• Woodeaton Church, Oxfordshire -
    Price on request

    Inscribed lower centre: Woode Eaton and signed or inscribed verso: W Turner/Delin

    Pencil on buff paper

    16 by 20.7 cm., 6 ¼ by 8 inches


    Woodeaton is about four miles north-east of Oxford. The parish church of Woodeaton was originally built between 1070 and 1120 to replace a Saxon one. It was later added to and the current nave dates from the mid 13th century with the tower added in the 14th or 15th centuries.

  • Sunset on Boar's Hill, Oxford -
    Price on request

    Watercolour and bodycolour

    15.7 by 24.6 cm., 6 by 9 ½ in.



    With the Fine Art Society, London, March 1974;

    Walter Brandt, his sale, Christie's, 14th July 1987, lot 96;

    Anonymous sale, 21st November 2007, lot 100, where bought by the present owner


    A number of similar sky and cloud studies by Turner of Oxford are datable to 1845-50. Three of this type are included in the 1984 exhibition catalogue, `The Nine Maidens, Morvah’, `Roman Road near Dorchester’ and `Full Moon over the Cherwell’ (see Timothy Wilcox and Christopher Titterington, William Turner of Oxford (1789-1962), 1984, nos. 70-72) where they are described: `The scattering of brilliantly coloured strokes of bodycolour as finishing touches on a drawing executed in watercolour is a common characteristic of Turner’s work in the 1840s and 1850s` (op.cit., p.68). Stratus Clouds Evening` was sold from the collection of Monsieur and Madame Gerard Bauer at Christie's, 22nd January 2003, lot 19.

  •  Whiteleaf Hill from Thames Park near Princes Risborough, Buckinghamshire -
    Price on request

    Watercolour over pencil

    21.6 by 32.8 cm., 8 ½ by 12 ¾ in.



    With Frank T. Sabin, London


    Turner based himself in his native Oxfordshire, apart from a brief spell in London when he was studying under John Varley. He built up a highly successful practice as a watercolourist and drawing master, in Oxford.


    Whiteleaf Hill lies about 20 miles from Oxford, between Princess Risborough and Great Missenden. It has been an important local landmark for centuries, Neolithic and Bronze Age barrows are situated on the hill and a 100m high chalk hill figure, Whiteleaf Cross, is carved into the side of the hill. The origins of the chalk figure are obscure, although it was not mentioned in any literature before 1742. The hill and chalk figure are visible across the Vale of Aylesbury and as far away as Headington Hill, Oxford.


    This watercolour was probably the result of a commission by one of Turner’s patrons, to record the park with its herd of fallow deer and its dramatic view across to the distant Whiteleaf Hill, with its dramatic hill figure.

  • Cornmarket Street, Oxford -

    signed and inscribed lower left: Corn Market Street Oxford/W.T. Oxf.d

    Pencil on wove paper watermarked: BUTTANSHAW/1809

    24.6 by 36cm, 9 1/2 by 14 inches


    Cornmarket Street is now the main shopping street of Oxford. Tom Tower of Christchurch College is visible at the end of the street. The name on the first shop on the right is legible as ?Tubb & Wood? - this is probably 37 Cornmarket Street which, according to the 1852 Oxford Trade Directory, was a Grocers? called Thomas William Tubb.


    The 1809 watermark on this sheet suggests this is an early work by Turner of Oxford. A more finished version of this drawing is in the Ashmolean Musem (Wilcox and Titterington, op.cit., p.39, no.20) and is inscribed on the mount ?The Cornmarket Street as it appeared in the year 1812?. The precision of both drawings suggest that Turner of Oxford may have intended them to be engraved.



