THE RHINE DRAWINGS.
25. Mayence and Kastel. 811/16” × 14⅝". (Plate XVIII.)
26. Mayence. 7¾” × 12⅛". (Christie’s, 1890.)
27. Mayence. 8¾” × 13⅞". (Christie’s, 1890; Taylor Sale, July 1912.)
28. Palace of Biebrich. 8” × 13½". (Christie’s, 1890; Turner House, Penarth.)
29. Johannisberg. 813/14” × 13½". (Plate XXIII.)
30. Rüdesheim, looking to Bingen Klopp. 8¼” × 13½". (Christie’s, 1890.)
31. Bingen and Ehrenfels, from the Lake. 7⅝” × 12¼".
32. Abbey of Bingen, looking towards Lake. 8” × 11½". (Plate XXV.)
33. The Mausethurm, Bingen Loch. 8” × 12¼".
34. Bausenberg in the Brohlthal. 8⅝” × 12¼". (Christie’s, 1890.)
35. Sooneck, with Bacharach in the distance. 815/18” × 14½". (Plate XXI.)
36. Fürstenberg. 9¼” × 12¼". (Christie’s, 1890.)
37. Bacharach and Stahleck. 7¾” × 12½". (Christie’s, 1890.)
38. Pfalz, Caub and Gutenfels. 7¾” × 12⅛". (Christie’s, 1890; Sir R. Hardy, Bart.)
39. Oberwesel and Schönburg Castle. 8⅝” × 14". (Christie’s, 1890.)
40. Lurleiberg. 713/14” × 12⅛".
41. St. Goarshausen and Katz Castle. 7⅝” × 12". (Christie’s, 1890; G. R. Burnett, Esq.)
43. Lurleiberg and St. Goarshausen. 8” × 12¼".
44. Lurleiberg. 7½” × 11¾". (Christie’s, 1890; Lord Penrhyn.)
45. Lurleiberg. 7¾” × 12".
46. St. Goarshausen. 7⅞” × 12".
47. Lurleiberg. 7½” × 11¼". (Christie’s, 1890; Louis Huth.)
48. Lurleiberg. 7½” × 11⅞". (Christie’s, 1890; Sir H. Boulton.)
49. Katz Castle, with Rheinfels. 7½” × 12⅛". (Christie’s, 1890.)
50. From Rheinfels, looking over St. Goar to Katz. 7⅞” × 12⅜". (Plate XXIX.)
51. Hirzenach. 8⅜” × 12½". (Plate XV.)
52. Rheinfels, looking to Katz and St. Goarshausen. 7½” × 12⅛". (Christie’s, 1890.)
53. Castles of the Two Brothers, Sterrenberg and Liebenstein. 8⅛” × 12". (Christie’s, 1890; J. F. Schwann, Esq.)
54. Boppard. 7⅜” × 12¼". (Christie’s, 1890.)
55. Peterspay. 8¼” × 12½". (Christie’s, 1890.)
56. Marksburg. 7⅝” × 12⅜". (Christie’s, 1890.)
57. Oberlahnstein. 7⅝” × 12¼". (Christie’s, 1890.)
58. Entrance of the Lahn. 7¾” × 12¼". (Christie’s, 1890; Lord Penrhyn.)
59. Abbey near Coblenz. 7¾” × 8⅜".
60. The Back of Ehrenbreitstein, from the Pfaffen. 7¾” × 12¼". (Christie’s, 1890.)
61. From Ehrenbreitstein. 7¾” × 12¼". (Christie’s, 1890.)
62. Quay at Coblenz. 7¾” × 12¼". (Christie’s, 1890.)
63. Bridge over the Moselle, Coblenz. 7⅝” x 12¼". (Christie’s, 1890; Rev. W. Macgregor.)
64. Neuweid and Weissenthurm. 7¾” × 12¼". (Christie’s, 1890; Agnew’s Gallery, 1901.)
65. Weissenthurm, with Hoche’s Monument. 7⅞” × 12½".
66. Andernach. 7¾” × 12¼". (Christie’s, 1890.)
67. Roman Tower, Andernach. 7¾” × 12¼". (Christie’s, 1890.)
68. Hammerstein. 7⅝” × 12⅜". (Christie’s, 1890.)
69. Remagen and Linz. 7¾” × 12⅜". (Christie’s, 1890; Sir J. Gibson Carmichael, Bart.)
70. Rolandswerth Nunnery and Drachenfels. 7¾” × 12⅛". (Christie’s, 1890; Sir Donald Currie.)
71. Drachenfels and Nunnery. 9⅛” × 11⅜". (Christie’s, 1890.)
72. Drachenfels. 9¼” × 11¼".
73. Godesberg. 7¾” × 11⅞". (Christie’s, 1890.)
74. RhineGate, Cologne. 7¾” × 12". (Christie’s, 1890.)
75. Cologne. 7¾” × 12". (Christie’s, 1890.)
Details of the circumstances under which these fifty-one drawings were produced have been already given. No man, not even Turner, could possibly have sketched and worked up these subjects in the short space of a fortnight. But to have made even the sketches for this series of drawings in the short space of time Turner had at his disposal proves the marvellous rapidity with which he worked.
The drawings themselves are full of picturesque detail and accurate observation, but they are, perhaps, more remarkable for their technical skill than for their subject-matter. The deadly sureness of touch and almost incredible dexterity in the manipulation of washes of colour, remind one more of the calligraphic art of the Chinese and Japanese than of the work of an English landscape painter. If the early Swiss drawings in this collection may be described as an aftermath of Turner’s romantic period, the Rhine drawings may be said to be the first instalment of the treasures of art which the great magician was to give us in the series of drawings of the Seine and Loire, and the later sketches of the Rhine and Moselle.
Though nearly three-quarters of this series were sold in 1890, the sixteen best drawings were carefully retained.