The Project Gutenberg eBook of Turner's Water-Colours at Farnley Hall, by
Alexander Joseph Finberg
This eBook is for the use of anyone anywhere in the United States and
most other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg License included with this eBook or online at
www.gutenberg.org. If you are not located in the United States, you
will have to check the laws of the country where you are located before
using this eBook.
Title: Turner's Water-Colours at Farnley Hall
Author: Alexander Joseph Finberg
Release Date: May 11, 2021 [eBook #65315]
Language: English
Character set encoding: UTF-8
Produced by: Chuck Greif and the Online Distributed Proofreading Team at
http://www.pgdp.net (This file was produced from images
available at The Internet Archive)
*** START OF THE PROJECT GUTENBERG EBOOK TURNER'S WATER-COLOURS AT FARNLEY
HALL ***
TURNER’S WATER-COLOURS
AT FARNLEY HALL
[Illustration: colophon]
TEXT BY ALEX. J. FINBERG
“THE STUDIO,” LTD., LONDON, PARIS, NEW YORK
[Sidenote: TURNER’S PERSONAL RELATIONS WITH MR. W. FAWKE]
It is not known for certain exactly when or how Turner became acquainted
with Mr. Walter Ramsden Hawksworth Fawkes of Farnley Hall. Several
biographers say that Turner first met Mr. Fawkes about 1802, when the
artist was in Yorkshire making drawings for one of the series of
topographical works dealing with parts of Yorkshire which Dr. Whitaker,
the vicar of Whalley, prepared and published. But Whitaker’s “History of
the Parish of Whalley,” which was published about this date, contains no
reference to Farnley, and deals with a part of Yorkshire and Lancashire
at some distance from Farnley. The only book of Dr. Whitaker which
contains any illustrations connected with Farnley Hall is the “Loidis
and Elmete,” published in 1816, and we know that Turner had become
intimate with Mr. Fawkes some years before this date.
The first certain piece of evidence connecting Mr. Fawkes with Turner is
contained in some of the sketch-books used by the artist during his
first tour in Switzerland in the year 1802. Mr. Fawkes’s name is not
mentioned in full, but a capital “F” is written in ink on the margin or
back of several of the drawings. I take this to mean that a patron whose
name began with “F” had looked through Turner’s sketch-books at some
time after his return to London, and had selected certain subjects to be
carried out from sketches thus marked. That this patron was Mr. Fawkes
is established by the drawing made at Chamounix, which is inscribed in
Turner’s handwriting “_Mer de Glace, avec le Cabin de Blair_” (page 22
of the “St. Gothard and Mont Blanc” Sketch-Book in the National
Gallery). The finished water-colour now in the Farnley Hall Collection,
entitled _Blair’s Hut on the Montanvert and Mer de Glace_, is simply an
amplification of this sketch. Other subjects in these sketch-books which
Turner carried out for Mr. Fawkes are _Bonneville_, _Sallanches_, _The
Falls of the Reichenbach_, _The Valley of Chamounix_, _The Fall of the
Staubbach_, _The Lake of Lucerne from Flüelen_, _The Lake of Brienz with
the Ruins of the Castle of Ringgenberg_, and _Grenoble_.
The first point of connection between Mr. Fawkes and Turner thus seems
to have been the scenery of Switzerland and not that of Yorkshire. In a
description I have seen of Farnley Hall and its treasures, written soon
after it came into the possession of Mr. Walter Fawkes, the only
pictures mentioned are a series of “romantic landscapes in Switzerland
and Italy, admirably executed by Warwick and Smith.” The “Warwick and
Smith” of this description is probably a misprint for “Warwick Smith,”
the name by which John Smith, one of the earlier English water-colour
painters, was generally known. This series of Smith’s water-colours is
still preserved in one of the lumber rooms at Farnley Hall. The drawings
represent generally the same subjects as those which Turner treated.
Smith’s drawings are nearly all in monochrome, and, though they are not
without merit, they look very dull and old-fashioned when compared with
the Turners. It seems to me, therefore, extremely probable that Mr.
Fawkes was first attracted to Turner as the rising young artist of his
day, who was doing the same kind of work as Warwick Smith had done, but
who was doing it with much more imagination, vigour, and artistic skill.
If this surmise be correct, Turner made his first appearance at Farnley
Hall as the successor and transplanter of Warwick Smith. His artistic
function was to replace Smith’s rather dull and laboured transcripts
with his own brilliant and imaginative drawings.
The earliest of Turner’s works in the Farnley Hall Collection is that of
_The Mer de Glace, Chamounix_. This is probably the drawing exhibited at
the Royal Academy in 1803, under the title “_Glacier and Source of the
Arveron going up to the Mer de Glace, in the Valley of Chamouni_.” Mr.
Fawkes may have seen the drawing in the exhibition and bought it there
or afterwards in the artist’s studio. In a small pocket-book of Turner,
apparently in use about the year 1804, there is a note that Mr. Fawkes
had bought three water-colours for fifty guineas each. These are
described by the artist as _Great Devil’s Bridge Causeway_, _Upper Fall
of Riquenbach_ and _Mt. Blanc from St. Martin_. The first two subjects
are still at Farnley, the third is probably the _Mt. Blanc from the Val
d’Aosta_ which passed from the Farnley Collection before the present
owner came into possession. It was lent by Sir Donald Currie to the
exhibition of “Old Masters” at the Royal Academy in 1906.
An earlier entry in the same pocket-book is the record of a commission
for a small oil picture of _The Bowland, Lancashire_, to be painted for
Mr. Lister Parker. Mr. Parker was a neighbour of Mr. Fawkes, and that he
was also an intimate friend is proved by the inscription on the back of
a fine miniature of Napoleon Bonaparte, which is still preserved at
Farnley Hall. This inscription states that the miniature was bought in
Paris in 1802, and presented to Mr. Fawkes in the same year by his
sincere friend Mr. Lister Parker. So it is probable that Mr. Fawkes may
have heard Turner’s work talked about by his Yorkshire friends some time
before he bought any of the artist’s drawings, and it is quite possible
that he may have made Turner’s personal acquaintance through the
intermediacy of those friends.
The next mention of Mr. Fawkes’s name in the Turner sketch-books occurs
in connection with the large mezzotint of Turner’s oil painting of _The
Shipwreck_ (now in the National Gallery), which the engraver, Charles
Turner, executed and published in 1806-1807. The name of “Fawkes”
appears fifth in the list of subscribers to this plate, the first four
names being the “Wells Family,” Sir William Beechey, Mr. Swinburne, and
Mr. Henderson. Mr. Lister Parker’s name appears lower down in the list.
It was probably in London that Mr. Fawkes first met Turner, and the two
men had very likely known each other for some time before Turner was
induced to pay a visit to his friend’s home in Yorkshire. The first
clear piece of evidence of Turner being at Farnley is in connection with
Mr. Hawksworth Fawkes’s story of the origin of Turner’s large oil
painting (now in the National Gallery) of _Hannibal crossing the Alps_.
This picture was exhibited at the Royal Academy in 1812, so the
incident described in the following words by Mr. Hawksworth Fawkes--he
was a boy at the time--must have taken place in 1810 or 1811: “One
stormy day at Farnley Turner called to me loudly from the doorway,
‘Hawkey! Hawkey! come here! come here! look at this thunderstorm. Isn’t
it grand?--isn’t it wonderful?--isn’t it sublime?’ All this time he was
making notes of its form and colour on the back of a letter. I proposed
some better drawing-block, but he said it did very well. He was
absorbed; he was entranced. There was the storm rolling and sweeping and
shafting out its lightning over the Yorkshire hills. Presently the storm
passed, and he finished.
‘There! Hawkey,’ said he, ‘in two years you will see this again, and
call it _Hannibal crossing the Alps_.’”
The earliest oil painting of Turner’s that Mr. Fawkes bought was the
beautiful sea-piece sometimes called _The Pilot Boat_, and sometimes
_Red Cap_. This was exhibited, in the “one-man show” Turner held in his
studio in 1809, under the title _Shoeburyness Fishermen hailing a
Whitstable Hoy_. There is a pen-and-ink sketch of this picture inside
the cover of the “Greenwich Sketch-Book” (cII, Turner Bequest), and on
the fly-leaf appears the following record of drawings made, or to be
made, for Mr. Fawkes:--
“4 Proofs of ‘Liber Studiorum.’
Mill. Sketch. Per Contra
1 Mill. Drawing. C. Draft.
2 Bardon Tower. Feb. 20. £100.”
3 Farnley.
4 Gordale.
5 Rocks.
7 Weathercote.
8 Geneva.
9 Bolton.
10 Thun.”
And on page 52 of the same book there occurs the following still longer
list:--
“Mill, finished.
Mill, sketch.
Bardon Tower.
Armutic Rock.
Farnley.
Gordale.
*The Strid.
Weathercote.
*Bolton Abbey, West.
Lac de Thun.
Lac de Geneve.
Ps. V. (_Probably the Swiss waterfall known as the “Pisse Vache."_)
*Bonneville.
Ingleboro.
Bolton.
Blair’s Hut.
Stourback. (_Evidently the Fall of the Staubbach._)
Mt. Blanc.
Vevey.
Grundelwald.
*Brintz.” (_The Lake of Brienz._)
* These are among the drawings selected for reproduction in the present
publication.
These entries were made, I am inclined to think, either in the year 1809
or 1810. It is easy to identify most of the drawings referred to in this
list, in spite of Turner’s rather arbitrary spelling. I can, however,
find no trace of the drawings described as _Armutic Rock_ and _Gordale_,
and I have never seen either the sketch or the finished drawing of the
_Mill_. I am not even sure what mill it can have been. It was probably
the one at Otley, which stands close to the lodge at the entrance to the
Farnley Hall grounds. A _View of Otley Mills, with the River Wharfe and
Mill Weir_, said to have been presented by Mr. Fawkes to the family of
its owner, was sold at Christie’s in June 1890, and bought by the famous
French dealer, M. Sedelmeyer. It was probably this drawing to which Mr.
Fawkes refers in the only fragment of a letter in his handwriting which
I have been able to discover among the Turner papers in the National
Gallery. The body of the letter has been destroyed, but the last two
paragraphs and the signature remain. This fragment says:--
“By to-morrow’s coach I shall send you a box containing two pheasants, a
brace of partridges, and a hare--which I trust you will receive safe and
good. We have tormented the poor animals very much lately and now we
must give them a holiday.
“Remember the Wharfdales--everybody is delighted with your Mill. I sit
for a long time before it every day.
“Ever very truly yrs.,
W. FAWKES.”
The “Wharfdales” are evidently the series of drawings of Wharfedale
scenery which Turner had in hand for Mr. Fawkes. The allusions to the
drawing of the _Mill_ give us a clue to the real bond of union between
the two men, viz., the patron’s sincere and unaffected delight in the
artist’s work.
Mr. Fawkes’s liberality as a buyer of Turner’s work is demonstrated by
some financial jottings made in one of his sketch-books (CXXII, Turner
Bequest), during the years 1809 and 1810. In one of these statements of
Turner’s assets Mr. Fawkes is debited with £500, in the other he is
entered as the artist’s debtor to the extent of £1,000.
In 1811 Turner threw himself enthusiastically into the project of
writing a long poem extolling the beauties and recounting the history of
all the chief places of interest on the southern coast of England. The
poem was to be illustrated by a series of engravings to be made from
water-colours specially painted by the artist for the work. The poem was
never completed, but Turner seems to have spent the greater part of the
summer of 1811 wandering along the coast from Christchurch, in
Hampshire, to Land’s End, in Cornwall, diligently making hundreds of
wonderfully delicate and accurate sketches, and with equal diligence,
and perhaps just as much enjoyment to himself, grinding out even a
greater number of lame and halting lines of the most indifferent verse.
He returned along the northern sides of Cornwall, Devon and Somerset,
sketching and rhapsodizing upon the whole coast from Penzance to the
Mendip Hills. This work and play must have kept him too busy to visit
Farnley that year.
Turner was back in Devonshire and Cornwall in 1813, but I believe he
managed to pay a rather lengthy visit to Farnley in 1812. The “Large
Farnley” and “Woodcock Shooting” Sketch-Books (CXXVIII and CXXIX, Turner
Bequest) seem to have been used on this occasion. The water-colour of
_Woodcock Shooting_ (painted for Sir H. Pilkington, and dated 1813), now
in the Wallace Collection, represents a winding road among tall spruce
firs, exactly like those which crown the rocky heights of the Otley
Chevin. In the latter of these two sketch-books there are several pencil
drawings of the fir trees on the slopes of the Chevin, with figures of
beaters and sportsmen carrying guns. The former sketch-book contains
drawings of Mr. Fawkes’s tent on the Farnley moors, with dogs, guns,
game, and ale barrels scattered in the foreground--notes from which the
water-colour of this subject in the Farnley Collection was painted.
