Rotterdam and Rhine Sketchbook 1833

Matthew Imms and Quirine van der Meer Mohr

Rotterdam and Rhine Sketchbook 1833

Entry
Artworks

Turner Bequest CCCXXII 1–64

Sketchbook bound in boards, covered in striated mauve paste-paper; leather pencil loop attached inside front cover (D32541) with traces of two more inside back cover (D32663)
62 leaves and paste-downs of white laid paper, some with unidentified rearing unicorn watermark; all edges washed with yellow; page size 170 x 105 mm
Numbered 267 as part of the Turner Schedule in 1854 and endorsed by the Executors of the Turner Bequest inside back cover (D32663)
Inscribed by Turner in ink with miscellaneous notes on paper label on front cover (D41140)
Inscribed in pencil ‘CCCXXII’ on front cover label
Stamped in black ‘CCCXXII’ on front cover, top right

Accepted by the nation as part of the Turner Bequest 1856

Exhibition history

References

This sketchbook is presented here as the last Turner used on the Continent in 1833, returning from the second of his three visits to Venice as set out in the tour’s overall Introduction. It includes subjects in southern Germany, along the River Rhine, and in and around Rotterdam, from where the artist presumably returned to England in early October. As discussed below, the book, tentatively dated to about 1837–41 in Finberg’s 1909 Inventory,1 has previously generally been associated with 1841, when Turner made the first of his four annual visits to Switzerland.

The book was not labelled by the artist beyond the pencil note ‘Holland Rhine’ inside the back cover (D32663; CCCXXII 64), a few notes of place names labelling individual drawings and an apparent mention of Rotterdam in a scrawled ink memorandum on the front cover (D41140). Finberg presumably coined its ‘Rotterdam and Rhine’ title taking these inscriptions into account, also going by John Ruskin’s customary ‘endorsement on wrapper’ (since lost), which he transcribed: ‘267. Rotterdam. Some good subjects in hard pencil.’2

This Introduction and many of the entries for individual pages are co-signed by art historian Quirine van der Meer Mohr (temporary Researcher on the Dutch material in the Turner Bequest, on placement from the University of Utrecht in 2013–14) and Matthew Imms, who is solely responsible for German entries. Each has contributed specific observations which in combination enable this sketchbook to be posited as the last link in the long itinerary of the 1833 tour. The route was otherwise convincingly established by Cecilia Powell in her 1995 Tate Gallery exhibition catalogue Turner in Germany:3 from Ostend to Cologne, east via Augsburg and Salzburg to Vienna, then west to Innsbruck and south over the Alps to Venice and back, passing through Innsbruck again and petering out at Augsburg once more, from where he ‘probably headed straight for home ... returning down the Rhine’.4 (For Finberg’s speculative unpublished notes on a route northwards from Augsburg, see the Introduction to the preceding Venice up to Trento sketchbook: Tate; Turner Bequest CCCXII).

The first key point is that the initial pages as foliated include views of Augsburg’s medieval cathedral (folio 1 verso; D32543; CCCXXII 2a) and the former abbey church of SS. Ulrich and Afra (folios 6 verso, 7 recto; D32553–D32554; CCCXXII 7a, 8), both of which are shown in the distance in other drawings of the city centre in the Venice up to Trento book (see under Tate D31655; Turner Bequest CCCXII 30); the pages between feature numerous studies of Augsburg’s old city walls. There are also scattered views in the Heidelberg up to Salzburg sketchbook, used on the outward leg (see under Tate D29930; Turner Bequest CCXCVIII 59). See under D32543 for further discussion and four further separate drawings. Apart from the 1833 route, Turner’s numerous tours within or via Germany, as set out by Powell, did not include the city.

Before coming to a second important point (with regard to dating), the longstanding association of the present book with the initial stages of Turner’s 1841 journey to Switzerland requires some exposition. Although it was not mentioned directly in Finberg’s 1939 Life of Turner, his tentative dating of it in the 1909 Inventory (along with various others 5) to about 1837–41 and his calling it ‘Rotterdam and Rhine’,6 coupled with the Life’s rather fragmentary account of Turner’s route including the city in 1841,7 presumably prompted an ongoing assumption that it was used on an outward journey in the 1840s.

