go and sit in the Queen Anne Street gallery for hours, but he was never
shown into the painting-room. On one occasion he invited Turner to
dinner at a London hotel, when he took, as was his wont latterly, a
great deal too much wine. For once he became vain, and, staggering
about, exclaimed, ‘Hawkey, I am the real lion--I am the great lion of
the day, Hawkey.’”
After Mr. Walter Fawkes’s death one of those wonders of the North, a
goose-pie and presents of game were sent to Turner from Farnley
regularly at Christmas time. The twenty-fifth pie was already packed
when the news reached Farnley of the painter’s death. The three last
letters Turner wrote to Mr. Fawkes acknowledging these annual presents
have been preserved and published. In the one written on the 24th
December, 1849, Turner finishes by saying: “I am sorry to say my health
is much on the wane. I cannot bear the same fatigue, or have the same
bearing against it, I formerly had--but time and tide stop not--but I
must stop writing for to-day, and so I again beg to thank you for the
Christmas present.” In the letter dated 17th December, 1850, the aged
artist wrote: “Old Time has made sad work with me since I saw you in
town. I always dread it with horror now. I feel it acutely now, whatever
(it is)--gout or nervousness--it has fallen into my pedestals, and bid
adieu to the marrow-bone stage.” These words, and indeed all the letter,
are written in Turner’s curiously involved and confused style, but it
was evident that the great painter’s career was nearly run. He died on
the 9th December of the following year, and was buried eleven days later
in the crypt of St. Paul’s beside Sir Joshua Reynolds, with all the
magnificence due to his genius.
* * * * *
[Sidenote: THE FARNLEY HALL COLLECTION]
It will be seen from the foregoing account of the personal relations
between Mr. Walter Fawkes and Turner that the Farnley Hall Collection is
mainly concerned with Turner’s work between the years 1804 and 1821.
These works, therefore, belong to what Mr. Ruskin has described as
Turner’s first period, when “he laboured as a student, imitating
successively the works of the various masters who excelled in the
qualities he desired to attain himself.” This classification of Mr.
Ruskin’s is evidently made in the interests of Turner’s later work, the
period Mr. Ruskin admired most. But the _parti-pris_ and insufficiency
of a classification which dismisses the period during which the
paintings and drawings of the Farnley Hall Collection were produced as
one of mere imitation of the old masters are sufficiently exposed by a
glance at the illustrations with which the present publication is
enriched. To speak of the creator of the _The Passage of Mont Cenis_,
_Scarborough_, _Otley from the Chevin_, and _The Valley of the Wharfe
from Caley Park_ as a mere imitator seems to me quite absurd. My own
view is that Turner’s period of imitation and apprenticeship had come to
an end by the time he was thirty years of age (1805). By that time he
was a complete master of every form of pictorial expression. The period
between his thirtieth and forty-fifth years was the period of his
freshest and happiest inspiration, as well as that of his soundest and
most perfect workmanship. His oil paintings produced during these years
are as solidly and carefully worked as those of the old Flemish and
Dutch masters. They are built to defy the centuries. A picture like the
so-called _Pilot Boat_ (_Shoeburyness Fisherman hailing a Whitstable
Hoy_)--painted more than a hundred years ago--is a model of perfect
craftsmanship. It has no cracks, and Time has only mellowed the
exquisite pearly harmonies of its colour and the indescribable charm of
its wonderful surface. The _Trout Stream_, the _Spithead_, and _Frosty
Morning_, have the same gift of immortality. It is only Turner’s later
paintings which have cracked and faded and tarnished, and lost the
“unthrifty loveliness” with which they were dowered when they were first
exhibited.
I may, I hope, be pardoned for preferring the classification of Turner’s
“periods” adopted in my study of “Turner’s Sketches and Drawings” to Mr.