Other pages of the same book contain beautiful drawings, some of them
partly finished in colour, of Farnley and Wharfedale from Caley Park.
Some loose leaves from this book were in the collection of the late Mr.
J. E. Taylor, who presented one of them to Sir Frank Short.
In 1814 Turner was, I believe, too busy sketching the southern coast
from Hastings to Margate, and his “Views in Sussex”, to have much time
for any lengthy visit to Farnley. But he was certainly there in 1815, as
a passage in a letter to the Rev. H. Scott Trimmer proves. The letter is
given in full in Monkhouse’s “Turner” (p. 90). It is dated “Tuesday,
Aug. 1, 1815.” In it Turner says: “After next Tuesday--if you have a
moment’s time to spare, a line will reach me at Farnley Hall, near
Otley, Yorkshire, and for some time, as Mr. Fawkes talks of keeping me
in the north by a trip to the Lakes, &c., until November.” The evidence
of the sketch-books suggests that this trip to the Lakes did not take
place.
On the 4th January, 1816, Mr. Walter Fawkes married his second wife, the
widow of the Hon. and Rev. Pierce Butler. Fortunately for us this lady
kept a diary, which has been carefully preserved at Farnley Hall, and
which Mr. F. H. Fawkes has very kindly placed at my disposal. In this
diary the names of all visitors were carefully noted, together with the
dates of their arrival and departure. The diary was continued to the
31st December, 1838, but Turner’s name does not occur in it after 1826.
But for the ten years between 1816 and 1826 this diary forms an
extremely valuable record of Turner’s movements. I propose, therefore,
with Mr. Fawkes’s kind permission, to publish, for the first time, all
the entries which have reference to the great artist.
The first entries of this kind are the following:--
“Wed. 17 July 1816. Left Farnley with Walter,
Maria, Amelia, Ayscough,
Richard, and Mr. Turner.
Met John Parker at Skipton,
where we slept and saw
Skipton Castle.
Thurs. 18 July Arrived at Browsholme.
Heavy rain.
Fri. 19 ” Rained all day. Sat in the
house. Late in the evening
walked a short way with
John Parker and Mr. Turner.
Sat. 20 July Walter drove me in curricle to
the Trough of Bolland.
Sun. 21 ” Went to Waddington Church
and after to see Mrs. Clarke.
Mon. 22 ” Went with the girls to the
Trough to see them fish.
Tues. 23 ” Heavy rain. Drove with Walter.
Obliged to take shelter
in a farmhouse. Walter
bought a print of the Prodigal
Son.
Wed. 24 ” Left Browsholme. Got to
Malham Village. Dreadful
rain.
Thurs. 25 ” Went to see Gordale Waterfall.
Returned home.
Heavy rain. Turner went
on a sketching tour.”
From the frequent references to the rain it is evident that the weather
was bad, and the lady does not seem to have enjoyed the excursion very
much. But the weather did not prevent Turner from making the sketches he
wanted. The sketch-book labelled by him “Yorkshire 2” (CXLV, Turner
Bequest) contains the drawings made on this occasion. It is an
ordinary-looking book, bound in boards, with brown leather back and
corners. The leaves, which number nearly two hundred, are 6 in. × 3¾ in.
size, but only a hundred and sixty of them have been drawn on. There are
sketches of Skipton Castle at both ends of the book, showing that Turner
was not at all particular about the order in which he made his sketches.
The drawings on pages 160 to 185 represent views at Skipton, Browsholme,
the Trough of Bolland (or Bowland, as it is generally written), and
Gordale Scar. But they are all rather hurried in character, which
corroborates Mrs. Fawkes’s account of the unfavourable nature of the
weather.
At the end of the book Turner has carefully made a list of the numbers
and dates of the banknotes he carried with him to meet the expenses of
his tour. He took two twenty-pound notes, four of ten pounds, five of
five, and four smaller ones, making £110 in all. There is also, on the
next page, a note of the expenses incurred on the journey from London to
Leeds:--
“Porterage 2 8
Fare to Leeds 2 2
Coachman 1
Dinner at Eaton 5 6
Coachman--Scrooby 1 6
ditto 1
Breakfast, Doncaster 2 3
Brandy and water, Grantham 1 6
Coachman and Guard 4 6
------------
3 2 11”
============
These items rather contradict Thornbury’s statements about the extreme
meanness and parsimony of the artist’s habits of travel. I may also
remark that the great painter’s exuberant imagination has led him to
overstate the total of his expenditure by the sum of one shilling.
Taking leave of his friends at Gordale, Turner set off by himself on a
sketching tour to collect material for the illustrations to Dr.
Whitaker’s projected “History of Richmondshire.” His sketch-book shows
that he struck over the hills to Kilnsey Crag and then crossed the wild
road from Wharfedale over the Stake Pass to Semmer Water. From Askrigg
he made his way to Richmond. He was there on the 31st of July, as we
find him on that date writing to Mr. Holworthy, saying that his “journey
is extended, rather than shortened, by an excursion into Lancashire.”
The weather was still bad, as we learn from a characteristic postscript
to this letter, which runs:--“Weather miserably wet. I shall be web-foot
like a drake--excepting the curled feather--but I must proceed
northward. Adieu.” The sketch-book shows he did “proceed northward” as
far as Barnard Castle, and then, turning into Westmorland, went south
into Lancashire, after passing through Appleby to Kirkby Lonsdale and
Heysham. Riding round Morecambe Bay, and probably crossing the sands at
low tide, he seems to have got back to Farnley by about the middle of
August.
The diary does not give the date of Turner’s arrival at Farnley, but the
shooting began on the 12th, when “all the gentlemen” went to the moors,
and on the 13th an unfortunate gun accident wounded one of the party,
Mr. Richard Hawksworth. On the 14th, the diary tells us that “Richard”
was “pretty well;” on the 15th the entry runs, “Richard pretty well
until evening. Sent for Hey” (the doctor), “who said he was dying.” On
the 16th “Poor Richard died at 5 o’clock in the morning.” This sad event
seems to have dispersed the house party, the entries on Saturday the
17th, and Monday 19th, recording the guests’ departures. Only “Turner
and John Parker remained and Miss Coates.” On the 4th September Turner
wrote from Farnley Hall to his correspondent, Mr. Holworthy, saying that
“having finished nearly what I proposed doing this season in Yorkshire,
I think I can do myself the pleasure of waiting upon Mr. Knight at
Langold within a fortnight.” This gentleman was evidently Mr. H. Gally
Knight, whose sketch of the Temple of Jupiter in the Island of Ægina had
formed the basis of Turner’s large oil painting of this subject which
was exhibited at the Royal Academy in 1816. Langold is two miles beyond
Carlton, near Tickhill, Yorkshire. On the 11th September Turner writes
to the same correspondent, saying that he intends to leave Farnley on
“Sunday morning next” and that, if “Mr. Knight is not at Langold, I will
be at Belvoir on the Tuesday following.”
That Turner carried out at least the first part of his plan is proved by
the entry in the diary, “Mr. Turner went away,” under the date of
Sunday, 15th September.
The water-colours Turner made from the sketches taken during this year
are among the sunniest and happiest of his works. The lovely _Hornby
Castle from Tatham Church_ (now in the Victoria and Albert Museum), and
the _Crook of the Lune_ (in the Rev. W. Macgregor’s collection) are
perhaps the finest now existing of this series. But the happiness and
pure enjoyment of life that breathe through these drawings must have
been due to the artist’s memories and associations, rather than to his
actual experiences of the places represented, for the weather seems to
have been consistently bad during the whole of this summer and autumn.
In the letter to Mr. Holworthy referred to above, Turner wrote that his
present trip had been “a most confounded fagg.” Though he was on
horseback, he added, “the passage out of Teesdale leaves everything far
behind for difficulty--Bogged most compleatly, Horse and its Rider, and
nine hours making 11 miles.” And in another part of the same letter, he
wrote, “As to weather, there is nothing inviting, it must be confessed.
Rain, rain, rain, day after day. Italy deluged, Switzerland a wash-pot,
Neufchatel, Berne and Morat Lakes all in _one_--all chance of getting
over the Simplon or any of the passes _now_ vanished like the morning
mist.” So the writer had evidently nursed some project of going to Italy
in the latter part of this year, a project which he was not able to
carry out till two years later.
The year 1817 saw the addition of a very important series of fifty
drawings to Mr. Walter Fawkes’s already large collection. These were the
famous Rhine drawings. The date of their execution is given incorrectly
in Thornbury, but the newly-discovered evidence of the sketch-books and
an entry in Mrs. Fawkes’s diary enable us to correct Thornbury’s
inaccuracies. Thornbury says these drawings “were done at the prodigious
rate of three a day,” and in support of this statement he adds that
Turner was away only for a fortnight, and that “after landing at Hull he
came straight to Farnley, where, even before taking off his great-coat,
he produced the drawings, in a slovenly roll from his breast pocket; and
Mr. Fawkes bought the lot for some £500, doubtless to Turner’s delight,
for he could not bear that any series of his should be broken.” But a
kind of rough diary of Turner’s movements in the “Itinerary Rhine Tour
Sketch-Book” (CLIX, Turner Bequest) says that the artist “left London”
on Sunday, 10th August, was “off Margate” on Monday, 11th, and reached
Brussels Thursday evening, on the 14th. He spent Saturday, visiting the
Field of Waterloo, and, taking the diligence on Sunday, passed through
Liège and Aix-la-Chapelle, reaching Cologne on the 18th. On Tuesday he
walked to Bonn, and on the following day to Remagen. He was at Coblenz
on Thursday and Friday, the 21st and 22nd, at St. Goar on the next two
days, and at Mayence on the 25th and 26th. He returned to St. Goar on
the 27th, and, passing through Coblenz on the 28th, he reached Cologne
on the 29th, and left it the next day, returning through Aix and Liège.
He was at Antwerp on the 2nd and 3rd of September, and at Rotterdam on
the 4th and 5th, from whence he made his way to The Hague and Amsterdam.
The notes against the dates to the 15th September are too elliptical and
undecipherable to convey any information, but even if the artist did
take the boat from Holland to Hull (the most probable route of his
return) immediately on or after this date, it is clear that he did not
go straight from there to Farnley. He had some work to do in Durham
before he could go there--sketches to make of Gibside and Hylton Castle,
the seats of the Earl of Strathmore, and of Raby Castle, the seat of the
Earl of Darlington, to illustrate Surtees’ “History of the County of
Durham.” He had also a commission to paint a large oil picture of the
latter castle for its owner, a picture which duly appeared on the walls
of the Royal Academy in the following year. A passage in a letter to Mr.
Holworthy, written on the 21st November, 1817, says that “Lord
Strathmore call’d at Raby and took me away to the North,” thus keeping
him in Durham longer than he had expected. In this way Turner did not
reach Farnley till the middle of November. Mrs. Fawkes’s diary tells us
that she and her husband “went to Thorp Ash” on Thursday, 13th November,
and on the 15th the entry runs, “Heavy rain. Returned home. Found Mr.
Turner and Greaves here.” It is evident that Turner stayed there for
about a week, as the letter of the 21st November is dated from Farnley
Hall, but it is probable that he did not remain much longer, as he was
clearly anxious to get back home and to work, for he says in this
letter, “The season is far spent, the night of winter near at hand, and
Barry’s words are always ringing in my ears--‘Get home and light your
lamp.’”
