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The life and work of Sir Augustus Wall Callcott, R.A., 1779-1844

By David Blayney Brown

Abstract

In his day Callcott was one of the most admired of English landscape and marine painters; his was the name most often linked with Turner's, and he gained honours denied to Turner and Constable. In 1827-8 he made, with his wife, Maria Graham, a tour of continental galleries and collections, which added a wealth of connoisseurship to his already impressive professional attributes. On his return he became a major figure in the cultural establishment, gaining a knighthood in 1837 and the Surveyorship of the Queen's pictures in 1843. However, after his death his reputation declined, and neither his life nor his work have ever received proper coverage in the literature.\ud This thesis is divided into two parts, the first devoted to a biography, the second to a discussion of Callcott's work, followed by a catalogue of known or fully recorded paintings and drawings. The primary sources throughout have been the papers belonging to Callcott's indirect descendants. The appendices consist firstly of an itemised list of these, and then of extracts from them, including a full transcription of Callcott's MS. Catalogue of his work, with its valuable records of patrons and purchasers.\ud It is no part of this thesis to make exaggerated claims for Callcott as an artist. In examining his life and work closely for the first time, it is intended rather to account for his success by the standards of his own time, and to investigate his professional and social links with his fellow artists, and with Turner in particular. Because Callcott identified himself so completely with the artistic conventions of his day, he was bound to suffer when these conventions began to change. For the same reason also, his work and career have valuable light to throw on English artistic life in the first half of the nineteenth century

Publisher: University of Leicester
Year: 1978
OAI identifier: oai:lra.le.ac.uk:2381/9623

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Citations

  1. (1829). (10), as 'The Fountain'; certainly Liverpool Arts Club, 1881 (52). The Emma Holt Bequest,
  2. (1830). (105). The round temple is probably based on the Temple of Vesta at Tivoli. Sir John Soane's Museum,
  3. (1845). (125). The first version of the subject, with half length figures painted life-size.
  4. (1845). (135); Manchester Art Treasures Exhibition, 1857 (207), as 'The Scheldt, near Antwerp'. ENGR. Lithograph by T.
  5. (1845). (161); Leeds, 1868 (1142). Presumably same composition as the following.
  6. (1845). (165); Manchester Art Treasures Exhibition,
  7. (1830). (172). Victoria and Albert Museum, London. 82. A Sunny Morning P1.58 P. 257 83. Oil on canvas; size unknown. PROV. John Sheepshanks; Miss Sheepshanks.
  8. (21) A Wheelbarrow c.
  9. (1834). (236). Victoria and Albert Museum, London.
  10. (1883). (279), as 'The Farm'.
  11. (43) A Barge and another Vessel becalmed c. 1815-25 Pencil and brownish-red watercolour; 74 : 81 mm.
  12. (44) Fencing Posts c.
  13. (1805). (449). Victoria and Albert Museum, London. Railway Bridge)/Sir Augustus Callcott.
  14. (52) A Girl wearing a Bonnet c.
  15. (54) Wooded Landscape with Figures 1805-10 Pencil; 51 : 75 mm. f. 41 verso (55) A Pot on a Wog Pencil; 44 : (56) Wooden Fencing Pencil; 40 : (57) A Wheelbarrow Pencil;
  16. (58) Houses among Trees c.
  17. (59) A Kettle on a Stool c.
  18. (60) A Pot c.
  19. (61) Bottles and a covered Dish c.
  20. (1923). (63); Empire Art Loan, Australia, Early British Water-Colours,
  21. (1838). (9); Manchester Art Treasures Exhibition,
  22. (1818). (95); International Exhibition,
  23. (1812). (95). Osborne House, Department of the Environment.
  24. 0pp4, from 1933, with the following.
  25. 121-221 Large bound notebook containing notes of technical interest, quotations from Reynolds, and an account of Benjamin West's rainbow theory lecture of 1817.
