Joseph Mallord William Turner The Chateau d'Argent, above Villeneuve, Val d'Aosta, with Mount Emilius c.1803
Joseph Mallord William Turner 1775–1851
The Chateau d’Argent, above Villeneuve, Val d’Aosta, with Mount Emilius c.1803
D04895
Turner Bequest LXXX B
Turner Bequest LXXX B
Pencil and watercolour with stopping out on white wove paper, partly prepared with a grey wash, 200 x 273 mm
Stamped in black ‘LXXX B’ bottom right
Blind-stamped with the Turner Bequest monogram within drawn area, towards bottom right
Stamped in black ‘LXXX B’ bottom right
Blind-stamped with the Turner Bequest monogram within drawn area, towards bottom right
Accepted by the nation as part of the Turner Bequest 1856
Exhibition history
1857
?Marlborough House, London, 1857 (27 II, as ‘Castle of Aosta’).
1878
National Gallery, London, various dates from 1878 to 1904 (542b, as ‘Castle of Aosta’).
1985
Turner Abroad: France; Italy; Germany; Switzerland, National Gallery of Victoria, Melbourne, May–June 1985, Queensland Art Gallery, Brisbane, July–August 1985, Art Gallery of New South Wales, Sydney, September–October 1985 (8).
1989
Turner: The Second Decade: Watercolours and Drawings from the Turner Bequest 1800–1810, Tate Gallery, London, January–March 1989 (13).
1998
Turner in the Alps 1802, Tate Gallery, London, November 1998–February 1999, Fondation Pierre Gianadda, Martigny, March–June 1999 (42, as ‘The Chateau d’Argent, above Villeneuve, Val d’Aosta, with Mt Emilius’).
References
1862
Walter Thornbury, The Life of J.M.W. Turner, R.A. Founded on Letters and Papers Furnished by his Friends and Fellow-Academicians, London 1862 [1861], p.389 as ‘Castle of Aosta ... Water Colour’.
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, pp.263, 634, as ‘Castle of Aosta’.
1909
A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.I, p.212, LXXX B.
1982
Andrew Wilton, Turner Abroad: France; Italy; Germany; Switzerland, London 1982, p.34 reproduced in colour Pl.8.
1985
Andrew Wilton, Turner Abroad: France; Italy; Germany; Switzerland, exhibition catalogue, National Gallery of Victoria, Melbourne 1985, p.34 reproduced in colour Pl.8.
1989
Robert Upstone, Turner: The Second Decade: Watercolours and Drawings from the Turner Bequest 1800–1810, exhibition catalogue, Tate Gallery, London 1989, p.23 reproduced.
1992
David Hill, Turner in the Alps: The Journey through France & Switzerland in 1802, London 1992, pp.78 reproduced in colour, 169, as ‘Château d’Argent, above Villeneuve, Val d’Aosta, from the road to Fort Roch’.
1998
David Blayney Brown, Turner in the Alps 1802, exhibition catalogue, Tate Gallery, London 1998, pp.128–9 reproduced in colour as ‘The Chateau d’Argent, above Villeneuve, Val d’Aosta’.
1999
David Blayney Brown, Turner et les Alpes 1802, exhibition catalogue, Fondation Pierre Gianadda, Martigny 1999, pp.128–9 reproduced in colour.
2000
David Hill, Joseph Mallord William Turner: Le Mont-Blanc et la Vallée d’Aoste, exhibition catalogue, Museo Archeologico Regionale, Aosta / Musée Archéologique Régional, Aoste 2000, pp.79, 283.
2002
Lawrence Gowing, ‘Turner’s First Continental Tour in 1802’, Turner Society News, no.91, August 2002, pp.7, 11 note 8; reprint of 1975 lecture.
Probably an unfinished watercolour rather than a preparatory colour study, this is based on a monochrome drawing in the Grenoble sketchbook (Tate D04500; Turner Bequest LXXIV 8), itself worked up from a first sketch made in the same book (Tate D40200) as Turner travelled in 1802. A label inscribed by Turner ‘Chateau de Aoust’ must have been attached to the monochrome when it was mounted in an album compiled by the artist, and accounted for the titles used when the watercolour and monochrome were exhibited together in the early Turner display at Marlborough House. As observed by David Hill, the building is the Château d’Argent, seen as Turner approached Villeneuve in the Val d’Aosta from the Fort Roch road. The towers of the castle are silhouetted against the snowy slopes of Mount Emilius.
The monochrome drawing is classically composed, framed by trees on both sides, and includes a flock of sheep in the foreground. In the watercolour, Turner kept only the trunks of the left-hand trees and omitted most of the sheep. In Paris on his way home from the Alps in 1802, he told Joseph Farington that ‘The weather was very fine’1 and although painted from memory the watercolour vividly conveys a sunlit day with clear, crystalline air and snow sparkling on the mountain top. These effects survive despite considerable fading, not least because the highlights are made by stopping out or leaving the white paper exposed.
Ruskin’s Marlborough House catalogue entry for this work is highly critical:
This drawing, which I found in another parcel, is placed with the pencil study [D04500] of which it is the amplification, that it may be seen how much the painter was yet hampered by old rules and formal precedents. He is still trying to tame the Alps into submission to Richard Wilson; but finds the result unsatisfactory, and leaves it unfinished.
But I am much puzzled by the feebleness of the drawing, and could almost imagine it a pupil’s copy from one of Turner’s. The laying in of the clouds, however, cannot but be his; and it is to be noted in general, that while, during his first period, his handling was bold both in pencil and oil-colour, his water-colours were frequently delicate, and even, in the present instance, timid, in the extreme.2
Technical notes:
The paper is without watermark.
The watercolour has been made within a rough border, without ruled outlines; the border is washed grey but the image is worked over the original white ground, allowing for stopping out of white highlights. Splashes of colour in the right-hand border seem to be random, rather than colour trials. There is a repair at lower left.
David Blayney Brown
January 2012
How to cite
David Blayney Brown, ‘The Chateau d’Argent, above Villeneuve, Val d’Aosta, with Mount Emilius c.1803 by Joseph Mallord William Turner’, catalogue entry, January 2012, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, September 2014, https://www