The object of Thornbury’s statements about Turner being away only for a
fortnight, and going straight to Farnley after landing at Hull, is
evidently to corroborate his assertion that the fifty drawings were done
“at the prodigious rate of three a day.” No one who has studied these
beautiful drawings at all carefully could believe such a statement. But
the evidence of Turner’s own memoranda proves that he only spent twelve
days visiting the places on the Rhine which he has represented. He
occupied from the 18th of August to the 30th sketching between Cologne
and Mayence. So if we look at the matter from Thornbury’s point of view
we are entitled to say that the fifty water-colours were done, not at
the prodigious rate of three a day, but at the prodigious rate of more
than four a day. But such a conclusion clearly overlooks the important
difference between a sketch from nature and a finished drawing. In the
twelve days Turner spent on the Rhine he certainly made the sketches for
the fifty drawings Mr. Fawkes bought; and, in addition, he also made the
sketches--numbering something between a hundred and fifty and two
hundred--which we find in the three sketch-books, “Itinerary Rhine
Tour,” “Waterloo and Rhine,” and “The Rhine” (CLIX, CLX, CLXI, Turner
Bequest), preserved in the National Gallery. But it is evident the
Farnley water-colours were not painted from nature. They were elaborated
from pencil sketches somewhere between the end of August and the 13th
November, possibly at inns--for Turner could work anywhere and under any
conditions--or possibly when staying with Lord Darlington at Raby
Castle, or with Lord Strathmore at Hylton Castle or Gibside. Such
drawings as _Johannesberg_, _Sonneck and Baccharach_, _Mayence and
Cassel_, and the rest, are not hurried sketches from nature, but
carefully pondered and perfectly elaborated works of art. In some few
cases parts of the sky or distance may have been painted from nature,
but they all owe much of their charm and beauty to the consummately
skilful labour which the artist lavished upon them in the intervals of
travel, during the two months which elapsed between his departure from
Cologne and his arrival at Farnley Hall near the beginning of November.
When Turner wrote to Mr. Holworthy from Farnley Hall, “The season is far
spent, the night of winter near at hand, and Barry’s words are always
ringing in my ears--‘Get home and light your lamp,’” his mind was
evidently full of ideas of pictures he was anxious to carry out. The
subject-matter of three important oil paintings--the large view of _Raby
Castle_ for the Earl of Darlington, the serenely beautiful evening
effect of _The Dort Packet-Boat from Rotterdam becalmed_, which he
painted for Mr. Fawkes (and which is shown hanging over the fireplace,
in the position it still occupies to-day, in the water-colour of _The
Drawing-room at Farnley_, which was reproduced and published in the
March number of THE STUDIO), and the imaginative composition of _The
Field of Waterloo_, showing the ground
“Covered thick with other clay
Which her own clay shall cover, heaped and pent
Rider and horse, friend, foe, in one red burial blent.”
--was seething in his mind and crying out for definite embodiment. These
pictures were ready for exhibition at the Royal Academy in May 1818. In
June Mr. Fawkes and his wife were in London. Two of Mr. Fawkes’s sons by
his first marriage were at Eton, so we find the following entry in Mrs.
Fawkes’s diary on the 4th of June: “Went to Eton to see the boat-race.
Dined and slept at Salt Hill. Little Turner came with us.” That “little”
Turner’s thoughts were not taken up entirely with the boat-race and the
social pleasures of the visit is proved by the lovely sepia drawing of
_Windsor Castle from Salt Hill_, which was admirably engraved by Charles
Turner for the “Liber Studiorum,” though it was never published. Soon
after this visit to Eton Turner went to Scotland to make sketches to
illustrate “The Provincial Antiquities of Scotland,” for which Sir
Walter Scott (then plain Mr. Scott) had agreed to furnish the
letterpress. Scott would have preferred the employment of his friend the
Rev. John Thomson, of Duddingston, as the illustrator of this work, but
Lockhart and the publishers stood out for Turner. Scott finally gave way
and wrote that he “supposed he must acquiesce” in the selection of
Turner, “because he was all the fashion.” Turner’s subjects were chosen
for him and the work proved remarkably successful. Turner’s exquisite
water-colours were presented by the publishers to Sir Walter Scott, who
had them all framed together (in a very unsuitable way, it must be
confessed) and kept them hung in his study at Abbotsford until his
death.
There is no mention in the diary of any visit of Turner to Farnley Hall
in 1818, but it is probable that he called there on his way back from
Scotland. The water-colour of _A First Rater taking in Stores_, which is
said to have been painted at Farnley Hall, is dated 1818. The
water-colour drawing of _The Drawing-room at Farnley_, to which I have
already referred, must also have been painted that year, as the picture
of _Dort_ could not have been in its place before then, and the drawing
was included in the exhibition of Turner’s works which Mr. Fawkes held
in April 1819.
To appreciate fully the importance of this exhibition it will be
necessary for us to glance for a moment at the conditions of artistic
patronage in this country during the earlier years of the nineteenth
century. As we had no National Gallery then, opportunities for becoming
familiar with the works of the great European painters of the past were
extremely limited. With a view to educating the taste of the public,
some of the artists made the suggestion that the nobility and gentry,
who owned collections of works by the old masters, should admit the
public to their galleries or houses on a certain day in each week during
the fashionable season. The Marquess of Stafford and Earl Grosvenor
acted upon this suggestion. But after a time complaints were made that
the taste for the old masters was prejudicial to the claims for
recognition of the living native artists of the day. To redress the
balance Lord de Tabley, who had formed a fine collection of exclusively
British paintings, decided to throw open his gallery to the public. Many
of his friends tried to dissuade him from doing this, as they thought
that the British School could not emerge with credit from the inevitable
comparisons which would be made with the more famous Schools of the
Continent. But he invited and allowed the public to visit his gallery on
one day in the week during the season of 1818. His experiment was so
successful that it was repeated the following year. William Carey, a
dealer who had assisted Lord de Tabley in forming his collection, tells
us that “the splendour of the British School produced a favourable
conviction on the minds of foreign visitors. The effect was
indescribable. It increased on each year of the exhibition, and the
periodical press, in bearing testimony to the general enthusiasm which
seized all the upper classes, rapidly spread the fame of the British
School through the Empire” (“Some Memoirs of the Patronage and Progress
of the Fine Arts,” &c., published in 1826). The success of Lord de
Tabley’s bold experiment seems to have suggested to Mr. Walter Fawkes
the idea of admitting the public to see the large collection of English
water-colours he had formed. The writer referred to above tells us that
he “had the pleasure of hearing Mr. Fawkes mention his intended
exhibition to a small circle of amateurs, with a doubt whether the
public would approve of paintings in water-colours without any pictures
in oil. Some gentlemen replied hesitatingly; but the approbation of His
Royal Highness the Duke of Gloucester, who was present, determined the
question. Lord de Tabley gave the plan his instant and warm concurrence.
Mr. Thomas Lister Parker, of Browsholme Hall, was equally prompt in his
assent. The drawings were first displayed in an evening when the
apartments were judicially illuminated. Mr. Fawkes issued cards of
invitation for the private view only, and, notwithstanding that he was
particularly select, the spacious suite of rooms was too small to
receive the company. The effect was very striking. It was generally
remarked that Grosvenor Place never before beheld such a blaze of beauty
of fashion, or such a splendid assemblage of distinguished public
characters, as on that evening, and on the subsequent days of
exhibition.”
The first and second rooms of the suite were filled with drawings by De
Wint, J. C. Ibbetson, T. Heaphy, Glover, Havell, Robson, Hills, Prout,
Atkinson, and Warwick Smith. The principal apartment, the largest in
size and the last to be entered, was hung entirely with drawings by
Turner. I will not venture to quote Carey’s rhapsodical description of
these drawings. It is every whit as rapturous and enthusiastic as any of
the purple patches penned by “A Graduate of Oxford” some fourteen or
fifteen years later, but it has nothing of Ruskin’s eloquence or
felicity of literary expression. Still the following remarks, from
Carey’s useful book, are, I think, worth quoting: “Turner the enchanter,
whose magic pencil had created the chief wonders of this temple, was
frequently there. Nature, in endowing his mind, appears to have been
indifferent to his person; but his brow is a page on which the traits of
his high calling are stamped in capital letters, and his dark eyes
sparkle with the fires of inspiration. He generally came alone; and
while he leaned on the centre table in the great room, or slowly worked
his rough way through the mass, he attracted every eye in the brilliant
crowd, and seemed to me like a victorious Roman General, the principal
figure in his own triumph. Perhaps no British artist ever retired from
an exhibition of his works, with so much reason for unmixed
satisfaction, or more genuine proofs of well-deserved admiration from
the public.” Carey adds, “It is more than seven years since I saw this
extraordinary exhibition; and even now the remembrance affects me....”
And after a page or two of rather turgid bombast he winds up with the
naïve remark, “I own I am an enthusiastic worshipper of Turner’s
genius.”
The references to Turner in Mrs. Fawkes’s diary for this time are
extremely limited. We learn from it that the family came to the house in
Grosvenor Place in March. On Sunday, 7th March, the entry runs: “Went
with girls to Belgrave Chapel. Mr. Parker, Alston, Turner, and Mr.
Miller dined with us.” The entry on Tuesday, 13th April, is: “Very wet
day, Gallery opened in Grosvenor Place. 1st day.” During the next few
weeks a number of dinner parties are recorded, but no names of the
guests are mentioned. We may take it for granted that Turner was
frequently present on these occasions.
After the exhibition Mr. Fawkes had a catalogue published of the
drawings included in the show. The catalogue was dedicated “To J. M. W.
Turner, Esq., R.A., P.P.,” in the following graceful letter:--
“My dear Sir,
“The unbought and spontaneous expression of the public opinion
respecting my collection of water-colour drawings decidedly points
out to whom this little catalogue should be inscribed. To you,
therefore, I dedicate it: first, as an act of duty, and secondly,
as an Offering of Friendship: for be assured I never can look at it
without intensely feeling the delight I have experienced during the
greater part of my life from the exercise of your talent, and the
pleasure of your society.
“That you may year after year reap an accession of fame and fortune
is the anxious wish of
“Your sincere friend,
W. FAWKES.”
“London, June, 1819.
The family copy of this catalogue was illustrated with a frontispiece
and two water-colours by Turner, one a view of _London from the Windows
of 45, Grosvenor Place_, the other a view of the _Drawing-room of 45,
Grosvenor Place_.
To understand properly the importance of this exhibition to Turner’s
reputation as a water-colour painter, we must bear in mind that since
his election as a member of the Royal Academy he had been known to the
public primarily as an oil painter; and he had held aloof from the
newly-established Water-Colour Society, and had, therefore, no regular
opportunities for submitting his water-colour drawings to the public.
Mr. Fawkes’s friendly exhibition, held under the most fortunate social
conditions, firmly established Turner’s position as the foremost
water-colour painter of his time, and enabled him to produce, during the
next twenty years, those marvellous series of drawings which are so
eagerly sought after by collectors of the present day, and so warmly
appreciated and enjoyed by all who care for the higher achievements of
the Fine Arts.
In the summer of 1819 Turner paid his first visit to Italy. He went from
Calais to Paris, followed the usual coach route to Turin, and, having
explored the north Italian lakes, he reached Venice by way of Milan and
Brescia. He must have spent some time in Venice to judge from the large
number of sketches he made there. Making his way along the coast of the
Adriatic he turned inland at Ancona, and following the high post road
through Recanati and Macerata, entered the Via Flaminia at Foligno, and
saw Rome for the first time, probably some time in September or October.
From Rome he explored Frascati and Tivoli, and made a tour to Naples,
Pompeii and Herculaneum. He left Rome in December, visited Florence, and
re-crossed the Alps on the 24th January 1820. He returned through
Piedmont and France, and we find him dining at Grosvenor Place with the
Fawkses on Saturday, 12th February. During the next few months he must
have been frequently in the society of his friends, as his name
constantly recurs in the entries of Mrs. Fawkes’s diary. The following
extracts will speak for themselves:--
“Monday, 14th Feb., 1820. Went a large party to
see the Panorama of
Lausanne. Turner
and Mr. Lomax dined
with us.
Sunday, 27th Feb. B. King, E. Parker,
Turner, Mr. Lomax
and W. Beaumont
dined with us.
Sunday, 9th April. Drove out with Walter
to Whitly and Turner’s
Garden. E. Parker
dined with us.
Sunday, 30th April. Mr. Swinburne, Parker,
Turner dined with us.
Sunday, 7th May. Walter out in Phaeton.
Mr. Swinburne, Parker,
Turner and Alston
and Mills dined with
us.
Sunday, 21st May. Lord Belmore came to
pay a visit. Maria and
I went to Warwick St.
Chapel. Turner and
Swinburne dined with
us.
Monday, 5th June. Walter, two of the girls,
and I went to Salt Hill.
Saw the Boat Race.
Young Knight fell
from his horse. Broke
his arm. Fine day.
Wet afternoon. Mr.
Swinburne and Turner.
Tuesday, 4th July. To Greenwich. Traceys,
Mr. and Mrs. Alston,
Turner, Sir Francis D.
Kinnaird. All the party
drank tea in Grosvenor
Place. Fine day, not
hot.”
