Würzburg, Rhine and Ostend Sketchbook 1840

Matthew Imms

Würzburg, Rhine and Ostend Sketchbook 1840

Entry
Artworks

D30460–D30488, D30490, D30492–D30538, D30540–D30596, D30598–D30632, D41128–D41130

Turner Bequest CCCIII 1–89

Sketchbook bound in boards, covered in paper marbled in browns; flap extending from fore-edge of front cover, folding round page block and much of back cover, where its tongue slots into corresponding integral loop; black cloth pencil loop mounted inside front cover at hinge of flap; bellows-type pocket under front paste-down (D41128)
90 leaves and paste-downs of flecked pale blue laid paper, all edges mottled in red; page size 170 x 104 mm
Possibly made by Roedter or Gossler families at Neustadt an der Weinstrasse, Rhineland-Palatinate (Rheinland-Pfalz); various leaves watermarked partially with Tree of Liberty and countermarked with indecipherable maker’s name
Numbered 314 as part of the Turner Schedule in 1854 and endorsed by the Executors of the Turner Bequest inside front cover (D41128)
Blind-stamped with Turner Bequest monogram on front cover, towards top left

Accepted by the nation as part of the Turner Bequest 1856

Exhibition history

References

This sketchbook, used over the course of a few days over late September and likely early October 1840, covers the last leg of Turner’s long homeward journey since leaving Venice on 3 September. Its modern title neatly encapsulates the largely straightforward three-stage aspect of its contents, as recognised by Finberg, albeit his 1909 Inventory listed its contents back-to-front,1 calling it the ‘Ostend, Rhine and Würzburg Sketch Book’, dated speculatively to about 1837–40 2 along with several other Continental books. At some stage he made a note to himself that it rightly belonged ‘Prbly after Coburg | return Sept 1840’.3 Turner also seems to have used it briefly once he returned to England.

Finberg recorded John Ruskin’s customary brief endorsement on a separate wrapper (since lost): ‘314. Augsburg. Some fine things; not worth dividing.’4 It is unclear which drawing(s) Ruskin identified as showing the Bavarian city, which Turner bypassed in 1840; he had however drawn its streets and onion-domed spires in his 1833 Heidelberg up to Salzburg and Venice up to Trento sketchbooks (Tate D29930, D31725; CCXCVIII 59, CCCXII 65a). In his 1994 checklist of ‘Turner’s Sketchbooks with Dutch Place Names’, the Dutch scholar Fred Bachrach dated the present book to 1839 without further comment, placing it in the same year as Brussels up to Mannheim – Rhine (Tate; Turner Bequest CCXCVI; since redated to 1833).5 Other scholars have related it to German material of 1835 6 or 1839 7 (see also the end of this Introduction), but its place at the conclusion of the 1840 itinerary and thus its current title were subsequently confirmed by Cecilia Powell.8

Since Venice, Turner’s itinerary had encompassed Trieste, Vienna, the River Danube, Passau, Regensburg, Bamberg and Coburg, where his own notes place him on Sunday 20 September; he had rounded off the somewhat congested Venice; Passau to Würzburg sketchbook (the last of three similar hardbacked books acquired on his outward journey)9 with a single drawing from his central Würzburg hotel, the Wittelsbacher Hof (Tate D31376; Turner Bequest CCCX 51), where his stay was recorded in the Neue Würzburger Zeitung of 23 September.10 Powell has noted that the present book may have been bought locally, as its paper was likely of ‘south German origin’11 (see the technical notes). The artist began using it with a thorough survey of the picturesque city, across the River Main from the imposing Marienberg fortress, over nearly forty continuous pages, likely working in consistently from the ‘back’ cover; see under folio 72 verso (D30596; CCCIII 71).12 What appears to be the waxing moon in one quick study (folio 73 verso; D30599; CCCIII 72a) suggests that he lingered for a few days.

