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Title: Early English Water-Colour Drawings of the Great Masters
Author: Finberg, A. J. (Alexander Joseph)
Language: English
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DRAWINGS OF THE GREAT MASTERS ***
EARLY ENGLISH WATER-COLOUR
DRAWINGS BY THE GREAT MASTERS
EARLY ENGLISH
WATER-COLOUR DRAWINGS
BY THE GREAT MASTERS
WITH ARTICLES BY A. J. FINBERG
1919
EDITED BY GEOFFREY HOLME
“THE STUDIO,” Lᵀᴰ^{.,} LONDON PARIS, NEW YORK
CONTENTS
ARTICLES BY A. J. FINBERG
PAGE
Introduction 1
The Turners 4
Turner’s Predecessors 22
Turner’s Contemporaries 26
Descriptive Catalogue of the Exhibition of Selected Water-Colour
Drawings by Artists of the Early English School held
at Messrs. Thomas Agnew & Sons’ Galleries, London, March-April
1919 33
ILLUSTRATIONS IN COLOURS
After J. S. Cotman PLATE
_Rouen_ (3) xxxv
After J. R. Cozens
_A Swiss Valley_ (43) xxvii
_Villa Negroni, Rome_ (42) xxix
After J. M. W. Turner, R.A.
_Castle of Chillon_ (18) vii
_Saumur_ (23) x
_Richmond Bridge--Play_ (20) xi
_Worcester_ (25) xii
_The Longships Lighthouse, Land’s End_ (27) xiii
_Lake Nemi_ (26) xv
_The Rigi at Sunrise--Lake of Lucerne (“The Blue Rigi”)_ (28) xvii
_Lake of Lucerne: Brunnen in the Distance_ (130) xx
_Mouth of the Grand Canal_ (127) xxiii
ILLUSTRATIONS IN MONOTONE
After T. Collier
_Beeston Castle_ (82) xliv
After J. S. Cotman
_Bridge over River near a Town_ (78) xxxiii
_Gormire Lake, Yorkshire_ (74) xxxiv
After J. S. Cotman
_A Lake Scene_ (1) xxxvi
_Church in Normandy_ (9) xxxvii
After J. R. Cozens
_In the Farnesina Gardens, Rome_ (41) xxviii
_Lake Nemi_ (45) xxx
After Edward Dayes
_Norwich Cathedral_ (144) xxvi
After Copley Fielding
_The Pilot Boat_ (70) xlii
After Thomas Girtin
_Kenilworth_ (146) xxxi
_Lincoln_ (7) xxxii
After Samuel Prout
_Folkestone_ (86) xxxix
After David Roberts, R.A.
_Granada_ (88) xliii
After G. Robson
_Ben Venue, from Lanrick_ (66) xli
After Paul Sandby, R.A.
_The Swan Inn, Edmonton_ (64) xxv
After J. M. W. Turner, R.A.
_Old Abbey, Evesham_ (139) i
_Malmesbury Abbey_ (53) ii
_Water Mill_ (147) iii
_A Mountain Stream_ (152) iv
_Cassiobury: The House seen across the Park_ (16) v
_Lake of Thun_ (34) vi
_Patterdale Old Church_ (21) viii
_Rolandswerth Nunnery and Drachenfels_ (35) ix
_Valley of the Washburne, near Farnley_ (153) xiv
_Florence, from near San Miniato_ (29) xvi
_Steeton Manor, near Farnley_ (136) xviii
_Wilderness of Sinai_ (132) xix
_Saltash_ (30) xxi
_Prudhoe Castle_ (22) xxii
_A Gorge_ (115) xxiv
After William Turner of Oxford
_Kingley Vale, with Chichester Cathedral in the Distance_ (77) xl
After John Varley
_Leyton, Essex_ (1830) (122) xxxviii
THE EDITOR DESIRES TO ACKNOWLEDGE THE VALUABLE ASSISTANCE RENDERED HIM
IN THE PREPARATION OF THIS VOLUME BY MESSRS. THOMAS AGNEW & SONS; AND
TO THANK MR. C. MORLAND AGNEW, MR. W. J. H. JONES, AND MR. R. W. LLOYD
FOR KINDLY ALLOWING THEIR DRAWINGS TO BE REPRODUCED
INTRODUCTION
Turner was one of the greatest artists this country has produced, and
much of his best work--and nearly all the work by which he has endeared
himself to his fellow-countrymen, was done in water-colour; yet
water-colour painting, though it has played almost as important a part
as oil painting in the history of British art, is not yet recognized
by our authorities as an independent branch of art. That Turner the
water-colour painter is represented at all in our National Gallery
is purely an accident. The bulk of his water-colours are in private
collections, and it is only on rare occasions that the public can get
an opportunity of seeing them.
It is for these reasons that Messrs. Thomas Agnew and Sons’ annual
exhibitions of English water-colours, though the outcome of the energy
and enterprise of a private firm, have become artistic events of
great public importance. The chief feature of these exhibitions has
always been a generous supply of Turner’s finished water-colours. They
have, therefore, become a regular source of instruction and pleasure
to that section of the public which really cares for British art.
They open the doors, at any rate for a time, to the chief private
collections of Turner’s water-colours; they give students of his work
valuable opportunities of enlarging their experience and increasing
their knowledge; and they do much to spread and stimulate an adequate
appreciation of the achievements not only of Turner but of the other
great water-colour painters of this country.
The exhibition which was opened in March of this year (1919) was
neither superior nor inferior to those which had gone before, but
it attracted a quite unusual amount of interest and attention. This
was due, I imagine, at least in part to circumstances connected with
the war--to the closing of the public galleries and museums, and
to the almost incredible folly of the Government in not reopening
them immediately the armistice was signed. After the long-drawn-out
agony of the war there was a part of the public which was disposed
to turn naturally to the comfort and refreshment which art can give.
But though the armistice was signed in November last year, Messrs.
Agnew’s exhibition was the first opportunity offered to the public of
seeing, under favourable conditions, a fine selection of some of the
most beautiful work of our great artists of the past. The public was
evidently grateful for such an opportunity and took full advantage of
it. This was only another instance of our national good luck in finding
that private enterprise and initiative so often step in and perform
work of public importance which our Government is too stupid or too
supine to perform.
I have said that this exhibition was neither superior nor inferior to
its immediate predecessors, but to say that it was not inferior was
to give it very high praise. The exhibition, indeed, was one which
would have done credit to any of our public galleries. The array of
Turner’s masterpieces on the long south wall of the gallery produced an
overpowering sense of his incomparable technical skill, his boundless
energy, and the infinite variety of his mind. In the centre of the
wall, in a place of honour, was enthroned the regal _Lake Nemi_
(Plate XV), resplendent with something brighter than the sunshine of
Italy, a gorgeous and intoxicating dream of sensuous beauty. Beneath
it hung the awe-inspiring _Longships Lighthouse_ (Plate XIII),
and on the right the beautiful and pathetic “_Blue Rigi_” (Plate
XVII), tender and wistful, in which the helplessness and restlessness
of old age only made more manifest the sorrows and regrets with which
the painter’s heart was filled. Grouped round these great masterpieces
of his full strength and waning powers were works of his early manhood,
like the _Cassiobury_ (Plate V), with its horses and dogs, a
robust jovial scene, the _Lake of Thun_ (Plate VI), the restrained
and elegant _Castle of Chillon_ (Plate VII), the dainty,
coquettish _Scarborough_, several of the Rhine drawings of 1817,
and many of his proudest and most exultant drawings, like the Byronic
_Florence, from near San Miniato_ (Plate XVI), the _Saumur_
(Plate X), and the _Saltash_ (Plate XXI), _Prudhoe_
(Plate XXII), _Richmond Bridge_ (Plate XI), _Windsor Castle,
Coventry_, and the somewhat operatic _Worcester_ (Plate XII),
of the “England and Wales” series; nor must I forget the impressive
_Lowestoft_, a grey and gloomy tragedy as grim and moving even as
the _Longships_.
And as no man stands alone--not even the greatest of geniuses--the
educational value of this array of masterpieces was increased by a
fine display of the works of those English water-colour painters who
had been born and had worked before Turner, and of his contemporaries.
The early topographical draughtsmen whom Turner first set out to
imitate and rival, were represented by Paul Sandby’s _The Swan
Inn, Edmonton_ (Plate XXV), Thomas Hearne’s _Thaxted Church,
Essex_, Thomas Malton Junior’s two quaint views of Bath, and many
other drawings, mostly in the “stained” manner, by Wheatley, J. I.
Richards, Ibbetson, William Payne, Dayes and others. Richard Wilson,
the chief influence in directing Turner’s genius to imaginative design,
was perforce unrepresented, as he does not seem to have worked in
water-colour; but Gainsborough was represented by one of his charming
drawings in chalk, and there was a noble group of nine of John R.
Cozens’s austerely beautiful drawings, among them the large _Lake
Albano_, and the charming _Villa Negroni_ (Plate XXIX).
Turner’s contemporaries were well represented by over seventy drawings,
which included three of his friend Girtin’s early works, and at least
one fine example of his robust maturity--a masterly view of the ruined
Lady Chapel of _Fountains Abbey_. Cotman had two fine early
Girtinesque drawings, _Gormire Lake, Yorkshire_ (Plate XXXIV),
and _Bridge over River_ (Plate XXXIII), a nobly designed _Lake
Scene_ (Plate XXXVI), in monochrome, and a brilliantly coloured
view of _Rouen_ (Plate XXXV). There were also two of Copley
Fielding’s most ambitious sea-pieces--_The Pilot Boat_ (Plate
XLII) and _Seaford from Newhaven Pier_, and a number of admirable
drawings by De Wint, David Cox, Varley and Prout.
After being got together with much labour and thought, and having
served its purpose for a month or two, this exhibition seemed destined
to suffer the usual fate of such undertakings, which is to be speedily
dispersed and soon forgotten. It occurred, however, to the Editor of
THE STUDIO that a permanent record of it would make a strong
appeal to many of those who had seen and enjoyed the exhibition, and
would enable a large number of those lovers of British water-colours
who had not been able to visit Messrs. Agnew’s gallery to realize
something of its interest and beauty.
Such is the origin, such is the purpose of the present volume. It was
naturally gratifying to me to be invited to supply the text for such
a work. But the value of a book like this depends very little on its
letterpress, and much on its illustrations. The colour processes have
in recent years made extraordinary progress and the reproductions of
the wonderful drawings collected by Messrs. Agnew will be sure of a
very hearty and a very wide welcome.
THE TURNERS
As Turner’s drawings formed the chief feature of the exhibition I will
begin my comments with them. The best way to arrange my notes seems
to be to take the drawings in their chronological order, disregarding
the sequence in which they were hung in the exhibition. By beginning
in this way, with the earlier drawings, we shall be able to study the
gradual development of Turner’s mind and skill.
[A] 128. _Church of St. Lawrence, Evesham, as seen through Tower
Gateway_, 1793.
139. _Old Abbey, Evesham_, 1793 (Plate I).
These two subjects were sketched during the summer of 1792, when Turner
was seventeen years of age. He was then a student at the Royal Academy
schools, where he attended the life class diligently during the winter
and spring months. In the early part of the summer of 1792, he went
to Bristol to visit his uncle’s friends, the Narraways, and went from
there to South Wales, Hereford, Great Malvern, Worcester, Evesham,
Tewkesbury and Gloucester. Several of the pencil drawings made during
this tour were exhibited some years ago at Mr. Walker’s gallery in Bond
Street.
These two highly finished and accomplished water-colours are good
examples of the work of the industrious apprentice. One searches them
in vain for signs of originality, for some promise of a new way of
thinking or feeling, a new vision, or a new form of expression. Their
aims are conventional, and their modest triumphs are triumphs of the
commonplace virtues--intelligence, docility, and above all, industry
working upon a foundation of natural talent. In them Turner was trying
to do exactly what the successful topographical and antiquarian
draughtsmen of the day were doing,--Sandby, Rooker, Hearne and
Dayes--and the precocious boy has already succeeded in doing such work
nearly as well as it can be done.
53. _Malmesbury Abbey_, 1794 (Plate II).
Though a year later in execution than the Evesham drawings, this was
based on sketches which had been made in 1791. These are now
in the National Gallery (Turner Bequest, VII C. and D.)
One is inscribed in Turner’s handwriting, “The Ruins of the Tower at
the West End of Malmesbury Abbey, taken from the Friars Walk, 1791.”
It is carefully worked in water-colour with brown ink outlines. The
other drawing is similarly worked and represents the same tower from a
point of view a little more to the left and lower down. The picturesque
features of these two views have been cunningly combined in the
finished drawing.
Turner exhibited a drawing of Malmesbury Abbey at the Royal Academy
in 1792. I was once misled by other writers into thinking that this
drawing might be the one which was then exhibited. The date, 1794,
disproves this. The present drawing is probably a reduced replica of
the exhibited work.
156. _Willesden Church_, circa 1796.
I believe this is the drawing which was described as “Kilburn Church”
in the J. E. Taylor sale. It is worked in blue and grey washes. It is
connected, I think, with Turner’s activities as a teacher of drawing.
147. _Water Mill_, 1797-1798 (Plate III).
152. _A Mountain Stream_, 1798 (Plate IV).
159. _Mountainous Landscape_, 1798.
These drawings are separated from the views of Evesham by an interval
of five or six years. Turner was now twenty-three years of age. His
exhibits at the Royal Academy in 1796 and 1797 had proved him to be
the most accomplished topographical and antiquarian draughtsman which
this country had produced, but the limitations of such work were too
narrow to satisfy either his ambitions or his powers of expression.
He had made up his mind by this time to be an artist and not merely a
draughtsman. He had felt the glamour of Richard Wilson’s paintings,
and their rich and sombre harmonies of colour were haunting his
imagination. There is a small pocket-book, bound in green leather,
in the National Gallery, labelled by Turner on the back, “Studies
for Pictures. Copies of Wilson,” which contains many colour sketches
done from memory of pictures by Wilson which he had seen in public
exhibitions or private collections. All the drawings and sketches from
nature Turner made at this time show the influence of Wilson’s work.
He was trying hard to see nature as Wilson had seen it, and he had
evidently taken a strong dislike to the neat “bit-by-bit” style of
painting of the “Evesham” and “Malmesbury Abbey” period. He had also
begun painting in oil on rather a large scale; another influence which
made for breadth of style.
In the _Water Mill_ (Plate III) the results of his early training
in topographical and antiquarian work are evident in the treatment
of all the quaint details of the old mill. The irregularity of its
structure, the effects of age and weather on the shapes of the roofs,
and the colouring of the tiles, bricks and woodwork are rendered with
intense sympathy and the most delicate and accurate observation. This
delight in the irregularity and picturesqueness of old buildings, and
the effects of weather, use and decay reminds one of Prout’s drawings;
yet there are no traces of Prout’s mannerisms and shortcomings in this
beautiful work of the young master, and there is a breadth and ease
in Turner’s drawing which we look for in vain in Prout’s numerous
productions.
In the first volume of “Modern Painters” Mr. Ruskin wrote: “we owe to
Prout, I believe, the first perception, and certainly the only existing
expression of that feeling which results from the influence among the
noble lines of architecture, of the rent and the rust, the fissure, the
lichen, and the weed, and from the writing upon the pages of ancient
walls of the confused hieroglyphics of human history.” The _Water
Mill_ shows that Turner forestalled Prout by a good many years. If
it were my business to point out to people the qualities of sight,
brain-power and manual dexterity which distinguish the works of great
artists from those of inferior ones, I should choose the best drawing
of Prout I could secure and ask my students to compare it carefully
with the _Water Mill_. Such comparison would show that Turner did
everything that Prout did, and did it better; every picturesque detail
is rendered with the same affectionate interest and fidelity; but while
Prout seems to be working with a certain stiffness and rigidity, as
though practising a formula, Turner’s rendering is delicate, supple,
and without any self-consciousness or display.
In _A Mountain Stream_ (Plate IV) Turner has got completely away
from his early “bit-by-bit” manner of working. The scene is grasped
as a whole, and every detail and part is subordinated to the general
effect. This is a fine example of the early development of Turner’s
executive mastery. Every touch is inspired by the general conception.
