July 1912.)
137. Drawing-Room in 45, Grosvenor Place.
138. Frontispiece for Catalogue of Water-Colour Drawings in 45,
Grosvenor Place.
139. London, from the windows of 45, Grosvenor Place, when in the
possession of Walter Fawkes, Esq. 9¾” × 15¼". (Christie’s, 1890;
Agnew.)
BIRDS.
140. Dead Grouse, hanging. 10” × 7½".
141. Dead Grouse, hanging (Replica). 10¼” × 8¾". (Taylor Sale,
1912.)
142. Dead Wood Pigeon, 7” × 11".
143. Dead Blackcock. 10¼” × 9". (Taylor Sale, 1912.)
144. Head of Partridge. 3½” × 3½".
145. Head of Moor Game. 3½” × 4".
146. Head of Green Woodpecker. 5” × 5½".
147. Head of Guinea Fowl. 3½” × 3½".
148. Head of Moor Hawk. 3½” × 5".
149. Head of Woodcock. 4” × 6".
150. Head of White Owl. 7” × 7".
151. The Redbreast. 4½” × 6".
152. The Jay. 6” × 8¾".
153. Head of Heron, fish in mouth. 9” × 11".
154. Head of Peacock. 11” × 7".
155. The Goldfinch. 6” × 5".
156. Head of Game-Cock. 7” × 8¼".
157. Dead Kingfisher. 5½” × 5".
158. Head of Cuckoo. 2½” × 2¾".
159. Head of Hen Pheasant. 4” × 3¾".
160. Head of Cock Pheasant. 4¼” × 4¼".
161. Head of Turkey. 4½” × 4½".
VIGNETTES, &c.
162. Pedigree.
163. Frontispiece to Poets. “Three Poets in three different
Kingdoms born.” 7-9/16” × 5-9/16".
164. Greek Scene: “‘Tis Greece, but living Greece no
more."--Byron’s _Giaour_. 7½” × 5½".
165. Norham Castle, 7½” × 5½". (Plate XXVI.)
166. Melrose: Moonlight. 7-11/16” × 5¼".
167. Glenartney:
“Here, ’twixt rock and river, grew
A dismal grove of sable hue.”
Scott’s _Rokeby_. 7-13/16” × 5½".
168. Lalla Rookh. 7½” × 5½".
169. Pyramids. Frontispiece to Ancient History.
170. Stonehenge. Frontispiece to Modern History.
171. Top of Snuff-box--Grouse, Partridge and Gun.
172. Edward I. The Stone of Scone. 12¼” × 9".
173. A gold coin found at Agincourt. Presented to Walter Fawkes,
Esq., by Maj.-Gen. Sir Edward Barnes, 1823. 12¼” × 9½".
174. Reformation. 13” × 8¼".
175. Charles I. 9” × 6¾".
176. Banners of the Parliamentarians. 8¼” × 6⅝".
177. First Period. 11½” × 7¾".
178. Second Period. 11½” × 7¾".
179. Third Period. 12” × 8¼".
180. Fourth Period. 12¼” × 8¼".
181. Oliver Cromwell. 11½” × 8¼".
182. Richard Cromwell. 12” × 8¼".
183. Revolution, 1688. 7¾” × 6½".
184. Fairfaxiana. 9½” × 6".
185. Fairfax’s Chair, Sword and Mace. 8½” × 6½".
186. Fairfax’s Helmet, Sword and Drum. 11½” × 7½".
187. Fairfax’s Cabinet. 11” × 14".
188. Cause and Effect. 11½” × 7½".
ITALIAN AND LATER SWISS DRAWINGS.
189. The Rialto, Venice. 11¼” × 16⅜". (Plate XX.)
190. The Colosseum, Rome. Inscribed and signed “Colliceum, Rome, J.
M. W. Turner, 1820.” 11” × 15½". (Plate XIV.)
191. Interior of St. Peter’s, Rome. Signed and dated “J. M. W.
Turner, 1820.” 11½” × 16½". (Plate V.)
192. Upper Falls of the Reichenbach: Rainbow. 11⅛” × 15¾". (Plate
XVI.)
193. The Passage of Mont Cenis. Signed “J. M. W. Turner,” and
inscribed “Passage of Mt. Cenis, Jan. 15, 1820.” 11¼” × 15¾".
(Plate VII.)
194. Rome, from Monte Mario. 11” × 15½". (Christie’s, 1890; Sir
Donald Currie.)
195. Rome, from the Pincian Hill. 11” × 15½". (Christie’s, 1890;
Sir Donald Currie.)
