- Description
-
- Creator(s)
- Thomas Girtin (1775-1802)
- Title
-
- A Watermill beyond a Mill Pond
- Date
- (?) 1802
- Medium and Support
- Graphite and watercolour on wove paper
- Dimensions
- 8.8 × 11.5 cm, 3 ½ × 4 ½ in
- Object Type
- Colour Sketch: Studio Work
- Subject Terms
- Picturesque Vernacular; Wind and Water Mills
-
- Collection
- Catalogue Number
- TG1784
- Girtin & Loshak Number
- 505
- Description Source(s)
- Viewed in 2001 and 2018
Provenance
Chambers Hall (1786–1855); presented to the Museum, 1855
Bibliography
Binyon, 1898–1907, no.60b; Rajnai, 1979, p.132
Other entries in Later Sketches:
Taken on the Spot and Worked in the Studio

Mountain Scenery, Said to Be near Beddgelert (page 15, reverse, of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

The Valley of the Glaslyn, near Beddgelert (page 15 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

Trees in a Glade Overlooking a Lake
Private Collection

Middleham Village, with the Castle Beyond
Victoria and Albert Museum, London

An Extensive Landscape with the Ruins of Mitford Castle
Yale Center for British Art, New Haven

Plumpton Rocks, near Knaresborough
Private Collection

A Parkland Landscape with Cattle and Sheep
Private Collection

John Raphael Smith: 'Waiting for the Mail Coach' (mounted on page 1 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

Chelsea Reach, Looking towards Battersea (page 11 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

The Stables, Plompton Park (page 17 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

Harewood House, from the South West (page 18 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

Grimbald Bridge, near Knaresborough (page 20 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

The Abbey Mill, near Knaresborough (page 25 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

A Farmhouse in Malhamdale, Known as 'Kirkby Priory, near Malham' (page 26 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

Sandsend (page 29 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

Grimbald Crag, near Knaresborough (page 30 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

A Crag on the River Nidd (page 31 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

Guisborough Priory: The Ruined East End (page 33 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

Stepping Stones on the River Wharfe
British Museum, London

An Interior View of the Choir of Bolton Priory
Yale Center for British Art, New Haven

Bolton Abbey, from the River Wharfe (page 37 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

Bolton Abbey: The East End of the Priory Church, from across the River Wharfe (page 38 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

The East End of Bolton Priory Church (pages 38–39 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

A Distant View of Middleham Castle, with the River Ure in the Foreground (page 41 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

Middleham Village, with the Castle Beyond (page 42 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

A Village at the Bend of a River, Probably in Yorkshire (page 44 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

Beached Vessels at Low Tide (page 46 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

Five Craft off the Coast on a Calm Sea (page 47 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

Shipping off the Coast on a Calm Sea (page 48 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

The Ruins of Old Mulgrave Castle (page 49 of the Whitworth Book of Drawings)
The Whitworth, The University of Manchester

Mulgrave Park and Castle, from near Epsyke Farm
British Museum, London

The River Nidd between Knaresborough and Wetherby
Rhode Island School of Design Museum, Providence

Kirkstall Abbey, with a Canal Barge
Yale Center for British Art, New Haven

The River Nidd, between Knaresborough and Wetherby
Laing Art Gallery, Newcastle-upon-Tyne

The Valley of the Tweed, with Melrose Abbey in the Distance
Private Collection

A Clump of Trees by the Waterside
Private Collection

A Torrent by a Clump of Trees
Harvard Art Museums / Fogg Museum, Loan from George and Patti White

A River Valley and a Distant Hill Seen through Trees
Clark Art Institute, Williamstown

A Shady Road Leading to Cottages
British Museum, London

A Church in a Village, Possibly at Radwinter
British Museum, London

A Building with a Tall Chimney, next to a Stream
British Museum, London

Landscape with a Farmhouse and Cottage
Private Collection

A Schooner near the Shore
Ashmolean Museum, University of Oxford

A Coast Scene with Two Beached Vessels
Ashmolean Museum, University of Oxford

A Shipping Study: Five Craft on a Calm Sea
British Museum, London
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About this Work
This simple monochrome study of an extensive mill complex set behind a pond is one of fifteen generally slight colour sketches, all measuring roughly 8.9 × 11.4 cm (3 ½ × 4 ½ in), that appear to have come from a sketchbook worked late in Girtin’s career. Thomas Girtin (1874–1960) and David Loshak thought that these works ‘represent the fruits of local sketching trips taken during the summer of 1802’, and they argued that the fact that none of them were used as the basis for studio watercolours supported a late date (Girtin and Loshak, 1954, pp.84–85). However, only one of the scenes can be identified as a local view, Copenhagen House, Islington (TG1783), and although some of them appear to be imaginary, others resemble the picturesque vernacular subjects sketched by Girtin in Essex three or four years earlier. Thus, whilst the sketches were evidently created at speed, it is unlikely that they were worked up on the spot, being produced instead in the studio to satisfy the market for the less formal aspects of the artist’s output. The evidence that they come from a sketchbook is also ambiguous, since, as the paper historian Peter Bower has pointed out, specialised books for the use of artists were not manufactured at this date, and they either used pocketbooks or they themselves gathered together sheets of paper (Bower, 2002, p.141). New evidence, in the form of the account of John Girtin (1773–1821) of the material that he removed from his brother’s studio at his death, suggests that the latter was the case here. John records that amongst the items that he appropriated to settle his brother’s extensive unpaid debts were ‘4 little Books partly of sketches and partly blank paper’, and it seems likely that these included the group of small drawings now in the British Museum, which would, indeed, date from late in his life (Chancery, Income and Expenses, 1804). John Girtin was thus responsible for splitting up the ‘little Books’ and selling the sketches to collectors such as Chambers Hall (1786–1855), the generous patron of the museum (Smith, 2017–18, pp.35–36).
A much larger version of the composition is in the collection of Norwich Castle Museum, where it has been attributed to John Crome (1768–1821) (see figure 1). The watercolour, which has been identified as showing maltings on the river Wensum, near Norwich, was linked to Girtin’s watercolour by Miklos Rajnai, who not unreasonably queried the nature of the connection between Crome, a member of the Norwich School, and an artist who certainly did not visit East Anglia (Rajnai, 1979, p.132). In normal circumstances, I would suggest that Girtin copied the work from another artist, but in this case it may be that the larger work is the copy, and there is also a possible identity for its author. An inscription on the drawing has been read as ‘Sketch by J. Reynolds’, but this could be ‘S. Reynolds’, referring to Samuel William Reynolds (1773–1835), who acted on behalf of Girtin in his final years in a role somewhere between agent and dealer. He certainly had access to Girtin’s watercolours and his sketches and therefore had both the means and the motive to realise a version of such a sketch on a large scale. Whatever the case, I suspect that the subject has been misidentified, and there is still an outside possibility that it is by Girtin himself, though verifying this will require a closer inspection than has so far been possible, together with further research on the identity of the mill.
Another small sketch of a watermill has been attributed to Girtin (see figure 2). The work is known only from a poor-quality black and white photograph, but even so there appears to be no conclusive evidence that might connect it with Girtin, though it may be contemporary at least.
(?) 1802
Copenhagen House, Islington
TG1783