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Works Thomas Girtin after James Moore

Conwy Castle: The Bakehouse Tower

1792 - 1793

Primary Image: TG0141: Thomas Girtin (1775-1802) after James Moore (1762-99), Conwy Castle: The Bakehouse Tower, 1792–93, graphite and watercolour on paper, 14.6 × 10.4 cm, 5 ¾ × 4 ⅛ in. Private Collection.

Photo courtesy of Agnew's

Artist's source: James Moore (1762–99), Conwy Castle, 24 August 1791, graphite on laid paper, 16.7 × 21.3 cm, 6 ⅝ × 8 ⅜ in. Yale Center for British Art, Paul Mellon Collection (B1975.3.674).

Photo courtesy of Yale Center for British Art, Paul Mellon Collection (Public Domain)

Description
Creator(s)
Thomas Girtin (1775-1802) after James Moore (1762-1799)
Title
  • Conwy Castle: The Bakehouse Tower
Date
1792 - 1793
Medium and Support
Graphite and watercolour on paper
Dimensions
14.6 × 10.4 cm, 5 ¾ × 4 ⅛ in
Object Type
Studio Watercolour; Work after an Amateur Artist
Subject Terms
Castle Ruins; North Wales

Collection
Catalogue Number
TG0141
Girtin & Loshak Number
22
Description Source(s)
Sale Catalogue

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, £8; Francis Henry Hill Guillemard (1852–1933) (lent to Cambridge, 1920); Mrs Guillan (Girtin and Loshak, 1954); Thos. Agnew & Sons, 1956–57; Hammond Smith; Dr Hampson; Thos. Agnew & Sons, 1982

Exhibition History

Cambridge, 1920, no.11; Agnew’s, 1982, no.88

Bibliography

Grundy, 1921a, pp.133–34

About this Work

This view by Girtin of the northern flank of Conwy Castle, with the partially ruined Bakehouse Tower prominent in the foreground, was made after a drawing by the amateur artist and antiquarian James Moore (1762–99) (see the source image above), and the artist did not visit the site himself until 1798. Girtin’s earliest patron toured North Wales in 1791 and he inscribed his sketches of the castle with the date, 24 August. Girtin is documented as having worked for Moore between October 1792 and February 1793 for a fee of six shillings a day, producing watercolours on paper generally measuring roughly 6 ½ × 8 ½ in (16.5 × 21.5 cm). In this case Girtin cut Moore’s composition to the right to create a portrait format, though he preserved the standard height of his drawings. In all Girtin painted seventy or so small watercolours after Moore’s amateurish sketches, including a second view of Conwy (TG0107), and these remained in the ownership of the antiquarian’s descendants until the collection was broken up after 1912, when this work was acquired by a great-grandson of the artist, Thomas Girtin (1874–1960).

The second of the two sketches of Conwy by Moore that Girtin worked up for his patron was taken from close to the Bakehouse Tower looking east, with the river Conwy in the distance to the right. Girtin cut this part of the composition and concentrated on the ruined state of the tower, providing a stark contrast with the more imposing general view of the fortress on a rocky outcrop shown in TG0107, with its celebration of the skills of Edward I’s great military architect, Master James of St George (d.c.1306). The ruined tower can also be seen in the centre of the view looking west, but the more monumental effect of this vertical composition, combined with the dark yawning hole at its centre, creates an image of fragility and loss even though its ruined state actually resulted from a structural collapse rather than an act of war. The tower was repaired in the nineteenth century, ironically at the expense of the same railway company whose bridge abuts the castle, destroying the viewpoint of Moore’s other sketch (see source image TG0107).

1792 - 1793

Conwy Castle, Looking West

TG0107

1792 - 1793

Conwy Castle, Looking West

TG0107

1792 - 1793

Conwy Castle, Looking West

TG0107

by Greg Smith

Place depicted

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