Chapter II: Part 2

But these remarks have taken me slightly out of my chronological course. The following sketches I am inclined to date conjecturally somewhere between 1835 and 1840.

126. _Rheinfels Castle._

Can this drawing be correctly named? It does not seem much like the other drawings and engravings of the old fortress of Rheinfels which I have compared with it. And what is the meaning of “Dib,” which Turner has written in pencil in the foreground? I cannot help wondering whether “Dib” was meant to refer to Dieblich, on the Moselle. If it did, the mountain on the right would be the Niederburg, and the two buildings on the mountain beyond would be the two castles of the Knights of Cobern. Turner passed along this part of the Moselle in 1834. But, as a famous commentator once said, I put forward this suggested emendation without much confidence in its correctness.

115. _A Gorge_ (Plate XXIV).

131. _Alpine Scene._

133. _Swiss Landscape._

I can offer no suggestion as to the identity of the places represented in these sketches, except that _A Gorge_ may be one of the falls of the Reichenbach.

39. _The Rainbow._

This is a strange drawing which I do not understand. The rainbow has only two colours, viz. yellow and crimson lake.

138. _Ehrenbreitstein._

135. _Alpine Stream._

The latter sketch contains an entrancing play of colour and suggestion. What a fine foundation for the airy structure raised above it that band of rich darkness makes which runs straight across the centre of the design! I suppose it represents loose rocks in shadow. Above them a range of mountains, faintly touched with crimson, rises out of the pale blue mist, with an opalescent sky above; on the right a cluster of white roofs carries the eye to a narrow defile. The foreground is just as elusive as the distance and middle distance. There are streams flowing among the stones, but those touches of white, are they birds or foam? And is that a figure on the right almost lost in the shadow of the rocks? What a beautiful dream it all is! And I cannot help wondering what earthly place suggested the dream. It reminds me vaguely of the neighbourhood of Bellinzona. Somewhere north of Lugano I fancy the happy wanderer might chance at daybreak upon some such scene as Turner has suggested.

130. _Lake of Lucerne: Brunnen in the Distance_ (Plate XX).

There can be no doubt about the locality which furnished the motive of this lovely vision, though I believe some years ago the drawing was described as a “View on the Rhine.” There in the distance are the two Mythens; and there at the edge of the lake is Brunnen. The drawing must have been made at or near Treib, on the Lake of Lucerne.

127. _Mouth of the Grand Canal_ (Plate XXIII).

On the right is the Dogana, with the Church of San Giorgio Maggiore in the distance; on the left are tall buildings which once were palaces and are now mostly hotels, among them probably the Palazzo Giustiniani, which became the Hôtel de l’Europe, where Turner put up during his later visits to Venice. It is no good my trying to describe the colour of such a drawing. When it was sold at Christie’s in the Beecham sale an enthusiastic scribe writing in one the newspapers said that it was “as if drawn by a butterfly.” I remember that the expression struck me at the time as--impressionistic, but I think I know what the writer felt. There is something that makes one think of butterflies in its elusiveness and its fluttering beauty of colour.

160. _An Iceberg._

This must have been done about 1845, and it is the latest of Turner’s sketches in the exhibition. It belongs to the time when Beale’s “Voyage” had set him dreaming about icebergs and whalers. There is a draft of some attempted poetry scribbled on the drawing, which I have spent perhaps more time than it is worth in trying to decipher. The only words I can feel sure about are the following:--

--Against all Hope--
No one has lived to tell the tail (_sic!_). No vestige found, nor deck--
no spar or mast--

Those who remember the oil painting called, _Whalers (boiling blubber) entangled in floe-ice, endeavouring to extricate themselves_--it was on loan at the Glasgow Art Gallery when last I saw it--may be able to form some vague idea of what Turner was thinking about when he made this fantastic and almost incomprehensible sketch.

TURNER’S PREDECESSORS

But the wonderful array of Turner’s works was far from exhausting the interest of this memorable exhibition. Grouped round the Turners were about thirty drawings by his predecessors, i.e. English water-colour painters who were born before him, and about seventy drawings by his contemporaries, i.e. artists who were born at or about the same time as Turner, or whose period of work coincided with his lifetime. There were also some drawings by later artists. I propose to speak of the former group in this chapter.

Perhaps the earliest topographical drawings in the exhibition were the two views of Bath, made in 1777, by Thomas Malton, the younger (1748-1804)--the _West Front, Town Hall_ (51) and _Pulteney Bridge_ (55). Though cold and precise these drawings have very great charm, and they are crowded with topographical and antiquarian interest. But they belong to an undeveloped stage of the art of water-colour painting. The details of architecture are drawn carefully and accurately, the figures are life-like though rather stiff, and the indications of light and shade explain the shapes of the buildings and knit the whole composition together. But the drawings do not go beyond this. The few pale washes of colour diversify the surface, but do not suggest either colour or atmosphere. Every object, the roadway, figures, buildings and the sky, has the same texture, which makes the general effect monotonous and abstract.

Though Paul Sandby (1725-1809) was born before the younger Malton, his drawing of _The Swan Inn, Edmonton_ (Plate XXV) is, I fancy, some ten or perhaps twenty years later in point of execution than these Bath drawings; Sandby’s style, however, was always less abstract than Malton’s. Compared with the Bath views this drawing by Sandby is like a window opened on nature; it is flooded with light, the warm sunshine plays on and through the trees, lighting up the road, the figures and the whole scene. Yet Sandby’s care for detail is as great as Malton’s. Each house, each garden, each tree has its individual character fully recorded with unflagging industry and spirit. The spectator’s interest is awakened by the variety of shapes, colours and incidents, and sustained by the artist’s evident alertness and thorough enjoyment of the spectacle. Sandby was one of the first English artists to rob topographical delineation of its abstractness and impersonality. He throws the charm of his genial personality over the scene. And though his work is always alert, interesting and full of charm, this Edmonton drawing is, I think, one of the most delightful of his works that I have seen.

The best drawing by Edward Dayes (1763-1804) in the exhibition was probably the view of _Norwich Cathedral_ (Plate XXVI), which is dated 1793. Dayes, for all his cleverness and skill, was not as likeable a man as Sandby. He seems to have been deficient in geniality, generosity and sympathy. These defects of character show in his work. He often seems bored and ill at ease with his subjects; he was seldom if ever capable of taking the delight and interest in a scene which Sandby took in his Edmonton drawing. There is a certain coldness, not only of colour and effect, but of interest in this Norwich Cathedral drawing. It is nevertheless a clever piece of work, and though perhaps not so truthful and accurate as Malton’s views of Bath, it shows much greater technical skill than they possess.

