A special exhibition featuring rarely displayed watercolor paintings by renowned British artist JMW Turner has opened at the Bristol Museum & Art Gallery, showcasing works inspired by the artist's teenage explorations of the Avon Gorge. The exhibition serves as both a celebration of Turner's connection to Bristol and a tribute to local residents who raised over $100,000 in just one week in an unsuccessful attempt to acquire another Turner painting for the museum.
The display centers around four delicate watercolor paintings that Turner created during his first visit to Bristol at the end of the 18th century when he was just 16 years old. These fragile works are so rarely exhibited due to their condition that they may not be seen publicly again for an extended period. The paintings demonstrate Turner's developing expertise in architectural detail, natural observation, and dramatic composition during his formative years as an artist.
Turner's connection to Bristol began in 1791 when he visited the city on holiday and stayed with family friend John Narraway, who worked as a glue maker and fell monger, dealing in animal skins. According to Julia Carver, a curator of art at the museum, Turner earned the nickname "prince of the rocks" because he spent countless hours exploring and climbing around the craggy cliffs of the Avon Gorge. This hands-on approach to studying landscapes would become a hallmark of Turner's artistic method throughout his career.
Carver explained that Turner's adventurous explorations of the gorge demonstrated his commitment to experiencing firsthand the landscapes he painted. This dedication would later manifest in the famous story, possibly apocryphal, of Turner binding himself to a ship's mast to paint "Snow Storm: Steam-Boat Off a Harbour's Mouth" during an actual storm at sea.
Among the featured works is "The Mouth of the Avon, Near Bristol, Seen from Cliffs Below Clifton," which captures a dramatic view toward the sea framed by the rocky walls of a spectacular cave located beneath what is now the site of the Clifton Observatory. "It's a lovely, dramatic view," Carver noted, highlighting the young artist's eye for compelling compositions. Another significant piece, "Avon Gorge and Bristol Hotwell," represents another version of the same view that Turner would later paint in "The Rising Squall" when he returned to Bristol in 1792.
The exhibition, titled "Prince of the Rocks," was organized partly as a response to the museum's recent disappointment in failing to acquire Turner's "The Rising Squall" painting. Despite the remarkable fundraising effort by Bristol art enthusiasts and museum supporters who contributed more than $100,000 within a single week, an anonymous private collector in the UK ultimately outbid the museum's acquisition attempt. The identity of the successful bidder remains unknown, though museum officials have expressed hope that the new owner might consider lending the painting to Bristol in the future.
Philip Walker, head of culture and creative industries at Bristol City Council, acknowledged the significance of the community's support for the failed acquisition campaign. "'Bring Turner Home' was the most ambitious fundraising campaign we've ever attempted, and we were overwhelmed by the support it received," Walker stated. "This exhibition is our way of thanking supporters and celebrating Turner's deep connection to Bristol."
The exhibition extends beyond Turner's own works to provide broader context about the artistic and natural heritage of the Avon Gorge. Additional pieces include other prints by Turner and watercolor paintings of the gorge created by Bristol artist Samuel Jackson, who was part of the Bristol School movement that emerged approximately 30 years after Turner's initial visits. The display also incorporates items from the museum's natural history and science collections, including fossils and quartz crystals that are known locally as "Bristol diamonds."
Carver emphasized the rarity of being able to display these particular Turner watercolors, noting their fragile condition requires careful storage and infrequent exhibition. "With 'Prince of the Rocks,' we can share his own Bristol watercolors, fragile works that rarely go on display, and mark his enduring legacy in this city," Walker added, underscoring the special nature of this exhibition opportunity.
The "Prince of the Rocks: JMW Turner and the Avon Gorge" exhibition will run from September 27 through January 11, 2026, at the Bristol Museum & Art Gallery. Admission to the exhibition is free, making it accessible to all visitors interested in experiencing these rare glimpses of Turner's early artistic development and his lasting connection to the Bristol landscape.
