- Description
-
- Creator(s)
- Thomas Girtin (1775-1802) after (?) Edward Dayes (1763-1804)
- Title
-
- All Saints' Church, Marlow
- Date
- 1792 - 1793
- Medium and Support
- Graphite on wove paper
- Dimensions
- 13.3 × 21.6 cm, 5 ¼ × 8 ½ in
- Subject Terms
- Buckinghamshire View; Gothic Architecture: Parish Church; River Scenery
-
- Collection
- Versions
-
All Saints’ Church, Marlow
(TG0271)
- Catalogue Number
- TG0249
- Girtin & Loshak Number
- 141i as 'Great Marlow Church, Bucks (previously called Henley Church)'; '1795–6'
- Description Source(s)
- Viewed in 2001
Provenance
James Moore (1762–99); his widow, Mary Moore (née Howett) (d.1835); bequeathed to Anne Miller (1802–90); bequeathed to Edward Mansel Miller (1829–1912); bequeathed to Helen Louisa Miller (1842–1915); bought by Thomas Girtin (1874–1960), 1912; given to Tom Girtin (1913–94), c.1938; bought by John Baskett on behalf of Paul Mellon (1907–99), 1970; presented to the Center, 1975
Exhibition History
New Haven, 1986a, no.27
Bibliography
Hartley, 1984, p.58
Place depicted
Other entries in Master and Pupil:
Edward Dayes and the Industrious Apprentice
An Icelandic Woman in Her Riding Dress
National Museum of Iceland, Reykjavik
An Icelandic Woman with Her Young Daughter
National Museum of Iceland, Reykjavik
The Great Geysir, Iceland, as It Appeared during Its Eruption to Sir Joseph Banks in September 1772
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Mount Hekla, with Sir Joseph Banks and His Party Descending from the Volcano
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Lava as It Has Run Over the Ridge of a Hill, Iceland
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The House of Thorstein Jonsson at Hvaleyri, Iceland
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The Basalt Pillars near Laugarnes, Iceland
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An Icelandic Woman in Her Bridal Dress
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Durham Cathedral, from the River Wear
The Hermitage Museum, St Petersburg
Eton College, from the River
Yale Center for British Art, New Haven
London: Interior of St Stephen Walbrook, Looking East
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Rochester, from the River Medway
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The Banqueting House, Whitehall
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The Interior of St Paul’s Cathedral: The Nave Looking East
Untraced Works
St Paul’s Cathedral, from the South West
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The West Front of St Paul’s Cathedral
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The West Front of Westminster Abbey
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Interior of St Stephen Walbrook, Looking East
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A French Lady of Quality in 1581
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Edward VI in 1550
Yale Center for British Art, New Haven
A Noble Virgin of Bologna in 1581
Yale Center for British Art, New Haven
A Persian Lady in 1568
Yale Center for British Art, New Haven
An English Nobleman in 1559
Yale Center for British Art, New Haven
Henry VIII in 1520
Yale Center for British Art, New Haven
Marlow, from across the River Thames
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Tynemouth Priory, from the Coast
Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York
The River Wensum at Norwich
Metropolitan Museum of Art, New York
Rochester Castle, from the River Medway
The Museum of Fine Arts, Houston
Tintern Abbey, from the River Wye
Courtauld Gallery, London
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London from Highgate Hill
Yale Center for British Art, New Haven
'First Regiment of Foot Guards, 1660': Officer and Subaltern
British Museum, London
'First Regiment of Foot Guards, 1660': Sergeant and Private
British Museum, London
First Regiment of Foot Guards, 1660: Drummer and Private
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'Coldstream Regiment of Foot Guards, 1650': Officer and Sergeant
British Museum, London
'Coldstream Regiment of Foot Guards, 1650': Sergeant and Private
British Museum, London
Coldstream Regiment of Foot Guards, 1650: Drummer and Corporal
Brown University Library, Providence, Anne S. K. Brown Military Collection
'Third Regiment of Foot Guards, 1660': Officer and Sergeant
British Museum, London
'Third Regiment of Foot Guards, 1660': Grenadier and Private
British Museum, London
Third Regiment of Foot Guards, 1660: Drummer and Private
Brown University Library, Providence, Anne S. K. Brown Military Collection
Christ Church, Southwark
Yale Center for British Art, New Haven
Llanthony Priory
Ashmolean Museum, University of Oxford
Rochester, from the North
Yale Center for British Art, New Haven
The View from the Great Boathouse, Lake Windermere
Private Collection
Westminster Abbey and Bridge, from Lambeth
Private Collection
The Dover Mail, Dover Castle in the Distance
Private Collection
Rochester Cathedral and Castle, from the North East
Eton College, Windsor
Worcester, from the River Severn
Indianapolis Museum of Art at Newfields
Lake Windermere and Belle Isle
Wordsworth Grasmere (Dove Cottage and Wordsworth Museum)
London Bridge, from the South Bank
Private Collection
The Demolition of a Building, Said to Be Part of the Ruins of Old Drury Lane Theatre
Private Collection
Dover Castle: The Constable's Tower
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A Cottage on the Solent
Birmingham Museums & Art Gallery