Powell has concisely encapsulated the next phase, when the artist rapidly filled the second and third quarters of the book: ‘After Würzburg Turner headed for home, using the familiar route of the Rhine between Mainz [about eighty miles to the west] and Cologne. He almost certainly travelled by steamer, as on the Danube, sketching most of the well-known sights perfunctorily as he passed.’13 Turner had thoroughly explored this stretch of the Rhine in 1817, travelled all or part of it again in 1824, 1833, 1835 and 1839, and would continue to do so on his Swiss tours of the early 1840s.14 See also an independent sequence of Rhine pencil studies on both sides of sheets of grey paper, likely drawn as Turner passed upriver on the outward leg of the present tour (Tate D33899–D33914; Turner Bequest CCCXLI 194–209; of which D33903, D33904 and D33906 are blank).

After a few pages of indefinite landscape and river studies (folios 69 verso–71 recto; D30592–D30595; CCCIII 68a–70), the main sequence begins around Bingen, about twenty miles down the river west of Mainz, and runs roughly eighty miles north-westwards to Bonn. The landmarks on both banks, largely first identified by Powell,15 are listed here in the approximate order they would have been encountered, with reference to a single or key view in each case. Drawings made on other occasions are noted under individual entries:

the Rochuskapelle, near Bingen: see under folio 64 verso (D30582; CCCIII 63a); Burg Klopp: 67 verso (D30588; CCCIII 66a); Bingen: 65 recto (D30583; CCCIII 64); the Mäuseturm and Burg Ehrenfels: 64 verso (D30582; CCCIII 63a); Burg Rheinstein, Burg Reichenstein and the Klemenskapelle: 62 verso (D30578; CCCIII 61a); Burg Sooneck: 61 verso (D30576; CCCIII 60a); the Heimburg and Niederheimbach: 61 recto (D30575; CCCIII 60); Lorch and Burg Nollig: 60 verso (D30574; CCCIII 59a); Rheindiebach: 60 recto (D30573; CCCIII 59); Burg Fürstenberg: 59 recto (D30572; CCCIII 58); Burg Stahleck: 58 verso (D30571; CCCIII 57a); Bacharach: 57 recto (D30568; CCCIII 56); the Pfalz: 55 verso (D30565; CCCIII 54a); Kaub and Burg Gutenfels: 54 verso (D30563; CCCIII 53a); the Schönburg and Oberwesel: 52 recto (D30558; CCCIII 51); the Lorelei: 51 verso (D30557; CCCIII 50a); Burg Katz: 50 verso (D30555; CCCIII 49a); Sankt Goar: 49 verso (D30553; CCCIII 48a); Burg Rheinfels: 49 recto (D30552; CCCIII 48); Burg Maus: 47 recto (D30548; CCCIII 46); Wellmich: 48 recto (D30550; CCCIII 47); Hirzenach: 46 verso (D30547; CCCIII 45a); Burg Sterrenberg and Burg Liebenstein (the ‘Hostile Brothers’), and Bornhofen: 43 verso (D30541; CCCIII 42a); Boppard: 43 recto (D30540; CCCIII 42); the Marksburg and Braubach: 42 verso (D30538; CCCIII 41); Rhens: 41 verso (D30537; CCCIII 40a); Kapellen: 40 verso (D30535; CCCIII 39a); Schloss Stolzenfels, opposite Oberlahnstein (now part of Lahnstein), Burg Lahneck and the mouth of the River Lahn: 39 recto (D30532; CCCIII 38); Niederlahnstein (now also part of Lahnstein): 39 verso (D30533; CCCIII 38a); Ehrenbreitstein, opposite Coblenz: 39 recto (D30532; CCCIII 38)

See also two contemporary colour studies of Ehrenbreitstein on grey paper (Tate D28957, D28979; Turner Bequest CCXCII 10, 32). North of the confluence with the Mosel there, the Rhine survey continues after about ten miles:

