- Description
-
- Creator(s)
- Thomas Girtin (1775-1802)
- Title
-
- A Study of a Young Girl
- Date
- 1794 - 1795
- Medium and Support
- Graphite, watercolour and pen and ink on laid paper, on an original mount of laid paper
- Dimensions
- 16 × 9.7 cm, 6 ¼ × 3 ¾ in
- Mount Dimensions
- 19.3 × 11.3 cm, 7 ⅝ × 4 ⅜ in
- Inscription
‘T. Girtin’ lower centre of the mount, by Thomas Girtin
- Object Type
- On-the-spot Colour Sketch
- Subject Terms
- Figure Study
-
- Collection
- Catalogue Number
- TG1515
- Girtin & Loshak Number
- 411 as 'Portrait Study of a Young Woman'; '1800'
- Description Source(s)
- Viewed in 2001 and 2018
Provenance
'Mackay'; bought from him by the Museum, 1859
Bibliography
Binyon, 1898–1907, no.30
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 study of a young girl was confidently dated by Thomas Girtin (1874–1960) and David Loshak to 1800 (Girtin and Loshak, 1954, p.190). Though they gave no grounds for this, I suspect it was because they thought that what they called a ‘Portrait Study’ might depict Girtin’s bride, Mary Ann Borrett (1781–1843), whom he married on 16 October of that year. Tom Girtin (1913–94) believed that she was only sixteen years old at the time, and subsequent biographical accounts have repeated this error when in fact she was born on 8 January 1781, making her nineteen to her husband’s twenty-five (Hill, 1999, p.11). It is just possible that this study shows Mary Ann, and that might account for why the artist went to some trouble to mount the drawing and add his signature, but the girl appears to be younger than nineteen. Moreover, although the signature seems to be authentic and the pencil work is not inconsistent with some of Girtin’s other figure subjects, the poor quality of the drawing is more in keeping with a date of, say, 1794–95, if not earlier. The ungainly depiction of the arms and the lack of either a convincing form beneath the shapeless folds of drapery or any sense of articulation within the figure all suggest the work of a young artist who had not gone through the rigours of academic training. If this was the case, rather than being a study of the artist’s wife, could it be that it depicts his sister, Mary? She was born in 1777 and, together with the artist himself, was still living in the home of their mother in St Martin’s-le-Grand at this earlier date.