This unidentified view on Lake Maggiore was copied from a composition by John Robert Cozens (1752–97) (see figure 1). It was produced at the home of Dr Thomas Monro (1759–1833), where Girtin and his contemporary Joseph Mallord William Turner (1775–1851) were employed across three winters, probably between 1794 and 1797, to make ‘finished drawings’ from the ‘Copies’ of the ‘outlines or unfinished drawings of Cozens’. The majority of the resulting watercolours saw the two artists engaged in a unique collaboration; as they later recalled, Girtin ‘drew in outlines and Turner washed in the effects’. ‘They went at 6 and staid till Ten’ and, as the diarist Joseph Farington (1747–1821) reported, Turner received ‘3s. 6d each night’, though ‘Girtin did not say what He had’ (Farington, Diary, 12 November 1798).¹

Cozens’ on-the-spot sketch, simply inscribed ‘Lago Magiore’, was made during the return leg of his second trip to the Continent, in the autumn of 1783 (Bell and Girtin, 1935, no.408). The sketch is found in the sixth of the seven sketchbooks that are associated with a visit that began with a journey to Naples in the company of his patron William Beckford (1760–1844). It is unlikely that the Monro School watercolour was copied directly from the sketch by Cozens, however. It would have been uncharacteristic of Beckford to have lent the sketchbooks to Monro, and the existence of a large number of tracings of their contents by Cozens himself suggests that the patron, rather than the artist, retained the books. An album put together by Sir George Beaumont (1753–1827), now in the collection of the Yale Center for British Art, New Haven, includes more than seventy tracings from on-the-spot drawings in the first three of the sketchbooks, and these provided the basis for at least thirty Monro School works. There are only five tracings from the next three books, but there is no reason to think that others did not exist, and it was presumably from these lost copies by Cozens that as many as thirty-five more watercolours were produced by Girtin and Turner, including this, one of six views on Lake Maggiore, which also include A Wooded Shoreline on Lake Maggiore (TG0754) and Lake Maggiore, from Isola Bella (TG0759). The fact that the Monro School copies never follow either the shading or the distribution of light seen in the on-the-spot sketches, though they always replicate the basic outlines, further suggests that Girtin and Turner generally worked from a tracing of the sketchbook view, and surely that was the case here as well.

The bulk of the works sold at Monro’s posthumous sale in 1833 were attributed to Turner alone, but, despite the pioneering article published by Andrew Wilton in 1984, which established the joint authorship of many of the Monro School copies, this watercolour was still listed as solely by Turner when it last appeared at auction in 2011 (Wilton, 1984a, pp.8–23). This is not entirely surprising given that the watercolour has been quite heavily worked by Turner with a relatively full palette of colours, which has effaced much of Girtin’s characteristic pencil work. Arguably, just enough of the artist’s inventive touches are still apparent in the middle distance, on the lakeside settlement and on the more distant mountains to point to Girtin’s involvement in the work’s production, albeit at the most basic level, tracing the outlines from a Cozens drawing; it was Turner’s more onerous task to obscure the essentially mechanical practice of replication and produce something that approximates to a finished work.

1794 - 1797

A Wooded Shoreline on Lake Maggiore

TG0754

1794 - 1797

Lake Maggiore, from Isola Bella

TG0759