Turner spent the summer of 1798, when this drawing was made, in North
Wales, visiting Kilgerran, Harlech, Conway and Carnarvon castles, and
the neighbourhood of Snowdon. In the “Hereford Court” Sketch Book
(Turner Bequest, XXXVIII) there are several Wilsonesque water-colours
similar to this.
The _Mountainous Landscape_ is probably a leaf of the “North
Wales” Sketch Book, a smaller book in use at the same time as the
“Hereford Court” Sketch Book. It is slighter and more summary than the
_Mountain Stream_, being worked with a few simple washes put on at
once with unerring skill and knowledge. This masterly little sketch was
erroneously ascribed to Alexander Cozens in the catalogue; though why,
I cannot imagine, as it does not bear the faintest resemblance to that
artist’s style. But the mistake was productive of an incident which
caused considerable amusement amongst students of Turner’s works. The
art critic of one of the leading London papers happens to be a superior
person who finds Turner too “vulgar” for his refined taste. This
delightful critic dismissed the whole collection of Turner’s wonderful
drawings in the exhibition as mere “works of commerce,” and singled
out this _Mountainous Landscape_, because he was told it was by
Alexander Cozens, as one of the finest things in the exhibition. Yet
there are still people who ask “What’s in a name?” Probably if Turner’s
“_Blue Rigi_” had been described in the catalogue as by Alexander
Cozens this amusing critic, who seems to judge pictures rather by what
he is told than by what he sees, might have found that it possessed
some artistic merits.
158. _Crosses and Brasses, Whalley Abbey_, circa 1799.
This was done to be engraved in Whitaker’s “History of the Parish of
Whalley,” and is therefore a mere “work of commerce.” I suppose some
people must think an artist lowers himself somehow if he sells his
work or accepts an order to make a drawing. Work done under these
conditions, they seem to think, must be done carelessly, hastily,
and half-heartedly, otherwise there would be no point in the sneer.
This is a curious example of modern ways of thinking. Work has become
low, plebeian; only the groundlings work; the really superior person
has a private income (or his wife has) and devotes himself to doing
things which will benefit humanity at large in the dim and distant
future. Some of this muddle-headedness, so far as art is concerned,
is probably due to the current cant about “utterance,” emotion and
self-expression, though some of it may be due to a genuine though vague
and unpractical desire for the general good. I will merely remark that
Turner was emphatically not a superior person of this kind. He looked
upon himself always as a workman. He retained even late in life, as Mr.
Ruskin once happily remarked, “some little English sense and practical
understanding.” He believed in work, and he was prouder of his enormous
powers of work than of his genius, his success, or even his money. But
he expected to be paid for his work, and he grumbled vigorously when
any of his works failed to sell. On the other hand, he never scamped
his job, or offered an employer work which was not done as well as he
could do it.
How unsparing of his time and labour he was is proved by this drawing
of the Whalley crosses and brasses. The subject gave him no chance of
using those of his gifts which gave him most pleasure to use. It gave
him no opportunities of what our modern sentimentalists call emotion or
“utterance.” As the subject called only for sheer plodding labour, he
gave that, and he gave it in full measure. The drawing once belonged to
Mr. Ruskin.
145. _Norbury Park_, circa 1797.
This is a study of natural colouring and effect; a note of the autumn
tints on a charming stretch of country. Wilson is quite forgotten for
the moment. The young artist is content to put down on the paper, as
neatly and swiftly as possible, a faithful record of what he sees.
This drawing was probably made in September 1797, when Turner was at
Norbury Park. He exhibited at the Royal Academy in the following year
_A Study in September of the Fern House, Mr. Lock’s Park, Mickleham,
Surrey_. It would be interesting to know what has become of this
drawing. I can find no trace of it in Christie’s records or elsewhere.
16. _Cassiobury: The House seen across the Park_, circa 1800
(Plate V).
Another example of Turner’s “commercial work,” and like the Whalley
brasses done as well as he could do it. This is one of the numerous
drawings and paintings he made for the noblemen and gentlemen of
England of their houses and grounds. It was done for George, 5th Earl
of Essex, who was one of Turner’s earliest patrons. As Viscount Malden,
before he succeeded to the earldom, he had employed Turner in 1795 to
make views of the house and grounds at Hampton Court, Herefordshire.
The drawing of _A Waterfall_, now in the Victoria and Albert
Museum (1682-’71) is a view of the cascade in those grounds.
The introduction of the huntsmen, horses and dogs in the foreground
of the Cassiobury drawing gives it a sporting and jovial character
which is thoroughly in harmony with the spirit of the place. Turner
was quick in noting characteristic details of this kind and used them
with propriety and effect. Yet the drawing has a fine spaciousness
and stateliness which the artist’s noble patron would appreciate. I
believe this water-colour must have been lower in tone and darker in
colour when it was first done than it is now. The pencil drawing from
nature of the mansion from which the water-colour was painted is in the
“Fonthill” Sketch Book, p. 41. The curious will find it reproduced in
my book on “Turner’s Sketches and Drawings.”
34. _Lake of Thun_, 1809 (Plate VI).
Fortunately this drawing is dated, otherwise one would be tempted to
consider it as having been painted some years earlier. It was sketched
during Turner’s first tour in Switzerland, in 1802, and may have
been begun soon afterwards. It is Wilsonian in colour, but a certain
massiveness and heaviness in the design suggest that he was thinking
rather too much of the composition of Poussin and the old masters. It
is in an excellent state of preservation.
18. _Castle of Chillon_, 1810 (Plate VII).
Another fruit of the 1802 tour in Switzerland, and, like the preceding
drawing, painted for Sir J. E. Swinburne. It is more beautiful than
the _Lake of Thun_. The colour is a lovely harmony of deep blues,
russet browns and dull crimsons. There is no formalism or heaviness in
the design. I hope the fortunate owner of this exquisite drawing will
keep it carefully from undue exposure to a strong light, as the blues
in it are very sensitive to such influences. When once they have faded
they can never be coaxed back. So many of Turner’s drawings of this
kind have been ruined by exposure to the light that one cannot but be
anxious that this, one of the most beautiful of them all, should be
preserved for the delight of the coming generations.
Turner seems to have repeated this subject, as I remember another
version of it in Mrs. Stern’s possession which was sold at Christie’s
in 1908. Doubtless there are some slight differences in the two
drawings, but the design and general effect were similar. Mrs. Stern’s
drawing had the same restraint and elegance as this one.
21. _Patterdale Old Church_, circa 1810 (Plate VIII).
Another well-preserved drawing. The indigo and other blues are unfaded.
When this drawing was exhibited at the Royal Academy (Old Masters) in
1886, it was described in the catalogue as the original of an engraving
of this subject which was published in Mawman’s “Excursion in the
Highlands,” 1805. This must be incorrect. The “P.P.” (Professor of
Perspective) at the end of Turner’s signature proves it to be a later
drawing, as Turner was not elected Professor of Perspective till 1807.
36. _Vale of Pevensey, from Rosehill Park_, circa 1816.
One of a series of views of Rosehill, Sussex, (now known as Brightling
Park) and of places in the neighbourhood, made for Mr. John Fuller,
M.P., about 1816. These drawings were inherited by Sir Alexander
Acland-Hood, who sold them at Christie’s in 1908. The present drawing
has suffered from exposure to a strong light. The indigo having
disappeared the general effect is lighter and the colour warmer than
when it was first painted. Yet in spite of this, how fine the drawing
is! Its complexion, one might say, has changed, but all its native
nobility of character remains. How splendidly the subject is conceived,
what a glorious composition it makes, yet how truthful and sympathetic
the drawing is as a representation of the rolling downs of Sussex, its
lusty and happy trees, its exhilarating vistas of the distant sea and
rugged coast-line. The elaborate and beautifully drawn pencil study
from which this picture was painted is in the National Gallery, in the
“Views in Sussex” Sketch Book (Turner Bequest, CXXXVIII, p. 19). The
drawing was engraved in aquatint by J. C. Stadler (the same size as the
original) for Mr. Fuller, printed in colours, and finished by hand.
These prints, Mr. Rawlinson tells us, are excessively rare.
17. _Mayence and Kastel_, 1817.
19. _Lurleiberg: the Bend of the River_, 1817.
35. _Rolandswerth Nunnery and Drachenfels_, 1817 (Plate IX).
37. _Mayence_, 1817.
These are four out of the fifty-one Rhine drawings which Turner made
for Mr. Walter Fawkes in the summer and autumn of 1817. Thornbury
dates these drawings 1819, which is a mistake, and says that they were
done “at the prodigious rate of three a day.” But no man, not even
Turner, marvellously rapid worker as he was, could have produced these
fifty-one drawings at such a rate. What really happened was this: the
sketches for these drawings were actually made in twelve days, between
August 18 and 30, 1817; the fifty-one water-colours were then painted
from these pencil sketches between the end of August and November 13
(the day Turner handed the complete series “in a slovenly roll” to
Mr. Fawkes at Farnley Hall). We do not know exactly where the work
was done, but it was probably partly at inns, for Turner could work
anywhere and under any conditions, and partly when staying with Lord
Darlington at Raby Castle, or with Lord Strathmore at Hylton Castle
or Gibside. The documentary evidence which has enabled me to correct
Thornbury’s statements is given in detail in my account of “Turner’s
Water-Colours at Farnley Hall” (THE STUDIO office).
The drawings of this series are not hurried sketches from nature,
they are carefully pondered and perfectly elaborated works of art.
The painting of the dark cloud crossing the sun in the _Mayence
and Kastel_ is a striking instance of Turner’s technical mastery.
It must have been floated on while the paper was wet and allowed--or
rather made--to run into just the right shapes. Its evanescent effect,
its melting, imperceptible gradations, could have been got in no other
way.
The broad calm river, the spacious design, and the beautifully drawn
rocks in the _Rolandswerth Nunnery and Drachenfels_ (Plate IX)
make it a delightful drawing. This view must have been taken from near
Oberwinter, looking north, in the direction of Bonn.
Nearly all the drawings in this series were painted over a grey
preparation, put on over the white paper before the work was begun.
By wiping out or scraping away this preparation the white paper was
laid bare and Turner was thus enabled to get his high lights and his
general effect of light and dark very rapidly. But the presence of
the grey preparation forces the drawings into a low key and makes
grey the predominant note in the colour scheme. The colour harmonies
are, therefore, generally silver rather than golden. The drawing of
_Mayence_ is, however, an exception to the rule, as it is painted
direct upon the white paper without any grey preparation. It therefore
stands out from its companions as being more limpid in workmanship and
more luminous in effect than they are.
129. _Florence from Fiesole_, circa 1817.
134. _Turin, from the Church of the Superga_, do.
137. _Lake of Nemi_, do.
These three drawings were made as illustrations to James Hakewill’s
“Picturesque Tour of Italy,” and they were worked from Hakewill’s
sketches, as Turner at that time had never visited Italy. They formed
part of Mr. Ruskin’s collection and were exhibited at the Fine Art
Society’s galleries in 1878. It is stated in the text of Hakewill’s
book that the view of _Florence from Fiesole_ was “taken from
the garden of the Franciscan convent at Fiesole,” but Mr. Ruskin has
pointed out that the little bend of wall within which some monks are
standing in the foreground on the left is not really a part of the
Franciscan garden, but is one of the turns of the road in the ascent to
Fiesole.
Mr. Ruskin regarded the _Turin, from the Superga_ as one of his
“very chiefly valued possessions.” And well he might. It is indeed a
most exquisite and delightful piece of work. Each time I see it, it
gives me a fresh thrill of pleasure; its colour is so cheerful and
happy, the subject-matter is so well chosen--the contrast between the
distant snow-clad mountains and the comfortable sheltered existence of
the people of the city--and the design is so daring, so original, and
carried out with such consummate skill and resource.
Mr. Ruskin tells us that the inlaid diamond-shaped mosaics in the
pavement, which complete the perspective of the distance, are Turner’s
own invention. “The portico is in reality paved with square slabs of
marble only.” Perhaps Turner mistook some indications in Hakewill’s
sketch for these insertions, or perhaps he felt that the bare space in
the foreground wanted variety and calmly invented this artifice for the
purpose. I notice that though these diamond-shaped mosaics look quite
plausible and satisfactory in the drawing, Turner has altered them in
the engraving, reducing the width of the black band and introducing
another lozenge within the white centre.
The _Lake of Nemi_ is, as Mr. Ruskin said, “consummate in all
ways.” He goes on to point out how the light trees on the right have
been left while the distant lake and crags were being finished; and
that the towers and buildings of the Capuchin’s Convent high up on the
right were painted before the sea horizon, “which is laid in afterwards
with a wash that stops before touching the houses.” The town beyond the
convent is Gensano, and the distant mountain on the Mediterranean is
Monte Circello.
153. _Valley of the Washburne, near Farnley_, circa 1818 (Plate
XIV).
136. _Steeton Manor, near Farnley_, do. (Plate XVIII).
32. _Scarborough_, 1818.[B]
Between 1812 and 1818, Turner made a series of nearly fifty drawings
of views of Farnley Hall, inside and outside, and of places of
interest in the grounds and in the neighbourhood. The _Valley of the
Washburne_ (Plate XIV) shows us the first stages through which most
of these drawings passed. The whole subject is drawn very carefully in
chalk on brown paper. A few touches of body-colour in the foreground
and a slight wash over part of the sky begin the later stages, but then
the drawing was for some reason carried no further. Yet one cannot
regret this, for there is such a freshness, such overflowing vigour
and happiness in what has been done that the most exigeant criticism
can demand no more. This is a good example of what I have noticed
repeatedly, that Turner’s drawings were always delightful at each stage
of their development; and from the commencement they had a certain
completeness and finality. They never suggest “work.” They always look
as though the artist were just enjoying himself by putting down on
the paper, without any effort whatever, the thoughts which had taken
possession of his mind.
I do not know why this drawing was not “carried on,” as Turner
would have expressed it. There is a superb and completely finished
water-colour of a very similar view of the banks of the Washburne in
the Farnley Hall collection, so perhaps Mr. Fawkes did not want another
drawing of quite the same subject.
When I was at Farnley a few years before the war, I went to the
Washburne intending to make a sketch of this picturesque view. But I
found the banks covered with such a dense overgrowth of trees that the
little river was entirely shut out from sight. The rocky crest of the
Chevin was, however, still unaltered, and there was Caley Park on the
slopes very much as when Turner had drawn it; and there was Leathley
Church with its square tower, the Farnley place of worship, where the
late owner of Farnley, the Rev. Ayscough Fawkes, was for many years
incumbent.
_Steeton Manor House_ (Plate XVIII) is near Skipton. This drawing
is on a smaller scale than most of the series.
The Fawkeses, in Turner’s time, were fond of Scarborough, and Turner
was sometimes there in their company. Mr. Fawkes bought Turner’s large
drawing of Scarborough which was exhibited at the Royal Academy in 1811
(there is a repetition of this drawing in the Wallace Collection). But
by 1818, when Mr. Morland Agnew’s lovely drawing was made, Turner’s
style had changed. The earlier “Scarborough” is reserved and stately
in design, but its breadth verges on emptiness. It is as though the
artist was a little afraid of nature and was determined to keep her
at arm’s length, for fear of offending the shades of Poussin, Claude
and the other great old masters. But by 1818 he had got over his
shyness. He had by then taken nature to his bosom. He delights in
the sheer loveliness and infinite variety of English scenery. His
manner of painting has become more sensitive and refined, to enable
him to render the subtle qualities of form and atmosphere. Our
modern theorists tell us that if an artist is in love with what he
sees and bent on reproducing it, he ceases to “express himself” and
becomes a mere mechanic. But this is because they fail to understand
that healthy and imaginative artists do not sit at home in the dark
anxiously feeling their pulse and worrying about their emotions and
their moods. When Turner painted this lovely drawing of Scarborough he
was as passionately absorbed in the variety and ever-changing beauty
of physical nature as a poet like Wordsworth. The eye was the organ of
his mind and spirit. He not only looked at nature, but he understood
her, and loved her with intense and self-forgetting devotion. A drawing
like this proves--what nobody should ever doubt--that an artist may be
a realist and also a poet.
