An Estuary in Northern France

An Estuary in Northern France: Introduction

Only 16.7 centimetres high, An Estuary in Northern France opens out through long strokes of sky, shore and water. Its breadth is an effect of painting rather than size. Horizontal sweeps carry the eye across the little board, while shorter vertical marks interrupt the distance with cloud and suggested rain. A few figures and a beached boat provide scale without turning the scene into an anecdote. Richard Parkes Bonington made the work in about 1825–27, probably beside the Somme estuary at La Ferté. What looks spontaneous is also firmly organised: a fast, thinly painted surface in which direction, interval and contrast hold a wide landscape together.^[1]

At a Glance

• ArtistRichard Parkes Bonington (1802–1828)
• Full titleAn Estuary in Northern France, possibly that of the River Somme
• Familiar aliasLa Ferté
• DateAbout 1825–27
• Medium and sizeOil on paper-fibre based board, 16.7 × 27.9 cm
• CollectionNational Gallery, London, NG6619^[1]

Richard Parkes Bonington in context

Works

182318241825182618271828

Seapiece: Off the French Coast

c. 1823–24

An Estuary in Northern France

c. 1825–27

View near Rouen

c. 1825

Roadside Halt

1826

The Doge's Palace, Venice

1826

On the Coast of Picardy

1826

Henri III

1828

Contents

1. Introduction
2. A small surface with an expansive structure
3. Is this painting the work once called La Ferté ?
4. Painted outdoors, then possibly adjusted inside
5. Watercolour logic carried into oil
6. How the brush directs the eye
7. Figures and boat: scale without a fixed narrative
8. A portable board and a larger field of experiment
9. From private collections to the National Gallery
10. Why this painting matters in Bonington's career

A small surface with an expansive structure

The painting's proportions matter. Its width is not extreme, yet the low horizontal bands make it feel panoramic. Much of the board is given to the sky. Beneath it, the far shore runs across the composition as a narrow divider, and the near bank gathers into a darker, irregular mass. The arrangement is spacious but not empty. Every change of direction has a structural role: horizontal strokes extend the landscape, vertical ones activate the atmosphere, and the broken marks around the figures and boat concentrate attention near the right edge.

This is not a scene built by outlining each object and then filling it in. The brush establishes zones, distances and accents together. Thin passages allow the support to participate in the result, so a material normally hidden beneath a finished oil remains visible in places. The National Gallery describes swift, fluid paint that sometimes barely covers the board. The exposed or lightly covered surface helps keep the image luminous, but it also lets us follow the act of construction: broad areas first, sharper incidents within them.^[1]

The most useful way to look is therefore to alternate between distance and proximity. From across a room, sky, water, land and foreground settle into a coherent place. Close up, those zones loosen into bristle tracks, streaks, crossings and drops. Bonington does not conceal the difference. The painting depends upon our ability to read both at once.

Is this painting the work once called La Ferté?

Yes. La Ferté is a familiar shorter title for this painting, not the name of a second Bonington work. The National Gallery now expands the name with a cautious northern French location and a possible identification of the River Somme. Its record says the picture was probably made at La Ferté on that estuary, a place Bonington visited repeatedly, but the wording preserves uncertainty rather than presenting the site as proved.^[1]

That distinction is important because the painting is observant without functioning like a labelled survey. Its low banks, open water and distant weather convey the character of an estuary, while offering relatively few architectural or topographical markers from which to establish a precise viewpoint. A likely location helps situate the work among Bonington's travels in Normandy and Picardy; it should not harden into an exact identification that the collection itself does not make.

Bonington's family moved from England to France in 1817. After a period in the Paris studio of the history painter Antoine-Jean Gros, he concentrated on landscape and travelled extensively in northern France. La Ferté and nearby Saint-Valery-sur-Somme were among the places he frequented with fellow painters, including Paul Huet.^[1] The estuary was therefore part of a practised geography, not an exotic subject encountered once.