Turner’s visit to Italy did not have a very beneficial effect upon his
art. He came back with a mass of material and then seems to have been
puzzled to know what to do with it all. The _Bay of Baiæ_, the first
important oil painting which he produced after this visit, is overloaded
with detail, and the design possesses no organic unity. The best
artistic results of the journey were a few water-colours painted for Mr.
Fawkes. The _Rialto, Venice_, a brilliant drawing, though overcrowded
with facts, is interesting as Turner’s first Venetian picture done from
his own sketches--the drawing of the same subject engraved in Hakewill’s
“Italy” having been made from camera-obscura tracings furnished by
Hakewill. The _Interior of St. Peter’s, Rome_, is a wonderful drawing,
remarkable for the sense of height and space obtained by taking
deliberate liberties with the laws of perspective. The view of _The
Colosseum, Rome_, is exquisite in colour and effect. The best inspired
of all the drawings produced this year (1820) is, however, _The Passage
of Mont Cenis_, in which the contrast between the frightened passengers
in the diligence, with its wildly plunging horses, and the gleaming
peaks of the frozen mountains, is emphasized with extraordinary skill
and eloquence.
These drawings practically completed the Farnley Hall collection.
Turner’s friendship with Mr. Fawkes continued unabated till the latter’s
death in 1825, but the only drawings added to the collection after 1820
are interesting rather on private and personal grounds than for their
artistic importance. They are mere records of relics of the Civil War
preserved at Farnley, or vignette illustrations, the poetical or
historical compilations with which members of the Fawkes family amused
their leisure.
I do not think I can better conclude this account of Turner’s personal
relations with Mr. Walter Fawkes than by placing on record the remaining
entries in Mrs. Fawkes’s diary in which the artist is either directly or
indirectly referred to.
In 1821 the family came to Mr. Fawkes’s London house on Wednesday, 21st
March, “at 4 o’clock.” The next day, Thursday, “Turner and Parker dined
with us.” On Thursday, 21st June, the entry runs: “Went to Eton with
Walter, the girls, Mr. Swinburne and Turner.” The family left London on
23rd July, and Turner does not seem to have seen them till he went up to
Farnley to spend Christmas with them. “Mr. Turner came” is entered
against Sunday, 23rd December, but the date of his departure is not
given.
In 1822 the family arrived at Grosvenor Place on 10th April. On Sunday,
the 14th, “Mr. Alston, Turner and G. Wentworth dined with us.” The 20th
of June was a great day for the family. On that day Miss Anne Fawkes,
the youngest of Mr. Fawkes’s daughters by his first marriage, was
married to Mr. Godfrey Wentworth, of Woolley Park, co. York. There were
twenty-three guests present at the dinner given in honour of this event,
among them several Lords and Ladies and “Mr. Turner.” The entry in the
diary on this day is brief but eloquent. It runs: “Anne and Godfrey
married. A very long day. Had a large party to dinner. All tipsey.”
Turner’s name does not appear in the diary during the whole of 1823, nor
in 1824 till the end of the year, when he went to Farnley for nearly a
month. The following entries speak for themselves:--
“Friday, 19 Nov. 1824. Turner came.
Tuesday, 14 Dec. ” Mr. Turner went away.
Monday, 3 Jan. 1825. Left Farnley for Baker
Street.
Thursday, 6 ” ” Arrived in London.
Saturday, 8 ” ” Mr. Parker and Turner
came to dinner.
Sunday, 9 ” ” Foggy, nasty day. Mr.
Turner dined with us.
Sunday, 16 ” ” Mr. Turner dined with
us.
Sunday, 30 ” ” Walked to Hanover
Square to see the
Wentworths. Mr.
Turner dined with us.
Monday, 31 ” ” Mr. Sapio came to teach
Eliza. Hawksworth
went to Windsor.
Turner and Mr.
Woodhouse dined
with us. H.’s birthday.
Sunday, 6 Feb. ” Turner dined with us.
Sunday, 20 ” ” Mr. Lister, Turner and
Dr. Bree dined.
Wednesday, 2 March ” Walter’s birthday.
Charles and Fanny
Brandling, Mr. Creevy,
Turner, Mr. Alston
and Rowland
dined with us.
Sunday, 13 March, 1825. Mr. Parker and Mr.
Turner dined with us
and John Ibbetson
and Mr. Wharton.
Sunday, 3 April ” Turner, Anne and
Godfrey dined with
us. * * * Went to
Baker Street Chapel
with Fanny and Eliza.
Wednesday, 6 ” ” Hawksworth and
Eliza married at St.
George’s by the A.
bishop of York. We
had a large dinner
party and the Infant
Lyra in the evening.
Sunday, 17 ” ” Fanny B. and Hawkey
called. Drove with
Fanny Brandling to
Mr. Clarke’s house.
His first visit. T.
Parker and Turner
dined with us.
Friday, 22 ” ” Tom Parker and Mr.
Turner dined with us.
A ball at Mrs. Stanhope’s.
Did not go.
Sunday, 1 May, 1825. Ill. Mr. Lister, C.
Brandling, Edward
Parker and Mr. Turner
dined with us.
Sunday, 15 ” ” Mr. Wodehouse and
Turner dined with us.
Ayscough came from
Oxford.
Friday, 3 June ” Walter was this evening
condemned to his
bed. He kissed me
and cried bitterly.
Came back several
times to kiss and said
he knew he never
more should get out
of it. I passed a
wretched night.
Sunday, 14 Aug. ” Mr. Alston and Turner
dined.
Saturday, 27 ” ” Turner dined in Baker
Street. Said he was
going next morning
to the Hague.”
This entry enables us to date with certainty the “Holland Sketch-Book”
(CCXIV) in the National Gallery. Mr. Walter Fawkes died on the 25th of
October of this year, probably before Turner got back to London from his
tour in Holland.
Mrs. Fawkes spent a few days in London in May the following year, and
Turner dined with her on two occasions, on Tuesday the 2nd and Sunday
the 7th of May. The diary was continued till 31st December, 1838, but I
can find no further mention in it of Turner’s name.
Thornbury says, “Turner was so sensitive that he could never make up his
mind to visit Farnley after his old friend’s death.” And we have
Ruskin’s testimony that Turner could never speak of the Wharfe, about
whose shores the shadows of old thoughts and long-lost delights hung
like morning mist, but his voice faltered.
* * * * *
[Sidenote: TURNER’S RELATIONS WITH MR. H. FAWKES]
On the death of Mr. Walter Fawkes Farnley Hall passed to his son, Mr.
Francis Hawksworth Fawkes. He was a boy when Turner first became
friendly with the family. He had romped, walked, shot with Turner, and
had sat at his elbow while he was making many of the wonderful drawings
in the Farnley Collection. No doubt young Hawksworth was one of the
party in the carriage which Turner insisted upon driving tandem from the
shooting tent on the Farnley moors, and which he managed to capsize
“amid shouts of good-humoured laughter"--an exploit which earned the
artist the nickname of “Over-Turner.” It was to young “Hawkey” that
Turner called one day in 1810, when he stood on the terrace at Farnley
watching the storm rolling and shafting out its lightning over the
Wharfedale hills--the storm effect he was to paint in his picture of
_Hannibal Crossing the Alps_. The same boy sat watching him for three
hours as he sat one morning between breakfast and lunch-time making the
beautiful drawing of _A First-Rater taking in Stores_, the artist all
the time “working like a madman” and “tearing up the sea with the
eagle-claw of a thumbnail.” It was young Hawksworth who induced his
father to buy the large oil painting of _Dort_ from the exhibition of
1818.
After Turner’s death, Mr. Hawksworth Fawkes furnished Thornbury with the
following account of his connection with the great artist. “When Turner
was so much here (at Farnley) in my father’s lifetime, I was but a boy,
and not of an age to appreciate or interest myself in the workings of
his mind or pencil. My recollection of him in those days refers to the
fun, frolic, and shooting we enjoyed together, and which, whatever may
be said by others of his temper and disposition, have proved to me that
he was, in his hours of distraction from his professional labours, as
kindly-minded a man and as capable of enjoyment and fun of all kinds as
any that I ever knew.
“Though often invited, Turner never came here after my father’s death;
and, as I have seldom gone to London, our meetings since I had learnt
his value had been few and far between: but up to the last time that I
saw him, about a year before his death, he was always the same to me
that I had known him in my boyhood, always addressed me by my boy name,
and seemed ever anxious to express in his kindness to me his attachment
to my father, and still glowing recollections of his ‘auld lang syne’
here.”
Thornbury says that when Mr. Hawksworth Fawkes visited London “he would
go and sit in the Queen Anne Street gallery for hours, but he was never
shown into the painting-room. On one occasion he invited Turner to
dinner at a London hotel, when he took, as was his wont latterly, a
great deal too much wine. For once he became vain, and, staggering
about, exclaimed, ‘Hawkey, I am the real lion--I am the great lion of
the day, Hawkey.’”
After Mr. Walter Fawkes’s death one of those wonders of the North, a
goose-pie and presents of game were sent to Turner from Farnley
regularly at Christmas time. The twenty-fifth pie was already packed
when the news reached Farnley of the painter’s death. The three last
letters Turner wrote to Mr. Fawkes acknowledging these annual presents
have been preserved and published. In the one written on the 24th
December, 1849, Turner finishes by saying: “I am sorry to say my health
is much on the wane. I cannot bear the same fatigue, or have the same
bearing against it, I formerly had--but time and tide stop not--but I
must stop writing for to-day, and so I again beg to thank you for the
Christmas present.” In the letter dated 17th December, 1850, the aged
artist wrote: “Old Time has made sad work with me since I saw you in
town. I always dread it with horror now. I feel it acutely now, whatever
(it is)--gout or nervousness--it has fallen into my pedestals, and bid
adieu to the marrow-bone stage.” These words, and indeed all the letter,
are written in Turner’s curiously involved and confused style, but it
was evident that the great painter’s career was nearly run. He died on
the 9th December of the following year, and was buried eleven days later
in the crypt of St. Paul’s beside Sir Joshua Reynolds, with all the
magnificence due to his genius.
* * * * *
[Sidenote: THE FARNLEY HALL COLLECTION]
It will be seen from the foregoing account of the personal relations
between Mr. Walter Fawkes and Turner that the Farnley Hall Collection is
mainly concerned with Turner’s work between the years 1804 and 1821.
These works, therefore, belong to what Mr. Ruskin has described as
Turner’s first period, when “he laboured as a student, imitating
successively the works of the various masters who excelled in the
qualities he desired to attain himself.” This classification of Mr.
Ruskin’s is evidently made in the interests of Turner’s later work, the
period Mr. Ruskin admired most. But the _parti-pris_ and insufficiency
of a classification which dismisses the period during which the
paintings and drawings of the Farnley Hall Collection were produced as
one of mere imitation of the old masters are sufficiently exposed by a
glance at the illustrations with which the present publication is
enriched. To speak of the creator of the _The Passage of Mont Cenis_,
_Scarborough_, _Otley from the Chevin_, and _The Valley of the Wharfe
from Caley Park_ as a mere imitator seems to me quite absurd. My own
view is that Turner’s period of imitation and apprenticeship had come to
an end by the time he was thirty years of age (1805). By that time he
was a complete master of every form of pictorial expression. The period
between his thirtieth and forty-fifth years was the period of his
freshest and happiest inspiration, as well as that of his soundest and
most perfect workmanship. His oil paintings produced during these years
are as solidly and carefully worked as those of the old Flemish and
Dutch masters. They are built to defy the centuries. A picture like the
so-called _Pilot Boat_ (_Shoeburyness Fisherman hailing a Whitstable
Hoy_)--painted more than a hundred years ago--is a model of perfect
craftsmanship. It has no cracks, and Time has only mellowed the
exquisite pearly harmonies of its colour and the indescribable charm of
its wonderful surface. The _Trout Stream_, the _Spithead_, and _Frosty
Morning_, have the same gift of immortality. It is only Turner’s later
paintings which have cracked and faded and tarnished, and lost the
“unthrifty loveliness” with which they were dowered when they were first
exhibited.
I may, I hope, be pardoned for preferring the classification of Turner’s
“periods” adopted in my study of “Turner’s Sketches and Drawings” to Mr.
