- Description
-
- Creator(s)
- Thomas Girtin (1775-1802) and Thomas Kirk (1765-1797) after Edward Dayes (1763-1804)
- Title
-
- 'Third Regiment of Foot Guards, 1660': Grenadier and Private
- Date
- 1792
- Medium and Support
- Watercolour over etching on paper
- Dimensions
- 33 × 38.2 cm, 13 × 15 in
- Inscription
'Drawn by E.Dayes Draughtsman to HRH the Duke of York / Engraved by T.Kirk / Published Feb 1 1792 by Capt. Hewgill of the Coldsream Regt of Guards, & Sold by John & Josiah Boydell, Cheapside, & at the Shakespeare Gallery, Pall Mall'
- Object Type
- Hand-coloured Print
- Subject Terms
- Figure Study
-
- Collection
- Catalogue Number
- TG0063a
- Description Source(s)
- Viewed in 2001 and 2018
Provenance
Bought by the Museum from A. E. Evans & Sons, 1859
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Eton College, from the River
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Rochester, from the River Medway
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The Interior of Buildwas Abbey Church
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Somerset House: The Strand Front and the Royal Academy
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Yale Center for British Art, New Haven

A Persian Lady in 1568
Yale Center for British Art, New Haven

An English Nobleman in 1559
Yale Center for British Art, New Haven

Henry VIII in 1520
Yale Center for British Art, New Haven

Marlow, from across the River Thames
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Tynemouth Priory, from the Coast
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British Museum, London

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Indianapolis Museum of Art at Newfields

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London Bridge, from the South Bank
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Private Collection

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Hereford Museum and Art Gallery

Chepstow Castle, on the River Wye
Victoria and Albert Museum, London

Warehouse and Shipping at Wapping
Leicester Museum & Art Gallery

A Distant View of Hereford Cathedral
Private Collection

The Gatehouse and Barbican, Warwick Castle
Fine Arts Museums of San Francisco

Chepstow Castle, from the River Wye
Ashmolean Museum, University of Oxford

The Interior of a Ruined Abbey Church
Private Collection

The Head of Ullswater, from Goborrow Park
Private Collection

Part of the Ruins of Roche Abbey
Private Collection

The Transept of St Saviour’s, Southwark
Yale Center for British Art, New Haven

Part of the Ruins of the Savoy Palace, Westminster Bridge Beyond
Yale Center for British Art, New Haven

Durham Cathedral, from the River Wear
Laing Art Gallery, Newcastle-upon-Tyne

All Saints' Church, Marlow
The Whitworth, The University of Manchester

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Ashmolean Museum, University of Oxford

An Interior View of the Ruins of the Savoy Hospital
Yale Center for British Art, New Haven

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Society of Antiquaries of London

All Saints' Church, Marlow
Yale Center for British Art, New Haven

Unidentified Monastic Ruins next to a River
Private Collection

Westminster, from the Ruins of the Savoy
National Gallery of Scotland, Edinburgh

Manchester: Chetham’s College from Hunt’s Bank, with the Bridge over the River Irwell
Untraced Works

Part of the Ruins of the Savoy Palace, Westminster Bridge Beyond
Private Collection

The Oriel Window of the Great Hall of Eltham Palace
Ashmolean Museum, University of Oxford

An Exterior View of Part of the Ruins of the Savoy Hospital
Private Collection

A Distant View of Marlow, from the River Thames
The Huntington Library, Art Museum and Botanical Gardens, San Marino

A Distant View of Marlow, from the River Thames
Private Collection

An Interior View of the Ruins of the Savoy Hospital
Ashmolean Museum, University of Oxford

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Private Collection

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Tate, London

An Exterior View of Part of the Ruins of the Savoy Hospital
Tate, London

An Interior View of the Ruins of the Savoy Hospital
Tate, London

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Tate, London

An Exterior View of the Great Hall of Eltham Palace
Victoria and Albert Museum, London

The Interior of the Great Hall of Eltham Palace
Private Collection

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Private Collection

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About this Work
The hand-colouring of prints such as Third Regiment of Foot Guards, 1660: Grenadier and Private was one of the tasks assigned to the young Girtin as an apprentice in the studio of Edward Dayes (1763–1804), and the menial nature of the work was said to be one of the causes of the breakdown in relations between the artist and his master (Girtin and Loshak, 1954, pp.24–25). The task is by its nature anonymous, but the attribution of the colouring of a number of impressions of a series of nine prints of military uniforms to Girtin on stylistic grounds is plausible, especially as Dayes was the author of the original drawings (sold at Sotheby’s, 29 June 1987, lot 315). Dayes’ Foot Guards and Line, comprising nine plates, each with two figures, was produced to meet the patriotic market stimulated by the onset of war with France and was published by ‘Capt. Hewgill of the Coldstream Regt of Guards’ in February 1792 (identifiable as Edwin Hewgill (c.1761–1809)). The series shows six figures each from three regiments: the First Regiment of Foot Guards, the Coldstream Regiment of Foot Guards and the Third Regiment of Foot Guards. Dayes’ watercolours were reproduced as simple outline etchings with stipple for the faces by Thomas Kirk (1765–97), and these etchings were then transformed by the hand-colouring. The process of tinting was particularly important for this publication, since to save labour the nine plates repeat three identical compositions, and it is only the colour that differentiates the uniforms of the regiments. Girtin also had the responsibility of colouring the three basic landscape settings in order to create variety within an otherwise very restricted format. Hewgill published more hand-coloured prints by Dayes of soldiers from a variety of other regiments at the end of 1792 and again in December 1793, and impressions of these are also in the collection of the British Museum. However, the quality of the application of colour is notably lower, particularly in the landscapes, and Girtin’s involvement in the production of Dayes’ prints seems to have been restricted to the first set of nine catalogued here.