On the Coast of Picardy

On the Coast of Picardy: Introduction

Richard Parkes Bonington’s On the Coast of Picardy makes a large pictorial event from a modest canvas. A low strip of beach, boats and people is held beneath a sky that occupies most of the composition. The setting is active but not crowded: a grounded vessel, a horse, scattered equipment and small figures register coastal work, while distance and light keep the scene open. Painted in 1826, the picture belongs to the Wallace Collection as P341.^[1]

Its economy matters. Bonington did not need a named incident or a commanding landmark to give the coast weight. He organised the picture around changing intervals—dark hull against pale distance, upright mast against cloud, compact activity against empty sky—and made the Channel shore feel both observed and composed.

At a Glance

• ArtistRichard Parkes Bonington (1802–1828)
• TitleOn the Coast of Picardy
• Date1826
• MediumOil on canvas
• DimensionsApproximately 36.8 × 50.7 cm
• CollectionThe Wallace Collection, London, P341^[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 Low Shore Beneath an Expansive Sky
3. Picardy as a Working Coast
4. Colour and Touch Without Excess Detail
5. The Coastal Breakthrough of 1824
6. Three Related Pictures, Not One Work
7. From Bedford to the Wallace Collection
8. A Dialogue with Turner
9. A Mature Economy

A Low Shore Beneath an Expansive Sky

The horizon sits low enough for the sky to become the picture’s principal field. Pale cloud spreads across the right and centre, interrupted towards the left by cooler blue-violet openings and denser grey. These shifts do not describe a single, neatly labelled weather condition. Instead, they make the air feel variable. The eye moves through several degrees of brightness before it settles on the narrow land and water below.

Bonington gives that horizontal distance a strong vertical counterweight. Left of centre, the mast and rigging of a dark vessel rise into the cloud. The ship’s compact hull anchors the transition between sea and beach, while its fine upper lines measure the scale of the sky. A long, pale ridge beyond it runs across the middle distance. Farther right, tiny sails and low structures appear as accents rather than fully described objects.

The foreground is broader and darker. Its bands of sand and shallow water draw the gaze laterally, yet the groups are placed asymmetrically. A horse seen mostly from behind stands to the right of centre. Nearby figures bend or stand among a boat and shore equipment; a red note at the far right gives this muted zone a small point of intensity. At the left edge, another low form prevents the foreground from becoming an empty strip. The arrangement suggests work continuing along the tideline without turning any participant into the painting’s hero.

This balance between people and setting is central to Bonington’s paintings. The figures establish scale and occupation, but the coast retains its breadth. They belong to the scene’s rhythm: upright bodies and mast, rounded horse and hull, scattered dark marks across long horizontal bands.

Picardy as a Working Coast

Bonington knew northern France through repeated travel rather than through a single visit. His family moved from England to France in 1817, and he later travelled extensively in Normandy and Picardy.^[2] The coast offered mobile subjects—boats, tidal ground, low settlements, workers and changing skies—that could be recombined without losing their local character.

The title On the Coast of Picardy identifies a region, not a securely established viewpoint. That distinction is worth preserving. A later inscription connected with the larger Woburn composition points towards the coast near Calais, but it does not prove that the Wallace picture records one precise site.^[3][4] What P341 gives us is a recognisable northern French shore shaped by tides, transport and labour, not a topographical claim that the surviving evidence cannot sustain.

A comparison with An Estuary in Northern France shows how Bonington could vary this coastal vocabulary. The National Gallery’s smaller work is on paper-fibre board and is thought to have been painted at La Ferté, probably on site with fluid oil worked wet into wet.^[2] P341, by contrast, is a canvas, and the sources used here do not establish that it was executed outdoors or by precisely the same procedure. The comparison is useful because the pictures share a preference for a low horizon and economical marks, not because one technique should be transferred automatically from one object to another.

