Joseph Mallord William Turner Cochem on the River Mosel, from the South-East 1840
Joseph Mallord William Turner 1775–1851
Cochem on the River Mosel, from the South-East 1840
D28950
Turner Bequest CCXCII 3
Turner Bequest CCXCII 3
Pencil, watercolour and gouache on grey wove paper, 141 x 191 mm
Blind-stamped with Turner Bequest monogram towards bottom right
Stamped in black ‘CCXCII – [3]’ bottom right, suffix largely lost at edge
Blind-stamped with Turner Bequest monogram towards bottom right
Stamped in black ‘CCXCII – [3]’ bottom right, suffix largely lost at edge
Accepted by the nation as part of the Turner Bequest 1856
Exhibition history
1904
National Gallery, London, various dates to at least 1904 (729, as ‘Cochem, on the Moselle (colour on grey)’).
1995
Turner in Germany, Tate Gallery, London, May–September 1995, Städtische Kunsthalle Mannheim, September 1995–January 1996, Hamburger Kunsthalle, Hamburg, January–March 1996 (70, as ‘Cochem from the South’, 1840, reproduced in colour).
2004
Turner and Williamson / In the Haze: Watercolours by Turner and Williamson, Tate Britain, London, January–May 2004, Lady Lever Art Gallery, Port Sunlight, June–August 2004 (no catalogue; exhibited in London only).
References
1904
E.T. Cook and Alexander Wedderburn eds., Library Edition: The Works of John Ruskin: Volume XIII: Turner: The Harbours of England; Catalogues and Notes, London 1904, p.640 no.729, as ‘Cochem, on the Moselle (colour on grey)’.
1834
A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.II, p.937, CCXCII 3, as ‘Cochem, on the Moselle. Exhibited Drawings, No.729, N.G.’, c.1834.
1995
Cecilia Powell, Turner in Germany, exhibition catalogue, Tate Gallery, London 1995, pp.132 under no.52, 145 under no.67, 147 no.70, as ‘Cochem from the South’, 1840, reproduced in colour.
In the 1909 Inventory Finberg was hesitant about the established identification,1 but Cecilia Powell has confirmed Cochem as the subject;2 the view is north-west down the River Mosel from the outer bank of the bend leading to the town from Sehl. High above to the left of centre is the ruin of the castle, since heavily restored with a forest of turrets and generally known as the Reichsburg, with the St Roch (Sankt Rochus) plague chapel picked out in white below to the left. On the distant skyline beyond the town and the steep Pinnerberg is the ruin of the Winneburg castle, also seen in a related view (Tate D29020; Turner Bequest CCXCII 69).
Powell has noted the similarities between this subject and that of an 1839 blue paper gouache (D28986; CCXCII 39), ‘though Turner’s viewpoint is now the left bank rather than in mid-river.’3 The much slighter pencil drawing on the verso here (D41477) may show a church on the river in the vicinity; there is a slight pencil variation of the present view on D41474 (CCXCII 27v), the verso of another Cochem view. Other contemporary studies are D28963, D28974, D28987, D28992, D41476 and D29000 (CCXCII 16, 27, 40, 45, 45v, 51).
See also the 1824 Rivers Meuse and Moselle sketchbook (Tate D19792–D19796; Turner Bequest CCXVI 121–123), the 1839 First Mossel and Oxford book (D28295–D28296, D28318–D28319; CCLXXXIX 3, 3a, 14a, 15), the Trèves to Cochem and Coblenz to Mayence book of the same year (D28357–D28363, D28422; CCXC 4–7, 36a) and the Cochem to Coblenz – Home book, again of 1839 (D28540–D28549, D41217; CCXCI 2–7).
There are several gouache studies on blue paper associated with the 1839 tour, some with ‘very similar viewpoints’ to those of 18404 (Tate D20238, D20253, D24723, D24725, D24806; Turner Bequest CCXXI E, T, CCLIX 158, 160, 241), another of as yet unconfirmed subject and date (D28948; CCXCII 1), and a further blue paper sheet linked to 1839 in the Indianapolis Museum of Art.5
For the full range of Mosel subjects associated with the present tour, see the Introduction to this subsection.
For the full range of Mosel subjects associated with the present tour, see the Introduction to this subsection.
Technical notes:
Additional pencil work has strengthened details here and there over the colour. White gouache highlights have been added in both thick strokes and more fluid washes.
Cecilia Powell has noted this as one of the many sheets of grey 1829 Bally, Ellen and Steart paper used on Turner’s 1840 tour, neatly torn as eighths or sixteenths of the overall sheet, with dimensions of around 190 x 280 or 140 x 190 mm, and variously worked with pencil, watercolour and gouache; see the technical notes in the overall Introduction for others.1
Matthew Imms
September 2018
How to cite
Matthew Imms, ‘Cochem on the River Mosel, from the South-East 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