Yale Center for British Art and British Studies

Burlington jfine Erts (£lub.

EXHIBITION

OF

DRAWINGS IN WATJgR COLOUR
AND IN BLACK -MD WHITE

BY

JOH,?^ SELL COTMAN

PRINTED FOR THE BURLINQTOlsf FI^^ Ai?:TS GtUB.
i3-88.

Burlington fine Hrts Club.

EXHIBITION

OF

DRAWINGS IN WATER- COLOUR

AND IN BLACK AND WHITE

BY

JOHN SELL COTMAN

LONDON:
PRINTED FOR THE BURLINGTON FINE ARTS CLUB.
1888.

Metchim &- Son, 20, Parliament Street, S. W., and 3s, Clemenfs Lane, E.C.

NT/a
crs/

(LC)

LIST OF CONTRIBUTORS.

W. H. Andersson, Esq.
George Barker, Esq.
H. G. Barwell, Esq.
Mrs. Bircham
J. R. Bulwer, Esq., Q.C.
Charles Clowes, Esq,
J. J. CoLMAN, Esq., M.P,
*Frank Dillon, Esq.
*SiR William Drake
Lady Eastlake
Charles Firth, Esq., M.D.
*Lewis Fry, Esq,, M,P.
H. D. Geldart, Esq.
Robert Geldart, Esq.
John Gunn, Esq.
•Edward Hamilton, Esq., M.D.

J. P. HESELTINE, Esq.
*Lewis Jarvis, Esq.
* Richard Mills, Esq.
W, V. Morten, Esq.
Alfred Mottram, Esq.
Professor F. T. Palgrave
R. H. Inglis Palgrave, Esq.
*E. J. Poynter, Esq., R.A.
J. Prior, Esq,
James Reeve, Esq,
Rev. W. N. Ripley
*J. L, Roget, Esq.
J. Pyke Thompson, Esq.
J, N, Waite, Esq.
•Frederick Wedmore, Esq.
Thomas Wells, Esq.

* The Contributors whose names are marked with an asterisk are Members of the Club.

COTMAN.

|HE Norwich Art Circle — rightly interested in the achieve
ments of the most poetic of the Norwich Artists — held
last summer an exhibition of many of Cotman's drawings ;
and, through the kindness of the chief contributors, hardly one
important piece which was then seen has been withheld from the
present show. Our Club must also deem itself fortunate in having
been able to add to the best of the Norwich drawings some
others which worthily bear them company.
Cotman's work was accomplished within the first forty years —
or thereabouts — of the present century; for he died in 1842, and
was a youth when the century began, having been born in 1782 —
upon the i6th of May. His father was a silk mercer and
haberdasher, in Cockey Lane : a man who, no doubt, must have
been fairly prosperous, for he retired in old age to a villa at
Thorpe — " Thorpe, next Norwich" — a peaceful place and not
inelegant : with gardens sloping down to the river.
Had Cotman followed the parental wishes, he, too,, in all
probability, would have been a Norwich tradesman; but, in the
whole of his character, he was irretrievably artistic — he required
to be a painter, and he was bound to have his way. At 16
years old — furnished already with a tolerable education, and
having, we may suppose, that personal charm which it is evident
he exercised in after-time on pupil and friend — Cotman came up

to London, and soon had the advantage of getting into contact
with such rising artists as Turner, Girtin and John "Varley. At
1 8 years old he had drawings accepted at the Royal Academy,
so that it will hardly surprise the student of our Exhibition that,
with the exception of one somewhat puerile performance — a sketch
in Black and White, done when Cotman was in his thirteenth
year — we have not been able to lay hands upon any authentic
work which is very visibly immature. The truth, indeed, is, that
from 1803, Ol" thereabouts, on to 1820, say — the period of Cotman's
early manhood and earliest middle age — there is apparent in his
work a steadiness of excellence denied to the more ambitious
performances of his later time. To put it briefly and roughly —
before resuming the story of his life — Cotman, in his later art,
showed often an added freedom of poetic expression, an added
love of luxury of colour and of forms that have grandeur in
their restraint, or elegance in their abandonment; but showed,
as plainly, a vision less sane and simple, a handling less broad
and less decisive. In his earlier art — in its quietude of power —
he is akin to Girtin. In his later, some fellowship with Turner —
and with Turner in his middle and final phases — seems to suggest
itself The winter — in these earliest times — used to be spent in
London, ' and the summer in long wanderings in the Eastern
Counties, in Wales, and in the North. But in 1806, Cotman
settled down at Norwich, and established drawing classes there.
He was married in January, 1809, to Anne Miles, daughter of a
farmer of Felbrigg, near Cromer. In 181 2 he moved from
Norwich to Yarmouth, where he pursued that friendship with
Dawson Turner, the antiquary, which is seen to have been so
great an influence upon the direction of his labour. The first

part of his Antiquities of Norfolk was engaging him at that
moment, and the Architectural Antiquities of Normandy, which
saw the light in 1822, was the result of visits to the north of
France, paid, on the advice of Dawson Turner, or actually in
his company, in 18 17, 18 19, and 1820.
In 1823, Cotman removed again to Norwich — -to an excellent
house opposite the garden of the Bishop's Palace. He was busy
with drawing lessons — busy too in contributing to the exhibitions
of the NorwicH Society of Artists. But he seems to have been
dissatisfied with his position. Loved at home by reason of his
affection — and a social favourite by reason of his charm — he
was yet far from being a great public success. He had several
children, now growing up, and his ways were not frugal. An
"eternal want of pence" vexed him beyond measure, and in 1829
we find him writing to the Reverend Mr, Gunn, in the depths
of gloom: — " My views in life are completely blasted. I sink
" under the repeated and constant exertion of body and mind."
Yet he rubbed on — even did exquisite work — and, being appointed
— chiefly through the influence of Turner — in 1834, to the post
of Drawing Master at King's College, London, he recovered
cheerfulness, and knew the pleasures of a fair income. Letters
from Town to a son in the Eastern Counties, discover the play
fulness, as well as the sensitiveness, of his disposition. From
his house in Hunter Street, Brunswick Square, he was wont
to attend gatherings of his brother artists. He had long been
privileged to exhibit with the Society of Painters in Water
Colour, and in 1836 he was made an Honorary Member of
the Institute of British Architects. But letters belonging to
Mr. James Reeve, and letters in the British Museum, show that
with a good deal of apparent prosperity, all was not well with

