maybe she's in the wrong, these lobbies will start making her feel guilty. Isn't it a disgrace, they will ask her, that there are no disabled people on the £10 notes? Well, no. But as soon as you say that, you sound as if you do not care about the plight of the disabled. Is the Bank Islamophobic? Before you have time to insist it isn't, people will be asking why there is no Islamic calligraphy on the currency; never mind that, until a few years ago, Muslims comprised a minuscule proportion of the country. Meanwhile, the estates of dead rock musicians – with one eye on back-catalogue royalties – will be equally hard at work, getting bloc votes for their man. The chief cashier, as well as going to bed at night wondering if she is an Islamophobe with a hitherto unrecognised prejudice against people in wheelchairs, will also realise she's a fuddy-duddy who does not have the courage to put Sid Vicious of the Sex Pistols alongside the King on the note – and I don't mean Elvis. The chief cashier will realise she's a fuddy-duddy who does not have the courage to put Sid Vicious of the Sex Pistols alongside the King on the note Why are there no trans people on banknotes, either? Before she has racked her brains for an answer to that one, along will come the republicans asking for the King's head to be replaced by Oliver Cromwell himself. (Mind you don't cause offence to the Irish though, given how many of their citizens were massacred by the Lord Protector. The rap group Kneecap would have a field day.) The whole business will instantly become a moral maze of competing claims. The trouble with free votes is that they aren't really free – they are lobbying in disguise. Opening the floor to the public is fine for Strictly Come Dancing and Eurovision, but as a means for deciding the design of something as boring, everyday and – well, yes, serious – as the British banknote, it is simply moronic.