Turner, I believe, got his first lessons in perspective from Malton’s father’s “Treatise,” and both Sandby and Dayes had a great deal of influence on his early work. Some of the earliest drawings by Turner in existence were copied or adapted from Sandby’s drawings or engravings, and for a short period, about the years 1794 and 1795, his style, handling, and colour were so closely modelled on Dayes’s work that many drawings by the elder artist are mistaken for Turner’s. Indeed, some of Dayes’s best drawings in public and private collections are wrongly attributed to Turner. This is no small compliment to Dayes, and it probably accounts for the want of proper appreciation from which he now suffers.

Of the connection between Turner and the greatest of his predecessors, John Robert Cozens (1752-1799 (?)), it is difficult to speak with much certainty. Nearly all recent writers on Turner say that he was greatly influenced by Cozens’s work; but I have failed to discover any certain evidence of this influence in his early work, unless it be in choosing the same subject--_Hannibal and his Army Crossing the Alps_--for one of his oil paintings that Cozens had chosen for one of his water-colours. The dominant influence in Turner’s early work, as I have already pointed out, is Richard Wilson rather than John R. Cozens.

But Cozens’s work was greatly admired by some of Turner’s early patrons, especially by Dr. Monro, and tradition says that Dr. Monro induced Turner to copy many of the drawings by Cozens which he possessed. I have found it hard to discover evidence in support of this tradition. I do not remember to have seen a copy of any of Cozens’s works which was unmistakably done entirely by Turner; in the drawings of this kind traditionally attributed to Turner, at least the pencil outlines are nearly always clearly recognizable as by Girtin. Even if we accept these copies as Turner’s, they show that he possessed, at that time, very little appreciation of the higher beauties of Cozens’s work. No attempt is made in them to reproduce either the general effect or the light and shade of the originals; they rob Cozens’s work of its grandeur and austerity, and substitute for these qualities mere prettiness and conventionality.

Indeed it is incorrect to call these drawings copies; they are nothing more than exercises in laying washes and inventing systems of light and shade, based upon Cozens’s work. Their mode of production and purpose may be thus described: the outlines were first drawn in pencil with bold, firm strokes, by a careless and free hand, which bears remarkable resemblances to that of Girtin. These outlines must have been done direct from Cozens’s drawings, but what was done afterwards seems to have been done without reference of any kind to them. These outlines were then given to another artist, who clothed them according to his own fancy with a commonplace arrangement of light and shade. That these exercises in blue and grey tinting and the arrangement of light and shade were done by Turner we cannot know for certain, but the tradition that they were, seems too insistent to be ignored. Though the characteristic beauties of Cozens’s work counted for little or nothing in these academical exercises, yet they show that Turner was brought early into contact with the work of the first great master of English water-colour painting, and so far as this work exercised any influence on him it must have been to his advantage.

Cozens was represented in Messrs. Agnew’s exhibition by no less than nine drawings. The largest and most important was the _Lake Albano_ (44), with the Castel Gandolfo in the middle distance. An excellent reproduction in colour of this impressive drawing was published in “The Development of British Landscape Painting in Water-Colours” (THE STUDIO, 1918). Cozens was the first English artist to suggest in his drawings something of the grandeur and beauty of the Alps. _A Swiss Valley_ (Plate XXVII) is one of his finest drawings of this kind. It owes much of its dramatic effect to its magnificently designed sky, which is as daring as it is original. The scene represented is probably in the Splügen Pass. Less moving, less dramatic, are the two Roman views. _In the Farnesina Gardens_ (Plate XXVIII) is a pensive sylvan scene of great elegance and charm. The _Villa Negroni_ (Plate XXIX) is a wonderfully fascinating and original design with its noble group of pines and cypresses silhouetted against the sky. In the foreground we get the brow of the hill on which the trees are standing, with sheep feeding near an ancient statue; the ruins on the left, in the middle distance in the plain below, are fragments of the Claudian Aqueduct, those on the right are some of the Neronian arches. The Villa Negroni was situated near the Porta S. Giovanni. It has now ceased to exist and its place has been taken by the Casino Massini.

It is interesting to compare Cozens’s view of _Lake Nemi_ (Plate XXX) with Turner’s two drawings of the same subject, one made nearly twenty years later from Hakewill’s sketch, the other drawn from his own impressions fifty years later. The earlier view, like the Cozens, shows the town of Gensano on a hill in the middle distance, with Monte Circello and the Mediterranean in the distance. There is less exaggeration in Cozens’s drawing than in the Turners, and a certain gauntness and strangeness repels one at the first glance as much as Turner’s charm and glow of colour attract. Yet when one gets over the first feeling of strangeness in this drawing, as well as in all of his works, it exerts a very potent charm over the imagination. His drawings are unequal, but when he is at his best, as in the _Lake Albano_ and the _Villa Negroni_, they possess a haunting beauty which almost overawes the spirit. Such works “draw taut the strings of the soul, and bring out her full vitality and music.”

TURNER’S CONTEMPORARIES

The greatest of Turner’s contemporaries, John Constable (1776-1837), never took seriously to water-colour painting. He was not like Turner, equally at home with all pictorial mediums, with oil, water-colour, pastel, with etching and mezzotint engraving. That he could work freely and well in water-colour is proved by drawings from his hand in the Victoria and Albert Museum and in the Salting Bequest at the British Museum. But he was happier with oil paint; and when his powers had matured he used water-colour mainly for slight and hasty notes, like _Landscape with Cottage_ (123) in Messrs. Agnew’s exhibition. I imagine that an artist like Mr. Wilson Steer would be delighted with this brilliant sketch, which has many affinities with his own work in water-colour. The other contribution by Constable to this exhibition was a large unfinished drawing of _Derwentwater_ (161). This is little more than what artists call a “lay-in”; it consists mainly of preliminary washes of pale colour. “Well begun is half done” the moralists tell us; but having made so good a beginning Constable seems to have hesitated and finally abandoned the work.

Turner’s friend and youthful rival, Thomas Girtin, was born in 1775, the same year as Turner, but he died in 1802, at the early age of twenty-seven. A life so tragically short did not permit of the production of a large and varied body of work. Towards the end of his short career he devoted much time to his great panorama of London, which after being exhibited in Spring Gardens is said to have been sold, “about the year 1825,” to some person in Russia and has not been heard of since. The number of his water-colours is therefore limited, and all of them are not entirely worthy of his genius and deservedly high reputation.

That he was not well represented in this exhibition is hardly surprising. But he had at least one fine architectural drawing in his best manner--the ruins of the Lady Chapel of _Fountains Abbey_ (57); _The Road through the Village_ (2), and three specimens of his earlier work, _Winchelsea Church_ (140), _St. Augustine’s Priory, Canterbury_ (141), and _Kenilworth_ (Plate XXXI). These early drawings were made soon after the termination of his apprenticeship to Edward Dayes, and they bear evident marks of Dayes’s influence. _St. Augustine’s Priory_ was done from a sketch by a Mr. James Moore, an amateur who at one time employed Dayes to work up his sketches, but who afterwards engaged Girtin for the same purpose. Moore’s pencil drawing which provided the material for this water-colour is now in the Ashmolean Museum, to which it was generously presented by Mr. Thomas Girtin, the great-grandson of the artist.