Weissenthurm: folio 38 verso (D30531; CCCIII 37a); Neuwied: 36 verso (D30527; CCCIII 35a); Andernach: 35 recto (D30524; CCCIII 34); Hammerstein: 33 recto (D30520; CCCIII 32); Linz: 32 recto (D30518; CCCIII 31); the Erpeler Lei and Erpel: folios 29 recto, 31 recto and verso (D30512, D30516–D30517; CCCIII 28, 30, 30a); Remagen and the Apollinaris Chapel: see under 29 recto (D30512; CCCIII 28); Unkel: 28 recto and verso: D30510–D30511; CCCIII 27, 27a); Rolandseck and the Drachenfels: see under 23 recto (D30500; CCCIII 22); Nonnenwerth: see under 25 verso (D30505; CCCIII 24a); the Godesburg, near Bonn: 22 verso (D30499; CCCIII 21a); Cologne: 21 verso (D30497; CCCIII 20a)

See also an unidentified view of Rhine castles on folio 12 recto (D30479; CCCIII 11); the river may also be shown inside the front cover (D41128). There is little to indicate Turner’s route of approaching 200 miles from Cologne westwards to the coast through Belgium,16 except for two quick urban studies on folio 3 recto and verso (D30454–D30465) featuring the soaring cathedral tower at Mechelen (Malines), north of Brussels and south of Antwerp. The relevant John Murray guidebook of 1840 noted that the ‘Railroad now takes the place of all other channels of conveyance’ via a network across Belgium to and from Ostend,17 Mechelen being ‘the point of concentration at which all these lines meet.’18 The Cologne to Liège line was only ‘begun’ by then,19 but Turner could have boarded a train at Liège after travelling by road through Aachen (Aix-la-Chapelle).

At any event, the remaining quarter of the book is largely taken up with mostly rather slight views at Ostend itself, its piers and lighthouse (familiar from previous tours) and the adjacent, unspectacular coast, likely beginning with folio 22 recto (D30498; CCCIII 21); see under folio 1 recto (D30460), where various subsequent watercolours and an 1844 oil painting are discussed.20

Murray’s 1840 guide noted two return London-Ostend steamers per week, but also four return services by ‘Post-office steam-packets’ to Dover which, at eight hours, took about half the time at sea.21 That option seems likeliest given several somewhat indistinct sketches in a gap in the Ostend sequence, suggested here as views of Dover Castle from the sea, horses and carriages on the beach there, the castle from inland, and the coastal castle at Deal, to the north-east (folios 12 verso–14 recto; D30480–D30483; CCCIII 11a–13, with the subjects again in reverse of the numbered sequence). This suggests that Turner was initially heading for brief respite at his customary seaside base, Margate, at the north-eastern tip of Kent (see the Introduction to this catalogue’s ‘Margate, London and Surrey c.1829–45’ section). From there, he could have taken a steamer up the Thames and home to London, where he was attending to correspondence on Wednesday 7 October; he ‘should have answered ... sooner, but [had] only arrived from Venice a few hours’.22

See Powell 1995, p.244.

Finberg 1909, II, p.978; see Powell 1995, p.81 note 14.

Undated MS note by Finberg (died 1939) in interleaved copy of Finberg 1909, Prints and Drawings Room, Tate Britain, II, opposite p.978.

Finberg 1909, II, p.978.

See Bachrach 1994, p.26.

See von der Borch 1978, pp.67, 69, 91, 154 note 171, 155 note 181.

See Gage 1980, p.174 note 1, and Wilton 1987, p.207, revised to 1840 in Wilton 2006, p.242.

See Powell 1995, pp.72, 144–5.

See ibid., p.66.

See ibid., pp.72, 82 note 68.

See ibid., p.144.

See also ibid., pp.72, 82 note 69, pp.174, 176.

Powell 1995, p.72; see also p.82 note 70, and p.145.

See Cecilia Powell, ‘Rhine’ in Evelyn Joll, Martin Butlin and Luke Herrmann (eds.), The Oxford Companion to J.M.W. Turner, Oxford 2001, pp.261–2.