Painted outdoors, then possibly adjusted inside

The National Gallery's in-depth account treats the main campaign as outdoor painting on site. Bonington worked wet into wet: instead of waiting for one layer to dry before adding the next, he placed fresh oil colour into paint that was still wet. This method allowed edges and tones to meet quickly, and it retained the immediacy he already knew from watercolour. The mound's edge below the seated figure and the distant land along the horizon are places where the Gallery invites viewers to notice that handling.^[1]

Outdoor execution does not mean that every mark had to be made in a single uninterrupted sitting. The Gallery also proposes that some small details, including the seated woman, may have been added later in the studio. The beached boat could belong to that later stage too. These statements are compatible. The principal relationships of sky, shore, water and foreground could be seized before the motif, while a few concentrated accents could be reconsidered after the board was brought inside.^[1]

This two-stage possibility helps avoid a misleading choice between “sketch” and “finished picture”. In his 2025 supplement to the catalogue raisonné of Bonington's paintings, Patrick Noon observes that around a third of the 95 oils catalogued in 2008 might be classed as studies or unfinished sketches, but that Bonington's rapid, assured execution often makes the boundary difficult to draw. Noon also describes a habitual movement from a first trial in watercolour or brown wash to a final oil painted in one campaign.^[2] Those broader observations do not decide the status of this particular picture. They do explain why speed and completion need not be opposites in Bonington's work.

Watercolour logic carried into oil

Bonington's early experience in watercolour shaped more than the appearance of his oils. It informed how economically he could establish space. A watercolourist must often preserve light by leaving the paper active and by judging translucent washes before they dry. In this oil, the equivalent economy lies in thin paint, unhidden brushwork and a willingness to let the pale board contribute to the total effect. Oil's capacity for wet-into-wet adjustment then gives him another kind of flexibility.

The result is not an oil painting pretending to be a watercolour. Its small deposits and dragged strokes have the substance of oil, and their overlaps remain tangible. Yet the image avoids the slow accumulation of opaque layers and glazes associated with more elaborately finished studio practice. It retains the directness of a sheet worked in liquid colour. This is why the watercolours and drawings are so useful beside the paintings: the relationship is one of working intelligence, not simply shared subject matter.

Noon's account provides a wider technical context. He writes that in London in 1825 Bonington encountered portable, commercially prepared millboard patented by Robert Davy, which enabled him to attempt outdoors in oil what he had already accomplished in watercolour through spontaneous alla prima painting.^[2] The National Gallery identifies the support of An Estuary in Northern France more generally as paper-fibre based board.^[1] It does not call this particular support Davy millboard, so the broader history should not be converted into a brand identification for NG6619.

How the brush directs the eye

The restricted colour and changing brush directions provide the painting's visual grammar. According to the National Gallery, Bonington laid in broad gradations of white, blue and greyish ochre. He then used white, black and red for sharper details. Thin liquid streaks indicate breaking water; small drops or blobs help form the seated figure.^[1] These are descriptions of colours and handling visible in the work, not a list of chemically identified pigments.

Across the sky, broad horizontal strokes expand the space. At the left, short vertical strokes gather into cloud and a suggestion of rain. The contrast prevents the sky from reading as one flat band. On the land and water, long marks reinforce recession and calm extension; around the near bank, shorter crossing strokes roughen the surface. The brush changes course where the spatial task changes.

Bonington also varies how readily a mark becomes an object. A continuous stroke can stand for an edge of shore, whereas a clustered flurry becomes the boat. A pale streak can register simultaneously as material paint and breaking water. This double reading gives the picture its energy. The marks do not disappear into illusion, but neither do they detach from the landscape. Their physical direction makes the depicted space convincing.

The limited palette strengthens that system. With relatively few broad colour families, differences in value, density and direction carry more responsibility. The distant land remains compressed and subdued. Darker accents near the figures supply a nearby focus. Red is used sparingly enough to register as a concentrated incident rather than a competing field. Nothing in this arrangement requires a detailed story about the weather or the people. The painting's main drama is the calibration of open space against a handful of precise interruptions.

Figures and boat: scale without a fixed narrative

The seated woman on the right is small, yet her compact accents prevent the foreground bank from becoming an anonymous shape. Nearby figures and the beached boat make the shore seem inhabited and provide a measure against which the estuary appears broad. Their placement near one side also avoids dividing the scene into equal halves. The open left and centre remain available to sky, water and remote weather.

The Gallery's suggestion that the woman and boat details may have been added in the studio is especially revealing because these motifs are made from such economical marks.^[1] Adding them later would not mean disguising a study as a narrative picture. It could instead sharpen scale, weight and rhythm. The boat's scribbled cluster counters the long horizontal passages; the figure's small touches of stronger colour anchor the near bank.

There is no secure basis for assigning names, occupations or a particular incident to these people. They make human presence legible while remaining subordinate to the estuary. That restraint distinguishes the work from Bonington's more developed coastal scenes, where boats and figures can assume a larger compositional role. On the Coast of Picardy offers a useful continuation for that comparison.