The view of _Lincoln_ (Plate XXXII), which is attributed to Girtin, bears very little resemblance to Girtin’s characteristic style of work. The composition is too crowded for Girtin, and the drawing and painting of the cathedral are quite unlike Girtin’s treatment of architecture. I cannot but feel that this attribution to Girtin was made without proper consideration. Yet the drawing is a fine one, and it is evidently the work of a gifted and accomplished artist. In my opinion it is much more probably the work of Peter De Wint than of Girtin. De Wint spent a good deal of time at Lincoln, at first as a visitor to William Hilton, his fellow-apprentice at J. R. Smith’s. Hilton’s sister afterwards became De Wint’s wife. The treatment of the architecture is exactly in his manner.

De Wint (1784-1849) was represented in the exhibition by about a dozen other drawings, amongst them the _High Torr, Derbyshire_ (38) and _Crowland Abbey_ (14). The most delightful was probably the early _River Scene_ (12), a very peaceful and happy design, though slightly faded in colour. John Sell Cotman (1782-1842) was born only seven years later than Girtin. He came to London in 1798, and a few years afterwards became a member of the sketching society which Girtin had founded. Two of his early drawings were in Messrs. Agnew’s exhibition, and both of them show that he had learnt much from Girtin. The less successful of the two, the _Bridge over River near a Town_ (Plate XXXIII), is dated 1803. As in others of Cotman’s early drawings the architecture is tortured into strange and fantastic shapes which destroy all ideas of probability. The bridge in this drawing looks as though a moderate breeze would blow it over; it is certainly unsafe for traffic. There can, I think, be no doubt that this is a representation of the old Welsh Bridge at Shrewsbury. The drawing is worked almost entirely in brown, though some dark blue has been introduced in parts. The general effect is muddy, and the washes have been rubbed and worried, as though the artist had often been in difficulties with his work. The other drawing, _Gormire Lake, Yorkshire_ (Plate XXXIV), though it must have been painted about the same time, for it was exhibited at the Royal Academy in 1804, is more successful and already contains evidence of that distinctive manner of working with which Cotman’s name is connected. Like the Shrewsbury drawing, it is painted almost entirely in brown and blue, but the washes have not been worried. The richly blotted washes preserve all their freshness and lustre. Their beautiful quality gives a charm and dignity to the drawing which is worthily supported by the massive simplicity of the design. The placing of the cattle in the water, and the two figures at the side of the tarn, is worthy of Cotman’s impeccable sense of design. As the dignity and authority of such a drawing are the result of selection and the ruthless omission of irrelevancies, every detail which is admitted must possess significance and must contribute actively to the general effect. The two oars carried on the shoulder of the man in the foreground are good examples of the telling use Cotman could make of what, to other artists, might be insignificant details. The force and grandeur of the whole design may be said to depend entirely on the lines made by these oars, for without them the spell would be broken.

In _A Lake Scene_ (Plate XXXVI) we see how sedulously Cotman developed the characteristic qualities of his style. Eschewing the charms of colour, he concentrates all his powers on the massive simplicity of design and the correct and happy placing of every detail. The _Church in Normandy_ (Plate XXXVII), done in pencil with a few washes of sepia, is a good example of his intelligent and accomplished architectural work. His latest drawing, _Rouen_ (Plate XXXV), belongs to the period when he was influenced by, and attempted to rival, Turner’s brilliance of colour. The design is firmly built up, but the absence of emphasis gives it rather an academic air. For once Cotman has abandoned his usual method of painting. The effect of light and brilliance is obtained by an extensive use of the knife or razor over all the sky and distance, and some of the foreground. I do not remember having seen any other drawing by Cotman in which the knife has been so freely used.

Samuel Prout (1783-1852) was actually a year younger than Cotman, yet he seems to have belonged to an earlier generation of artists. We somehow feel towards Cotman as to a contemporary. The things he cared most about, perfection of workmanship and design, are disengaged from the accidents of time. That is what we mean, I suppose, when we class him among the immortals. Compared with Cotman, Prout is mortal, and bound rather heavily with the shackles of time and circumstance. His work was always in the mode of his day, and as fashions change his work appears old-fashioned. This large drawing of _Folkestone_ (Plate XXXIX) certainly looks to me old-fashioned; I am almost tempted to say frumpish. But as I happen to be fond of old-fashioned things, I like it very much. There is a clumsiness, a heavy-handedness, about the workmanship which harmonizes very happily with the subject-matter. The composition is wanting in fineness of feeling and perception. There is a certain awkwardness in the way the church on the cliff projects over the roof of the wooden hut in the foreground, which might easily have been avoided with a little tact and cunning. But the whole drawing is so vigorous, so solid and strong, that it seems to express the blunt, downright habits of thought and feeling of the typical Englishmen of the early part of the nineteenth century. As our rude forefathers spoke, so Prout painted. His _Coast Scene_ (79) has much of the bluntness and directness of the _Folkestone_, but not the same fullness and authority of statement. _A Road through a Village_ (162) comes nearer the _Folkestone_ in these respects, but the choice of subject-matter is not so fortunate. These are all comparatively early drawings of Prout, done before he turned foreign tourist and became a fashionable drawing-master. His later manner is exemplified by two pleasing drawings of architectural “bits” in Normandy (113 and 119). The touch is still clumsy, but it has become systematized, and something of the old sincerity seems to have gone.

John Varley (1778-1842) is an attractive figure in the history of English water-colour painting, but his work rarely seems quite worthy of his obvious powers. Perhaps he did too much. In 1808 he sent fifty-two drawings to the exhibition of the Society of Painters in Water-Colours, and between 1805 and 1812 his exhibits actually amounted to three hundred and forty-four. No wonder so many of his drawings are uninspired and commonplace. Yet he had great technical ability and the right sort of feeling, as drawings like _Bala Lake_ (65) and _A Welsh River_ (71) prove. All he wanted was something of Cotman’s concentration and scrupulousness. As it is, his best works are often his unpretentious sketches done direct from nature, of which the view of _Leyton, Essex_ (Plate XXXVIII) is a very good example; it is brisk, alert, genial and convincing.

