Finberg noted that the present double-page sketch is the basis for the watercolour Bolton Abbey, Yorkshire of about 1825 (Lady Lever Art Gallery, Port Sunlight),1 engraved in 1827 for the series Picturesque Views in England and Wales.2 He made a lengthy analysis of the differences between the present sketch and the watercolour, where ‘almost every detail has been altered’ to create ‘a whole complex of visible harmony.’3
Both pages of this composition were removed from the sketchbook for mounting and display. In the present case the left-hand half (127 mm) of the original sheet is missing, with the corners trimmed diagonally, and has been made good with slightly darker paper. The inscription is at the edge of the remnant of the original sheet. There is a broad, well-preserved margin to the left of the drawing and undamaged strips above and below which were protected by the mount, but the exposed area has darkened. A pencil mark beyond the top left of the drawing was presumably made as a rough indication of the portion to be left visible when mounted. The sketchbook was mutilated in a similar way to provide an exhibitable one-and-a-half-page panorama of Leeds, now bound as folios 48 verso and 49 recto (D09883, D09884; Turner Bequest CXXXIV 79–80).