In his 1974 study of Turner’s Rotterdam sketches, Fred Bachrach placed the sketchbook without further comment at ‘Autumn 1841’8 along with the Rotterdam book (Tate; Turner Bequest CCCXXI), since dated by Powell to 1835.9 Andrew Wilton inferred soon afterwards that Bachrach had ‘presumably’ extrapolated from Finberg, while provisionally associating Rotterdam and by implication the present book with the 1840 tour, when Turner in fact confined himself to the Rotterdam to Venice sketchbook (Tate; Turner Bequest CCCXX) for the whole of his outward route,10 as set out elsewhere in the present catalogue.11 In her 1972 doctoral study of Turner’s work along the Rhine (published in 1978), Agnes von der Borch had also regarded the present book as likely associated with 1841,12 while acknowledging that Finberg had not mentioned it explicitly in that context.13 By 1994 Bachrach was suggesting that it and Rotterdam ‘probably belong’ to 1841 or the beginning of the Swiss tour of 1842,14 but by 2001 he had accepted that the other book was used in 1835, placing this one once more at 1841.15

By way of disentangling these shifting propositions, a terminus ante quem for this sketchbook has since been established, owing to its views of the distinctive freestanding column of the 1778 Hofpoort gateway in Rotterdam (see under folio 31 recto; D32601; Turner Bequest CCCXXII 32) which, as van der Meer Mohr has noted, was scheduled for demolition by the city council on 20 September 1833.16 Allowing for a short operational delay, Turner could presumably have seen it still in place early in October 1833, soon after his incidental notes of ‘1 Oct’ and ‘2 Oct’ on folios 58 recto and 1 recto (D32653, D32542; CCCXXII 59, 2) as he neared Rotterdam. Additionally, the Hofpoort is no longer evident near the larger Delftse Poort in the 1835 Rotterdam sketchbook (Tate D32480, D32482; Turner Bequest CCCXXI 19, 20); any later date for the present book thus becomes untenable.

A less certain terminus post quem is provided by the depiction of a steamer trailing smoke near Rotterdam, possibly representing the ‘Platluis’ ferry introduced in 1828, as discussed under folio 35 verso (D32609; CCCXXII 36a). This would preclude Turner’s 1817 tour including Holland and his journey up the Rhine and into Germany only as far as Mainz,17 when the commercial use of such vessels was in any case in its infancy,18 or that of 1825, when Cologne marked the southern-eastern limit of the German leg,19 far short of Augsburg. Since the initial pages of this sketchbook record that city, Turner presumably acquired it locally, as he had done with others throughout the tour once he had filled his only English-made book, Brussels up to Mannheim – Rhine (Tate; Turner Bequest CCXCVI).20 For the present book’s Germanic characteristics and as yet unidentified watermark, see the technical notes below.

On the basis of the preceding discussion, this book covers Turner’s homeward 1833 route from Augsburg (see under folio 1 verso; D32543; CCCXXII 2a) north-westwards to Rotterdam (see under folio 14 recto; D32468; CCCXXII 15), nearly 400 miles as the crow flies, and more like 500 by the most straightforward road and river route; few places between were paid more than passing attention. Although the general itinerary is clear from many identified subjects, particularly as he travelled back down the familiar River Rhine, he worked in somewhat randomly from both ends, rather as he had in Venice up to Trento. This renders some slighter or less distinctive landscapes, towns, castle outlines and river scenes difficult to place. Often there are multiple sketches to a page, with unidentified or generic river scenes sharing space with recognisable views, themselves sometimes from different stages.

There are no firmly identified subjects between Augsburg itself and a loose sketch apparently labelled ‘Worms’, on the Rhine between Mannheim and Mainz (folio 61 recto; D32659; CCCXXII 62). Turner had meanwhile probably largely or wholly retraced his outward steps,21 passing through or near Ulm, along the Neckar Valley via Stuttgart, Heilbronn and Heidelberg (covered particularly comprehensively in the Heidelberg up to Salzburg book: Tate; Turner Bequest CCXCVIII),22 to reach the Rhine around Mannheim. Folios 8 recto and verso (D32556–D32557; CCCXXII 9, 9a) perhaps respectively show a tower at Geislingen and a distinctive hill near Göppingen, between Ulm and Stuttgart.