Ruskin’s sweeping generalization. Turner’s Farnley work impinges on
three of these periods--it begins with that of 1802 to 1809, when Turner
was producing his own glorious sea-pieces; it covers the next period,
from 1809 to 1813, when Turner was developing that deep and solemn
conception of the poetry of rural life, which found expression in the
_Frosty Morning_, _Abingdon_ and _Windsor_; and it runs half-way into
the period of Turner’s greatest academical and popular success--that of
1813 to 1830. Of these three phases of Turner’s dazzling and complex
genius I regard the middle one as the most important. The works produced
in those years founded a genuinely national school of homely realism,
and show Turner as the leader and inspirer of the Norwich School, and
the master of David Cox, De Wint and all that is best in English
water-colour painting. The spirit which animated this period is the
spirit which informs nearly all the oil paintings and water-colours in
the Farnley Hall Collection.
At the death of Mr. Walter Fawkes, Turner’s works at Farnley Hall
consisted of seven oil paintings and about two hundred water-colours.
Since then the collection has been reduced to about two-thirds of its
original size. Various drawings have been given as presents to different
members of the family, and accidents of various kinds have happened to a
few of the drawings. One of Mr. Walter Fawkes’s sons was given a couple
of drawings to decorate his room at Eton. One of the drawings got
dirtied and the boy put it in a basin of water to clean it, with
disastrous results--a very expensive way of learning the difference
between an oil painting and a water-colour. But the biggest gap in the
collection was made by one of the present owner’s predecessors, the Rev.
Ayscough Fawkes, who sent forty-nine water-colours and three oil
paintings to Christie’s in June, 1890.
No complete list of the original collection has yet been published. The
following list is as nearly exhaustive as I have been able to make it. I
have broken this list up into eight groups for convenience of reference,
viz., (1) The oil paintings, (2) The early Swiss drawings, (3) The Rhine
drawings, (4) Yorkshire, marine and other subjects,(5) The Wharfedale
Series, (6) Birds, (7) Vignettes, (8) Italian and later Swiss drawings.
Where the works have passed from the possession of Mr. F. H. Fawkes, the
present owner of the collection, I have indicated in brackets the
collection into which they have passed, or the latest appearance in the
sale-room or exhibition of which I have a record. Where there is no
entry in brackets after the title the work is still at Farnley Hall.
THE OIL PAINTINGS.
1. London from Greenwich Park. 36” × 48". (National Gallery, No.
483.)
2. Shoeburyness Fisherman hailing a Whitstable Hoy--sometimes
called Pilot with Red Cap hailing a Smack in Stormy Weather. 36” ×
48".
3. The _Victory_ returning from Trafalgar, beating up Channel in
three positions: fresh breeze. 27” × 40". (Christie’s, 1890; Sir
Donald Currie.)
4. Scene in the Apennines, with peasants driving sheep. 13½” ×
19¼"--panel. (Christie’s, 1890; E. L. Raphael, Esq. Exhibited R. A.
1892; Guildhall, 1899.)
5. The Sun rising in a Mist. 27” × 40". (Christie’s, 1890; Mrs.
Johnstone Foster.)
6. The Lake of Geneva, from above Vevey, and looking towards the
Valley of the Rhone. 41½” × 65¼". (Christie’s, 1890; Sir Donald
Currie.)
7. Dort, or Dordrecht--the Dort Packet-boat from Rotterdam
becalmed. Signed and dated “J. M. W. Turner, R.A., 1818, Dort.”
Exhibited R.A. 1818. 62” × 91½".
8. Rembrandt’s Daughter. Exhibited R.A. 1827. 46½” × 44½".
A free rendering of the _London from Greenwich Park_ was engraved in the
“Liber Studiorum” and published 1st January, 1811. The plate is
inscribed, “Picture in the possession of Walter Fawkes, Esq., of
Farnley.” Turner must, however, have bought back or exchanged the
picture, as it was in his gallery at the time of his death, and thus
passed into the National Gallery. Soon after its first exhibition at
Marlborough House, in 1856, Mr. Ruskin published a curious “note” upon
it, bewailing in eloquent terms the fact that Turner should waste his
genius upon such an unworthy subject as London and a view of the Thames.