8

him : — " I was ill in body, and spiritless." " I am not quite well,
" but better." Life in London— even though it was the quieter
London of fifty years ago— must have put its strain upon him.
He died in Hunter Street, in July, 1842, and lies buried in the
graveyard behind St. John's Wood Chapel. It is pleasant to think
that in the previous autumn, spending several weeks in Norfolk —
in late October and November, when, after days of rain and
gusty wind, a part of the country between Norwich and Yarmouth
was under flood — he had visited his ancient haunts in a mood
that allowed him to enjoy them, and had executed some of his
most suggestive sketches — brief and vivid Memoranda in Black
and White, which our members and their friends have an oppor
tunity of seeing.
It would be a mistake to claim for Cotman any great position as
a painter in Oil. For, though the mind of an artist who is really
individual causes him to be in some measure independent of the
accident of the medium he works in, it is yet a natural and a
common thing that his labour shall be more truly fitted for one
medium than for another ; and Cotman's work in Oil was irregular —
produced but at intervals — it can never have been abundant.
Justice is therefore to be done to him only through a knowledge
of his Drav/ings. These express the variety of subjects that he
mastered, and the variety of effects that moved or interested him.
They show him, for example, to have been equipped with a thorough
knowledge of Architecture. He knew, too, everything about
Shipping, and he loved the sea. His instinct for grace revealed
itself particularly in his treatment of trees — "foliage" we will not
call it, for it was the structure of the tree quite as much as its
leafage. The landscape of the wold and of the banks of a river —
whether the quiet waters of his own countryside or some swifter

stream of the North — found in him always a sympathetic, and, it
might be, a romantic chronicler.
Other artists in Water Colours have dealt more subtly than
Cotman, with aerial effects. Few have reached poetic sugges-
tiveness with so seemingly easy a command of the medium they
worked in. As a colourist, he was, at the first, always sober,
always harmonious ; and, at the last, sometimes exquisite. To
his later years beilong some of his finest successes, and all his
distinct failures. Cotman's Etchings, quite as well as his Water
Colours, attest the steadiness and the refinement of his draughts
manship, while other works in Black and White — the designs in
sepia, the pencil sketches, the studies in charcoal — come to us
rich in an aptitude to reveal not only his force or grace of
hand, but, just as much, it seems to me, the fineness of his
vision, the distinction of character or temperament which counted
for so much in his Art.

FREDERICK WEDMORE.

i2tJi November, 1888.

NOTES RESPECTING COTMAN'S ENGRAVED WORKS.

The present Exhibition, being nominally confined to Drawings, could not
properly include a collection of Prints. Yet no complete or adequate estimate
of Cotman's qualities as a draftsman can be made without some acquaintance
with the work he did with the etching point. As, however, his published
prints are accessible to students in the public libraries, it has been thought
sufficient for the above purpose merely to enumerate them here, and indicate
their -general nature by showing a very few examples.
It would have been easy, indeed, to have filled the Gallery with Drawings
by Cotman made expressly with a view to such reproduction in architectural
and topographic works ; one contributor alone having liberally placed at our
disposal a collection of upwards of 200 of such Drawings if required. But
limits of space, and the consideration that similarity of subject involves
repetition in the manner of treatment, were reasons for confining the specimens
of these also to a very few. The Drawings of this class are usually executed
primarily in pencil, the main shadows being washed in with sepia, Nos, 91,
92, 93, 96, 97 are examples.
It was during the first ten years of Cotman's married life, when he was
in his prime, that nearly the whole of his work of this kind was done.
His first series of original Etchings were published while he was still
living in Norwich. They consist of 24 plates, which were first issued
in parts, beginning in 18 10, and afterwards published in a small folio volume
by Boydell and others, with the date i8ii, and the title, "Etchings by
John Sell Cotman',' inscribed on an ornamental design of a fragment of
mediseval architecture with ivy and foreground plants, and an elaborate
dedication to Sir H. E. Englefield, Bart, These comprise studies from ruined
abbeys and churches, in Yorkshire and other counties, some of them of
doorways, with a few picturesque cottages and houses, and one study of
trees in Duncombe Park.
Another serial issue followed, in ten numbers, from 18 12 to 18 18, of
" Specimens of the Architectural Antiquities of Norfolk," intended, according
to the prospectus, to be bound up either with Blomefield's " Norfolk,'' or
Lyson's " Magna Britannia," When complete, however, they formed an
important collection, fitted to stand alone on their merits, and were published
together in a folio volume by Longman & Co., with the date 18 18, as
" A Series of Etchings Illustrative of the Architectural Antiquities of Norfolk"

1 1

containing 60 plates, drawn and etched by Cotman, and classed as
14 Monastic, 30 Ecclesiastical, and 16 Military Civil and Domestic. A few
these prints are on the table in the Gallery.
Contemporary in part with this issue was that of a set of " Engravings
of the Sepulchral Brasses of Norfolk and Suffolk, by John Sell Cotman."
Those of Norfolk were given alone in the first edition, dated 18 19, the Suffolk
series, of 47 plates, being afterwards added. Dates from 18 14 to 18 18 are on
the plates, which, when complete with a few addenda (in the second edition,
in 2 vols., 1839), ^^"^ nearly 170 in number. These are admirably executed,
but the subjects do not admit of picturesque treatment.
To this period also belongs a curious little quarto volume, privately
printed, as "A Narrative of the Great Festival at Yarmouth, on Tuesday, the
igth of April, 1814.." The occasion was the fall of Napoleon, and the festival
consisted of a dinner to 8,000 persons on the quay, and divers entertain
ments, ending with the burning of a huge bonfire. To illustrate this account
Cotman furnished an effective soft-ground etching (7 by 10^ inches in size) of
the last ceremony, together with a title page, a plan of the dinner tables, and
a plate of the front elevation of the " Funeral pile of the Buonapartean
dynasty." Another series of 50 plates, dated 1816-1818, form a small folio entitled
" Specimens of Norman and Gothic Architecture in the County of Norfolk,
by J. S. Cotman." These are more purely architectural than the
" Antiquities." Many are of doorways, some of monuments. They are said
to have been circulated among the artist's friends and patrons without being
regularly published.
The date " 18 17" is upon a large plate, etched and published by Cotman,
ofthe Nelson Column at Yarmouth, the foundation stone of which was laid in
that year.Ten more folio or large quarto plates were published at Yarmouth in
1819, with the title " Antiquities of St. Mary's Chapel at Stourbridge, near
Cambridge, &c,, Src, by John Sell Cotman." Six are of the Chapel, two of
Cambridge Castle, and two of entrances to Ely Cathedral.
The last Etchings of -this class were the "Architectural Antiquities
of Normandy, represented in a series of 100 Etchings, accompanied by
historical and descriptive notices by Dawson Turner, Esq., F.R. and A.S.,"
in 2 vols, folio, 1822. The plates bear dates 1819 to 1821. Some are purely
architectural, in others the subjects are treated pictorially, a few, such as the
Chateau GaiUard and the Castle of Tankarville, being more in the nature of
general landscape.
In many of the various plates above enumerated, Cotman displays a rare,
it may perhaps be said a unique, power of combining architectural accuracy

12
with pictorial effect, and largeness of treatment with truthful suggestion of
detail. Content to represent a beautiful building in the state of crumbling
decay in which he finds it, without making an attempt at restoration, he takes
the same manifest delight in the intermingling of stone and tile and rows of
bricks, with cracks in the plaster, and the very grain of the wood of an old
door, as in tracing the elegant foliage of a capital, or the grotesque enrichments
of a later Norman arch. Yet, with his great mastery in the rendering of
varied texture, there is no painful elaboration of detail. His treatment of
light and shade is always broad and massive, and expressive at the same
time of sunshine or gloom, and of the true and most worthy character of the
object portrayed. The skies in particular, with their big, round and towering
cumuli, are carefully harmonized with the forms of the buildings, contrasting
with their squareness, and giving them height and dignity.
Direct and firm in his use of the point, he sets up a model of economy in
artistic labour, often making the same lines serve for tone and texture, and
imparting to mere white paper an expression of solidity which others would
fail to obtain by elaborate shading. Some of his force of effect may have
been derived from a study of Piranesi, of whose etchings he was a great
admirer ; but the chief merits of his work in black and white appear to be
original. In 1838 Bohn published, in two large folio volumes, a collection of
Cotman's Etchings, with the title "Specimens of Architectural Remains in
" various Counties in England, but principally in Norfolk, etched by John Sell
" Cotman, Esq., with descriptive notices by Dawson Turner, Esq., F.R.S., F.S.A.,
" &c., and architectural observations by Thomas Rickman, Esq." The bulk
of these plates (but, according to Bohn, not quite all) had been published
before in the various works above mentioned. They are arranged in five
divisions, the last of which is called "Liber Studiorum!' The contents of this
part were also published separately with the same date, 1838.
The set of plates so called are 48 in number, 39 of which are
soft-ground Etchings of landscape subjects and studies, the remaining
9 being in hard-ground. Four of the latter, including the title, were in the
set published in 18 10- 11, and 5 are of figures, after or in the manner of the
Dutch masters. Bohn characterises the contents of the " Liber," without
distinction, as " early efforts," which Cotman had been reluctantly persuaded
by artists to publish. And some, at least, of the soft-ground Etchings seem
to have been issued many years before the date of this publication. Two of
the subjects ("A Landscape, with the Fable of the Judgment of Midas," and
"A View of Whitby,") were exhibited at the Norwich Society of Artists
in 1824, and described in their Catalogue as "Part of a series of Designs
" intended to Illustrate a work now publishing on Landscape composition."