William Turner (1789-1862) was one of the many pupils of John Varley. After leaving Varley he settled in Oxford, where he lived for the remainder of his life. He is generally called William Turner of Oxford, to distinguish him from the other Turner. This view of _Kingley Vale, Chichester_ (Plate XL), bears little resemblance to Varley’s broad and dashing style. This was painted towards the end of the artist’s life, as it was exhibited at the Society of Painters in Water-Colours in 1851, when it figured in the catalogue as _View from the side of Bow Hill, on the South Downes, near Chichester, looking over the Groves of Yew Trees, and Stoke Park, toward the Sea_. This is a full and accurate description of the subject, as Kingley Valley is at the foot of Bow Hill. To the modern eye, which is perhaps over-fond of broad and slap-dash work, there is rather too much insistence on details and small forms in this drawing; but in an unambitious drawing, aiming at nothing more than topographical interest, this is not necessarily a fault. There is a certain _naïveté_ and truthfulness about the record which gives it great charm. The subject, too, is well chosen, the effect of sunlight is successfully rendered, and the stretch of blue distance is restful to the eye and agreeable to the imagination.

George Fennell Robson (1788-1833) painted little but Scottish lake and mountain scenery. He was fond of dramatic effects of storm and cloud, and his work is powerful, accomplished and well sustained. _Ben Venue, from Lanrick_ (Plate XLI) is as good an example of his masculine style as one could find. It is probably the drawing which was exhibited at the Society of Painters in Water-Colours in 1851, under the title _Ben Venue, from the head of Loch Achray_. The meadow on the left is Lanrick Mead, which was the gathering-place of the Clan Alpine.

The two largest drawings in the exhibition were Copley Fielding’s (1787-1855) two sea-pieces, _The Pilot Boat_ (Plate XLII) and _Seaford, from Newhaven Pier_ (76). I have confessed on other occasions that I cannot share the general enthusiasm for Copley Fielding’s work. It is, I acknowledge, nearly always pleasing in effect; but it strikes me as superficial, and it lacks the “bite,” the tremendous energy of mind and inexhaustible knowledge of Turner’s work. But these two large drawings are very favourable specimens of Fielding’s style. They are cheerful in colour, breezy in effect, and full of movement. _The Pilot Boat_ is probably the better of the two; but I wish there was more sense of weight and the power of resistance in the waves. The date on the _Seaford_ drawing is indistinct. When it was exhibited at the Old Masters at Burlington House in 1908, the compiler of the catalogue read the date as “1858,” which must surely be a mistake, as Fielding died in 1855. I think I am right in reading the date as “1830,” but it is difficult to identify this particular drawing among the list of Fielding’s exhibited works, as there are several titles which might fit it. I think it is probably the _Pier at Newhaven, Sussex_, No. 85, in the Water-Colour Painters’ exhibition of 1830; but it might also be the _Scene at Entrance of Newhaven Harbour_, No. 161, which was exhibited the following year, or No. 205, _Scene at Newhaven_ in the same exhibition.

After Cotman and Turner I think David Roberts (1796-1864) was the most skilful draughtsman of architecture of his time. He was not perhaps a great artist; the oil paintings with which he delighted the public of his own time leave us now unmoved, in spite of their eminently respectable qualities. They are too sedate to have a strong effect on the imagination. But his work with the point--pencil, chalk or etching-needle--is delightfully easy, graceful and accomplished. _A Ruined Abbey_ (109) is certainly a view of Melrose Abbey. It was probably drawn in 1836, about the same time as the view of _Durham_ (121), which happens to be dated, “Sep. 14, 1836.” I believe an artist can only draw and paint well the scenes of his native country; but Roberts’s public was bored with English and Scottish views, and very much preferred his Spanish and Eastern subjects. Roberts was at Granada in February 1833, when the picturesque street scene here reproduced (Plate XLIII) must have been drawn.

We have now finished our review of the large group of works by Turner’s contemporaries which was included in Messrs. Agnew’s exhibition. But, as I have said before, there were also a few drawings by later artists--by H. G. Hine (1811-1895), E. M. Wimperis (1835-1900) and Thomas Collier (1840-1890). It was probably a mere accident that these three artists belonged to the Institute of Painters in Water-Colours (now the Royal Institute), while nearly all the leading artists in the group of Turner’s contemporaries belonged to the “Old” Water-Colour Society. There is little evidence of Turner’s influence in the works of Wimperis and Collier. It would be more accurate to describe these artists as the successors of De Wint than of Turner. They carried on the De Wint tradition of healthy realism and freely handled washes with great success; yet each artist preserves his individuality, and their works are steadily increasing in value. The fine drawing of _Beeston Castle_ by Collier (Plate XLIV) is an excellent specimen of his spirited and truthful work.

ALEXANDER J. FINBERG

_NOTE_

The Numbers given after the titles of the Illustrations refer to the Catalogue of Messrs. Agnew’s Exhibition which will be found at the end of the Volume.

OLD ABBEY, EVESHAM. BY J. M. W. TURNER, R.A. (139)

(_In the possession of C. Morland Agnew, Esq._)]

MALMESBURY ABBEY. BY J. M. W. TURNER, R.A. (53)

(_In the possession of Messrs. Thos. Agnew & Sons_)]

WATER MILL. BY J. M. W. TURNER, R.A. (147)

(_In the possession of Messrs. Thos. Agnew & Sons_)]

A MOUNTAIN STREAM. BY J. M. W. TURNER, R.A. (152)

(_In the possession of Messrs. Thos. Agnew & Sons_)]

CASSIOBURY: THE HOUSE SEEN ACROSS THE PARK. BY J. M. W. TURNER, R.A. (16)

(_In the possession of C. Morland Agnew, Esq._)]

LAKE OF THUN. BY J. M. W. TURNER, R.A. (34)

(_In the possession of R. W. Lloyd, Esq._)]

=CASTLE OF CHILLON= BY J. M. W. TURNER, R.A. (18)

(_In the possession of R. W. Lloyd, Esq._)]

PATTERDALE OLD CHURCH. BY J. M. W. TURNER, R.A. (21)

(_In the possession of C. Morland Agnew, Esq._)]

ROLANDSWERTH NUNNERY AND DRACHENFELS. BY J. M. W. TURNER, R.A. (35)

(_In the possession of C. Morland Agnew, Esq._)]

=SAUMUR= BY J. M. W. TURNER, R.A. (23)

(_In the possession of R. W. Lloyd, Esq._)]

=RICHMOND BRIDGE--PLAY= BY J. M. W. TURNER, R.A. (20)

(_In the possession of R. W. Lloyd, Esq._)]

=WORCESTER= BY J. M. W. TURNER, R.A. (25)

(_In the possession of R. W. Lloyd, Esq._)]

=THE LONGSHIPS LIGHTHOUSE, LAND’S END= BY J. M. W. TURNER, R.A. (27)

(_In the possession of C. Morland Agnew, Esq._)]

VALLEY OF THE WASHBURNE, NEAR FARNLEY. BY J. M. W. TURNER, R.A. (153)

(_In the possession of Messrs. Thos. Agnew & Sons_)]

=LAKE NEMI= BY J. M. W. TURNER, R.A. (26)

(_In the possession of R. W. Lloyd, Esq._)]

FLORENCE, FROM NEAR SAN MINIATO. BY J. M. W. TURNER, R.A. (29)

