- Description
-
- Creator(s)
- Thomas Girtin (1775-1802)
- Title
-
- Shipping on the River Medway
- Date
- 1801
- Medium and Support
- Graphite and watercolour on paper
- Dimensions
- 25.4 × 64.8 cm, 10 × 25 ½ in
- Inscription
‘Girtin 1801’ lower left, by Thomas Girtin
- Object Type
- Studio Watercolour
- Subject Terms
- Coasts and Shipping; Dover and Kent; Panoramic Format
-
- Collection
- Catalogue Number
- TG1754
- Girtin & Loshak Number
- 424 as 'Devonport'
- Description Source(s)
- Museum Website
Provenance
E. C. Daintry; bought by the Fine Art Society, London, 1946; Mark Hanan, New Zealand; bought by the Museum, 1955
Bibliography
Morris, 1990, p.59; Museum Website as 'The docks, Plymouth'
Place depicted
Other entries in Late Watercolours:
Samuel William Reynolds and Painting for the Art Market
An Imaginary City, with Antique Buildings
Rhode Island School of Design Museum, Providence
Ancient Ruins, with an Obelisk
Yale Center for British Art, New Haven
Ancient Ruins, with a Gothic Church
National Gallery of Scotland, Edinburgh
A Classical Composition, with a Church and Column
Walker Art Gallery, Liverpool
The Arch of Janus, Rome
Yale Center for British Art, New Haven
The Temple of Clitumnus
Yale Center for British Art, New Haven
Rome: The Temple of Antoninus and Faustina
Yale Center for British Art, New Haven
Rome: The Temple of Saturn, with the Arch of Septimius Severus
Private Collection, USA
A Town on an Estuary
Rhode Island School of Design Museum, Providence
A Lagoon Capriccio
Birmingham Museum & Art Gallery
An Unidentified Coastal Landscape with a Windmill
Lady Lever Art Gallery, Port Sunlight
Barnard Castle, from the River Tees
Bowes Museum, Barnard Castle
A Farmhouse, Said to Be near Newcastle-upon-Tyne
Yale Center for British Art, New Haven
An Exterior View of the Ruins of Lindisfarne Priory Church
Private Collection
Kelso Abbey: The West Front
The Whitworth, University of Manchester
Jedburgh Abbey, from the Riverbank
The Higgins, Bedford
On the River Medway, with a Boatyard, Beached Vessels and Hulks
Private Collection
Bisham Abbey, on the River Thames
Private Collection
A Classical Composition, with Figures Admiring the Sculptures
The Whitworth, University of Manchester
An Unidentified Ruin next to a Bridge over a Stream, Said to Be Furness Abbey
Touchstones Rochdale
The Gatehouse of Morpeth Castle
Yale Center for British Art, New Haven
Buildings on the River Nidd, near Knaresborough
British Museum, London
Kirkstall Abbey, from Kirkstall Hill
British Museum, London
Kirkstall Abbey, from Kirkstall Bridge, Morning
Victoria and Albert Museum, London
Kirkstall Abbey, from the Canal, Evening
Private Collection
A Distant View of Kirkstall Abbey
Williamson Art Gallery, Birkenhead
Wetherby Bridge and Mills, Looking across the Weir
The Museum of Fine Arts, Houston
Wetherby: Looking through the Bridge to the Mills
British Museum, London
Wetherby: Looking through the Bridge to the Mills
Leeds City Art Gallery
Kirk Deighton, near Wetherby
The Whitworth, University of Manchester
York: The New Walk on the Banks of the River Ouse
Victoria and Albert Museum, London
York: The Layerthorpe Bridge and Postern
The Whitworth, University of Manchester
York: The Layerthorpe Bridge and Postern
Private Collection
York Minster from the South East, Layerthorpe Bridge and Postern to the Right
Private Collection
A Farmyard with Barns, Ladder and Figures; A Sky Study
Courtauld Gallery, London
Ripon Minster, with Skellgate Bridge
Yale Center for British Art, New Haven
Ripon Minster, with Skellgate Bridge
Leeds City Art Gallery
Ripon Minster, with Skellgate Bridge
Blackburn Museum and Art Gallery
A Distant View of Ripon Minster, from the River Skell
Private Collection
Ripon Minster, from the South East