Ruskin’s sweeping generalization. Turner’s Farnley work impinges on
three of these periods--it begins with that of 1802 to 1809, when Turner
was producing his own glorious sea-pieces; it covers the next period,
from 1809 to 1813, when Turner was developing that deep and solemn
conception of the poetry of rural life, which found expression in the
_Frosty Morning_, _Abingdon_ and _Windsor_; and it runs half-way into
the period of Turner’s greatest academical and popular success--that of
1813 to 1830. Of these three phases of Turner’s dazzling and complex
genius I regard the middle one as the most important. The works produced
in those years founded a genuinely national school of homely realism,
and show Turner as the leader and inspirer of the Norwich School, and
the master of David Cox, De Wint and all that is best in English
water-colour painting. The spirit which animated this period is the
spirit which informs nearly all the oil paintings and water-colours in
the Farnley Hall Collection.
At the death of Mr. Walter Fawkes, Turner’s works at Farnley Hall
consisted of seven oil paintings and about two hundred water-colours.
Since then the collection has been reduced to about two-thirds of its
original size. Various drawings have been given as presents to different
members of the family, and accidents of various kinds have happened to a
few of the drawings. One of Mr. Walter Fawkes’s sons was given a couple
of drawings to decorate his room at Eton. One of the drawings got
dirtied and the boy put it in a basin of water to clean it, with
disastrous results--a very expensive way of learning the difference
between an oil painting and a water-colour. But the biggest gap in the
collection was made by one of the present owner’s predecessors, the Rev.
Ayscough Fawkes, who sent forty-nine water-colours and three oil
paintings to Christie’s in June, 1890.
No complete list of the original collection has yet been published. The
following list is as nearly exhaustive as I have been able to make it. I
have broken this list up into eight groups for convenience of reference,
viz., (1) The oil paintings, (2) The early Swiss drawings, (3) The Rhine
drawings, (4) Yorkshire, marine and other subjects,(5) The Wharfedale
Series, (6) Birds, (7) Vignettes, (8) Italian and later Swiss drawings.
Where the works have passed from the possession of Mr. F. H. Fawkes, the
present owner of the collection, I have indicated in brackets the
collection into which they have passed, or the latest appearance in the
sale-room or exhibition of which I have a record. Where there is no
entry in brackets after the title the work is still at Farnley Hall.
THE OIL PAINTINGS.
1. London from Greenwich Park. 36” × 48". (National Gallery, No.
483.)
2. Shoeburyness Fisherman hailing a Whitstable Hoy--sometimes
called Pilot with Red Cap hailing a Smack in Stormy Weather. 36” ×
48".
3. The _Victory_ returning from Trafalgar, beating up Channel in
three positions: fresh breeze. 27” × 40". (Christie’s, 1890; Sir
Donald Currie.)
4. Scene in the Apennines, with peasants driving sheep. 13½” ×
19¼"--panel. (Christie’s, 1890; E. L. Raphael, Esq. Exhibited R. A.
1892; Guildhall, 1899.)
5. The Sun rising in a Mist. 27” × 40". (Christie’s, 1890; Mrs.
Johnstone Foster.)
6. The Lake of Geneva, from above Vevey, and looking towards the
Valley of the Rhone. 41½” × 65¼". (Christie’s, 1890; Sir Donald
Currie.)
7. Dort, or Dordrecht--the Dort Packet-boat from Rotterdam
becalmed. Signed and dated “J. M. W. Turner, R.A., 1818, Dort.”
Exhibited R.A. 1818. 62” × 91½".
8. Rembrandt’s Daughter. Exhibited R.A. 1827. 46½” × 44½".
A free rendering of the _London from Greenwich Park_ was engraved in the
“Liber Studiorum” and published 1st January, 1811. The plate is
inscribed, “Picture in the possession of Walter Fawkes, Esq., of
Farnley.” Turner must, however, have bought back or exchanged the
picture, as it was in his gallery at the time of his death, and thus
passed into the National Gallery. Soon after its first exhibition at
Marlborough House, in 1856, Mr. Ruskin published a curious “note” upon
it, bewailing in eloquent terms the fact that Turner should waste his
genius upon such an unworthy subject as London and a view of the Thames.
“What a sorrowful matter it is,” he explained, that there was no one who
“had sense and feeling enough” to tell Turner to paint the Rhone instead
of the Thames, the Simplon instead of Richmond Hill, and Rouen Cathedral
instead of Greenwich Hospital. Turner found his way at last to these
subjects, Mr. Ruskin added, “but not till many and many a year had been
wasted on Greenwich and Bligh Sands.” We need not on the present
occasion trouble to examine too curiously the reasons which induced Mr.
Ruskin to take such an entirely perverse view of the kind of subjects an
English landscape painter ought to choose. It is sufficient to point out
that an artist can only paint with his full power those scenes which he
knows and loves intimately. Turner was born in London, and the Thames
with its shipping about London Bridge stirred Turner’s imagination with
memories of his boyhood, his early dreams and aspirations, in a way that
the Rhone, or the Rhine, or the Danube could never stir it. No doubt
these rivers are broader and deeper than the Thames, fairer to the eye
of the tourist, and richer in historical associations; but these
advantages are no compensation for that affectionate intimacy which
guides and inspires the artist when he is dealing with scenes familiar
to him since his boyhood. I will not hesitate to assert that Turner’s
paintings and drawings of his native land and its rivers and ports stir
my imagination and emotions far more powerfully and harmoniously than
those of foreign parts. In spite of the tranquil splendour of the
Farnley _Dort_, the magnificence of Mr. Naylor’s _Cologne_ and Mr. Ralph
Brocklebank’s _Ehrenbreitstein_, and the intricate play of cunning line
and gorgeous colour in the water-colour of _Heidelberg_ (in the Donald
Currie Collection), I would not exchange any of these works for the
sober harmonies and beautiful feeling of _London from Greenwich Park_,
or the more moving drama of the fisherman’s daily life on the Thames
enshrined in the _Shoeburyness Fisherman hailing a Whitstable Hoy_.
The picture of the _Victory_ returning from Trafalgar was painted about
the same time as the _Shoeburyness Fisherman_. It is hallowed by
association with Nelson’s glorious end, but it is lacking in that unity
and energy of pictorial motive which make the _Shoeburyness Fisherman_
such a masterpiece of sea-painting.
_Rembrandt’s Daughter_ is the only picture in the Farnley Collection
which was bought by Mr. Walter Fawkes’s son, Mr. Hawksworth Fawkes. It
was not well chosen. It shows Turner as an imitator and humble admirer
of other artists, rather than as the great creative genius he was. It is
not a typical work of the artist, but it throws an interesting
side-light on the moods of hesitation and tentative experiment in which
he occasionally indulged. Rembrandt and his wife are supposed to be
surprising their daughter--an entirely mythical personage--while she is
reading a love-letter. There are some fine passages of colour in the
girl’s dress. The picture was exhibited at the Royal Academy in 1827.
EARLY SWISS DRAWINGS.
9. Glacier and Source of the Arveiron, going up to the Mer de
Glace. Exhibited R.A. 1803. 27” × 40".
10. The Great Fall of the Reichenbach; in the valley of Hasle,
Switzerland. Signed and dated “J. M. W. Turner, R.A., 1804.”
Exhibited R.A. 1815. 40” × 27". (Plate IX.)
11. The Passage of Mount St. Gothard; taken from the centre of the
Teufels Broch (Devil’s Bridge), Switzerland. Signed and dated “J.
M. W. Turner, R.A., 1804.” Exhibited R.A. 1815. 40½” × 27".
12. Blair’s Hut on the Montanvert, and Mer de Glace, Chamounix. 11”
× 15".
13. The Valley of Chamounix. Signed and dated “J. M. W. Turner,
R.A., p.p., 1809(?).” 11¼ × 15⅝". (Plate III.)
14. Lake of Thun. 11” × 15½".
15. The Staubbach, Valley of Lauterbrunnen. Signed and dated “J. M.
W. Turner, 1809.” 11” × 15".
16. The Lake of Brienz: Moonlight. Signed “J. M. W. Turner, R.A.”
11” × 15½". (Plate XII.)
17. Bonneville, Savoy. 11” × 15⅜". (Plate I.)
18. Vevey, Lake of Geneva. 11” × 15½". (Christie’s, 1890; Sir
Donald Currie.)
19. Sallenches. 11” × 15½". (Christie’s, 1890; Humphrey Roberts’s
sale, May, 1908.)
20. Chamounix; Mer de Glace. 11” × 13½". (Christie’s, 1890;
Humphrey Roberts’s sale, May, 1908.)
21. Lausanne and Lake of Geneva. 11¼” × 15½". Signed and dated “J.
M. W. Turner, R.A., 1807.” (Christie’s, 1890; A. J. Forbes-Leith,
Esq.)
22. Source of the Arveiron. 11” × 15½". (Christie’s, 1890; Turner
House, Penarth, Pyke-Thompson Bequest.)
23. Lake of Lucerne, from Flüelen. 26½” × 39½". (Christie’s, 1890;
Sir Donald Currie.)
24. MontBlanc, from the Vald’Aosta. 26” × 39½". (Christie’s, 1810;
Sir Donald Currie.)
All these drawings were based on sketches made during Turner’s first
tour in Savoy and Switzerland, in 1802. The earliest are dated 1803 and
1804, others were executed four or five years later, and a few may not
have been completed till about 1815. They evidently owe a great deal to
the inspiration of Richard Wilson and Nicholas Poussin, though we find
in them that same large and masculine grip of natural form and structure
which we see in pictures like the _Bridgewater Sea-Piece_ and _Calais
Pier_. In some of the drawings, indeed--the _Great Fall of the
Reichenbach_ and _The Passage of Mount St. Gothard_, for instance--the
calm, unhurried elaboration of rock forms gives them a certain cold and
prosaic air. Such drawings lack the gloomy majesty and lyrical intensity
of feeling of paintings like _The Trossachs_, _Conway Castle_ and
_Kilgarran Castle_. For work of this kind a certain vagueness and
generalisation of execution are necessary, and Turner was, after 1804,
already beginning to feel his way towards a greater clarity and lucidity
of expression than Wilson had attempted. The Farnley drawings represent,
therefore, what I may call the aftermath of Turner’s early romantic
mood. They are conceived under the influence of that taste for the
gloomy, mysterious and picturesque fostered by Milton, Young’s “Night
Thoughts,” and Walpole’s “Castle of Otranto”; but the fulness of
representation and cheerful and varied colour of their execution are not
altogether in harmony with their original intention. In these respects
the original sketches of _The Pass of St. Gothard_ in the National
Gallery (LXXXV, 33, 34, and 35) are more satisfactory to the imagination
than the larger and more elaborate drawing in the Farnley Collection.
The absence of romantic passion is, however, atoned for by the
stateliness and grandeur of the design.
The two drawings of this group which make the strongest appeal to my
feelings are the moonlit view of The _Lake of Brienz_ and the gloomy and
majestic _Glacier and Source of the Arveiron_ which was exhibited at the
Royal Academy in 1803. Both these drawings are darker and more
Wilsonesque in colour and effect than the others. The starkness and
bigness of drawing in the group of pine trees in the foreground of the
_Glacier and Source of the Arveiron_ strike the imagination with
Miltonic power and certainty. The blues in the _Lake of Brienz_ have
slightly faded, but the rich sombre harmony of the drawing is in no way
impaired.
Another powerful and impressive drawing is the _Lake of Thun_. This
differs in some important respects from the design engraved and
published in the “Liber Studiorum.”
An altogether different note is struck in the graceful and charming
subject of _Bonneville_. Here all is peace and serenity. The foreground
is filled with the amenities of untroubled rural life, the distant blue
and white peaks of the mountains making an excellent foil to the
graceful foliage, white walls and bridge of the little town which
nestles at their feet. The foreground, indeed, is only redeemed from
insipidity by the sharp, firm drawing of the ripples and stones.
THE RHINE DRAWINGS.
25. Mayence and Kastel. 8-11/16” × 14⅝". (Plate XVIII.)
26. Mayence. 7¾” × 12⅛". (Christie’s, 1890.)
27. Mayence. 8¾” × 13⅞". (Christie’s, 1890; Taylor Sale, July
1912.)
28. Palace of Biebrich. 8” × 13½". (Christie’s, 1890; Turner House,
Penarth.)
29. Johannisberg. 8-13/14” × 13½". (Plate XXIII.)
30. Rüdesheim, looking to Bingen Klopp. 8¼” × 13½". (Christie’s,
1890.)
31. Bingen and Ehrenfels, from the Lake. 7⅝” × 12¼".
32. Abbey of Bingen, looking towards Lake. 8” × 11½". (Plate XXV.)
33. The Mausethurm, Bingen Loch. 8” × 12¼".
34. Bausenberg in the Brohlthal. 8⅝” × 12¼". (Christie’s, 1890.)
35. Sooneck, with Bacharach in the distance. 8-15/18” × 14½".
(Plate XXI.)