(_In the possession of R. W. Lloyd, Esq._)]

=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._)]

STEETON MANOR, NEAR FARNLEY. BY J. M. W. TURNER, R.A. (136)

(_In the possession of C. Morland Agnew, Esq._)]

WILDERNESS OF SINAI. BY J. M. W. TURNER, R.A. (132)

(_In the possession of Messrs. Thos. Agnew & Sons_)]

=LAKE OF LUCERNE: BRUNNEN IN THE DISTANCE= BY J. M. W. TURNER, R.A. (130)

(_In the possession of Walter J. H. Jones, Esq._)]

SALTASH. BY J. M. W. TURNER, R.A. (30)

(_In the possession of R. W. Lloyd, Esq._)]

PRUDHOE CASTLE. BY J. M. W. TURNER, R.A. (22)

(_In the possession of R. W. Lloyd, Esq._)]

=MOUTH OF THE GRAND CANAL= BY J. M. W. TURNER, R.A. (127)

(_In the possession of Walter J. H. Jones, Esq.)_]

A GORGE. BY J. M. W. TURNER, R.A. (115)

(_In the possession of Messrs. Thos. Agnew & Sons_)]

THE SWAN INN, EDMONTON. BY PAUL SANDBY, R.A. (64)

(_In the possession of C. Morland Agnew, Esq._)]

NORWICH CATHEDRAL. BY EDWARD DAYES (144)

(_In the possession of C. Morland Agnew, Esq._)]

=A SWISS VALLEY= BY J. R. COZENS (43)

(_In the possession of C. Morland Agnew, Esq._)]

IN THE FARNESINA GARDENS, ROME. BY J. R. COZENS (41)

(_In the possession of C. Morland Agnew, Esq._)]

=VILLA NEGRONI, ROME= BY J. R. COZENS (42)

(_In the possession of C. Morland Agnew, Esq._)]

LAKE NEMI. BY J. R. COZENS (45)

(_In the possession of C. Morland Agnew, Esq._)]

KENILWORTH. BY THOMAS GIRTIN (146)

(_In the possession of Messrs. Thos. Agnew & Sons_)]

LINCOLN. BY THOMAS GIRTIN (7)

(_In the possession of Messrs. Thos. Agnew & Sons_)]

BRIDGE OVER RIVER NEAR A TOWN. BY J. S. COTMAN (78)

(_In the possession of Messrs. Thos. Agnew & Sons_)]

GORMIRE LAKE, YORKSHIRE. BY J. S. COTMAN (74)

(_In the possession of R. W. Lloyd, Esq._)]

=ROUEN= BY J. S. COTMAN (3)

(_In the possession of Messrs. Thos. Agnew & Sons_)]

A LAKE SCENE. BY J. S. COTMAN (1)

(_In the possession of Messrs. Thos. Agnew & Sons_)]

CHURCH IN NORMANDY. BY J. S. COTMAN (9)

(_In the possession of Messrs. Thos. Agnew & Sons_)]

LEYTON, ESSEX (1830). BY JOHN VARLEY (122)

(_In the possession of Messrs. Thos. Agnew & Sons_)]

FOLKESTONE. BY SAMUEL PROUT (86)

(_In the possession of Messrs. Thos. Agnew & Sons_)]

KINGLEY VALE, WITH CHICHESTER CATHEDRAL IN THE DISTANCE. BY WILLIAM TURNER OF OXFORD (77)

(_In the possession of Messrs. Thos. Agnew & Sons_)]

BEN VENUE, FROM LANRICK. BY G. ROBSON (66)

(_In the possession of Messrs. Thos. Agnew & Sons_)]

(_In the possession of Messrs. Thos. Agnew & Sons_)

THE PILOT BOAT. BY COPLEY FIELDING (70)]

(_In the possession of Messrs. Thos. Agnew & Sons_)

GRANADA. BY DAVID ROBERTS, R.A. (88)]

BEESTON CASTLE. BY T. COLLIER (82)

(_In the possession of Messrs. Thos. Agnew & Sons_)]

DESCRIPTIVE CATALOGUE OF THE EXHIBITION OF SELECTED WATER-COLOUR DRAWINGS BY ARTISTS OF THE EARLY ENGLISH SCHOOL HELD AT MESSRS. THOMAS AGNEW AND SONS’ GALLERIES, LONDON, MARCH-APRIL 1919

1. A LAKE SCENE. (Plate XXXVI.) J. S. COTMAN

10¾ in. × 14 in. Monochrome wash.

Cattle in foreground, standing beside a lake which is surrounded by mountains.

2. THE ROAD THROUGH THE VILLAGE. THOMAS GIRTIN

12 in. × 20½ in. Signed, “_Girtin_.”

Figures on road running through village; wall on one side of road, pond on the other side; man watering a horse at the pond in foreground. A large rambling house occupies centre and right of design, with trees on left.

3. ROUEN. (Plate XXXV.) J. S. COTMAN

11 in. × 19¼ in. Signed and dated, “_J. S. Cotman_, 1823.” Probably the “Rouen from Mount St. Catherine” exhibited at the Norwich Society of Artists, 1824.

Buildings, with group of trees and landing-stage on left; barges on river in foreground; distant hills.

4. HARDWICK HALL. DAVID COX

5. RIPON CATHEDRAL. THOMAS GIRTIN

11¼ in. × 18½ in. Signed and dated, “_Girtin_, 1801.”

Cathedral in middle distance, seen against the sky; river in foreground, with sailing-boat towards right.

6. THE BRIDGE HOUSE. J. S. COTMAN

7½ in. × 11 in. Pencil and sepia.

7. LINCOLN. (Plate XXXII.) THOMAS GIRTIN

17¼ in. × 22½ in. Pen outlines and wash. Query, an early De Wint.

Horse and cart and figures on road in foreground on right; Lincoln Cathedral and houses seen above trees against the sky to the left.

8. HARVEST-TIME. P. DE WINT

7¾ in. × 16¾ in.

Sheaves of corn in foreground; men cutting corn beyond; a distant church among trees.

9. CHURCH IN NORMANDY. (Plate XXXVII.) J. S. COTMAN

10¼ in. × 16⅛ in. Pencil and sepia. Signed in pencil, “_Cotman_.”

Church in centre; river and gateway in foreground on left.

10. THE EMPTY HARVEST WAGGON. DAVID COX

10¼ in. × 14¼ in. Signed and dated, “_David Cox_, 1849.”

11. ATHELSTAN ABBEY, ON THE TEES. THOMAS GIRTIN

10¼ in. × 17½ in. Signed, “_Girtin_.”

12. RIVER SCENE. P. DE WINT

14½ in. × 22¼ in.

Wooden bridge, with two boys on it, stretching across centre of drawing; one of the river-banks in foreground on left; boats, one with square sail, beyond the bridge. A peaceful evening scene.