And their style accords better with his drawings of that middle period than
with those of the end of his life.
What his etched work was, at this' last period, may be seen in a set of
prints brought out shortly after his' death, in conjunction with some by his son,
in a thin folio volume entitled "Eight Original Etchings by the late John Sell
"Cotman; also ten Etchings by M, E. Cotman, Now first published, Norwich:
" Charles Muskett, Old Haymarket." These last Etchings differ almost
entirely, both in subject and execution, from the architectural and landscape
prints above referred to. They vary in quality, some being laboured and
showing little ofthe hand of a master. Most are primarily figure subjects, and
in their general treatment they seem based on a study of Rembrandt, as his
earlier Etchings do on that of Piranesi. The most effective is one, the story of
which is unknown, of a man, dressed as in the 17th century, writing at a table,
with papers and deeds about him, while a turbaned lady peeps from behind a
screen at the back. Two others (a shore scene and one apparently on the quay
at Fecamp) are, notwithstanding his eminence as a marine painter, exceptional
among his Etchings in representing maritime subjects.
Besides the work which was entirely his own, Cotman's drawings have,
in the engravings in the following list, been reproduced by other hands.
In the " Beauties of England and Wales" vol. 4, is " Gateway to Shute
House, Devonshire," engraved by W. & G. Cooke after J. S. Cotman, with
the date i July, 1803.
In Britton's "Architectural Antiquities" vol. 2, published 1809, are two
plates of the exterior of Moreton Hall, Cheshire.
In "Excursions in the Cotinty of Norfolk" 2 vols. i2mo., 1818-1819, the
ornamental title and 97 of the illustrative plates are after Cotman. Of
these, many represent gentlemen's seats, some antiquities, and others more
general views.
In Dawson Turner's "Account of a Tour in Normandy',' 2 vols., 8vo., 1820,
which was published while Cotman's own larger plates of the same district
were in progress, the greater part of the Etchings are after his drawings.
These plates are mostly signed E, T, and M, A. T., the initials of two of the
author's daughters. Miss Elizabeth Turner (afterwards Lady Palgrave) and
a sister. One of the Etchings in this work is after a portrait by J, S, Cotman of
Mr, V. F. Lamouroux, Professor of Natural History at the University of
Bayeux. Five more of his portraits were etched by Mrs, Dawson Turner, and
are included, with a view of " Caistor Castle, Norfolk," in an unpublished series
of " One Hundred Etchings" by her. They represent: — W.J, Hooker, LL.D.
(Professor of Botany, Glasgow), 1813; Sir H, C. Englefield, Bart., 181 5;

14
W. P. Burchell (Author of "Travels in Africa"), 1816; George Bidder (the
Calculating Boy), 1819 ; and Thomas Sharp, of Coventry (Author of an Essay
on Coventry Mysteries), 1823. An earlier example of Cotman's style of
portraiture is given in the drawing No. 132 in our Gallery.
In this set of Etchings there is also a portrait of our artist, earlier in date
than that now exhibited. It is lettered " John Sell Cotman, author of
Antiquities, &c., J. P. Davis delt., 18 18." A graphic description of it is
given in Mr. Wedmore's " Studies in English Art."
In Britton's " Cathedral Antiquities',' the " Exeter" part, published 1826,
contains a view of the West Front of the Cathedral by Cotman, from a
sketch by S. Rayner,
In the "Gallery of Modern British Artists',' 2 vols,, 4to,, 1834, there is a
" View off the coast of Yarmouth," engraved on steel after J. S. Cotman,
Very shortly after his father's death. Miles Edmund Cotman issued for
sale, for the benefit of the family. Twelve Lithographs of Imperial folio
size, executed by him after the Norfolk sketches made by our artist in
the last year of his life, which are specially referred to in the above notice
by Mr, Wedmore. They do not however do justice to the originals, and in
some cases contain emendations which can hardly be justified.
The " Ten Etchings by M. E, Cotman " above mentioned were republished
with another, and the following title : — " Eleven Original Etchings by
M. E. Cotman. Norwich: Charles Muskett, 1846," Notwithstanding the
claim to originality, one of these Etchings is clearly after a drawing of his
father's (No, 123 in the Gallery), and probably others are also.
In 1 87 1 "Nine Examples of Pencil Drawings',' and "Five Examples of ^
Sepia Drawings '' after Cotman were lithographed in folio size, by Vincent
Brooks, Day& Son, for the use of schools in connection with the Government
Department of Science and Art,
The following small reproductions of his works have also been made
during the present year. The Norwich Art Circle Catalogue is adorned with
lithographs of 40 and a vignette of i of the Drawings there exhibited in
the summer, and the article "John Sell Cotman," by Mr, Wedmore, in the
Tl/a^a^'OT^ (?/ -4 r^ for October, contains three woodcuts from drawings in the
present collection.
JOHN L. ROGET.

CATALOGUE.

In arranging the Water Colour Drawings it has been sought to follow, as nearly as possible,
the chronological order. No such classification could well be adopted in the case of the
Black and White.
In the sizes of the Drawings, the height is always placed before the width.

Mater Colour Drawings.
1 BACK WATER IN PARK.
Balustrade in centre reflected in water. Trees right and left, and beyond.
Out-door Sketch, "September, 1798."
If the date be correct, this is the earliest coloured drawing in the collection.
5^ by 12J inches. Lent by Mr. James Reeve.
2 BYLAND ABBEY.
Ruin rising in centre, with hills beyond, trees in front and stream in
foreground.
Inscribed "Byland, September 7, 1803."
12J by 10 ins.

Lent by Mr. J. Pyke Thompson.

3 DURHAM CATHEDRAL.
Part of the same View as No. 4.
II J by 10 ins.

Lent by Mr, George Barker.

