View this artwork by appointment, at Tate Britain's Prints and Drawings Rooms
Technique and condition
Perhaps an imaginary subject, this appears, as J.P. Heseltine pointed out,1 to be a very early instance of Turner’s use of gouache, which is used in the paling fence that runs down the hill to the left. Compare the technique of Tate D00691 (Turner Bequest XXVIII F), which paraphrases J.R. Cozens (1752–1797). This composition would appear to imitate Rembrandt (1606–1669), inspired perhaps by some etchings and drawings, or even possibly the famous painting of The Mill, now in the National Gallery of Art, Washington. Turner was to imitate this latter more explicitly in his painting Windmill and Lock of 1810 (currently untraced).2
The back of the mount blank.
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