- Description
-
- Creator(s)
- Thomas Girtin (1775-1802) and Thomas Kirk (1765-1797) after Edward Dayes (1763-1804)
- Title
-
- 'Third Regiment of Foot Guards, 1660': Officer and Sergeant
- Date
- 1792
- Medium and Support
- Watercolour over etching on paper
- Dimensions
- 32.2 × 37.5 cm, 12 ⅝ × 14 ¾ 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
- TG0063
- Description Source(s)
- Viewed in 2001 and 2018
Provenance
Bought by the Museum from A. E. Evans & Sons, 1859
Bibliography
Smith, 2002b, p.44
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About this Work
The hand-colouring of prints such as Third Regiment of Foot Guards, 1660: Officer and Sergeant 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.
Another hand-coloured impression of part of the print showing the officer, also in the collection of the British Museum (see figure 1), was inscribed by John Thomas Smith (1766–1833): ‘Coloured for Colnaghi by Mr J. M. W. Turner when a Boy’. On that basis the work has been exhibited as being coloured by Turner (Exhibitions: London, 1974c, no.B13) and it is still attributed by the British Museum to him. There are differences in the treatment of the foliage and the sky between the two coloured prints, but no more than one might expect from a young artist happy to introduce a degree of freedom into a repetitive task. Moreover, it is hard to understand why Dayes would look outside his own studio for someone to colour this and another impression of one of his prints (see TG0061b figure 1) and, on balance, I am inclined to believe that the inscription was added later in error and that this impression too was coloured by Girtin in Dayes’ studio.