The late Mr. Francis Bullard has drawn attention (in a privately
printed catalogue of some of Turner’s engravings which he generously
presented to the Boston Museum of Fine Arts) to some valuable remarks
by Mr. Santayana on the subject of naturalism in poetry which apply
with so much force to Turner’s realism that I will venture to quote
them. After pointing out that our interest in nature need not
necessarily be shallow and egotistical, Mr. Santayana writes: “Our
emotion may be ingenuous; it may be concerned with what nature really
is and does, has been and will do for ever. It need not arise from a
selfish preoccupation with what these immense realities involve for our
own persons, or may be used to suggest to our self-indulgent fancy. No,
the poetry of nature may be discerned merely by the power of intuition
which it awakens and the understanding which it employs. These
faculties, more, I should say, than our moodiness or stuffy dreams,
draw taut the strings of the soul, and bring out her full vitality and
music. Naturalism is a philosophy of observation, and of an imagination
that extends the observable; all the sights and sounds of nature
enter into it, and lend it their directness, pungency, and coercive
stress. At the same time, naturalism is an intellectual philosophy;
it divines substance behind appearance, continuity behind change, law
behind fortune. It therefore attaches all those sights and sounds to
a hidden background that connects and explains them. So understood,
nature has depth as well as surface, force and necessity as well as
sensuous variety. Before the sublimity of this insight, all forms of
the pathetic fallacy seem cheap and artificial. Mythology, that to a
childish mind is the only possible poetry, sounds like bad rhetoric in
comparison. The naturalistic poet abandons fairyland, because he has
discovered nature, history, the actual passions of man. His imagination
has reached maturity.”
By the time the _Valley of the Washburne_ and _Scarborough_
drawings were made Turner’s imagination had reached its maturity. In
much of his work done after this period one misses something of the
earlier freshness, spontaneity, and what, for want of a better word, I
must call “integrity.”
These shortcomings are most noticeable in his large oil paintings. The
Wordsworthian calm and absolute sincerity of the earlier paintings,
like _The Frosty Morning_, Lord Essex’s _Walton Bridges_,
the _Windsor_ and the _Abingdon_, give place to the Byronic
_Bay of Baiæ_ (1823), the two _Mortlakes_ (1826-27), _Dido
Directing the Equipment of the Fleet_ (1828) and the _Ulysses and
Polyphemus_ (1829). Instead of the profoundly imaginative realism
of the earlier works, we get the unrest of romanticism, with its vague
and empty pomp, its cloying self-indulgence, its warm, voluptuous
atmosphere. Yet even in the rush of romantic intoxication Turner could
often touch the deepest chords of our imagination, especially in his
water-colours, with works of the most intense sincerity and sublime
insight. We have two examples of such works in the present exhibition,
_The Longships Lighthouse_ and the _Lowestoft_.
But before coming to these drawings, which form part of the “England
and Wales” series, I must refer to the following subjects:--
29. _Florence, from near San Miniato_, circa 1825 (Plate XVI).
23. _Saumur_, circa 1829 (Plate X).
132. _Wilderness of Sinai_, circa 1832-34 (Plate XIX).
This view of Florence is the earliest example in the exhibition of an
Italian scene painted from Turner’s own impressions. Yet in spite of
this it seems to me to miss something of the charm of the drawings made
from Hakewill’s sketches. It is richer in colour and more gorgeous in
effect than they; yet it suggests, at least to my mind, more of the
opera than of reality. It might have been painted as an illustration
to Byron’s “Childe Harold.” It has been stated that this drawing
was engraved in “The Keepsake” for 1828, and Mr. Rawlinson says (in
his valuable book on “The Engraved Work of Turner”) “there are two
apparently identical drawings of this subject, one in the possession
of Lord Northbourne, the other in the possession of Mr. J. Beecham.”
But the foreground and figures in this drawing (which was once in Sir
Joseph Beecham’s collection) are different from those in the engraving.
I think therefore that Lord Northbourne’s version, which I do not
remember to have seen, must be the original from which “The Keepsake”
engraving was made.
_Saumur_ (Plate X), on the other hand, was engraved for “The
Keepsake” for 1831, and it was republished in Heath’s “Gallery of
British Engravings.” It has a magnificent sky, full of the moving
pageantry of the heavens, and it is superbly designed. Another and
different view of this subject was engraved in the “Rivers of France.”
One would hardly recognize the chateau of the Queen of Sicily, on the
rock by the bridge, as the same building in the two engravings.
The _Wilderness of Sinai_ (Plate XIX), like the Hakewill drawings,
was done from the sketch of an amateur, a Major Felix. Turner always
lavished more than his usual care and labour on such work. For sheer
delicacy and cunning of hand it would be hard to find its equal. The
engraving was published in Finden’s “Landscape Illustrations of the
Bible” (1836). The rock in the foreground is said by the Arabs to be
the one which Moses struck when the Israelites were athirst. The alert
figures in the foreground and the two mounted men beyond show how well
Turner could draw such things when he wanted to.
We have now to turn our attention to the “England and Wales” series,
the most ambitious of Turner’s publications, which occupied much of
his time between 1825 and 1838. The scheme as originally planned
was to include one-hundred-and-twenty drawings, but the venture was
financially unsuccessful and it was abandoned after about a hundred
drawings had been made and engraved. Posterity has not endorsed the
contemporary indifference to this series. The plates are probably the
best known and most widely appreciated of all Turner’s engravings, and
the original drawings are certainly the most popular and most eagerly
sought after by collectors of his water-colours. They are eminently
characteristic of the artist; full to overflowing of evidence of
his extraordinary knowledge, powers of observation and incomparable
technical skill, and they display freely all his faults of mind and
character. Parts of his work are like Shakespeare’s, incorrect,
capricious and wanton. Like Shakespeare his imagination was crowded
with a tumultuary confusion of images. He had all Shakespeare’s
reckless and unquestioning confidence in himself and in his own powers,
so that his work often seems vehement and negligent. But if he had
Shakespeare’s faults he had also much of Shakespeare’s greatness. We
have only to change the word poet to painter to apply Dryden’s encomium
of Shakespeare to him. “All the images of nature were still present to
him, and he drew them not laboriously, but luckily. When he describes
any thing, you more than see it, you feel it too.... I cannot say he
is every where alike; were he so, I should do him injury to compare
him with the greatest of mankind.... But he is always great, when some
great occasion is presented to him. No man can say, he ever had a fit
subject for his wit, and did not then raise himself as high above the
rest of poets,
Quantum lenta solent inter viburna cupressi.”
The “England and Wales” series was represented in Messrs. Agnew’s
exhibition by eight beautiful drawings:--
30. _Saltash_, 1825 (Plate XXI).
22. _Prudhoe Castle_, circa 1826 (Plate XXII).
24. _Windsor Castle_, circa 1829.
20. _Richmond Bridge--Play_, circa 1830 (Plate XI).
33. _Coventry_, circa 1832.
25. _Worcester_, circa 1833 (Plate XII).
27. _The Longships Lighthouse, Land’s End_, circa 1834 (Plate
XIII).
31. _Lowestoft_, circa 1835.
The most glorious in colour of these drawings is, I think,
the _Windsor Castle_, but the _Richmond Bridge_ (Plate XI)
runs it very close. The latter subject is interesting because it
was the first water-colour by Turner which Mr. Ruskin acquired; “my
father buying it for me,” he tells us, “thinking I should not ask
for another--we both then agreeing that it had nearly everything
_characteristic_ of Turner in it, and more especially the gay
figures!” Mr. Ruskin was naturally very much attached to this drawing
and he was never tired of trying to analyse it; but “after thirty
years’ endeavour, I finally surrender that hope--with all similar hopes
of ever analysing true inventive or creative work.” He drew attention,
however, as an instructive piece of composition, to the way the
parasols in the foreground repeat and reverse the arches of the bridge,
and the feather head-dresses of the ladies repeat the plumy tossing of
the foliage. These are merely Turner’s habitual tricks of composition.
We find these habits of design in most of his earlier and later work,
but the results are not always equally fortunate. One of the most
exquisite and perfect examples of this practice of placing and grouping
the figures and objects so as to repeat or emphasize the most salient
features of a landscape, is afforded in my opinion by the large oil
painting of _Walton Bridges_, which was painted in 1809 for the
Earl of Essex. In some of the later drawings and paintings the results
are not always so happy.
The execution of the _Richmond Bridge_ is unequal. The group of
figures in the foreground on the right is imperfectly imagined and
fumbling in touch, but the smaller figures on the left are vivid and
alert; the big group of trees on the right, with the sunlight striking
athwart them, is dashed in with extraordinary vigour and certainty. The
drawing is in splendid condition, and the general effect is breezy,
reckless, gorgeous--and, I cannot help thinking, a trifle vulgar,
probably on account of the gay foreground figures. It certainly has
everything “characteristic” of Turner, the beauties and the defects.
In the _Coventry_ and _Worcester_ (Plate XII) there is some
flagging of Turner’s power--hints of weariness and a sense of effort.
There is some “swelling into bombast” in them. But the _Longships
Lighthouse_ (Plate XIII) is one of the most wonderful and flawless
drawings ever made by Turner, or any other artist. Turner must have
been nearly sixty years of age when he made it, but there are no signs
of human weakness in it. It is all pure gold and immortal work. For
once Turner had found a subject exactly suited to his genius, “a fit
subject for his wit.”
It is of course impossible to do justice in words to the grandeur
and terrible beauty of this wonderful drawing, but Mr. Ruskin has so
nearly succeeded in this impossible task that I will venture to quote
his words. “In the _Longships Lighthouse, Land’s End_, we have
clouds without rain--at twilight--enveloping the cliffs of the coast,
but concealing nothing, every outline being visible through their
gloom; and not only the outline--for it is easy to do this--but the
_surface_. The bank of rocky coast approaches the spectator inch
by inch, felt clearer and clearer as it withdraws from the garment of
cloud--not by edges more and more refined, but by a surface more and
more unveiled. We have thus the painting, not of a mere transparent
veil, but of a solid body of cloud, every inch of whose increasing
distance is marked and felt. But the great wonder of the picture is
the intensity of gloom which is attained in warm grey, without either
blackness or blueness. It is a gloom, dependent rather on the enormous
space and depth indicated, than on actual pitch of colour, distant
by real drawing, without a grain of blue, dark by real substance,
without a stroke of blackness; and with all this, it is not formless,
but full of indications of character, wild, irregular, shattered,
and indefinite--full of the energy of storm, fiery in haste, and
yet flinging back out of its motion the fitful swirls of bounding
drift, of tortured vapour tossed up like men’s hands, as in defiance
of the tempest, the jets of resulting whirlwind, hurled back from
the rocks into the face of the coming darkness; which, beyond all
other characters, mark the raised passion of the elements. It is this
untraceable, unconnected, yet perpetual form--this fulness of character
absorbed in the universal energy--which distinguishes Nature and Turner
from all their imitators. To roll a volume of smoke before the wind,
to indicate motion or violence by monotonous similarity of line and
direction, is for the multitude; but to mark the independent passion,
the tumultuous separate existence of every wreath of writhing vapour,
yet swept away and overpowered by one omnipotence of storm, and thus to
bid us
Be as a Presence or a motion--one
Among the many there--while the mists
Flying, and rainy vapours, call out shapes
And phantoms from the crags and solid earth,
As fast as a musician scatters sounds
Out of an instrument,--
this belongs only to Nature and to him.”
And in a later chapter of the same volume (“Modern Painters,” Vol.
I.) Mr. Ruskin again refers to this drawing as “a study of sea whose
whole organization has been broken up by constant recoils from a rocky
coast.” “The entire disorder of the surges,” he continues, “when every
one of them, divided and entangled among promontories as it rolls in,
and beaten back part by part from walls of rock on this side and that
side, recoils like the defeated division of a great army, throwing all
behind it into disorder, breaking up the succeeding waves into vertical
ridges, which in their turn, yet more totally shattered upon the shore,
retire in more hopeless confusion, until the whole surface of the sea
becomes one dizzy whirl of rushing, writhing, tortured, undirected
rage, bounding, and crashing, and coiling in an anarchy of enormous
power, subdivided into myriads of waves, of which every one is not, be
it remembered, a separate surge, but part and portion of a vast one,
actuated by internal power, and giving in every direction the mighty
undulation of impetuous line which glides over the rocks and writhes
in the wind, overwhelming the one, and piercing the other with the
form, fury, and swiftness of a sheet of lambent fire. And throughout
the rendering of all this, there is not a false curve given, not one
which is not the perfect expression of visible motion; and the forms of
the infinite sea are drawn throughout with that utmost mastery of art
which, through the deepest study of every line, makes every line appear
the wildest child of chance, while yet each is in itself a subject
and a picture different from all else around. Of the colour of this
magnificent sea I have before spoken; it is a solemn green grey (with
its foam seen dimly through the darkness of twilight), modulated with
the fulness, changefulness, and sadness of a deep, wild melody.”
The only drawing in the whole series which can be compared for tragic
power with the _Longships Lighthouse_ is the _Lowestoft_. The
time represented is an hour before sunrise in winter. A violent storm
with rain is passing over the sea; through it the lighthouses and coast
are dimly seen. Mr. Ruskin speaks of the “most hopeless, desolate,
uncontrasted greys” in this drawing.
26. _Lake Nemi_, circa 1840 (Plate XV).
This representation of the afternoon of a hot and cloudless day was
hung immediately above the _Longships_. It is a truly superb
drawing, as fine in its way as the _Longships_, yet how different!
It is so full of purely sensuous delight that one would suppose it the
work of some voluptuary who had turned his back on all the sorrows
and terrors of life; one who lived only for the gratification of his
senses. That some people should shrink from the sternness and cruelty
of _Longships_ I can understand; but I simply cannot imagine how
any one accessible to the pleasures of pictorial art can resist the
triumphal appeal of this regal and happy drawing. It would be difficult
to bring together two other drawings which illustrate so well the truly
Shakespearean range of Turner’s mind.
28. _The Rigi at Sunrise--Lake of Lucerne_ (“_The Blue
Rigi_”) (Plate XVII).
With a fine sense of congruity Messrs. Agnew hung beside the _Lake
of Nemi_ a masterpiece of Turner’s latest manner--“_The Blue
Rigi_.” This was painted in 1841, in circumstances described in his
own inimitable way by Mr. Ruskin, in the “Epilogue” to his notes on his
own collection of Turner’s drawings. There are signs in the drawing
that the painter’s age was beginning to tell on him. He was getting
near the end of his career as a water-colour painter, though his
career as an oil painter lasted a few years longer: for the _Burial
at Sea_; _The Opening of the Walhalla_; _Rain, Steam and
Speed_; _The Sun of Venice Going to Sea_, and the other late
Venetian paintings were yet to come; which supports the contention
that water-colour makes sterner demands on the artist’s physique than
oil painting. In “_The Blue Rigi_” the laboured execution and
trembling touch hint at the artist’s physical disabilities. But these
signs of weakness harmonize so well with the subject-matter that they
only heighten the pathos of this incomparably beautiful drawing.
I think that Turner made hardly more than a dozen finished drawings
after “_The Blue Rigi_.” This was partly because the sustained
effort such work demanded was too much for him, and partly because
there was no demand among his patrons for such work. But he could still
make sketches like the _Mouth of the Grand Canal_ (Plate XXIII),
_Lake of Lucerne_: _Brunnen in the Distance_ (Plate XX) and
the _Alpine Stream_, marvellous in their freshness of colour, the
vigour and delicacy of their washes, and full of poetical suggestion
and pictorial enchantment. The old war-horse no doubt regretted
that his patrons would give him no opportunities to elaborate these
wonderful sketches--for the distinction which modern criticism has
obliterated between a sketch and a “finished” drawing was ingrained in
Turner’s mind--but we cannot share these regrets. The gain in fullness
and authority of statement would have provided little compensation for
the loss of delicacy and freshness, and effortless vigour of execution.
But these remarks have taken me slightly out of my chronological
course. The following sketches I am inclined to date conjecturally
somewhere between 1835 and 1840.