    Oxford Almanack, 1920, repr.;

    Connoisseur, August 1966, ill.p.246;

    Timothy Wilcox and Christopher Titterington, William Turner of Oxford, exhibition catalogue, 1984, p.39

  • Moel Siabod, as seen from the Vale of Llugwy, Caernarvonshire -

    Signed lower right: W. Turner and signed and inscribed with title on reverse of original mount

    watercolour over pencil

    26 by 37.8cm., 10 1/4 by 14 3/4 inches



    Squire Gallery, London



    London, Society of Painters in Water-colours, 1835, no.223

  • Loch Lomond ? Morning -

    Signed and inscribed verso: No.3 Loch Lomond. Morning/W. Turner/Oxford/99

    Watercolour over pencil heightened with touches of bodycolour

    40.8 by 71.8cm., 15 ? by 28 inches



    Mrs Willmer Willmer;

    Anonymous sale, Sotheby?s, 30th March 1983, lot 74;

    With Leger Galleries, London;

    Anonymous sale, Christie?s, 9th July 1985, lot 130;

    Private Collection, USA



    Society of Painters in Water-Colour, 1848, no.99, bt. Willmer

  • Drovers resting, after ascending from Cluany towards Tomandoun and Glen Garry, Inverness-shire, Mam Soul in the distance, Scotland -

    Signed lower left: W. Turner/Oxford and signed, inscribed no.3 and with title on reverse of original mount

    Watercolour over pencil heightened with bodycolour and gum arabic

    44.5 by 68.3 cm., 17 1/2 by 26 3/4 inches



    With Wm. C. Price, Croydon, early twentieth century



    London, Society of Painters in Water-colours, 1851, no. 72


    This is a view looking north-west towards Cluanie Inn with Mam Sodhail, anglicised as Mam Soul, and other mountains behind. Loch Cluanie is down on the valley floor.

  • Spithead from Portsdown Head, Hampshire -

    Signed lower left: W. Turner 

    Watercolour over pencil heightened with touches of bodycolour

    41.9 by 73.5 cm., 16 ½ by 28 ¾  in.


    With Thos. Agnew & Sons, 1954


    London, Thos. Agnew & Sons, 81st Annual Watercolour Exhibition, 1954, no.115

    This is a view taken from Portsdown Hill which stands between Havant and Fareham and overlooks the city of Portsmouth. This view looks south-west towards Spithead and the Isle of Wight.

    Turner painted a number of versions of this view taken from different angles in the 1830s and 1840s. `Portsmouth Harbour and the Isle of Wight, as seen from Portsdown Hill’ was exhibited at the Society of Painters in Water-colours in 1834, no. 19 and a watercolour measuring 6 ½ feet framed was exhibited at the British Institution in 1841, no. 244. This was probably the watercolour in an private collection exhibited in the 1984 Turner of Oxford exhibition (see Timothy Wilcox and Christopher Titterington, William Turner of Oxford (1789-1862), no. 59, ill. p.8). A rare oil of the subject by Turner was exhibited at the Royal Academy in 1840 as no. 525.

  • Wootton Mill, Oxfordshire -

  • Christ Church Meadow, Oxford -

    Pencil on grey paper

    24.8  by 35.3 cm., 9 ¾ by 13 ¾ in.



    Ruskin Gallery, Stratford-upon-Avon

  • Study of Nature on Shotover Hill near Oxford -

    Signed lower right: W. Turner/Oxford and signed with initials and inscribed verso: Study of Nature on Shotover Hill

    Watercolour over traces of pencil heightened with touches of bodycolour and gum arabic on blue paper

    24.3 by 47.6 cm., 9 ½ by 18 ¾ in.


    Shotover Hill is three miles east of Oxford and the London to Oxford road used to pass over it. It would have been an easily accessible sketching area for Turner of Oxford and has impressive views over South Oxfordshire. However Turner of Oxford concentrates on the more everyday rather than the view in the present watercolour He may also have visited Shotover as it was a rare source of the pigment ochre.


    A watercolour of quarries on Shotover Hill, dated 1816 and of a similar size, is in the Spooner Bequest in the Courtauld Institute and an oil `Gravel Pit on Shotover Hill’ is in the Ashmolean Museum, Oxford (see Timothy Wilcox and Christopher Titterton, William Turner of Oxford, exhibition catalogue, 1984, nos. 35 and 36, both ill.). Turner of Oxford exhibited `Shot-over-Hill, Oxfordshire’ at the Society of Painters in Water-colours in 1827, no. 337.