Hereford Cathedral, from the River Wye
Hereford Museum and Art Gallery
Chepstow Castle, on the River Wye
Victoria and Albert Museum, London
Warehouse and Shipping at Wapping
Leicester Museum & Art Gallery
A Distant View of Hereford Cathedral
Private Collection
The Gatehouse and Barbican, Warwick Castle
Fine Arts Museums of San Francisco
Chepstow Castle, from the River Wye
Ashmolean Museum, University of Oxford
The Interior of a Ruined Abbey Church
Private Collection
The Head of Ullswater, from Goborrow Park
Private Collection
Part of the Ruins of Roche Abbey
Private Collection
The Transept of St Saviour’s, Southwark
Yale Center for British Art, New Haven
Part of the Ruins of the Savoy Palace, Westminster Bridge Beyond
Yale Center for British Art, New Haven
Durham Cathedral, from the River Wear
Laing Art Gallery, Newcastle upon Tyne
All Saints' Church, Marlow
The Whitworth, The University of Manchester
Caesar’s Tower, Warwick Castle
Ashmolean Museum, University of Oxford
An Interior View of the Ruins of the Savoy Hospital
Yale Center for British Art, New Haven
A Bronze Age Palstave and a Roman Bow Brooch
Society of Antiquaries of London
All Saints' Church, Marlow
Yale Center for British Art, New Haven
Unidentified Monastic Ruins next to a River
Private Collection
Westminster, from the Ruins of the Savoy
National Gallery of Scotland, Edinburgh
Manchester: Chetham’s College from Hunt’s Bank, with the Bridge over the River Irwell
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Part of the Ruins of the Savoy Palace, Westminster Bridge Beyond
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The Oriel Window of the Great Hall of Eltham Palace
Ashmolean Museum, University of Oxford
An Exterior View of Part of the Ruins of the Savoy Hospital
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A Distant View of Marlow, from the River Thames
The Huntington Library, Art Museum and Botanical Gardens, San Marino
A Distant View of Marlow, from the River Thames
Private Collection
An Interior View of the Ruins of the Savoy Hospital
Ashmolean Museum, University of Oxford
Part of the Ruins of the Savoy Palace, Westminster Bridge Beyond
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Buildings in the Process of Demolition, Said to Be the Ruins of the Savoy Palace
Tate, London
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Tate, London
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Tate, London
St Mary’s Church, Monken Hadley
Tate, London
An Exterior View of the Great Hall of Eltham Palace
Victoria and Albert Museum, London
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Private Collection
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About this Work
Thomas Girtin (1874–1960) and David Loshak argued that this pencil drawing of the old church at Marlow on the river Thames was made after a sketch that they attributed to Girtin’s master, Edward Dayes (1763–1804) (TG0271) (Girtin and Loshak, 1954, p.153). Although that pencil sketch has since been very plausibly ascribed to Girtin himself, it is still likely that the compositions of both drawings came from an outline drawing by Dayes, especially as there is no evidence that Girtin ever visited the Buckinghamshire town, despite the fact that he returned to the subject on a number of occasions (Hartley, 1984, p.58). Girtin’s earliest view of Marlow (TG0054), dating from 1791, was almost certainly made after a view by Dayes, and an undated watercolour by the young artist’s master (see TG0271 figure 1) shows a very similar view of the church from across the river. Differences between Girtin’s drawing and the Dayes watercolour, such as the greater extent of the buildings to the left and right and the variation in the shipping on the river, suggest, however, that Girtin did not copy the watercolour itself but worked from an untraced common source. This sketch, together with the watercolour that was made from it (TG0237) may date from later than Girtin’s first Marlow view and the end of his apprenticeship to Dayes, but this was still at a time before Girtin was in a position to travel extensively to draw such picturesque scenery.
The drawing came from the collection of the antiquarian and amateur artist James Moore (1762–99), who began to employ Girtin to make watercolours after his own sketches around 1792, so it is possible that the prototype for the composition was an untraced sketch of his instead. The Dayes connection is not necessarily invalidated, however, as he also often based his works on sketches made by Moore and there are a number of examples where he acted as an intermediary between the amateur artist and Girtin. The drawing shows the south flank of the medieval church with its prominent spire, all of which was lost when the church was rebuilt in the 1830s, and such ancient and unspoilt buildings were of particular interest for the antiquarian. The Moore connection may indeed account for the existence of two very close versions of the drawing. One plausible explanation, consistent with Moore’s patronage, would be that he bought this drawing from Girtin and that the sketch (TG0271) was made as a replica from which the artist might make studio watercolours, such as All Saints’ Church, Marlow (TG0237).
1792 - 1793
All Saints’ Church, Marlow
TG0271
(?) 1791
Marlow, from across the River Thames
TG0054
1792 - 1793
All Saints’ Church, Marlow
TG0271
1792 - 1793
All Saints’ Church, Marlow
TG0237
1792 - 1793
All Saints’ Church, Marlow
TG0271
1792 - 1793
All Saints’ Church, Marlow
TG0237