36. Fürstenberg. 9¼” × 12¼". (Christie’s, 1890.)
37. Bacharach and Stahleck. 7¾” × 12½". (Christie’s, 1890.)
38. Pfalz, Caub and Gutenfels. 7¾” × 12⅛". (Christie’s, 1890; Sir
R. Hardy, Bart.)
39. Oberwesel and Schönburg Castle. 8⅝” × 14". (Christie’s, 1890.)
40. Lurleiberg. 7-13/14” × 12⅛".
41. St. Goarshausen and Katz Castle. 7⅝” × 12". (Christie’s, 1890;
G. R. Burnett, Esq.)
42. Lurleiberg. 8” × 12".
43. Lurleiberg and St. Goarshausen. 8” × 12¼".
44. Lurleiberg. 7½” × 11¾". (Christie’s, 1890; Lord Penrhyn.)
45. Lurleiberg. 7¾” × 12".
46. St. Goarshausen. 7⅞” × 12".
47. Lurleiberg. 7½” × 11¼". (Christie’s, 1890; Louis Huth.)
48. Lurleiberg. 7½” × 11⅞". (Christie’s, 1890; Sir H. Boulton.)
49. Katz Castle, with Rheinfels. 7½” × 12⅛". (Christie’s, 1890.)
50. From Rheinfels, looking over St. Goar to Katz. 7⅞” × 12⅜".
(Plate XXIX.)
51. Hirzenach. 8⅜” × 12½". (Plate XV.)
52. Rheinfels, looking to Katz and St. Goarshausen. 7½” × 12⅛".
(Christie’s, 1890.)
53. Castles of the Two Brothers, Sterrenberg and Liebenstein. 8⅛” ×
12". (Christie’s, 1890; J. F. Schwann, Esq.)
54. Boppard. 7⅜” × 12¼". (Christie’s, 1890.)
55. Peterspay. 8¼” × 12½". (Christie’s, 1890.)
56. Marksburg. 7⅝” × 12⅜". (Christie’s, 1890.)
57. Oberlahnstein. 7⅝” × 12¼". (Christie’s, 1890.)
58. Entrance of the Lahn. 7¾” × 12¼". (Christie’s, 1890; Lord
Penrhyn.)
59. Abbey near Coblenz. 7¾” × 8⅜".
60. The Back of Ehrenbreitstein, from the Pfaffen. 7¾” × 12¼".
(Christie’s, 1890.)
61. From Ehrenbreitstein. 7¾” × 12¼". (Christie’s, 1890.)
62. Quay at Coblenz. 7¾” × 12¼". (Christie’s, 1890.)
63. Bridge over the Moselle, Coblenz. 7⅝” x 12¼". (Christie’s,
1890; Rev. W. Macgregor.)
64. Neuweid and Weissenthurm. 7¾” × 12¼". (Christie’s, 1890;
Agnew’s Gallery, 1901.)
65. Weissenthurm, with Hoche’s Monument. 7⅞” × 12½".
66. Andernach. 7¾” × 12¼". (Christie’s, 1890.)
67. Roman Tower, Andernach. 7¾” × 12¼". (Christie’s, 1890.)
68. Hammerstein. 7⅝” × 12⅜". (Christie’s, 1890.)
69. Remagen and Linz. 7¾” × 12⅜". (Christie’s, 1890; Sir J. Gibson
Carmichael, Bart.)
70. Rolandswerth Nunnery and Drachenfels. 7¾” × 12⅛". (Christie’s,
1890; Sir Donald Currie.)
71. Drachenfels and Nunnery. 9⅛” × 11⅜". (Christie’s, 1890.)
72. Drachenfels. 9¼” × 11¼".
73. Godesberg. 7¾” × 11⅞". (Christie’s, 1890.)
74. RhineGate, Cologne. 7¾” × 12". (Christie’s, 1890.)
75. Cologne. 7¾” × 12". (Christie’s, 1890.)
Details of the circumstances under which these fifty-one drawings were
produced have been already given. No man, not even Turner, could
possibly have sketched and worked up these subjects in the short space
of a fortnight. But to have made even the sketches for this series of
drawings in the short space of time Turner had at his disposal proves
the marvellous rapidity with which he worked.
The drawings themselves are full of picturesque detail and accurate
observation, but they are, perhaps, more remarkable for their technical
skill than for their subject-matter. The deadly sureness of touch and
almost incredible dexterity in the manipulation of washes of colour,
remind one more of the calligraphic art of the Chinese and Japanese than
of the work of an English landscape painter. If the early Swiss drawings
in this collection may be described as an aftermath of Turner’s romantic
period, the Rhine drawings may be said to be the first instalment of the
treasures of art which the great magician was to give us in the series
of drawings of the Seine and Loire, and the later sketches of the Rhine
and Moselle.
Though nearly three-quarters of this series were sold in 1890, the
sixteen best drawings were carefully retained.
YORKSHIRE, MARINE, AND OTHER SUBJECTS.
76. Scarborough Town and Castle: Morning. Boys collecting Crabs.
Exhibited R.A. 1811. 27” × 40". (Plate IV.)
77. Flounder Fishing, Putney Bridge. Exhibited R.A. 1811, under
title November--Flounder Fishing. 24½” × 18½".
78. Cottage Steps; Children feeding Chickens. Exhibited R.A. 1811,
under title May--Chickens. 24½” × 18½".
79. The Strid, Bolton Woods. 11¼” × 15½". (Plate VI.)
80. Bolton Abbey, from the South. Signed “J. M. W. Turner, R.A.”
11¼” × 15½". (Plate XIII.)
81. Lancaster Sands. Signed “J. M. W. Turner, R.A., p.p.” 11⅛” ×
15½".
82. Man-of-War making Signals off the Mouth of the Tagus. 11” ×
15½".
83. Wreck of an East Indiaman. 11¼” × 15¾".
84. Coniston Lake and Old Man. 19½” × 25½". (Plate X.)
85. Fish Market on the English Coast. Signed and dated “J. M. W.
Turner, R.A., p.p., 1818.” 11” × 15⅜". (Plate XXVIII.)
86. A First-Rater taking in Stores. Signed and dated “J. M. W.
Turner, 1818.” 11¼” × 15½". (Plate VIII.)
87. Loch Fyne. Signed and dated “J. M. W. Turner, R.A., 1810.” 11”
× 15½". (Christie’s, 1890; Sir Donald Currie.)
88. Windermere. Signed and dated “J. M. W. Turner, R.A., 1821.”
11½” × 16". (Christie’s, 1890; Sir Donald Currie.)
89. Ulleswater. 11” × 15½". (Christie’s, 1890.)
90. High Force: Fall of the Tees. 11” × 15½". (Christie’s, 1890;
Sir H. Doulton.)
91. Fountains Abbey. 11” × 15½". (Christie’s, 1890; J. E. Taylor,
Esq.)
THE WHARFEDALE SERIES.
92. Shooting Party on Hawksworth Moor, 11-1/16” × 15¾".
93. Hawksworth Hall. 11⅛” × 15½".
94. Otley, from the Chevin. 11” × 15½". (Plate XXII.)
95. Otley Bridge. 13½” × 17¾".
96. Caley Hall. 12” × 17½".
97. Old Dairy, Farnley. 12½” × 17¼".
98. Turner’s Lodge. 12” × 16¾".
99. Stained Glass Window, 1819. 11½” × 12½".
100. Conservatory, Farnley Hall. 13¼” × 16½".
101. Lindley Hall. 11-3/16” × 15⅞".
102. Dining-Room, Farnley Hall. 12¼” × 17".
103. Entrance to the Gardens, Farnley. 12” × 16½".
104. Drawing-Room, Farnley Hall. 12¾” × 16½".
105. Front Staircase, Farnley Hall. 13” × 16¾".
106. The Banks of the Washburne. 13¼” × 16¼". (Plate XI.)
107. Lindley Bottom. 13½” × 17⅞".
108. Junction of Wharfe and Washburne. 12¼” x 17½".
109. The Library, Farnley Hall; facing fireplace. 13” × 17".
110. The Library, Farnley Hall; facing window. 12¼” × 16½".
111. Lindley Bridge and Hall. 12” × 17½". (Plate XXIV.)
112. Oak Staircase, Farnley Hall. 12½” × 16½".
113. Lindley Hall, from Lake Tiny. 11⅛” × 15-7/16".
114. Newall Old Hall. 12½” × 16½".
115. Oak Room, Farnley Hall. 11½” × 16".
116. Caley Park: Otley Chevin: Figures and dogs in foreground. 13½”
× 17½".
117. The Washburne, with Leathley Church. 12” × 16¾". (Plate XVII.)
118. Caley Park, with Deer. 13½” × 17¾".
119. The Valley of the Wharfe, from Caley Park. 11¾” × 17½". (Plate
II.)
120. Lake Tiny, Farnley, with boat and water-fowl in foreground.
11” × 15".
121. Wharfe, from Farnley Hall. 11¾” × 16½".
122. Lake Plantation, Farnley. 11-3/16” × 15½".
123. Lake Tiny, Farnley, with Almias Cliff in distance. 13½” × 17".
(Plate XXX.)
124. Doorway, Farnley Hall. 10¾” × 12¾".
125. Farnley Hall and Garden, with Sun Dial. 12½” × 16¼".
126. The Carriage Drive, Farnley. 11¾” × 16". (Plate XXVII.)
127. Farnley in the Old Time. 11¼” × 15⅞".
128. View of Farnley Hall. 12¼” × 15½".
129. The Fairfax Cabinet. 11½” × 14½".
130. The Valley of the Washburne, and Lindley Bridge. 10¾” × 15½".
(Christie’s, 1890; Col. L. G. Fawkes.) (Plate XIX.)
131. In Wharfedale, with Temple, and Ducks in a pond. 13” × 17½".
(Christie’s, 1890.)
132. In Wharfedale, with rustic bridge. 11¼” x 15½". (Christie’s,
1890.)
133. View of Otley Mills, with the River Wharfe and Mill Weir.
(Christie’s, 1890.)
134. The Pheasant’s Nest, Farnley Park. 12” × 16¼". (Ruskin
Collection.)
135. The Wood Walk, Farnley. 11” × 16¾". (F. Stevenson, Esq.)
136. Arthington Mill, near Farnley Hall. 10¾” x 15¼". (Taylor Sale,
July 1912.)
137. Drawing-Room in 45, Grosvenor Place.
138. Frontispiece for Catalogue of Water-Colour Drawings in 45,
Grosvenor Place.
139. London, from the windows of 45, Grosvenor Place, when in the
possession of Walter Fawkes, Esq. 9¾” × 15¼". (Christie’s, 1890;
Agnew.)
BIRDS.
140. Dead Grouse, hanging. 10” × 7½".
141. Dead Grouse, hanging (Replica). 10¼” × 8¾". (Taylor Sale,
1912.)
142. Dead Wood Pigeon, 7” × 11".
143. Dead Blackcock. 10¼” × 9". (Taylor Sale, 1912.)
144. Head of Partridge. 3½” × 3½".
145. Head of Moor Game. 3½” × 4".
146. Head of Green Woodpecker. 5” × 5½".
147. Head of Guinea Fowl. 3½” × 3½".
148. Head of Moor Hawk. 3½” × 5".
149. Head of Woodcock. 4” × 6".
150. Head of White Owl. 7” × 7".
151. The Redbreast. 4½” × 6".
152. The Jay. 6” × 8¾".
153. Head of Heron, fish in mouth. 9” × 11".
154. Head of Peacock. 11” × 7".
155. The Goldfinch. 6” × 5".
156. Head of Game-Cock. 7” × 8¼".
157. Dead Kingfisher. 5½” × 5".
158. Head of Cuckoo. 2½” × 2¾".
159. Head of Hen Pheasant. 4” × 3¾".
160. Head of Cock Pheasant. 4¼” × 4¼".
161. Head of Turkey. 4½” × 4½".
VIGNETTES, &c.
162. Pedigree.
163. Frontispiece to Poets. “Three Poets in three different
Kingdoms born.” 7-9/16” × 5-9/16".
164. Greek Scene: “‘Tis Greece, but living Greece no
more."--Byron’s _Giaour_. 7½” × 5½".
