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Described by Finberg as folio 76 but with the additional comment ‘probably torn out from between pp.48 and 49’, this leaf was later restored to that position, where if it is partly folded the trees drawn up to its right margin match with the left edge of those on the right half of folio 50 (D06020). Clearly, Turner was considering a more panoramic alternative of his view. See Introduction to the sketchbook for Turner’s passage within sight of Moor Park, near Rickmansworth, Hertfordshire, in 1807. As suggested there, he probably came by canal-boat on the Grand Union Canal, from which this distant view of the house and its gently-rolling parkland is taken. As Wilton recognised, Turner used this on-the-spot sketch as the basis of his watercolour More Park, near Watford, on the River Colne (Tate D18141; Turner Bequest CCVIII H) for The Rivers of England. Eric Shanes has described the viewpoint in detail, as from the canal with Lot Mead Lock in the centre foreground and the River Colne beyond.1 Turner may also have used the close-up study of weeds on folio 2 (D05962) for the similar still life in the right foreground of the Rivers watercolour.
Shanes 1981, p.30
Inscribed by John Ruskin in red ink ‘971’ bottom right and by another hand in red ink ‘XCVI. p.76’ lower left of centre