- Description
-
- Creator(s)
- Thomas Girtin (1775-1802) after (?) James Moore (1762-1799)
- Title
-
- Manorbier Castle
- Date
- 1792 - 1793
- Medium and Support
- Graphite and watercolour on wove paper, on an original washline mount
- Dimensions
- 10.3 × 14.9 cm, 4 ⅛ × 5 ¾ in
- Mount Dimensions
- 15.3 × 18.8 cm, 6 × 7 ⅜ in
- Inscription
‘Jas. Moore Delt’ lower left, on the mount, by James Moore; ‘Girtin Fecit’ lower right, on the mount, by (?) Thomas Girtin; ‘Manorbier Case. Pembroke’ centre, on the mount, by James Moore; 'Supposed to have been built about the time of Wm. Rufus / 1087 / to / 1100' on the back of the mount, by James Moore
- Object Type
- Work after an Amateur Artist
- Subject Terms
- Castle Ruins; South Wales
-
- Collection
- Catalogue Number
- TG0103
- Girtin & Loshak Number
- 10 as 'Manorbier Castle, Pembrokeshire'; '1791'
- Description Source(s)
- Viewed in 2001 and 2016
Provenance
James Moore (1762–99); given to 'Holland', 22 March 1797; ... Dr John Percy (1817–89); his posthumous sale, Christie’s, 17 April 1890, lot 511; bought by 'Dowdeswell', 6 gns; Sir Henry Studdy Theobald (1847–1934); his sale, Sotheby’s, 13 May 1925, lot 68; bought by 'Bell' for the Museum, £6
Bibliography
Binyon, 1900, p.16; Mayne, 1949, p.99; Girtin and Loshak, 1954, pp.23–24, p.51; Brown, 1982, pp.318-19, no.696
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
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
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
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About this Work
This view by Girtin of the entrance to Manorbier Castle, which occupies a coastal location in Pembrokeshire, south-west Wales, was produced after an untraced sketch made by the amateur artist and antiquarian James Moore (1762–99), and Girtin certainly never visited the site himself. Girtin’s earliest patron toured South Wales in 1788 and he sketched the ruins at Manorbier on 26 August. Moore's drawing was realised as an aquatint by George Isham Parkyns (c.1749–1824) and was published as part of his Monastic Remains and Ancient Castles in England and Wales (see figure 1) (Moore, 1792). 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 all on paper measuring roughly 6 ½ × 8 ½ in (16.5 × 21.5 cm), with each one originally carefully mounted with the patron’s inscription, as here (Moore, Payments, 1792–93).1 Although this work is slightly smaller, otherwise it is a typical example of the seventy or so watercolours that Girtin produced from Moore’s rather mundane sketches at this date. The majority of the drawings remained in the ownership of Moore’s descendants until the collection was broken up after 1912, but, according to a note amongst Moore’s correspondence held in the Print Room of the Ashmolean Museum, Oxford, this work was given by Moore to a ‘Mr Holland’ on 22 March 1797.
The view of Manorbier is one of seven that Girtin made from sketches Moore executed in South Wales during two tours. They all show close-up views of the region’s ancient castles and, typically of the set, this view depicts the ivy-clad towers rather than the castle’s scenic coastal location. It seems that Moore’s limitations as an artist, combined with his antiquarian interest in the form of the fortifications, led him to concentrate on a simple view of the ruins. The drawing is of particular interest for our understanding of the relationship between Moore and Girtin as it is one of only two examples where the work is signed twice: ‘Jas Moore Delt’ and ‘Girtin Fecit’ (‘Moore drew it’ and ‘Girtin made it’) (the other being Cilgerran Castle, TG0090). This has led to some suggestions that both men worked on the sheet, with Moore producing the drawing and Girtin adding the colour. But there is no evidence of any such division of labour, and, given that both signatures are by the same hand, it would be more accurate to interpret them to mean that Moore designed the composition and Girtin made or executed it. The unusual double signature suggested to Thomas Girtin (1874–1960) and David Loshak that this was one of the earliest of Girtin’s commissions for Moore and they proposed a date of 1791, when Girtin was only in his second year as apprentice to Edward Dayes (1763–1804) (Girtin and Loshak, 1954, p.23). However, there is no evidence that Girtin worked for Moore until at least a year later, and stylistically this watercolour seems to date from 1792–93, when the connection with the patron is documented. Moreover, given that the double form of the signature also occurs on Cilgerran Castle, another work given by Moore to Holland, it would seem that both names were added by Moore himself when the drawing left his collection.
1792 - 1793
Cilgerran Castle
TG0090