National Gallery of Scotland, Edinburgh
Ripon Minster, from the South West
Private Collection
The Abbey Mill, near Knaresborough
Yale Center for British Art, New Haven
A Mountain Stream in Spate, Possibly the River Wharfe
Private Collection
Bolton Abbey: The East End of the Priory Church from across the River Wharfe
Eton College, Windsor
Bolton Abbey: The East End of the Priory Church, from across the River Wharfe
National Museum of Wales, Cardiff
Bolton Abbey: The East End of the Priory Church, from across the River Wharfe
Leeds City Art Gallery
Bolton Abbey, from the River Wharfe
Private Collection
Bolton Abbey, from the River Wharfe
Private Collection
The Banks of the River Wharfe, with Bolton Abbey in the Distance
Private Collection
Stepping Stones on the River Wharfe, near Bolton Abbey
National Gallery of Scotland, Edinburgh
Stepping Stones on the River Wharfe, near Bolton Abbey
National Gallery of Victoria, Melbourne
An Upland Landscape, Identified as Storiths Heights, near Bolton Abbey
Fitzwilliam Museum, University of Cambridge
Richmond Castle, from the River Swale
Leeds City Art Gallery
A Farmhouse in Malhamdale, Known as 'Kirkby Priory, near Malham'
British Museum, London
An Ancient Oak, Said to Be on the River Ure
Private Collection
Cottages at Hawes, from Gayle Beck
Birmingham Museum & Art Gallery
Cottages at Hawes, from Gayle Beck
Private Collection, Norfolk
Cottages at Hawes, from Gayle Beck
Private Collection
Cottages at Hawes, from Gayle Beck
Ashmolean Museum, University of Oxford
Guisborough Priory: The Ruined East End
Tate, London
A Distant View of Guisborough Priory; The Tithe Barn, Abbotsbury
Private Collection, Norfolk
A Distant View of Guisborough Priory
Yale Center for British Art, New Haven
A Distant View of Guisborough Priory
Yale Center for British Art, New Haven
A Farmhouse, Said to Be near Newcastle-upon-Tyne
Private Collection
Warkworth Castle, from the River Coquet
Yale Center for British Art, New Haven
An Upland Landscape, Said to Show Etal Castle
Victoria and Albert Museum, London
The River Tweed at Kelso, Looking Upstream
Courtauld Gallery, London
Kelso Abbey: The West Front
Private Collection, Northumberland
The Eildon Hills, from the River Tweed at Dryburgh
Fitzwilliam Museum, University of Cambridge
A Distant View of Dryburgh Abbey, with the Eildon Hills Beyond
Private Collection
The Valley of the Tweed, with Melrose Abbey in the Distance
Private Collection
Jedburgh Abbey, from Jed Water
Fitzwilliam Museum, University of Cambridge
Jedburgh Abbey, from the South East
Yale Center for British Art, New Haven
The Village of Jedburgh
National Gallery of Scotland, Edinburgh
Southampton: The South Gate and Old Gaol
Private Collection
Bristol Harbour, with St Mary Redcliffe in the Distance
Bristol Museum & Art Gallery
A Wharf with Shipping, Possibly at Bristol
Art Institute of Chicago
A Rainbow over the River Exe
National Gallery of Ireland, Dublin
A Rainbow over the River Exe
The Huntington Library, Art Museum and Botanical Gardens, San Marino
A Rainbow over the River Exe
Graves Art Gallery, Sheffield
Lydford Castle, from the River Lyd
Clark Art Institute, Williamstown
St Vincent’s Rocks and the Avon Gorge
The Whitworth, University of Manchester
On the River Taw, North Devon, Looking from Braunton Marsh towards Instow and Appledore
National Gallery of Art, Washington
Conwy Castle, from the River Gyffin
Private Collection, Norfolk
Chelsea Reach, Looking towards Battersea (The White House, Chelsea)
Tate, London
Chelsea Reach, Looking towards Battersea
Private Collection, Norfolk
A Panoramic Landscape, with Figures Trawling a Pond
Private Collection
Landscape with a Distant Ridge, Possibly Hampstead Heath
Yale Center for British Art, New Haven
An Inn Yard, Edgware Road, Paddington
British Museum, London
