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Works Thomas Girtin after Edward Dayes

Hereford Cathedral

1792 - 1793

Primary Image: TG0070: Thomas Girtin (1775–1802), after Edward Dayes (1763–1804), Hereford Cathedral, 1792–93, graphite and watercolour on wove paper, 22.9 × 29.5 cm, 9 × 11 ⅝ in. Hereford Museum and Gallery (2054).

Photo courtesy of Herefordshire Museum Service, Hereford Museum & Gallery (All Rights Reserved)

Description
Creator(s)
Thomas Girtin (1775-1802) after Edward Dayes (1763-1804)
Title
  • Hereford Cathedral
Date
1792 - 1793
Medium and Support
Graphite and watercolour on wove paper
Dimensions
22.9 × 29.5 cm, 9 × 11 ⅝ in
Object Type
Studio Watercolour; Work from a Known Source: Contemporary British
Subject Terms
Gothic Architecture: Cathedral View; The Welsh Borders: Herefordshire and Worcestershire

Collection
Catalogue Number
TG0070
Girtin & Loshak Number
18 as '1792'
Description Source(s)
Viewed in 2015

Provenance

Walker’s Galleries, London, 1921, £75; Victor Rienaecker (1887–1972)

Exhibition History

Walker’s Galleries, 1921, no.62

About this Work

This watercolour by Girtin of Hereford Cathedral from the south east is taken from the same angle as his river view (TG0155) but from much closer, so that it includes a magnified view of the tree that occludes the southern transept in the larger dated scene. A centrally placed tree is a prominent feature of another of Girtin’s early watercolours produced whilst he was still an apprentice to Edward Dayes (1763–1804), the view London from Highgate Hill (TG0060), but in this case the feature was copied from a composition by his master (see figure 1). Dayes visited Hereford in 1792 as part of a tour of the Wye valley and he executed a series of watercolours from sketches that, in turn, provided Girtin with the basis for this and perhaps two other views of the cathedral (TG0155 and TG0166 (attribution uncertain)). Dayes’ watercolour of this composition is not dated, but it would seem to date from later and Girtin presumably worked from the same sketch, probably copying it first in pencil. It is not known when Girtin’s apprenticeship came to an end; however, given that he did not travel to Hereford at this time, he must still have had access to Dayes’ sketches well into 1792.

Hereford Cathedral

Figure 1.
Edward Dayes (1763–1804), Hereford Cathedral, graphite, watercolour and pen and ink on paper, 39 × 51.8 cm, 15 ⅜ × 20 ⅜ in. Victoria and Albert Museum, London (E.1979-1919).


Digital image courtesy of Victoria and Albert Museum (All Rights Reserved).

The close links between this composition and the 1793 watercolour of the cathedral from the river Wye (TG0155) extend to every aspect of its treatment, demonstrating a clear, deep and continuing connection with Dayes’ work as a watercolourist. Girtin’s treatment of the foliage of the tree with its cursory, schematic handling of the leaves and branches, together with the fluid sky and the spotlit central band of buildings, recurs across the group of Hereford subjects and, indeed, is repeated in an extensive group of works that can all be shown to have been executed during, or immediately after, Girtin’s apprenticeship to Dayes. The very subtle and clearly evident pencil work in the tower suggests that this work – like TG0155, which has a similar detail – also dates from around 1793.

Hereford Cathedral is one of eight watercolours that were sold at Walker’s Galleries in London in 1921; they were said to have been commissioned from the young Girtin and had subsequently remained in the same family collection (Exhibitions: Walker’s Galleries, 1921). The group included views of Warwick Castle (TG0168), Chepstow Castle (TG0170), Lindisfarne Priory (TG0210), Warkworth Castle (TG0177) and Valle Crucis Abbey (TG0208), none of which Girtin could have visited, and all of the watercolours seem to have been made after compositions by either Dayes or James Moore (1762–99), Girtin’s first patron. It is likely that the commission as a whole came through Girtin’s continuing association with Dayes, though he clearly did not consign the watercolours to the auction houses, as seems to have been the case with Rochester Castle, from the River Medway (TG0057) and others. The income from the works may still have gone to Girtin’s master as part of the price of paying off his indentures, however, and this would explain why Girtin still had access to Dayes’ sketches after he left his studio, whenever that might have been. The watercolours in the group vary in size, but this work and the view of Chepstow Castle share the same dimensions and probably formed a pair; indeed, the former is inscribed on the back as ‘T. Girtin / pair’.

1793

Hereford Cathedral, from the River Wye

TG0155

1792

London from Highgate Hill

TG0060

1793

Hereford Cathedral, from the River Wye

TG0155

1792 - 1793

A Distant View of Hereford Cathedral

TG0166

1793

Hereford Cathedral, from the River Wye

TG0155

1793

Hereford Cathedral, from the River Wye

TG0155

1792 - 1793

The Gatehouse and Barbican, Warwick Castle

TG0168

1792 - 1793

Chepstow Castle, from the River Wye

TG0170

1792 - 1793

Lindisfarne Priory Church, Looking West from the Choir

TG0210

1792 - 1793

Warkworth Castle, from the River Coquet

TG0177

1792 - 1793

The East End of Valle Crucis Abbey Church

TG0208

(?) 1791

Rochester Castle, from the River Medway

TG0057

by Greg Smith

Place depicted

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