- Description
-
- Creator(s)
- Thomas Girtin (1775-1802) after James Moore (1762-1799)
- Title
-
- Glamis Castle (Macbeth's Castle)
- Date
- 1795 - 1796
- Medium and Support
- Graphite and watercolour on laid paper
- Dimensions
- 34.7 × 25.6 cm, 13 ⅝ × 10 in
- Object Type
- Work after an Amateur Artist
- Subject Terms
- Castle Ruins; Scottish View
-
- Collection
-
- Private Collection, Norfolk
- (I-E-26)
- Catalogue Number
- TG0347
- Girtin & Loshak Number
- 61 as 'Glamis Castle, Forfar'; '1793–4'
- Description Source(s)
- Viewed in 2001 and April 2022
Provenance
Sotheby’s, 14 May 1836, lot 364 as 'Macbeth’s Castle'; bought by 'Shirley', £1 15s; David Cox (1783–1859); then by descent to Hannah Cox (1840–1909); bought from her by Augustus Joel Walker (1868–1965), c.1906; Walker's Galleries, London; bought by William George Rawlinson (1840–1928) as by Joseph Mallord William Turner; bought from him by Thos. Agnew & Sons, 13 February 1908 (stock no.6342); bought by Sir Hickman Bacon (1855–1945), 30 April 1908, £31 10s; then by descent
Exhibition History
Agnew’s, 1908, no.131 as by Thomas Girtin; London, 1946, no.91; Arts Council, 1946, no.76; Boston, 1948, no.129; Agnew’s, 1953a, no.96; Birmingham, 1993, no.105
Bibliography
Tax-Exempt Heritage Assets list as 'Attributed to Thomas Girtin' (Accessed 06/09/2022)
Place depicted
Other entries in First Steps as a Professional Artist:
James Moore and British Antiquities
An Ancient House, Possibly in Sussex
Newport Museum and Art Gallery
An Interior View of the Ruined East End of Tynemouth Priory Church
Yale Center for British Art, New Haven
Jedburgh Abbey, from the East
Private Collection
Craigmillar Castle, near Edinburgh
Ashmolean Museum, University of Oxford
The West Front of Exeter Cathedral, and St Mary Major
The Mellon Bank Collection, Pittsburgh
Stonehenge during a Thunderstorm
Ashmolean Museum, University of Oxford
The East End of Tynemouth Priory Church
Private Collection
Kidwelly Castle
Rhode Island School of Design Museum, Providence
Ludlow Castle: The Gatehouse
Private Collection
Dumbarton Rock and the Castle, from the North West
Yale Center for British Art, New Haven
Jedburgh Abbey, from the East
Yale Center for British Art, New Haven
Interior of the Albion Mills, Southwark, after the Fire
Private Collection
Kinloss Abbey: The Abbot's House
National Gallery of Scotland, Edinburgh
Conwy Castle, Looking West
Ashmolean Museum, University of Oxford
Duff House, from the South
Ashmolean Museum, University of Oxford
An Unidentified Round Tower
The Huntington Library, Art Museum and Botanical Gardens, San Marino
Glasgow Cathedral, from the North East
Yale Center for British Art, New Haven
Part of the Ruins of Alton Castle
Ashmolean Museum, University of Oxford
The West Front of Valle Crucis Abbey Church
Private Collection
The Albion Mills, Southwark, after the Fire
Newport Museum and Art Gallery
Bamburgh Castle, from the East
Ashmolean Museum, University of Oxford
The Ruins of the East End of St Andrews Cathedral
Birmingham Museums & Art Gallery
Warkworth Castle, from the River Coquet
Touchstones Rochdale
Colchester Castle
Ashmolean Museum, University of Oxford
The Great Keep, Kenilworth Castle
Yale Center for British Art, New Haven
The Castle Rock, Edinburgh
Fitzwilliam Museum, University of Cambridge
London: The Demolition of the Old Porch of the Guildhall
London Metropolitan Archives
The Gatehouse, Denbigh Castle
Yale Center for British Art, New Haven
Kirkstall Abbey, from the South East
Private Collection
Buildwas Abbey
Rhode Island School of Design Museum, Providence
The West Front of Brechin Cathedral, with the Round Tower
Private Collection
The Great Gate, St Augustine’s Abbey, Canterbury
Philadelphia Museum of Art
Conwy Castle: The Bakehouse Tower
Private Collection
Lindisfarne Priory Church, Looking West from the Choir
Tate, London
Kirkstall Abbey, from the North West
Yale Center for British Art, New Haven
The Tithe Barn at Abbotsbury, with St Catherine's Chapel on the Hill
Yale Center for British Art, New Haven
Kirkstall Abbey, from the South East
Ashmolean Museum, University of Oxford
Dunstaffnage Castle
Ashmolean Museum, University of Oxford
Spynie Palace, near Elgin
Ashmolean Museum, University of Oxford
Dunnottar Castle in a Thunderstorm
Ashmolean Museum, University of Oxford
Part of the Ruins of Croxden Abbey, from the East
Ashmolean Museum, University of Oxford
The Great Keep, Kenilworth Castle, with Leicester's Gatehouse in the Distance