  26. 18 (22) A Man's Head in Profile to R. c. 1798-1800 Pencil and grey wash on grey paper; 59 : 44 mm. f. 19 (23) Dutch Boats in Harbour Pencil; 117 : 210 mm. From one of Callcott's visits to the Low Countries.
  27. 1820-25 P1.92 p. 223 Body colours; 248 : 362 mm. Signed in wash at 1. lower corner A.
  28. 1824, as frontispiece to Dr. Callcott's Collection of Glees.
  29. 1826; 'Figures and effect
  30. 1827 (291). Same composition as No. 53; P1.39. In spite of the supposed E remont provenance, an identification with the Bennet/cordon painting seems most plausible.
  31. 1828 Pencil; 53 : 69 mm. Inscribed in pencil at r. lower corner with title.
  32. 1832 (86) ; Manchester Art Treasures Exhibition, 1857 (278), as 'Italian Landscape';
  33. 1835, Biblical Keepsake, I, p. 127. Founded on a drawing by Charles Barry. Whereabouts unknown.
  34. 1835, Biblical Keepsake, I, p. 35. Founded on a drawing by the Revd.
  35. 1835, Biblical Keepsake, I, p. 45. Founded on a drawing by Albert Way. Whereabouts unknown. 270. The Ruined Temple of Isis, Ethiopia Watercolours; size unknown.
  36. 1835, Biblical Keepsake, I, p. 63. Founded on a drawing by Charles Barry. Whereabouts unknown. 273. Street in Jerusalem, called Via Dolorosa Watercolours; size unknown.
  37. 1835, Biblical Keepsake, I, P" 1. Founded on a drawing by James Marier. Whereabouts unknown. 268. Fords of the Jordan Watercolours; size unknown.
  38. 1835, Biblical Keepsake, It p. 33. Founded on a drawing by the Revd.
  39. 1836, Biblical Keepsake, II, p. 57. Founded on a drawing by
  40. 1836, Biblical Keepsake, II, p. 95. Founded on a drawing by the Revd.
  41. (1977). 1845; Mrs. Landon-Maud; Woodside Gallery, Hallbankgate, Cumbria; Christie's Sale,
  42. 1895, lot 16 repr.;
  43. 1897, lot 76, as 'Old Water Mill, Angler and Ducks', bt. Batorne; certainly Agnew,
  44. 2, as 'River Scene with round Tower'. Whereabouts unknown. 70. Dead Calm, Boats off Cowes Castle Oil on canvas; 89 : 116.8 cm. PRO: V. Painted for the Bennet family;
  45. 20 (24) A Nurse with two Girls picking Flowers c. 1830-40 Pencil on tracing paper; 94 : 84 mm.
  46. 21 (25) Christ 1828 Pencil; 171 : 86 mm. Probably freely adapted from an unidentified fresco.
  47. 22 (26) A Female Martyr 1828 Pencil; 184 : 68 mm. Evidently adapted from a figure in an unidentified fresco or sculpture.
  48. 222-246 Similar notebook, labelled Elizabeth Hutchins Callcott Nov 31 1801, but clearly appropriated by
  49. 23 (27) Two Lovers c. 1830-40 Pencil, arched top; 129 : 88 mm. Another drawing reflecting Nazarene influence.
  50. (1973). 23; A Catalogue of the National Gall of British Art at South Kensington, Part I,
  51. 238. A Lugger making for the Mouth of a Harbour c.
  52. 24; A Catalogue of the National Gallern of British Art at South Kensington,
  53. (1975). 25 repr. as 'Dutch Ferry';
  54. 26 (33) Open Fields on the Outskirts of a City c. 1800-1805 Pencil; 53 : 142 mm. Perhaps a view at Kensington Gravel Pits looking East.
  55. 27 (34) Landscape Studies, a Town on a Hill and a Pond c. 1805 Pencil; 56 :
  56. 28 (35) Travellers on a Road beside a Pond c. 1805-12 Pencil; 94 : 76 mm. f. 29 (36) A Church Tower Pen and brown ink; 161 : 128 mm. Very slight and impossible to date.
