- Description
-
- Creator(s)
- Thomas Girtin (1775-1802)
- Title
-
- Kelso Abbey: The West Front
- Date
- 1800
- Medium and Support
- Graphite and watercolour on laid paper
- Dimensions
- 40 × 27.9 cm, 15 ¾ × 11 in
- Inscription
‘Girtin 1800’ lower left, by Thomas Girtin
- Object Type
- Studio Watercolour
- Subject Terms
- Monastic Ruins; The Scottish Borders
-
- Collection
- Versions
-
Kelso Abbey: The West Front
(TG1117)
- Catalogue Number
- TG1717
- Girtin & Loshak Number
- 188ii as 'Kelso Abbey'
- Description Source(s)
- Witt Library Photograph
Provenance
Sir Charles Long, 1st Baron Farnborough (1760–1838) and Amelia Long, Lady Farnborough (1772–1837); then by descent to Lt. Col. Samuel Long (d.1881); his posthumous sale, Christie’s, 10 March 1882, lot 67 as 'A Ruined Castle'; bought by 'Palser', 14 gns; J. Palser & Sons (stock no.1603); bought by Dr John Percy (1817-89), 13 March 1882, £25; his posthumous sale, Christie’s, 17 April 1890, lot 523; bought by 'Colnaghi', £40 19s; P & D Colnaghi & Co.; James Henry Robert Innes-Ker, 7th Duke of Roxburghe (1839–92); then by descent
Bibliography
Smith, 2002b, p.171
Place depicted
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National Gallery of Scotland, Edinburgh

A Classical Composition, with a Church and Column
Walker Art Gallery, National Museums Liverpool

The Arch of Janus, Rome
Yale Center for British Art, New Haven

The Temple of Clitumnus
Yale Center for British Art, New Haven

Rome: The Temple of Antoninus and Faustina
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Rome: The Temple of Saturn, with the Arch of Septimius Severus
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Birmingham Museums & Art Gallery

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An Exterior View of the Ruins of Lindisfarne Priory Church
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Kelso Abbey: The West Front
The Whitworth, The University of Manchester

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A Classical Composition, with Figures Admiring the Sculptures
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Touchstones Rochdale

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Yale Center for British Art, New Haven

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British Museum, London

Kirkstall Abbey, from Kirkstall Hill
British Museum, London

Kirkstall Abbey, from Kirkstall Bridge, Morning
Victoria and Albert Museum, London

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Williamson Art Gallery & Museum, Birkenhead

An Unidentified Scene, Formerly Known as ‘Kirkstall Village’
Yale Center for British Art, New Haven

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The Museum of Fine Arts, Houston

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The Whitworth, The University of Manchester

York: The New Walk on the Banks of the River Ouse
Victoria and Albert Museum, London

York: The Layerthorpe Bridge and Postern
The Whitworth, The University of Manchester

York: The Layerthorpe Bridge and Postern
Private Collection

York Minster from the South East, Layerthorpe Bridge and Postern to the Right
Private Collection

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Blackburn Museum and Art Gallery

A Distant View of Ripon Minster, from the River Skell
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National Gallery of Scotland, Edinburgh

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The Abbey Mill, near Knaresborough
Yale Center for British Art, New Haven

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Eton College, Windsor

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National Museum of Wales, Cardiff

Bolton Abbey: The East End of the Priory Church, from across the River Wharfe
Leeds Art Gallery

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Bolton Abbey, from the River Wharfe
Private Collection

The Banks of the River Wharfe, with Bolton Abbey in the Distance
Private Collection

Stepping Stones on the River Wharfe, near Bolton Abbey
National Gallery of Scotland, Edinburgh

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National Gallery of Victoria, Melbourne

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Fitzwilliam Museum, University of Cambridge

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Leeds Art Gallery

A Farmhouse in Malhamdale, Known as 'Kirkby Priory, near Malham'
British Museum, London

An Ancient Oak, Said to Be on the River Ure
Private Collection

Cottages at Hawes, from Gayle Beck
Birmingham Museums & Art Gallery

Cottages at Hawes, from Gayle Beck
Private Collection, Norfolk

Cottages at Hawes, from Gayle Beck
Private Collection

Cottages at Hawes, from Gayle Beck
Ashmolean Museum, University of Oxford

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Tate, London

A Distant View of Guisborough Priory; The Tithe Barn, Abbotsbury
Private Collection, Norfolk

A Distant View of Guisborough Priory
Yale Center for British Art, New Haven

A Distant View of Guisborough Priory
Yale Center for British Art, New Haven

A Farmhouse, Said to Be near Newcastle-upon-Tyne
Private Collection

A Farmhouse, Said to Be near Newcastle-upon-Tyne
Laing Art Gallery, Newcastle-upon-Tyne

