- Description
-
- Creator(s)
- (?) Thomas Girtin (1775-1802) and (?) Joseph Mallord William Turner (1775-1851) after (?) James Moore (1762-1799)
- Title
-
- Tolleshunt D’Arcy Church
- Date
- 1795 - 1796
- Medium and Support
- Graphite and watercolour on wove paper
- Dimensions
- 19 × 28 cm, 7 ½ × 11 in
- Object Type
- Collaborations; Studio Watercolour; Work after an Amateur Artist
- Subject Terms
- Essex View; Gothic Architecture: Parish Church
-
- Collection
- Versions
-
Tolleshunt D’Arcy Church
(TG0317)
- Catalogue Number
- TG0252
- Description Source(s)
- Viewed in 2010
Provenance
R. Brandis, as 'Possibly Apsley Guise Church, Bedfordshire, before restoration' by Joseph Mallord William Turner; Spink and Son Ltd; Bonhams, 22 April 2010, lot 90 as 'Chingford Church, Essex' by Joseph Mallord William Turner, £8,400
Place depicted
Other entries in First Steps as a Professional Artist:
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Jedburgh Abbey, from the East
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Ashmolean Museum, University of Oxford

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Private Collection

Kidwelly Castle
Rhode Island School of Design Museum, Providence

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Dumbarton Rock and the Castle, from the North West
Yale Center for British Art, New Haven

Jedburgh Abbey, from the East
Yale Center for British Art, New Haven

Interior of the Albion Mills, Southwark, after the Fire
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An Unidentified Round Tower
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The Ruins of the East End of St Andrews Cathedral
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Colchester Castle
Ashmolean Museum, University of Oxford

The Great Keep, Kenilworth Castle
Yale Center for British Art, New Haven

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Yale Center for British Art, New Haven

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Rhode Island School of Design Museum, Providence

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Private Collection

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Kirkstall Abbey, from the North West
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The Tithe Barn at Abbotsbury, with St Catherine's Chapel on the Hill
Yale Center for British Art, New Haven

Kirkstall Abbey, from the South East
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Ashmolean Museum, University of Oxford

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Part of the Ruins of Croxden Abbey, from the East
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The Great Keep, Kenilworth Castle, with Leicester's Gatehouse in the Distance
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Indianapolis Museum of Art at Newfields

The Gatehouse, Denbigh Castle
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Private Collection

Ewell Church, with a Funeral Procession Approaching
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Ashmolean Museum, University of Oxford

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Private Collection

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A Landscape with a Shepherd and Flock
The Huntington Library, Art Museum and Botanical Gardens, San Marino

Melrose Abbey, from the South West
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Private Collection

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Private Collection

Lindisfarne Priory Church, Looking West from the Choir
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Pegwell Bay, near Ramsgate
Yale Center for British Art, New Haven

Pevensey Castle: The North Tower with the Gatehouse in the Distance
Yale Center for British Art, New Haven

The Spire of Salisbury Cathedral, from Chorister's Green
Private Collection

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The Landgate, Rye
Ashmolean Museum, University of Oxford

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Yale Center for British Art, New Haven

The Gatehouse, Saltwood Castle
Ashmolean Museum, University of Oxford

The Strand Gate, Winchelsea
Yale Center for British Art, New Haven

The West Tower, All Saints' Church, Hastings
Ashmolean Museum, University of Oxford

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Ashmolean Museum, University of Oxford

The West Front of Byland Abbey
Birmingham Museums & Art Gallery

All Saints' Church, Hastings, from the North East
Ashmolean Museum, University of Oxford

An Ancient House, Possibly in Sussex
Ashmolean Museum, University of Oxford

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Private Collection

Tolleshunt D’Arcy Church
Private Collection

St Peter's Church, Bexhill, from the South East
Ashmolean Museum, University of Oxford

The Ruined Gatehouse, Saltwood Castle, Seen from the North
Ashmolean Museum, University of Oxford

The Ruined Gatehouse, Pevensey Castle, from the East
Ashmolean Museum, University of Oxford