4 DURHAM CASTLE AND CATHEDRAL,
Bridge in centre. Old house on right. Town on left. Castle and Cathedral
above. Rushing river in foreground.
Exhibited at Norwich Society of Artists in 18 10. Lithographed in the
Norwich Art Circle Catalogue, 1888.
12^ by 21 ins. Lent by Mr. J. J. Caiman, M.P.

i6
5 MOUNTAIN PASS IN THE TYROL.
Figures with horses crossing a bridge. Waterfall with reft tree in left
foreground.
Lithographed in the Norwich Catalogue.
Sfby iij-ins. Lent by Mr. James Reeve.
6 NORTH GATE, GREAT YARMOUTH,
Tower in centre. Shed, bushes, timber, and figure at grindstone in fore
ground,
10 by t\ ins. Lent by JMr, J. J, Cotman, M.P
7 ON THE GRETA, YORKSHIRE.
Bridge in middle distance. Houses above on left, trees beyond. River
flowing through rocks in foreground.
Etched by M. E. Cotman.
9 by 13 ins. Lent by Mr. James Reeve.
8 DUNCOMBE PARK, YORKSHIRE.
Study of trees. Spring flowing from rocky bank in foreground.
Lithographed in the Norwich Catalogue.
i2| by 9 ins. Lent by Mr. James Reeve.
9 SALTRAM, SOUTH DEVON.
Horses with wagon crossing bridge. Figures in boat fishing in the fore
ground.
Lithographed in the Norwich Catalogue.
9 by Ilf ins. Lent by Mr. James Reeve.
10 TWICKENHAM. Mansion seen through trees on the bank of the Thames. A pleasure party
with boats. White sail against foliage. River on right.
Exhibited at the Norwich Society of Artists, 1808 ; with the quotation :—
" The full blazing sun
Does now set high on his meridian tower;
Shoots down direct his fervid rays to warm
Earth's inmost womb." — Milton.
Lithographed in the Norwich Catalogue, 1888.
9 by iii ins Lent by Mr. James Reeve.

17
11 OLD COTTAGE.
Gable of cottage in centre, trees and bridge in right distance.
9J by 7i ins. Lent by Mr. Charles Clowes.
12 FISHERMAN'S COTTAGE ON THE EAST COAST.
Lithographed in the Norwich Catalogue.
lof by 8J ins. Lent by Mr. James Reeve.
18 NORWICH MARKET PLACE IN 1805.
Market with stalls and many, figures. Church of St. Peter Mancroft in
mid-distance on right. Light on row of houses on left,
16 by 2Sf ins. Lent by Mrs. Bircham.
14 IN THE AMBULATORY, NORWICH CATHEDRAL.
Norman doorway, with. dog in foreground to left. Open wood screen, hung
with red and blue curtains, across the path to right,
15! by lof ins.

15 CHURCH TOWER, NORFOLK,
1 5I by II ins.

16 SANDLING'S FERRY, NORWICH.
Signed " Cotman,"
8J by Ilf ins.

Lent by Mr. J\ R. Bulwer, Q.C.

Lent by Mr. J. R. Bulwer, Q.C.

Lent by Mr. J. Prior.

17 IN THE JESUS CHAPEL, NORWICH CATHEDRAL, looking East.
Windham Tomb (now removed to nave) in foreground, with lectern and
ladder behind.
iSihy io| ins.

Lent by Mr, f. R. Bulwer, Q.C.

18 BINHAM ABBEY, NORFOLK, west front.
16J by 12 ins.

Lent by Mr, Lewis Fry, M.P.

i8
19 THE SCOTCHMAN'S STONE, ON THE GRETA, YORKSHIRE,
River in rocky bed in foreground, trees beyond.
Exhibited at the Norwich Society of Artists, in 1808.
io| by 15J ins. Lent by Mr, James Reeve,
20 ST. LUKE'S CHAPEL, N,E., NORWICH CATHEDRAL,
Houses on left. Donkeys under wall in foreground,
13I by 18 ins.
Lent by Mr. J. J. Colman, M.P.
21 CLEVE TOMB, BLICKLING CHURCH.
Girl to right foreground.
II J by 17I ins. Lerit by Mr. J. R. Bulwer, Q.C,
22 ELY CATHEDRAL.
Pool of water with cows in right foreground. Trees in mid-distance.
Cathedral beyond. Sunset effect.
Signed "J. S. Cotman."
Lithographed in the Norwich Catalogue.
8-1^ by l\\ ins.
Lent by Mr. W. H. Andersson,
23 RUINS. A decorated end window, with trees beyond.
Signed " J. S. Cotman."
16 by 1I5 ins.
Lent by Mr. J. R. Bulwer, Q.C.
24 ST. PETER HUNGATE CHURCH, NORWICH,
Pulpit with sounding board and reading desk below, on right of centre. High
square pews on left, with artist sketching. Altar and east end of
Church beyond.
Lithographed in the Norwich Catalogue,
13 by i8-| ins. Lent by Mr. Thomas Wells.
25 DRAINING MILL, LINCOLNSHIRE.
Evening, with storm clearing off, on the left a figure with cattle, Croyland
Abbey in the distance. Cattle in water in foreground.
Exhibited at the Norwich Society of Artists in 18 10, Lithographed in the
Norwich Catalogue, 1888.
13 by 19 J ins. Lent by Mr. James Reeve,

19
26 BISHOPGATE BRIDGE, NORWICH.
Bridge in centre. Old houses on the river on right, and St. James's Hill in
distance beyond. River bank with old houses and trees to left.
Lithographed in the Norwich Catalogue. Engraved on wood in the
Magazine of Art, October, 1888.
9J by 17 ins. Lent by Mr. Frederick Wedmore.
27 THE CONFESSIONARY, OR RELIQUARY CHAMBER, NORWICH
CATHEDRAL.
'Archway in centre, with wooden screen and door (now removed), leading to
the Jesus Chapel, on right.
lof by 14J ins. Lent by Mr. J. R. Bulwer, Q.C.
28 IN THE JESUS CHAPEL, NORWICH CATHEDRAL, looking West.
Windham tomb in foreground, with wooden screen (now removed) to left
centre. Norman apse with window (now opened out) to right.
1 1 by 14J ins. Lent by Mr. J. R. Bulwer, Q.C.

29 PRIOR BOZOUN'S TOMB, NORWICH CATHEDRAL.
14^ by lof ins. Lent by Mr. J. R. Bulwer, Q.C.

30 INTERIOR OF NORWICH CATHEDRAL,
View from the south transept through doorway to steps leading to choir.
Galleries on left, as standing in 1800, and subsequently removed.
Lithographed in the Norwich Catalogue,
14 by io| ins. Lent by Mr. James Reeve.
31 MOUSEHOLD HEATH, NORWICH,
A winding road over the heath from Silver Road, At the right, sheep
feeding. Boy with dog in strong sunlight on left. Two donkeys in
right foreground.
Exhibited at Norwich Society of Artists, in 18 10.
Etched in dry point, by C. J. Watson.
Ilf by 17 ins. Lent by Mr. James Reeve.

