Joseph Mallord William Turner

Trees by the River Washburn

?1824

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In Tate Britain

Prints and Drawings Room

View by appointment
Artist
Joseph Mallord William Turner 1775–1851
Part of
Yorkshire Subjects around Farnley and Beyond
Medium
Graphite and watercolour on paper
Dimensions
Support: 187 x 230 mm
Collection
Tate
Acquisition
Accepted by the nation as part of the Turner Bequest 1856
Reference
D17768
Turner Bequest CCIII K

Catalogue entry

As discussed under Tate D17771 (Turner Bequest CCIII N) and recognised by Finberg in his sequencing,1 Tate D17768–D17772 (Turner Bequest CCIII K, L, M, N, O) form a group of similar wooded river valley subjects in pencil and wash. D17771 is the only one firmly identified as a view on the River Washburn, between Folly Hall and Dob Park Lodge, but Ian Warrell has plausibly suggested that they all probably represent the river,2 not far from Walter Fawkes’s home at Farnley Hall (see David Hill’s introduction to this section).
The buildings washed in on the skyline at the right here are unidentified. For more on the subject, dating and technique of the five related drawings, see under D17771.
1
See Finberg 1909, I, p.617.
2
See Ian Warrell, ‘R.N. Wornum and the First Three Loan Collections: A History of the Early Display of the Turner Bequest outside London’, Turner Studies, vol.11, no.1, Summer 1991, p.40 under no.52.
Technical notes:
There are adventitious brown splashes at the top centre and towards the bottom right.
Finberg described the five drawings listed above as ‘a series all drawn in wash and on paper of same size and quality, with gilt edges on three sides’; all five retain the gilt edges except along the bottom, suggesting they may be half sheets, or blank pages extracted from a bound volume. Three also bear the ‘C Wilmot | 1822’ watermark he mentions.1 Paper conservator Peter Bower notes that Charles Wilmott operated at Shoreham Mill in Kent, and the spelling in his known watermarks varies between ‘Wilmot’, ‘Wilmott’ and ‘Willmott’.2
1
See Finberg 1909, I, p.617.
2
See Peter Bower, Turner’s Later Papers: A Study of the Manufacture, Selection and Use of his Drawing Papers 1820–1851, exhibition catalogue, Tate Gallery, London 1999, p.55.
Verso:
Blank; stamped in black with Turner Bequest monogram over ‘CCIII – K’ bottom left; inscribed in pencil ‘K’, descending vertically, over ‘CCIII.K’ bottom right.

Matthew Imms
September 2016

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