- Description
-
- Creator(s)
- Thomas Girtin (1775-1802) after (?) John Henderson (1764-1843)
- Title
-
- A Boat-Builder’s Yard, Possibly on the River Medway
- Date
- 1795 - 1796
- Medium and Support
- Graphite and watercolour on wove paper
- Dimensions
- 21 × 29.3 cm, 8 ¼ × 11 ½ in
- Object Type
- Collaborations; Monro School Copy; Work after an Amateur Artist
- Subject Terms
- Coasts and Shipping; Dover and Kent
-
- Collection
- Versions
-
A Boat-Builder’s Yard, Possibly on the River Medway
(TG0832b)
- Catalogue Number
- TG0832
- Description Source(s)
- Viewed in 2001
Provenance
Sir Charles Walston (Waldstein) (1856–1927) and Lady Florence Walston; presented to the Museum, 1914
Bibliography
Girtin and Loshak, 1954, p.205 as 'A Boat-Builder's Yard' by Thomas Girtin
Place depicted
Other entries in Monro School Copies:
British Views, Including Works after the Outlines of John Henderson

An Upland Landscape with a Rainbow, Said to Be Lowther Fells
Kendal Town Hall

Tonbridge Bridge and Castle
Yale Center for British Art, New Haven

The High Rocks, near Tunbridge Wells
National Gallery of Scotland, Edinburgh

The Town of Rye, Seen from the Marshes
Yale Center for British Art, New Haven

Dover Castle, Seen from the Beach
Yale Center for British Art, New Haven

Unidentified Medieval Ruins, with Agricultural Buildings
Tate, London

A View near Keswick, Probably Bassenthwaite Lake
Private Collection

Skiddaw and Bassenthwaite Lake, from the Vale of Newlands
Private Collection

Looking South into Borrowdale, from the Shore of Derwentwater
Private Collection

Mountainous Landscape, Possibly in the Lake District
Walker Art Gallery, National Museums Liverpool

Boon Crag Cottage, with Coniston Water Beyond
Private Collection

A View in Cumbria, Probably Looking from Irton Fell towards Ravenglass
Clark Art Institute, Williamstown

A View in Cumbria, Looking towards Irton and the Irish Sea, with the Isle of Man in the Distance
Tate, London

The River Leven, Cumbria, Viewed from Penny Bridge
Tate, London

St John's Vale, Cumbria
Private Collection

The Lodore Falls
Yale Center for British Art, New Haven

Langdale Pikes
Private Collection

An Unidentified Bridge over a Stream, Possibly in North Wales
Private Collection

Derwentwater, with Skiddaw in the Distance
Eton College, Windsor

Beddgelert Bridge, North Wales
Private Collection

A Mountainous Landscape with an Overshot Mill, Probably in the Lake District
Clark Art Institute, Williamstown

A Mountainous River Landscape with a Bridge
Private Collection

Cynwyd Mill, North Wales
Brandler Galleries, London

Conwy: The Town Walls from the South East
Tate, London

Raglan Castle: The Great Hall
Private Collection

A Mountainous Landscape with an Unidentified Bridge, Possibly in North Wales
Ashmolean Museum, University of Oxford

The Iron Bridge at Coalbrookdale
Private Collection

An Estuary, Possibly Dartmouth
Private Collection

Grasmere: Looking North West to Helm Crag
Private Collection

The Head of Lake Windermere
Rhode Island School of Design Museum, Providence

The Head of Derwentwater, with the Lodore Falls
Private Collection

Dover Harbour, with Shipping Being Overhauled
Tate, London

A Two-Master in Dover Harbour, with the Castle Beyond
Tate, London

Dover Harbour: A Ship Being Overhauled
Tate, London

A Boat on the Shore, near Shakespeare Cliff, Dover
Tate, London

Dover Harbour: Fishing Vessels, Their Sails Drying
Tate, London

Shipping in Dover Harbour, with the Castle Beyond
Tate, London

A General View of Dover Harbour, from the East
Tate, London

Dover Harbour: Small Boats by the Quay
Tate, London

Boats in Dover Harbour
British Museum, London

A Ship under Repair in Dover Harbour
National Gallery of Ireland, Dublin

Figures on a Fishing Vessel in Dover Harbour
Private Collection

Dover Castle from the Sea
Private Collection

A Beached Vessel in the Inner Harbour at Dover
Private Collection

Dover Harbour, with the Castle on the Hill
British Museum, London

Beached Vessels in Dover Harbour, the Castle in the Distance
Smith College Museum of Art, Northampton

Vessels Anchored in Dover Harbour, with the Castle Beyond
National Gallery of Scotland, Edinburgh

Warehouses with Shipping in Dover Harbour
Smith College Museum of Art, Northampton

Vessels in the Harbour at Dover, with the Castle Beyond
Private Collection

Dover Harbour, with the Cliffs Beyond
Tasmanian Museum and Art Gallery, Hobart

Vessels Moored in Dover Harbour
Private Collection

The Inner Harbour, Dover, with the Castle Beyond
Brighton Museum and Art Gallery

A Ship Drawn Up on a Beach Being Careened
Private Collection

Beached Fishing Vessels, Dover Harbour
National Gallery of Ireland, Dublin

Beached Fishing Vessels in the Harbour at Dover
Private Collection

Boats Anchored in Dover Harbour
Victoria and Albert Museum, London

Boats Anchored in Dover Harbour
Private Collection

Dover Harbour, with Fishing Boats at Low Tide
The High Museum of Art, Atlanta

Dover: The Harbour with Vessels
Fitzwilliam Museum, University of Cambridge

A Smack in Dover Harbour, Drying Sails, with the Old Church in the Distance
National Maritime Museum, Greenwich