20
32 INTERIOR OF WALSINGHAM ABBEY.
Ruined wall in centre, pierced by four pointed arches. Through that on the
right a further window is seen. Walls and modern windows on left.
Trees beyond, on right.
ll| by iSi ins. Lent by Mr. Lewis Fry, M.P.
S3 IN THE BAUCHUN CHAPEL, NORWICH CATHEDRAL.
Carved stone pedestal for statue, with canopy over. Seated figure to right.
i6J by lo| ins. Lent by Mr. J. R. Bulwer, Q.C.
34 MOUSEHOLD HEATH.
Horses and cart with direction post on right. Mill and Cathedral spire in
distance.
6 by 1 1 ins. Lent by Mr. Alfred Mottram,
35 WINDOW BETWEEN ST. ANDREW'S HALL AND DUTCH
CHURCH, NORWICH.
Signed " J, S, Cotman,"
i3i by 9i ins. Lent by Mr. J. R. Bulwer, Q.C.
36 CASTLE IN NORMANDY.
Castle to right of centre on broken ground. Hills and trees in distance.
Figure with cattle on left. Stream in foreground.
Lithographed in the Norwich Catalogue.
9 by i3f ins. Lent by Mr. James Reeve.
37 BOATS OFF YARMOUTH,
Fishing boat in left centre, with two men, one of whom points to larger
boats in distance. Rough sea, cloudy sky.
7f by lof ins. Lent by Mr. Lewis Fry, M.P.
38 DRAWING MADE TO INSTRUCT PUPILS,
Water in foreground, with willows and other trees ; building, in centre, on
hill behind. Unfinished.
i2j by 9 ins. Lent by Mr. James Reeve,

21
39 PORTRAIT OF JOHN SELL COTMAN,
In Water Colour, by H. B. Love.
Seated, leaning on right elbow. Copy of his work " Normandy " in left
hand.
Exhibited at the Norwich Society of Artists, 1830,
loj by 9 ins. Oval, Lent by Mr. James Reeve.
40 A SQUALL.
Boat's crew boarding a trawler in rough sea. Dark clouds gathering to left.
9 J by I2f ins. Lent by Mr. J, J, Colman, M.P.
41 ON THE DUTCH COAST.
A schuyt in full sail in foreground, with fishing boats and low-lying coast in
distance to right and left,
8| by 12 J ins. Lent by Mr, Robert Geldart.
42 SHIPPING.
Lugger, in dark shadow, sailing towards left, with a strong breeze : two ships
at anchor in distance on right.
13J by 17 J ins. Lent by Mr. Lewis Fry, M.P.
43 MOUNT ST, MICHAEL, on the approach from Pontorson.
Sands in foreground, with soldiers, horses and peasants to left centre.
Mount St, Michael beyond.
Signed " J. S. Cotman, 18 18."
Etched in Cotman's "Antiquities of Normandy," Two nearly similar
treatments of the same subject are exhibited, Nos, 48 and "jf. There
was also a drawing by Cotman at the Society of Painters in Water
Colours in 1825, entitled " Mount St, Michael on the side of Pontorson,
Normandy, showing the Phenomenon of the Mirage."
9 by \6\ ins. Lent by Mr. J. P. Heseltine.
44 WIESBADEN,
The Rath Haus, with balcony and gable in sunlight, woman in foreground.
On the right, an arched gateway surmounted by tower and belfry in
centre distance, and a fountain with women backed by houses in
shadow.
lof by 15} ins.
Lent by Mr. H. G. Barwell.

22
45 WOODLAND STREAM.
Woods in background. Meadow on left. Water in front,
9^ by I2j ins. Lent by Mr. J. J. Colman, M.P.
46 THE BEACH AT YARMOUTH.
Brig in centre, with carts : grey sky.
6f by lo ins. Lent by Mr. J. P. Heseltine.
47 RIVER BARGES.
Hay barge sailing, left centre, other sails in distance on right, all in warm
sunshine. Storm clearing off on left, with town on distant shore.
8| by 12| ins. Lent by Mr. Lewis Jarvis.
48 MOUNT ST. MICHAEL, NORMANDY.
Same subject as No. 43, with variation. The group of figures is further to
the left, the white horse being directly under the windmill.
Signed "J. S. Cotman, 1829."
Lithographed in the Norwich Catalogue.
II J by 18J ins. Lent by Mr. J. N, Waite.
49 CHATEAU NORMANDY.
Under strong effect of sunlight. Trees on left. Weeds and water in the
foreground. Diagonal shadow across building, (See No, 63.)
Lithographed in the Norwich Catalogue.
7| by 8| ins. Lent by Mr, James Reeve,
50 ROCHESTER CASTLE.
Castle surrounded by trees on right centre, with river in foreground.
Cathedral in the distance to left.
%\ by 12 ins. Lent by Mr. J. P. Heseltine.
51 TOWN HALL, GHENT,
Town Hall to right, with figures in foreground. Houses to left in deep
shadow. Street with figures in centre, and tower in distance.
14 J by 20 J ins. Lent by Mr, J, P, Heseltine.

23
53 MOUNT ST. CATHERINE, ROUEN.
Buildings and trees on left, with horses watering. Boats to right centre,
with Mount St. Catherine in distance. River with quay, wine casks, &c,,
in foreground. Signed " J. S. C."
Exhibited at Norwich Society of Artists in 1823. Lithographed in the
Norwich Catalogue, 1888.
i2|by 21 ins. Lent by Mr. R. H. Inglis Palgrave.
53 PARK SCENE.
Group of trees in centre, water on right, trees in distance.
II by i%\ ins. Lent by Mr. Frank Dillon.
54 GOLDEN TWICKENHAM.
The river, blue with the reflections of a summer sky, .winds through a golden
landscape, and under a belt of trees.
Signed " J. S. Cotman."
9 by 13 ins. Lent by Mr. J. Pyke Thompson.

55 POSTWICK GROVE, NEAR NORWICH.
Figure in red, left of centre. Rushes and water in foreground.
8^ by 11^ ins. Lent by Mr. James Reeve.
66 FRAMLINGHAM CASTLE.
Roadway and cows in foreground. Castle in centre, middle distance.
Group of trees to right, and sun setting behind distant hills to left.
Signed "J. S. Cotman, 1828."
Engraved on wood in the Magazine of Art, October, 1888,
7j by loi- ins. Lent by Mr. J. L. Roget.
57 MALINES.
An open space in the town, with three figures in foreground, one a man in a
red cloak, reading a paper. Gabled fronts right and left. In centre a
building supported by pillars between a square tower to right and a
retiring street with a church to left,
T\ by 12 ins. Lent by Mr. Leivis Jarvis.

24
58 A HAY BARGE. -A CALM.
Barge in centre, sailing towards left, with one large sail. The lower part
shaded with yellow wash. Small sails in distance,
9 by 13J ins. Lent by Dr. Hamilton.

59 THE OLD ABBEY,
Ruined Abbey on rising ground, in centre, Masses of trees, in deep shade
on right. Broken ground, herbage, &c., in foreground.
Lithographed in the Norwich Catalogue.
7 J by lof^ ins. Lent by Mr. J. J. Colman, M.P

60 THE MOUNTAIN TARN,
Moorland, with range of mountains in the distance. Strong streak of light
in sky. Water posts in foreground.
7 by loj ins. Lent by Mr. James Reeve.

61 ABBATIAL HOUSE OF ST, OUEN, ROUEN,
A highly ornate mansion. Ladies, gentlemen, falconer, monks, servants,
horses and dogs to left. Group of gentlemen cavaliers to right, also
statue and trees.
Signed "J. S. Cotman, 1825,"
Exhibited at Society of Painters in Water Colours, 1825, A drawing by
Cotman of the same subject was therein 183 1 also. The house was
taken down in 18 17,
Lithographed in the Norwich Catalogue.
i6i by 22:^ ins. Lent by Mr. J. J. Colman, M.P.

62 A STREET VIEW IN (probably) THE TYROL,
Diligences at an inn door on left. Church tower in centre beyond, and hill
sides in distance.
Signed " Cotman," and inscribed " To Mrs. Roberts, with the best respects
of J. S. Cotman."
lof by 7J ins. Lent by Sir William Drake.