126. _Rheinfels Castle._
Can this drawing be correctly named? It does not seem much like the
other drawings and engravings of the old fortress of Rheinfels which I
have compared with it. And what is the meaning of “Dib,” which Turner
has written in pencil in the foreground? I cannot help wondering
whether “Dib” was meant to refer to Dieblich, on the Moselle. If it
did, the mountain on the right would be the Niederburg, and the two
buildings on the mountain beyond would be the two castles of the
Knights of Cobern. Turner passed along this part of the Moselle in
1834. But, as a famous commentator once said, I put forward this
suggested emendation without much confidence in its correctness.
115. _A Gorge_ (Plate XXIV).
131. _Alpine Scene._
133. _Swiss Landscape._
I can offer no suggestion as to the identity of the places represented
in these sketches, except that _A Gorge_ may be one of the falls
of the Reichenbach.
39. _The Rainbow._
This is a strange drawing which I do not understand. The rainbow has
only two colours, viz. yellow and crimson lake.
138. _Ehrenbreitstein._
135. _Alpine Stream._
The latter sketch contains an entrancing play of colour and suggestion.
What a fine foundation for the airy structure raised above it that
band of rich darkness makes which runs straight across the centre of
the design! I suppose it represents loose rocks in shadow. Above them
a range of mountains, faintly touched with crimson, rises out of the
pale blue mist, with an opalescent sky above; on the right a cluster
of white roofs carries the eye to a narrow defile. The foreground is
just as elusive as the distance and middle distance. There are streams
flowing among the stones, but those touches of white, are they birds
or foam? And is that a figure on the right almost lost in the shadow
of the rocks? What a beautiful dream it all is! And I cannot help
wondering what earthly place suggested the dream. It reminds me vaguely
of the neighbourhood of Bellinzona. Somewhere north of Lugano I fancy
the happy wanderer might chance at daybreak upon some such scene as
Turner has suggested.
130. _Lake of Lucerne: Brunnen in the Distance_ (Plate XX).
There can be no doubt about the locality which furnished the motive of
this lovely vision, though I believe some years ago the drawing was
described as a “View on the Rhine.” There in the distance are the two
Mythens; and there at the edge of the lake is Brunnen. The drawing must
have been made at or near Treib, on the Lake of Lucerne.
127. _Mouth of the Grand Canal_ (Plate XXIII).
On the right is the Dogana, with the Church of San Giorgio Maggiore in
the distance; on the left are tall buildings which once were palaces
and are now mostly hotels, among them probably the Palazzo Giustiniani,
which became the Hôtel de l’Europe, where Turner put up during his
later visits to Venice. It is no good my trying to describe the colour
of such a drawing. When it was sold at Christie’s in the Beecham sale
an enthusiastic scribe writing in one the newspapers said that it was
“as if drawn by a butterfly.” I remember that the expression struck me
at the time as--impressionistic, but I think I know what the writer
felt. There is something that makes one think of butterflies in its
elusiveness and its fluttering beauty of colour.
160. _An Iceberg._
This must have been done about 1845, and it is the latest of Turner’s
sketches in the exhibition. It belongs to the time when Beale’s
“Voyage” had set him dreaming about icebergs and whalers. There is a
draft of some attempted poetry scribbled on the drawing, which I have
spent perhaps more time than it is worth in trying to decipher. The
only words I can feel sure about are the following:--
--Against all Hope--
No one has lived to tell the tail (_sic!_). No vestige found, nor deck--
no spar or mast--
Those who remember the oil painting called, _Whalers (boiling
blubber) entangled in floe-ice, endeavouring to extricate
themselves_--it was on loan at the Glasgow Art Gallery when last I
saw it--may be able to form some vague idea of what Turner was thinking
about when he made this fantastic and almost incomprehensible sketch.
TURNER’S PREDECESSORS
But the wonderful array of Turner’s works was far from exhausting the
interest of this memorable exhibition. Grouped round the Turners were
about thirty drawings by his predecessors, i.e. English water-colour
painters who were born before him, and about seventy drawings by his
contemporaries, i.e. artists who were born at or about the same time as
Turner, or whose period of work coincided with his lifetime. There were
also some drawings by later artists. I propose to speak of the former
group in this chapter.
Perhaps the earliest topographical drawings in the exhibition were
the two views of Bath, made in 1777, by Thomas Malton, the younger
(1748-1804)--the _West Front, Town Hall_ (51) and _Pulteney
Bridge_ (55). Though cold and precise these drawings have very
great charm, and they are crowded with topographical and antiquarian
interest. But they belong to an undeveloped stage of the art of
water-colour painting. The details of architecture are drawn carefully
and accurately, the figures are life-like though rather stiff, and the
indications of light and shade explain the shapes of the buildings
and knit the whole composition together. But the drawings do not go
beyond this. The few pale washes of colour diversify the surface, but
do not suggest either colour or atmosphere. Every object, the roadway,
figures, buildings and the sky, has the same texture, which makes the
general effect monotonous and abstract.
Though Paul Sandby (1725-1809) was born before the younger Malton, his
drawing of _The Swan Inn, Edmonton_ (Plate XXV) is, I fancy, some
ten or perhaps twenty years later in point of execution than these
Bath drawings; Sandby’s style, however, was always less abstract than
Malton’s. Compared with the Bath views this drawing by Sandby is like
a window opened on nature; it is flooded with light, the warm sunshine
plays on and through the trees, lighting up the road, the figures and
the whole scene. Yet Sandby’s care for detail is as great as Malton’s.
Each house, each garden, each tree has its individual character fully
recorded with unflagging industry and spirit. The spectator’s interest
is awakened by the variety of shapes, colours and incidents, and
sustained by the artist’s evident alertness and thorough enjoyment
of the spectacle. Sandby was one of the first English artists to rob
topographical delineation of its abstractness and impersonality. He
throws the charm of his genial personality over the scene. And though
his work is always alert, interesting and full of charm, this Edmonton
drawing is, I think, one of the most delightful of his works that I
have seen.
The best drawing by Edward Dayes (1763-1804) in the exhibition was
probably the view of _Norwich Cathedral_ (Plate XXVI), which
is dated 1793. Dayes, for all his cleverness and skill, was not
as likeable a man as Sandby. He seems to have been deficient in
geniality, generosity and sympathy. These defects of character show
in his work. He often seems bored and ill at ease with his subjects;
he was seldom if ever capable of taking the delight and interest in a
scene which Sandby took in his Edmonton drawing. There is a certain
coldness, not only of colour and effect, but of interest in this
Norwich Cathedral drawing. It is nevertheless a clever piece of work,
and though perhaps not so truthful and accurate as Malton’s views of
Bath, it shows much greater technical skill than they possess.
Turner, I believe, got his first lessons in perspective from Malton’s
father’s “Treatise,” and both Sandby and Dayes had a great deal of
influence on his early work. Some of the earliest drawings by Turner in
existence were copied or adapted from Sandby’s drawings or engravings,
and for a short period, about the years 1794 and 1795, his style,
handling, and colour were so closely modelled on Dayes’s work that many
drawings by the elder artist are mistaken for Turner’s. Indeed, some
of Dayes’s best drawings in public and private collections are wrongly
attributed to Turner. This is no small compliment to Dayes, and it
probably accounts for the want of proper appreciation from which he now
suffers.
Of the connection between Turner and the greatest of his predecessors,
John Robert Cozens (1752-1799 (?)), it is difficult to speak with much
certainty. Nearly all recent writers on Turner say that he was greatly
influenced by Cozens’s work; but I have failed to discover any certain
evidence of this influence in his early work, unless it be in choosing
the same subject--_Hannibal and his Army Crossing the Alps_--for
one of his oil paintings that Cozens had chosen for one of his
water-colours. The dominant influence in Turner’s early work, as I have
already pointed out, is Richard Wilson rather than John R. Cozens.
But Cozens’s work was greatly admired by some of Turner’s early
patrons, especially by Dr. Monro, and tradition says that Dr. Monro
induced Turner to copy many of the drawings by Cozens which he
possessed. I have found it hard to discover evidence in support of this
tradition. I do not remember to have seen a copy of any of Cozens’s
works which was unmistakably done entirely by Turner; in the drawings
of this kind traditionally attributed to Turner, at least the pencil
outlines are nearly always clearly recognizable as by Girtin. Even if
we accept these copies as Turner’s, they show that he possessed, at
that time, very little appreciation of the higher beauties of Cozens’s
work. No attempt is made in them to reproduce either the general effect
or the light and shade of the originals; they rob Cozens’s work of
its grandeur and austerity, and substitute for these qualities mere
prettiness and conventionality.
Indeed it is incorrect to call these drawings copies; they are nothing
more than exercises in laying washes and inventing systems of light
and shade, based upon Cozens’s work. Their mode of production and
purpose may be thus described: the outlines were first drawn in pencil
with bold, firm strokes, by a careless and free hand, which bears
remarkable resemblances to that of Girtin. These outlines must have
been done direct from Cozens’s drawings, but what was done afterwards
seems to have been done without reference of any kind to them. These
outlines were then given to another artist, who clothed them according
to his own fancy with a commonplace arrangement of light and shade.
That these exercises in blue and grey tinting and the arrangement of
light and shade were done by Turner we cannot know for certain, but the
tradition that they were, seems too insistent to be ignored. Though the
characteristic beauties of Cozens’s work counted for little or nothing
in these academical exercises, yet they show that Turner was brought
early into contact with the work of the first great master of English
water-colour painting, and so far as this work exercised any influence
on him it must have been to his advantage.
Cozens was represented in Messrs. Agnew’s exhibition by no less
than nine drawings. The largest and most important was the _Lake
Albano_ (44), with the Castel Gandolfo in the middle distance.
An excellent reproduction in colour of this impressive drawing was
published in “The Development of British Landscape Painting in
Water-Colours” (THE STUDIO, 1918). Cozens was the first
English artist to suggest in his drawings something of the grandeur and
beauty of the Alps. _A Swiss Valley_ (Plate XXVII) is one of his
finest drawings of this kind. It owes much of its dramatic effect to
its magnificently designed sky, which is as daring as it is original.
The scene represented is probably in the Splügen Pass. Less moving,
less dramatic, are the two Roman views. _In the Farnesina Gardens_
(Plate XXVIII) is a pensive sylvan scene of great elegance and charm.
The _Villa Negroni_ (Plate XXIX) is a wonderfully fascinating and
original design with its noble group of pines and cypresses silhouetted
against the sky. In the foreground we get the brow of the hill on which
the trees are standing, with sheep feeding near an ancient statue;
the ruins on the left, in the middle distance in the plain below, are
fragments of the Claudian Aqueduct, those on the right are some of
the Neronian arches. The Villa Negroni was situated near the Porta S.
Giovanni. It has now ceased to exist and its place has been taken by
the Casino Massini.
It is interesting to compare Cozens’s view of _Lake Nemi_ (Plate
XXX) with Turner’s two drawings of the same subject, one made nearly
twenty years later from Hakewill’s sketch, the other drawn from his
own impressions fifty years later. The earlier view, like the Cozens,
shows the town of Gensano on a hill in the middle distance, with
Monte Circello and the Mediterranean in the distance. There is less
exaggeration in Cozens’s drawing than in the Turners, and a certain
gauntness and strangeness repels one at the first glance as much as
Turner’s charm and glow of colour attract. Yet when one gets over the
first feeling of strangeness in this drawing, as well as in all of his
works, it exerts a very potent charm over the imagination. His drawings
are unequal, but when he is at his best, as in the _Lake Albano_
and the _Villa Negroni_, they possess a haunting beauty which
almost overawes the spirit. Such works “draw taut the strings of the
soul, and bring out her full vitality and music.”
TURNER’S CONTEMPORARIES
The greatest of Turner’s contemporaries, John Constable (1776-1837),
never took seriously to water-colour painting. He was not like Turner,
equally at home with all pictorial mediums, with oil, water-colour,
pastel, with etching and mezzotint engraving. That he could work freely
and well in water-colour is proved by drawings from his hand in the
Victoria and Albert Museum and in the Salting Bequest at the British
Museum. But he was happier with oil paint; and when his powers had
matured he used water-colour mainly for slight and hasty notes, like
_Landscape with Cottage_ (123) in Messrs. Agnew’s exhibition. I
imagine that an artist like Mr. Wilson Steer would be delighted with
this brilliant sketch, which has many affinities with his own work in
water-colour. The other contribution by Constable to this exhibition
was a large unfinished drawing of _Derwentwater_ (161). This is
little more than what artists call a “lay-in”; it consists mainly
of preliminary washes of pale colour. “Well begun is half done” the
moralists tell us; but having made so good a beginning Constable seems
to have hesitated and finally abandoned the work.
Turner’s friend and youthful rival, Thomas Girtin, was born in 1775,
the same year as Turner, but he died in 1802, at the early age of
twenty-seven. A life so tragically short did not permit of the
production of a large and varied body of work. Towards the end of his
short career he devoted much time to his great panorama of London,
which after being exhibited in Spring Gardens is said to have been
sold, “about the year 1825,” to some person in Russia and has not been
heard of since. The number of his water-colours is therefore limited,
and all of them are not entirely worthy of his genius and deservedly
high reputation.
That he was not well represented in this exhibition is hardly
surprising. But he had at least one fine architectural drawing in his
best manner--the ruins of the Lady Chapel of _Fountains Abbey_
(57); _The Road through the Village_ (2), and three specimens of
his earlier work, _Winchelsea Church_ (140), _St. Augustine’s
Priory, Canterbury_ (141), and _Kenilworth_ (Plate XXXI).
These early drawings were made soon after the termination of his
apprenticeship to Edward Dayes, and they bear evident marks of Dayes’s
influence. _St. Augustine’s Priory_ was done from a sketch by a
Mr. James Moore, an amateur who at one time employed Dayes to work
up his sketches, but who afterwards engaged Girtin for the same
purpose. Moore’s pencil drawing which provided the material for this
water-colour is now in the Ashmolean Museum, to which it was generously
presented by Mr. Thomas Girtin, the great-grandson of the artist.
The view of _Lincoln_ (Plate XXXII), which is attributed to
Girtin, bears very little resemblance to Girtin’s characteristic style
of work. The composition is too crowded for Girtin, and the drawing
and painting of the cathedral are quite unlike Girtin’s treatment of
architecture. I cannot but feel that this attribution to Girtin was
made without proper consideration. Yet the drawing is a fine one, and
it is evidently the work of a gifted and accomplished artist. In my
opinion it is much more probably the work of Peter De Wint than of
Girtin. De Wint spent a good deal of time at Lincoln, at first as a
visitor to William Hilton, his fellow-apprentice at J. R. Smith’s.
Hilton’s sister afterwards became De Wint’s wife. The treatment of the
architecture is exactly in his manner.
De Wint (1784-1849) was represented in the exhibition by about a
dozen other drawings, amongst them the _High Torr, Derbyshire_
(38) and _Crowland Abbey_ (14). The most delightful was probably
the early _River Scene_ (12), a very peaceful and happy design,
though slightly faded in colour. John Sell Cotman (1782-1842) was
born only seven years later than Girtin. He came to London in 1798,
and a few years afterwards became a member of the sketching society
which Girtin had founded. Two of his early drawings were in Messrs.
Agnew’s exhibition, and both of them show that he had learnt much from
Girtin. The less successful of the two, the _Bridge over River near
a Town_ (Plate XXXIII), is dated 1803. As in others of Cotman’s
early drawings the architecture is tortured into strange and fantastic
shapes which destroy all ideas of probability. The bridge in this
drawing looks as though a moderate breeze would blow it over; it is
certainly unsafe for traffic. There can, I think, be no doubt that
this is a representation of the old Welsh Bridge at Shrewsbury. The
drawing is worked almost entirely in brown, though some dark blue has
been introduced in parts. The general effect is muddy, and the washes
have been rubbed and worried, as though the artist had often been
in difficulties with his work. The other drawing, _Gormire Lake,
Yorkshire_ (Plate XXXIV), though it must have been painted about the
same time, for it was exhibited at the Royal Academy in 1804, is more
successful and already contains evidence of that distinctive manner
of working with which Cotman’s name is connected. Like the Shrewsbury
drawing, it is painted almost entirely in brown and blue, but the
washes have not been worried. The richly blotted washes preserve all
their freshness and lustre. Their beautiful quality gives a charm and
dignity to the drawing which is worthily supported by the massive
simplicity of the design. The placing of the cattle in the water,
and the two figures at the side of the tarn, is worthy of Cotman’s
impeccable sense of design. As the dignity and authority of such a
drawing are the result of selection and the ruthless omission of
irrelevancies, every detail which is admitted must possess significance
and must contribute actively to the general effect. The two oars
carried on the shoulder of the man in the foreground are good examples
of the telling use Cotman could make of what, to other artists, might
be insignificant details. The force and grandeur of the whole design
may be said to depend entirely on the lines made by these oars, for
without them the spell would be broken.