After a single slight sketch apparently made at Oppenheim, on the Rhine north of Worms (folio 61 verso; D32660; CCCXXII 62a), Turner only took up the book again in earnest after Mainz. Passing west below the Rheingau district, he drew Eltville (folio 60 verso; D32658; CCCXXII 61a) and Schloss Johannisberg (see under folio 60 recto; D32657; CCCXXII 61), before approaching Rüdesheim (see under folio 11 verso; D32563; CCCXXII 12a) and Bingen, showing various aspects of Burg Klopp, the Mäuseturm and Burg Ehrenfels (see under folio 12 verso; D32565; CCCXXII 13a).

After Bingen the river turns north-west, and Turner entered the picturesque reaches of the Middle Rhine once more. He had already made a great many drawings of the castles and other riverside scenes upstream of Cologne in the Brussels up to Mannheim – Rhine book a few weeks before, and his coverage was now more sporadic. There are sketches of Burg Sooneck (folio 57 verso; D32652; CCCXXII 58a) and possibly Bacharach (folio 57 recto; D32651; CCCXXII 58), and a cluster around Kaub (see under folio 55 recto; D32647; CCCXXII 56), Oberwesel (see under folio 54 verso; D32646; CCCXXII 55a) and their castles. Then there is a hiatus before views of the Marksburg (or Marxburg; see under folio 18 verso; D32577; CCCXXII 19a), Schloss Stolzenfels (see under folio 19 recto; D32578; CCCXXII 20) and nearby Burg Lahneck (folio 38 recto; D32614; CCCXXII 39), overlooking the mouth of the River Lahn.

Soon afterwards, the artist reached Coblenz (Koblenz) and the mouth of the Mosel (folio 22 verso; D32585; CCCXXII 23a), but as ever his attention was more taken by the looming Ehrenbreitstein fortress opposite, high above the east bank of the Rhine, of which he made several studies (see under folio 25 recto; D32590; CCCXXII 26). About thirty miles further on, he studied the shifting juxtapositions of Burg Rolandseck, Nonnenwerth and Burg Drachenfels; the latter, on its craggy summit, particularly engaged him this time (see under folio 16 verso; D32573; CCCXXII 17a).

A few miles downstream, after Bonn, Turner entered the Lower Rhine, possibly pausing at Cologne only to make an unusually heavily worked sketch looking over the bridge of boats to the abbey at Deutz (folio 37 recto; D32612; CCCXXII 38), recording a stormy or twilight effect. Neuss and its basilica (folio 30 recto; D32599; CCCXXII 31) came next, with nearby Düsseldorf (folios 25 verso, 26 recto; D32591–D32592; CCCXXII 26a, 27), then apparently one of the two Büderichs (folios 10 verso–11 recto; D32561–D32562; CCCXXII 11a–12) between there and Wesel (folio 49 verso; D32637; CCCXXII 50a), either side of Uerdingen, near Krefeld (folio 37 verso; D32613; CCCXXII 38a).

Downstream of Wesel are the last identified German subjects, Rees and Emmerich (folios 29 verso, 21 verso; D32598, D32583; CCCXXII 30a, 22a), and Turner now continued his river odyssey into the Netherlands. Where the Rhine divides into the Waal and the narrower Nederrijn, he took the latter north-west to Arnhem (see inside the front cover; D32541; CCCXXII 1), then bearing west, past the soaring church tower at Rhenen (folio 49 recto; D32636; CCCXXII 50) and the small castle at Wijk bij Duurstede (folio 48 verso; D32635; CCCXXII 49a). There, the main branch of the river becomes the Lek, along which he next drew Schoonhoven (see under folios 22 recto, 23 recto; D32584, D32586; CCCXXII 23, 24); the Lek in turn ends at the confluence with the Noord, east of Rotterdam, forming the Nieuwe Maas (New Meuse) on which the city stands. Perhaps just before reaching it, he sketched boats on the Hollandse Ijssel River (folios 47 verso–48 recto; D32633–D32634; CCCXXII 48a–49) and at IJsselmonde (folio 57 verso; D32652; CCCXXII 58a).

