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Works Thomas Girtin

A Panoramic Landscape, near Norwood

1797 - 1798

Primary Image: TG1390: Thomas Girtin (1775–1802), A Panoramic Landscape, near Norwood, 1797–98, graphite and watercolour on laid paper, 12.4 × 21.6 cm, 4 ⅞ × 8 ½ in. Private Collection.

Photo courtesy of The Trustees of the British Museum

Thomas Girtin (1775-1802)
  • A Panoramic Landscape, near Norwood
1797 - 1798
Medium and Support
Graphite and watercolour on laid paper
12.4 × 21.6 cm, 4 ⅞ × 8 ½ in

'Near Norwood' on the back

Object Type
On-the-spot Colour Sketch
Subject Terms
London and Environs; Panoramic Format

Catalogue Number
Girtin & Loshak Number
213 as 'Near Norwood'; '1797'
Description Source(s)
Auction Catalogue


Sir Bruce Stirling Ingram (1877–1963); his posthumous sale, Sotheby’s, 9 December 1964, lot 263 as 'A View near Norwood'; bought by Thos. Agnew & Sons, £340

About this Work

This small panoramic landscape is known only as a poor-quality black and white image, and it is therefore impossible to confirm with any confidence either the attribution of the work to Girtin or the identity of the scene as near Norwood in south London. Thomas Girtin (1874–1960) and David Loshak knew the work when it was in the collection of Sir Bruce Ingram (1877–1963), however, and they included it in their catalogue of Girtin’s watercolours, stating that it was in ‘a very strong scheme of blues’ and dating it to 1797 (Girtin and Loshak, 1954, p.163). Though it is not clear whether they thought the work was sketched on the spot, arguably, just enough evidence is visible to suggest that this may have been the case, and the location of Norwood, on the way to Bromley in Kent, might even mean that it was produced travelling either to or from the home of Girtin’s patrons, Sir Charles Long, 1st Baron Farnborough (1760–1838) and his wife Amelia Long, Lady Farnborough (1772–1837), though it may be that they did not actually move to that location until rather later. The inscription ‘Near Norwood’ on the back of the drawing did not strike Girtin and Loshak as being in Girtin’s hand, but there does not appear to be any reason to question the identification of the location, any more than the attribution to Girtin. Therefore, although there is a tendency for any panoramic sketch of a scene in the vicinity of London to be attributed to Girtin with little or no evidence to back this up, in this case I suspect that the reappearance of the work might confirm that it is an on-the-spot colour sketch from around 1797–98. However, if the work did turn out to be connected in some way with Amelia Long, one of Girtin’s favourite pupils, then the sketch might prove to date from a little later and a time when the artist was apparently working at Bromley, as evinced in works such as A Sandpit, near Logs Hill, Widmore (TG1422).

1798 - 1799

A Sandpit, near Logs Hill, Widmore


by Greg Smith

Place depicted

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