    Turner of Oxford lived most of his life in Oxfordshire. He was mainly brought up by his uncle in the manor house of Shipton-on-Cherwell and was apprenticed to John Varley as a fifteen year old in 1804. He was elected member of the Society of Painters in Water-colours in 1808 and exhibited 464 pictures there between then and his death. Until 1815 he mainly worked in the southern counties but from the late 1830s he travelled widely in Britain although he never went abroad. From about 1833, he was living in Oxford and built up a successful practice as a drawing master. His views of Oxford and the surrounding area are particularly sought after.

  • View looking west down Glen Coe, Scotland -

    Signed lower right: W. Turner/Oxford

    Watercolour over traces of pencil heightened with touches of white

    26 by 36.5 cm., 10 ¼ by 14 ¼ in.


    Turner of Oxford appears only to have toured the Highlands once, in the summer of 1838, and it provided Scottish subject matter for the rest of his life. His extensive tour took him to many of the wilder parts of Scotland where few other artists had been. By 5th July he was beyond Inverness at Loch Croisk and continued north to Loch Inver before turning south to Skye. His return took him along the shores of Loch Cluanie and he was at Glencoe by 4th August. Turner of Oxford exhibited `Vale of Glen Coe, near Loch Leven, Argyllshire’ at the Society of Painters in Water-colours in 1839, no. 95.

  • Scene near St. Ann's Well, Great Malvern -

    Signed centre right: W. Turner/1832 and signed on reverse of original mount: No.4/A Scene near St. Anne's Well, Great Malvern/W. Turner. Oxford

    Watercolour over pencil heightened with bodycolour and stopping out

    33.3 by 56.1 cm., 13 ¼  by 22 ¼ in.



    J. Moxon, 23 Lincolns Inn Fields, London, 1832;

    With Christopher Powney, from whom bought, March 1963;

    Private Collection until 2016



    London, Society of Painters in Water-colours, 1832, no. 76, bought J. Moxon, 23 Lincolns Inn Fields, for 8 guineas


    St Ann's Well sits on the Malvern Hills above the town of Great Malvern, Worcestershire. The spring there is named after St. Anne and the building which contains it was built in 1814. This is a view looking east from the Malvern Hills towards the northern Cotswolds. Below is Great Malvern Priory which was originally a Benedictine monastery and is now an Anglican church. It has the largest collection of 15th century stained glass in the country.

  • Boats by the Thames -

    Signed lower right

    Black and white chalk on blue paper

    19.7 by 28.7 cm., 7 ¾ by 11 ¼ in.


    This dates from circa 1804-5 when Turner of Oxford was a pupil of John Varley.

  • Barmouth Pier - Cader Idris in the distance, Wales -

    Signed lower right: W. Turner/Oxf and inscribed on part of old backboard: No. 52 W. Turner/Barmouth Pier

    Watercolour over pencil heightened with bodycolour and scratching out

    31. 8 by 55.7 cm., 12 ½ by 21 ¾ in.



    Frederick Parker Morrell (c.1838-1908);

    His wife Harriette Morrell (1843-1924), Black Hall, St Giles's, Oxford;

    Probably the Morrell sale, Knight, Frank & Rutley, Black Hall, Oxford, 28th April 1925



    London, Society of Painters in Water-colours, 1828, no.33, sold for 7 guineas


    This is a view looking north- east up the estuary of the river Mawddach towards Snowdonia. Barmouth Pier is on the left with a few houses of the town visible. The jagged mountain top of Cader Idris in the distance. A railway bridge was built across the estuary in 1867 and is the longest timber viaduct in Wales. The poet William Wordsworth visited Barmouth in 1824 and wrote: `With a fine sea view in front, the mountains behind, the glorious estuary running eight miles inland, and Cadair Idris within compass of a day’s walk, Barmouth can always hold its own again any rival.’


    Frederick Morrell, an early owner of this watercolour, formed the largest known collection of works by Turner of Oxford. He was an Oxford solicitor who succeeded his father as Solicitor to Oxford University and became Mayor of Oxford in 1899. After his death, his collection passed to his widow Harriette and the collection was sold on her death in 1924. Their son Philip was the husband of Ottoline Morrell.


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