“What a sorrowful matter it is,” he explained, that there was no one who
“had sense and feeling enough” to tell Turner to paint the Rhone instead
of the Thames, the Simplon instead of Richmond Hill, and Rouen Cathedral
instead of Greenwich Hospital. Turner found his way at last to these
subjects, Mr. Ruskin added, “but not till many and many a year had been
wasted on Greenwich and Bligh Sands.” We need not on the present
occasion trouble to examine too curiously the reasons which induced Mr.
Ruskin to take such an entirely perverse view of the kind of subjects an
English landscape painter ought to choose. It is sufficient to point out
that an artist can only paint with his full power those scenes which he
knows and loves intimately. Turner was born in London, and the Thames
with its shipping about London Bridge stirred Turner’s imagination with
memories of his boyhood, his early dreams and aspirations, in a way that
the Rhone, or the Rhine, or the Danube could never stir it. No doubt
these rivers are broader and deeper than the Thames, fairer to the eye
of the tourist, and richer in historical associations; but these
advantages are no compensation for that affectionate intimacy which
guides and inspires the artist when he is dealing with scenes familiar
to him since his boyhood. I will not hesitate to assert that Turner’s
paintings and drawings of his native land and its rivers and ports stir
my imagination and emotions far more powerfully and harmoniously than
those of foreign parts. In spite of the tranquil splendour of the
Farnley _Dort_, the magnificence of Mr. Naylor’s _Cologne_ and Mr. Ralph
Brocklebank’s _Ehrenbreitstein_, and the intricate play of cunning line
and gorgeous colour in the water-colour of _Heidelberg_ (in the Donald
Currie Collection), I would not exchange any of these works for the
sober harmonies and beautiful feeling of _London from Greenwich Park_,
or the more moving drama of the fisherman’s daily life on the Thames
enshrined in the _Shoeburyness Fisherman hailing a Whitstable Hoy_.
The picture of the _Victory_ returning from Trafalgar was painted about
the same time as the _Shoeburyness Fisherman_. It is hallowed by
association with Nelson’s glorious end, but it is lacking in that unity
and energy of pictorial motive which make the _Shoeburyness Fisherman_
such a masterpiece of sea-painting.
_Rembrandt’s Daughter_ is the only picture in the Farnley Collection
which was bought by Mr. Walter Fawkes’s son, Mr. Hawksworth Fawkes. It
was not well chosen. It shows Turner as an imitator and humble admirer
of other artists, rather than as the great creative genius he was. It is
not a typical work of the artist, but it throws an interesting
side-light on the moods of hesitation and tentative experiment in which
he occasionally indulged. Rembrandt and his wife are supposed to be
surprising their daughter--an entirely mythical personage--while she is
reading a love-letter. There are some fine passages of colour in the
girl’s dress. The picture was exhibited at the Royal Academy in 1827.
EARLY SWISS DRAWINGS.
9. Glacier and Source of the Arveiron, going up to the Mer de
Glace. Exhibited R.A. 1803. 27” × 40".
10. The Great Fall of the Reichenbach; in the valley of Hasle,
Switzerland. Signed and dated “J. M. W. Turner, R.A., 1804.”
Exhibited R.A. 1815. 40” × 27". (Plate IX.)
11. The Passage of Mount St. Gothard; taken from the centre of the
Teufels Broch (Devil’s Bridge), Switzerland. Signed and dated “J.
M. W. Turner, R.A., 1804.” Exhibited R.A. 1815. 40½” × 27".
12. Blair’s Hut on the Montanvert, and Mer de Glace, Chamounix. 11”
× 15".
13. The Valley of Chamounix. Signed and dated “J. M. W. Turner,
R.A., p.p., 1809(?).” 11¼ × 15⅝". (Plate III.)
