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Works Thomas Girtin

Ripon Minster, with Skellgate Bridge

1800 - 1801

Primary Image: TG1661: Thomas Girtin (1775–1802), Ripon Minster, with Skellgate Bridge, 1800–01, graphite, watercolour and pen and ink on laid paper, 26.5 × 41.5 cm, 10 ⅜ × 16 ⅜ in. Blackburn Museum and Art Gallery (FAW 353).

Photo courtesy of Blackburn Museum and Art Gallery (All Rights Reserved)

Description
Creator(s)
Thomas Girtin (1775-1802)
Title
  • Ripon Minster, with Skellgate Bridge
Date
1800 - 1801
Medium and Support
Graphite, watercolour and pen and ink on laid paper
Dimensions
26.5 × 41.5 cm, 10 ⅜ × 16 ⅜ in
Object Type
Studio Watercolour
Subject Terms
Gothic Architecture: Cathedral View; River Scenery; Yorkshire View

Collection
Versions
Ripon Minster, with Skellgate Bridge (TG1659)
Ripon Minster, with Skellgate Bridge (TG1660)
Catalogue Number
TG1661
Girtin & Loshak Number
386iv as 'Ripon Minster'; '1800'
Description Source(s)
Viewed in 2001

Provenance

Richard Haworth (1820–83); bought from him by James Whittaker; presented to the Gallery, 1937

Exhibition History

Harewood, 1999, no.33

About this Work

This watercolour appears to be the second authentic version of a much copied and imitated composition that shows the west front of Ripon Minster from the river Skell, with the Skellgate Bridge anchoring the composition (the other being TG1659). The other autograph watercolour, in the collection of the Yale Center for British Art, New Haven, was the source of a large number of copies – as was the mezzotint produced after it by Samuel William Reynolds (1773–1835) (see print after TG1659) – and the attribution of this work consequently must be subjected to careful consideration. However, although the issue is clouded by the watercolour’s rather faded condition, the fact that it shows a little less of the composition to the right, alters the form of the fisherman on the far bank and introduces variations in the lighting on the main building suggests that, at the very least, this is not a slavish replica (unlike TG1660), even if it hardly amounts to an imaginative reworking of the subject. The first version was almost certainly produced for Reynolds, who acted on behalf of the artist in his final years in a role somewhere between agent and dealer, and who built up a substantial stock of the artist’s works in two standard sizes. There is no evidence that this version ever went through his hands, however, and so, if it is by Girtin (and on balance that is my opinion), it would have been produced to satisfy the demand for what was clearly a popular subject.

The poor condition of both versions of the view of Ripon from the Skell makes it difficult for us to understand the grounds of this popularity, though it is now clear that, contrary to the opinion of early writers, Girtin did not doctor the scene to create a ‘capriccio composition’ (Hawcroft, 1975, p.50). The minster, which did not get cathedral status until 1836, has not been brought forward and placed to the right of the bridge, and, as David Hill has recently shown, the watercolour tallies closely with the site, so Girtin must indeed have stood on the banks of the river to make his original sketch (Hill, 1999, p.52). This is currently untraced, which is a great shame because the drawing might help with the vexatious matter of the date of Girtin’s visits to Ripon, which he first portrayed in around 1795 in a watercolour (TG0865) made from a print after Thomas Hearne (1744–1817). This predated his first trip to Yorkshire in 1796, when there is some evidence that he visited the nearby Fountains Abbey, and a couple of distant views of the minster also appear to have been outcomes of this tour (TG1053 and TG1054). A second wave of Ripon subjects followed in 1800 and 1801 (TG1659 and TG1666). Whilst it is possible that in these works the artist looked back to earlier sketches, a pencil drawing of the minster from the south east appears to have been executed in 1799 (TG1513), and I suspect that it was this return visit that resulted in the substantial number of views of the building from different locations. All of these show the minster from either of the rivers in the vicinity of Ripon, the Skell and the Ure, and it was no doubt the presence of water that was the attraction for Girtin, who around 1800 was looking to create a rather different type of cathedral view from those that he had painted for the antiquarian market at the outset of his career; the setting, and not the architectural details, was now the key element.

1800

Ripon Minster, with Skellgate Bridge

TG1659

1800

Ripon Minster, with Skellgate Bridge

TG1659

1800

Ripon Minster, with Skellgate Bridge

TG1660

(?) 1795

Ripon Minster, from the River Skell

TG0865

1796 - 1797

A Distant View of Ripon Minster, from the River Skell

TG1053

1797 - 1798

A Distant View of Ripon Minster, from the River Skell

TG1054

1800

Ripon Minster, with Skellgate Bridge

TG1659

1800 - 1801

Ripon Minster, from the South East

TG1666

1799 - 1800

Ripon Minster, from the South East

TG1513

by Greg Smith

Place depicted

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