- Description
-
- Creator(s)
- Thomas Girtin (1775-1802)
- Title
-
- An Upland Landscape, Possibly in Northumberland
- Date
- 1796 - 1797
- Medium and Support
- Graphite and watercolour on laid paper
- Dimensions
- 7 × 11 cm, 2 ¾ × 4 ¼ in
- Object Type
- Colour Sketch: Studio Work
- Subject Terms
- Durham and Northumberland; Unidentified Landscape
-
- Collection
- Catalogue Number
- TG0851
- Description Source(s)
- Viewed in 2004
Provenance
Sotheby’s, 27 November 2003, lot 241 as 'A View in Northumberland', unsold; Sotheby's, Olympia, 26 May 2004, lot 41, £1,440
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Kirkstall Abbey, from the North West
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The Ruined Gateway of Mettingham Castle
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The Keep of Rochester Castle, Seen from outside the Walls
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Tintern Abbey, from the River Wye
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Tintern Abbey: The View from the Nave
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The Market at Aberystwyth
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Lancaster Castle, from the River Lune
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Lancaster Castle, from the River Lune
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Lancaster Priory Church, Seen with the Old Bridge over the River Lune
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Buttermere Bridge, from the Fish Inn
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The Medieval Kitchen, Stanton Harcourt
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Rochester Cathedral, from the North East, with the Castle Beyond
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Glasgow High Street: Looking towards the Cathedral
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A Distant View of Corfe Castle
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Chichester Cathedral, from the South West
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The Gatehouse of Amberley Castle
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A Lake and Mountains, Possibly in the Lake District
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A Lake and Mountains, Possibly in the Lake District
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An Unidentified View across a Lake, or along a Coast
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A Road by a Pond, with a Church in the Distance
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A Road by a Pond, with a Church in the Distance
A Road by a Pond, with a Church in the Distance
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A Church Tower amongst Trees, with a Cart in the Foreground
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An Unidentified Landscape, with a Church amongst Trees
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A Hilly Landscape, with a Two-Arched Bridge
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A Distant View of Tynemouth Priory, from the Sea
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Bridgnorth, on the River Severn
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Knaresborough, from the River Nidd
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About this Work
This simple landscape sketch, which is said to show a scene in Northumberland, is likely to have been amongst the sixty ‘Coloured Drawings on Cards’ sold from the collection of Dr Thomas Monro (1759–1833) (Exhibitions: Christie’s, 7 May 1808, lots 60 and 61; Christie’s, 26 June 1833, lots 80–83). A group of the cards was bought by Girtin’s collaborator at Monro’s home, Joseph Mallord William Turner (1775–1851), and they now form part of the Turner Bequest at Tate Britain, where the majority of them are attributed to Girtin. The watercolours, all painted on card measuring roughly 3 × 4 ¾ in (7.6 × 12.1 cm), were mainly executed around 1795–96 after a set of Girtin’s outline drawings that are now also in the Turner Bequest. This example, however, is one of only a handful that seem to have been painted a little later (Wilton, 1984a, p.12), and from sketches that Girtin himself made on the spot (two others being TG0850 and TG0855). Rather than being copied from the drawings of his first significant patron, the amateur artist and antiquarian James Moore (1762–99), or his master, Edward Dayes (1763–1804), the subject would have been studied at first hand during Girtin’s trip to the north east and the Scottish Borders in 1796. A word of caution, though. The view is certainly comparable to the card depicting Flodden Field (TG0855), but what is the evidence that this watercolour actually shows a view in Northumberland? An earlier inscription may have recorded the title, but the watercolour itself does not contain enough specific topographical detail to determine the identity of the location shown. The watercolour is also a little smaller than the standard size of the Monro cards. However, as with the doubt about the traditional title of the view, this in itself does not preclude the possibility that the work was based on a drawing that Girtin made and that it consequently dates from later than the bulk of the commission.
1796 - 1797
A Distant View of Tynemouth Priory, from the Sea
TG0850
1796 - 1797
Flodden Field
TG0855
1796 - 1797
Flodden Field
TG0855