See Powell 1995, pp.245–6.

See ibid., p.72.

John Murray, A Handbook for Travellers on the Continent, London 1840, p.114.

Ibid., p.90.

Ibid.

See also Powell 1995, pp.72, 82 note 71, p.144, Feather 2010, p.200, and Mac Nally 2012, p.106.

See Murray 1840, p.113.

Turner to George Cobb, Gage 1980, p.180 letter no.238; see also Powell 1995, p.72, and Cecilia Powell in Ian Warrell, David Laven, Jan Morris and others, Turner and Venice, exhibition catalogue, Tate Britain, London 2003, pp.33, 261 note 28.

Technical notes

Finberg described the book’s construction as ‘like a banker’s pass book’;23 when fully opened, the flap which tucks into the corresponding loop flush with the middle of the back cover extends 115 mm out from the fore-edge; it is lined with what appears to be the laid paper used for the pages.

Paper conservator Peter Bower has discussed its likely origins in detail;24 comparison with an 1820s sheet in his collection suggests that the manufacturer may have been Ludwig Roedter, of Neustadt an der Weinstrasse, Rhineland-Palatinate (Rheinland-Pfalz), about sixty miles from Würzburg where Turner first used it, or the Gossler family, also of Neustadt. Their ready-made ledgers, registers and notebooks were widely distributed in Germany over many years, and the brown marbled cover is typical of their products. Bower noted the pages as of ‘Flecked pale blue double-faced laid paper’, noting that its slight ‘blueness ... appears quite deliberate’,25 possibly to make it superficially more attractive, since it ‘has a very poor formation, very variable finish and weight, and possibly straw and other non-rag included in the furnish’.26 In normal light the paper appears somewhat time-stained and off-white with occasional irregular areas bluish by contrast, but Bower’s description has been adopted in the pre-prose of individual entries.27

The Tree of Liberty watermark is characteristic of southern Germany, going back to the Revolutionary era of the late eighteenth century, suggesting ‘the paper was old stock, or that it had been made on a relatively old mould’.28 Turner presumably acquired this slightly eccentric book more by necessity than design at this late stage of the tour.

A concordance is necessary after folio 9, owing to an unnumbered and incomplete leaf at that point, which Finberg noted as ‘partly torn’,29 about a third being missing either through a production fault or having been actively ripped away since. From the recto, the missing portion measured 122 mm upwards from the bottom right corner, and 60 mm inwards along the bottom edge, extending to 70 mm within its overall 170 x 104mm. The paper is otherwise blank and unblemished on both sides.