13. LANDSCAPE. P. DE WINT

11 in. × 17¼ in.

Road on right running beside palings of a park; wagon on road; distant trees with fine expanse of moving clouds.

14. CROWLAND ABBEY. P. DE WINT

15¼ in. × 29 in.

The abbey in distance on the left; fishermen in punts in foreground; nets stretched out on stakes to dry in middle distance.

15. WHITBY ABBEY AND LIGHTHOUSE. P. DE WINT

5¾ in. × 25 in.

Pier running parallel to picture plane, with lighthouse at the extremity on the left; cliffs on the right; the ruins of abbey on cliff beyond on the right. Evening effect.

16. CASSIOBURY: THE HOUSE SEEN ACROSS THE PARK. _Circa_ 1800.

(Plate V.) J. M. W. TURNER, R.A.

18¼ in. × 27¾ in. Engraved in aquatint by Hill, and published in “History and Description of Cassiobury Park,” 1816. Title of plate, “Cassiobury. View from N. West.” The drawing was made for George, 5th Earl of Essex (1757-1839). Christie’s, 1892 (Bolckow).

Huntsmen and dogs in foreground on road leading to entrance of stables; Cassiobury in middle distance in centre on a slight elevation.

17. MAYENCE AND KASTEL. 1817. J. M. W. TURNER, R.A.

8⅛ in. × 14¼ in. Exhibited R.A., 1889 (No. 23); ex Farnley Collection.

Looking up river to bridge, town on right; sailing-boats; dark cloud passing over sun.

18. CASTLE OF CHILLON. _Circa_ 1810. (Plate VII.) J. M. W. TURNER, R.A.

11 in. × 15½ in. Signed, “_J. M. W. Turner, R.A._” Painted for Sir John E. Swinburne; R.A., 1887 (Miss Julia Swinburne); Christie’s, 26 May, 1916 (No. 119) (Miss Isabel Swinburne).

Three figures of women with washing spread on grass in foreground on the left; figures in boat on lake to right. The castle in middle distance near centre; view looking up the Rhône Valley with Dent du Midi in distance.

19. LURLEIBERG. 1817. J. M. W. TURNER, R.A.

7½ in. × 12 in. R.A., 1889 (No. 38), as “A Bend of the River”; ex Farnley Collection.

High rocky shore on each side; on left, in foreground, a road with figures; a ferry-boat is crossing the river. Evening sky.

20. RICHMOND BRIDGE--PLAY. _Circa_ 1830. (Plate XI.)

J. M. W. TURNER, R.A.

11¼ in. × 17⅛ in. Engraved by W. R. Smith, in “England and Wales” series, published 1837. Ex Ruskin Collection and that of Mr. G. P. Dewhurst.

Bridge in centre, with houses on hill beyond on left; group of trees by river-side on right; on meadow in foreground groups picnicking.

21. PATTERDALE OLD CHURCH. _Circa_ 1810. (Plate VIII.)

J. M. W. TURNER, R.A.

10¾ in. × 15⅜ in. Signed, “_J. M. W. Turner, R.A., P.P._” Christie’s, 1872 (Gillot); 1876 (Levy); R.A., 1886 (Sir William Agnew, Bart.).

Heavy thunder-storm breaking over valley; church in foreground.

22. PRUDHOE CASTLE. _Circa_ 1826. (Plate XXII.) J. M. W. TURNER, R.A.

11¼ in. × 16 in. Query, a signature scratched at bottom of drawing, on the left. Engraved by E. Goodall, and published in the “England and Wales” series, 1828. R.A., 1889 (Rev. W. Kingsley).

View looking up the Tyne; sunset sky.

23. SAUMUR. _Circa_ 1829. (Plate X.) J. M. W. TURNER, R.A.

11 in. × 16½ in. Engraved by R. Wallis, and published in “The Keepsake,” 1831. Forster’s, 1855 (J. Dillon); Manchester Art Treasures, 1857 (L. Loyd); Guildhall, 1899, No. 147 (Hon. W. F. D. Smith, M.P.); Christie’s, May 1917 (Sir Joseph Beecham).

Bridge running across river in middle distance; chateau on hill beyond on right; a boat moored beside bank in foreground is being unloaded.

24. WINDSOR CASTLE. _Circa_ 1829. J. M. W. TURNER, R.A.

11¼ in. × 17 in. Engraved by W. Miller, and published in “England and Wales” series, 1831. Moon’s Gallery, 1833 (Tomkinson); R.A., 1887 (Mrs. Moir); Guildhall, 1899 (George Agnew); Christie’s, 1870 (J. Smith), March 1908 (R. E. Tatham), May 1917 (Beecham), and 10 May, 1918.

Castle in centre stretching across drawing, with smoke rising from town below; the Thames in front, with barges on right and horses on tow-path to left. Sun behind castle.

25. WORCESTER. _Circa_ 1833. (Plate XII.) J. M. W. TURNER, R.A.

11¼ in. × 17¼ in. Engraved by T. Jeavons, and published in “England and Wales” series, 1835. Christie’s, May 1917 (Sir Joseph Beecham); ex Hon. W. F. D. Smith, M.P.

Cathedral on high ground to right; the river Severn stretches across the drawing in front, with boats and punt in foreground.

26. LAKE NEMI. _Circa_ 1840. (Plate XV.) J. M. W. TURNER, R.A.

13¼ in. × 20¼ in. Large single plate engraved by R. Wallis, and published June 1842; plate also published in “Finden’s Royal Gallery of British Art.” Ex Windus and Fordham Collections. B.F.A.C., 1871; R.A., 1889 (Sir John Fowler); Christie’s, 1899 (Fowler), and 8 June, 1917.

Lake in centre enclosed by wooded hills; town high on right; figures and goats in foreground.

27. THE LONGSHIPS LIGHTHOUSE, LAND’S END. _Circa_ 1834. (Plate XIII.)

J. M. W. TURNER, R.A.

11 in. × 17 in. Engraved by W. R. Smith, and published in “England and Wales” series, 1837. International Exhibition, 1862 (Agnews); Christie’s, 1878 (Munro); R.A., 1891, and Guildhall, 1899 (J. E. Taylor); Christie’s, July 1912 (J. E. Taylor).

High cliffs on right on which a wild sea is breaking; lighthouse on horizon to left, wreckage among waves in foreground.

28. THE RIGI AT SUNRISE--LAKE OF LUCERNE (“The Blue Rigi”). 1841. (Plate XVII.) J. M. W. TURNER, R.A.

11⅞ in. × 17¾ in. Painted for Mr. Bicknell; see Ruskin’s “Epilogue.” Christie’s, 29 April, 1863 (Bicknell), July 1912 (J. E. Taylor); R.A., 1886 (J. E. Taylor); Guildhall, 1899 (J. E. Taylor).