In _A Lake Scene_ (Plate XXXVI) we see how sedulously Cotman
developed the characteristic qualities of his style. Eschewing the
charms of colour, he concentrates all his powers on the massive
simplicity of design and the correct and happy placing of every detail.
The _Church in Normandy_ (Plate XXXVII), done in pencil with a few
washes of sepia, is a good example of his intelligent and accomplished
architectural work. His latest drawing, _Rouen_ (Plate XXXV),
belongs to the period when he was influenced by, and attempted to
rival, Turner’s brilliance of colour. The design is firmly built up,
but the absence of emphasis gives it rather an academic air. For once
Cotman has abandoned his usual method of painting. The effect of light
and brilliance is obtained by an extensive use of the knife or razor
over all the sky and distance, and some of the foreground. I do not
remember having seen any other drawing by Cotman in which the knife has
been so freely used.
Samuel Prout (1783-1852) was actually a year younger than Cotman, yet
he seems to have belonged to an earlier generation of artists. We
somehow feel towards Cotman as to a contemporary. The things he cared
most about, perfection of workmanship and design, are disengaged from
the accidents of time. That is what we mean, I suppose, when we class
him among the immortals. Compared with Cotman, Prout is mortal, and
bound rather heavily with the shackles of time and circumstance. His
work was always in the mode of his day, and as fashions change his
work appears old-fashioned. This large drawing of _Folkestone_
(Plate XXXIX) certainly looks to me old-fashioned; I am almost tempted
to say frumpish. But as I happen to be fond of old-fashioned things,
I like it very much. There is a clumsiness, a heavy-handedness, about
the workmanship which harmonizes very happily with the subject-matter.
The composition is wanting in fineness of feeling and perception.
There is a certain awkwardness in the way the church on the cliff
projects over the roof of the wooden hut in the foreground, which
might easily have been avoided with a little tact and cunning. But
the whole drawing is so vigorous, so solid and strong, that it seems
to express the blunt, downright habits of thought and feeling of the
typical Englishmen of the early part of the nineteenth century. As our
rude forefathers spoke, so Prout painted. His _Coast Scene_ (79)
has much of the bluntness and directness of the _Folkestone_, but
not the same fullness and authority of statement. _A Road through a
Village_ (162) comes nearer the _Folkestone_ in these respects,
but the choice of subject-matter is not so fortunate. These are all
comparatively early drawings of Prout, done before he turned foreign
tourist and became a fashionable drawing-master. His later manner
is exemplified by two pleasing drawings of architectural “bits” in
Normandy (113 and 119). The touch is still clumsy, but it has become
systematized, and something of the old sincerity seems to have gone.
John Varley (1778-1842) is an attractive figure in the history of
English water-colour painting, but his work rarely seems quite worthy
of his obvious powers. Perhaps he did too much. In 1808 he sent
fifty-two drawings to the exhibition of the Society of Painters in
Water-Colours, and between 1805 and 1812 his exhibits actually amounted
to three hundred and forty-four. No wonder so many of his drawings are
uninspired and commonplace. Yet he had great technical ability and the
right sort of feeling, as drawings like _Bala Lake_ (65) and _A
Welsh River_ (71) prove. All he wanted was something of Cotman’s
concentration and scrupulousness. As it is, his best works are often
his unpretentious sketches done direct from nature, of which the view
of _Leyton, Essex_ (Plate XXXVIII) is a very good example; it is
brisk, alert, genial and convincing.
William Turner (1789-1862) was one of the many pupils of John Varley.
After leaving Varley he settled in Oxford, where he lived for the
remainder of his life. He is generally called William Turner of Oxford,
to distinguish him from the other Turner. This view of _Kingley Vale,
Chichester_ (Plate XL), bears little resemblance to Varley’s broad
and dashing style. This was painted towards the end of the artist’s
life, as it was exhibited at the Society of Painters in Water-Colours
in 1851, when it figured in the catalogue as _View from the side of
Bow Hill, on the South Downes, near Chichester, looking over the Groves
of Yew Trees, and Stoke Park, toward the Sea_. This is a full and
accurate description of the subject, as Kingley Valley is at the foot
of Bow Hill. To the modern eye, which is perhaps over-fond of broad
and slap-dash work, there is rather too much insistence on details and
small forms in this drawing; but in an unambitious drawing, aiming at
nothing more than topographical interest, this is not necessarily a
fault. There is a certain _naïveté_ and truthfulness about the
record which gives it great charm. The subject, too, is well chosen,
the effect of sunlight is successfully rendered, and the stretch of
blue distance is restful to the eye and agreeable to the imagination.
George Fennell Robson (1788-1833) painted little but Scottish lake
and mountain scenery. He was fond of dramatic effects of storm and
cloud, and his work is powerful, accomplished and well sustained.
_Ben Venue, from Lanrick_ (Plate XLI) is as good an example of his
masculine style as one could find. It is probably the drawing which was
exhibited at the Society of Painters in Water-Colours in 1851, under
the title _Ben Venue, from the head of Loch Achray_. The meadow
on the left is Lanrick Mead, which was the gathering-place of the Clan
Alpine.
The two largest drawings in the exhibition were Copley Fielding’s
(1787-1855) two sea-pieces, _The Pilot Boat_ (Plate XLII) and
_Seaford, from Newhaven Pier_ (76). I have confessed on other
occasions that I cannot share the general enthusiasm for Copley
Fielding’s work. It is, I acknowledge, nearly always pleasing in
effect; but it strikes me as superficial, and it lacks the “bite,”
the tremendous energy of mind and inexhaustible knowledge of Turner’s
work. But these two large drawings are very favourable specimens of
Fielding’s style. They are cheerful in colour, breezy in effect, and
full of movement. _The Pilot Boat_ is probably the better of
the two; but I wish there was more sense of weight and the power of
resistance in the waves. The date on the _Seaford_ drawing is
indistinct. When it was exhibited at the Old Masters at Burlington
House in 1908, the compiler of the catalogue read the date as “1858,”
which must surely be a mistake, as Fielding died in 1855. I think I am
right in reading the date as “1830,” but it is difficult to identify
this particular drawing among the list of Fielding’s exhibited works,
as there are several titles which might fit it. I think it is probably
the _Pier at Newhaven, Sussex_, No. 85, in the Water-Colour
Painters’ exhibition of 1830; but it might also be the _Scene at
Entrance of Newhaven Harbour_, No. 161, which was exhibited the
following year, or No. 205, _Scene at Newhaven_ in the same
exhibition.
After Cotman and Turner I think David Roberts (1796-1864) was the
most skilful draughtsman of architecture of his time. He was not
perhaps a great artist; the oil paintings with which he delighted
the public of his own time leave us now unmoved, in spite of their
eminently respectable qualities. They are too sedate to have a strong
effect on the imagination. But his work with the point--pencil, chalk
or etching-needle--is delightfully easy, graceful and accomplished.
_A Ruined Abbey_ (109) is certainly a view of Melrose Abbey.
It was probably drawn in 1836, about the same time as the view of
_Durham_ (121), which happens to be dated, “Sep. 14, 1836.” I
believe an artist can only draw and paint well the scenes of his native
country; but Roberts’s public was bored with English and Scottish
views, and very much preferred his Spanish and Eastern subjects.
Roberts was at Granada in February 1833, when the picturesque street
scene here reproduced (Plate XLIII) must have been drawn.
We have now finished our review of the large group of works by Turner’s
contemporaries which was included in Messrs. Agnew’s exhibition.
But, as I have said before, there were also a few drawings by later
artists--by H. G. Hine (1811-1895), E. M. Wimperis (1835-1900) and
Thomas Collier (1840-1890). It was probably a mere accident that these
three artists belonged to the Institute of Painters in Water-Colours
(now the Royal Institute), while nearly all the leading artists in the
group of Turner’s contemporaries belonged to the “Old” Water-Colour
Society. There is little evidence of Turner’s influence in the works
of Wimperis and Collier. It would be more accurate to describe these
artists as the successors of De Wint than of Turner. They carried on
the De Wint tradition of healthy realism and freely handled washes with
great success; yet each artist preserves his individuality, and their
works are steadily increasing in value. The fine drawing of _Beeston
Castle_ by Collier (Plate XLIV) is an excellent specimen of his
spirited and truthful work.
ALEXANDER J. FINBERG
_NOTE_
The Numbers given after the titles of the Illustrations refer to the
Catalogue of Messrs. Agnew’s Exhibition which will be found at the end
of the Volume.
[Illustration: PLATE I
OLD ABBEY, EVESHAM. BY J. M. W. TURNER, R.A. (139)
(_In the possession of C. Morland Agnew, Esq._)]
[Illustration: PLATE II
MALMESBURY ABBEY. BY J. M. W. TURNER, R.A. (53)
(_In the possession of Messrs. Thos. Agnew & Sons_)]
[Illustration: PLATE III
WATER MILL. BY J. M. W. TURNER, R.A. (147)
(_In the possession of Messrs. Thos. Agnew & Sons_)]
[Illustration: PLATE IV
A MOUNTAIN STREAM. BY J. M. W. TURNER, R.A. (152)
(_In the possession of Messrs. Thos. Agnew & Sons_)]
[Illustration: PLATE V
CASSIOBURY: THE HOUSE SEEN ACROSS THE PARK. BY J. M. W. TURNER, R.A.
(16)
(_In the possession of C. Morland Agnew, Esq._)]
[Illustration: PLATE VI
LAKE OF THUN. BY J. M. W. TURNER, R.A. (34)
(_In the possession of R. W. Lloyd, Esq._)]
[Illustration: PLATE VII
=CASTLE OF CHILLON= BY J. M. W. TURNER, R.A. (18)
(_In the possession of R. W. Lloyd, Esq._)] [Illustration]
[Illustration: PLATE VIII
PATTERDALE OLD CHURCH. BY J. M. W. TURNER, R.A. (21)
(_In the possession of C. Morland Agnew, Esq._)]
[Illustration: PLATE IX
ROLANDSWERTH NUNNERY AND DRACHENFELS. BY J. M. W. TURNER, R.A. (35)
(_In the possession of C. Morland Agnew, Esq._)]
[Illustration: PLATE X
=SAUMUR= BY J. M. W. TURNER, R.A. (23)
(_In the possession of R. W. Lloyd, Esq._)]
[Illustration]
[Illustration: PLATE XI
=RICHMOND BRIDGE--PLAY= BY J. M. W. TURNER, R.A. (20)
(_In the possession of R. W. Lloyd, Esq._)]
[Illustration]
[Illustration: PLATE XII
=WORCESTER= BY J. M. W. TURNER, R.A. (25)
(_In the possession of R. W. Lloyd, Esq._)]
[Illustration]
[Illustration: PLATE XIII
=THE LONGSHIPS LIGHTHOUSE, LAND’S END= BY J. M. W. TURNER, R.A.
(27)
(_In the possession of C. Morland Agnew, Esq._)]
[Illustration]
[Illustration: PLATE XIV
VALLEY OF THE WASHBURNE, NEAR FARNLEY. BY J. M. W. TURNER, R.A. (153)
(_In the possession of Messrs. Thos. Agnew & Sons_)]
[Illustration: PLATE XV
=LAKE NEMI= BY J. M. W. TURNER, R.A. (26)
(_In the possession of R. W. Lloyd, Esq._)]
[Illustration]
[Illustration: PLATE XVI
FLORENCE, FROM NEAR SAN MINIATO. BY J. M. W. TURNER, R.A. (29)
(_In the possession of R. W. Lloyd, Esq._)]
[Illustration: PLATE XVII
=THE RIGI AT SUNRISE--LAKE OF LUCERNE= (“THE BLUE RIGI”) BY J. M.
W. TURNER, R.A. (28)
(_In the possession of Walter J. H. Jones, Esq._)]
[Illustration]
[Illustration: PLATE XVIII
STEETON MANOR, NEAR FARNLEY. BY J. M. W. TURNER, R.A. (136)
(_In the possession of C. Morland Agnew, Esq._)]
[Illustration: PLATE XIX
WILDERNESS OF SINAI. BY J. M. W. TURNER, R.A. (132)
(_In the possession of Messrs. Thos. Agnew & Sons_)]
[Illustration: PLATE XX
=LAKE OF LUCERNE: BRUNNEN IN THE DISTANCE= BY J. M. W. TURNER,
R.A. (130)
(_In the possession of Walter J. H. Jones, Esq._)]
[Illustration]
[Illustration: PLATE XXI
SALTASH. BY J. M. W. TURNER, R.A. (30)
(_In the possession of R. W. Lloyd, Esq._)]
[Illustration: PLATE XXII
PRUDHOE CASTLE. BY J. M. W. TURNER, R.A. (22)
(_In the possession of R. W. Lloyd, Esq._)]
[Illustration: PLATE XXIII
=MOUTH OF THE GRAND CANAL= BY J. M. W. TURNER, R.A. (127)
(_In the possession of Walter J. H. Jones, Esq.)_]
[Illustration]
[Illustration: PLATE XXIV
A GORGE. BY J. M. W. TURNER, R.A. (115)
(_In the possession of Messrs. Thos. Agnew & Sons_)]
[Illustration: PLATE XXV
THE SWAN INN, EDMONTON. BY PAUL SANDBY, R.A. (64)
(_In the possession of C. Morland Agnew, Esq._)]
[Illustration: PLATE XXVI
NORWICH CATHEDRAL. BY EDWARD DAYES (144)
(_In the possession of C. Morland Agnew, Esq._)]
[Illustration: PLATE XXVII
=A SWISS VALLEY= BY J. R. COZENS (43)
(_In the possession of C. Morland Agnew, Esq._)]
[Illustration]
[Illustration: PLATE XXVIII
IN THE FARNESINA GARDENS, ROME. BY J. R. COZENS (41)
(_In the possession of C. Morland Agnew, Esq._)]
[Illustration: PLATE XXIX
=VILLA NEGRONI, ROME= BY J. R. COZENS (42)
(_In the possession of C. Morland Agnew, Esq._)]
[Illustration]
[Illustration: PLATE XXX
LAKE NEMI. BY J. R. COZENS (45)
(_In the possession of C. Morland Agnew, Esq._)]
[Illustration: PLATE XXXI
KENILWORTH. BY THOMAS GIRTIN (146)
(_In the possession of Messrs. Thos. Agnew & Sons_)]
[Illustration: PLATE XXXII
LINCOLN. BY THOMAS GIRTIN (7)
(_In the possession of Messrs. Thos. Agnew & Sons_)]
[Illustration: PLATE XXXIII
BRIDGE OVER RIVER NEAR A TOWN. BY J. S. COTMAN (78)
(_In the possession of Messrs. Thos. Agnew & Sons_)]
[Illustration: PLATE XXXIV
GORMIRE LAKE, YORKSHIRE. BY J. S. COTMAN (74)
(_In the possession of R. W. Lloyd, Esq._)]
[Illustration: PLATE XXXV
=ROUEN= BY J. S. COTMAN (3)
(_In the possession of Messrs. Thos. Agnew & Sons_)]
[Illustration]
[Illustration: PLATE XXXVI
A LAKE SCENE. BY J. S. COTMAN (1)
(_In the possession of Messrs. Thos. Agnew & Sons_)]
[Illustration: PLATE XXXVII
CHURCH IN NORMANDY. BY J. S. COTMAN (9)
(_In the possession of Messrs. Thos. Agnew & Sons_)]
[Illustration: PLATE XXXVIII
LEYTON, ESSEX (1830). BY JOHN VARLEY (122)
(_In the possession of Messrs. Thos. Agnew & Sons_)]
[Illustration: PLATE XXXIX
FOLKESTONE. BY SAMUEL PROUT (86)
(_In the possession of Messrs. Thos. Agnew & Sons_)]
[Illustration: PLATE XL
KINGLEY VALE, WITH CHICHESTER CATHEDRAL IN THE DISTANCE. BY WILLIAM
TURNER OF OXFORD (77)
(_In the possession of Messrs. Thos. Agnew & Sons_)]
[Illustration: PLATE XLI
BEN VENUE, FROM LANRICK. BY G. ROBSON (66)
(_In the possession of Messrs. Thos. Agnew & Sons_)]
[Illustration: PLATE XLII
(_In the possession of Messrs. Thos. Agnew & Sons_)
THE PILOT BOAT. BY COPLEY FIELDING (70)]
[Illustration: PLATE XLIII
(_In the possession of Messrs. Thos. Agnew & Sons_)
GRANADA. BY DAVID ROBERTS, R.A. (88)]
[Illustration: PLATE XLIV
BEESTON CASTLE. BY T. COLLIER (82)
(_In the possession of Messrs. Thos. Agnew & Sons_)]
DESCRIPTIVE CATALOGUE OF THE EXHIBITION OF SELECTED WATER-COLOUR
DRAWINGS BY ARTISTS OF THE EARLY ENGLISH SCHOOL HELD AT MESSRS. THOMAS
AGNEW AND SONS’ GALLERIES, LONDON, MARCH-APRIL 1919
1. A LAKE SCENE. (Plate XXXVI.) J. S. COTMAN
10¾ in. × 14 in. Monochrome wash.