  57. 284-333 Notes on invention in art. Also some perspective diagrams. 1. ff. 334-335 Perspective definitions. With diagrams.
  58. 30 (37) Three Cows watering c.
  59. 306; A Catalogue of the National Gallery of British Art at South Kensington, Part It 1893,
  60. 31 (38) ? Launce and his Dog c.
  61. 32 (39) Wooden Steps and a Dog e.
  62. 34 (45) An Italian Church 1828 P.
  63. (1975). 344; Tate Gallery Concise Catalogue,
  64. 35 (46) Old Cottages c.
  65. 36 (47) A Pond beside Trees 1805-10
  66. (1975). 36 repr. as 'Crossing the Stream'; Dafforne, pp. 54-5, repr. as frontispiece;
  67. (1971). 36; Maria Edgeworth; Letters from England 1813-44p ed. Christina Colvin,
  68. 37 (48) Head of a Girl 1830-40 Pencil on oiled paper; 178 :
  69. 37, where thought to be more probably a Dutch subject despite Callcott's specific title; A Catalogue of the National Gallery of Britis Art at South Kensington, Part I,
  70. 39; A Catalogue of the National lTCL11C1: V UI 1J11. N1ý11 rit !i Cl u 1Jl) .
  71. 398 Account of Turner's Academy exhibits of 1799, apparently a draft of a letter to T. Bennet, an artist from Woodstock.
  72. 399 Letter from John Scott, dated 17th December, 1815, re. proofs of Benevolent Cottagers.
  73. 40 (50) Wooden Fencing c.
  74. 41 (53) A Boat drawn up on a Beach c. 1806 Pencil; 60 : 90 mm.
  75. (1826). 50, as 'River Scene with Round Tower'.
  76. (1975). 6 repr.; Dafforne, p. 42 repr.;
  77. (1927). 6-1-0770: Water ColourPaintings,
  78. 7-26 Draft (? ) letters on the need for rules in art, dated 27
  79. 83. Founded on a drawing by Charles Barry. Whereabouts unknown. 271. Perga. mus Watercolours; size unknown.
  80. 99. Dutch River Scene c.
  81. A Canal at The Hague c. 1818 or 1827 p. 250 Pen and brown ink; 175 : 165 mm.
  82. (1927). A Catalo ue of the National Gallery of British Art at South Kensington, Part II,
  83. A Catalogue of 116. Falstaff and Simple Lord Wantage.
  84. A Catalogue of Pictures by
  85. A Catalogue of Pictures by British Artists, in the Possession of Sir John Fleming
  86. (1927). A Catalogue of the National Gallern of British Ar at South Kensington, Part II,
  87. (1927). A Catalogue of the National Gallery of Briti; Art at South
  88. (1927). A Catalogue of the National Gallery of British Ar at South
  89. (1973). A Catalogue of the National Gallery of British Ar at South Kensington, Part I,
  90. (1927). A Catalogue of the National Gallery of British Ar at South Kensington, Part II, 1893, p. 42, Nom; Water Colour Paintings,
  91. A Catalogue of the National Gallery of British Art at South
  92. (1927). A Catalogue of the National Gallery of British Art at South Kensington, Part II,
  93. (1973). A Catalogue of the National Gallery of British Art at South Kensington, Part T,
  94. A Description of Browsholme Hall in the West Riding of the County of York,
  95. (1956). A Handlist of the Drawings in the Witt Collection,
  96. A Scene between Bala and Dolgelly, looking towards C P. 184 Water colours over pencil; 685 : 1055 mm. PROV. Drawn for Edward, Viscount Lascelles.