A portable board and a larger field of experiment

At 16.7 × 27.9 cm, the board could be carried and handled more readily than a large stretched canvas. Its firm, compact surface supported rapid work while allowing the bristles to leave a visible track. In An Estuary in Northern France, portability is not merely biographical convenience. It helps explain how direct observation could become an oil painting without first being translated into an elaborate studio composition.

The nearby comparison is View near Rouen, dated about 1825 by the Metropolitan Museum of Art. That work is oil on millboard and measures 27.9 × 33 cm; the Met says it was probably painted from the bank of the Seine opposite Rouen in late summer or autumn.^[3] It is larger and differently proportioned, and its site is separately identified. The relevant connection is practical: both show how a rigid board could support a concentrated oil response to a northern French place.

Bonington's use of such supports belongs within a broader British and French Romantic exchange. After cross-Channel travel resumed following the Napoleonic Wars, British paintings and prints attracted sustained attention in France. Bonington occupied this exchange in a particular way: English-born, largely trained and professionally active in France, he adapted habits associated with British watercolour to subjects observed on French ground. French colleagues did not encounter a generic “British style” in his work. They saw a specific combination of portable practice, thin oil, exposed touch and atmospheric economy.^[1]

The National Gallery records praise from Théophile Gautier for Bonington's colour and from Eugène Delacroix for his lightness of touch.^[1] Such testimony establishes contemporary and later admiration; it does not prove a simple line of influence from this small picture to later Impressionism. The stronger claim is close at hand: Bonington showed painters in the 1820s how an oil study could preserve both the speed of observation and the authority of a resolved pictorial structure.

From private collections to the National Gallery

The known ownership history begins with Lord Seymour. The painting appeared in his Paris sale on 13 February 1860 as lot 54 and sold for 280 francs. It subsequently belonged to M. de Guirangaud and M. de Belleyme, and probably entered the collection of the art historian Jean Dieterle early in the twentieth century. Dieterle later sold it to the diplomat Tony Mayer. It passed through Galerie Jacques Dubourg in Paris in 1953, was with the dealer and art historian Adolphe Stein by 1985, and appeared at auction in 1991. Spink-Leger sold it to a private collector in 2000. In 2012 it was accepted by the British government in lieu of inheritance tax and allocated to the National Gallery.^[1]

The Gallery flags the work as having incomplete provenance for 1933–45.^[1] That notice should remain part of an honest account: a sequence of named owners does not justify filling an undocumented interval by inference. The picture is now inventory number NG6619 in the National Gallery's main collection.

Why this painting matters in Bonington's career

An Estuary in Northern France condenses several of Bonington's most consequential choices into one modest surface. He worked directly from a landscape he knew, used a portable support, carried watercolour economy into oil, and left the motion of the brush available to view. Yet the picture is not shapeless spontaneity. Its long divisions, small-scale crossings and sparse accents produce a stable design.

That balance is its achievement. Broad touch conveys changeable atmosphere without requiring an invented meteorological report; a few additions make the shore inhabited without supplying a fixed plot. The likely Somme setting grounds the work geographically, while the cautious title preserves what cannot be proved. Seen within Bonington's short career, it is a compact demonstration of how observation, material and structure could be made inseparable.

Researched works directory

This searchable directory is an online evidence census assembled from public museum and collection records. It is not a substitute for Patrick Noon’s printed catalogues raisonnés.

