Joseph Mallord William Turner The Infrastructure of the Walhalla, at Donaustauf near Regensburg; a Castle on a Distant Hill 1840
Joseph Mallord William Turner 1775–1851
Folio 68 Recto:
The Infrastructure of the Walhalla, at Donaustauf near Regensburg; a Castle on a Distant Hill 1840
D31410
Turner Bequest CCCX 68
Turner Bequest CCCX 68
Pencil on cream wove paper, 198 x 126 mm
Partial watermark ‘atman’
Inscribed by Turner in pencil ‘Tom Girtin’ towards top right
Inscribed by John Ruskin in red ink ‘68’ top left, upside down
Stamped in black ‘CCCX – 68’ top left, upside down
Partial watermark ‘atman’
Inscribed by Turner in pencil ‘Tom Girtin’ towards top right
Inscribed by John Ruskin in red ink ‘68’ top left, upside down
Stamped in black ‘CCCX – 68’ top left, upside down
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.999, CCCX 68, as ‘Various sketches, one of towers on rock, beside which Turner has written “Tom Girtin.”’.
1966
Jack Lindsay, J.M.W. Turner: His Life and Work: A Critical Biography, London 1966, p.80.
1969
John Gage, Colour in Turner: Poetry and Truth, London 1969, pp.97, 244 note 102.
1995
Cecilia Powell, Turner in Germany, exhibition catalogue, Tate Gallery, London 1995, pp.70, 82 note 53, p.244, as ‘(1) (2) The infrastructure of the Walhalla | (3) Castle on distant hill | Inscr. Tom Girtin’.
1997
Anthony Bailey, Standing in the Sun: A Life of J.M.W. Turner, London 1997, p.332.
This page was used vertically, both ways up. As Cecilia Powell has noted, the diagrammatic elements relate to the immense stone hillside infrastructure leading up to the temple-like Walhalla1 at Donaustauf near Regensburg. The building was then not quite complete, and the sketches are slight and hurried, the most developed being recognisable by the general form of diverging and converging steps, albeit inaccurate or fanciful in its details. For numerous contemporary studies and views in this sketchbook and elsewhere, see under folio 33 verso (D31341).2
The other way up, there is a slight but more conventional view of a hilltop tower or ruined castle, the slopes rapidly shaded to suggest its being silhouetted, perhaps against a sunset sky. It is possibly an impression of a passing effect looking west along the Danube Valley from below the Walhalla to nearby Donaustauf, although the castle and its setting there are recorded in detail with a less jagged outline elsewhere in this book (see for example folio 41 recto; D31356).
At any event, just as the light in another Donaustauf view reminded the artist of his illustrious predecessor Claude Lorrain (folio 36 verso; D31347), so this subject, wherever it was observed, called to mind ‘Tom Girtin’. Turner and the short-lived Thomas Girtin (1775–1802) had been friendly rivals and sometime collaborators as young watercolourists (see Andrew Wilton’s ‘Monro School c.1794–8’ section in the present catalogue). Girtin had been noted for his evocative light effects, most famously in the twilit 1800 White House at Chelsea (Tate N04728), which Turner sometimes mentioned or noted specifically in relation to his own later drawings (see Tate D34267; Turner Bequest CCCXLII 66v).3
Matthew Imms
September 2018
How to cite
Matthew Imms, ‘The Infrastructure of the Walhalla, at Donaustauf near Regensburg; a Castle on a Distant Hill 1840 by Joseph Mallord William Turner’, catalogue entry, September 2018, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2019, https://www