Folio	Tate	Turner Bequest
9 Recto	D30476	CCCIII 9
9 Verso	D30477	CCCIII 9a
10 (blank, torn)	-	-
11 Recto	D30478	CCCIII 10
12 Recto	D30479	CCCIII 11
12 Verso	D30480	CCCIII 11a
13 Recto	D30481	CCCIII 12
13 Verso	D30482	CCCIII 12a
14 Recto	D30483	CCCIII 13
14 Verso	D30484	CCCIII 13a
15 Recto	D30485	CCCIII 14
15 Verso	D30486	CCCIII 14a
16 Recto	D30487	CCCIII 15
17 Verso	D30488	CCCIII 16
18 Verso	D30490	CCCIII 17
19 Recto	D30492	CCCIII 18
19 Verso	D30493	CCCIII 18a
20 Recto	D30494	CCCIII 19
20 Verso	D30495	CCCIII 19a
21 Recto	D30496	CCCIII 20
21 Verso	D30497	CCCIII 20a
22 Recto	D30498	CCCIII 21
22 Verso	D30499	CCCIII 21a
23 Recto	D30500	CCCIII 22
23 Verso	D30501	CCCIII 22a
24 Recto	D30502	CCCIII 23
24 Verso	D30503	CCCIII 23a
25 Recto	D30504	CCCIII 24
25 Verso	D30505	CCCIII 24a
26 Recto	D30506	CCCIII 25
26 Verso	D30507	CCCIII 25a
27 Recto	D30508	CCCIII 26
27 Verso	D30509	CCCIII 26v
28 Recto	D30510	CCCIII 27
28 Verso	D30511	CCCIII 27a
29 Recto	D30512	CCCIII 28
29 Verso	D30513	CCCIII 28a
30 Recto	D30514	CCCIII 29
30 Verso	D30515	CCCIII 29a
31 Recto	D30516	CCCIII 30
31 Verso	D30517	CCCIII 30a
32 Recto	D30518	CCCIII 31
32 Verso	D30519	CCCIII 31a
33 Recto	D30520	CCCIII 32
33 Verso	D30521	CCCIII 32a
34 Recto	D30522	CCCIII 33
34 Verso	D30523	CCCIII 33a
35 Recto	D30524	CCCIII 34
35 Verso	D30525	CCCIII 34a
36 Recto	D30526	CCCIII 35
36 Verso	D30527	CCCIII 35a
37 Recto	D30528	CCCIII 36
37 Verso	D30529	CCCIII 36a
38 Recto	D30530	CCCIII 37
38 Verso	D30531	CCCIII 37a
39 Recto	D30532	CCCIII 38
39 Verso	D30533	CCCIII 38a
40 Recto	D30534	CCCIII 39
40 Verso	D30535	CCCIII 39a
41 Recto	D30536	CCCIII 40
41 Verso	D30537	CCCIII 40a
42 Verso	D30538	CCCIII 41
43 Recto	D30540	CCCIII 42
43 Verso	D30541	CCCIII 42a
44 Recto	D30542	CCCIII 43
44 Verso	D30543	CCCIII 43a
45 Recto	D30544	CCCIII 44
45 Verso	D30545	CCCIII 44a
46 Recto	D30546	CCCIII 45
46 Verso	D30547	CCCIII 45a
47 Recto	D30548	CCCIII 46
47 Verso	D30549	CCCIII 46a
48 Recto	D30550	CCCIII 47
48 Verso	D30551	CCCIII 47a
49 Recto	D30552	CCCIII 48
49 Verso	D30553	CCCIII 48a
50 Recto	D30554	CCCIII 49
50 Verso	D30555	CCCIII 49a
