More or less the subject of 'The Wreck of a Transport Ship' (No.83) reinterpreted following Turner's first experience of Dutch light on his journey to and from the Rhine in 1817, this is one of a series of large coast or harbour scenes in Northern Europe painted in a style and tonality that owes much to Cuyp. The first is the 'Dort' exhibited the previous year (Mellon collection), and it was followed by 'Harbour of Dieppe (changement de domicile)’, R.A. 1825, and 'Cologne, the

Arrival of a Packet Boat. Evening', R.A. 1826 (both in the Frick Collection, New York). This example is particularly notable for its high key and almost obsessive variety of cloud formations. The title embodies a typical pun, the 'Orange Merchant' not only hailing from the country once ruled by the House of Orange but having spilled its cargo of oranges. 'Masensluys' is Maassluis, the other side of the Maas from Brill.

The picture was singled out for praise in the Repository of Arts for June 1819 in a review beginning ‘To speak of the extraordinary powers of this artist would indeed be a work of superogation', though the Annals of the Fine Arts for the year found it ‘Too scattered and frittered in its parts to be reckoned among Turner's happiest productions. Compared with himself, this picture suffers, - compared with others, it maintains Turner's rank uninjured'. It was the first Turner to be seen be the young Samuel Palmer and made an indelible impression upon him. See also No.188.