- Description
-
- Creator(s)
- Thomas Girtin (1775-1802) after James Moore (1762-1799)
- Title
-
- Kirkstall Abbey, from the South East
- Date
- 1792 - 1793
- Medium and Support
- Graphite, watercolour and pen and ink on wove paper, on an original washline mount
- Dimensions
- 16.9 × 21.7 cm, 6 ⅝ × 8 ½ in
- Mount Dimensions
- 23.5 × 28.2 cm, 9 ¼ × 11 ⅛ in
- Inscription
‘Girtin’ lower centre, by Thomas Girtin
- Object Type
- Work after an Amateur Artist
- Subject Terms
- Monastic Ruins; Yorkshire View
-
- Collection
- Versions
-
Kirkstall Abbey, from the South East
(TG0135)
- Catalogue Number
- TG0147
- Girtin & Loshak Number
- 20i as 'Kirkstall Abbey'; '1792'
- Description Source(s)
- Viewed in 2001 and 2016
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 Francis Pierrepont Barnard (1854–1931), 1912, £30; his widow, Isabella Barnard; bequeathed to the Museum, 1934
Exhibition History
London, 2002, no.33
Bibliography
Finberg, 1913, p.132; Bell, 1915–17, p.63, p.68, p.72; Mayne, 1949, p.99; Brown, 1982, pp.319–20, no.698; Sitch, 2008, p.11
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 Museum & 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 Museum & 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
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
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
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
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About this Work
Girtin’s second early close-up view of Kirkstall Abbey, taken from the south east, was made after a sketch by the amateur artist and antiquarian James Moore (1762–99) (see the source image above), and Girtin did not visit the site himself until 1799 or 1800. Girtin’s earliest significant patron toured Yorkshire in the autumn of 1789 and he sketched the abbey ruins on 2 October. The date was noted on an aquatint by George Isham Parkyns (c.1749–1824) and Jacob Schnebellie (1760–92) that was published in Moore’s Monastic Remains and Ancient Castles in England and Wales (see TG0135 figure 1) (Moore, 1792). Thomas Girtin (1874–1960) and David Loshak thought that Girtin worked from the print (Girtin and Loshak, 1954, p.136), but, since the publication of their catalogue in 1954, more sketches by Moore have emerged and it is now clear that Girtin produced his watercolours directly from Moore’s on-the-spot records. 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), as here, each carefully mounted (Moore, Payments, 1792–93).1 In all Girtin produced as many as seventy watercolours from Moore’s mundane sketches. The majority of the drawings remained in the ownership of Moore’s family until the collection was broken up after 1912, when a descendant of the artist acquired this work.
The view of Kirkstall Abbey is one of seven or eight Yorkshire scenes that Girtin made from sketches Moore executed on his tour of the county in 1789 and is the only case where Moore commissioned two views of the same building (see TG0144). Measuring the same size and presented in identical washline mounts by the artist, they are in effect a pair that in some respects offer contrasting views of the ruins. Tracing the changes that Girtin made from his source material helps to show how in this work he took the first steps away from the simple picturesque version of the architectural subject shown in TG0144. In terms of the composition, this included cropping the view to the left and reducing the depth of the foreground so that the ruin is brought closer, with the result that for the first time one begins to get a sense of the monumentality of an ancient structure. The professional artist also corrected aspects of Moore’s faulty perspective, and he added more compelling and dramatic areas of light and shade, as well as an invented skyscape. But, perhaps most significantly, Girtin also introduced a number of working figures, as well as a cart and groups of pigs and donkeys, pointing up the contrast between the original splendour of the abbey and its current use by a farm. All of this is still in stark contrast to the watercolours that Girtin produced after his visit to the area in 1800 (TG1635 and TG1636), where the abbey ruins are just one element in a broad landscape dramatically enlivened by complex skies and bold lighting. However, in this work, the artist is able to at least hint at the way nature has encroached on the ruins and is part of a process of destruction, in comparison to the rather bland quality of its pair, TG0144.
The paper historian Peter Bower has examined the support used by Girtin. He noted that it is a white wove drawing paper probably manufactured by Robert Edmeads (unknown dates) and Thomas Pine (unknown dates) at Great Ivy Mill near Maidstone, and that Moore used a similar paper, though from a different batch (Smith, 2002b, p.56; Bower, Report).
1792 - 1793
Kirkstall Abbey, from the North West
TG0144
1792 - 1793
Kirkstall Abbey, from the North West
TG0144
1800
Kirkstall Abbey, from Kirkstall Hill
TG1635
1800 - 1801
Kirkstall Abbey, from Kirkstall Bridge, Morning
TG1636
1792 - 1793
Kirkstall Abbey, from the North West
TG0144