25
63 BLUE AFTERNOON,
A group of trees, golden and olive brown, and a tall house, the colour of red
sand, rise against the white and blue of a summer sky, (See No, 49.)
Signed and dated "J. S, Cotman, 1831.''
Engraved on wood in the Magazine of Art, October, 1888.
9^ by 12J ins. Lent by Mr. J. Pyke Thompson.
64 CADER IDRIS.
A lake with sombre trees on the banks, and in the distance brown and grey
mountains, on which cloud shadows chase each other across the solitary
space, while a blue rolling cloud sky forms the background.
Lithographed in the Norwich Catalogue.
I3fbyi7jins.
Lent by Mr. H. G. Barwell.
65 DOWN SCENERY.
Dark heath in foreground, parted by a streak of light from deep blue hills,
wreathed with dark clouds. Sunshine on right mid-distance, leading to
a white gleam in horizon.
Signed " Cotman."
9 by 13 ins. Lent by Mr. Richard Mills.
66 BAMBOROUGH CASTLE, NORTHUMBERLAND.
Under full sunlight. Sea in distance. Trees on right with figures in
foreground.
9I by isi ins. Lent by Mr. James Reeve.
67 STORMY WEATHER.
Two fishermen with nets, baskets, &c., on beach in foreground. Heavy
clouds in background.
These figures are introduced in one of Cotman's posthumous Etchings.
lol by 61 ins.
Lent by Mr. J. J, Colman, M.P.
68 INTERIOR (UNFINISHED).
A group of children at table to left, lamp with green shade. Pictures on
wall in background. Books on floor in foreground.
Signed "J, S, Cotman, 1830."
13^ by i8| ins. Lent by Dr. Ftrth.

26
69 SPRUGGINS HALL.
"Interior of Spruggins Hall, Manor of Dulfuddle, Bedfordshire, leading
" to the Picture Gallery. Arms of Spruggins, Gull, Whittingham,
" Bagnigge, Kiltwaddle and Sucklethumkin, over the Doorway — vide
" Spruggins Gallery'.' Above is description in catalogue of Society of
Painters in Water Colours, where the picture was exhibited in 1833.
Man in dress of fifteenth century under doorway at end of a corridor.
Above him a screen with arms, surmounted by helmet and green
dragon crest, and the motto, " Hand ignavis ortus avis,"
" Spruggins Gallery " is the book referred to as " Lady Morley's Spruggins
Family," in connection with the subject (" Sir Simon Spruggins, Knt.,
the tall fellow of the family of that ilk,") of a drawing by Cotman at
the Water Colour Society in 1831, It is a set of caricatures, lithographed
with the initials "F,M,," and published in 1829 as a satire on family pride,
under the form of a mock pedigree and gallery of ancestral portraits.
The coats of arms in the original are of a part of the burlesque, that, for -
example, of Whittington (misprinted "Whittingham'' in the description
cited) is " a cat, mousant, sable ; whiskered, or, &c,'' It is conjectured
that Cotman, having an antiquary's respect for relics of the past, exhibited
these compositions as a counterblast to such irreverent fooling.
Lithographed in the Norwich Catalogue,
17J by 13 ins. Lent by Mr. J. J. Colman, M.P.
70 CHATEAU NAVARRE.
River in foreground spanned by a bridge in middle distance leading to the
chateau, surrounded by trees on right. Mountains in distance to left.
9l by 15I ins. Lent by Mr. R. H. Inglis Palgrave.
71 STREET SCENE IN ALENCON.
High arched porch of Cathedral in centre. To right and left, shops with
signs, and pictures cages and other articles for sale outside.
Unfinished.
I2i- by 24J ins. Lent by Mr. John Gunn.
72 ENTRANCE INTO FALAISE.
Straight road on a causeway in centre, leading into the town ; with figures.
Cathedral in distance on left. Trees right and left of foreground.
Strong sunlight effect.
(See No, 75.)
iij by i6| ins. Lent by Lady Eastlake.

27
73 THE CATHEDRAL, AIX LA CHAPELLE,
Exterior of west end, showing the polygonal nave erected, as his burial
place, by Charlemagne. Groups of market folk in front.
iTi by i2| ins. Lent by Sir William Drake.

74 A GARDEN WALK.
A terrace with three figures in 17th century costume ; high trees on right
and in centre ; a wooded hill seen between them.
17J by 13^ ins. Lent by Mr. Lewis Fry, M.P.

75 ENTRANCE INTO FALAISE.
The same view as No. 72, with slightly different treatment. Here the
cathedral and tree on the left tell dark against the sky.
Inscribed "J. S. C, 1829."
Lithographed in the Norwich Catalogue,
13 J by 18J ins. Lent by Professor F. T. Palgrave.

76 BLASTING ST. VINCENT'S ROCK, CLIFTON.
Sloping ground covered with trees to left. Roadway in right foreground,
with cliffs rising in rear and extending to centre of picture. Two boats
on river with sails in strong sunlight in centre.
After a sketch by the late Rev, J, Bulwer, Lithographed in the Norwich
Catalogue.
13^ by 22\ ins. Lent by Mr. J. R. Bulwer, Q.C.

77 MOUNT ST, MICHAEL, NORMANDY.
The same view as Nos. 43 and 48, with slight variations of treatment. Here
the group of figures is placed further to the left than in either, and
beyond the outline of the rock. The buildings are backed by a large
round mass of white cloud,
1 2 by 2of ins. Lent by Mr. John Gunn.

28
78 CROSBY HALL,
Upper part of hall (one of Henry VIII.'s palaces), Bishopsgate Street,
London, when used as a warehouse. Highly ornamented Gothic timber
roof. Two figures seated at table, right centre. Bales of goods behind.
Signed, "J, S, Cotman, 1830."
Exhibited at the Norfolk and Suffolk Institute, 1830. A drawing of the
same subject, now in Mr. Bulwer's collection, was at the Society of
Painters in Water Colours, 1831, Lithographed in the Norwich
Catalogue, 1888.
1 3I by 20J ins. Lent by Mr. J. J. Colman, M.P.
79 LANDSCAPE.
Rocks in foreground. Trees in middle distance, with high cliffs in left
distance. Effect of wind among the trees,
i6i by ilj ins. Lent by Rev. W. N. Ripley.

80 GATEWAY OF ABBEY, AUMALE, NORMANDY,
Groups of figures in front, with dancing dogs and pantomimists at a fair.
Signed "J. S, Cotman, 1832."
I7f by 17,\ ins. Lent by Sir William Drake.

81 SCHAFFHAUSEN,
River in centre, with bridge and low building in mid distance. On right old
wooden houses and women on quay washing clothes in stream. On
left old houses and figures on paved pathway.
Lithographed in the Norwich Catalogue.
8| by 13J ins. Lent by Mr, J, J. Colman, M.P.
82 HOWTH AND IRELAND'S EYE,
Rising ground in foreground, with village street to left, and women drying
linen to right. A harbour and Hghthouse in left middle distance, and a
rocky island beyond. Coast in extreme distance to right.
Signed "J. S. Cotman, 1839,"
From a sketch by the Rev. J. Bulwer, Lithographed in the Norwich
Catalogue,
iii by i6| ins. Lent by Mr. J. R. Bulwer, Q.C.

29
83 CHARLES I.— CHARING CROSS.
Statue in centre, with houses behind. Spire of St. Martin's Church
beyond. Northumberland House on right. Figures in foreground.
Lithographed in the Norwich Catalogue,
i&i by I2j ins. Lent by Rev. W. N. Ripley..