Cattle in foreground, standing beside a lake which is surrounded by mountains.
2. THE ROAD THROUGH THE VILLAGE. THOMAS GIRTIN
12 in. × 20½ in. Signed, “_Girtin_.”
Figures on road running through village; wall on one side of road, pond
on the other side; man watering a horse at the pond in foreground. A
large rambling house occupies centre and right of design, with trees on
left.
3. ROUEN. (Plate XXXV.) J. S. COTMAN
11 in. × 19¼ in. Signed and dated, “_J. S. Cotman_, 1823.” Probably
the “Rouen from Mount St. Catherine” exhibited at the Norwich
Society of Artists, 1824.
Buildings, with group of trees and landing-stage on left; barges on
river in foreground; distant hills.
4. HARDWICK HALL. DAVID COX
5. RIPON CATHEDRAL. THOMAS GIRTIN
11¼ in. × 18½ in. Signed and dated, “_Girtin_, 1801.”
Cathedral in middle distance, seen against the sky; river in
foreground, with sailing-boat towards right.
6. THE BRIDGE HOUSE. J. S. COTMAN
7½ in. × 11 in. Pencil and sepia.
7. LINCOLN. (Plate XXXII.) THOMAS GIRTIN
17¼ in. × 22½ in. Pen outlines and wash. Query, an early De Wint.
Horse and cart and figures on road in foreground on right; Lincoln
Cathedral and houses seen above trees against the sky to the left.
8. HARVEST-TIME. P. DE WINT
7¾ in. × 16¾ in.
Sheaves of corn in foreground; men cutting corn beyond; a distant
church among trees.
9. CHURCH IN NORMANDY. (Plate XXXVII.) J. S. COTMAN
10¼ in. × 16⅛ in. Pencil and sepia. Signed in pencil, “_Cotman_.”
Church in centre; river and gateway in foreground on left.
10. THE EMPTY HARVEST WAGGON. DAVID COX
10¼ in. × 14¼ in. Signed and dated, “_David Cox_, 1849.”
11. ATHELSTAN ABBEY, ON THE TEES. THOMAS GIRTIN
10¼ in. × 17½ in. Signed, “_Girtin_.”
12. RIVER SCENE. P. DE WINT
14½ in. × 22¼ in.
Wooden bridge, with two boys on it, stretching across centre of
drawing; one of the river-banks in foreground on left; boats, one with
square sail, beyond the bridge. A peaceful evening scene.
13. LANDSCAPE. P. DE WINT
11 in. × 17¼ in.
Road on right running beside palings of a park; wagon on road; distant
trees with fine expanse of moving clouds.
14. CROWLAND ABBEY. P. DE WINT
15¼ in. × 29 in.
The abbey in distance on the left; fishermen in punts in foreground;
nets stretched out on stakes to dry in middle distance.
15. WHITBY ABBEY AND LIGHTHOUSE. P. DE WINT
5¾ in. × 25 in.
Pier running parallel to picture plane, with lighthouse at the
extremity on the left; cliffs on the right; the ruins of abbey on cliff
beyond on the right. Evening effect.
16. CASSIOBURY: THE HOUSE SEEN ACROSS THE PARK. _Circa_ 1800.
(Plate V.) J. M. W. TURNER, R.A.
18¼ in. × 27¾ in. Engraved in aquatint by Hill, and published in
“History and Description of Cassiobury Park,” 1816. Title of plate,
“Cassiobury. View from N. West.” The drawing was made for George,
5th Earl of Essex (1757-1839). Christie’s, 1892 (Bolckow).
Huntsmen and dogs in foreground on road leading to entrance of stables;
Cassiobury in middle distance in centre on a slight elevation.
17. MAYENCE AND KASTEL. 1817. J. M. W. TURNER, R.A.
8⅛ in. × 14¼ in. Exhibited R.A., 1889 (No. 23); ex Farnley Collection.
Looking up river to bridge, town on right; sailing-boats; dark cloud
passing over sun.
18. CASTLE OF CHILLON. _Circa_ 1810. (Plate VII.) J. M. W. TURNER, R.A.
11 in. × 15½ in. Signed, “_J. M. W. Turner, R.A._” Painted for Sir
John E. Swinburne; R.A., 1887 (Miss Julia Swinburne); Christie’s,
26 May, 1916 (No. 119) (Miss Isabel Swinburne).
Three figures of women with washing spread on grass in foreground
on the left; figures in boat on lake to right. The castle in middle
distance near centre; view looking up the Rhône Valley with Dent du
Midi in distance.
19. LURLEIBERG. 1817. J. M. W. TURNER, R.A.
7½ in. × 12 in. R.A., 1889 (No. 38), as “A Bend of the River”; ex
Farnley Collection.
High rocky shore on each side; on left, in foreground, a road with
figures; a ferry-boat is crossing the river. Evening sky.
20. RICHMOND BRIDGE--PLAY. _Circa_ 1830. (Plate XI.)
J. M. W. TURNER, R.A.
11¼ in. × 17⅛ in. Engraved by W. R. Smith, in “England and Wales”
series, published 1837. Ex Ruskin Collection and that of Mr. G. P.
Dewhurst.
Bridge in centre, with houses on hill beyond on left; group of trees by
river-side on right; on meadow in foreground groups picnicking.
21. PATTERDALE OLD CHURCH. _Circa_ 1810. (Plate VIII.)
J. M. W. TURNER, R.A.
10¾ in. × 15⅜ in. Signed, “_J. M. W. Turner, R.A., P.P._” Christie’s,
1872 (Gillot); 1876 (Levy); R.A., 1886 (Sir William Agnew, Bart.).
Heavy thunder-storm breaking over valley; church in foreground.
22. PRUDHOE CASTLE. _Circa_ 1826. (Plate XXII.) J. M. W. TURNER, R.A.
11¼ in. × 16 in. Query, a signature scratched at bottom of drawing,
on the left. Engraved by E. Goodall, and published in the “England
and Wales” series, 1828. R.A., 1889 (Rev. W. Kingsley).
View looking up the Tyne; sunset sky.
23. SAUMUR. _Circa_ 1829. (Plate X.) J. M. W. TURNER, R.A.
11 in. × 16½ in. Engraved by R. Wallis, and published in “The Keepsake,”
1831. Forster’s, 1855 (J. Dillon); Manchester Art Treasures,
1857 (L. Loyd); Guildhall, 1899, No. 147 (Hon. W. F. D. Smith, M.P.);
Christie’s, May 1917 (Sir Joseph Beecham).
Bridge running across river in middle distance; chateau on hill beyond
on right; a boat moored beside bank in foreground is being unloaded.
24. WINDSOR CASTLE. _Circa_ 1829. J. M. W. TURNER, R.A.
11¼ in. × 17 in. Engraved by W. Miller, and published in “England
and Wales” series, 1831. Moon’s Gallery, 1833 (Tomkinson); R.A., 1887
(Mrs. Moir); Guildhall, 1899 (George Agnew); Christie’s, 1870 (J. Smith),
March 1908 (R. E. Tatham), May 1917 (Beecham), and 10 May, 1918.
Castle in centre stretching across drawing, with smoke rising from town
below; the Thames in front, with barges on right and horses on tow-path
to left. Sun behind castle.
25. WORCESTER. _Circa_ 1833. (Plate XII.) J. M. W. TURNER, R.A.
11¼ in. × 17¼ in. Engraved by T. Jeavons, and published in “England
and Wales” series, 1835. Christie’s, May 1917 (Sir Joseph Beecham);
ex Hon. W. F. D. Smith, M.P.
Cathedral on high ground to right; the river Severn stretches across
the drawing in front, with boats and punt in foreground.
26. LAKE NEMI. _Circa_ 1840. (Plate XV.) J. M. W. TURNER, R.A.
13¼ in. × 20¼ in. Large single plate engraved by R. Wallis, and published
June 1842; plate also published in “Finden’s Royal Gallery of
British Art.” Ex Windus and Fordham Collections. B.F.A.C., 1871;
R.A., 1889 (Sir John Fowler); Christie’s, 1899 (Fowler), and 8 June, 1917.
Lake in centre enclosed by wooded hills; town high on right; figures
and goats in foreground.
27. THE LONGSHIPS LIGHTHOUSE, LAND’S END. _Circa_ 1834. (Plate XIII.)
J. M. W. TURNER, R.A.
11 in. × 17 in. Engraved by W. R. Smith, and published in “England
and Wales” series, 1837. International Exhibition, 1862 (Agnews);
Christie’s, 1878 (Munro); R.A., 1891, and Guildhall, 1899 (J. E. Taylor);
Christie’s, July 1912 (J. E. Taylor).
High cliffs on right on which a wild sea is breaking; lighthouse on
horizon to left, wreckage among waves in foreground.
28. THE RIGI AT SUNRISE--LAKE OF LUCERNE (“The Blue Rigi”). 1841.
(Plate XVII.) J. M. W. TURNER, R.A.
11⅞ in. × 17¾ in. Painted for Mr. Bicknell; see Ruskin’s “Epilogue.”
Christie’s, 29 April, 1863 (Bicknell), July 1912 (J. E. Taylor); R.A.,
1886 (J. E. Taylor); Guildhall, 1899 (J. E. Taylor).
Sun rising behind the mountain with morning star above; man in boat on
left firing at wildfowl in foreground; a dog in water, another jumping
from the boat.
29. FLORENCE, FROM NEAR SAN MINIATO. _Circa_ 1825. (Plate
XVI.)
J. M. W. TURNER, R.A.
11 in. × 16¼ in. Ex Novar Collection. Guildhall, 1899, and Glasgow,
1901 (Hon. W. F. D. Smith, M.P.); Christie’s, 1897 (Pender), May 1917
(Beecham).
View overlooking city with the Arno on left; group of poplars in
foreground with a gaily dressed group of figures.
30. SALTASH. 1825. (Plate XXI.) J. M. W. TURNER, R.A.
10½ in. × 16 in. Signed and dated, “_J. M. W. Turner, R.A._, 25.”
Engraved by W. R. Smith, and published in “England and Wales” series,
1827. Moon’s Gallery, 1833 (Windus); Manchester, 1857 (D. R. Davies);
Christie’s, 1865 (Knowles), 1872 (Leyland), 1908 (S. G. Holland), May
1917 (Beecham).
Harbour in front with many rowing-boats crowded with women and
soldiers; town in distance, partly hidden by man-of-war; hulks on left.
31. LOWESTOFT. _Circa_ 1835. J. M. W. TURNER, R.A.
10¾ in. × 16¾ in. Engraved by W. R. Smith, and published in “England
and Wales” series, 1837. Exhibited Worcester, 1882, and R.A., 1891
(Mrs. Sale); Christie’s, 9 July, 1915.
Lighthouse to right on cliff; town on left in deep shadow; rough sea
in front with boats and wreckage; crescent moon.
32. SCARBOROUGH. 1818. J. M. W. TURNER, R.A.
10¾ in. × 15½ in. Signed and dated, “_J. M. W. Turner_, 1818.”
Once in Mr. Ruskin’s Collection. Guildhall, 1899 (130), lent by Mr.
Arthur Severn.
Distant view of town and cliff; two ladies in summer costume among
rocks in foreground on the left; a starfish on the sand.
33. COVENTRY. _Circa_ 1832. J. M. W. TURNER, R.A.
11¼ in. × 17⅛ in. Engraved by S. Fisher, and published in “England and
Wales” series, 1834. Moon’s Gallery, 1833 (C. Heath); Christie’s, 1877
(Munro of Novar), 11 May, 1917 (Mrs. C. W. Lea).
Town in distance with three spires; two coaches on hollow road in
foreground to right; donkeys, cattle and sheep in foreground to left.
34. LAKE OF THUN. 1809. (Plate VI.) J. M. W. TURNER, R.A.
15 in. × 22 in. Signed and dated, “_J. M. W. Turner, R.A., P.P._,
1809.” Painted for Sir John E. Swinburne. R.A., 1887 (Miss Julia
Swinburne); Christie’s, 26 May, 1916 (Miss Isabel Swinburne).
View looking across lake to mountains in distance; stretch of sandy
beach in foreground with figures, boats, and merchandise; buildings on
right.
35. ROLANDSWERTH NUNNERY AND DRACHENFELS. 1817. (Plate IX.)
J. M. W. TURNER, R.A.
7½ in. × 12 in. From the Farnley Collection. R.A., 1899 (No. 68);
Christie’s, 1890 (Fawkes). Afterwards in collection of Sir Donald
Currie.
Castle of Rolandseck on rock to left, with the Nunnery of Rolandswerth
in centre at its base; beyond, on right, the Castle of Drachenfels;
figures towing a boat in foreground on left; sailing-boat in
mid-stream. View from near Oberwinter, looking north.
36. VALE OF PEVENSEY, FROM ROSEHILL PARK. _Circa_ 1816.
J. M. W. TURNER, R.A.
15 in. × 22 in. A privately printed plate engraved in aquatint by J.
C. Stadler, and printed in colours. International Exhibition, 1862;
R.A., 1886 (Sir A. Acland-Hood, Bt., inherited from Mr. J. Fuller, of
Rosehill); Christie’s, 4 April, 1908 (93).
Slopes of wooded park in front, looking across country to the sea;
Beachy Head in distance; summer-house on hill to right; labourers and
sheep in foreground.
37. MAYENCE. 1817. J. M. W. TURNER, R.A.
8¾ in. × 14 in. From the Farnley Collection. R.A., 1889 (? 25); R.A.,
1891 (92); Christie’s, 1890 (Fawkes), 1912 (J. E. Taylor).
View looking up river towards the bridge of boats, with town on left;
hay-barge in foreground, with two other boats beyond. Sunset effect.
38. HIGH TORR, DERBYSHIRE. P. DE WINT
16¼ in. × 23 in. Perhaps the drawing exhibited at the Society of
Painters in Water-Colours, 1829, as “Matlock High Tor” (No. 135).
River in foreground with mountain on left; cows in water on left bank,
road with several figures on it in foreground on right.
39. THE RAINBOW. _Circa_ 1840. J. M. W. TURNER, R.A.
9¼ in. × 11¾ in. Christie’s, July 1912 (J. E. Taylor).
View over flat country, with a tower in distance; fiery sky and
rainbow.
40. SUNSET ON ST. PETER’S, ROME. J. R. COZENS
10 in. × 14⅝ in. R.A., 1891, No. 24 (C. Morland Agnew).
Stone-pines in foreground, with shadows coming towards spectator; St.
Peter’s seen through the trees in distance, with sun setting above it;
deer in foreground on right.
41. IN THE FARNESINA GARDENS, ROME. (Plate XXVIII.) J. R. COZENS
9¾ in. × 14½ in.
Tomb among trees with gnarled trunks; campanile and trees in distance.