As noted above, the sketches in and around the city are listed under folio 14 recto (D32468; CCCXXII 15), and constitute the most intensive albeit scattered grouping in this book, with subjects on over thirty pages. Otherwise only Augsburg, covered more systematically in the dozen pages at the beginning which complement numerous other drawings from this tour, received such sustained attention. Nearly thirty more pages comprise or include as yet unrecognised scenes, most being rapid passing sketches along the rivers. Given Turner’s unsystematic working sequence, they do not necessarily relate to adjacent known subjects views. A few of the more distinctive (such as folios 23 recto, 36 verso and 51 verso; D32586, D32611, D32641; CCCXXII 24, 37a, 52a) may yet prove identifiable.

Naturally, many drawings include boats of various types, some particularly prominently or as separate studies (folios 12 verso, 15 verso–16 recto, 32 recto, 36 recto, 47 verso–48 recto, 48 verso, 50 recto, 57 recto; D32565, D32571–D32572, D32603, D32610, D32633–D32634, D32635, D32638, D32651; CCCXXII 13a, 16a–17, 33, 37, 48a–49, 49a, 51, 58). Three feature steamers (folios 35 verso, 53 recto, 61 recto; D32609, D32643, D32659; CCCXXII 36a, 54, 62). Finally, folio 62 recto (D32661; CCCXXII 63) is a scene with numerous figures, possibly taken from a painting, and there are what seem to be two related studies of a young man in an old-fashioned outfit, who may be a student (24 verso, 26 recto; D32589, D32592; CCCXX II 25a, 27).

Turner had been in the Austrian Alps at Innsbruck on 23 September, after leaving Venice a few days before (see the tour’s Introduction), and from there it was not far to Augsburg; he was in the Arnhem area by 2 October (see folio 1 recto; D32542; CCCXXII 2). As discussed in relation to notes on the front cover (D41140), he was back on important business in London by 15 October, presumably having sailed direct from Rotterdam, possibly having lingered there not more than a day or two. This book was thus in use for a relatively brief period, and none of the sketches became direct sources for subsequent watercolours or paintings.

Finberg 1909, II, p.1035.

See Cecilia Powell, Turner in Germany, exhibition catalogue, Tate Gallery, London 1995, pp.35–45, 112–15, 221–30; the present sketchbook is not mentioned in relation to the 1833 tour or otherwise.

Powell 1995, p.44; see also Cecilia Powell, ‘Approaches to Venice’ in Ian Warrell, David Laven, Jan Morris and others, Turner and Venice, exhibition catalogue, Tate Britain, London 2003, p.32.

See Finberg 1909, II, pp.956–1047 for numerous Continental sketchbooks dated c.1837–40, c.1840 or c.1837–41.

Ibid., p.1035.

See Alexander J. Finberg, The Life of J.M.W. Turner, R.A. Second Edition, Revised, with a Supplement, by Hilda F. Finberg, revised ed., Oxford 1961, p.392 for Rotterdam, and p.384, where ‘Holland’ is mentioned along with particular Swiss subjects. The late Swiss tours of 1841–4 remain to be addressed in the present catalogue at time of writing: for more recent brief accounts of the 1841 trip, see Ian Warrell, Through Switzerland with Turner: Ruskin’s First Selection from the Turner Bequest, exhibition catalogue, Tate Gallery, London 1995, p.11, and Wilton 2006, p.242.

Bachrach 1974, p.[79]; followed without further comment in van Beveren and van Sinderen 2001, p.11, and Seibold-Bultmann 2003, p.15.

See Powell 1995, pp.46, 60.

See Wilton 1974, p.160.

See also chronologies in Wilton 1987, p.208 and 2006, p.242, maintaining that this sketchbook and Rotterdam were ‘probably’ both used in 1840.

See von der Borch 1978, pp.70, 93.

Ibid., p.156 note 185.

