- Description
-
- Creator(s)
- Thomas Girtin (1775-1802)
- Title
-
- A Panoramic Landscape, near Norwood
- Date
- 1797 - 1798
- Medium and Support
- Graphite and watercolour on laid paper
- Dimensions
- 12.4 × 21.6 cm, 4 ⅞ × 8 ½ in
- Inscription
'Near Norwood' on the back
- Object Type
- On-the-spot Colour Sketch
- Subject Terms
- London and Environs; Panoramic Format
-
- Collection
- Catalogue Number
- TG1390
- Girtin & Loshak Number
- 213 as 'Near Norwood'; '1797'
- Description Source(s)
- Auction Catalogue
Provenance
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
Place depicted
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 North West
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
Westminster Abbey, Seen from Green Park and the Queen's Basin
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
Turver’s Farm, Radwinter
Yale Center for British Art, New Haven
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
Effingham Churchyard, Formerly Known as 'A Country Churchyard'
Fitzwilliam Museum, University of Cambridge
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
A Study of a Woman Reading; A Slight Study of a Seated Woman
Private Collection
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
The Head of a Youth, Here Identified as Joseph Mallord William Turner
Ashmolean Museum, University of Oxford
Old London Bridge, with the Shot Tower in Construction, and St Olave's Church
Private Collection
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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
TG1422