196. Mount Vesuvius in Eruption. 11” × 15½". (Christie’s, 1890; W.
Newall, Esq.)
197. Naples. 11” × 15½". (Christie’s, 1890.)
198. Venice, from Fusina. 11¼” × 15½". (Christie’s, 1890; Sir
Donald Currie.)
CONCLUSION.
There can be no doubt that the money spent by Mr. Walter Fawkes upon
Turner’s drawings and paintings was well expended. Regarded merely as an
investment, it was extremely profitable. The drawing of _Mont Blanc,
from the Val d’Aosta_ (24), for which Mr. Fawkes paid fifty guineas, was
sold for a thousand guineas in 1890; that of _Windermere_ (88), which
cost twenty-five guineas, was sold at the same time for twelve hundred
guineas: and the auction price of Turner’s work has doubled, and
sometimes trebled, since 1890. Roughly speaking, Mr. Fawkes spent about
three thousand pounds on the collection, and its market price to-day is
certainly not less than a hundred and fifty thousand pounds.
But the real value of such a collection cannot be estimated in terms of
pounds, shillings and pence. The influence exerted by these lovely
records of Farnley Hall and the neighbouring country upon Mr. Fawkes’s
family and descendants has been more precious than gold. They have
dignified and hallowed the ancestral home and lands, refined and
educated the taste of all who have been privileged to live among them,
and they have made the name of Walter Fawkes for ever memorable in the
annals of British Art.
ALEXANDER J. FINBERG.
CONTENTS.
ARTICLES.
PAGE
Turner’s personal relations with Mr. W. Fawkes 1
Turner’s relations with Mr. H. Fawkes 17
The Farnley Hall Collection 18
Conclusion 28
LIST OF ILLUSTRATIONS.
PLATE I. BONNEVILLE, SAVOY.
PLATE II. THE VALLEY OF THE WHARFE. FROM CALEY
PARK.
PLATE III. THE VALLEY OF CHAMOUNIX.
PLATE IV. SCARBOROUGH TOWN AND CASTLE: MORNING.
BOYS COLLECTING CRABS.
PLATE V. INTERIOR OF ST. PETER’S, ROME.
PLATE VI. THE STRID, BOLTON WOODS.
PLATE VII. THE PASSAGE OF MONT CENIS.
PLATE VIII. A FIRST-RATER TAKING IN STORES.
PLATE IX. THE GREAT FALL OF THE REICHENBACH; IN THE
VALLEY OF HASLE, SWITZERLAND.
PLATE X. CONISTON LAKE AND OLD MAN.
PLATE XI. THE BANKS OF THE WASHBURNE.
PLATE XII. THE LAKE OF BRIENZ: MOONLIGHT.
PLATE XIII. BOLTON ABBEY, FROM THE SOUTH.
PLATE XIV. THE COLOSSEUM, ROME.
PLATE XV. HIRZENACH.
PLATE XVI. UPPER FALLS OF THE REICHENBACH: RAINBOW.
PLATE XVII. THE WASHBURNE, WITH LEATHLEY CHURCH.
PLATE XVIII. MAYENCE AND KASTEL.
PLATE XIX. THE VALLEY OF THE WASHBURNE, AND
LINDLEY BRIDGE.
PLATE XX. THE RIALTO, VENICE.
PLATE XXI. SOONECK, WITH BACHARACH IN THE DISTANCE.
PLATE XXII. OTLEY, FROM THE CHEVIN.
PLATE XXIII. JOHANNISBERG.
PLATE XXIV. LINDLEY BRIDGE AND HALL.
PLATE XXV. ABBEY OF BINGEN, LOOKING TOWARDS LAKE.
PLATE XXVI. NORHAM CASTLE.
PLATE XXVII. THE CARRIAGE DRIVE, FARNLEY.
PLATE XXVIII. FISH MARKET ON THE ENGLISH COAST.
PLATE XXIX. FROM RHEINFELS, LOOKING OVER ST. GOAR TO
KATZ.
PLATE XXX. LAKE TINY, FARNLEY, WITH ALMIAS CLIFF IN
DISTANCE.
_The Editor desires to acknowledge his indebtedness to Mr. F. H.
Fawkes, the present owner of Farnley Hall, who has kindly placed at
his disposal the beautiful drawings by Turner reproduced in this
work._
[Illustration: PLATE I.
BONNEVILLE, SAVOY.
CIRCA 1808. SIZE 11” × 15⅜".