Sun rising behind the mountain with morning star above; man in boat on left firing at wildfowl in foreground; a dog in water, another jumping from the boat.

29. FLORENCE, FROM NEAR SAN MINIATO. _Circa_ 1825. (Plate XVI.)

J. M. W. TURNER, R.A.

11 in. × 16¼ in. Ex Novar Collection. Guildhall, 1899, and Glasgow, 1901 (Hon. W. F. D. Smith, M.P.); Christie’s, 1897 (Pender), May 1917 (Beecham).

View overlooking city with the Arno on left; group of poplars in foreground with a gaily dressed group of figures.

30. SALTASH. 1825. (Plate XXI.) J. M. W. TURNER, R.A.

10½ in. × 16 in. Signed and dated, “_J. M. W. Turner, R.A._, 25.” Engraved by W. R. Smith, and published in “England and Wales” series, 1827. Moon’s Gallery, 1833 (Windus); Manchester, 1857 (D. R. Davies); Christie’s, 1865 (Knowles), 1872 (Leyland), 1908 (S. G. Holland), May 1917 (Beecham).

Harbour in front with many rowing-boats crowded with women and soldiers; town in distance, partly hidden by man-of-war; hulks on left.

31. LOWESTOFT. _Circa_ 1835. J. M. W. TURNER, R.A.

10¾ in. × 16¾ in. Engraved by W. R. Smith, and published in “England and Wales” series, 1837. Exhibited Worcester, 1882, and R.A., 1891 (Mrs. Sale); Christie’s, 9 July, 1915.

Lighthouse to right on cliff; town on left in deep shadow; rough sea in front with boats and wreckage; crescent moon.

32. SCARBOROUGH. 1818. J. M. W. TURNER, R.A.

10¾ in. × 15½ in. Signed and dated, “_J. M. W. Turner_, 1818.” Once in Mr. Ruskin’s Collection. Guildhall, 1899 (130), lent by Mr. Arthur Severn.

Distant view of town and cliff; two ladies in summer costume among rocks in foreground on the left; a starfish on the sand.

33. COVENTRY. _Circa_ 1832. J. M. W. TURNER, R.A.

11¼ in. × 17⅛ in. Engraved by S. Fisher, and published in “England and Wales” series, 1834. Moon’s Gallery, 1833 (C. Heath); Christie’s, 1877 (Munro of Novar), 11 May, 1917 (Mrs. C. W. Lea).

Town in distance with three spires; two coaches on hollow road in foreground to right; donkeys, cattle and sheep in foreground to left.

34. LAKE OF THUN. 1809. (Plate VI.) J. M. W. TURNER, R.A.

15 in. × 22 in. Signed and dated, “_J. M. W. Turner, R.A., P.P._, 1809.” Painted for Sir John E. Swinburne. R.A., 1887 (Miss Julia Swinburne); Christie’s, 26 May, 1916 (Miss Isabel Swinburne).

View looking across lake to mountains in distance; stretch of sandy beach in foreground with figures, boats, and merchandise; buildings on right.

35. ROLANDSWERTH NUNNERY AND DRACHENFELS. 1817. (Plate IX.)

J. M. W. TURNER, R.A.

7½ in. × 12 in. From the Farnley Collection. R.A., 1899 (No. 68); Christie’s, 1890 (Fawkes). Afterwards in collection of Sir Donald Currie.

Castle of Rolandseck on rock to left, with the Nunnery of Rolandswerth in centre at its base; beyond, on right, the Castle of Drachenfels; figures towing a boat in foreground on left; sailing-boat in mid-stream. View from near Oberwinter, looking north.

36. VALE OF PEVENSEY, FROM ROSEHILL PARK. _Circa_ 1816.

J. M. W. TURNER, R.A.

15 in. × 22 in. A privately printed plate engraved in aquatint by J. C. Stadler, and printed in colours. International Exhibition, 1862; R.A., 1886 (Sir A. Acland-Hood, Bt., inherited from Mr. J. Fuller, of Rosehill); Christie’s, 4 April, 1908 (93).

Slopes of wooded park in front, looking across country to the sea; Beachy Head in distance; summer-house on hill to right; labourers and sheep in foreground.

37. MAYENCE. 1817. J. M. W. TURNER, R.A.

8¾ in. × 14 in. From the Farnley Collection. R.A., 1889 (? 25); R.A., 1891 (92); Christie’s, 1890 (Fawkes), 1912 (J. E. Taylor).

View looking up river towards the bridge of boats, with town on left; hay-barge in foreground, with two other boats beyond. Sunset effect.

38. HIGH TORR, DERBYSHIRE. P. DE WINT

16¼ in. × 23 in. Perhaps the drawing exhibited at the Society of Painters in Water-Colours, 1829, as “Matlock High Tor” (No. 135).

River in foreground with mountain on left; cows in water on left bank, road with several figures on it in foreground on right.

39. THE RAINBOW. _Circa_ 1840. J. M. W. TURNER, R.A.

9¼ in. × 11¾ in. Christie’s, July 1912 (J. E. Taylor).

View over flat country, with a tower in distance; fiery sky and rainbow.

40. SUNSET ON ST. PETER’S, ROME. J. R. COZENS

10 in. × 14⅝ in. R.A., 1891, No. 24 (C. Morland Agnew).

Stone-pines in foreground, with shadows coming towards spectator; St. Peter’s seen through the trees in distance, with sun setting above it; deer in foreground on right.

41. IN THE FARNESINA GARDENS, ROME. (Plate XXVIII.) J. R. COZENS

9¾ in. × 14½ in.

Tomb among trees with gnarled trunks; campanile and trees in distance.

42. VILLA NEGRONI, ROME. (Plate XXIX.) J. R. COZENS

10⅛ in. × 14½ in. R.A., 1891, No. 19, “Italian Landscape” (C. Morland Agnew).

Grove of pines and cypresses on brow of hill, with statue, and sheep feeding; ruins and distant mountains beyond.

43. A SWISS VALLEY. (Plate XXVII.) J. R. COZENS

13 in. × 20½ in. Probably a scene at the Italian side of the Splügen Pass. There is a copy, in blue and black, of a similar view at Turner House, Penarth, attributed to Turner, which is described as “Near Chiavenna.”

Winding streams between mountains; snow-clad peaks in distance.

44. LAKE ALBANO. J. R. COZENS

17¼ in. × 25 in.

Castel Gandolfo on hill in middle distance to the right; group of large trees in foreground beside a road on which a man is driving goats. Sunset.

45. LAKE NEMI, 1790. (Plate XXX.) J. R. COZENS

14½ in. × 21 in. Signed and dated, “_John Cozens_, 1790.” I have seen copies in blue and black by Girtin or Turner of this drawing.

Lake in centre, surrounded by steep wooded banks; the town of Gensano on hill in middle distance, with the Mediterranean beyond. Buildings with pines and cypresses on right in foreground.

