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.
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).