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).