- Description
-
- Creator(s)
- (?) Thomas Girtin (1775-1802)
- Title
-
- Rhuddlan Castle
- Date
- 1799 - 1800
- Medium and Support
- Watercolour and stopping out on paper
- Dimensions
- 24 × 39.5 cm, 9 ½ × 15 ½ in
- Object Type
- Studio Watercolour
- Subject Terms
- Castle Ruins; North Wales; River Scenery
-
- Collection
- Catalogue Number
- TG1303
- Description Source(s)
- Auction Catalogue
Provenance
Guy Bellingham-Smith (1865–1949); James Leslie Wright (1862–1954) (lent to Birmingham, 1938); then by descent to Veronica Williamson (Mrs Dorian Williamson, née Wright) (d.1976); Sotheby’s, 24 November 1977, lot 113 as 'Attributed to Thomas Girtin'
Exhibition History
Birmingham, 1938, no.109; Worcester, 1938, no.36; Birmingham, 1939, no.198; London, 1949, no.189
Place depicted
Other entries in The 1798 Welsh Tour:
Sketches and Subsequent Watercolours
Rhuddlan Castle, from the River Clwyd
Cantor Arts Center, Stanford University
Rhuddlan Castle, from the River Clwyd
Southill Park, Bedfordshire
Rhuddlan Castle, from the River Clwyd
Tate, London
The Eagle Tower, Caernarfon Castle
National Museum of Wales, Cardiff
The Eagle Tower, Caernarfon Castle
Victoria and Albert Museum, London
The Eagle Tower, Caernarfon Castle
Norwich Castle Museum and Art Gallery
The Eagle Tower, Caernarfon Castle
Private Collection, North Wales
Caernarfon: A Street Scene with Plas Mawr
Tate, London
Caernarfon Castle, from the River Seiont
British Museum, London
Caernarfon Castle, from the River Seiont
Williamson Art Gallery & Museum, Birkenhead
The Cain Falls (Pistyll Cain), near Dolgellau
British Museum, London
The Cain Falls (Pistyll Cain), near Dolgellau
Birmingham Museums & Art Gallery
A Mountain View, near Beddgelert
British Museum, London
A Bridge over the Glaslyn, near Beddgelert
British Museum, London
Pont Seiont, Looking Towards Mynydd Mawr (Big Mountain)
British Museum, London
Pont Seiont, Looking Towards Mynydd Mawr (Big Mountain)
Private Collection
Pont y Pair, Betws-y-Coed
Harvard Art Museums / Fogg Museum, Loan from George and Patti White
Llyn Tegid (Bala Lake), Looking towards Cadair Idris
Private Collection
A View of Hills and a River, Probably in North Wales
British Museum, London
Denbigh Castle and the Vale of Clwyd
British Museum, London
An Unidentified Landscape, Possibly the Vale of Clwyd
Valle Crucis Abbey, from the River; Studies of Seated Figures
Private Collection
Valle Crucis Abbey, from the River
Private Collection
Valle Crucis Abbey, from the River
Private Collection
Valle Crucis Abbey, from the River
National Library of Wales, Aberystwyth
Valle Crucis Abbey, from the River
Yale Center for British Art, New Haven
Valle Crucis Abbey: From the Cloister Looking Towards the Dormitory
Private Collection
Valle Crucis Abbey: The Chapter House, from the South West
Yale Center for British Art, New Haven
A River Scene, Probably the Dee near Corwen
The Huntington Library, Art Museum and Botanical Gardens, San Marino
The Cloisters of Chester Cathedral
Private Collection
The Red Castle, from Hawk Lake, with a Distant View of Shrewsbury
Private Collection
Wroxeter: The Roman Wall
Harvard Art Museums / Fogg Museum, Loan from George and Patti White
The Old Severn Bridge at Bridgnorth
British Museum, London
Hereford Cathedral, from across the River Wye
Private Collection
The Great Hall, Kenilworth Castle
National Gallery of Canada, Ottawa
The Great Hall, Kenilworth Castle
Private Collection
The Great Hall, Kenilworth Castle
Private Collection
An Unidentified Valley, Probably in North Wales
Southill Park, Bedfordshire
Cadair Idris, from the Estuary near Barmouth
Private Collection
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About this Work
This watercolour of Rhuddlan Castle is known only from a black and white photograph published when the work was sold at auction in 1977 as ‘Attributed to Thomas Girtin’. The work would have been well known to Thomas Girtin (1874–1960) from its time in the collection of James Leslie Wright (1862–1954), and its omission from the catalogue of Girtin’s watercolours that the artist’s descendant produced with David Loshak in 1954 is a clear indication that he did not think that it was an autograph work (Girtin and Loshak, 1954). As far as I can tell, there is nothing to link a carelessly produced and weakly drawn watercolour to Girtin, other than the subject and the fact that it appears to have been executed roughly around 1800.