14. Lake of Thun. 11” × 15½".
15. The Staubbach, Valley of Lauterbrunnen. Signed and dated “J. M.
W. Turner, 1809.” 11” × 15".
16. The Lake of Brienz: Moonlight. Signed “J. M. W. Turner, R.A.”
11” × 15½". (Plate XII.)
17. Bonneville, Savoy. 11” × 15⅜". (Plate I.)
18. Vevey, Lake of Geneva. 11” × 15½". (Christie’s, 1890; Sir
Donald Currie.)
19. Sallenches. 11” × 15½". (Christie’s, 1890; Humphrey Roberts’s
sale, May, 1908.)
20. Chamounix; Mer de Glace. 11” × 13½". (Christie’s, 1890;
Humphrey Roberts’s sale, May, 1908.)
21. Lausanne and Lake of Geneva. 11¼” × 15½". Signed and dated “J.
M. W. Turner, R.A., 1807.” (Christie’s, 1890; A. J. Forbes-Leith,
Esq.)
22. Source of the Arveiron. 11” × 15½". (Christie’s, 1890; Turner
House, Penarth, Pyke-Thompson Bequest.)
23. Lake of Lucerne, from Flüelen. 26½” × 39½". (Christie’s, 1890;
Sir Donald Currie.)
24. MontBlanc, from the Vald’Aosta. 26” × 39½". (Christie’s, 1810;
Sir Donald Currie.)
All these drawings were based on sketches made during Turner’s first
tour in Savoy and Switzerland, in 1802. The earliest are dated 1803 and
1804, others were executed four or five years later, and a few may not
have been completed till about 1815. They evidently owe a great deal to
the inspiration of Richard Wilson and Nicholas Poussin, though we find
in them that same large and masculine grip of natural form and structure
which we see in pictures like the _Bridgewater Sea-Piece_ and _Calais
Pier_. In some of the drawings, indeed--the _Great Fall of the
Reichenbach_ and _The Passage of Mount St. Gothard_, for instance--the
calm, unhurried elaboration of rock forms gives them a certain cold and
prosaic air. Such drawings lack the gloomy majesty and lyrical intensity
of feeling of paintings like _The Trossachs_, _Conway Castle_ and
_Kilgarran Castle_. For work of this kind a certain vagueness and
generalisation of execution are necessary, and Turner was, after 1804,
already beginning to feel his way towards a greater clarity and lucidity
of expression than Wilson had attempted. The Farnley drawings represent,
therefore, what I may call the aftermath of Turner’s early romantic
mood. They are conceived under the influence of that taste for the
gloomy, mysterious and picturesque fostered by Milton, Young’s “Night
Thoughts,” and Walpole’s “Castle of Otranto”; but the fulness of
representation and cheerful and varied colour of their execution are not
altogether in harmony with their original intention. In these respects
the original sketches of _The Pass of St. Gothard_ in the National
Gallery (LXXXV, 33, 34, and 35) are more satisfactory to the imagination
than the larger and more elaborate drawing in the Farnley Collection.
The absence of romantic passion is, however, atoned for by the
stateliness and grandeur of the design.
The two drawings of this group which make the strongest appeal to my
feelings are the moonlit view of The _Lake of Brienz_ and the gloomy and
majestic _Glacier and Source of the Arveiron_ which was exhibited at the
Royal Academy in 1803. Both these drawings are darker and more
Wilsonesque in colour and effect than the others. The starkness and
bigness of drawing in the group of pine trees in the foreground of the
_Glacier and Source of the Arveiron_ strike the imagination with
Miltonic power and certainty. The blues in the _Lake of Brienz_ have
slightly faded, but the rich sombre harmony of the drawing is in no way
impaired.
Another powerful and impressive drawing is the _Lake of Thun_. This
differs in some important respects from the design engraved and
published in the “Liber Studiorum.”