84 ON THE RIVER SARTHE, ALENCON.
House on river in centre, with figures and boats. Cathedral with vessels in
distance to left, and tower in distance to right.
9l by 13^ ins. Lent by Mr. R. H. Inglis Palgrave.
85 COMPOSITION.
A raised piazza with figures in the foreground, beyond which, in the centre
of the picture, is a river spanned by two bridges, on either side of which
are the buildings of an Italian town. Mountains in distance.
Lithographed in the Norwich Catalogue.
I3|by20jins. Lent by Mr. H. D. Geldart
86 CLASSICAL LANDSCAPE.
Trees on right and in centre, with water in foreground. On left, Doric
architecture, and four female figures with pitchers.
Signed " J. S, Cotman."
13I by 18 ins. Lent by Sir William Drake.
87 THE BROKEN BRIDGE (COMPOSITION),
On the left rise the ruins of palaces amidst clumps of trees, and a group of
figures. A bridge broken at the second arch, runs from the ruins partly
across a river in the centre middle distance. Hills in distance.
Lithographed in the Norwich Catalogue.
8| by 12 ins. Lent by Mr. H. G. Barwell.
88 CLASSICAL LANDSCAPE.
In centre, a group of trees and "three female figures, seated, in foreground.
On left, a corinthian temple. On right, steps and distant landscape.
Signed "J. S. Cotman,"
13! by 18 ins. Lent by Sir William Drake.

30

BlacFi anb Mbite Drawinga.

89 WEIRD SCENE, MOONLIGHT,
A stone cross on the brow of a hill in centre. Ghosts bowing down on
right, and floating before the moon's disc on the left. On the back
is inscribed : " Wednesday, March 23rd, 1803, Subject — The Moon
" looks abroad from her cloud. The grey skirted mist is near.
" The dwelling of ghosts, — Ossian. J. S. Cotman, Pres' — J. Varley,
" T. Webster, Neil, Hayward, P. S. Munn : Visitor, D. Munn."
Drawn with a brush.
This drawing was evidently made in a Sketching Society, most likely that
to which Girtin had formerly belonged, Cotman seems to have been
the host and president of the evening.
8J by 12^ ins. Lent by Mr. James Reeve.

90 PORCH OF FREE SCHOOL, THETFORD.
Three boys in right foreground.
Signed and dated "J. S. Cotman, 181 8."
In sepia.
10 by 7f ins. Lent by Mr. J. R. Bulwer, Q.C.

91 THE MOUNT, THETFORD.
Signed " 181 8, J. S. Cotman."
In pencil and sepia.
Engraved in "Excursions in the County of Norfolk," 1818,
6| by loj ins. Lent by Mr. J. R. Bulwer, Q.C.

92 NORTH-WEST VIEW OF THETFORD,
Signed "J. S, Cotman, 18 18,"
In pencil and sepia.
Engraved in "Excursions in Norfolk," 18 18,
6| by lof ins. Lent by Mr. J. R. Bulwer, Q.C.

31
93 « GREAT HOUSE AT GRAND ANDELYS," NORMANDY.
In pencil and sepia.
Etched by J, S, Cotman in " Architectural Antiquities of Normandy."
Plate published 7th October, 1819.
8 J by 12 ins. Lent by Mr. E. J. Poynter, R.A.
94 SKETCH IN NORMANDY.
Crypt or basement of old building. Cattle, water and broken cart in
foreground.
In brown, with warmer colour in parts.
10 by 16J ins. Lent by Mr. J. J. Colman, M.P.
95 THUXTON CHURCH (EXTERIOR).
In pencil.
7I by lof ins. Lent by Mr. J. R. Bulwer, Q.C.
96 RUINS BEHIND FREE SCHOOL, THETFORD,
Dated and signed " 18 18, J, S, Cotman."
In pencil and sepia,
7^ by II ins. Lent by Mr. J. R. Bulwer, Q.C.
97 WOLTERTON HALL.
Signed and dated "J. S. Cotman, 181 8."
In pencil and sepia.
Engraved in " Excursions in the County of Norfolk," 1 8 1 8.
7 by ii| ins. Lent by Mr. J. R. Bulwer, Q.C.
98 OLD BRIDGE.
Bridge in centre. On left, buildings, and cattle in water. Tower in distance.
Ruins on right, with trees above from centre to right.
In chalk, on blue-grey paper heightened with white,
6J by lof ins. Lent by Mr. J. J. Colman, M.P.
99 BY THE RIVER SIDE.
Water in foreground. Trees in centre, with shed behind them.
In chalk, on blue-grey paper heightened with white.
12 by 9 ins. Lent by Mr. James Reeve.

32
100 DARTMOOR.
Mountains on right. Winding river below. Trees and hills on left.
In pencil and white chalk, on blue-grey paper.
7 by gi ins. Lent by Mr. James Reeve.
101 RUINED CASTLE,
Ruins on eminence in centre and right, sea and small islands in distance.
To right, rocks and trees in foreground.
In sepia.
7^ by 15 ins. Lent by Mr, J. J. Colman, M.P.
102 A WRECK OFF YARMOUTH.
Jetty in left distance. Vessels to right in a rough sea.
Pencil sketch on white paper.
6 by 1 1 ins. Lent by Mr. James Reeve.
103 COMPOSITION.
Waterfall and bridge to right of centre, above which are a tower and walls
of a building, and mountains in the distance beyond. High trees on
left above bridge, with foliage extending below on each side of fall.
In grey, with a brush,
8J by 6\ ins. Lent by Mr. James Reeve.
104 STUDY OF TREES,
Trees in centre. Palings on high ground to right. Steps in foreground
leading to high ground in centre.
In chalk, on blue-grey paper heightened with white.
13 bv 9} ins. Lent by Mr. J. J. Colman, M.P.
105 "PETER" BOATS OFF BLACKWALL,
Covered boats to left front. Warehouses and vessel on stocks. River with
shipping in centre and right.
In chalk, on blue-grey paper heightened with white,
9i by 14 ins. Lent by Mr. J.J. Colman, M.P.

33
106 POSTWICK GROVE.
The trees on the river bank.
In black chalk, on stone-grey paper heightened with white.
lof by iBJ ins. Lent by Mr. Frederick Wedmore.
107 CADER IDRIS.
High mountains on left. Cattle below. Water in right foreground.
In pencil and white chalk, on stone-grey paper heightened with white,
6| by 9f ins. Lent by Mr. James Reetie.
108 NORTH WALES.
A silent stream to left in middle distance, spanned by bridge. A group of
tall trees deeply reflected in water. Smaller trees, &c., near the side
of stream on left.
In chalk, and with a brush.
Lithographed in the Norwich Catalogue.
9i by 6 J ins. Lent by Mr. James Reeve.
109 RIVER NEAR ST. ANNE'S STAITHE, NORWICH,
Houses and wherries on left. Cathedral spire and trees in background.
Meadow with figure on right.
In chalk, on blue-grey paper heightened with white.
lo by 14^ ins.
Lent by Mr. J. J. Colman, M.P.
110 A SHADOWED STREAM.
River between high banks. Trees above. Pathway on right, with two
figures in college caps.
Drawn with a brush.
¦Lithographed in the Norwich Catalogue.
9 by 12 J ins. Lent by Mr. James Reeve.

