- Description
-
- Creator(s)
- Thomas Girtin (1775-1802)
- Title
-
- A Church Porch
- Date
- 1797 - 1798
- Medium and Support
- Graphite and watercolour on laid paper
- Dimensions
- 24.1 × 21.2 cm, 9 ½ × 8 ⅜ in
- Inscription
'Girtin' on the back
- Object Type
- On-the-spot Colour Sketch
-
- Collection
- Catalogue Number
- TG1038
- Description Source(s)
- Viewed in 2010
Provenance
The Palser Gallery, London, 1935; Richard Wheatland (lent to the Fogg Art Museum, Cambridge, Massachusetts, 1937); ... Christie’s, 7 July 2010, lot 392 as 'An Abbey Doorway', £15,625; W/S Fine Art Ltd / Andrew Wyld, London, 2011
Exhibition History
Palser Gallery, 1935, no.40; Andrew Wyld, 2011, no.19
Bibliography
Girtin and Loshak, 1954, p.207 as 'Untraced ..."The Abbey Doorway"'
Other entries in London and the Home Counties, Together with Miscellaneous Studies and Views
Windsor Castle, from the River Thames
Harvard Art Museums / Fogg Museum
Great Bookham Church, from the East
Private Collection, Norfolk
Windsor Park and Castle, from Snow Hill
Anglesey Abbey, Cambridgeshire (National Trust)
The Gateway, St Albans Abbey
Ashmolean Museum, University of Oxford
St Albans Abbey: The West Porch
Yale Center for British Art, New Haven
St Albans Abbey: The West Porch
Yale Center for British Art, New Haven
St Albans Abbey, from the East
National Gallery of Canada, Ottawa
An Interior View of St Albans Abbey, from the Crossing
Art Gallery of South Australia, Adelaide
The Interior of St Albans Abbey
Blackburn Museum and Art Gallery
Windsor Castle and the Great Park, from the South West
Private Collection, Norfolk
Windsor Great Park: Herne’s Oak with a Herd of Deer
Yale Center for British Art, New Haven
Stags Fighting amongst a Herd of Deer in Windsor Great Park, with the Castle in the Distance
Private Collection
A Herd of Deer in Richmond Park
Private Collection
A Panoramic View of the Thames from the Adelphi Terrace, Section One: Somerset House to Blackfriars Bridge
Private Collection
A Panoramic View of the Thames from the Adelphi Terrace, Section Two: The Surrey Bank
Private Collection
A Panoramic View of the Thames from the Adelphi Terrace, Section Three: Westminster Bridge to York Stairs
Private Collection
Westminster, from the West Corner of the Adelphi Terrace
Private Collection
The Thames with St Paul's and Blackfriars Bridge
The Morgan Library & Museum, New York
Shipping on the Thames, Looking down Limehouse Reach towards Greenwich, with the Church of St Alfege in the Distance
Private Collection
A Haystack on a Farm, on the Road to Harrow-on-the-Hill
Private Collection
A Panoramic Landscape, near Norwood
Private Collection
St James’s Park, with Westminster Abbey in the Distance
National Gallery of Art, Washington
St Paul’s Cathedral, from St Martin’s-le-Grand
Yale Center for British Art, New Haven
St Paul's Cathedral, from St Martin’s-le-Grand
Untraced Works
St Paul’s Cathedral, from St Martin’s-le-Grand
Private Collection
St Paul’s Cathedral, from St Martin’s-le-Grand
Metropolitan Museum of Art, New York
A River Scene, with Boats
Victoria and Albert Museum, London
An Imaginary Coast Scene with the Horizontal Air Mill at Battersea
Private Collection
London: The Leathersellers’ Hall
British Museum, London
London: The Interior of the Ruins of the Leathersellers’ Hall
British Museum, London
Pinckney’s Farm, Radwinter
Victoria and Albert Museum, London
A Farm with an Unidentified Windmill
Private Collection
Barns and a Pond, Said to Be near Bromley
Rhode Island School of Design Museum, Providence
Barns and a Pond, Said to Be near Bromley
Private Collection, Norfolk
Trees and Pond, Said to Be near Bromley
Yale Center for British Art, New Haven
A Sandpit, near Logs Hill, Widmore
Private Collection
A Sandpit, near Logs Hill, Widmore
Private Collection
The Church of St Mary the Virgin, Stone-next-Dartford
British Museum, London
A Farmhouse in a Woodland Setting, Said to Be in Devon
Yale Center for British Art, New Haven
Farm Buildings, Probably in Surrey
The Whitworth, The University of Manchester
Tintern Village, Seen across the Forge Pond, Formerly Known as ‘The Mill-Pond’
Private Collection
A Picturesque House Overlooking a River, with Distant Windmills
Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington
The West End of an Unidentified Church
Private Collection
An Unidentified Windmill, Probably in Lambeth
Sarah Campbell Blaffer Foundation, Houston
Unidentified Buildings, Herne Hill
The Huntington Library, Art Museum and Botanical Gardens, San Marino
Study of a Sailor on Board a Ship; A Fishing Boat
Private Collection
The Frozen Watermill, from William Cowper's The Task
The Huntington Library, Art Museum and Botanical Gardens, San Marino
An Unidentified Subject, Probably from James Macpherson’s Poems of Ossian
Tate, London
The Eruption of Mount Vesuvius
The Morgan Library & Museum, New York
The Archangel Gabriel Awaiting Night, from John Milton's Paradise Lost
Yale Center for British Art, New Haven
Portrait Study of a Man, Said to Be the Artist George Barret the Younger
Private Collection
A Study of a Lion from the Tower of London
Private Collection
An Open Field with a Cart and Horses, Known as ‘The Carter’
British Museum, London
A Church Seen across Fields, with Another Sketch Depicting a Woman
The Huntington Library, Art Museum and Botanical Gardens, San Marino
A Landscape with Figures by Railings
Fine Arts Museums of San Francisco
Self-Portrait of the Artist at Work
British Museum, London
An Unidentified Landscape, with a Church amongst Trees
Yale Center for British Art, New Haven
A Cottage and a Windmill Surrounded by Trees
Private Collection
St Paul’s Cathedral, from the Thames
Private Collection
Old London Bridge, with the Shot Tower in Construction, and St Olave's Church
Private Collection
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About this Work
This simple watercolour sketch of a church porch has been known as ‘An Abbey Doorway’, but there is not enough detail to identify the location, and the building’s proportions suggest that the subject is a more humble parish church. The sketch certainly displays many signs of being sketched at some speed on the spot, wherever that may have been. The employment of a limited palette of very liquid washes, which the artist appears to have lost control of in some areas, coupled with the very summary treatment of the architectural details, suggests a work produced in haste and where the resulting patterns have an equal, if not greater, significance than the work’s role as a record of a place. A word of caution, however. The view, both in terms of the subject and its summary treatment, has a lot in common with a watercolour showing the west porch of St Albans Abbey (TG1036), which was executed in the studio from an on-the-spot pencil drawing (TG1035). The sketch here was admittedly created with an even greater sense of urgency, but it is not out of the question that it too was produced by Girtin in the studio to meet the growing demand for his sketches from collectors. If this was the case, it may be that the view of the church porch is an imaginary one, and the fact that the work does not include enough information to make an identification of its subject may add further credence to the idea. The crucial point is that all of the signifiers of a work sketched at speed on the spot can be deployed equally in the studio, and, whilst I suspect that this work was indeed coloured in the field, there is no way that this can be proved without knowing the location at the very least.
1798 - 1799
St Albans Abbey: The West Porch
TG1036
(?) 1796
St Albans Abbey: The West Porch
TG1035