An altogether different note is struck in the graceful and charming
subject of _Bonneville_. Here all is peace and serenity. The foreground
is filled with the amenities of untroubled rural life, the distant blue
and white peaks of the mountains making an excellent foil to the
graceful foliage, white walls and bridge of the little town which
nestles at their feet. The foreground, indeed, is only redeemed from
insipidity by the sharp, firm drawing of the ripples and stones.
THE RHINE DRAWINGS.
25. Mayence and Kastel. 8-11/16” × 14⅝". (Plate XVIII.)
26. Mayence. 7¾” × 12⅛". (Christie’s, 1890.)
27. Mayence. 8¾” × 13⅞". (Christie’s, 1890; Taylor Sale, July
1912.)
28. Palace of Biebrich. 8” × 13½". (Christie’s, 1890; Turner House,
Penarth.)
29. Johannisberg. 8-13/14” × 13½". (Plate XXIII.)
30. Rüdesheim, looking to Bingen Klopp. 8¼” × 13½". (Christie’s,
1890.)
31. Bingen and Ehrenfels, from the Lake. 7⅝” × 12¼".
32. Abbey of Bingen, looking towards Lake. 8” × 11½". (Plate XXV.)
33. The Mausethurm, Bingen Loch. 8” × 12¼".
34. Bausenberg in the Brohlthal. 8⅝” × 12¼". (Christie’s, 1890.)
35. Sooneck, with Bacharach in the distance. 8-15/18” × 14½".
(Plate XXI.)
36. Fürstenberg. 9¼” × 12¼". (Christie’s, 1890.)
37. Bacharach and Stahleck. 7¾” × 12½". (Christie’s, 1890.)
38. Pfalz, Caub and Gutenfels. 7¾” × 12⅛". (Christie’s, 1890; Sir
R. Hardy, Bart.)
39. Oberwesel and Schönburg Castle. 8⅝” × 14". (Christie’s, 1890.)
40. Lurleiberg. 7-13/14” × 12⅛".
41. St. Goarshausen and Katz Castle. 7⅝” × 12". (Christie’s, 1890;
G. R. Burnett, Esq.)
42. Lurleiberg. 8” × 12".
43. Lurleiberg and St. Goarshausen. 8” × 12¼".
44. Lurleiberg. 7½” × 11¾". (Christie’s, 1890; Lord Penrhyn.)
45. Lurleiberg. 7¾” × 12".
46. St. Goarshausen. 7⅞” × 12".
47. Lurleiberg. 7½” × 11¼". (Christie’s, 1890; Louis Huth.)
48. Lurleiberg. 7½” × 11⅞". (Christie’s, 1890; Sir H. Boulton.)
49. Katz Castle, with Rheinfels. 7½” × 12⅛". (Christie’s, 1890.)
50. From Rheinfels, looking over St. Goar to Katz. 7⅞” × 12⅜".
(Plate XXIX.)
51. Hirzenach. 8⅜” × 12½". (Plate XV.)
52. Rheinfels, looking to Katz and St. Goarshausen. 7½” × 12⅛".
(Christie’s, 1890.)
53. Castles of the Two Brothers, Sterrenberg and Liebenstein. 8⅛” ×
12". (Christie’s, 1890; J. F. Schwann, Esq.)
54. Boppard. 7⅜” × 12¼". (Christie’s, 1890.)
55. Peterspay. 8¼” × 12½". (Christie’s, 1890.)
56. Marksburg. 7⅝” × 12⅜". (Christie’s, 1890.)
57. Oberlahnstein. 7⅝” × 12¼". (Christie’s, 1890.)
58. Entrance of the Lahn. 7¾” × 12¼". (Christie’s, 1890; Lord
Penrhyn.)
59. Abbey near Coblenz. 7¾” × 8⅜".
60. The Back of Ehrenbreitstein, from the Pfaffen. 7¾” × 12¼".
(Christie’s, 1890.)