Bachrach 1994, p.22; but see p.26, where both are given in a checklist as ‘1840’.

See Bachrach 2001, p.270.

See Quirine van der Meer Mohr, ‘Dating J.M.W. Turner: Another Visit to the Netherlands’, Tate Research Feature, February 2014, accessed 2 September 2019, https://www.tate.org.uk/research/features/dating-turner; the date of the decision is mentioned in the integral caption to a postcard from an 1826 watercolour of the gateway by a local artist, D. Moens, imaged as ‘Hofpoort met Zwanengat en Blauwebrug. Rotterdam’, Stadtsarchief Rotterdam, accessed 2 September 2019, http://collecties.stadsarchief.rotterdam.nl/publiek/detail.aspx?xmldescid=398540. The original is in the same collection: ‘Pompenburgsingel. Blauwe Molen en Hofpoort, Galerij’, http://collecties.stadsarchief.rotterdam.nl/publiek/detail.aspx?xmldescid=874498.

See Powell 1995, pp.22, 26.

See Sarah E. Taft, ‘Steamboats’ in Joll, Butlin and Herrmann 2001, p.309.

See Powell 1995, pp.33–4.

See ibid., p.112.

See ibid., pp.37–8, and the map of ‘Turner’s Route to Venice, 1833’, p.37.

See the routes described in John Murray, A Handbook for Travellers in Southern Germany, London 1837, pp.3–10, 24.

Technical notes

Finberg’s 1909 Inventory recorded no watermark 23 in the somewhat unrefined laid paper, but Agnes von der Borch presumably inspected the sketchbook directly in relation to her doctoral study and observed: ‘Von dem Wasserzeichen ist nur der Kopf einem Einhorns sichtbar, das ich in dieser Form mit keinem Firmenzeichen in Verbindung bringen konnte’24 (Of the watermark, only the head of a unicorn is visible, which I could not associate with any trademark in this form). In fact, the whole beast is depicted in a rearing stance, albeit the sheets are folded and trimmed such that the head and front legs appear at the edges of eight leaves (as noted in individual entries), and the corresponding hindquarters and flowing tail along eight more. There are also slight, irregular shapes along other edges which are likely elements of the base of the motif, although no associated lettering or numerals are evident. Compare a cruder version in volumes of Gottfried Lumper’s Historia theologico-critica, published in Augsburg in 1783.25 As discussed above, its contents make it likely that Turner acquired this sketchbook some fifty years later in that city, and the unidentified manufacturer was perhaps the same.

The combination of a paste-paper cover and washed yellow page edges may be compared with the ‘marbled paper covers and garish yellow edge-painting’ of the 1835 Rotterdam sketchbook (Tate; Turner Bequest CCCXXI), which Cecilia Powell noted as ‘point[ing] to a German origin’ according to paper conservator Peter Bower; she mentioned three other books with similarly tinted edges used for German subjects in that year.26 The outer paper covers of the present book are a little rubbed and the dark striated pattern over the mauve base colour is disrupted in places, possibly where the colour has run or been smudged. The front cover (D41140) bears a paper label with notched corners, presumably as purchased.

Finberg recorded the sketchbook’s ‘leather loops for pencil’.27 One such is anchored under the front endpaper at the centre of the fore-edge (D32541; CCCXXII 1), staining it and the first seven or eight leaves within the page block. There are two similar stains towards the corners of the fore-edge inside the back cover (D32663; CCCXXII 64), and corresponding marks to the previous few pages, as would be expected had the book had the standard arrangement of three loops in all, enabling a pencil to be threated through to keep it closed (compare for example the 1835 Dresden sketchbook: Tate; Turner Bequest CCCI). However, as discussed under D32663, there are no other vestiges of loops there, and these discrepancies likely relate to restoration when the Turner Bequest was transferred to the British Museum after the Tate Gallery flood of 1928.

The unorthodox numbering of the pages, with the paste-downs inside the front and back covers included in the sequence instead of beginning as usual with the first free recto as ‘1’, means that the foliation of the leaves between is consistently one out of step with the inked and stamped numbers; both folio and Turner Bequest numbers are thus cited in all cross-references. A full concordance is given below, including notes of just three blank pages.

