A finished work, probably intended as an imitation of contemporary rustic subjects by, e.g., Francis Wheatley (1747–1801) and Richard Westall (1765–1836). In choosing a firelit interior with large-scale figures Turner consciously set out to extend his technical range. The treatment of the flame-lit chimney bricks anticipates his studies of sunlit masonry in the ruins of the Oxford Street Pantheon of early 1792; see Tate D00122 (Turner Bequest IX B).
Blank; some paint blots; stamped in brown ink with Turner Bequest monogram
- work and occupations(14,300)