51 Recto	D30556	CCCIII 50
51 Verso	D30557	CCCIII 50a
52 Recto	D30558	CCCIII 51
52 Verso	D30559	CCCIII 51a
53 Recto	D30560	CCCIII 52
53 Verso	D30561	CCCIII 52a
54 Recto	D30562	CCCIII 53
54 Verso	D30563	CCCIII 53a
55 Recto	D30564	CCCIII 54
55 Verso	D30565	CCCIII 54a
56 Recto	D30566	CCCIII 55
56 Verso	D30567	CCCIII 55a
57 Recto	D30568	CCCIII 56
57 Verso	D30569	CCCIII 56a
58 Recto	D30570	CCCIII 57
58 Verso	D30571	CCCIII 57a
59 Recto	D30572	CCCIII 58
60 Recto	D30573	CCCIII 59
60 Verso	D30574	CCCIII 59a
61 Recto	D30575	CCCIII 60
61 Verso	D30576	CCCIII 60a
62 Recto	D30577	CCCIII 61
62 Verso	D30578	CCCIII 61a
63 Recto	D30579	CCCIII 62
63 Verso	D30580	CCCIII 62a
64 Recto	D30581	CCCIII 63
64 Verso	D30582	CCCIII 63a
65 Recto	D30583	CCCIII 64
65 Verso	D30584	CCCIII 64a
66 Recto	D30585	CCCIII 65
66 Verso	D30586	CCCIII 65a
67 Recto	D30587	CCCIII 66
67 Verso	D30588	CCCIII 66a
68 Recto	D30589	CCCIII 67
68 Verso	D30590	CCCIII 67a
69 Recto	D30591	CCCIII 68
69 Verso	D30592	CCCIII 68a
70 Recto	D30593	CCCIII 69
70 Verso	D30594	CCCIII 69a
71 Recto	D30595	CCCIII 70
72 Verso	D30596	CCCIII 71
73 Recto	D30598	CCCIII 72
73 Verso	D30599	CCCIII 72a
74 Recto	D30600	CCCIII 73
74 Verso	D30601	CCCIII 73a
75 Recto	D30602	CCCIII 74
75 Verso	D30603	CCCIII 74a
76 Recto	D30604	CCCIII 75
76 Verso	D30605	CCCIII 75a
77 Recto	D30606	CCCIII 76
77 Verso	D30607	CCCIII 76a
78 Recto	D30608	CCCIII 77
78 Verso	D30609	CCCIII 77a
79 Recto	D30610	CCCIII 78
79 Verso	D30611	CCCIII 78a
80 Recto	D30612	CCCIII 79
80 Verso	D30613	CCCIII 79a
81 Recto	D30614	CCCIII 80
81 Verso	D30615	CCCIII 80a
82 Recto	D30616	CCCIII 81
82 Verso	D30617	CCCIII 81a
83 Recto	D30618	CCCIII 82
83 Verso	D30619	CCCIII 82a
84 Recto	D30620	CCCIII 83
84 Verso	D30621	CCCIII 83a
85 Recto	D30622	CCCIII 84
85 Verso	D30623	CCCIII 84a
86 Recto	D30624	CCCIII 85
86 Verso	D30625	CCCIII 85a
87 Recto	D30626	CCCIII 86
87 Verso	D30627	CCCIII 86a
88 Recto	D30628	CCCIII 87
88 Verso	D30629	CCCIII 87a
89 Recto	D30630	CCCIII 88
89 Verso	D30631	CCCIII 88a
90 Recto	D30632	CCCIII 89
90 Verso	D41130	-
Inside Back Cover:	D41129	-