42. VILLA NEGRONI, ROME. (Plate XXIX.) J. R. COZENS
10⅛ in. × 14½ in. R.A., 1891, No. 19, “Italian Landscape” (C. Morland
Agnew).
Grove of pines and cypresses on brow of hill, with statue, and sheep
feeding; ruins and distant mountains beyond.
43. A SWISS VALLEY. (Plate XXVII.) J. R. COZENS
13 in. × 20½ in. Probably a scene at the Italian side of the Splügen
Pass. There is a copy, in blue and black, of a similar view at Turner
House, Penarth, attributed to Turner, which is described as “Near
Chiavenna.”
Winding streams between mountains; snow-clad peaks in distance.
44. LAKE ALBANO. J. R. COZENS
17¼ in. × 25 in.
Castel Gandolfo on hill in middle distance to the right; group of
large trees in foreground beside a road on which a man is driving
goats. Sunset.
45. LAKE NEMI, 1790. (Plate XXX.) J. R. COZENS
14½ in. × 21 in. Signed and dated, “_John Cozens_, 1790.” I have
seen copies in blue and black by Girtin or Turner of this drawing.
Lake in centre, surrounded by steep wooded banks; the town of Gensano
on hill in middle distance, with the Mediterranean beyond. Buildings
with pines and cypresses on right in foreground.
46. TEMPLE OF CERES, PÆSTUM. J. R. COZENS
10 in. × 14½ in.
Ruins standing dark against gloomy sunset.
47. CONVENT AT VIETRI. J. R. COZENS
10⅛ in. × 14½ in.
Convent in centre among trees; another convent and buildings on brow
of hill beyond; small stream in foreground in centre.
48. ISOLA BELLA, LAGO MAGGIORE. J. R. COZENS
10 in. × 14¾ in.
Terrace in foreground with building on left; two figures against the
balustrade on right; mountains beyond lake with snow-clad peaks.
49. MOUNTAINOUS LANDSCAPE AND LAKE. 1788. F. WHEATLEY, R.A.
12 in. × 18½ in. Signed, “_F. W._, 1788.”
Lake surrounded by mountains, with ferry and cows in foreground on
right. Probably an Irish scene.
50. A WELSH VILLAGE. J. C. IBBETSON
7¼ in. × 9¾ in.
Two women spinning outside a cottage; others at work in distance.
51. WEST FRONT, TOWN HALL, BATH, 1777. T. MALTON, Junr.
12¾ in. × 18⅞ in. Signed and dated, “_T. Malton_, 1777.”
“Hancock” and “White Lion Inn and Tavern” on building on left, at
which a coach has stopped; the Town Hall beyond; Bath Abbey faces the
spectator at the end of the street.
52. STOWMARKET. PAUL SANDBY, R.A.
12½ in. × 18¼ in.
Town near centre in middle distance, with hills beyond; woman milking
cow in foreground; trees and barns behind her and a gateway leading
into town.
53. MALMESBURY ABBEY. 1794. (Plate II.) J. M. W. TURNER, R.A.
14 in. × 10¼ in. Signed and dated, “_Turner_, 1794.” R.A., 1887;
Christie’s, 1912 (J. E. Taylor).
View of abbey with ruined arch; hayrick on right and a pig feeding;
milkman and dog in centre.
54. LLANRWST BRIDGE. J. C. IBBETSON
7¼ in. × 9¾ in.
Women washing clothes beside river; some at tubs set on trestles, some
standing in the water; bridge beyond, and mountains.
55. PULTENEY BRIDGE, BATH. 1777. T. MALTON, Junr.
12¾ in. × 19 in. Signed and dated, “_T. Malton_, 1777.”
Building with domes and columns on left of roadway; “Wicksteed, Seal
Engraver” over portico; figures and a one-horse chaise on roadway;
glimpse of a distant hill on left.
56. RICHMOND HILL, 1798. J. I. RICHARDS, R.A.
12¾ in. × 20⅛ in.
Trees on left, with houses on right; other houses seen through trees
in middle distance.
57. FOUNTAINS ABBEY. THOMAS GIRTIN
18¼ in. × 12⅝ in.
The ruins of the eastern transept and Lady Chapel.
58. OFF THE COAST OF BUTE. J. T. SERRES
9¾ in. × 16½ in. Signed, “_J. T. Serres, fect._”
Shipping in foreground; distant mountains with clouds floating across
them.
59. MOUNTAINOUS LANDSCAPE, WITH CASTLE. PAUL SANDBY, R.A.
12¾ in. × 20½ in.
Castle on rock; bridge with stream and cascade at foot of rock on
left; lady on horseback talking to woman and child in foreground.
60. PRISON OF THE CONCIERGERIE, PARIS. H. EDRIDGE, A.R.A.
13½ in. × 19½ in.
Prison on left; mounted cuirassiers passing along the quay; bridge in
middle distance.
61. CASSIOBURY. THOMAS HEARNE
12¾ in. × 9¾ in.
Scene in the park, with road running between tall trees; felled timber
lying on left of road; wagon passing down the road.
62. THE PRIORY CHURCH, TYNEMOUTH. _Circa_ 1798. EDWARD DAYES
19½ in. × 14½ in. Signed and dated, “_E. Dayes_, 1798 (?)”--the
last figure is covered by the mount. Engraved in John Britton’s
“Architectural Antiquities of Great Britain.”
Ruins seen through archway.
63. FISHING-BOATS ON THE SCHELDT. N. POCOCK
10 in. × 16 in. Signed, “_N. Pocock_.”
Boats in a choppy sea; storm effect.
64. THE SWAN INN, EDMONTON. (Plate XXV.) PAUL SANDBY, R.A.
14 in. × 21⅜ in.
Roadway in centre with figures, buildings on either side; sign of the
Swan Inn in middle distance on the left.
65. BALA LAKE. JOHN VARLEY
12½ in. × 17⅝ in.
Lake in centre, with mountains reflected in its waters; evening effect.
66. BEN VENUE, FROM LANRICK. (Plate XLI.) G. F. ROBSON
18¼ in. × 25¾ in. Perhaps the drawing entitled “Ben Venue, from the
head of Loch Achray,” exhibited by Robson at the Society of Painters in
Water-Colours, 1815 (No. 312).
The mountain in distance with Loch Achray near foreground.
67. HOPE DALE, DERBYSHIRE. J. C. IBBETSON
12¼ in. × 17¼ in.
Horse and cart with figures coming up road on the right; distant
valley in centre, with mountains beyond.
68. PASTORAL SCENE. J. C. IBBETSON
12 in. × 16 in. Signed and dated, “_J. Ibbetson_, 1798.”
Four cows lying in foreground, with boy talking to a woman; houses
among trees beyond on right.
69. COUNTRY LANE, HARROW. H. EDRIDGE, A.R.A.
10¼ in. × 16 in.
Horse and cart on road to left; stream with overhanging trees on
right; houses among trees in centre.
70. THE PILOT BOAT. (Plate XLII.) COPLEY FIELDING
24½ in. × 38½ in. Signed and dated, “_Copley Fielding_, 1831
(_?_).” Perhaps the “Vessels in a Stiff Breeze off Calshot Castle,
Hampshire,” exhibited at the Society of Painters in Water-Colours, 1832
(No. 112).
Two boats in a stiff sea, with men-of-war in the offing.
71. A WELSH RIVER. JOHN VARLEY
10⅜ in. × 21½ in. Signed, “_J. Varley_.”
Road on left beside river in foreground; range of jagged peaks beyond
which catch the rays of the setting sun.
72. CARNARVON CASTLE. J. B. PYNE
11¾ in. × 26 in.
Ship unloading beneath walls of the Castle; castle near the centre,
with distant coast on right.
73. MOUNTAINOUS LANDSCAPE, WITH LAKE. JOHN VARLEY
9 in. × 12⅝ in.
Lake containing two small islands, surrounded by mountains.
74. GORMIRE LAKE, YORKSHIRE. (Plate XXXIV.) J. S. COTMAN
14½ in. × 21½ in. This is probably the drawing exhibited at the Royal
Academy in 1804 as “Gormire, Yorkshire” (No. 928).
Man carrying two oars on his shoulder and a woman stooping in
foreground, at edge of the lake; three cows standing in shallow water
on right; cliffs beyond. Gormire Lake is the only considerable “tarn”
of the East Yorkshire hills.
75. RIVER SCENE, WITH ROUND TOWER. P. DE WINT
12 in. × 18 in.
Buildings with tower seen through trees; stream with small bridge in
foreground.
76. SEAFORD, FROM NEWHAVEN PIER. COPLEY FIELDING
25 in. × 38 in. Signed and dated, “_Copley Fielding_, 1830
(_?_).” Exhibited Royal Academy, 1908 (No. 222); in the catalogue
the date is said to be 1858, but Fielding died in 1855. Perhaps the
“Pier at Newhaven, Sussex,” exhibited at the Society of Painters
in Water-Colours, 1830 (No. 85); or “Scene at Entrance of Newhaven
Harbour,” exhibited in 1831 (No. 161).
A rough sea with pier-head on left; ships on right; town and line of
coast in distance; blue sky, flecked with clouds.
77. KINGLEY VALE, WITH CHICHESTER CATHEDRAL IN THE DISTANCE.
(Plate XL.) WILLIAM TURNER of Oxford
10¾ in. × 16¾ in. Signed, “_W. Turner_.” Exhibited at the Society
of Painters in Water-Colours, 1851 (No. 197). Kingley Valley is at the
foot of Bow Hill, West Sussex, four miles N.N.W. of Chichester.
Shepherd and sheep in foreground; beyond, dark masses of foliage,
a valley, and gently sloping hills; spire of cathedral and sea in
distance.
78. BRIDGE OVER RIVER NEAR A TOWN. (Plate XXXIII.) J. S. COTMAN
13¾ in. × 21¼ in. Signed, “_J. S. Cotman_, 1803.”
River running across drawing in foreground; bridge on left, with town
beyond. This is, I think, the old Welsh Bridge at Shrewsbury.
79. COAST SCENE. SAMUEL PROUT
10¼ in. × 17 in. Signed with monogram, “_S.P._”
Fishermen dragging a net beside a wooden breakwater; two vessels fully
rigged in middle distance; flight of seagulls.
80. CONWAY. W. PAYNE
12 in. × 16½ in. Signed, “_W. Payne_.”
Looking down on the castle from heights above; the sea in distance
with Great Orme’s Head on right.
81. CISSBURY: EARLY MORNING. H. G. HINE
7¾ in. × 18¼ in. Signed and dated, “_H. G. Hine_. 1865.”
Sheep entering valley in foreground, followed by shepherd and dog;
mists rising round Cissbury Hill; pale crescent moon above.
82. BEESTON CASTLE. (Plate XLIV.) T. COLLIER
22½ in. × 35¼ in. Signed and dated, “_Thos. Collier_. 1877” (or
’71).
The castle in middle distance on left; flock of sheep in meadow in
foreground; a small stream, bordered with trees, runs across the
picture on the right.
83. CHANCTONBURY RING. H. G. HINE
11½ in. × 21½ in. Signed and dated, “_H. G. Hine_. 1874.”
Hayricks, cottages and trees, with range of hills beyond: a sunny
early morning.
84. CARNARVON. W. PAYNE
11¾ in. × 16½ in. Signed, “_W. Payne_.”
Shepherd with sheep and dog on road in foreground, with large,
overhanging trees; castle in middle distance.
85. TEMPLE OF BAALBEC. DAVID ROBERTS, R.A.
13 in. × 19 in. Pencil on grey paper, with touches of body-colour.
Inscribed, “Ruins of the Eastern Portico of the Temple of Baalbec. May
6th, 1839. David Roberts, R.A.”
Figures seated on ruins in foreground, and a small group on the right.
86. FOLKESTONE. (Plate XXXIX.) SAMUEL PROUT
18 in. × 25 in.
Roughly built wooden houses in foreground on the shore; church in
distance, above on the left; cliffs in centre, with sea on right.
87. CISSBURY: MIST RISING. H. G. HINE
13 in. × 19 in. Signed, “_H. G. Hine, Cisbury Camp_.”
Mists rising round the hill; moon and star above.
88. GRANADA. (Plate XLIII.) DAVID ROBERTS, R.A.
15¾ in. × 11 in. Inscribed, “Granada.” Roberts was in Granada in 1833.
River running through the town; bridge in middle distance, with
buildings and tall tower on right.
89. ITALICA, BIRTHPLACE OF THE EMPEROR TRAJAN. W. E. LOCKHART
14 in. × 21½ in. Signed and dated, “_W. E. Lockhart, R.H.A._,
1870-83.” Inscribed, “Italica. Birthplace of the Emperor Tragan”
[_sic!_].
Peasant with two oxen on road in foreground; buildings on slight
eminence on left.
90. HARVEST TIME. T. COLLIER
91. ACROSS THE HEATH. E. M. WIMPERIS
9½ in. × 14 in. Signed with initials, “_E. M. W._”
Horse and cart with two men on common in foreground; a forked road
leading over ridge of hill near centre; roofs of houses and tops of
trees seen over crest of hill, with mountains beyond.
92. LANDSCAPE, WITH RABBITS. DAVID COX
6 in. × 9¼ in.
Rabbits on hill-side, with foxgloves; distant hills.
93. ETON PLAYING-FIELDS. DAVID COX
6¾ in. × 9¾ in.
Buildings and trees, with visitors.
94. ROUNDING OLD CALAIS PIER: A CALM. DAVID COX
7¼ in. × 10¾ in. Signed, “_D. Cox_,” with (?) “1832.” Probably
exhibited at Society of Painters in Water-Colours, 1833.
Pier on right with many figures; two sailing vessels with sails set
arriving at pier in centre; two fishing-boats nearer foreground.
Sunset.
95. RIVER SCENE: SUNSET. G. BARRET
5¾ in. × 8¾ in.
Two boats on centre of river, with trees on bank to left; storm-clouds
passing over crescent moon.
96. WELSH RIVER SCENE. DAVID COX
6¾ in. × 8½ in. Signed and dated, “_D. Cox_, 1827.” Engraved in
“The Social Day.”
97. SUNSET. R. P. BONINGTON
5½ in. × 7½ in.
Cattle near foreground; distant trees dark against sunset sky; flight
of birds on right.
98. STOKESAY CASTLE. DAVID COX
5¼ in. × 7¾ in.
Peasant woman and girl carrying bundles on road in foreground; castle
beyond, on right, with dark mountains in distance. Stormy sky.
99. THE MOUTH OF THE THAMES: A GREY DAY. DAVID COX
6¾ in. × 10 in. Signed and dated, “_D. Cox_, 1832.”
Passengers in rowing-boat, with sailing vessels beyond.
100. ON THE MOSELLE. P. DE WINT
8½ in. × 12¾ in.
Road leading to village, with church-spire and castle on left; river
on right, with rocky banks.
101. BARNARD CASTLE. P. DE WINT
5¼ in. × 9¾ in.
Ruins of castle on hill in distance to right; rocks and trees in
foreground.
102. LANDSCAPE, WITH CASTLE. DAVID COX
7¼ in. × 10½ in. Query, Powys Castle.
Castle among trees, seen from above; shepherd and dog in foreground;
mountain ranges in distance.
103. UNDERCLIFF, VENTNOR. P. DE WINT
10¼ in. × 13½ in.
Figure sketching in foreground, among rocks.
104. ON THE MOOR. T. COLLIER
6½ in. × 9½ in.
A stretch of moorland, with moving clouds.
105. THE MID-DAY MEAL. J. LINNELL
4 in. × 7 in. Signed, “_J. Linnell_.”
Figures seated under a tree.
106. THE QUAY. DAVID COX
5½ in. × 8½ in.
Quay of red brick and stone, with crane on it; barges moored beside it.
107. WARWICK CASTLE. G. BARRET
7 in. × 10 in. Signed and dated, “_Geo. Barret_. 1821” (or 1826).
River in foreground; castle seen against the sunset.
108. THE CASTLE BY THE RIVER. JOHN VARLEY
5¾ in. × 10¼ in.
Castle with trees on a hill; bridge in middle distance; distant blue
mountains. A composition.