  97. A View on the River Clyde; Dumbarton Rock and Cast beyond:
  98. (1975). Agnew, 1890; Samuel Cunliffe-Lister, 1st Lord Masham; by descent to the late Dowager Countess of Swinton (Christie's Sale,
  99. all from the collection of John Sheepshanks; given to South Kensington,
  100. (1944). Almost certainly painted for Lady Swinbu, rne; certainly Agnew, 1880, from whom bt. George Holt; Emma Holt, by whom bequeathed, with Sudley and its collections, to the City of Liverpool,
  101. Alpine Landscape 1827/8 p. 249 Pencil and black chalk, heightened with white, on grey paper; 121 :
  102. An Inn Door near Gravesend c.
  103. An Italian Tomb 1828 Pen and brown ink and bistre wash over pencil; 100 : 125 mm. Victoria and
  104. (1911). and 41; Redgrave,
  105. and the Fornarina 1835-8 pp. 278-9 Oil on two canvases, placed in one frame and joined vertically at centre by a strip of beading; exact size(s) unknown.
  106. (1919). and transferred to Tate Gallery,
  107. Anecdotes, Personalia a. if. 336-344 Journal 1805. (In fact only for part of July of that year).
  108. (1947). Another uncharacteristically free and bold drawing.
  109. (1920). Art Association Sale,
  110. (1857). Art Treasures Exhibition,
  111. (1700). Artists and their Friends in
  112. Arts Club, 1881 (53), as 'Sea Piece'. The Emma Holt Bequest,
  113. Autobiographical Recollections,
  114. Bacon in Finden's Royal Gallery of British Art, 1840. Small version of the above. The Shakespeare Memorial Theatre Picture Gallery,
  115. Birch's Sale at Fosters, 15 February, 1855, contained a Spezzia Bay by Callcott (lot 15,26" by 35", bt. Holmes ; this was a different composition. Whereabouts unknown.
  116. bistre wash and watercolours; 260 : 345 mm. In Whitelegge Papers
  117. Boats off Cowes Castle c. 1816 pp. 223,239 Watercolours over pencil; 127 : 335
  118. British Galleries of Painting
  119. by whom bequeathed to South Kensington,
  120. (1938). by whom bequeathed to the Ferens Art Gallery,
  121. (1931). by whom presented to the Harrogate Art Gallery,
  122. (1949). by whom presented to the National Gallery, 1847; transferred to Tate Gallery,
  123. by whom presented to the Whitworth Institute,
  124. by whom presented to the Whitworth Institute, 1892. Whitworth Art Gallery,
  125. by whom presented Whitelegge Papers.
  126. Callcott; Callcott Sale, 1845, bt. Prince Albert for Royal Collection; has since remained at Osborne House.
  127. Cannes 1828 Pencil on grey paper; 165 : 254 mm. Inscribed in pencil with title.
  128. (1966). Cartwright; with Agnew,
  129. (1973). Catalogue of British Paintings,
  130. (1975). Catalogue of Drawings by British Artists in t j'
  131. Certainly a view of Conway. Telford's Suspension Bridge was built in 1826. Whitworth Art Gallery,
  132. (1906). Christie's Sale, 14 March, 1896, lot 81, bt. Colnaghi; Christie's Sale,
  133. (1927). Colour Paintings,
  134. Compiled by a family committee for presentation to M. C. during her illness in 1833. Sketches by A.
  135. Complete Works of
  136. Continental River Scene 1827 p. 250 Watercolours over black chalk; 285 : 343 mm. Faintly signed with initials A.
  137. Crabbe Robinson ences and Corresponder.
  138. dated in brown ink at r. lower corner AW Callcott 1835.
  139. der Meister Des 19
  140. Diar a. if. 1-41 Synopsis of
  141. Drawn on folio 31 of the Denham Album, Beinecke Rare Book Library, Yale. * 163. Fishermen becalmed in an Estuary c. 1816-20 Pl. 86 p. 223 Pen and brown ink and grey wash;
  142. (1952). Early English Water-Colours,
  143. (1952). Early English Watercolours,
  144. (1944). Emma Holt, by whom bequeathed, with Sudley and its collections, to the City of Liverpool,
  145. Family History if. 1-13 Fragments of Family History written by Sir Augustus Wall Callcott. K. A., a few : years before his death in 1844. A transcription, probably by William Hutchins Callcott. Folios numbered by him.
