Turner's Water-Colours at Farnley Hall
Part 4
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.)
136. Arthington Mill, near Farnley Hall. 10¾” x 15¼". (Taylor Sale, 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._