Stock Number 0066 Date 1818 Style Watercolour, bodycolour, pencil and scraping-out on wove paper Dimensions 7 1/2 by 10 3/4 in., 19.1 by 26 cm


Sold, Christie’s, London, March 22, 1873, lot 40
Adrien de Murietta, Marquis de Santurce
T. Richardson Searles
B. Allen Rowland, Methuen, Massachusetts
Collection of Alan Flacks
Private Collection (by descent from the above)


Ottawa, The Art Gallery of Toronto; October-December, 1951
Indianapolis, John Herron Art Institute; November, 1955
Paris, Grand Palais; 1983
Tokyo, The National Museum of Western Art; August 1986
London, Art Gallery of Ontario & Paris, Grand Palais; June 12 2004 – May 15 2005, (lent by the Estate of Alan Flacks)

The Field of Waterloo Seen from Hougoumont was used as an illustration for John Murray’s 1832-33 edition of Byron’s Life and Works. It is one of three works that Turner painted on the subject of Waterloo (the other two were for Robert Cadell’s edition of The Prose of Sir Walter Scott), and is based on the composition for his large oil The Field of Waterloo, which had been exhibited at the Royal Academy of 1818.

Turner visited the battlefield in 1817 and executed a series of sixteen drawings on the spot, including his large oil The Field of Waterloo (Tate, London). His power of observation and skill as a topographer is evident, but his imaginative interpretation and distinct style of mark-making elevate this watercolor to an outstanding level of achievement.

In his oil, Turner resisted trumpeting the victorious campaign and instead presented the grim realities of battle. Contemporary critics at the time commented that “it is more an allegorical representation of battle’s ‘magnificently stern array’ than any actual delineation of a particular battle… The group in the center depicts the merciless carnage of war and ravages in domestic life by the confused and overthrown assemblage of both sexes and all ages which lie in a mingled heap”1. The present watercolor reflects the oil’s general composition, but Turner has amplified the dramatic effect of light from the flares, and creates a blazing other-worldly inferno beyond the gate. There are also differences in the foregrounded figures, the vignette being packed with the tangled mass of bodies, dead horses and broken weaponry, but without the women who search for their loved ones among the dead.

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