Search artworks Medium All media Drawing Painting Reset

226 artworks

Name	Date	Medium
A Coast Scene	1820–1828	Painting
A Cutter and other shipping in a Breeze	1827–1828	Watercolour
A Distant View of St-Omer	1824	Painting
A Distant View of St-Omer	c. 1824	Painting
A duel between Frank and Rashleigh	1828	Print
A Faun with Pipes	Date unknown	Drawing
A Seascape	Date unknown	Drawing
A Venetian Scene	c. 1828	Watercolour
A Wooded Stream and a Farmhouse in Normandy	Date unknown	Drawing
Abbeville - Vue Pris, de la route de Calais	Date unknown	Print
Abbey St-Amand, Rouen	Date unknown	Watercolour
An Estuary in Northern France	c. 1825–1827	Painting
An Italian Town	1822–1828	Painting
Ancienne Porte a Stirling	1826	Print
Ancienne Tour	1826	Print
Ancienne Tour Près de Lanark	1826	Print
Anne Page and Slender (Shakespeare's Merry Wives of Windsor, Act 1, Scene 1)	1829	Artwork
Architectural Remains and Fragments: Rouen - Fontaine de la Crosse	1827	Print
Architecture du Moyen Age	1824	Print
Argyle Castle	1826	Print
Argyle Castle	1828	Print
At the English Coast	1825	Watercolour
Beach Scene	c. 1825	Watercolour
Beach Scene with Cart and Horse	1825	Painting
Beached Vessels and a Wagon, near Trouville, France	c. 1825	Painting
Beauvais - interieur d'une cour	Date unknown	Print
Bergues - La Tour du March,	Date unknown	Print
Bergues: La Tour du marché	1824	Print
Boccadasse, Genoa with Monte Fasce in the Background	1826	Painting
Bologna	1826–1827	Drawing
Bologna	1828	Print
Bonington - Vue de Venise	Date unknown	Watercolour
Bothwell Castle	1826	Print
Bothwell Castle	1828	Print
Boulogne Harbor	1823	Watercolour
Bracklin-Bridge	1828	Print
Brackline	1826	Print
Caen - Eglise Saint-Sauveur	1824	Drawing
Caen - Maison Grande Rue Saint-Pierre	Date unknown	Drawing
Calais Jetty, France	c. 1824	Painting
Campos sur les bords du Rio das Velhas	1827	Print
Castle on a Scottish Loch	1822–1828	Painting
Cathedrale Notre-Dame	1824	Print
Charles V visits François Ier after the Battle of Pavia	c. 1827	Watercolour
Chateau d'Argyle	1826	Print
Chateau de Bothwell	1826	Print
Chateau de Bothwell / Bothwell Castle	1826	Print
Christ preaching - unfinished	Date unknown	Painting
Coast Scene in Picardy, France	1826	Painting
Coastal Scene with Fishing Boats	1828	Painting
Croix de Moulin-les-Planches	1827	Print
Demetrius de Palatiano	19 th century	Painting
Die adriatische Küste	c. 1820	Painting
Die normannische Küste	1823–1824	Painting
Dieppe Harbour	Date unknown	Painting
Don Quixote	1825–1826	Painting
Don Quixote in His Study	1825–1826	Painting
Doune Castle	1828	Print
Du Sacristain de Saint Angadresne	c. 1828	Print
Dutch: Processie in Verona	1801–1828	Painting
Edimbourg pris de la Chapelle St Antoine	1826	Print
Edimbourg vu de Calton-Hill	1826	Print
Edimbourg vu de la Chapelle Saint-Antoine	1826	Print
Edinbourgh vu de la Chapelle S. Antoine	1826	Print
Edinburg from S. Anthony Chapel	1828	Print
Edinburgh from St. Anthony Chapel	1826	Print
Edinburgh from the Calton Hill	1828	Print
Eglise de Saint-Taurin, Evreux	1824	Print
Eglise de St. Jean a Lyons	1824	Print
Eglise St. Sauveur	1824	Print
Embouchure de la Riviere Caxoera	1827	Print
Entree de la rade de Rio-Janeiro	1827	Print
Entrée de la salle des pas-perdus, Palais de Justice	1824	Print
Evening in Venice	1826–1828	Painting
Façade de l'Eglise de Brou	1825	Print
Façade St. Jean	1824	Print
Figures on a rocky shoreline	Date unknown	Artwork
Fishing Boats in a Calm, Ships at Anchor	1825	Painting
Fishing Smacks in French Harbour	1818–1825	Painting
Five Studies of a French Pointer	1825–1826	Drawing
Fontaine de la Crosse	1827	Print
French Coast Scene	1815–1828	Painting
French Coast with Fishermen	1825	Painting
French Hulk	1820–1828	Painting
German: Ein Waldweg	1825–1826	Painting
Glenfinlas	1826	Print
Glenfinlas	1828	Print
Glenfinlas Valley (Vallée de Glenfinlas, from Vues Pittoresques de l'Écosse)	1826	Artwork
