PROPERTY FROM THE LOYD COLLECTION
JOSEPH MALLORD WILLIAM TURNER, R.A. | WHALLEY BRIDGE AND ABBEY, LANCASHIRE: DYERS WASHING AND DRYING CLOTH
1,000,000 - 1,500,000 GBP
Property from the Loyd Collection
JOSEPH MALLORD WILLIAM TURNER, R.A.
London 1775 - 1851
WHALLEY BRIDGE AND ABBEY, LANCASHIRE: DYERS WASHING AND DRYING CLOTH
oil on canvas
61.2 by 92 cm.; 24⅛ by 36¼ in.
The following condition report is provided by Hamish Dewar who is an external specialist and not an employee of Sotheby's:
Joseph Mallord William Turner, R.A.
Whalley Bridge and Abbey, Lancashire: dyers washing and drying cloth
The canvas is lined and is securely attached to a keyed wooden stretcher with one horizontal
and one vertical cross member. This is ensuring a stable structural support. Brown paper gum
tape is covering the tacking and turnover edges. There are traces of paint on the reverse of
the lining canvas and the stretcher keys are held in place with white synthetic tape.
The paint surface has a relatively even varnish layer.
The sky appears to have been selectively cleaned in the past.
The foreground displays an overall pattern of fine lines of craquelure which appear stable.
Inspection under ultraviolet light confirms that the sky has been selectively cleaned in the past
and that a discoloured opaque varnish layer is covering the remainder of the composition.
Inspection under ultraviolet light also shows scattered retouchings, including:
1) large areas of scumbling throughout the right side of the sky with broad horizontal brush
strokes which extend to above the centre of the bridge. There are additional more carefully
applied retouchings within the scumbling which suggests the sky was over cleaned in the past.
Other areas of the composition appear thin and worn, including the trees in the upper right.
2) Small, scattered, carefully applied spots and lines of retouching within the foreground, some
of which are partially obscured by the opaque varnish layers. There may be further
retouchings which are not identifiable under ultraviolet light.
The painting would therefore appear to be in stable condition and the extent of the retouching
within the sky should be noted.
"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."
Probably commissioned by Thomas Lister Parker (1779–1858)
J. Newington Hughes Esq.
His sale, London, Christie’s, 15 April 1847, lot 145, to Brown
Wynn Ellis (1790–1875), by 1850/51
His sale, London, Christie’s, 6 May 1876, lot 118, to Agnew on behalf of Lord Overstone
Samuel Jones-Loyd, 1st Baron Overstone (1796–1883)
Thence by inheritance to his son-in-law Brigadier-General Robert Loyd-Lindsay, 1st Baron Wantage, VC, KCB, VD (1832–1901), Lockinge, Oxfordshire
Thence by descent
G.F. Waagen, Galleries and Cabinets of Art in Great Britain, London 1854, II, p. 298
G. Redford, Descriptive Catalogue of the Pictures at Lockinge House, London 1875, (supplementary) no. 76
F. Bell, A List of Works Contributed to Public Exhibitions by J.M.W. Turner, R.A., London1901, pp. 63, 90, no. 123
Sir W. Armstrong, Turner, London 1902, pp. 109, 237
G. Temple, A catalogue of the pictures forming the collection of Lord and Lady Wantage, London 1902, pp. 168–89, no. 239, reproduced (reprinted 1905)
Anon., Guide to the Pictures at Lockinge House, 1928 (A. T. Loyd’s collection), p. 11
Anon., Commemorative Catalogue of the Exhibition of British Art, 1935, no. 365, pl. CII
A. J. Finberg, The Life of J.M.W. Turner, R.A., 2nd ed., revised by H. F. Finberg, Oxford 1961, pp. 180, 421 and 473, no. 164
L. Parris, The Loyd Collection of Paintings and Drawings, London 1967, p. 45, no. 62, reproduced
L Herrmann, Turner: Paintings, Watercolours, Prints and Drawings, Boston 1975, pp. 20, 229, pl. 66
M. Butlin and E. Joll, The Paintings of J.M.W. Turner, 2 vols, New Haven and London 1984, text vol., pp. 83–84, no. 117, plates vol., reproduced pl. 124
F. Russell, The Loyd Collection of Paintings, Drawings and Sculpture, p.p. 1991, p. 28, no. 62, reproduced pl. 26
London, Royal Academy, 1811, no. 244
London, Grosvenor Gallery, 1899, no. 38
London, Tate Gallery, Turner’s Early Oil-Paintings, 1931, no. 55
London, Royal Academy, British Art, 1934, no. 640
Birmingham City Art Gallery, on long term loan 1942–52
Birmingham City Art Gallery and London, Tate Gallery, Richard Wilson and his Circle, November 1948 – January 1989, no. 173
London, Thomas Agnew and Son Ltd., Paintings and Watercolours by J.M.W. Turner, R.A., November–December 1967, no. 12
Oxford, Ashmolean Museum, long term loan 1997 – June 2020