Yale Center for British Art, New Haven
Battle Church, from the South East
Ashmolean Museum, University of Oxford
The East End of Valle Crucis Abbey Church
Indianapolis Museum of Art at Newfields
The Gatehouse, Denbigh Castle
Private Collection
The Ruins of Lewes Castle, from the West
Private Collection
Ewell Church, with a Funeral Procession Approaching
Queensland Art Gallery, Brisbane
Rustic Figures in a Landscape, with Pigs
Metropolitan Museum of Art, New York
St Peter's Church, Bexhill, from the East
Private Collection
Warkworth Castle, from the River Coquet
Ashmolean Museum, University of Oxford
A Cow Grazing near a Pond, with a Church Tower Beyond
Private Collection
Duff House, from the River
Ashmolean Museum, University of Oxford
A Landscape with a Shepherd and Flock
The Huntington Library, Art Museum and Botanical Gardens, San Marino
Melrose Abbey, from the South West
Private Collection
A Cottage, Said to Be near Battle in Sussex
Private Collection
Ely Cathedral, from the South East
Ashmolean Museum, University of Oxford
The East End of Valle Crucis Abbey Church
Private Collection
The East End of Valle Crucis Abbey Church
Private Collection
Lindisfarne Priory Church, Looking West from the Choir
Private Collection, Scotland
Pegwell Bay, near Ramsgate
Yale Center for British Art, New Haven
Pevensey Castle: The North Tower with the Gatehouse in the Distance
Yale Center for British Art, New Haven
The Spire of Salisbury Cathedral, from Chorister's Green
Private Collection
The Landgate, Rye
Yale Center for British Art, New Haven
The Landgate, Rye
Ashmolean Museum, University of Oxford
The Gatehouse, Saltwood Castle
Yale Center for British Art, New Haven
The Gatehouse, Saltwood Castle
Ashmolean Museum, University of Oxford
The Strand Gate, Winchelsea
Yale Center for British Art, New Haven
The West Tower, All Saints' Church, Hastings
Ashmolean Museum, University of Oxford
Rochester Castle, from the South
Ashmolean Museum, University of Oxford
The West Front of Byland Abbey
Birmingham Museums & Art Gallery
All Saints' Church, Hastings, from the North East
Ashmolean Museum, University of Oxford
An Ancient House, Possibly in Sussex
Ashmolean Museum, University of Oxford
Kenilworth Castle: The View from the South
Private Collection
Kenilworth Castle: Seen from the South East
Private Collection
Tolleshunt D’Arcy Church
Private Collection
St Peter's Church, Bexhill, from the South East
Ashmolean Museum, University of Oxford
The Ruined Gatehouse, Saltwood Castle, Seen from the North
Ashmolean Museum, University of Oxford
Saltwood Castle: The Gatehouse
Private Collection
The Ruined Gatehouse, Pevensey Castle, from the East
Ashmolean Museum, University of Oxford
The Ruined Gatehouse, Pevensey Castle
Ashmolean Museum, University of Oxford
The Gatehouse, Battle Abbey
Clark Art Institute, Williamstown
Carlisle Cathedral, from the South West
Yale Center for British Art, New Haven
The Gatehouse, Battle Abbey
Private Collection
St Mary the Virgin, Eastbourne
Ashmolean Museum, University of Oxford
An Unidentified Landscape with a Figure Seated on a Gate under a Tree
Private Collection
The West Front of Crowland Abbey
Ashmolean Museum, University of Oxford
The West Front of Crowland Abbey
Ashmolean Museum, University of Oxford
Pevensey Castle: View of the North and East Towers
Private Collection
The Ruins of the Great Hall, Kenilworth Castle
Ashmolean Museum, University of Oxford
All Saints' Church, Hastings, from the North West
Ashmolean Museum, University of Oxford
The Refectory, St Martin’s Priory, Dover
Philadelphia Museum of Art
Saltwood Castle: The Gatehouse from a Farmyard
Ashmolean Museum, University of Oxford
Spynie Palace: A Coastal View
Yale Center for British Art, New Haven
St Clement's Church, with Hastings in the Distance
Ashmolean Museum, University of Oxford
The East End of the Church of St Thomas, Winchelsea
Private Collection
The East End of the Church of St Thomas, Winchelsea
Ashmolean Museum, University of Oxford
The West Tower, St Clement's Church, Hastings; Studies of a Horse in Harness and Numerous Architectural Details
Ashmolean Museum, University of Oxford
Undercliff, near Hastings
Ashmolean Museum, University of Oxford
The Ypres Tower, Rye
Ashmolean Museum, University of Oxford
An Unidentified Village with a Half-Timbered House
Ashmolean Museum, University of Oxford
Hastings: The View across the Beach to Castle Hill
Hastings Museum and Art Gallery