The first of these blanks, folio 27 recto, is the only further instance of irregularity. As occasionally happens in Finberg’s 1909 Inventory, the drawing on its verso was listed without the customary ‘a’ suffix as Turner Bequest CCCXXII 28.28 When Tate accession numbers were assigned it was initially designated D32594, with the recto as D32593, but the lower number was subsequently favoured and the other cancelled, hence the gap in the overall ‘D’ sequence.

Folio	Tate	Turner Bequest
Front Cover	D41140	-
Inside Front Cover	D32541	CCCXXII 1
1 Recto	D32542	CCCXXII 2
1 Verso	D32543	CCCXXII 2a
2 Recto	D32544	CCCXXII 3
2 Verso	D32545	CCCXXII 3a
3 Recto	D32546	CCCXXII 4
3 Verso	D32547	CCCXXII 4a
4 Recto	D32548	CCCXXII 5
4 Verso	D32549	CCCXXII 5a
5 Recto	D32550	CCCXXII 6
5 Verso	D32551	CCCXXII 6a
6 Recto	D32552	CCCXXII 7
6 Verso	D32553	CCCXXII 7a
7 Recto	D32554	CCCXXII 8
7 Verso	D32555	CCCXXII 8a
8 Recto	D32556	CCCXXII 9
8 Verso	D32557	CCCXXII 9a
9 Recto	D32558	CCCXXII 10
9 Verso	D32559	CCCXXII 10a
10 Recto	D32560	CCCXXII 11
10 Verso	D32561	CCCXXII 11a
11 Recto	D32562	CCCXXII 12
11 Verso	D32563	CCCXXII 12a
12 Recto	D32564	CCCXXII 13
12 Verso	D32565	CCCXXII 13a
13 Recto	D32566	CCCXXII 14
13 Verso	D32567	CCCXXII 14a
14 Recto	D32568	CCCXXII 15
14 Verso	D32569	CCCXXII 15a
15 Recto	D32570	CCCXXII 16
15 Verso	D32571	CCCXXII 16a
16 Recto	D32572	CCCXXII 17
16 Verso	D32573	CCCXXII 17a
17 Recto	D32574	CCCXXII 18
17 Verso	D32575	CCCXXII 18a
18 Recto	D32576	CCCXXII 19
18 Verso	D32577	CCCXXII 19a
19 Recto	D32578	CCCXXII 20
19 Verso	D32579	CCCXXII 20a
20 Recto	D32580	CCCXXII 21
20 Verso	D32581	CCCXXII 21a
21 Recto	D32582	CCCXXII 22
21 Verso	D32583	CCCXXII 22a
22 Recto	D32584	CCCXXII 23
22 Verso	D32585	CCCXXII 23a
23 Recto	D32586	CCCXXII 24
23 Verso	D32587	CCCXXII 24a
24 Recto	D32588	CCCXXII 25
24 Verso	D32589	CCCXXII 25a
25 Recto	D32590	CCCXXII 26
25 Verso	D32591	CCCXXII 26a
26 Recto	D32592	CCCXXII 27
27 Recto	-	blank
27 Verso	D32593	CCCXXII 28
