Joseph Mallord William TurnerTwo Views of Linlithgow Palace and One Sketch of a Bridge 1818

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Artwork details

Artist
Title
Two Views of Linlithgow Palace and One Sketch of a Bridge
From Edinburgh, 1818, Sketchbook
Turner Bequest CLXVI
Date 1818
MediumGraphite on paper
Dimensionssupport: 112 x 90 mm
Collection
Tate
Acquisition Accepted by the nation as part of the Turner Bequest 1856
Reference
D13513
Turner Bequest CLXVI 33
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Catalogue entry

Joseph Mallord William Turner 1775–1851
Folio 33 Recto:
Two Views of Linlithgow Palace and One Sketch of a Bridge 1818
D13513
Turner Bequest CLXVI 33
Pencil on white wove paper, 112 x 90 mm
Inscribed in pencil by Turner [illegible] | and ?‘House from Lith Loch’
Stamped in black ‘CLXVI 33’ bottom left descending vertically
 
Accepted by the nation as part of the Turner Bequest 1856
Drawn with the sketchbook turned to the right and divided horizontally down the page as with the previous folio (folio 32 verso; D13512), here are two views of Linlithgow Palace from the north, and, at the bottom, a sketch of a bridge. The two Linlithgow views are from a similar viewpoint to the two on 32 verso, but exhibit compositional variations. The top sketch sees Turner again experimenting with the use of trees to frame the palace, and includes some of the other buildings just to the south of the palace on the left-hand side. The middle sketch shifts the palace to the right to show more of the landscape and buildings to the south and a path snaking down from the town. This sketch is inscribed with a note about the viewpoint which reads something like, ‘House from [Lin]lithgow’ or ‘House from [Lin]lith[gow] Loch’. Both are quite rapid sketches but include a lot of compositional information even if no elements are particularly detailed.
The final sketch at the bottom of the page is of a bridge, presumably near Linlithgow Palace, framed by two trees elegantly leaning towards each other to form an arch. This may be Linlithgow Bridge (see Tate D13673; Turner Bequest CLXVII 50 in the Scotch Antiquities sketchbook).

Thomas Ardill
December 2007

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