Hastings Castle and Priory Bridge
Hastings Museum and Art Gallery
Tolleshunt D’Arcy Church
National Gallery of Scotland, Edinburgh
Battle Abbey Gatehouse, from the South West
Ashmolean Museum, University of Oxford
St Clement’s Church, Sandwich, from the North
Ashmolean Museum, University of Oxford
St Peter's Church, Bexhill: The West Tower
Ashmolean Museum, University of Oxford
Glasgow Cathedral, from the South West
Bolton Museum and Art Gallery
The East End of Icklesham Church
Ashmolean Museum, University of Oxford
The Refectory, St Martin’s Priory, Dover
The Huntington Library, Art Museum and Botanical Gardens, San Marino
The Gatehouse of Beckingham Hall, Tolleshunt Major
Yale Center for British Art, New Haven
Glamis Castle (Macbeth's Castle)
Private Collection, Norfolk
One of the Alard Monuments in the Church of St Thomas, Winchelsea
Ashmolean Museum, University of Oxford
One of the Alard Monuments in the Church of St Thomas, Winchelsea
Ashmolean Museum, University of Oxford
Pegwell Bay, near Ramsgate
Harvard Art Museums / Fogg Museum, Loan from George and Patti White
A Thatched Barn with Farm Animals
Private Collection
A Timber-Frame House with a Hill Beyond
Tate, London
A Farmyard with Pigs Drinking at a Pond
The Huntington Library, Art Museum and Botanical Gardens, San Marino
A Barn with a Figure, Cattle and Poultry
Courtauld Gallery, London
Malmesbury: The Market Cross
Athelstan Museum, Malmesbury
An Unidentified Country Church and Churchyard
Private Collection, Norfolk
Footnotes
- 1 The document detailing the payments made to the young Girtin by Moore is transcribed in full in the Documents section of the Archive (1792–93 – Item 1).
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About this Work
This watercolour by Girtin showing Glamis Castle, north of Dundee, was made after a drawing by the amateur artist and antiquarian James Moore (1762–99) (see source image TG0347), and Girtin himself never visited the site. Girtin’s earliest patron made an extensive tour of Scotland in the late summer of 1792 and his sketch of the castle from the south west is dated 2 September. Girtin is documented as having worked for Moore between October 1792 and February 1793 for a fee of six shillings a day, producing small watercolours on paper generally measuring roughly 6 ½ × 8 ½ in (16.5 × 21.5 cm) (Moore, Payments, 1792–93).1 However, this watercolour is much larger and, given that there is no evidence that the work was ever owned by Moore, it was presumably executed for another patron at a slightly later date. Perhaps because he was working for a different customer, Girtin felt free to alter Moore’s composition, cutting it left and right to create a vertical view that substantially increases the impact of the castle motif. Glamis Castle was begun around 1400, with significant alterations dating from 1670–89, and it was located on the site where King Malcom was allegedly murdered in 1034. Aside from the increased monumentality of the building shown by Girtin, there are no overt references to the events of Shakespeare’s Macbeth, the villain of which was the Thane of Glamis, though not surprisingly this did not stop earlier writers from referring to the subject as ‘Macbeth’s Castle’. At one time in its history, the watercolour was said to be by Joseph Mallord William Turner (1775–1851), and the attribution to Girtin has also been questioned more recently in the Tax-Exempt Heritage Assets list. However, the watercolour is demonstrably a good example of how the young Girtin was able to transform a slight pencil sketch of an amateur, albeit with limitations perhaps attendant on its larger than usual size.
The reason Girtin did not get a commission from Moore to produce a watercolour version of his sketch of Glamis was presumably because Moore had already paid Edward Dayes (1763–1804), Girtin’s master, to produce a similar view (see figure 1). It is dated 1792 and so must have been executed soon after Moore’s return from Scotland and before Girtin began his work for Moore. The drawing is the same size as Moore’s original sketch and, unlike Girtin’s watercolour, it follows the same format, making it suitable for engraving. This appeared in 1800 in John Walker’s (active 1776–1802) Copper-Plate Magazine as ‘from an Original Sketch by Jas. Moore Esq’ (Walker, 1792–1802, vol.4), with a text that discusses the death of Malcolm at Glamis.
1795 - 1796
Glamis Castle (Macbeth’s Castle)
TG0347