Joseph Mallord William Turner

Newall Old Hall, near Farnley

?1814

In Tate Britain

Prints and Drawings Room

View by appointment
Artist
Joseph Mallord William Turner 1775–1851
Medium
Graphite on paper
Dimensions
Support: 110 x 178 mm
Collection
Tate
Acquisition
Accepted by the nation as part of the Turner Bequest 1856
Reference
D09674
Turner Bequest CXXXIII 5

Catalogue entry

The building’s chimneys and gable finials are continued ‘above’ on folio 4 verso opposite (D09673). Finberg noted1 that this sketch is the basis for the gouache Newall Old Hall of about 1815 or a little later (private collection),2 made for Turner’s friend and patron Walter Fawkes, of Farnley Hall, North Yorkshire (see the sketchbook’s Introduction for further discussion and other Yorkshire subjects in this sketchbook). There is also an unfinished, slightly larger gouache study or version (Tate D12114; Turner Bequest CLIV P); the building stood, as David Hill puts it in his entry for the latter in the present catalogue, ‘just to the east of the road from Otley to Blubberhouses, about half a mile north of Otley Bridge, and three quarters of a mile south-west of Farnley Hall’.
Both gouaches feature cattle and pigs in front of a shelter built against the middle of the façade; some very loose marks the corresponding place here may indicate their presence. Hill has noted differences in some of the features presented in D12114, as compared with the current drawing and the finished gouache, and suggests that it might date from as early as 1808, with the differences explained by building work in between. To the present writer, it seems that these differences might be more to do with artistic licence: for example, in D12114 (further to Hill’s observations), three moulded stone crenellations are clearly shown between the two projecting wings, with one rising over the central coat of arms, whereas here and in the finished drawing there are four; and the low wall running off to the left of the building is parallel with the picture plane, whereas in the other two versions it projects towards the viewer. It is perhaps unlikely that such changes, one cosmetic but nevertheless exacting and the other fairly substantial, would have been made to the dilapidated old building in the space of a few years. At any event, despite similarities at first glance, it does seem that D12114 is independent of this sketch and the finished gouache.
1
Finberg 1909, I, p.377; see also Wilton 1979, p.373; Hill, Warburton, Tussey and others 1980, p.42; and Warburton 1982, p.37.
2
Wilton 1979, p.373 no.630, reproduced, as c.1818; Hill, Warburton, Tussey and others 1980, p.42, as ‘?1815’.
3
See Hill, Warburton, Tussey and others 1980, p.42.
4
Wilton 1979, p.367 no.584, reproduced; see also Hill, Warburton, Tussey and others 1980, pp.41–2 under no.55.

Matthew Imms
July 2014

1
See Hill, Warburton, Tussey and others 1980, p.42 under no.58.

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