  146. Figures in a rowing Boat c. 1818 or 1827 Pen and brown ink over pencil; 146 : 248 mm. The Art Gallery,
  147. (1921). Fine Arts Club,
  148. Finished version of the following; not included in Robert Vernon's Gift to the National Gallery, 1847. -Whereabouts unknown. 85. Sketch for 'The Benighted Traveller'
  149. Five small sketches, possibly made in Holland in 1818, evidently cut from a sketchbook and now on one mount. Victoria and Albert Museum, London. 162. Harbour Scene: 'Emmerich' Pencil; 89 : 135 mm. Signed with initials AWC at r. lower corner.
  150. Founded on a drawing by Charles Barry. Whereabouts unknown. 272. Mount Lebanon and the Ruins of Baalbec Watercolours; size unknown.
  151. Founded on a drawing by Sir
  152. From Callcott's journey up the Rhine in 1827.
  153. from whom acquired by
  154. (1944). from whom bt. by Agnew; George dolt; Emma Holt, by whom bequeathed, with Sudley and its collections to the City of Liverpool,
  155. (1921). from whom purchased by Bradford City Art Gallery,
  156. (1975). Gallery Concise Catalogue,
  157. (1904). Godson Millns, by whom bequeathed to the Castle Museum and Art Gallery,
  158. Greenwich Hospital c. 1815-25 p. 224 Pen and black ink; 109 :
  159. Head of a Man c. 1835-40 p. 290 Oil on board; 30.5 : 20.2 cm. Probably a study for a historical costume piece. The Royal Collection, Buckingham Palace.
  160. (1905). Illustrated Catalogue ... Metropolitan Museum of Art,
  161. Interior of a Sea Port 1825 P. 235 Oil on canvas; 93 : 126.3 cm. PROV. Painted for George, 3rd Earl of Egremont; by descent to present owner. a%e t. o v2 Egremont. 66. The Quay at Antwerp during the Fair Time Pl.
  162. Isle of Wight c. 1816 p. 244 Watercolours and black and white chalks on buff paper; 375 :
  163. Italian Landscape c. 1828-30 p. 270 Pen and grey ink and grey washes over pencil; 133 :
  164. Italian Landscape c. 1828-30 P1.94 p. 270 Pen and brown ink and bistre wash;
  165. Italian Landscape c. 1838-40 Oil on canvas; 48.2 : 40 cm. The Royal Collection.
  166. Italian Landscape with a Bridge c.
  167. Italian Landscape with a Bridge c. 1838-40 P1.80 p. 268 Oil on canvas; size unknown.
  168. Italian Landscape with a Lake 1828 Bistre wash; 88 :
  169. Italian Landscape with a Village and domed
  170. Italian Landscape with Bridge and Tower 1828 Pen and black ink and grey washes over black chalk; 260 :
  171. Italian Landscape with Cows standing in a River c.
  172. (1905). James Worthington, by whom bequeathed to the City Art Gallery,
  173. (1965). John Constable's Correspondence, Suffolk Records Society, vols. issued from
  174. (1967). Keats and the Mirror of Art,
  175. (1900). Kensington Picturesque and Historical,
  176. (1868). Kensington, National Portrait Exhibition,
  177. Lake with Boats; Vezzano 1828 Pencil; 95 : 200 mm. Inscribed in pencil at 1. lower corner 749 Vezzano.
  178. Landscape and Antiquity: Aspects of Er Culture at Stourhead,
  179. Landscape with a Wooden Bridge c. 1805 Pencil;
  180. Leaving Maule' 1827/8 P1.93 p. 250 Pen and brown ink and grey wash, heightened with white, on buff paper; 280 :
  181. Life of Sir David Wilkie,
  182. (1977). lot 9. Whereabouts unknown.