The “Liber Studiorum” plate (R. 64), published January 1, 1816, was
founded on this design. The plate, which was engraved from a sepia
drawing, shows several slight variations from the water-colour; the
buildings in the centre and the bridge on the right are heightened, the
stick leaning on the blue and white bundle in the foreground has been
omitted, the hat of the girl resting on a stone on the left has been
taken off, the figure of a boy added, and a group of sheep substituted
for the herd of goats in the centre.]
[Illustration: PLATE II.
THE VALLEY OF THE WHARFE, FROM CALEY PARK.
CIRCA 1816-1818. SIZE 11¾” × 17½".
This drawing is executed in body-colour on brown paper. It represents
one of the views in the neighbourhood of Farnley Hall. The River Wharfe
winds through the valley in the middle distance. On the left, the
junction with the Washburne is shown; on the right, in the distance, is
Poole Bridge. Above the junction of the Wharfe and the Washburne,
Leathley Church and village are seen, and beyond them the gaunt
shoulders of Great Alms Cliff appear above the horizon.]
[Illustration: PLATE III.
THE VALLEY OF CHAMOUNIX.
SIGNED AND DATED “J. M. W. TURNER, R.A., P.P., 1809 (?)” SIZE 11¼’ ×
15⅝".
Made from sketches executed during Turner’s first visit to Switzerland
in 1802. The snow-capped mountains in the distance no doubt belong to
the chain of Mont Blanc.]
[Illustration: PLATE IV.
SCARBOROUGH TOWN AND CASTLE: MORNING. BOYS COLLECTING CRABS.
CIRCA 1809. SIZE 27” × 40".
Turner exhibited a drawing with this title at the Royal Academy, 1811,
but it is uncertain whether it was this drawing or the one now in the
Wallace Collection. The latter is signed and dated “J. M. W. Turner,
R.A., 1809.”]
[Illustration: PLATE V.
INTERIOR OF ST. PETER’S, ROME.
SIGNED AND DATED “J. M. W. TURNER, 1820.” SIZE 11½” × 16½".
One of Turner’s first Italian drawings from his own sketches, the
illustrations to Hakewill’s “Italy” having been made before Turner
visited Italy, from camera obscura tracings made by Hakewill.]
[Illustration: PLATE VI.
THE STRID, BOLTON WOODS.
CIRCA 1811. SIZE 11¼” × 15½".
The pencil-drawing on which this is based is in the National Gallery
(“Farnley and related subjects,” CLIV, U.). A beautifully balanced and
complete design, without any sacrifice of local truth.]
[Illustration: PLATE VII.
THE PASSAGE OF MONT CENIS.
SIGNED “J. M. W. TURNER” AND INSCRIBED “PASSAGE OF MT. CENIS, JAN. 15,
1820.”
SIZE 11¼” × 15¾".
An incident Turner witnessed on his return from his first visit to
Italy. The snow made it difficult to cross the Alps at that time of the
year. His sketch-book, “Return from Italy” (CXCII), is full of rough
pencil-sketches of the snow and storm effects. Among some hasty
scribbles on one page appear the following memoranda:--“Men shovelling
away snow from the carriage--Women and children hugging(?)--The sky
pink--The light and the cast shadows rather warm--Trees are all covered
with the snow--The trees in the distance and wood getting darker.” This
is one of the most beautiful and impressive of the Farnley drawings.]
[Illustration: PLATE VIII.
A FIRST-RATER TAKING IN STORES.
SIGNED AND DATED “J. M. W. TURNER, 1818.” SIZE 11¼” × 15½".
This is the drawing Turner is said to have begun and finished one
morning at Farnley, between breakfast and lunch. There had been some
talk at breakfast between Mr. Fawkes and Turner about the relative sizes
of small sailing-craft and men-of-war. After breakfast, Turner said to
young Hawksworth Fawkes that he would make a drawing to illustrate what
they had been talking about. The boy sat beside him for three hours
while the drawing was being made, the artist, says Thornbury, “tearing
up the sea with the eagle-claw of his thumbnail, and working like a
madman; yet the detail is full and delicate, betraying no sign of
hurry.” This story has been frequently repeated, but it is hard, with
the exquisitely finished and elaborate drawing in front of one, to
accept it without considerable reservation.]
[Illustration: PLATE IX.
THE GREAT FALL OF THE REICHENBACH; IN THE VALLEY OF HASLE, SWITZERLAND.
SIGNED AND DATED “J. M. W. TURNER, R.A., 1804.” SIZE 40” × 27".
Painted from sketches made in 1802. Exhibited at the Royal Academy,
1815, under the above title, together with two other Farnley drawings,
viz., _The Passage of Mount St. Gothard_ and _Lake of Lucerne_.]
