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Works Thomas Girtin and Joseph Mallord William Turner after (?) John Henderson

Vessels Anchored in Dover Harbour, with the Castle Beyond

1795 - 1796

Primary Image: TG0813: Thomas Girtin (1775–1802) and Joseph Mallord William Turner (1775–1851), after (?) John Henderson (1764–1843), Vessels Anchored in Dover Harbour, with the Castle Beyond, 1795–96, graphite and watercolour on wove paper, 27.2 × 20.9 cm, 10 ¾ × 8 ¼ in. National Galleries of Scotland (D NG 856).

Photo courtesy of National Galleries of Scotland (CC BY-NC 4.0)

Description
Creator(s)
Thomas Girtin (1775-1802) and Joseph Mallord William Turner (1775-1851) after (?) John Henderson (1764-1843)
Title
  • Vessels Anchored in Dover Harbour, with the Castle Beyond
Date
1795 - 1796
Medium and Support
Graphite and watercolour on wove paper
Dimensions
27.2 × 20.9 cm, 10 ¾ × 8 ¼ in
Object Type
Collaborations; Monro School Copy; Work after an Amateur Artist
Subject Terms
Coasts and Shipping; Dover and Kent

Collection
Catalogue Number
TG0813
Description Source(s)
Viewed in June 2018

Provenance

Henry Vaughan (1809-99); bequeathed to the Gallery, 1900

Exhibition History

London, 1887, Black and White Room, no.10 as by Joseph Mallord William Turner; Annual January Turner Exhibition, National Gallery of Scotland, Edinburgh, 1900-

Bibliography

Armstrong, 1902, p.249 as by Joseph Mallord William Turner; Campbell, 1993, no.6, p.74 as by Joseph Mallord William Turner; Baker, 2006, pp.36–37 as by Joseph Mallord William Turner; Baker, 2011, pp.351–52 as 'Old Dover Harbour' by Joseph Mallord William Turner

About this Work

This view of vessels anchored in Dover harbour, with the castle seen beyond, displays many of the signs that mark the unique collaboration between Girtin and his contemporary Joseph Mallord William Turner (1775–1851) at the home of Dr Thomas Monro (1759–1833). Here the two artists were employed across three winters, probably between 1794 and 1797, to copy ‘the outlines or unfinished drawings of’ principally John Robert Cozens (1752–97), but other artists too, including the patron’s neighbour, the amateur John Henderson (1764–1843), who lent his ‘outlines for this purpose’ (Farington, Diary, 30 December 1794). Henderson visited Dover in the autumn of 1794 and the ‘outlines of Shipping & Boats’ he made there, described by the diarist Joseph Farington (1747–1821) as ‘Very ingenious & careful’, provided the basis for a substantial number of copies commissioned by Monro (Farington, Diary, 1 December 1795). As with the copies the artists made after the sketches of Cozens, ‘Girtin drew in outlines and Turner washed in the effects’, with Turner receiving ‘3s. 6d each night’ though ‘Girtin did not say what He had’ (Farington, Diary, 12 November 1798).1

Girtin is not known to have visited Dover and all of his views of the town were copied after secondary sources, including his master, Edward Dayes (1763–1804). However, whilst Turner travelled to the port in 1793 and executed a series of studio watercolours after his own sketches, the majority of the Dover subjects sold from Monro’s collection, numbering as many as a hundred, were still produced after the work of other artists (Exhibitions: Christie’s, 26 June 1833; Christie’s, 1 July 1833). The source for this work has not been traced, but comparisons with the sketches used by the Monro School artists in the production of other Dover views – such as Shipping in Dover Harbour, with the Castle Beyond (TG0799), which displays the same fascination with the minutiae of marine labour and similarly includes a disparate group of vessels with the distinctive profile of the castle behind – suggest that it was an outline by Henderson. The measurements of the watercolour, which conform to the smaller-scale sketches produced by Henderson (c.21 × 28 cm, c.8 ¼ × 11 in), such as Figures on a Fishing Vessel in Dover Harbour (TG0808), combined with the employment of the upright format, which he favoured for his studies of single vessels, also point in the same direction.

All of the views of Dover sold at Monro’s posthumous sale in 1833 were attributed to Turner alone, but, despite the pioneering article published by Andrew Wilton in 1984, which established the joint authorship of such works as the norm, this watercolour is still listed as solely by Turner in recent catalogues of the collection of the National Gallery of Scotland (Wilton, 1984a, pp.8–23; Baker, 2011, pp.351–52). However, Turner’s sparing application of a monochrome palette leaves much of Girtin’s distinctive and inventive pencil work visible, not least in the rigging, which is untouched, allowing us to appreciate Girtin’s contribution to the overall effect. In comparison with many of the landscape subjects produced by the Monro School artists, the underlying outline drawing plays a significantly more important role in marine views such as this, and Turner displays a commendable restraint in the application of his washes.

1795 - 1796

Shipping in Dover Harbour, with the Castle Beyond

TG0799

1795 - 1796

Figures on a Fishing Vessel in Dover Harbour

TG0808

by Greg Smith

Place depicted

Footnotes

  1. 1 The full diary entry, giving crucial details of the artists’ work at Monro’s house, is transcribed in the Documents section of the Archive (1798 – Item 2).

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