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Works Thomas Girtin after (?) James Moore

The Ruined Gatehouse, Saltwood Castle, Seen from the North

1795 - 1796

Primary Image: TG0259: Thomas Girtin (1775–1802), after (?) James Moore (1762–99), The Ruined Gatehouse, Saltwood Castle, Seen from the North, 1795–96, graphite, watercolour and pen and ink on wove paper, on an original unfinished mount, 26.4 × 24.6 cm, 10 ⅜ × 9 ⅝ in. Ashmolean Museum, University of Oxford (WA1934.130).

Photo courtesy of Ashmolean Museum, University of Oxford (All Rights Reserved)

Description
Creator(s)
Thomas Girtin (1775-1802) after (?) James Moore (1762-1799)
Title
  • The Ruined Gatehouse, Saltwood Castle, Seen from the North
Date
1795 - 1796
Medium and Support
Graphite, watercolour and pen and ink on wove paper, on an original unfinished mount
Dimensions
26.4 × 24.6 cm, 10 ⅜ × 9 ⅝ in
Inscription

'Saltwood … Girtin rather later date' lower right, on the mount

Object Type
Work after an Amateur Artist
Subject Terms
Castle Ruins; Dover and Kent

Collection
Catalogue Number
TG0259
Girtin & Loshak Number
146 as Saltwood Castle'; 'Probably an original design by Girtin'; '1796'
Description Source(s)
Viewed in 2001 and 2018

Provenance

James Moore (1762–99); his widow, Mary Moore (née Howett) (d.1835); bequeathed to Anne Miller (1802–90); bequeathed to Edward Mansel Miller (1829–1912); bequeathed to Helen Louisa Miller (1842–1915); bought by Francis Pierrepont Barnard (1854–1931), 1912, £12; his widow, Isabella Barnard; bequeathed to the Museum, 1934

Bibliography

Mayne, 1949, p.99; Brown, 1982, p.335, no.731

About this Work

This watercolour by Girtin of the gatehouse of Saltwood Castle in Kent shows the view in the opposite direction to the pencil drawing (TG0224) he made after a sketch by his first significant patron, the antiquarian and amateur artist James Moore (1762–99) (TG0224a). Moore inscribed another sketch of the gatehouse ‘Sept 17th’ (TG0301), and this was almost certainly made on a visit in 1795. Girtin appears to have worked over both of his patron’s sketches of Saltwood, enhancing the outlines and adding details, and he would almost certainly have done this in London when Moore returned from his trip. There is no evidence that Girtin actually visited the location himself, and his own pencil drawing of Saltwood was actually traced from Moore’s on-the-spot sketch. It is likely that this watercolour too was based on a sketch by Moore, though it has not been located, and that it was commissioned by the patron following his trip. Thus, whilst Thomas Girtin (1874–1960) and David Loshak were convinced that Girtin had joined his patron in Kent in 1795, and saw this watercolour as ‘an original design’ by the artist, the mounting evidence of the proliferation of his practice of tracing compositions from other sources suggests that Moore again provided the prototype (Girtin and Loshak, 1954, p.153). Indeed, far from being an ‘original design’, the way that the humble farm buildings occlude part of the tower replicates almost exactly the composition of Moore’s sketch of the Ypres Tower at Rye (TG0310).

Girtin and Loshak’s suggestion that the view of the gatehouse at Saltwood dates from 1796 has rather more to recommend it (Girtin and Loshak, 1954, p.153). The larger format of the drawing, its square proportions, the looser style, and the prominence given to the picturesque foreground of farm buildings and a milkmaid all suggest a date of 1795–96 – that is, after the completion of the main sequences of Moore’s commissions, with their standard sizes and a concentration on the antiquarian subject.

(?) 1795

The Gatehouse, Saltwood Castle

TG0224

(?) 1795

The Gatehouse, Saltwood Castle

TG0224a

(?) 1795

Saltwood Castle: The Gatehouse from a Farmyard

TG0301

(?) 1795

The Ypres Tower, Rye

TG0310

by Greg Smith

Place depicted

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