Another smaller version of the composition was catalogued by Girtin and Loshak as ‘218. Farmhouse and Outbuildings’ by Girtin (see image 1) (Girtin and Loshak, 1954, p.163). However, sometime after the appearance of the signed and dated watercolour now at Aberdeen, Tom Girtin (1913–94) annotated a photograph of the smaller version, stating that it was a ‘copy’ (Girtin Archive, 12/6). The work is known only from an online image, but it does indeed appear to be an inferior version, at the very least, and it may well be a copy by an amateur artist, perhaps working from an anonymous aquatint of the composition (see the print after, above). Yet another copy, this time measuring 30.5 × 50.8 cm (12 × 20 in), appeared on the art market around 1970, attributed to Robert Dixon (1780–1815) (see image 2). This is actually the same size as Girtin’s watercolour, and, given that the date and scale of the autograph version conform to the larger of the two standard works supplied by Girtin to Reynolds, I wonder whether this work might not be another of his copies, rather than having been painted by Dixon, who otherwise has no known connection with either the artist or any of his patr.
1798 - 1799
The Earth Stopper
1798 - 1799
A Farmhouse in a Woodland Setting, Said to Be in Devon
Pinckney’s Farm, Radwinter