The Thames from a Window of the Old Toy Inn, Hampton Court
British Museum, London
The Old Cottage, Widmore, near Bromley
British Museum, London
Shipping on the River Medway
Museum of New Zealand, Wellington
A Farmyard with Cattle, Poultry and Labourers Unloading Hay, Possibly Pinckney's Farm, Radwinter
Art Institute of Chicago
Farmhouse and Outbuildings, Possibly in Essex
Aberdeen Art Gallery
An Unidentified Village Street with a Church Tower in the Distance
British Museum, London
A Panoramic Landscape, Possibly Showing Primrose Hill, London
Private Collection
A Mountain Stream with a Watermill and Bridge
Eton College, Windsor
Unidentified Landscape with a Distant Rain Shower
National Museum of Wales, Cardiff
Warkworth Church, with the Bridge Beyond
Victoria and Albert Museum, London
An Italianate Landscape with Two Monks
Private Collection
Footnotes
- 1 Pyne's ‘Rise and Progress of Painting in Water Colours’ includes a wealth of detail on Girtin’s working practice, much of it the result of watching the artist. It is transcribed in full in the Documents section of the Archive (1823 – Item 1).
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About this Work
This distressingly faded panoramic view of shipping has hitherto been titled ‘Devonport’, and Susan Morris has suggested that it was the outcome of a second West Country trip that she thought Girtin made in 1800 or 1801 (Girtin and Loshak, 1954, p.192; Morris, 1990, p.59). If this is the case, the work would make a fine pair with Plymouth (TG1753), which is similarly dated 1801 and shares the same format and dimensions. However, it seems that earlier writers either were unaware of the sketch on which this studio watercolour appears to be based (TG1425) or discounted the significance of the inscription on it, which reads ‘On the Medway’. Neither the sketch, which may actually have been copied from the work of another artist, nor this studio watercolour includes enough topographical detail to establish the location of the scene beyond doubt, but equally there is no reason to question the accuracy of the inscription, which appears to be in Girtin’s hand. Indeed, the presence in the middle ground of what seem to be hulks, the decommissioned ships that were used at the time as prisons, suggests that we are looking at a scene near Chatham. This is supported by a view of the Medway port attributed to the amateur Sir George Bulteel Fisher (1764–1834) (see TG1425 figure 1), which includes the same combination of hulks, larger moored vessels and wooden buildings on the shore, together with a similar long, low line of distant hills.
The very poor condition of this watercolour is sadly far from untypical of Girtin’s late watercolours, though few examples combine the same degree of fading with a simple composition that does nothing to compensate for the loss of colour. The poor condition of many of the artist’s watercolours is often down to their subsequent display at high light levels, but in this case we can be sure that it was the result of Girtin’s choice of materials. Of the fifteen pigments Girtin is recorded as having used by William Henry Pyne (1770–1843), at least four are very fugitive: a blue, indigo; two yellows, gamboge and brown pink; and a purple, brown lake (Pyne, 1823a, p.67).1 In this case, the probable use of those pigments in combination, and individually as thin washes, is enough to account for the loss of the blues and greys in the sky, the reflections in the water, the reds in the building materials, and all of the greens in the vegetation, and only the earth colour used in the middle ground has been left relatively unaffected.
1801
Plymouth
TG1753
1799 - 1800
A View on the River Medway with a Boatyard, Beached Vessels and Hulks
TG1425