Goetz Von Berlichingen Before The Imperial Magistrate	c. 1826	Drawing
Grand Canal, Venice	1826	Drawing
Greek Armatole (irregular fighter).	1825	Painting
Half-length Portrait of a Bearded Man in Historical Dress	1818	Drawing
Henri III	1828	Painting
Hôtel de Sens : dessin / Richard-Parkes Bonington	19 th century	Drawing
Ile de la Cite	Date unknown	Watercolour
In the Forest of Fontainebleau	c. 1825	Painting
Intérieur d'une Cour	1824	Print
Jour du Marché	1824	Print
L'Eglise de St. Gervais et St. Protais	1824	Print
L'espace	c. 1826	Painting
La Conversation	1826	Print
La Place du Molard, Geneva	Date unknown	Painting
La Prière	1826	Print
La Tour du Marché	1824	Print
Lac de Killin	1826	Print
Lac Lomond	1826	Print
Landscape with a Pond	1825–1826	Painting
Landscape with Castle Ruin	Date unknown	Watercolour
Le Château de la Duchesse de Berry	1823–1825	Painting
Le matin	1824	Print
Le Repos	1826	Print
Le Retour	1826	Print
Le Silence Favorable	1826	Print
Les Pendus	1826	Print
Les Plaisirs Paternels	1826	Print
Les Salinieres near Trouville	1827–1828	Painting
Lillebonne - Chateau d'Harcourt	1824	Print
Lillebonne - Chateau d'Harcourt	Date unknown	Print
Loch Lomond	1826	Print
Loch Lomond	1828	Print
Loch Tay	1828	Print
Lochkillin	1826	Print
Low Tide at Boulogne	1824	Painting
Maison Grande Rue St. Pierre	1824	Print
Maison Située Rue St Veronique	1824	Print
Man and Woman in a Landscape, possibly Faust and Marguerite	c. 1826	Drawing
Molard-Bonington-1829	1829	Print
Molard-Bonington-1829-cropped	1829	Print
Near Honfleur	1823	Watercolour
Near Jumieges	Date unknown	Watercolour
Old Gate Way at Stirling	1828	Print
Old Gateway at Stirling	1826	Print
Old Tower near Lanark	1828	Print
On the Adriatic	c. 1826	Painting
On the Coast of Picardy	1826	Painting
On the Seine – Morning	1825	Painting
Palais de Justice, Rouen	Date unknown	Drawing
Paris from Pere Lachaise	Date unknown	Watercolour
Pays de Caux: Twilight	1818–1828	Painting
Peasant Women from Ragusa	1826	Drawing
Pesmes	1825	Print
Peveril of the Peak - Julian Peveril and Alice Bridgenorth, surprised by Major Ralph Bridgenorth	c. 1826	Watercolour
Picardy Coast with Children – Sunrise	c. 1826	Painting
Picturesque Views of Scotland: Brackline	1826	Print
Pierre de Vaivre	1827	Print
Polish: Zdjęcie z krzyża The Descent from the Cross.	1820	Painting
Portia and Bassanio	c. 1826	Watercolour
print	1827	Print
print, title-page	1828	Print
Processie in Verona	19de eeuw	Painting
Promenade vénitienne (Venetian Promenade)	Date unknown	Artwork
Quentin Durward and the Disguised Louis XI (recto); Study of male figure (verso)	1825–1826	Drawing
Quentin Durward at Liège, Belgium	1827–1828	Painting
Quentin Durward in Luik, objectnr TA 11006	1825	Drawing
Restes et Fragmens d'Architecture du Moyen Age: Église St. Sauveur, Caën	Date unknown	Print
Riva degli Schiavoni, from near San Biagio, Venice, by Richard Parkes Bonington	Date unknown	Painting
Road Workers, near Lillebonne	Date unknown	Painting
Roadside Halt	1826	Painting
Robert Dudley, Earl of Leicester and his wife Amy Robsart.	1820	Painting
Rouen	1825	Watercolour
Rouen: Entrée de la Salle des Pas Perdus, Palais du Justice	1824	Print
Rue du gros-horloge, Rouen	1824	Print
Ruines de Chateau d'Arlay	1827	Print
Ruines du Château d'Arlay	1827	Print
Ruins of the Abbey Saint Bertin	1824	Painting
Sea Coast, the Dunes	Date unknown	Painting
Seapiece: Off the French Coast	c. 1823–1824	Painting
Shipping in a Swell	1824–1827	Watercolour
Shipping in an Estuary, Probably near Quilleboeuf	1825–1826	Watercolour
Sketch of a Woman	1828	Drawing
Street in the Outskirts of Besançon, France	1827	Print
Studies for Shylock	1825	Drawing
Study of a Gentleman in 17th Century Costume, After Van Dyck	1827–1828	Drawing
Study of a Seated Woman	Date unknown	Drawing
Study of a Woman with her Head on her Hand	Date unknown	Drawing