61. From Ehrenbreitstein. 7¾” × 12¼". (Christie’s, 1890.)
62. Quay at Coblenz. 7¾” × 12¼". (Christie’s, 1890.)
63. Bridge over the Moselle, Coblenz. 7⅝” x 12¼". (Christie’s,
1890; Rev. W. Macgregor.)
64. Neuweid and Weissenthurm. 7¾” × 12¼". (Christie’s, 1890;
Agnew’s Gallery, 1901.)
65. Weissenthurm, with Hoche’s Monument. 7⅞” × 12½".
66. Andernach. 7¾” × 12¼". (Christie’s, 1890.)
67. Roman Tower, Andernach. 7¾” × 12¼". (Christie’s, 1890.)
68. Hammerstein. 7⅝” × 12⅜". (Christie’s, 1890.)
69. Remagen and Linz. 7¾” × 12⅜". (Christie’s, 1890; Sir J. Gibson
Carmichael, Bart.)
70. Rolandswerth Nunnery and Drachenfels. 7¾” × 12⅛". (Christie’s,
1890; Sir Donald Currie.)
71. Drachenfels and Nunnery. 9⅛” × 11⅜". (Christie’s, 1890.)
72. Drachenfels. 9¼” × 11¼".
73. Godesberg. 7¾” × 11⅞". (Christie’s, 1890.)
74. RhineGate, Cologne. 7¾” × 12". (Christie’s, 1890.)
75. Cologne. 7¾” × 12". (Christie’s, 1890.)
Details of the circumstances under which these fifty-one drawings were
produced have been already given. No man, not even Turner, could
possibly have sketched and worked up these subjects in the short space
of a fortnight. But to have made even the sketches for this series of
drawings in the short space of time Turner had at his disposal proves
the marvellous rapidity with which he worked.
The drawings themselves are full of picturesque detail and accurate
observation, but they are, perhaps, more remarkable for their technical
skill than for their subject-matter. The deadly sureness of touch and
almost incredible dexterity in the manipulation of washes of colour,
remind one more of the calligraphic art of the Chinese and Japanese than
of the work of an English landscape painter. If the early Swiss drawings
in this collection may be described as an aftermath of Turner’s romantic
period, the Rhine drawings may be said to be the first instalment of the
treasures of art which the great magician was to give us in the series
of drawings of the Seine and Loire, and the later sketches of the Rhine
and Moselle.
Though nearly three-quarters of this series were sold in 1890, the
sixteen best drawings were carefully retained.
YORKSHIRE, MARINE, AND OTHER SUBJECTS.
76. Scarborough Town and Castle: Morning. Boys collecting Crabs.
Exhibited R.A. 1811. 27” × 40". (Plate IV.)
77. Flounder Fishing, Putney Bridge. Exhibited R.A. 1811, under
title November--Flounder Fishing. 24½” × 18½".
78. Cottage Steps; Children feeding Chickens. Exhibited R.A. 1811,
under title May--Chickens. 24½” × 18½".
79. The Strid, Bolton Woods. 11¼” × 15½". (Plate VI.)
80. Bolton Abbey, from the South. Signed “J. M. W. Turner, R.A.”
11¼” × 15½". (Plate XIII.)
81. Lancaster Sands. Signed “J. M. W. Turner, R.A., p.p.” 11⅛” ×
15½".
82. Man-of-War making Signals off the Mouth of the Tagus. 11” ×
15½".
83. Wreck of an East Indiaman. 11¼” × 15¾".
84. Coniston Lake and Old Man. 19½” × 25½". (Plate X.)
85. Fish Market on the English Coast. Signed and dated “J. M. W.
Turner, R.A., p.p., 1818.” 11” × 15⅜". (Plate XXVIII.)
86. A First-Rater taking in Stores. Signed and dated “J. M. W.
Turner, 1818.” 11¼” × 15½". (Plate VIII.)
87. Loch Fyne. Signed and dated “J. M. W. Turner, R.A., 1810.” 11”
× 15½". (Christie’s, 1890; Sir Donald Currie.)