[Illustration: PLATE X.
CONISTON LAKE AND OLD MAN.
CIRCA 1816-1818. SIZE 19½” × 25½".
This drawing is executed in body-colour on brown paper. Mr. Ruskin’s
house and grounds stand not far from the spot from which it was made.]
[Illustration: PLATE XI.
THE BANKS OF THE WASHBURNE.
CIRCA 1818. SIZE 13¼” × 16¼".
This drawing is executed in body-colour on brown paper. It shows a bend
of the Washburne about a mile from Farnley Hall. Leathley Church stands
a little to the left, just out of the picture. In the distance is seen
the rocky crest of the Otley Chevin, with Caley Park on the slopes
below. The banks are now covered with a dense growth of trees, entirely
obliterating the view of the river. This drawing is based on a small
pencil-sketch in the “Hastings” sketch-book (CXXXIX, pp. 35a & 36).]
[Illustration: PLATE XII.
THE LAKE OF BRIENZ--MOONLIGHT.
SIGNED “J. M. W. TURNER, R.A.” CIRCA 1804. SIZE 11” × 15½".
The pencil-sketch of this view, made in Switzerland in 1802, is in the
National Gallery (LXXVII, p. 34). It has an “F” written in ink in the
corner, evidently put there when Mr. Fawkes ordered this drawing. There
is also a colour-study in the same collection (LXXX, E.). The blue has
slightly faded in this drawing, but the general effect remains
harmonious and very impressive.]
[Illustration: PLATE XIII.
BOLTON ABBEY, FROM THE SOUTH.
CIRCA 1812. SIGNED “J. M. W. TURNER, R.A.” SIZE 11¼” × 15½".
There are a number of pencil-drawings of Bolton Abbey in the “Devonshire
Rivers, No. 3, and Wharfedale” sketch-book (cxxxiv). The water-mark of
this sketch-book is 1811, so the date of the sketches may be a year or
two later.]
[Illustration: PLATE XIV.
THE COLOSSEUM, ROME.
INSCRIBED AND SIGNED “COLLICEUM, ROME, J. M. W. TURNER, 1820.” SIZE 11”
× 15½".
Based on the pencil-drawing (“Rome: C. Studies,” CLXXXIX, p. 23) made in
Rome in 1819.]
[Illustration: PLATE XV.
HIRZENACH.
DATE 1817. SIZE 8⅜” × 12½".
One of the Rhine series. This drawing is executed in water-colour on
white paper, but a grey preparation was washed over the paper before the
painting was commenced.
Hirzenach is near St. Goar, where Turner is known to have been on the
23rd, 24th and 27th of August, 1817. There are sketches of Hirzenach and
the neighbourhood in the “Waterloo and Rhine” sketch-book (CXL).]
[Illustration: PLATE XVI.
UPPER FALLS OF THE REICHENBACH: RAINBOW.
CIRCA 1818. SIZE 11⅛” × 15¾".
The white line of the falls is seen on the left in shadow, contrasting
with the warm sunlight on the rock in the centre of design. The rainbow
on the right is formed by the spray of the falls. In foreground, on
left, just below the falls, are a peasant girl and dog (the white dress
of the girl and the white dog are dug out with the penknife). An
exquisitely delicate drawing, full of subtleties of form and colour.]
[Illustration: PLATE XVII.
THE WASHBURNE, WITH LEATHLEY CHURCH.
CIRCA 1818. SIZE 12” × 16¾".
This drawing is executed in body-colour on brown paper. The River
Washburne, with water-mill, is seen in the foreground, Leathley Church
on the hill in the middle-distance, and the Otley Chevin, with Caley
Park, beyond. The steep wooded bank on the right of the river in the
middle-distance is the scene of the drawing _The Banks of the Washburne_
(Plate XI). The drawing of _The Valley of the Washburne, and Lindley
Bridge_ (Plate XIX) was made from a spot near the mill in the
foreground, looking towards the right.]
[Illustration: PLATE XVIII.
MAYENCE AND KASTEL.
DATE 1817. SIZE 8-11/16” × 14⅝".
One of the Rhine drawings. The dark cloud in the centre is an instance
of Turner’s wonderful technical daring and resource, the effect being
obtained by the use of wet, running colour. Turner was at Mayence on
24th and 25th August, 1817.]
[Illustration: PLATE XIX.
THE VALLEY OF THE WASHBURNE, AND LINDLEY BRIDGE.
CIRCA 1818. SIZE 10¾” × 15½".
