Joseph Mallord William Turner Leeds from the South 1816
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Joseph Mallord William Turner 1775–1851
Folio 82 Recto:
Leeds from the South 1816
D09841
Turner Bequest CXXXIV 45a
Turner Bequest CXXXIV 45a
Pencil on white wove paper with gilt edges, 179 x 254 mm
Accepted by the nation as part of the Turner Bequest 1856
References
1909
A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.I, p.382, CXXXIV 45a, as ‘Distant view of Leeds’.
1974
Martin Butlin, Andrew Wilton and John Gage, Turner 1775–1851, exhibition catalogue, Royal Academy, London 1974, p.82 under no.186, as CXXXIV ‘45r’.
1977
Christopher White, English Landscape 1630–1850: Drawings, Prints & Books from the Paul Mellon Collection, exhibition catalogue, Yale Center for British Art, New Haven 1977, p.77 and note 3 under no.136.
1982
Louis Hawes, Presences of Nature: British Landscape 1780–1830, exhibition catalogue, Yale Center for British Art, New Haven 1982, p.200 under no.VI.26.
1983
Francis W. Hawcroft, ‘The Most Beautiful Art of England’: An Exhibition of Fifty British Watercolours, c.1750–1850, to Celebrate the Fiftieth Anniversary of the Friends of the Whitworth, exhibition catalogue, Whitworth Art Gallery, Manchester 1983, p.[72] under no.31.
1986
Stephen Daniels, ‘The Implications of Industry: Turner and Leeds’, Turner Studies, vol.6, no.1, Summer 1986, p.10, as probably 1816.
1989
Ann Chumbley and Ian Warrell, Turner and the Human Figure: Studies of Contemporary Life, exhibition catalogue, Tate Gallery, London 1989, p.46 under no.43.
2008
David Hill, Turner and Leeds: Image of Industry, Leeds 2008, p.103, ill.94 (colour), as 1816.
Finberg recognised this as a ‘Distant view of Leeds’.1 David Hill has noted that this sketch was made while ‘casting around on the rising slopes between Hunslet and Holbeck’, respectively north-east and north-west of Beeston and since much developed, and nearer to the centre of Leeds, before finding his ‘viewpoint on the shoulder of Beeston Hill’2 to make a detailed, two-page sketch looking north on folios 48 verso–49 recto (D09883–D09884; Turner Bequest CXXXIV 79, 80; see also the continuation on folio 47 verso; D09832; Turner Bequest CXXXIV 38).
The double-page drawing was the direct source of the panoramic background of the 1816 watercolour Leeds (Yale Center for British Art, New Haven),3 as discussed in detail under D09883. Compare also the slight sketches on folios 47 recto and 81 verso opposite (D09833, D09831; Turner Bequest CXXXIV 38a, 37a). As with D09831, details in the foreground here may have suggested ideas for the figures and animals which appear in the foreground of the finished design. There may be a figure and dog towards the right here, and possibly a covered cart down the road; a dog is shown on the open ground beside the road on the left of the watercolour, with a cart in the distance on the right beyond various prominent figures.
Technical notes:
Although this page’s Turner Bequest number has an ‘a’ suffix, conventionally indicating the verso of a leaf, it is now bound as the recto; as discussed in the sketchbook’s Introduction, the page sequence has been much disrupted.
Matthew Imms
July 2014
How to cite
Matthew Imms, ‘Leeds from the South 1816 by Joseph Mallord William Turner’, catalogue entry, July 2014, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, September 2014, https://www