Dover Harbour: A Boat under Repair
Private Collection

Fishing Boats at Low Tide, near Dover
Courtauld Gallery, London

Dover: Two Boatmen Standing by the Prow of a Brig
Private Collection

Dover Harbour
Private Collection

A Fisherman's Cottage, Said to Be at Dover
Yale Center for British Art, New Haven

The Hull of a Ship under Repair, with a Barge and Smaller Boats
Tate, London

A Boat-Builder’s Yard, Possibly on the River Medway
Fitzwilliam Museum, University of Cambridge

A Boat-Builder’s Yard, Possibly on the Medway
Private Collection

A Boat-Builder’s Yard, Possibly on the River Medway
Private Collection

A Boat-Builder's Shed, Possibly on the River Medway
National Gallery of Scotland, Edinburgh

A Boat-Builder’s Shed, Possibly on the River Medway, with a Fishing Boat with Drying Sails
Tate, London

The Coast, near Dover
The Higgins, Bedford

Folkestone Harbour
Julian Huxley-Parlour Fine Art, London

Beachy Head, Looking towards Newhaven
National Gallery of Scotland, Edinburgh

Beachy Head, Looking towards Newhaven
Ulster Museum, Belfast

Shakespeare Cliff, Dover
National Gallery of Ireland, Dublin

Beached Vessels in Dover Harbour, the Castle in the Distance
Ashmolean Museum, University of Oxford

Buildings on a Wooden Quayside
Private Collection

A Coast View with Chalk Cliffs, Probably from near Beachy Head
Ashmolean Museum, University of Oxford

A Small Boat under Repair by a Jetty
Private Collection

Dover: Snargate Street, Looking West
Private Collection

Dartford High Street
Private Collection

Tonbridge Bridge and Castle
Fitzwilliam Museum, University of Cambridge

Rye, from the River Tillingham
National Gallery of Scotland, Edinburgh

Dover: Fishing Boats at Low Tide
Private Collection

Two Boatmen Caulking the Bows of a Beached Brig, Probably at Dover
Private Collection

Hastings: A Beached Fishing Boat
Private Collection

A Coastal Scene at Dover
Worthing Museum and Art Gallery

Mickleham Church
Tate, London

Dolbadarn Castle on Llyn Padarn
Clark Art Institute, Williamstown

Conwy Castle, from the East
Huddersfield Art Gallery

Harlech Castle, from the South
National Gallery of Ireland, Dublin

The High Street at Egham
Private Collection

Two Trees Overlooking a Meandering River
Private Collection

A Dilapidated Cottage
Private Collection

Dover: Boats Anchored in the Harbour
Private Collection

A Coastal View near Dover, probably at St Margaret's, Cliffe
Private Collection

Dover: Beached Boats, with the Castle Beyond
Private Collection

Dover Harbour: The Stern of a Large Ship, and Smaller Vessels
Tate, London

The Town of Rye, Seen from the Marshes
British Museum, London
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About this Work
This view of a boat-builder’s yard, one of two almost identical versions of the picturesque scene (the other being TG0832b), appears to have been made at the home of Dr Thomas Monro (1759–1833). Girtin is not known to have visited either the river Medway or the Channel coast and his marine scenes and views of boats under construction or repair were executed after other artists, including his master, Edward Dayes (1763–1804), and the amateur artist John Henderson (1764–1843). Henderson lent his ‘outlines of Shipping & Boats’ to Monro so that they might be copied by the young artists the latter patronised (Farington, Diary, 1 December 1795). The outlines Henderson made in Dover provided the basis for a large number of Monro School views of the port and its environs, but there is some evidence that this work, together with a group of ship-building scenes, was executed after sketches that were actually taken on the river Medway to the north. Although it is possible that a sketch by Dayes provided the model for this drawing too, the existence of another version of the composition by Henderson himself (see TG0832b figure 1) suggests that his outlines provided the source for this work and the other boat-building scenes (TG0832a and TG0833). Certainly, the work displays Henderson’s customary fascination with the minutiae of marine labour, including details such as the launching ramp to the right and a hoisting tackle to the left.
Unlike the other version of this composition, which was most likely made in collaboration with Joseph Mallord William Turner (1775–1851) at Monro’s home, there is no evidence either that this work was ever in Monro’s collection or that Turner was involved in its production. The pencil work is clearly by Girtin, but he too seems to have been responsible for the colour washes, which are too summary and unmodulated for Turner, and Thomas Girtin (1874–1960) and David Loshak consequently included this watercolour in their catalogue as one of a handful of Monro School subjects that were ‘wholly the work of Girtin’ (Girtin and Loshak, 1954, p.205). It appears, therefore, that in addition to producing an outline for Turner to colour, Girtin was sufficiently taken by Henderson’s composition to make a version for himself. Overlaying images of the two works, which are identical in size, shows just how close the compositions are, and it is possible that Girtin traced at least one of his outlines from the original sketch. However, there are some subtle differences between the drawings, with the foreground figures, for instance, being moved apart so that their labours are more carefully separated, suggesting that Girtin made improvements even as he copied the composition, perhaps with a future studio watercolour in mind.
Image Overlay
1795 - 1796
A Boat-Builder’s Yard, Possibly on the River Medway
TG0832b
1795 - 1796
A Boat-Builder’s Yard, Possibly on the River Medway
TG0832a
1795 - 1796
A Boat-Builder’s Shed, Possibly on the River Medway
TG0833