The Ruined Gatehouse, Pevensey Castle
Ashmolean Museum, University of Oxford

The Gatehouse, Battle Abbey
Clark Art Institute, Williamstown

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Yale Center for British Art, New Haven

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Private Collection

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Ashmolean Museum, University of Oxford

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Ashmolean Museum, University of Oxford

The West Front of Crowland Abbey
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Private Collection

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Ashmolean Museum, University of Oxford

All Saints' Church, Hastings, from the North West
Ashmolean Museum, University of Oxford

The Refectory, St Martin’s Priory, Dover
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Ashmolean Museum, University of Oxford

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Yale Center for British Art, New Haven

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Ashmolean Museum, University of Oxford

The East End of the Church of St Thomas, Winchelsea
Private Collection

The East End of the Church of St Thomas, Winchelsea
Ashmolean Museum, University of Oxford

The West Tower, St Clement's Church, Hastings; Studies of a Horse in Harness and Numerous Architectural Details
Ashmolean Museum, University of Oxford

Undercliff, near Hastings
Ashmolean Museum, University of Oxford

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Ashmolean Museum, University of Oxford

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Ashmolean Museum, University of Oxford

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Hastings Museum and Art Gallery

Hastings Castle and Priory Bridge
Hastings Museum and Art Gallery

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Ashmolean Museum, University of Oxford

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Ashmolean Museum, University of Oxford

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Ashmolean Museum, University of Oxford

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Ashmolean Museum, University of Oxford

The Refectory, St Martin’s Priory, Dover
The Huntington Library, Art Museum and Botanical Gardens, San Marino

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Yale Center for British Art, New Haven

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One of the Alard Monuments in the Church of St Thomas, Winchelsea
Ashmolean Museum, University of Oxford

One of the Alard Monuments in the Church of St Thomas, Winchelsea
Ashmolean Museum, University of Oxford

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A Farmyard with Pigs Drinking at a Pond
The Huntington Library, Art Museum and Botanical Gardens, San Marino

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About this Work
This view of the church of St Nicholas in Tolleshunt D’Arcy in Essex appeared on the art market in 2010 attributed to Girtin’s contemporary Joseph Mallord William Turner (1775–1851). As one can see from overlaying the two drawings, the monochrome appears to replicate a watercolour that Girtin produced for his first significant patron, the amateur artist and antiquarian James Moore (1762–99) (TG0317). The drawings are the same size and the buildings align perfectly over each other, suggesting that tracing was used in the production of this work. There are, however, differences indicating that the drawings were made from a common source rather than being copied one from the other. The monochrome study omits the figure in the foreground and has a different distribution of light and shade, and the stains on the walls, which create an interesting set of patterns in the stonework in the more finished watercolour (TG0317), are replaced by a more conventional representation of the masonry here.
If Andrew Wilton’s suggestion that both drawings are after an untraced sketch by Moore is likely to be correct, his attribution of the monochrome to Turner in the catalogue to the 2010 sale is not so clear-cut (Exhibitions: Bonhams, 22 April 2010, lot 90). It is true that Turner was commissioned by Moore to produce a watercolour of Tintern Abbey (see TG0172 figure 1), but that was painted after a drawing that he himself had made on the spot, and there are no other examples of him basing a composition on a sketch by Moore. Indeed, given that this work did not come from the Moore family collection, it is difficult to think how Turner could have got access to one of his sketches to copy from. However, there is another possible explanation. Perhaps the watercolour was produced at the house of Dr Thomas Monro (1759–1833), who commissioned Turner and Girtin jointly to produce a vast number of watercolours from outline drawings at this date. If this was the case, it was Girtin himself who provided the basic framework of the composition in the form of a traced outline, and this was then coloured by Turner in monochrome washes, as he so often did at this time when working for Monro. Unfortunately, the pencil work is too well hidden to confirm the joint authorship of Girtin and Turner, but that would nonetheless explain the work’s obvious congruence with the other watercolour as well as the differences.
Image Overlay
(?) 1795
Tolleshunt D’Arcy Church
TG0317
(?) 1795
Tolleshunt D’Arcy Church
TG0317
1792 - 1793
The Interior of Tintern Abbey, Showing the Choir and North Transept
TG0172