28 Recto	D32595	CCCXXII 29
28 Verso	D32596	CCCXXII 29a
29 Recto	D32597	CCCXXII 30
29 Verso	D32598	CCCXXII 30a
30 Recto	D32599	CCCXXII 31
30 Verso	D32600	CCCXXII 31a
31 Recto	D32601	CCCXXII 32
31 Verso	D32602	CCCXXII 32a
32 Recto	D32603	CCCXXII 33
32 Verso	D32604	CCCXXII 33a
33 Recto	D32605	CCCXXII 34
33 Verso	D32606	CCCXXII 34a
34 Recto	D32607	CCCXXII 35
34 Verso	-	blank
35 Recto	D32608	CCCXXII 36
35 Verso	D32609	CCCXXII 36a
36 Recto	D32610	CCCXXII 37
36 Verso	D32611	CCCXXII 37a
37 Recto	D32612	CCCXXII 38
37 Verso	D32613	CCCXXII 38a
38 Recto	D32614	CCCXXII 39
38 Verso	D32615	CCCXXII 39a
39 Recto	D32616	CCCXXII 40
39 Verso	D32617	CCCXXII 40a
40 Recto	D32618	CCCXXII 41
40 Verso	D32619	CCCXXII 41a
41 Recto	D32620	CCCXXII 42
41 Verso	D32621	CCCXXII 42a
42 Recto	D32622	CCCXXII 43
42 Verso	D32623	CCCXXII 43a
43 Recto	D32624	CCCXXII 44
43 Verso	D32625	CCCXXII 44a
44 Recto	D32626	CCCXXII 45
44 Verso	D32627	CCCXXII 45a
45 Recto	D32628	CCCXXII 46
45 Verso	D32629	CCCXXII 46a
46 Recto	D32630	CCCXXII 47
46 Verso	D32631	CCCXXII 47a
47 Recto	D32632	CCCXXII 48
47 Verso	D32633	CCCXXII 48a
48 Recto	D32634	CCCXXII 49
48 Verso	D32635	CCCXXII 49a
49 Recto	D32636	CCCXXII 50
49 Verso	D32637	CCCXXII 50a
50 Recto	D32638	CCCXXII 51
50 Verso	D32639	CCCXXII 51a
51 Recto	D32640	CCCXXII 52
51 Verso	D32641	CCCXXII 52a
52 Recto	D32642	CCCXXII 53
52 Verso	-	blank
53 Recto	D32643	CCCXXII 54
53 Verso	D32644	CCCXXII 54a
54 Recto	D32645	CCCXXII 55
54 Verso	D32646	CCCXXII 55a
55 Recto	D32647	CCCXXII 56
55 Verso	D32648	CCCXXII 56a
56 Recto	D32649	CCCXXII 57
56 Verso	D32650	CCCXXII 57a
57 Recto	D32651	CCCXXII 58
57 Verso	D32652	CCCXXII 58a
58 Recto	D32653	CCCXXII 59
58 Verso	D32654	CCCXXII 59a
59 Recto	D32655	CCCXXII 60
59 Verso	D32656	CCCXXII 60a
60 Recto	D32657	CCCXXII 61
60 Verso	D32658	CCCXXII 61a
61 Recto	D32659	CCCXXII 62
61 Verso	D32660	CCCXXII 62a
62 Recto	D32661	CCCXXII 63
62 Verso	D32662	CCCXXII 63a
Inside Back Cover	D32663	CCCXXII 64