The coast also illuminates the cross-Channel setting in which Bonington worked. British watercolour practice, French exhibition culture and direct travel through northern France met in his art, but the result is more specific than the idea of an artist simply “between” two nations. The subject is French, the artist’s formation was divided across languages and institutions, and the work circulated among English patrons. That network is explored further in Bonington and British and French Romanticism.

Colour and Touch Without Excess Detail

P341 depends on a restrained distribution of colour. Cream, grey and muted blue make the sky spacious; ochre and brown hold the beach together; dark accents locate the vessel, figures and equipment. The small red passages near the right edge are effective because they are scarce. They draw attention to human activity without breaking the broad tonal unity.

The handling changes with pictorial function. Long horizontal strokes extend the wet shore and distant coast. Shorter, darker marks condense the working groups. The rigging is finer and more linear, while cloud is carried by larger, softer areas. Bonington therefore creates detail selectively. A viewer can identify a vessel, horse and people, yet much of the picture remains suggestive rather than enumerated.

That selectiveness produces a curious double scale. At roughly half a metre wide, the canvas is intimate, but its sky and lateral distances feel expansive. The effect does not come from adding more information. It comes from allowing relatively few dark forms to set the scale of much larger pale areas. The grounded ship is especially important: its mass makes the surrounding space legible, while the mast connects the working beach to the atmosphere above.

Bonington’s visual shorthand should not be mistaken for carelessness. The distribution of weights is deliberate. Remove the mast and the sky loses its measure; remove the horse and figures and the foreground becomes detached; intensify every distant object and the openness collapses. Pictorial economy here means deciding which marks must remain distinct and which can merge into air, water or sand.

The Coastal Breakthrough of 1824

Coastal painting had brought Bonington public recognition before P341 was made. Patrick Noon’s 2025 supplement records that Bonington returned to oil painting in preparation for the Paris Salon of 1824. His oil debut there comprised five marine and coastal views, and he received a gold medal alongside John Constable, Copley Fielding and Thomas Lawrence.^[3]

That history explains why the 1826 canvas belongs to an established line of inquiry rather than an isolated experiment. It does not, however, identify P341 as one of the Salon exhibits. Noon states that only one of Bonington’s five exhibited oils has been securely identified: Tate’s Coast Scene with Fisherfolk.^[3] The Wallace picture is dated two years later. Its relation to 1824 is developmental—the same broad class of subject had become central to Bonington’s public reputation—not a claim of exhibition identity.

By 1826, Bonington could compress shore, labour and atmosphere into a composition that reads immediately at a distance and continues to reward close attention. The result feels assured because the principal divisions are clear, not because every part is highly finished. A useful comparison is the different balance of figures and landscape in the same year’s Roadside Halt, where travel unfolds inland rather than along a tidal shore.

Three Related Pictures, Not One Work

The names On the Coast of Picardy and On the Côte d’Opale, Picardy have been attached to three related but physically distinct paintings. Their separation is essential:

• The smaller private picture, On the Côte d’Opale, Picardy, measures 24.2 × 33.1 cm. Noon examined it directly in 2016 and revised his earlier opinion, accepting it as Bonington’s work and dating it to about 1824–25.^[3] The auction record documents its separate signature, support, dimensions and ownership history.^[4]
• The Wallace Collection picture, On the Coast of Picardy, is P341, dated 1826 and measures approximately 36.8 × 50.7 cm.^[1] Noon identifies it as a different oil that the 6th Duke of Bedford purchased from Bonington’s stock during a Paris studio visit in 1826.^[3]
• The larger Woburn picture, On the Côte d’Opale, Picardy, measures 66.2 × 99 cm and dates from 1827. Noon considers it likely that Bedford encountered the smaller picture in 1826 and commissioned this larger composition, which was delivered after its exhibition at the Royal Academy the following year.^[3]

The proposed sequence therefore runs from the small private treatment, through Bedford’s 1826 purchase of the separate Wallace canvas, to the much larger Woburn commission. “Likely” remains important in describing the commission: it is a scholarly reconstruction, not a documented instruction from patron to artist.^[3] The pictures can clarify Bonington’s habit of returning to a coastal idea at different scales, but their titles, dimensions, dates and histories cannot be exchanged.