165. Norham Castle, 7½” × 5½". (Plate XXVI.)
166. Melrose: Moonlight. 7-11/16” × 5¼".
167. Glenartney:
“Here, ’twixt rock and river, grew
A dismal grove of sable hue.”
Scott’s _Rokeby_. 7-13/16” × 5½".
168. Lalla Rookh. 7½” × 5½".
169. Pyramids. Frontispiece to Ancient History.
170. Stonehenge. Frontispiece to Modern History.
171. Top of Snuff-box--Grouse, Partridge and Gun.
172. Edward I. The Stone of Scone. 12¼” × 9".
173. A gold coin found at Agincourt. Presented to Walter Fawkes,
Esq., by Maj.-Gen. Sir Edward Barnes, 1823. 12¼” × 9½".
174. Reformation. 13” × 8¼".
175. Charles I. 9” × 6¾".
176. Banners of the Parliamentarians. 8¼” × 6⅝".
177. First Period. 11½” × 7¾".
178. Second Period. 11½” × 7¾".
179. Third Period. 12” × 8¼".
180. Fourth Period. 12¼” × 8¼".
181. Oliver Cromwell. 11½” × 8¼".
182. Richard Cromwell. 12” × 8¼".
183. Revolution, 1688. 7¾” × 6½".
184. Fairfaxiana. 9½” × 6".
185. Fairfax’s Chair, Sword and Mace. 8½” × 6½".
186. Fairfax’s Helmet, Sword and Drum. 11½” × 7½".
187. Fairfax’s Cabinet. 11” × 14".
188. Cause and Effect. 11½” × 7½".
ITALIAN AND LATER SWISS DRAWINGS.
189. The Rialto, Venice. 11¼” × 16⅜". (Plate XX.)
190. The Colosseum, Rome. Inscribed and signed “Colliceum, Rome, J.
M. W. Turner, 1820.” 11” × 15½". (Plate XIV.)
191. Interior of St. Peter’s, Rome. Signed and dated “J. M. W.
Turner, 1820.” 11½” × 16½". (Plate V.)
192. Upper Falls of the Reichenbach: Rainbow. 11⅛” × 15¾". (Plate
XVI.)
193. The Passage of Mont Cenis. Signed “J. M. W. Turner,” and
inscribed “Passage of Mt. Cenis, Jan. 15, 1820.” 11¼” × 15¾".
(Plate VII.)
194. Rome, from Monte Mario. 11” × 15½". (Christie’s, 1890; Sir
Donald Currie.)
195. Rome, from the Pincian Hill. 11” × 15½". (Christie’s, 1890;
Sir Donald Currie.)
196. Mount Vesuvius in Eruption. 11” × 15½". (Christie’s, 1890; W.
Newall, Esq.)
197. Naples. 11” × 15½". (Christie’s, 1890.)
198. Venice, from Fusina. 11¼” × 15½". (Christie’s, 1890; Sir
Donald Currie.)
CONCLUSION.
There can be no doubt that the money spent by Mr. Walter Fawkes upon
Turner’s drawings and paintings was well expended. Regarded merely as an
investment, it was extremely profitable. The drawing of _Mont Blanc,
from the Val d’Aosta_ (24), for which Mr. Fawkes paid fifty guineas, was
sold for a thousand guineas in 1890; that of _Windermere_ (88), which
cost twenty-five guineas, was sold at the same time for twelve hundred
guineas: and the auction price of Turner’s work has doubled, and
sometimes trebled, since 1890. Roughly speaking, Mr. Fawkes spent about
three thousand pounds on the collection, and its market price to-day is
certainly not less than a hundred and fifty thousand pounds.
But the real value of such a collection cannot be estimated in terms of
pounds, shillings and pence. The influence exerted by these lovely
records of Farnley Hall and the neighbouring country upon Mr. Fawkes’s
family and descendants has been more precious than gold. They have
dignified and hallowed the ancestral home and lands, refined and
educated the taste of all who have been privileged to live among them,
and they have made the name of Walter Fawkes for ever memorable in the
annals of British Art.
ALEXANDER J. FINBERG.
CONTENTS.
ARTICLES.
PAGE
Turner’s personal relations with Mr. W. Fawkes 1
Turner’s relations with Mr. H. Fawkes 17
The Farnley Hall Collection 18
Conclusion 28
LIST OF ILLUSTRATIONS.
PLATE I. BONNEVILLE, SAVOY.
PLATE II. THE VALLEY OF THE WHARFE. FROM CALEY
PARK.
PLATE III. THE VALLEY OF CHAMOUNIX.
PLATE IV. SCARBOROUGH TOWN AND CASTLE: MORNING.
BOYS COLLECTING CRABS.
PLATE V. INTERIOR OF ST. PETER’S, ROME.
PLATE VI. THE STRID, BOLTON WOODS.
PLATE VII. THE PASSAGE OF MONT CENIS.
PLATE VIII. A FIRST-RATER TAKING IN STORES.
PLATE IX. THE GREAT FALL OF THE REICHENBACH; IN THE
VALLEY OF HASLE, SWITZERLAND.
PLATE X. CONISTON LAKE AND OLD MAN.
PLATE XI. THE BANKS OF THE WASHBURNE.
PLATE XII. THE LAKE OF BRIENZ: MOONLIGHT.
PLATE XIII. BOLTON ABBEY, FROM THE SOUTH.
PLATE XIV. THE COLOSSEUM, ROME.
PLATE XV. HIRZENACH.
PLATE XVI. UPPER FALLS OF THE REICHENBACH: RAINBOW.
PLATE XVII. THE WASHBURNE, WITH LEATHLEY CHURCH.
PLATE XVIII. MAYENCE AND KASTEL.
PLATE XIX. THE VALLEY OF THE WASHBURNE, AND
LINDLEY BRIDGE.
PLATE XX. THE RIALTO, VENICE.
PLATE XXI. SOONECK, WITH BACHARACH IN THE DISTANCE.
PLATE XXII. OTLEY, FROM THE CHEVIN.
PLATE XXIII. JOHANNISBERG.
PLATE XXIV. LINDLEY BRIDGE AND HALL.
PLATE XXV. ABBEY OF BINGEN, LOOKING TOWARDS LAKE.
PLATE XXVI. NORHAM CASTLE.
PLATE XXVII. THE CARRIAGE DRIVE, FARNLEY.
PLATE XXVIII. FISH MARKET ON THE ENGLISH COAST.
PLATE XXIX. FROM RHEINFELS, LOOKING OVER ST. GOAR TO
KATZ.
PLATE XXX. LAKE TINY, FARNLEY, WITH ALMIAS CLIFF IN
DISTANCE.
_The Editor desires to acknowledge his indebtedness to Mr. F. H.
Fawkes, the present owner of Farnley Hall, who has kindly placed at
his disposal the beautiful drawings by Turner reproduced in this
work._
[Illustration: PLATE I.
BONNEVILLE, SAVOY.
CIRCA 1808. SIZE 11” × 15⅜".
The “Liber Studiorum” plate (R. 64), published January 1, 1816, was
founded on this design. The plate, which was engraved from a sepia
drawing, shows several slight variations from the water-colour; the
buildings in the centre and the bridge on the right are heightened, the
stick leaning on the blue and white bundle in the foreground has been
omitted, the hat of the girl resting on a stone on the left has been
taken off, the figure of a boy added, and a group of sheep substituted
for the herd of goats in the centre.]
[Illustration: PLATE II.
THE VALLEY OF THE WHARFE, FROM CALEY PARK.
CIRCA 1816-1818. SIZE 11¾” × 17½".
This drawing is executed in body-colour on brown paper. It represents
one of the views in the neighbourhood of Farnley Hall. The River Wharfe
winds through the valley in the middle distance. On the left, the
junction with the Washburne is shown; on the right, in the distance, is
Poole Bridge. Above the junction of the Wharfe and the Washburne,
Leathley Church and village are seen, and beyond them the gaunt
shoulders of Great Alms Cliff appear above the horizon.]
[Illustration: PLATE III.
THE VALLEY OF CHAMOUNIX.
SIGNED AND DATED “J. M. W. TURNER, R.A., P.P., 1809 (?)” SIZE 11¼’ ×
15⅝".
Made from sketches executed during Turner’s first visit to Switzerland
in 1802. The snow-capped mountains in the distance no doubt belong to
the chain of Mont Blanc.]
[Illustration: PLATE IV.
SCARBOROUGH TOWN AND CASTLE: MORNING. BOYS COLLECTING CRABS.
CIRCA 1809. SIZE 27” × 40".
Turner exhibited a drawing with this title at the Royal Academy, 1811,
but it is uncertain whether it was this drawing or the one now in the
Wallace Collection. The latter is signed and dated “J. M. W. Turner,
R.A., 1809.”]
[Illustration: PLATE V.
INTERIOR OF ST. PETER’S, ROME.
SIGNED AND DATED “J. M. W. TURNER, 1820.” SIZE 11½” × 16½".
One of Turner’s first Italian drawings from his own sketches, the
illustrations to Hakewill’s “Italy” having been made before Turner
visited Italy, from camera obscura tracings made by Hakewill.]
[Illustration: PLATE VI.
THE STRID, BOLTON WOODS.
CIRCA 1811. SIZE 11¼” × 15½".
The pencil-drawing on which this is based is in the National Gallery
(“Farnley and related subjects,” CLIV, U.). A beautifully balanced and
complete design, without any sacrifice of local truth.]
[Illustration: PLATE VII.
THE PASSAGE OF MONT CENIS.
SIGNED “J. M. W. TURNER” AND INSCRIBED “PASSAGE OF MT. CENIS, JAN. 15,
1820.”
SIZE 11¼” × 15¾".
An incident Turner witnessed on his return from his first visit to
Italy. The snow made it difficult to cross the Alps at that time of the
year. His sketch-book, “Return from Italy” (CXCII), is full of rough
pencil-sketches of the snow and storm effects. Among some hasty
scribbles on one page appear the following memoranda:--“Men shovelling
away snow from the carriage--Women and children hugging(?)--The sky
pink--The light and the cast shadows rather warm--Trees are all covered
with the snow--The trees in the distance and wood getting darker.” This
is one of the most beautiful and impressive of the Farnley drawings.]
[Illustration: PLATE VIII.
A FIRST-RATER TAKING IN STORES.
SIGNED AND DATED “J. M. W. TURNER, 1818.” SIZE 11¼” × 15½".
This is the drawing Turner is said to have begun and finished one
morning at Farnley, between breakfast and lunch. There had been some
talk at breakfast between Mr. Fawkes and Turner about the relative sizes
of small sailing-craft and men-of-war. After breakfast, Turner said to
young Hawksworth Fawkes that he would make a drawing to illustrate what
they had been talking about. The boy sat beside him for three hours
while the drawing was being made, the artist, says Thornbury, “tearing
up the sea with the eagle-claw of his thumbnail, and working like a
madman; yet the detail is full and delicate, betraying no sign of
hurry.” This story has been frequently repeated, but it is hard, with
the exquisitely finished and elaborate drawing in front of one, to
accept it without considerable reservation.]
[Illustration: PLATE IX.
THE GREAT FALL OF THE REICHENBACH; IN THE VALLEY OF HASLE, SWITZERLAND.
SIGNED AND DATED “J. M. W. TURNER, R.A., 1804.” SIZE 40” × 27".
Painted from sketches made in 1802. Exhibited at the Royal Academy,
1815, under the above title, together with two other Farnley drawings,
viz., _The Passage of Mount St. Gothard_ and _Lake of Lucerne_.]
[Illustration: PLATE X.
CONISTON LAKE AND OLD MAN.
CIRCA 1816-1818. SIZE 19½” × 25½".
This drawing is executed in body-colour on brown paper. Mr. Ruskin’s
house and grounds stand not far from the spot from which it was made.]
[Illustration: PLATE XI.
THE BANKS OF THE WASHBURNE.
CIRCA 1818. SIZE 13¼” × 16¼".
This drawing is executed in body-colour on brown paper. It shows a bend
of the Washburne about a mile from Farnley Hall. Leathley Church stands
a little to the left, just out of the picture. In the distance is seen
the rocky crest of the Otley Chevin, with Caley Park on the slopes
below. The banks are now covered with a dense growth of trees, entirely
obliterating the view of the river. This drawing is based on a small
pencil-sketch in the “Hastings” sketch-book (CXXXIX, pp. 35a & 36).]
[Illustration: PLATE XII.
THE LAKE OF BRIENZ--MOONLIGHT.
SIGNED “J. M. W. TURNER, R.A.” CIRCA 1804. SIZE 11” × 15½".