Kelso Abbey, from the River Tweed
Private Collection

Warkworth Castle, from the River Coquet
Yale Center for British Art, New Haven

An Upland Landscape, Said to Show Etal Castle
Victoria and Albert Museum, London

The River Tweed at Kelso, Looking Upstream
Courtauld Gallery, London

The Eildon Hills, from the River Tweed
Fitzwilliam Museum, University of Cambridge

A Distant View of Dryburgh Abbey, with the Eildon Hills Beyond
Private Collection

The Valley of the Tweed, with Melrose Abbey in the Distance
Private Collection

Jedburgh Abbey, from Jed Water
Fitzwilliam Museum, University of Cambridge

Jedburgh Abbey, from the South East
Yale Center for British Art, New Haven

The Village of Jedburgh
National Gallery of Scotland, Edinburgh

Southampton: The South Gate and Old Gaol
Private Collection

Bristol Harbour, with St Mary Redcliffe in the Distance
Bristol Museum & Art Gallery

A Wharf with Shipping, Possibly at Bristol
Art Institute of Chicago

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National Gallery of Ireland, Dublin

A Rainbow over the River Exe
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A Rainbow over the River Exe
Graves Gallery, Sheffield

Lydford Castle, from the River Lyd
Clark Art Institute, Williamstown

St Vincent’s Rocks and the Avon Gorge
The Whitworth, The University of Manchester

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National Gallery of Art, Washington

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Private Collection, Norfolk

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Tate, London

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Private Collection, Norfolk

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Private Collection

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Yale Center for British Art, New Haven

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British Museum, London

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British Museum, London

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British Museum, London

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British Museum, London

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About this Work
This faded watercolour, dating from 1800, is one of two similarly sized versions of a composition (the other being TG1117) that appear to have been made from a pencil sketch (TG1116) showing the west front of the partially ruined abbey church at Kelso, in the Scottish Borders. No image of the drawing is available and it is therefore not clear whether it was made on Girtin’s trip to the area in 1796 or on a possible visit to nearby Dryburgh in 1800. This is particularly frustrating, because it is therefore impossible to say which of the watercolours follows the on-the-spot sketch and which changes the building to the right, so that what appears as a substantial two-storey house in this work is rendered as a more humble cottage in the other. The latter makes more room for a view of the ruined south-west transept, and for that reason, perhaps, it may be the undated work that has been altered from the sketch. Whichever is the case, the point is that the artist was prepared to sacrifice strict topographical accuracy in the interests of improving a composition, though, given that none of the other views of the west front of the abbey ruins that I have been able to trace feature such prominent vernacular buildings, it is possible that the structures in the foregrounds of both of Girtin’s watercolours are imaginary or included from elsewhere. Views of other ruins observed on the 1796 tour, including Bamburgh Castle (TG1459) and the similar west front of Jedburgh Abbey (TG1231), also include thatched cottages that appear to have been inserted into the composition as a contrast from the main subject, and this may be the case here.
Girtin’s first views of the abbey church at Kelso (TG0270 and TG0270a) were made after the work of Thomas Hearne (1744–1817), and they predate his first visit to the Scottish Borders by a couple of years. Returning to the subject five or so years later, and no longer working for an antiquarian market that demanded carefully delineated views, Girtin was content to depict the partially ruined structure in all of its spatial ambiguity, with the result that the image requires a certain amount of explanation to comprehend fully. What we are looking at, therefore, is the remains of the western tower flanked by the south- and north-western transepts, the latter of which is the subject of TG0270, whilst in front of that is the incomplete west front, which obscures the very short nave. The confusion occurs because the giant arch in the interior face of the tower has been filled in and thus appears to be part of the west front, whereas it was added to create an enclosed space to accommodate the parish church within the transepts. As a contemporary visitor noted, Kelso Abbey was typical of many ancient structures in the Borders, including Jedburgh and Melrose, as being ‘in part used for public worship, and in part dilapidated’. The attraction for antiquarians, the writer added, was that ‘the undiscriminating hand of modern improvement has not been laid on it’, though the ruins at Kelso were to be tidied, and the arch opened up, as soon as 1805 (Stoddart, 1801, vol.1, p.282).
1800 - 1801
Kelso Abbey: The West Front
TG1117
(?) 1796
Kelso Abbey: The West Front
TG1116
1797
Bamburgh Castle, from the Village
TG1459
1796 - 1797
The West Front of Jedburgh Abbey
TG1231
(?) 1795
Kelso Abbey, from the North West
TG0270
1795 - 1796
Kelso Abbey, from the North West
TG0270a
(?) 1795
Kelso Abbey, from the North West
TG0270