Sunset: A Sketch	Date unknown	Painting
Sunset in the Pays de Caux	1828	Watercolour
The Antiquary	Date unknown	Painting
The Chibouk	1826	Painting
The Church of St. Wulfran, Abbeville: The North Door of the West Front	c. 1823	Drawing
The Count of Palatino in the costume of a Palikar	Date unknown	Painting
The Doge's Palace, Venice	1826	Painting
The Escape from Argyle Castle	1826	Print
The Escape from Argyle-Castle	1828	Print
The Grand Canal	1826–1827	Painting
The Grand Canal, Venice	1826–1827	Painting
The Interior of Sant' Ambrogio, Milan	1826	Painting
The Old Jetty, Boulogne, France	Date unknown	Painting
The Pont des Arts, Paris	1826	Painting
The Proposal (recto); Unfinished drawing of a horse and rider (verso)	1820	Drawing
The Rialto, Venice	Date unknown	Painting
The Salt Marshes near Trouville	1826	Watercolour
The Use of Tears	1827	Watercolour
The Use of Tears	Date unknown	Painting
Titlepage to Restes et Fragments	Date unknown	Print
Tomb in the Church of Saint-Omer, France	Date unknown	Painting
Tombeau de Marguerite de Bourbon, Eglise de Brou	1825	Print
Tour aux archives à Vernon	1824	Print
Tour du gros horloge, batie sous la domination des Anglais en 1417, Evreux	1824	Print
Tour du gros-horloge, Evreux	1824	Print
Trees and a Cottage by a River	1827	Drawing
Untitled (one of three)	Date unknown	Print
Vessels in a Choppy Sea	c. 1824	Watercolour
View in Brittany: Bridge, Cottages and Washerwomen	1818–1828	Painting
View near Rouen	c. 1825	Painting
View near Sarzana, Val di Magra	1826	Painting
View of the Rialto Bridge, Venice	c. 1826	Watercolour
View on the Grounds of a Villa near Florence	1826	Painting
View on the River Seine - Morning	c. 1825	Painting
Voyages pittoresques et romantiques dans l'ancienne France	1825	Print
Voyages pittoresques et romantiques dans l'ancienne France, Franche-Comté: Église de l'abbaye de Tournus	1825	Print
Voyages pittoresques et romantiques dans l'ancienne France, Franche-Comté: Ruines du château d'Arlay	1825	Print
Voyages pittoresques et romantiques dans l'ancienne France, Franche-Comté: Vue d'une rue des faubourgs de Besançon	1825	Print
Voyages pittoresques et romantiques dans l'ancienne France, Normandie: Église de Saint Gervais et Saint Protais à Gisors	1824	Print
Voyages pittoresques et romantiques dans l'ancienne France, Normandie: Rue du Gros Horloge, Rouen	1824	Print
Voyages pittoresques et romantiques dans l'ancienne France, Normandie: Tour aux archives à Vernon	1824	Print
Voyages pittoresques et romantiques dans l'ancienne France, Normandie: Tour du Gros-Horloge, Evreux	1824	Print
Vue d'une rue des faubourgs de Besançon	1827	Print
Vue d'une rue des Faubourgs de Besançon (View of a Street in the Outskirts of Besançon)	1827	Print
Vue Generale de l'Eglise de l'Abbaye de Tournus	1825	Print
Vue Générale de l'Eglise de St. Gervais et St. Protais, à Gisors	1824	Print
Vue Generale des Ruines du Chateau d'Arlay	1827	Print
Vue prise à l'entrée du jardin des Plantes. Au premier plan, bâtiment de la minéralogie et à l'arrière, dôme de l'hôpita, D.2182	1806–1828	Drawing
Vue Prise de la Route de Calais	1824	Print
Vues Pittoresques de l'Écosse	1826	Print
Young Woman Writing a Letter	1820–1828	Painting

Frequently Asked Questions

References

1. National Gallery, London, “Richard Parkes Bonington, An Estuary in Northern France, about 1825–7,” collection record for NG6619, including overview, in-depth text, key facts and provenance., accessed 30 August 2026.
2. Patrick Noon, “A supplement to Richard Parkes Bonington, the Complete Paintings,” Colnaghi Studies Journal, XVII (October 2025), pp. 61–76, especially pp. 61 and 68–69., accessed 30 August 2026.
3. Metropolitan Museum of Art, “Richard Parkes Bonington, View near Rouen, ca. 1825,” collection record for 2001.45., accessed 30 August 2026.

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