Joseph Mallord William Turner Three Sketches Making Up a Composite View of Koblenz and Ehrenbreitstein, Looking Downstream from near Pfaffendorf 1824
Joseph Mallord William Turner 1775–1851
Folio 141 Recto:
Three Sketches Making Up a Composite View of Koblenz and Ehrenbreitstein, Looking Downstream from near Pfaffendorf 1824
D19828
Turner Bequest CCXVI 139
Turner Bequest CCXVI 139
Pencil on white wove paper, 78 x 118 mm
Inscribed in pencil by Turner ‘5’, ‘12’ right; ‘26’ centre
Inscribed in blue ink by Ruskin ‘139’ top right
Stamped in black ‘CCXVI–139’ bottom right
Inscribed in pencil by Turner ‘5’, ‘12’ right; ‘26’ centre
Inscribed in blue ink by Ruskin ‘139’ top right
Stamped in black ‘CCXVI–139’ bottom right
Accepted by the nation as part of the Turner Bequest 1856
References
1909
A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.II, p.675, as ‘At Coblenz; Ehrenbreitstein’.
1978
Agnes von der Borch, Studien zu Joseph Mallord William Turners Rheinreisen (1817–1844) (Ph.D thesis, Rheinischen Friedrich-Wilhelms-Universität, Bonn 1972), Bonn 1978, p.85, 86 note 222 [p.160].
1980
Agnes von der Borch and Gerhard Bott, J.M. William Turner: Köln und der Rhein: Aquarelle Zeichnungen Skizzenbücher Stiche, exhibition catalogue, Wallraf-Richartz-Museum, Cologne 1980, pp.78 [as ‘CCXV 397’], 84 no.35.
1984
Gérard Thill, Jean-Claude Muller and Jean Luc Koltz, J.M.W. Turner in Luxembourg and its neighbourhood, exhibition catalogue, Musée de l’Etat, Luxembourg 1984, p.117 no.51.
1991
Cecilia Powell, Turner’s Rivers of Europe: The Rhine, Meuse and Mosel, exhibition catalogue, Tate Gallery, London 1991, p.43 note 30 [p.60].
1995
Cecilia Powell, Turner in Germany, exhibition catalogue, Tate Gallery, London 1995, p.33 note 15 [p.77].
Diligently executed, this is a multipart or composite drawing of Ehrenbreitstein fortress and city of Koblenz. It is composite because each section of the view is drawn in succession on the page, to be linked as one in the mind’s eye. The dimensions of the sketchbook are such that Turner could not draw one whole panoramic vista. He captures this prospect from a vantage point on the banks of the Rhine near Pfaffendorf, where he was afforded a view which encompassed the vast extent of the citadel. Other monuments feature too, including the austere palace of the last Elector of Trier (Turner has inscribed the numbers ‘5’ and ‘12’ on the inner and outer bays of the palace in this drawing), the pontoon bridge, the Basilica of St Castor and the Florinskirche.
For Turner’s earliest sketches of Koblenz and Ehrenbreitstein, produced in 1817, see Tate D12802–D12806, D12809, D12894–D12908; Turner Bequest CLX 52a–54a, 56, CLXI 7–15. His 1824 drawings include: Tate D19785, D19818–D19821, D19826, D19830; Turner Bequest CCXVI 117a, 134–135a, 138, 140. Later drawings from 1839 and colour studies can be found on: Tate D24804, D24809, D24833, D25307, D28302–D28303, D28351–D28356, D28444–D28447, D28529–D28536, D28603–D28609, D26613–D28614; Turner Bequest CCLIX 239, 244, 268, CCLXIII 185, CCLXXXIX 6a–7, CCXC 1–3a, 47a–49, 87a–91, CCXCI 34a–37a, 39a–40.
Alice Rylance-Watson
June 2014
How to cite
Alice Rylance-Watson, ‘Three Sketches Making Up a Composite View of Koblenz and Ehrenbreitstein, Looking Downstream from near Pfaffendorf 1824 by Joseph Mallord William Turner’, catalogue entry, June 2014, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, April 2015, https://www