  183. (1937). Loyd; Christie's Sale,
  184. Lumb Stocks for Art Union, 1844; by
  185. (1910). Manchester Art Gallery Catalogue,
  186. Material concerning the Royal Academy, and other contemporary artists a. if. 390-397 Lists showing space in Academy Great Room given to Beechey,
  187. Materials for a History of Oil Painting,
  188. (1951). Memoirs of the Life of John Constable,
  189. Memoirs of the Life of Nicholas Poussin,
  190. (1934). Mendelssohn and his Friends in
  191. Modern Painters, I,
  192. Munro of Novar; John Sheepshanks, with whose collection given to South Kensington,
  193. (1954). Museum and Art Gallery,
  194. (1887). My Autobiography and Reminiscences,
  195. (1920). National Gallery, Millbank; Catalogue; Turner Collection,
  196. No doubt the oil study copied by Dr. Crotch in his Norwich sketchbook (loc. cit., p. 41); Crotch noted 'Alla Cayp ... the finest'. Whereabouts unknown.
  197. (1936). No. 20; Ashmolean Museum, English Drawings purchased from the Collection of the late Sir Bruce Ingram,
  198. Numbered independently by the authors, as follows: a.
  199. (1960). Old English Landscape Painters,
  200. Painted for Dr. Carpenter; Thomas Towneley O'Hagen, 2nd Baron O'Hagen.
  201. (1883). Painted for Henry, 13th Duke of Norfolk; Christie's Sale,
  202. Painted for John Lambton, 1st Earl of Durham; Sir John Pender; Christie's Sale,
  203. (1919). Painted for Robert Vernon, by whom presented to the National Gallery, 1847; transferred to Tate Gallery,
  204. Painted for Sir Matthew White Ridley; in Ridley family until at least 1893.
  205. Painted for Sir Thomas Heathcote; Sir William Heathcote; Christie's Sale,
  206. Painted for Thomson 1838 cont. 67 Italian composition, from Painted for William materials at Baiae Duckworth Esqr. 176 Scene on the Rhine Painted for Ld. Francis Egerton. 424 Dutch boats leaving port Late Duke of Norfolk.
  207. Painting in
  208. Papers. Various contributors. The Remembrancer pp. 1-265 Morocco bound album containing mixed memorabilia, essays, poems, and sketches
  209. (1845). Patronage of British Art, An Historical Sketch,
  210. Pen and black ink and water colours, heightened with white; 211 :
  211. Perhaps drawn during Callcott's 1816 visit to
  212. Pictures by Sir Augustus
  213. Pictures by Sir Augustus Wall Callcott,
  214. Portrait of Maria Callcott c. 1827-30 p. 179 Oil on canvas; exact size unrecorded.
  215. Portrait of Maria Callcott c. 1827-30 P1.55 p. 179 Oil on board; 15 : 11
  216. Possibly an oil sketch related to the Cologne shown at the Academy in 1834 (154). Whereabouts unknown. 93. Recollections of the Campagna of Rome p. 266 Oil on canvas;
  217. (1832). Possibly related to the painting made for the Duke of Norfolk and exhibited at the
  218. Preliminary drawing used first for Mrs. Knight's oil sketch (No. 57; Pl. 42) and then for Lord Howick's large ainting shown at the Academy in 1819
  219. (1897). Presented to the Whitworth Institute in memory of Sir Joseph
  220. (1903). Recollections of a Royal Academician,
  221. repr. in engraving by
  222. (1975). repr. in same engraving;
  223. (1920). Rimbault Dibdin, The Art Gallery of ... by
  224. River Scene c. 1830-35 p. 256 Oil on canvas; 30 : 40 cm.
  225. River Scene c. 1830-35 Pl.
  226. Scene c. 1826-7 P1.51 p. 240 Oil on canvas; laid on board;
  227. Scene on the Thames c. 1820-25 P1.91
  228. Scene with Shipping; firing a Salute c. 1805 Pl. 83 p. 219 Watercolours over pencil with some scratching out; 242 :
  229. Scene; Boats and Figures c. 1816 Watercolours over pencil; 155 : 222 mm. Possibly also an Isle of Wight subject. Victoria and