109. A RUINED ABBEY. DAVID ROBERTS, R.A.
8¼ in. × 11¼ in. Signed, “_D. Roberts, R.A._” Chalk on grey paper,
heightened in parts with body-colour.
Evidently Melrose Abbey.
110. DRAWING-ROOM AT CASSIOBURY, 1821. W. HUNT
9¾ in. × 13¼ in. Signed and dated, “_W. Hunt_. 1821.”
Windows on left, fireplace and wall covered with pictures on right;
round mahogany table in centre. Trees of the park seen through window
at end of room.
111. IN KENSINGTON GARDENS. T. HEARNE
7¼ in. × 10⅛ in. Signed, “_T. Hearne_.”
Road, bordered with trees, in centre, running into drawing; group of
haymakers in middle distance on left.
112. LAKE SCENE. JOHN VARLEY
8¼ in. × 13¼ in.
Ruined castle on lake, which is surrounded by mountains.
113. IN A NORMANDY TOWN. SAMUEL PROUT
10¼ in. × 7½ in. Signed, “_S. Prout_.”
Figures outside doorway of a picturesque old French house.
114. HAMPSTEAD. W. OLIVER
8¼ in. × 12½ in. Signed, “_William Oliver_.”
Looking over the heath towards Harrow; figures in sandpits in
foreground.
115. A GORGE. _Circa_ 1835. (Plate XXIV.) J. M. W. TURNER, R.A.
13½ in. × 9¼ in. Christie’s, 1912 (J. E. Taylor).
Mountain torrent rushing down among rocks. Perhaps one of the Falls of
the Reichenbach.
116. THE THAMES, NEAR WALTON. P. DE WINT
8½ in. × 17½ in.
River in foreground, with barges and rowing-boats.
117. A SCENE FROM A WINDOW OF MICEAS COURT, HEREFORDSHIRE.
T. HEARNE
7½ in. × 10½ in. Signed, “_T. Hearne_.”
Winding river with steep banks running into picture on right; cattle
and trees in foreground.
118. CASSIOBURY. T. HEARNE
10¼ in. × 13¾ in. Signed and dated, “_T. Hearne_. 1805.”
Small bridge with figures in foreground; trees on either side;
Cassiobury House in middle distance on slope.
119. OLD GATEWAY, NORMANDY. SAMUEL PROUT
10¼ in. × 7½ in. Signed, “_S. Prout_.”
Companion to No. 113. Peasants under archway, ornamented with
wood-carvings.
120. LOCH LEVEN CASTLE. JOHN VARLEY
7 in. × 10½ in.
Castle in centre against sunset sky; river on right, with blue
mountains in distance.
121. DURHAM. DAVID ROBERTS, R.A.
6½ in. × 9¾ in. Inscribed, “Durham, Sep. 14th, 1836.”
Cathedral and castle in centre, with river and bridge on right.
122. LEYTON, ESSEX. 1830. (Plate XXXVIII.) JOHN VARLEY
10 in. × 16⅛ in. Signed, “_J. Varley_.”
Figures on road, running into picture on left; row of old houses on
right; sunny effect with strong shadows cast over roadway.
123. LANDSCAPE WITH COTTAGE. JOHN CONSTABLE, R.A.
4¾ in. × 5½ in.
Cottage among trees; a rapid sketch.
124. THE STORM. J. LINNELL
4¼ in. × 7 in. Signed, “_J. Linnell_.”
Flock of sheep on road in centre; large tree dark against stormy sky.
125. CHARLES V. VISITING FRANCIS I. AFTER THE BATTLE OF PAVIA.
R. P. BONINGTON
5 in. × 6½ in. Lithographed by Harding, 1829, when the drawing was in
the possession of Clarkson Stanfield.
Francis in bed; attendant with green dress holding a dog in
foreground; Charles V. standing on other side of bed in shadow.
126. RHEINFELS CASTLE. _Circa_ 1835. J. M. W. TURNER, R.A.
6 in. × 9 in. “Dib” written in pencil in foreground.
River in foreground with high mountain on right; buildings beyond at
foot of another hill, surmounted by ruined buildings.
127. MOUTH OF THE GRAND CANAL. _Circa_ 1841. (Plate
XXIII.)
J. M. W. TURNER, R.A.
8½ in. × 12½ in. Once in collection of the Rt. Hon. W. F. D. Smith,
M.P. Christie’s, May 1917 (Beecham).
The Dogana on right, with church of San Giorgio Maggiore beyond; tall
buildings on left.
128. CHURCH OF ST. LAWRENCE, EVESHAM, AS SEEN THROUGH TOWER GATEWAY,
1793. J. M. W. TURNER, R.A.
8¼ in. × 10½ in.
Woman seated in foreground sketching.
129. FLORENCE FROM FIESOLE. _Circa_ 1817. J. M. W. TURNER, R.A.
5½ in. × 8½ in. Signed, “_Turner, R.A._” Engraved by W. R. Smith
for “A Picturesque Tour of Italy, from drawings made in 1816-1817, by
James Hakewill, Archt.” Christie’s, 1869 (Dillon); Ruskin Collection,
F.A.S., 1878; Glasgow, 1901 (A. T. Hollingsworth); Christie’s, May 1908
(Humphrey Roberts).
View taken from the garden of the Franciscan convent at Fiesole.
130. LAKE OF LUCERNE: BRUNNEN IN THE DISTANCE. _Circa_ 1840. (Plate
XX.) J. M. W. TURNER, R.A.
9 in. × 11½ in. Query the drawing sold at Christie’s, 1909
(Nettlefold), as “View on the Rhine.”
The two Mythens in the distance; view from near Treib.
131. ALPINE SCENE. _Circa_ 1835. J. M. W. TURNER, R.A.
4¾ in. × 6¾ in.
Study of a glacier.
132. WILDERNESS OF SINAI. _Circa_ 1832. (Plate XIX.)
J. M. W. TURNER, R.A.
5½ in. × 7¾ in. Engraved in Finden’s “Landscape Illustrations of the
Bible,” from a sketch by Major Felix. Christie’s, 1875 (Levy).
View of the rock said to have been struck by Moses; Arabs in
foreground.
133. SWISS LANDSCAPE. _Circa_ 1835. J. M. W. TURNER, R.A.
8 in. × 12½ in.
Stream in foreground; mountains beyond.
134. TURIN, FROM THE CHURCH OF THE SUPERGA. _Circa_ 1818.
J. M. W. TURNER, R.A.
5½ in. × 8½ in. Signed, “_J. M. W. Turner_.” Engraved by J. Mitam
for “A Picturesque Tour of Italy, from drawings made in 1816-1817, by
James Hakewill, Archt.” Ruskin Collection, F.A.S., 1878.
City of Turin below; the river Po winding through valley, and beyond,
the rugged snow-clad chain of Alps.
135. ALPINE STREAM. _Circa_ 1840. J. M. W. TURNER, R.A.
9 in. × 11⅜ in.
Castle on cliff with mountain range beyond; houses at entrance of
defile on the right; streams in foreground.
136. STEETON MANOR, NEAR FARNLEY. _Circa_ 1818. (Plate
XVIII.)
J. M. W. TURNER, R.A.
4 in. × 5⅛ in. From Farnley Collection; R.A., 1889 (J. Irvine Smith).
Steeton Manor House is nearer Skipton than Farnley.
Garden enclosed by wall in front of house; a woman hanging out clothes
to dry, some clothes lying on ground. Evening sky.
137. LAKE OF NEMI. _Circa_ 1818. J. M. W. TURNER, R.A.
5½ in. × 8⅜ in. Signed, “_J. M. W. Turner, R.A._” Engraved by
T. Page, for “A Picturesque Tour of Italy, from drawings made in
1816-1817, by James Hakewill, Archt.” Ruskin Collection, F.A.S., 1878;
Guildhall, 1899.
Town of Gensano and Convent of the Capuchins on right; Monte Circello
and the Mediterranean in distance.
138. EHRENBREITSTEIN. _Circa_ 1840. J. M. W. TURNER, R.A.
8½ in. × 11 in.
River in foreground; fortress in middle distance, towards the right.
139. OLD ABBEY, EVESHAM. 1793. (Plate I.) J. M. W. TURNER, R.A.
8¼ in. × 10¾ in. Signed, “_W. Turner_. 1793.”
Arch of old abbey in foreground, with Church of St. Lawrence in
distance.
140. WINCHELSEA CHURCH. _Circa_ 1796. THOMAS GIRTIN
8¾ in. × 5¼ in. Blue and grey wash. From James Moore, Miss Miller, and
Girtin Collections.
Part of church on right; figure seated on stone in foreground.
141. ST. AUGUSTINE’S PRIORY, CANTERBURY. _Circa_ 1796. THOMAS GIRTIN
6⅛ in. × 8⅝ in. From a sketch by James Moore, now in the Ashmolean
Museum. From James Moore and Miss Miller Collections.
Priory in centre, with trees on right; two cows and peasant in smock
with pole and pail in foreground.
142. A SUFFOLK VILLAGE. THOMAS GAINSBOROUGH, R.A.
5⅜ in. × 8 in.
A drawing in black, white, and red chalks on grey paper.
143. CRUMMOCK WATER. R. R. REINAGLE, R.A.
6¾ in. × 10 in. Signed and dated, “_R. R. Reinagle_, 18--” (the
last two figures are hidden by the mount).
Cottages with tall trees on left; horse and cart on roadway in centre;
bend of river on right, with distant mountains.
144. NORWICH CATHEDRAL. 1793. (Plate XXVI.) EDWARD DAYES
10⅜ in. × 14½ in. Signed and dated, “_E. Dayes_, 1793.” A similar
view, but with different figures in foreground, was engraved by W.
Angus and published, October 1801, in the “Beauties of England and
Wales” (Norfolk volume).
View from the river; gateway on left; cathedral in centre; figures on
river-bank in foreground.
145. NORBURY PARK. _Circa_ 1798. J. M. W. TURNER, R.A.
8½ in. × 14 in. Christie’s, July 1912 (J. E. Taylor), as “Autumn in
Surrey” (No. 113).
Warm autumn tints on foliage in foreground; distant view over flat
country with hills beyond.
146. KENILWORTH. _Circa_ 1796. (Plate XXXI.) THOMAS GIRTIN
8¼ in. × 11½ in.
Ruins in centre; wooden fence and foliage on right in foreground.
147. WATER MILL. _Circa_ 1798. (Plate III.) J. M. W. TURNER, R.A.
9½ in. × 13¼ in.
Mill, with water-wheel, to left; two figures on rustic bridge among
foliage on right.
148. LLANGOLLEN BRIDGE. EDWARD DAYES
9¼ in. × 14½ in. This is incorrectly named; probably Llanrwst Bridge,
Denbighshire. An engraving by J. Walker, of Llanrwst Bridge, “from
an original picture by E. Dayes,” was published in the “Copper-Plate
Magazine,” August 1799. Some cattle in the engraving are omitted in
this drawing, and the figures are different.
149. THAXTED CHURCH, ESSEX. T. HEARNE
9¾ in. × 7⅞ in. Signed “_Hearne_.” An engraving of this subject
from a drawing by Hearne was published in William Byrne’s “Antiquities
of Great Britain.”
150. J. M. W. TURNER, R.A., IN THE PRINT ROOM OF THE BRITISH
MUSEUM
J. R. SMITH
8¾ in. × 7⅛ in.
In profile, seated, looking at an engraving which he holds in his
hand. Smith was Keeper of the Print Room when he made this drawing.
151. DERBYSHIRE. P. DE WINT
5½ in. × 12¾ in.
Trees in foreground, with distant hills on right.
152. A MOUNTAIN STREAM. _Circa_ 1798. (Plate IV.)
J. M. W. TURNER, R.A.
8½in. × 12¾ in. Probably a leaf of the “Hereford Court” Sketch Book
(Turner Bequest, XXXVIII). Christie’s, 1912 (J. E. Taylor).
River in centre, tumbling over boulders in foreground; mountains
beyond.
153. VALLEY OF THE WASHBURNE, NEAR FARNLEY. 1816-1818. (Plate
XIV.)
J. M. W. TURNER, R.A.
10¾ in. × 15¼ in. Slightly different view from _Banks of
Washburne_ in Farnley Hall Collection.
Looking along river, with steep wooded bank on right; Leathley Church
in middle distance on left; Otley Chevin in distance.
154. THE ABBEY GATEWAY, READING. F. MACKENZIE
9¾ in. × 13 in. A similar view of the gateway was drawn by E. Dayes
and published in “Beauties of England and Wales” (Berkshire volume),
January 1804.
155. MALVERN CHURCH. W. S. GILPIN
7¼ in. × 11½ in.
View of Little Malvern Church with mountain beyond, on left.
156. WILLESDEN CHURCH. _Circa_ 1796. J. M. W. TURNER, R.A.
9¾ in. × 13½ in. Blue and grey-wash. Christie’s, 1912 (J. E. Taylor),
as _Kilburn Church_ (No. 88).
View of church in centre, with grave-digger in foreground on right.
157. WARWICK CASTLE. _Circa_ 1830. J. M. W. TURNER, R.A.
9 in. × 13½ in. Christie’s, 1912 (J. E. Taylor), as A POOL.
Water in foreground; towers seen among foliage on right.
158. CROSSES AND BRASSES, WHALLEY ABBEY. _Circa_ 1798.
J. M. W. TURNER, R.A.
10 in. × 7¼ in. From Ruskin, Harrison, and J. E. Taylor Collections.
Engraved by J. Basire and published, August 1800, in Whitaker’s
“History of the Parish of Whalley.”
159. MOUNTAINOUS LANDSCAPE. Attributed to ALEXANDER COZENS
5½ in. × 9 in. Probably a leaf from Turner’s “North Wales” Sketch Book.
River in centre, with distant mountain.
160. AN ICEBERG. _Circa_ 1845. J. M. W. TURNER, R.A.
8¼ in. × 12¼ in. Christie’s, 1912 (J. E. Taylor).
An iceberg with splashes of red and black. In foreground some writing
in pencil.
161. DERWENTWATER. JOHN CONSTABLE, R.A.
23¼ in. × 38 in.
Lake in centre surrounded by mountains.
162. A ROAD THROUGH A VILLAGE. SAMUEL PROUT
25½ in. × 36 in.
Man with two dogs driving cattle on road; old priory building in
centre, with houses on left.
163. MEADOWS BY THE RIVER LUGG, HEREFORDSHIRE. DAVID COX
28½ in. × 42 in.
Sheep in meadow beside river on left; seated figures in foreground on
right, with a man stooping to get water from a pool; row of trees in
shadow on left bank of river; hills, with cattle, beyond.
164. A MOUNTAIN SPRING. DAVID COX
29¼ in. × 25¼ in. Signed, “_David Cox_.”
Two figures with pails in foreground; rocks and mountain above.
165. WESTMINSTER. 1806. M. DUBOURG
18¼ in. × 28½ in. Signed, “_M. Dubourg_. 1806.”
Bridge in centre towards right, with Westminster Abbey beyond; barges
and boats on river; in foreground on right, two figures drawing boat
aground, and children playing.
166. A WELSH FUNERAL: BETTWS-Y-COED. DAVID COX
23 in. × 33 in. A larger and slightly different version of this subject
was exhibited at the Society of Painters in Water-Colours, 1850.
Tall trees casting shadow over crowd of figures in roadway in
foreground; belfry of chapel among trees in middle distance; mountains
beyond.
167. IN SWITZERLAND. CLARKSON STANFIELD, R.A.
18¼ in. × 25 in. Signed, “_C. Stanfield, R.A._ 1849.”
Buildings and trees at foot of mountains; figures on road in
foreground.
168. UNDER A WELSH CRAG. 1888. T. COLLIER
23¼ in. × 35 in. Signed and dated, “_Thos. Collier_. 1888.”
169. HOUNDEAN VALLEY, NEAR LEWES. H. G. HINE
19 in. × 34½ in.
170. BRENDON VALLEY. CECIL G. LAWSON
16½ in. × 23 in.
FOOTNOTES:
[A] The numbers are those in the Catalogue of Messrs. Agnew’s
Exhibition which appears at the end of this volume.
[B] Reproduced in “The Water-Colours of J. M. W. Turner” (STUDIO
Special Number, 1909).
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