- Joseph Mallord William Turner 1775–1851
- Part of
- The Route from Venice: Passau; Regensburg and the Walhalla; Coburg and Schloss Rosenau; Würzburg
- Chalk and graphite on paper
- Support: 191 × 280 mm
- Accepted by the nation as part of the Turner Bequest 1856
Turner Bequest CCCXLI 371
Turner visited Donaustauf, on the north bank of the River Danube about five miles east of Regensburg in southern Germany, to see the Greek temple-style Walhalla monument (as identified by Finberg1), then nearing completion ahead of its opening in 1842. He made numerous complementary pencil drawings in the vicinity in the Venice, Passau to Würzburg book; see under Tate D31341 (Turner Bequest CCCX 33a) for further details.2 Here, the somewhat frenetic pencil work shows the small pilgrimage church of St Salvator above the river on the left, with the Walhalla to its east on its tiered stone infrastructure; compare Tate D31342, D31356, D31358, D31360 and D31362 (CCCX 34, 41, 42, 43, 44) in the sketchbook. These sketches informed the major oil painting of The Opening of the Wallhalla [sic], 1842 (Tate N00533),3 exhibited at the Royal Academy in 1843 and in Munich in 1845.
As discussed in the technical notes below, the present study is one of seven of Regensburg and the nearby Walhalla at Donaustauf (see also Tate D32185, D34081, D34084–D34085, D36150, D36153; Turner Bequest CCCXVII 6, CCCXLI 360, 363, 364, CCCLXIV 293, 296) which were initially eighths of a single sheet; D36151 (CCCLXIV 294) is a related view on similar paper. Of these, D34084 shows the interior of the Walhalla while D34085 is a similar landscape view including the town, out of sight to the left here. See also a watercolour study on conventional white paper (Tate D36174; Turner Bequest CCCLXIV 316).
The spots of white chalk scattered across the middle of the drawing do not appear to relate to the pencil work, and may be adventitious or offset directly from another sheet; compare the more extensive and purposeful highlighting in the two Walhalla drawings mentioned above (D34084–D34085; CCCXLI 363, 364).
Among many such works on the blue or grey papers customarily used by Turner, this is one of seven originally from a single piece (subsequently scattered through Finberg’s 1909 Inventory, as listed above) to be identified by Cecilia Powell as showing subjects in and around Regensburg.1 They are from an 1829 sheet of the grey Bally, Ellen and Steart paper often used in 1840 (see the Introduction to the overall tour), and were temporarily reassembled for paper conservator Peter Bower’s 1999 Turner’s Later Papers exhibition, showing that their slightly irregular edges match exactly.2
- River Danube(125)