The undisturbed folios 17, 18, 42 and 72 listed above have drawings only on their versos, which were not distinguished in Finberg’s Inventory by his customary ‘a’ suffix. When Tate accession numbers were assigned, both sides of these leaves were initially allowed for, but in each case the first ‘D’ number came to be used for the verso, with the second cancelled. The redundant numbers were D30489, D30491, D30539 and D30597, accounting for gaps in the overall sequence.

Finberg 1909, II, p.978; see also Bower 1999, p.102.

The present account is based on Bower 1999, pp.102–3.

Ibid., p.102.

Ibid., p.103.

Compare also the similar wording in Powell 1995, p.144, informed by Bower’s research.

Ibid., p.103.

Finberg 1909, II, p.978.

Matthew Imms
September 2018

Showing 1 - 30 of 172 artworks

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Joseph Mallord William Turner

?A River Valley with a Spire and Tower; a Profile of Hills 1840

Würzburg, Rhine and Ostend Sketchbook

D41128
Joseph Mallord William Turner

Studies of Sunset over the Sea at Ostend 1840

Würzburg, Rhine and Ostend Sketchbook

D30460
Joseph Mallord William Turner

?Fort Napoleon, Ostend 1840

Würzburg, Rhine and Ostend Sketchbook

D30461
Joseph Mallord William Turner

Coastal Views at Ostend, with the Lighthouse and a Windmill 1840

Würzburg, Rhine and Ostend Sketchbook

D30462
Joseph Mallord William Turner

?A Church among Trees 1840

Würzburg, Rhine and Ostend Sketchbook

D30463
Joseph Mallord William Turner

The Tower of Mechelen (Malines) Cathedral, with Other Buildings 1840

Würzburg, Rhine and Ostend Sketchbook

D30464
Joseph Mallord William Turner

Mechelen (Malines) Cathedral and the Huis De Beyaert, from … 1840

Würzburg, Rhine and Ostend Sketchbook

D30465
Joseph Mallord William Turner

Dunes on the Coast at Ostend, with a Distant Tower 1840

Würzburg, Rhine and Ostend Sketchbook

D30466
Joseph Mallord William Turner

The Lighthouse at Ostend, with the Town in the Distance 1840

Würzburg, Rhine and Ostend Sketchbook

D30467
Joseph Mallord William Turner

?Fort Napoleon, Ostend 1840

Würzburg, Rhine and Ostend Sketchbook

D30468
Joseph Mallord William Turner

The Coast at Ostend, with the Lighthouse and Distant Buildings 1840

Würzburg, Rhine and Ostend Sketchbook

D30469
Joseph Mallord William Turner

The Coast at Ostend, with ?Fort Napoleon; the Lighthouse and … 1840

Würzburg, Rhine and Ostend Sketchbook

D30470
Joseph Mallord William Turner

Studies of the Coast and Sky at Ostend, with the Spire of St … 1840

Würzburg, Rhine and Ostend Sketchbook

D30471
Joseph Mallord William Turner

The Coast at Ostend 1840

Würzburg, Rhine and Ostend Sketchbook

D30472
Joseph Mallord William Turner

?Shipping off Ostend 1840

Würzburg, Rhine and Ostend Sketchbook

D30473
Joseph Mallord William Turner

The Oost Staketsel Pier and Beacon at Ostend, with Sailing Boats 1840

Würzburg, Rhine and Ostend Sketchbook

D30474
Joseph Mallord William Turner

The Oost Staketsel Pier and Beacon at Ostend, with Sailing Boats 1840

Würzburg, Rhine and Ostend Sketchbook

D30475
Joseph Mallord William Turner

Piers at Ostend, with Distant Spires 1840

Würzburg, Rhine and Ostend Sketchbook

D30476
Joseph Mallord William Turner

Distant Views of Ostend 1840

Würzburg, Rhine and Ostend Sketchbook

D30477
Joseph Mallord William Turner

Blank 1840

Würzburg, Rhine and Ostend Sketchbook

D30478
Joseph Mallord William Turner

Castles on the River Rhine 1840

Würzburg, Rhine and Ostend Sketchbook

D30479
Joseph Mallord William Turner

Dover Castle; Deal Castle 1840

Würzburg, Rhine and Ostend Sketchbook

D30480
Joseph Mallord William Turner

Dover Castle 1840

Würzburg, Rhine and Ostend Sketchbook

D30481
Joseph Mallord William Turner

Horses and Carriages on a Beach or Quay, ?at Dover 1840

Würzburg, Rhine and Ostend Sketchbook

D30482
Joseph Mallord William Turner

Dover Castle from the Sea 1840

Würzburg, Rhine and Ostend Sketchbook

D30483
Joseph Mallord William Turner

The Oost Staketsel Pier and Beacon at Ostend 1840

Würzburg, Rhine and Ostend Sketchbook

D30484
Joseph Mallord William Turner

The Piers at Ostend, with the Town Beyond 1840

Würzburg, Rhine and Ostend Sketchbook

D30485
Joseph Mallord William Turner

The Oost Staketsel Pier and Beacon at Ostend; ?Fort Napoleon 1840

Würzburg, Rhine and Ostend Sketchbook

D30486
Joseph Mallord William Turner

A Street in Ostend, with a Tower and a Distant Spire 1840

Würzburg, Rhine and Ostend Sketchbook

D30487
Joseph Mallord William Turner

?Fort Napoleon, on the Coast near Ostend 1840

Würzburg, Rhine and Ostend Sketchbook

D30488

Showing 1 - 30 of 172 artworks

How to cite

Matthew Imms, ‘Würzburg, Rhine and Ostend Sketchbook 1840’, sketchbook, September 2018, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2019, https://www.tate.org.uk/art/research-publications/jmw-turner/wurzburg-rhine-and-ostend-sketchbook-r1196218, accessed 21 November 2024.

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