46. TEMPLE OF CERES, PÆSTUM. J. R. COZENS

10 in. × 14½ in.

Ruins standing dark against gloomy sunset.

47. CONVENT AT VIETRI. J. R. COZENS

10⅛ in. × 14½ in.

Convent in centre among trees; another convent and buildings on brow of hill beyond; small stream in foreground in centre.

48. ISOLA BELLA, LAGO MAGGIORE. J. R. COZENS

10 in. × 14¾ in.

Terrace in foreground with building on left; two figures against the balustrade on right; mountains beyond lake with snow-clad peaks.

49. MOUNTAINOUS LANDSCAPE AND LAKE. 1788. F. WHEATLEY, R.A.

12 in. × 18½ in. Signed, “_F. W._, 1788.”

Lake surrounded by mountains, with ferry and cows in foreground on right. Probably an Irish scene.

50. A WELSH VILLAGE. J. C. IBBETSON

7¼ in. × 9¾ in.

Two women spinning outside a cottage; others at work in distance.

51. WEST FRONT, TOWN HALL, BATH, 1777. T. MALTON, Junr.

12¾ in. × 18⅞ in. Signed and dated, “_T. Malton_, 1777.”

“Hancock” and “White Lion Inn and Tavern” on building on left, at which a coach has stopped; the Town Hall beyond; Bath Abbey faces the spectator at the end of the street.

52. STOWMARKET. PAUL SANDBY, R.A.

12½ in. × 18¼ in.

Town near centre in middle distance, with hills beyond; woman milking cow in foreground; trees and barns behind her and a gateway leading into town.

53. MALMESBURY ABBEY. 1794. (Plate II.) J. M. W. TURNER, R.A.

14 in. × 10¼ in. Signed and dated, “_Turner_, 1794.” R.A., 1887; Christie’s, 1912 (J. E. Taylor).

View of abbey with ruined arch; hayrick on right and a pig feeding; milkman and dog in centre.

54. LLANRWST BRIDGE. J. C. IBBETSON

7¼ in. × 9¾ in.

Women washing clothes beside river; some at tubs set on trestles, some standing in the water; bridge beyond, and mountains.

55. PULTENEY BRIDGE, BATH. 1777. T. MALTON, Junr.

12¾ in. × 19 in. Signed and dated, “_T. Malton_, 1777.”

Building with domes and columns on left of roadway; “Wicksteed, Seal Engraver” over portico; figures and a one-horse chaise on roadway; glimpse of a distant hill on left.

56. RICHMOND HILL, 1798. J. I. RICHARDS, R.A.

12¾ in. × 20⅛ in.

Trees on left, with houses on right; other houses seen through trees in middle distance.

57. FOUNTAINS ABBEY. THOMAS GIRTIN

18¼ in. × 12⅝ in.

The ruins of the eastern transept and Lady Chapel.

58. OFF THE COAST OF BUTE. J. T. SERRES

9¾ in. × 16½ in. Signed, “_J. T. Serres, fect._”

Shipping in foreground; distant mountains with clouds floating across them.

59. MOUNTAINOUS LANDSCAPE, WITH CASTLE. PAUL SANDBY, R.A.

12¾ in. × 20½ in.

Castle on rock; bridge with stream and cascade at foot of rock on left; lady on horseback talking to woman and child in foreground.

60. PRISON OF THE CONCIERGERIE, PARIS. H. EDRIDGE, A.R.A.

13½ in. × 19½ in.

Prison on left; mounted cuirassiers passing along the quay; bridge in middle distance.

61. CASSIOBURY. THOMAS HEARNE

12¾ in. × 9¾ in.

Scene in the park, with road running between tall trees; felled timber lying on left of road; wagon passing down the road.

62. THE PRIORY CHURCH, TYNEMOUTH. _Circa_ 1798. EDWARD DAYES

19½ in. × 14½ in. Signed and dated, “_E. Dayes_, 1798 (?)”--the last figure is covered by the mount. Engraved in John Britton’s “Architectural Antiquities of Great Britain.”

Ruins seen through archway.

63. FISHING-BOATS ON THE SCHELDT. N. POCOCK

10 in. × 16 in. Signed, “_N. Pocock_.”

Boats in a choppy sea; storm effect.

64. THE SWAN INN, EDMONTON. (Plate XXV.) PAUL SANDBY, R.A.

14 in. × 21⅜ in.

Roadway in centre with figures, buildings on either side; sign of the Swan Inn in middle distance on the left.

65. BALA LAKE. JOHN VARLEY

12½ in. × 17⅝ in.

Lake in centre, with mountains reflected in its waters; evening effect.

66. BEN VENUE, FROM LANRICK. (Plate XLI.) G. F. ROBSON

18¼ in. × 25¾ in. Perhaps the drawing entitled “Ben Venue, from the head of Loch Achray,” exhibited by Robson at the Society of Painters in Water-Colours, 1815 (No. 312).

The mountain in distance with Loch Achray near foreground.

67. HOPE DALE, DERBYSHIRE. J. C. IBBETSON

12¼ in. × 17¼ in.

Horse and cart with figures coming up road on the right; distant valley in centre, with mountains beyond.

68. PASTORAL SCENE. J. C. IBBETSON

12 in. × 16 in. Signed and dated, “_J. Ibbetson_, 1798.”

Four cows lying in foreground, with boy talking to a woman; houses among trees beyond on right.

69. COUNTRY LANE, HARROW. H. EDRIDGE, A.R.A.

10¼ in. × 16 in.

Horse and cart on road to left; stream with overhanging trees on right; houses among trees in centre.

70. THE PILOT BOAT. (Plate XLII.) COPLEY FIELDING

24½ in. × 38½ in. Signed and dated, “_Copley Fielding_, 1831 (_?_).” Perhaps the “Vessels in a Stiff Breeze off Calshot Castle, Hampshire,” exhibited at the Society of Painters in Water-Colours, 1832 (No. 112).

Two boats in a stiff sea, with men-of-war in the offing.

71. A WELSH RIVER. JOHN VARLEY

10⅜ in. × 21½ in. Signed, “_J. Varley_.”

Road on left beside river in foreground; range of jagged peaks beyond which catch the rays of the setting sun.

72. CARNARVON CASTLE. J. B. PYNE

11¾ in. × 26 in.

Ship unloading beneath walls of the Castle; castle near the centre, with distant coast on right.

73. MOUNTAINOUS LANDSCAPE, WITH LAKE. JOHN VARLEY

9 in. × 12⅝ in.

Lake containing two small islands, surrounded by mountains.

74. GORMIRE LAKE, YORKSHIRE. (Plate XXXIV.) J. S. COTMAN

14½ in. × 21½ in. This is probably the drawing exhibited at the Royal Academy in 1804 as “Gormire, Yorkshire” (No. 928).