This distinction also prevents visual evidence from drifting between objects. The signature and technical examination discussed in the auction record concern the smaller private canvas, not P341.^[4] Likewise, the 1827 Royal Academy exhibition belongs to the Woburn picture, not to the Wallace painting. P341 has its own identity: a medium-sized 1826 canvas acquired as existing stock.

From Bedford to the Wallace Collection

P341’s collecting history begins with that studio purchase by John Russell, 6th Duke of Bedford. The later auction record states that the 4th Marquess of Hertford bought it at the sale of Bedford’s widow in 1853.^[4] It subsequently became part of the Wallace Collection, where its accession number P341 fixes the museum identity now attached to the painting.^[1]

The route matters because it joins making and reception. The picture was not merely a private sketch retained in Bonington’s studio: it entered a major English collection during his lifetime, then passed into the Hertford holdings. At the same time, provenance does not change what the object is. Bedford’s later association with the Woburn commission has sometimes encouraged the related compositions to be narrated as one chain. The Wallace canvas was the different work he bought from stock in 1826.^[3]

A Dialogue with Turner

Bonington’s coastal art invites comparison with J. M. W. Turner, but the relationship needs careful terms. According to the Wallace Collection, each knew the other’s art from public displays and reproductive prints; the museum frames their exchange as both competitive and mutually influential.^[5] Noon’s supplement adds that they probably never met.^[3] Admiration is documented; a personal encounter is not.

The connection is especially apt on the Channel shore. Both artists could make low tide, coastal labour and a large sky carry serious pictorial weight. Yet P341 is not a Turner imitation, and shared subject matter does not establish a one-way line of borrowing. Bonington’s compact groups, pale distances and selective accents make their own structure.

Turner’s Calais Sands, Low Water, Poissards Collecting Bait was painted in 1830, after Bonington’s death, and is widely understood as an homage to the younger artist.^[3][5] That later work helps show how consequential Bonington’s coastal paintings appeared to a senior contemporary. It does not turn P341 into a preliminary stage on a path towards Turner. The more useful comparison is an active dialogue conducted through visible works: exhibitions, prints, remembered pictures and new responses.

A Mature Economy

On the Coast of Picardy holds together because no single element is asked to carry the entire meaning. The sky creates scale and variability; the grounded vessel gives the distance an anchor; the horse, figures and equipment make the shore a place of work; small colour accents keep the muted foreground alive. Bonington’s achievement lies in coordinating those parts while leaving much of the canvas open.

The picture is therefore neither a mere weather study nor a detailed record of coastal industry. It turns an ordinary shoreline into an exercise in proportion, interval and touch. Its history among related compositions sharpens that reading: Bonington could revisit a subject, alter its scale and reorganise its emphases without treating each return as a duplicate.

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. Wikimedia Commons, “Richard Parkes Bonington (1802–1828) — On the Coast of Picardy — P341 — The Wallace Collection,” Art UK-origin object metadata and public-domain file record,, accessed 30 August 2026.
2. National Gallery, London, “Richard Parkes Bonington, An Estuary in Northern France, about 1825–7,”, accessed 30 August 2026.
3. Patrick Noon, “A supplement to Richard Parkes Bonington, the Complete Paintings,” Colnaghi Studies Journal XVII, October 2025, pp. 61–76, especially pp. 67–68,, accessed 30 August 2026.
4. Christie’s, “Richard Parkes Bonington, On the Côte d’Opale, Picardy,” lot record,, accessed 30 August 2026.
5. Wallace Collection, “Turner and Bonington,”, accessed 30 August 2026.

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