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Works Thomas Girtin

A Beached Vessel

(?) 1800

Primary Image: TG1805: Thomas Girtin (1775–1802), A Beached Vessel, (?) 1800, graphite and watercolour on wove paper, 10.3 × 17.7 cm, 4 × 7 in. British Museum, London (1855,0214.48).

Photo courtesy of The Trustees of the British Museum (CC BY-NC-SA 4.0)

Thomas Girtin (1775-1802)
  • A Beached Vessel
(?) 1800
Medium and Support
Graphite and watercolour on wove paper
10.3 × 17.7 cm, 4 × 7 in
Object Type
Colour Sketch: Studio Work
Subject Terms
Coasts and Shipping

Catalogue Number
Girtin & Loshak Number
428a as 'A Stranded Sloop'; '1801'
Description Source(s)
Viewed in 2001 and 2018


Chambers Hall (1786–1855); presented to the Museum, 1855


Binyon, 1898–1907, no.25b as 'Sketch on an Estuary'; British Museum, Collection as 'Shipping Study' (Accessed 26/09/2022)

About this Work

This is one of five studies of shipping all on paper measuring 4 ½ × 7 in (10.3 × 17.7 cm). Together with three larger drawings found in the Whitworth Book of Drawings (TG1622, TG1623 and TG1625), they form a distinctive group that all appear to have been produced at the same time. Thomas Girtin (1874–1960) and David Loshak suggested that this and the other sketches of boats in various configurations were ‘probably made in the neighbourhood of Whitby’, on the North Yorkshire coast, during Girtin’s ‘visit to Mulgrave Castle’, which they dated to 1801 (Girtin and Loshak, 1954, pp.192–93). Susan Morris, in contrast, thought that the shipping studies were produced on a hitherto unrecorded trip to ‘the West Country in 1800 or 1801’, citing an inscription on the back of Shipping off the Coast on a Calm Sea (TG1624), which she read as ‘Mount Edgecumbe’, referring to a location near Plymouth in Devon (Morris, 1986, p.21). However, I have found no convincing evidence to support the idea of a second West Country trip, and I am not even sure about the reading of the inscription which may not be by Girtin. In turn, though I do not agree with Girtin and Loshak’s date of 1801 for Girtin’s stay, the suggestion that most if not all of the studies were made on the North Yorkshire coast does seem plausible. In fact, Girtin showed no great interest in naval subjects, certainly in comparison with his contemporary Joseph Mallord William Turner (1775–1851), and, apart from during his stay at Mulgrave Castle, which surely took place in 1800, the artist probably only sketched coastal subjects on two occasions, during his trip to the West Country in 1797 and a year earlier on a visit to Northumbria, whilst all of these studies appear to date from a few years later.

In contrast to some of the shipping studies, which, because of their artfully arranged components, might even have been copied from another source, this carefully cropped drawing of a beached two-masted vessel (not a single-masted ‘sloop’, as Girtin and Loshak suggested) was presumably made from life (Girtin and Loshak, 1954, p.192). Looking at the group of studies as a whole, one is struck by Girtin’s indifference to the appearance of the sea, which is generally depicted as a bland, flat surface, but in this case the washes are so perfunctory as to raise the question of whether they were added in the studio. Indeed, I am not so sure that their poor quality might not even suggest the intervention of another, later hand that added colour to the pencil sketch in an effort to make it more attractive to prospective purchasers. Fortunately, this is not enough to detract from the main interest of the sketch – the way the powerfully foreshortened view of the vessel is balanced with a piece of nautical paraphernalia within an unconventional composition that calls out to be worked up on a larger scale.

(?) 1800

Beached Vessels at Low Tide


(?) 1800

Five Craft off the Coast on a Calm Sea


(?) 1800

The Ruins of Old Mulgrave Castle


(?) 1800

Shipping off the Coast on a Calm Sea


by Greg Smith

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