88. Windermere. Signed and dated “J. M. W. Turner, R.A., 1821.”
11½” × 16". (Christie’s, 1890; Sir Donald Currie.)
89. Ulleswater. 11” × 15½". (Christie’s, 1890.)
90. High Force: Fall of the Tees. 11” × 15½". (Christie’s, 1890;
Sir H. Doulton.)
91. Fountains Abbey. 11” × 15½". (Christie’s, 1890; J. E. Taylor,
Esq.)
THE WHARFEDALE SERIES.
92. Shooting Party on Hawksworth Moor, 11-1/16” × 15¾".
93. Hawksworth Hall. 11⅛” × 15½".
94. Otley, from the Chevin. 11” × 15½". (Plate XXII.)
95. Otley Bridge. 13½” × 17¾".
96. Caley Hall. 12” × 17½".
97. Old Dairy, Farnley. 12½” × 17¼".
98. Turner’s Lodge. 12” × 16¾".
99. Stained Glass Window, 1819. 11½” × 12½".
100. Conservatory, Farnley Hall. 13¼” × 16½".
101. Lindley Hall. 11-3/16” × 15⅞".
102. Dining-Room, Farnley Hall. 12¼” × 17".
103. Entrance to the Gardens, Farnley. 12” × 16½".
104. Drawing-Room, Farnley Hall. 12¾” × 16½".
105. Front Staircase, Farnley Hall. 13” × 16¾".
106. The Banks of the Washburne. 13¼” × 16¼". (Plate XI.)
107. Lindley Bottom. 13½” × 17⅞".
108. Junction of Wharfe and Washburne. 12¼” x 17½".
109. The Library, Farnley Hall; facing fireplace. 13” × 17".
110. The Library, Farnley Hall; facing window. 12¼” × 16½".
111. Lindley Bridge and Hall. 12” × 17½". (Plate XXIV.)
112. Oak Staircase, Farnley Hall. 12½” × 16½".
113. Lindley Hall, from Lake Tiny. 11⅛” × 15-7/16".
114. Newall Old Hall. 12½” × 16½".
115. Oak Room, Farnley Hall. 11½” × 16".
116. Caley Park: Otley Chevin: Figures and dogs in foreground. 13½”
× 17½".
117. The Washburne, with Leathley Church. 12” × 16¾". (Plate XVII.)
118. Caley Park, with Deer. 13½” × 17¾".
119. The Valley of the Wharfe, from Caley Park. 11¾” × 17½". (Plate
II.)
120. Lake Tiny, Farnley, with boat and water-fowl in foreground.
11” × 15".
121. Wharfe, from Farnley Hall. 11¾” × 16½".
122. Lake Plantation, Farnley. 11-3/16” × 15½".
123. Lake Tiny, Farnley, with Almias Cliff in distance. 13½” × 17".
(Plate XXX.)
124. Doorway, Farnley Hall. 10¾” × 12¾".
125. Farnley Hall and Garden, with Sun Dial. 12½” × 16¼".
126. The Carriage Drive, Farnley. 11¾” × 16". (Plate XXVII.)
127. Farnley in the Old Time. 11¼” × 15⅞".
128. View of Farnley Hall. 12¼” × 15½".
129. The Fairfax Cabinet. 11½” × 14½".
130. The Valley of the Washburne, and Lindley Bridge. 10¾” × 15½".
(Christie’s, 1890; Col. L. G. Fawkes.) (Plate XIX.)
131. In Wharfedale, with Temple, and Ducks in a pond. 13” × 17½".
(Christie’s, 1890.)
132. In Wharfedale, with rustic bridge. 11¼” x 15½". (Christie’s,
1890.)
133. View of Otley Mills, with the River Wharfe and Mill Weir.
(Christie’s, 1890.)
134. The Pheasant’s Nest, Farnley Park. 12” × 16¼". (Ruskin
Collection.)
135. The Wood Walk, Farnley. 11” × 16¾". (F. Stevenson, Esq.)