- Description
-
- Creator(s)
- (?) Thomas Girtin (1775-1802)
- Title
-
- A Church Seen across Fields, with Another Sketch Depicting a Woman
- Date
- 1794 - 1795
- Medium and Support
- Graphite and white chalk on grey paper
- Dimensions
- 18.4 × 22.2 cm, 7 ¼ × 8 ¾ in
- Object Type
- Outline Drawing
- Subject Terms
- Unidentified Topographical View
-
- Catalogue Number
- TG1524
- Girtin & Loshak Number
- 393 as by Thomas Girtin, 'c. 1800'
- Description Source(s)
- Viewed in 2001
Provenance
P & D Colnaghi & Co., 1948; Gilbert Davis (1899–1983); bought from him by the Gallery, 1959
Bibliography
The Huntington Online as 'Landscape' by Thomas Girtin (Accessed 17/09/2022)
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
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
Hawes Fine Art
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, University of Manchester
A House Seen across a Lake, 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
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
These sketches were attributed to Girtin by Thomas Girtin (1874–1960) and David Loshak in their catalogue of the artist’s work, and they argued that the ‘church is apparently the same’ as seen in a watercolour now identified as showing Kirk Deighton in Yorkshire (TG1647), which is dated 1800 (Girtin and Loshak, 1954, p.188). The drawing of the church is certainly competent, and it displays a spatial coherence that is consistent with the work of a professional artist; moreover, there are some similarities with Girtin’s practice in terms of the bold and confident handling of the graphite. However, these are outweighed by any number of other uncharacteristic features. First amongst these is the use of soft graphite on a coloured paper, something that has no precedent in Girtin’s sketches, and this is compounded by the fact that there is no comparable example of the artist introducing such prominent figure studies into one of his landscape sketches. Indeed, there is no evidence either that this is an on-the-spot sketch, and elements such as the substitution of bold hatching for Girtin’s characteristic use of outline, the way that the composition has been worked equally across the whole sheet with the fall of shadows carefully indicated, and with the introduction of figures all suggest that we are looking at a study for a finished landscape, something that again has no precedent in Girtin’s working practice. It seems, therefore, that Girtin and Loshak were persuaded by the superficial resemblance between the subject of this drawing and the signed and dated view of Kirk Deighton to ignore the more substantial inconsistencies with Girtin’s practice, and consequently I am minded to question their attribution.
1800
Kirk Deighton, near Wetherby
TG1647