A view of the Washburne looking north towards Stainburn, taken from a
spot near the water-mill shown in the foreground of _The Washburne, with
Leathley Church_ (Plate XVII). Lindley Hall appears on the eminence to
the right. This drawing is now in the possession of Colonel Lionel G.
Fawkes.]
[Illustration: PLATE XX.
THE RIALTO, VENICE.
CIRCA 1820. SIZE 11¼” × 16⅜".
This drawing is frequently mistaken for the original of the engraving of
the same subject published in Hakewill’s “Italy” (Rawlinson’s “Engraved
Work of J. M. W. Turner,” p. 80), but the differences between the
drawing and the engraving are too marked and extensive for this to be
possible. The Hakewill drawing was made before Turner visited Venice,
from camera obscura sketches by Hakewill. The Farnley drawing was made
immediately after Turner’s return from Italy in 1820, from his own
sketches. It is interesting as being Turner’s first Venetian picture.]
[Illustration: PLATE XXI.
SOONECK, WITH BACHARACH IN THE DISTANCE.
DATE 1817. SIZE 8-15/16” × 14½".
The slender tower of Sooneck, commanding the entrance to a ravine,
stands on the left; beyond it, in shadow, rise the ruins of Fürstenberg.
Opposite the Fürstenberg, on the right bank of the Wisper, which fells
into the Rhine here, stands the ruined castle of Nollich. The rugged
cliff on this side of the Rhine is called the “Devil’s Ladder.”]
[Illustration: PLATE XXII.
OTLEY, FROM THE CHEVIN.
CIRCA 1818. SIZE 11” × 15½".
From the deer park on the Otley Chevin we look down on the houses and
church of Otley, the “metropolis of Wharfedale,” as its inhabitants call
it. Beyond, the Wharfe winds away towards Ilkley and Bolton, and on the
left may be seen the Cow and Calf Rocks at Ben Rhydding.
This is one of the most poetical and exquisitely finished drawings of
the Wharfedale series.]
[Illustration: PLATE XXIII.
JOHANNISBERG.
DATE 1817. SIZE 8-15/16” × 13½".
Schloss Johannisberg stands on a vine-clad eminence in the centre of the
drawing; and on the bank, a little to the right, is seen Winkel.]
[Illustration: PLATE XXIV.
LINDLEY BRIDGE AND HALL.
CIRCA 1818. SIZE 12” × 17½".
A nearer view of Lindley Bridge than that in Plate XIX. The Lindley Wood
Reservoir has now been formed just above the bridge.]
[Illustration: PLATE XXV.
ABBEY OF BINGEN, LOOKING TOWARDS LAKE.
DATE 1817. SIZE 8” × 11½".
The ruins of the old collegiate church are seen on the right, and
beyond, the “Bridge of Drusus,” crossing the River Nahe.]
[Illustration: PLATE XXVI.
NORHAM CASTLE.
CIRCA 1823. SIZE 7½” × 5⅝".
One of the illustrations to the “Three Poets in three different Kingdoms
born,” viz., Scott, Byron, and Moore.]
[Illustration: PLATE XXVII.
THE CARRIAGE DRIVE, FARNLEY.
CIRCA 1818. SIZE 11¾” × 16".
The two oaks in the foreground, with fragments of their seats, are still
to be found half-way up the carriage drive; but the trees round them
have grown so that they shut out the distant view of the river and Otley
Bridge. Otley Church appears in the middle distance on the left in the
drawing.]
[Illustration: PLATE XXVIII.
FISH MARKET ON THE ENGLISH COAST.
SIGNED AND DATED “J. M. W. TURNER, R.A., P.P., 1818.” SIZE 11” × 15⅜".
A slightly different version in oils of this design, known as _Fish
Market at Hastings_, was painted some years earlier for Mr. Jack Fuller.
It was sold at Christie’s recently in the Acland-Hood sale.]
[Illustration: PLATE XXIX.
FROM RHEINFELS, LOOKING OVER ST. GOAR TO KATZ.
DATE 1817. SIZE 7⅞” × 12⅜".
The town of St. Goar lies stretched out at our feet. Across the river
are seen St. Goarshausen and the ruined castle of the Cat (Katz),
half-way up the hill above it. A curious morning effect, before the sun
has dispelled the vapours rising from the river.]
[Illustration: PLATE XXX.
LAKE TINY, FARNLEY, WITH ALMIAS CLIFF IN DISTANCE.
CIRCA 1818. SIZE 13½” × 17".
View looking north-east from Farnley Park. Almias Cliff is just visible
in the distance on the left. On the right appears the group of trees on
the slope of the hill just above Leathley Church.]