Joseph Mallord William Turner R.A.

Walter Ramsden Hawkesworth Fawkes (1769-1825);
by descent to W. R. Fawkes, his sale Christie's, London, 2nd July 1937, lot 49;
Allan Dawson until 1951

London, Agnew's, Centenary Loan Exhibition of Water-colour Drawings by J.M.W. Turner R.A. 1951, no. 28;
London, Agnew's, 150th Anniversary Exhibition: Paintings and Watercolours by J.M.W. Turner R.A., 1967, no. 46

Andrew Wilton, The Life and Work of J.M.W. Turner, 1979, no. 627, p. 372

Support Turner has used a sheet of grey paper to support this watercolour. At present it is inlaid into a thin card, the sheet has a lens tissue lining on the verso. The condition is good. At some stage the sheet has been foxed and this has been removed, but is still visible in UV light and some of these areas have been lightly retouched. Medium The watercolour medium is in a good condition. There is a little loss to the white bodycolour in some places.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This fine watercolour was drawn in circa 1818 and was based upon sketches which have survived in the Turner Bequest at the Tate Britain. A pencil drawing that measures 44.6 by 59.2 cm. and is titled Leathley Old Church (TB CLIV V (fig. 1)), is particularly close to the present work. It includes some of the same features that appear here; such as the distinct line of trees that are silhouetted on the distant skyline and the old church itself. 

Selecting a high viewpoint Turner depicts Leathley village and church in the distance, a pastoral scene with a milkmaid pouring milk from a small to a larger wooden pail, in the foreground. By using a high viewpoint Turner has been able to introduce the broad sweep of the river that curves towards the centre of the composition. This in turn helps to focus the viewer's attention on the Church of St. Oswald beyond.

This work originates from one of Turner's summer stays at Farnley Hall, the seat of Walter Fawkes (1769–1825), the first owner of this watercolour.  Leathley is only a couple of miles from Farnley and Fawkes' hospitality brought out the best in Turner, Fawkes was not only Turner's most important patron up until the early 1820s, but also a beloved friend who enabled Turner to use Farnley Hall as a studio as well as a home.

By way of contrast to the dirt, dampness and lack of space in London, stays at Farnley enabled Turner to breathe the fresh air of Yorkshire. There he was able to shoot, walk, draw and almost of equal importance to him, fish. One can imagine Turner closing his sketchbook early in the evening, and raising his rod on rivers like the Washburn in this picture. This relaxation seemingly introduced a more creative energy and as David Hill wrote in In Turner's Footsteps, 1984, p. 17, 'it is impossible to know Turner without knowing him at Farnley. This was Turner at his best.'