Joseph Mallord William Turner The Elevation and Ground Plan of the South Portico of the Walhalla, at Donaustauf near Regensburg; a Study of a Woman's Costume 1840
Joseph Mallord William Turner 1775–1851
Folio 70 Recto:
The Elevation and Ground Plan of the South Portico of the Walhalla, at Donaustauf near Regensburg; a Study of a Woman’s Costume 1840
D31414
Turner Bequest CCCX 70
Turner Bequest CCCX 70
Pencil on cream wove paper, 126 x 198mm
Inscribed by Turner in pencil ‘RBG’ towards top left, ascending vertically, beside figure
Inscribed by John Ruskin in red ink ‘70’ top right, ascending vertically
Stamped in black ‘CCCX – 70’ top right, ascending vertically
Inscribed by Turner in pencil ‘RBG’ towards top left, ascending vertically, beside figure
Inscribed by John Ruskin in red ink ‘70’ top right, ascending vertically
Stamped in black ‘CCCX – 70’ top right, ascending vertically
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 70, as ‘The Walhalla, Ratisbon; also figure of peasant. (Oil painting of “Walhalla” exhibited R.A., 1843; at present on loan to Dublin National Gallery.)’.
1971
Hardy George, ‘Turner in Venice’, The Art Bulletin, vol.53, March 1971, p.86, as 1840.
1984
Martin Butlin and Evelyn Joll, The Paintings of J.M.W. Turner, revised ed., New Haven and London 1984, p.250 under no.401.
1995
Cecilia Powell, Turner in Germany, exhibition catalogue, Tate Gallery, London 1995, pp.70, 82 note 53, p.244, as ‘(1) The Façade of the Walhalla and ground plan of part of its peristyle | (2) Female figure | Inscr. RBG’.
2001
Martin Butlin, ‘Opening of the Walhalla, 1842, The’ in Evelyn Joll, Martin Butlin and Luke Herrmann (eds.), The Oxford Companion to J.M.W. Turner, Oxford 2001, p.207.
The page was used horizontally for two very rough architectural diagrams relating to the Walhalla monument, then nearing completion at Donaustauf, near Regensburg. Its Greek temple-style Doric south portico is shown in elevation, with only sufficient articulation to note the eight (octastyle) outer columns supporting the pediment. Below is a fragmentary ground plan, limited to showing the position of the columns in relation to the walls of the enclosed hall’s south-western corner, with the double row (making sixteen in all) supporting the porch at that end as part of the peripteral temple layout (with open colonnades down the sides).1
This is the only Walhalla sketch Finberg recognised in this book, and as such he linked it to an ‘Oil painting of “Walhalla” exhibited R.A., 1843’,3 meaning the large picture of The Opening of the Wallhalla [sic], 1842 (Tate N00533),4 shown at the Royal Academy in 1843 and in Munich in 1845, where the building features as a relatively minor, distant element above the broad River Danube, informed by Turner’s various conventional sketches of the monument and its landscape setting from this tour (since he did not return for the ceremony); see under D31341 for further discussion.
At right angles at the top left is the back view of a woman, made as a quick note of local German costume, with an abbreviated colour key. Compare the studies on folios 67 verso, 69 recto, the verso of this leaf and the insides of the front and back covers (D31409, D31412, D31415, D41400–D41401).
Technical notes:
Losses have been made good along the two shorter edges, corresponding to wear from the ribbon ties formerly anchored inside the back cover (D41401), this being the last free leaf.
Matthew Imms
September 2018
How to cite
Matthew Imms, ‘The Elevation and Ground Plan of the South Portico of the Walhalla, at Donaustauf near Regensburg; a Study of a Woman’s Costume 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