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Works Thomas Girtin and (?) Joseph Mallord William Turner after (?) John Henderson

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

1795 - 1796

Primary Image: TG0832: Thomas Girtin (1775–1802), and (?) Joseph Mallord William Turner (1775–1851) after (?) John Henderson (1764–1843), A Boat-Builder's Yard, Possibly on the River Medway, 1795–96, graphite and watercolour on wove paper, 21 × 29.3 cm, 8 ¼ × 11 ½ in. The Fitzwilliam Museum, University of Cambridge (758).

Photo courtesy of The Fitzwilliam Museum, University of Cambridge (All Rights Reserved)

Description
Creator(s)
Thomas Girtin (1775-1802) and (?) Joseph Mallord William Turner (1775-1851) 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 December 2023

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

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 (Fitzwilliam Museum, University of Cambridge (3270)) 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.

The authorship of this drawing and its relationship with the almost identical version of the composition in an untraced private collection (TG0832b) is a particularly fraught one. Thomas Girtin (1874–1960) and David Loshak catalogued this version as one of only a handful of Monro School subjects that were ‘wholly the work of Girtin’ (Girtin and Loshak, 1954, p.205) and I initially followed their lead whilst listing the second work as a collaborative effort between Girtin and his colleague at Monro's house Joseph Mallord William Turner (1775–1851). Working from an image of the watercolour in the Fitzwilliam Museum, I could detect little or no evidence of Turner’s hand and I suggested 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 one if not both of his outlines from what appears to be the original sketch.1 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. Having now seen the work, however, it is clear that although the pencil work is certainly by Girtin and the essentially monochrome washes display his typical economy of means, the summary nature of the latter might equally have been the result of Turner not taking the drawing through to its customary level of finish and with this in mind I have added a question mark in front of his name to reflect a degree of uncertainty over the watercolour’s collaborative status.

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

1795 - 1796

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

TG0832b

by Greg Smith

Place depicted

Footnotes

  1. 1 The Fitzwilliam Museum, University of Cambridge (1617). Henderson’s drawing, currently described as by an Unknown Artist, measures 19.2 × 30.5 cm (7 ½ × 12 ⅜ in). It has not been possible to obtain an image of the work and as a result its relationship to the two Monro School versions of the composition has not been confirmed.

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