The pencil-sketch of this view, made in Switzerland in 1802, is in the
National Gallery (LXXVII, p. 34). It has an “F” written in ink in the
corner, evidently put there when Mr. Fawkes ordered this drawing. There
is also a colour-study in the same collection (LXXX, E.). The blue has
slightly faded in this drawing, but the general effect remains
harmonious and very impressive.]
[Illustration: PLATE XIII.
BOLTON ABBEY, FROM THE SOUTH.
CIRCA 1812. SIGNED “J. M. W. TURNER, R.A.” SIZE 11¼” × 15½".
There are a number of pencil-drawings of Bolton Abbey in the “Devonshire
Rivers, No. 3, and Wharfedale” sketch-book (cxxxiv). The water-mark of
this sketch-book is 1811, so the date of the sketches may be a year or
two later.]
[Illustration: PLATE XIV.
THE COLOSSEUM, ROME.
INSCRIBED AND SIGNED “COLLICEUM, ROME, J. M. W. TURNER, 1820.” SIZE 11”
× 15½".
Based on the pencil-drawing (“Rome: C. Studies,” CLXXXIX, p. 23) made in
Rome in 1819.]
[Illustration: PLATE XV.
HIRZENACH.
DATE 1817. SIZE 8⅜” × 12½".
One of the Rhine series. This drawing is executed in water-colour on
white paper, but a grey preparation was washed over the paper before the
painting was commenced.
Hirzenach is near St. Goar, where Turner is known to have been on the
23rd, 24th and 27th of August, 1817. There are sketches of Hirzenach and
the neighbourhood in the “Waterloo and Rhine” sketch-book (CXL).]
[Illustration: PLATE XVI.
UPPER FALLS OF THE REICHENBACH: RAINBOW.
CIRCA 1818. SIZE 11⅛” × 15¾".
The white line of the falls is seen on the left in shadow, contrasting
with the warm sunlight on the rock in the centre of design. The rainbow
on the right is formed by the spray of the falls. In foreground, on
left, just below the falls, are a peasant girl and dog (the white dress
of the girl and the white dog are dug out with the penknife). An
exquisitely delicate drawing, full of subtleties of form and colour.]
[Illustration: PLATE XVII.
THE WASHBURNE, WITH LEATHLEY CHURCH.
CIRCA 1818. SIZE 12” × 16¾".
This drawing is executed in body-colour on brown paper. The River
Washburne, with water-mill, is seen in the foreground, Leathley Church
on the hill in the middle-distance, and the Otley Chevin, with Caley
Park, beyond. The steep wooded bank on the right of the river in the
middle-distance is the scene of the drawing _The Banks of the Washburne_
(Plate XI). The drawing of _The Valley of the Washburne, and Lindley
Bridge_ (Plate XIX) was made from a spot near the mill in the
foreground, looking towards the right.]
[Illustration: PLATE XVIII.
MAYENCE AND KASTEL.
DATE 1817. SIZE 8-11/16” × 14⅝".
One of the Rhine drawings. The dark cloud in the centre is an instance
of Turner’s wonderful technical daring and resource, the effect being
obtained by the use of wet, running colour. Turner was at Mayence on
24th and 25th August, 1817.]
[Illustration: PLATE XIX.
THE VALLEY OF THE WASHBURNE, AND LINDLEY BRIDGE.
CIRCA 1818. SIZE 10¾” × 15½".
A view of the Washburne looking north towards Stainburn, taken from a
spot near the water-mill shown in the foreground of _The Washburne, with
Leathley Church_ (Plate XVII). Lindley Hall appears on the eminence to
the right. This drawing is now in the possession of Colonel Lionel G.
Fawkes.]
[Illustration: PLATE XX.
THE RIALTO, VENICE.
CIRCA 1820. SIZE 11¼” × 16⅜".
This drawing is frequently mistaken for the original of the engraving of
the same subject published in Hakewill’s “Italy” (Rawlinson’s “Engraved
Work of J. M. W. Turner,” p. 80), but the differences between the
drawing and the engraving are too marked and extensive for this to be
possible. The Hakewill drawing was made before Turner visited Venice,
from camera obscura sketches by Hakewill. The Farnley drawing was made
immediately after Turner’s return from Italy in 1820, from his own
sketches. It is interesting as being Turner’s first Venetian picture.]
[Illustration: PLATE XXI.
SOONECK, WITH BACHARACH IN THE DISTANCE.
DATE 1817. SIZE 8-15/16” × 14½".
The slender tower of Sooneck, commanding the entrance to a ravine,
stands on the left; beyond it, in shadow, rise the ruins of Fürstenberg.
Opposite the Fürstenberg, on the right bank of the Wisper, which fells
into the Rhine here, stands the ruined castle of Nollich. The rugged
cliff on this side of the Rhine is called the “Devil’s Ladder.”]
[Illustration: PLATE XXII.
OTLEY, FROM THE CHEVIN.
CIRCA 1818. SIZE 11” × 15½".
From the deer park on the Otley Chevin we look down on the houses and
church of Otley, the “metropolis of Wharfedale,” as its inhabitants call
it. Beyond, the Wharfe winds away towards Ilkley and Bolton, and on the
left may be seen the Cow and Calf Rocks at Ben Rhydding.
This is one of the most poetical and exquisitely finished drawings of
the Wharfedale series.]
[Illustration: PLATE XXIII.
JOHANNISBERG.
DATE 1817. SIZE 8-15/16” × 13½".
Schloss Johannisberg stands on a vine-clad eminence in the centre of the
drawing; and on the bank, a little to the right, is seen Winkel.]
[Illustration: PLATE XXIV.
LINDLEY BRIDGE AND HALL.
CIRCA 1818. SIZE 12” × 17½".
A nearer view of Lindley Bridge than that in Plate XIX. The Lindley Wood
Reservoir has now been formed just above the bridge.]
[Illustration: PLATE XXV.
ABBEY OF BINGEN, LOOKING TOWARDS LAKE.
DATE 1817. SIZE 8” × 11½".
The ruins of the old collegiate church are seen on the right, and
beyond, the “Bridge of Drusus,” crossing the River Nahe.]
[Illustration: PLATE XXVI.
NORHAM CASTLE.
CIRCA 1823. SIZE 7½” × 5⅝".
One of the illustrations to the “Three Poets in three different Kingdoms
born,” viz., Scott, Byron, and Moore.]
[Illustration: PLATE XXVII.
THE CARRIAGE DRIVE, FARNLEY.
CIRCA 1818. SIZE 11¾” × 16".
The two oaks in the foreground, with fragments of their seats, are still
to be found half-way up the carriage drive; but the trees round them
have grown so that they shut out the distant view of the river and Otley
Bridge. Otley Church appears in the middle distance on the left in the
drawing.]
[Illustration: PLATE XXVIII.
FISH MARKET ON THE ENGLISH COAST.
SIGNED AND DATED “J. M. W. TURNER, R.A., P.P., 1818.” SIZE 11” × 15⅜".
A slightly different version in oils of this design, known as _Fish
Market at Hastings_, was painted some years earlier for Mr. Jack Fuller.
It was sold at Christie’s recently in the Acland-Hood sale.]
[Illustration: PLATE XXIX.
FROM RHEINFELS, LOOKING OVER ST. GOAR TO KATZ.
DATE 1817. SIZE 7⅞” × 12⅜".
The town of St. Goar lies stretched out at our feet. Across the river
are seen St. Goarshausen and the ruined castle of the Cat (Katz),
half-way up the hill above it. A curious morning effect, before the sun
has dispelled the vapours rising from the river.]
[Illustration: PLATE XXX.
LAKE TINY, FARNLEY, WITH ALMIAS CLIFF IN DISTANCE.
CIRCA 1818. SIZE 13½” × 17".
View looking north-east from Farnley Park. Almias Cliff is just visible
in the distance on the left. On the right appears the group of trees on
the slope of the hill just above Leathley Church.]
*** END OF THE PROJECT GUTENBERG EBOOK TURNER'S WATER-COLOURS AT FARNLEY
HALL ***
Updated editions will replace the previous one--the old editions will
be renamed.
Creating the works from print editions not protected by U.S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you!) can copy and distribute it in the
United States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for an eBook, except by following
the terms of the trademark license, including paying royalties for use
of the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as creation
of derivative works, reports, performances and research. Project
Gutenberg eBooks may be modified and printed and given away--you may
do practically ANYTHING in the United States with eBooks not protected
by U.S. copyright law. Redistribution is subject to the trademark
license, especially commercial redistribution.
START: FULL LICENSE
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full
Project Gutenberg-tm License available with this file or online at
www.gutenberg.org/license.
Section 1. General Terms of Use and Redistributing Project
Gutenberg-tm electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg-tm electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg-tm electronic work and you do not agree to be bound
by the terms of this agreement, you may obtain a refund from the
person or entity to whom you paid the fee as set forth in paragraph
1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg-tm
electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the
Foundation" or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg-tm electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg-tm mission of promoting
free access to electronic works by freely sharing Project Gutenberg-tm
works in compliance with the terms of this agreement for keeping the
Project Gutenberg-tm name associated with the work. You can easily
comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg-tm License when
you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are
in a constant state of change. If you are outside the United States,
check the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work or any
other Project Gutenberg-tm work. The Foundation makes no
representations concerning the copyright status of any work in any
country other than the United States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg-tm License must appear
prominently whenever any copy of a Project Gutenberg-tm work (any work
on which the phrase "Project Gutenberg" appears, or with which the
phrase "Project Gutenberg" is associated) is accessed, displayed,
performed, viewed, copied or distributed:
This eBook is for the use of anyone anywhere in the United States and
most other parts of the world at no cost and with almost no
restrictions whatsoever. You may copy it, give it away or re-use it
under the terms of the Project Gutenberg License included with this
eBook or online at www.gutenberg.org. If you are not located in the
United States, you will have to check the laws of the country where
you are located before using this eBook.
1.E.2. If an individual Project Gutenberg-tm electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase "Project
Gutenberg" associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg-tm
trademark as set forth in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg-tm License for all works
posted with the permission of the copyright holder found at the
beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including
any word processing or hypertext form. However, if you provide access
to or distribute copies of a Project Gutenberg-tm work in a format
other than "Plain Vanilla ASCII" or other format used in the official
version posted on the official Project Gutenberg-tm website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original "Plain
Vanilla ASCII" or other form. Any alternate format must include the
full Project Gutenberg-tm License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works
provided that:
* You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is owed
to the owner of the Project Gutenberg-tm trademark, but he has
agreed to donate royalties under this paragraph to the Project
Gutenberg Literary Archive Foundation. Royalty payments must be paid
within 60 days following each date on which you prepare (or are
legally required to prepare) your periodic tax returns. Royalty
payments should be clearly marked as such and sent to the Project
Gutenberg Literary Archive Foundation at the address specified in
Section 4, "Information about donations to the Project Gutenberg
Literary Archive Foundation."
* You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or destroy all
copies of the works possessed in a physical medium and discontinue
all use of and all access to other copies of Project Gutenberg-tm
works.
* You provide, in accordance with paragraph 1.F.3, a full refund of
any money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days of
receipt of the work.
* You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg-tm electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg-tm trademark. Contact the Foundation as set
forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
works not protected by U.S. copyright law in creating the Project
Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
electronic works, and the medium on which they may be stored, may
contain "Defects," such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this agreement
violates the law of the state applicable to this agreement, the
agreement shall be interpreted to make the maximum disclaimer or
limitation permitted by the applicable state law. The invalidity or
unenforceability of any provision of this agreement shall not void the
remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg-tm
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of
the following which you do or cause to occur: (a) distribution of this
or any Project Gutenberg-tm work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg-tm work, and (c) any
Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers. It
exists because of the efforts of hundreds of volunteers and donations
from people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation information page at
www.gutenberg.org
Section 3. Information about the Project Gutenberg Literary
Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg Literary
Archive Foundation are tax deductible to the full extent permitted by
U.S. federal laws and your state's laws.
The Foundation's business office is located at 809 North 1500 West,
Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation's website
and official page at www.gutenberg.org/contact
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without
widespread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine-readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To SEND
DONATIONS or determine the status of compliance for any particular
state visit www.gutenberg.org/donate
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit: www.gutenberg.org/donate
Section 5. General Information About Project Gutenberg-tm electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg-tm concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg-tm eBooks with only a loose network of
volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.
Most people start at our website which has the main PG search
facility: www.gutenberg.org
This website includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
