In April 1810 John Fuller asked Turner to make three or four watercolours in and around his seat, Rosehill Park, Sussex (see No.142), and it was probably on this same trip that Turner drew the view of Somer Hill in the 'Vale of Heathfield' sketchbook (I.B.CXXXVII-3v and 4; see No.130). The painting does not seem to have been a commission; its early history is unknown until 1851, when it was sold from the collection of J. Alexander.

This painting is probably the most exquisite example of Turner's transformation of the tradition of the topographical house-portrait. The house itself is pushed into the extreme background, but every device of lighting and composition makes it the focal point of the picture. A pentimento shows that Turner continued to modify his composition up to the last moment: the bank in the left foreground has been raised to prevent the tunnel-like effect of the avenue of trees beyond the lake from dragging the eye into depth too abruptly.