Joseph Mallord William Turner

Burg Metternich at Beilstein on the Moselle, Looking Downstream from the Hillside; Niederlahnstein, Burg Lahneck and the Junction of the Lahn and the Rhine; Schloss Stolzenfels

1839

In Tate Britain

Prints and Drawings Room

View by appointment
Artist
Joseph Mallord William Turner 1775–1851
Medium
Graphite on paper
Dimensions
Support: 100 x 163 mm
Collection
Tate
Acquisition
Accepted by the nation as part of the Turner Bequest 1856
Reference
D28528
Turner Bequest CCXC 87

Catalogue entry

There are three separate sketches here, orientated at varying angles. With the sketchbook turned horizontally Turner has made two quick jottings of Castle Metternich at Beilstein (annotated ‘Bidelstein’) and the town of Niederlahnstein on the banks of the Lahn, presided over by the ruins of Castle Lahneck. With the sketchbook turned inversely relative to the foliation, Turner has drawn the Schloss Stolzenfels and inscribed ‘Cappelle’ (Kapellen) to the right.
For other representations of the Schloss Stolzenfels in this sketchbook see Tate D28449, D28525, D28527; Turner Bequest CCXC 50, 85a, 86a. For earlier drawings see the Waterloo and Rhine and Rhine sketchbooks of 1817 (Tate D12808, D12812, D12882, D12907, D12909, D12975, D12977; CLX 55a, 57a, 93, CLXI 14, 16, 49a, 50a). See also the 1824 Meuse and Moselle sketchbook (Tate D19829, D19831; Turner Bequest CCXVI 139a, 140a).
For further drawings of the Burg Metternich in this sketchbook see Tate D28364, D28366–D28368, D28527, D28537; Turner Bequest CCXC 7a, 8a–9a, 86a, 91a. See also the First Mossel and Oxford sketchbook belonging to the same 1839 tour (Tate D28301, D28320, D28321; Turner Bequest CCLXXXIX 6a, 15a, 16). See also the 1839 gouache and watercolour drawing of the Burg (Tate D20239; Turner Bequest CCXXI F). For earlier sketches of the monument see the Rivers Meuse and Moselle and Moselle (or Rhine) sketchbooks of 1824 (Tate D19784, D19787, D19788, D19790, D19792, D20166, D20167; Turner Bequest CCXVI 117, 118a, 119, 120, 121, CCXIX 5, 6).

Alice Rylance-Watson
July 2013

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