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Works Thomas Girtin after Edward Dayes

Rochester, from the North

1791 - 1792

Primary Image: TG0071: Thomas Girtin (1775–1802), after Edward Dayes (1763–1804), Rochester, from the North, 1791–92, graphite and watercolour on wove paper, on an original grey and blue washline mount, 31.8 × 46.2 cm, 12 ½ × 18 ⅛ in. Yale Center for British Art, Paul Mellon Collection (B1975.3.1023).

Photo courtesy of Yale Center for British Art, Paul Mellon Collection (Public Domain)

Description
Creator(s)
Thomas Girtin (1775-1802) after Edward Dayes (1763-1804)
Title
  • Rochester, from the North
Date
1791 - 1792
Medium and Support
Graphite and watercolour on wove paper, on an original grey and blue washline mount
Dimensions
31.8 × 46.2 cm, 12 ½ × 18 ⅛ in
Mount Dimensions
44 × 58.4 cm, 17 ⅜ × 23 in
Object Type
Studio Watercolour; Work from a Known Source: Contemporary British
Subject Terms
Castle Ruins; Dover and Kent; River Scenery; The View from Above

Collection
Catalogue Number
TG0071
Description Source(s)
Viewed in 2001 and 2002

Provenance

Walker’s Galleries, London, 1955 as by Edward Dayes; bought by Thomas Girtin (1874–1960), £88; Tom Girtin (1913–94); bought by John Baskett on behalf of Paul Mellon (1907–99), 1970; presented to the Center, 1975

Exhibition History

Walker’s Galleries, 1955, no.29; London, 1962a, no.114; Manchester, 1975, no.1; New Haven, 1977, no.111; New Haven, 1986a, no.2; New Haven, 1986b, no.29; London, 2002, no.25

About this Work

Rochester

From the bank of the river Medway looking south west, the main monuments of the city of Rochester form a line from left to right: the cathedral, the eleventh-century castle keep and the medieval stone bridge with its eleven arches. It is inconceivable that a young Girtin could have travelled to Rochester during his apprenticeship to Edward Dayes (1763–1804) to sketch this view and, instead, he must have based his composition on an untraced sketch by his master. Dayes later painted an oil of the same view (see TG0015 figure 1); although the cathedral is not visible to the right, the compositions are in other respects close and there can be little doubt that both works were made after the same untraced sketch executed by Dayes on a trip to the city, probably in the late 1780s. In all Girtin produced as many as four watercolour views of Rochester around 1791–92, including Rochester Cathedral and Castle, from the North East (TG0076) and Rochester Castle, from the River Medway (TG0057), as well as a smaller version of this composition (TG0015), which is dated 1791. Each appears to have been made after sketches by his master. Dayes thought enough of his apprentice’s work to send two of his Rochester views to an auction at Greenwood’s in January 1792 (Exhibitions: Greenwood, 25 January 1792, lots 69 and 72), and it is extraordinary to think that even at this early stage in his career the master sensed a commercial opportunity in Girtin’s work. The works that Dayes sent to auction were framed and glazed, and this would have shown off the fine washline mount that was an integral part of larger watercolours such as this and another very early view, Eton College, from the River (TG0013). Areas of colour have strayed from the main sheet of paper onto the mount, indicating that the work was mounted onto its support before the colouring was complete.

The smaller, dated version of this composition (TG0015) is more rapidly executed and there is a temptation to assume that it is earlier and less sophisticated when in fact it is simply a different type of commodity. Smaller and less fully worked up, the 1791 watercolour was tailored to the lower end of the market in topographical subjects for the library, rather than framed for display on the wall. In fact, the two works employ the same set of conventions derived from Dayes’ example, with the dark foreground giving way to an even, brightly lit middle ground in which the buildings are primarily shown parallel to the picture plane. The figures and the shipping in the larger view are indeed more convincing and lively, but that too may be because of the considerable extra labour that went into the work’s production. There is, however, one feature that does suggest that this work was made at a slightly later date, and that is the way that the composition as a whole, with its divided parts, is pulled together by a dramatic sky. In other Rochester views, such as Rochester Castle, from the River Medway (TG0057), Girtin had already shown how he could develop an attractive cloudscape that transcends the rather bland, even lighting of the main architectural subject, but here he added a rain shower sweeping in from the right and beams of sunlight burst through the clouds, evincing careful observation of nature.

1792 - 1793

Rochester Cathedral and Castle, from the North East

TG0076

(?) 1791

Rochester Castle, from the River Medway

TG0057

1791

Rochester, from the River Medway

TG0015

1790

Eton College, from the River

TG0013

1791

Rochester, from the River Medway

TG0015

(?) 1791

Rochester Castle, from the River Medway

TG0057

by Greg Smith

Place depicted

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