See Finberg 1909, II, p.1035.

Von der Borch 1978, p.162 note 235.

See images at ‘The find of the week – January’ (2016), Bookish Things to think about, accessed 10 July 2019, https://theboxgirl.wordpress.com/2016/01/16/the-find-of-the-week-january/.

Powell 1995, p.80 note 122; see also p.60.

Finberg 1909, II, p.1035.

Ibid., p.1036.

Matthew Imms and Quirine van der Meer Mohr
November 2019

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Joseph Mallord William Turner

Inscription by Turner: A Name and Travel Notes 1833

Rotterdam and Rhine sketchbook

D41140
Joseph Mallord William Turner

Inscriptions by Turner: Travel Notes and Figures; River … 1833

Rotterdam and Rhine sketchbook

D32541
Joseph Mallord William Turner

Inscriptions by Turner: Travel Notes and Figures; River … 1833

Rotterdam and Rhine sketchbook

D32542
Joseph Mallord William Turner

Augsburg Cathedral across the Fronhof, from near the … 1833

Rotterdam and Rhine sketchbook

D32543
Joseph Mallord William Turner

The Eastern Walls of Augsburg, with the Oblattertor 1833

Rotterdam and Rhine sketchbook

D32544
Joseph Mallord William Turner

The Eastern Walls of Augsburg, with the Spires of the … 1833

Rotterdam and Rhine sketchbook

D32545
Joseph Mallord William Turner

The Eastern Walls of Augsburg, with the Oblatterwall Bastion 1833

Rotterdam and Rhine sketchbook

D32546
Joseph Mallord William Turner

The Eastern Walls of Augsburg, with the Lower Sankt-Jakobs … 1833

Rotterdam and Rhine sketchbook

D32547
Joseph Mallord William Turner

The Fünfgratturm and Eastern Walls of Augsburg, with the … 1833

Rotterdam and Rhine sketchbook

D32548
Joseph Mallord William Turner

The Jakobertor and Eastern Walls of Augsburg, with the … 1833

Rotterdam and Rhine sketchbook

D32549
Joseph Mallord William Turner

The Eastern Walls of Augsburg, with the Jakoberwallturm, the … 1833

Rotterdam and Rhine sketchbook

D32550
Joseph Mallord William Turner

The Eastern Walls of Augsburg, with the Vogeltor 1833

Rotterdam and Rhine sketchbook

D32551
Joseph Mallord William Turner

The Eastern Walls of Augsburg, ?with the Vogeltor in the … 1833

Rotterdam and Rhine sketchbook

D32552
Joseph Mallord William Turner

The East End of the Church of SS. Ulrich and Afra, Augsburg 1833

Rotterdam and Rhine sketchbook

D32553
Joseph Mallord William Turner

The North Side of the Catholic Church of SS. Ulrich and Afra … 1833

Rotterdam and Rhine sketchbook

D32554
Joseph Mallord William Turner

Mountains ?between Ulm and Stuttgart 1833

Rotterdam and Rhine sketchbook

D32555
Joseph Mallord William Turner

?The Ödenturm above Geislingen an der Steige, with the Ruins … 1833

Rotterdam and Rhine sketchbook

D32556
Joseph Mallord William Turner

?The Hohenstaufen Hill, near Göppingen 1833

Rotterdam and Rhine sketchbook

D32557
Joseph Mallord William Turner

A Castle Overlooking a Church Spire; a Tower on a Hill 1833

Rotterdam and Rhine sketchbook

D32558
Joseph Mallord William Turner

A Church Spire in a Valley; Studies of Towers; the Towers of … 1833

Rotterdam and Rhine sketchbook

D32559
Joseph Mallord William Turner

Mountain Valleys with Distant Buildings; Buildings or Ruins 1833

Rotterdam and Rhine sketchbook

D32560
Joseph Mallord William Turner

Hilly Views, Perhaps on the River Rhine; ?Büderich, near … 1833

Rotterdam and Rhine sketchbook

D32561
Joseph Mallord William Turner

Hilly Views, Perhaps on the River Rhine; ?Büderich, near … 1833

Rotterdam and Rhine sketchbook

D32562
Joseph Mallord William Turner

Rüdesheim from the River Rhine, with the Mäuseturm … 1833

Rotterdam and Rhine sketchbook

D32563
Joseph Mallord William Turner

Rüdesheim from the River Rhine, with the Boosenburg and … 1833

Rotterdam and Rhine sketchbook

D32564
Joseph Mallord William Turner

The Ruins of Burg Klopp from the River Rhine, with Bingen … 1833

Rotterdam and Rhine sketchbook

D32565
Joseph Mallord William Turner

Bingen from the River Rhine, with the Mäuseturm and Burg … 1833

Rotterdam and Rhine sketchbook

D32566
Joseph Mallord William Turner

Bingen and Burg Klopp from the River Rhine, with the Mouth … 1833

Rotterdam and Rhine sketchbook

D32567
Joseph Mallord William Turner

The Oude Haven, Rotterdam, with the Ooster Oude Hoofdpoort, … 1833

Rotterdam and Rhine sketchbook

D32568
Joseph Mallord William Turner

Views on the River Rhine, with Schloss Johannisberg; a … 1833

Rotterdam and Rhine sketchbook

D32569

Showing 1 - 30 of 123 artworks

How to cite

Matthew Imms and Quirine van der Meer Mohr, ‘Rotterdam and Rhine Sketchbook 1833’, sketchbook, November 2019, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, March 2023, https://www.tate.org.uk/art/research-publications/jmw-turner/rotterdam-and-rhine-sketchbook-r1204005, accessed 17 May 2024.

Galleries

J.M.W. Turner: Sketchbooks, Drawings and Watercolours