  230. Scene: Fishing Smack lying to c. 1816-20 p. 223 Pen and dark brown ink and wash over black chalk; 383 :
  231. Seated Youths with a Dog c. 1832 Pencil; 121 : 195 mm.
  232. Sheepshanks, with whose collection given to South Kensington,
  233. Sheepshanks, with whose collection given to South Kensington, with the two following,
  234. Signed and dated at 1. lower corner AW Callcott 1841.
  235. Signed and dated at 1. lower corner Calcott 1841.
  236. Signed and dated at r. lower corner
  237. Sir Augustus Wall Callcott's It English Landscapes. Lithogra Dibdin,
  238. (1954). Sir John Soane's Museum,
  239. (1952). Some "Unexpected" Landscapes',
  240. (1974). Stourhead: The Making of a Classicist? ', Art Quarterly,
  241. (1927). Studies of Composition'; Water Colour Paintings,
  242. (1912). Summary of and Index to Waagen,
  243. (1926). The Autobiography and Memoirs of
  244. (1974). The Bridge in the Middle Distance: Symbolic Elements in Romantic Landscape', Art Quarterly,
  245. (1970). The Drawings of Thomas
  246. The Dutch subject shown in 1834 was almost certainly the Dutch Landscape: Returning from
  247. (1937). The Earl of Ilchester, Chronicles of Holland House,
  248. (1971). The Emma Holt Bequest,
  249. (1908). The Engraved Work of
  250. The Farm-Yard c. 1830-40 Pl. 70 p. 276 Oil on canvas; size unknown.
  251. (1953). The Letters of
  252. The Life
  253. The Life and Letters of
  254. The Life of John Linnell,
  255. The Marine Paintings of A.
  256. The Meadow c. 1830-40 p.
  257. The Pool of London c.
  258. (1974). The Rise of English Provincial Art,
  259. (1905). The Royal Academy and its Members,
  260. (1914). The Royal Academy from Reynolds to Millais,
  261. (1963). The Schools of Design,
  262. (1971). The Sketching Club, Victoria and Albert Museum,
  263. (1960). The Tabley House Papers',
  264. (1953). The Tate Gallery; British School. A Concise Catalogue,
  265. The Tate Gallery: British S 1 7JJ" Sir H.
  266. The Thames at Staines c. 1820-25 P1.90
  267. The Thames below Greenwich c.
  268. The Vernon Gallery of British Art,
  269. The Vernon Gallery of British Pictures,
  270. The Wooden Bridge c.
  271. (1836). Tour of a German Artist in
  272. Tour of a German Artist in England,
  273. Tower on the Moselle c. 1830-35 p. 250 Watercolours; size unknown.
  274. Treasures of Art in
  275. Trent in the Tyrol c. 1835-6 Watercolours; size unknown.
  276. (1965). Turner and the Picturesque',
  277. Turner at East Cowes Castle', Victoria and Albert Museum-Yearbook,
  278. (1938). Turner the Painter: His Hidden Life,
  279. (1968). Turner's Academic Friendships:
  280. Two Figures, ? Slender and Anne Page c. 1835 Pencil; 180 :
  281. Two Youths resting c. 1832 P.
  282. (1973). Varieties of Poetic Landscape,
  283. (1970). Victorian Taste,
  284. View in Yorkshire; River and Cattle c. 1806 p. 185 Watercolours over pencil; 400 :
  285. View of Stafford c. 1805-10 P1.82 p. 185 Watercolour; size unknown.
  286. (1827). Volume II of Maria Callcott's Journal of her honeymoon. Jo_ carnal from August 10th 1827, Dresden to Whitelegge Papers.
  287. Water-Colour Painting
  288. Watercolour Painting
  289. (1805). Watercolours and bistre on coarse buff paper; 235 : 339 mm PROV. William Smith, by whom bequeathed to South Kensington,
  290. (1947). Welsh Landscape in British Art,
  291. (1827). With Volume II (Whitelegge Papers
  292. Works of Art and
  293. Youth, seen from the Back c. 1832 Pencil; 125 :

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