Ill COMPOSITION.
Figures fishing from terrace. Pine trees to right. Masses of trees on left,
6J by 10 ins.
Lent by Mr. J. J. Colman, M.P

34
112 DEWY EVE,
A study for a picture. Stream in foreground. Trees and bank beyond,
with boys fishing.
In chalk and Water Colour.
Lithographed in the Norwich Catalogue.
io| by i4f ins. Lent by Mr. James Reeve.
113 BREAKING THE CLOD.— EVENING.
Two horses drawing a roller in centre. Trees beyond in strong shadow on
left. Water in right foreground.
In Water Colour and chalk, lights put in with body colour,
12 J by 10^ ins. Lent by Mr. James Reeve.
114 STORM AT SEA,— MOONLIGHT,
Fishing boat in centre, lifted high out of the water by a wave, A deep
shadow from the boat cast by the moon on left. Boats in right distance
with flags hoisted.
In pencil, on stone-grey paper, lights put in with body colour.
10 by I5§ ins. Lent by Mr, James Reeve.
115 FOUNDRY BRIDGE, NORWICH,
Trees and vessel on left. Bridge in centre. Mousehold in right distance.
Figure sketching in foreground.
In chalk, on blue-grey paper heightened with white.
9 by 14J ins.
Lent by Mr. J. J. Colman, M.P.
116 A STUDY,
In centre, tall dark masses of trees. On right, trees in deep shade. In
foreground, water, sedges and two figures.
Drawn with a brush, on stone-grey paper heightened with white — red in figures.
This composition is introduced in the foreground of an oil painting by
J. S. Cotman, of St. Benedict Abbey.
Lithographed in the Norwich Catalogue
6f by i2| ins.
Lent by Mr. J. J. Colman, M.P.
117 COMPOSITION. Cattle on high ground on right. Dark trees in centre. Road, rock, and
figure in foreground.
6| by 8J ins. Lent by Mr. J. J. Colman, M.P.

35
118 STUDY OF TREES.
Trees and horse and cart on left. In front, water, and light trees to right.
In chalk, on blue-grey paper heightened with white.
loj by 14J ins. Lent by Mr. J. J. Colman, M.P.
119 WHITLINGHAM LANE.
Road running to avenue on left. Figures with faggots, and dog in left fore
ground. Large pollard willows on right.
Signed in monogram, and dated " 1824."
In chalk, on stone-grey paper heightened with white.
13 by i8f ins. Lent by Mr. J. J. Colman, M.P.
120 ON THE GRETA, ROKEBY, YORKSHIRE.
River in left Toreground. Two cows under high rocky and wooded bank
opposite. Low bank under trees on right.
In pencil and red chalk, on stone-grey paper heightened with white.
7| by 5| ins. Lent by Mr. James Reeve.
121 CASTLE EDEN DEAN, DURHAM.
Trees on right and left of the side of a hill. Horse and cart, with figures
below, in centre of foreground. Beyond, a road close to the entrance
of a deeply shadowed dell.
In cjialk and grey pigment, on grey paper heightened with white,
8J by 9 ins. Lent by Mr. James Reeve.
122 STUDY OF TREES.
Trees on right. Palings on left. Roadway in centre, with figure in distance.
In chalk, on blue-grey paper heightened with white.
13I by II ins. Lent by Mr. J. J. Colman, M.P.
123 POSTWICK GROVE,
Pollard trees on left. River in foreground. Other trees extending to right
distance. A wagon and horses near farm buildings on right.
Signed with monogram.
In chalk, paper slightly washed with a tint, and lights erased.
Etched in " Eleven original Etchings, by M, E. Cotman," 1846.
9I by I2| ins. Lent by Mr. James Reeve.

36
124 FIGURES DANCING.
Dancing group in front of classic ruins, and trees. Sketch in sepia
and white.
6J by loJ ins. Lent by Mr. James Reeve.

125 STUDY FOR A PICTURE,
Dark clump of trees in centre and towards left. Pool and cows in fore
ground. Bank on right, with path leading up to a wall and distant
buildings.
Dated " Dec. 28, 1841."
In Black and White chalk, on blue-grey paper,
7 by 10 ins. Lent by Mr. James Reeve.

126 POSTWICK GROVE,
River, with sailing boat in left centre foreground.
Dated "Augst. 13, 1839."
In Black and White chalk, on stone-grey paper.
5 by 7f ins. Lent by Mr. James Reeve.

127 "FROM THE GARDEN OF MY FATHER'S HOUSE AT
THORPE, NEXT NORWICH, 1841."
View of the river Yare, looking towards Norwich. Fir trees on left.
Thorpe Old Hall, partly hidden by trees. Peacocks on terrace in
foreground.
In Black and White chalk, on stone-grey paper.
Lithographed by M, E. Cotman, with poplars in place of firs,
Ilf by 14I ins. Lent by Mr. James Reeve.

128 "BELOW HARDLEY CROSS, OCT. 19TH, 1841."
A study of trees in a gale of wind. Church in the distance on left. River
in foreground. Described by the Artist as " The Wold Afloat,"
In Black and White chalk, on stone-grey paper.
8^ by 14J ins. Lent by Mr. James Reeve.

37
129 " BELOW LANGLEY, OCT. 19TH, 1841."
River in foreground, strong effect of wind. Mill on left, and two mills in
distance on the right.
In Black and White chalk, on stone-grey paper.
Lithographed by M. E. Cotman, with variations. A boat with a large sail
is introdticed on the right.
7i by 12^ ins. Lent by Mr. James Reeve.
130 "NORWICH, FROM THE CROMER ROAD, NOV. ISTH, 1841."
River and meadows, with group of cattle in foreground. A long wooded
belt of trees beyond. Hilly ground rising to centre distance, above
which is the tower of St. Giles's Church, and a mill to right of it.
In Black and White chalk on stone-grey paper.
7 by 20J ins. , Lent by Mr. James Reeve.
131 "MOUSEHOLD HEATH. — THE LANE TO THE LEFT OF
COLONEL HARVEY'S HOUSE, NOV. i8th, 1841."
Lane to left. A clump of trees standing to right distance, towards what was
known as Crome's Mill. Gravel pit, with figures and dogs in right corner.
In Black and White, on sfone-grey paper.
Lithographed by M. E, Cotman,
14J by i8| ins. Lent by Mr. James Reeve.
132 PORTRAIT OF FRANCIS CHOLMELEY, EsQ.
In Cotman's handwriting is " To Francis Cholmeley, with J. S. Cotman's
compliments, July 5th, 1804."
In pencil.
[The Cholmeleys of Brandsby were among the friends whose acquaintance
Cotman made in his earliest sketching tours in Yorkshire, and some of
the family became his pupils.]
6\ by 5^ ins. Lent by Mr. James Reeve.
133 OLD HOUSES, MILL LANE, NEWMARKET ROAD, NORWICH.
Houses with gable to left. A pedlar walking along a road to right. Water
in left foreground.
There is written on the back of the drawing, in J, J. Cotman's handwriting,
" J. S. C, drawn in 1794."
In sepia.
6f by II ins. Lent by Mr. James Reeve.

38

IN GLASS CASE ON TABLE are:—
(i) Four Prints from Cotman's Etchings of the Architectural Antiquities of Norfolk.
Lent by Mr. J. R. Bulwer, Q.C.

(2) A Copy of Cotman's Liber Studiorum. Lent by Mr. J. L. Roget.

(3) Two Autograph Letters, written by Cotman ; one containing architectural notes
on a church in Normandy, the other referring to his appointment as teacher
at King's College. Lent by Mr. W, V. Morten.

(4) An Autograph Letter from J, Stark to J, S. Cotman respecting the publication of
the " Norman Antiquities," Lent by Mr. W. V. Morten.

YALE UNIVERSITY LIBRARY

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