24 January 1822

Letter from Dr Thomas Monro (1759–1833) to John Linnell (1792–1882), 24 January 1822 (Fitzwilliam Museum, Cambridge, MS 2396-2000)

D^r Monro cannot immediately lay his hand upon the drawing of York by Girtin – but he has sent the one which Mr L. chose the Farm yard he believes - a companion which D^r M – considers as one of the best studies from Nature Girtin ever accomplished –––

If M^r L. does not dispose of them D^r M. begs they may be sent to D^r E. T. Monro’s 33 Bedford place Russell Sq^re. D^r Monro will be in town next week & will call on M^r L.

     Bushey

     Jan. 24 1822

Linnell had presumably found a possible purchaser for the view of 'York Minster' that he had failed to persuade Chambers Hall (1786–1855) to buy in 1820 (see Documents, 1820). Linnell's efforts to find buyers for Monro's collection of drawings by Girtin is well documented in the Linnell Archive now housed at the Fitzwilliam Museum, Cambridge, though in this case it seems that it was only the 'Farm yard' that Monro felt able to let go, fetching a sum of £10 in April of this year.

1 February 1822

William Bernard Cooke, Soho Square, London, Exhibition of Drawings, 1822 (Exhibitions: London, 1822)

The exhibition, held at 9 Soho Square, includes five works by Thomas Girtin (the catalogue notes that ‘Drawings which are to be disposed of are marked by an *’):

• 58 – ‘*Rye, Sussex. A View by Twilight. In the possession of J. Britton, Esq.’
• 70 – ‘Warksworth Church. In the possession of J. Mitan, Esq.’ (TG1710)
• 118 – ‘Durham; an exceeding fine specimen by this Artist. In the possession of James Vine, Esq.’ (TG1074)
• 260 – ‘Mount Edgecumbe, from Stonehouse. In the possession of J. Britton, Esq.’ (TG1274 or TG1455)
• 283 – ‘*A View in Dorsetshire’

The catalogue also gives the prices for William Bernard Cooke’s (1778–1855) engraving Caernarvon Castle, North Wales (see print after TG1309) as ‘Prints, 6s … Proofs, 8s … Proofs on India Paper, 10s’. It states:

This interesting View was lent by the late HENRY EDRIDGE, Esq. A. R. A. for the purpose of engraving, as a Specimen of the great and original Talents of Girtin, whose Works are now so highly and so justly appreciated. A very small portion of his works have hitherto been engraved.

February 1822

A letter from the collector Chambers Hall (1786–1855) and his brother to John Linnell (1792–1882) refers to ‘our young friend Mr. Daniells who accompanied us to your house last week and who wishes to posses a drawing by Girtin’ (Moore, 1985, p.97). This refers to Edward Thomas Daniell (1804–42), whose posthumous sale included three of Girtin’s sketches for the Eidometropolis (Exhibitions: Christie’s, 17 March 1843, lots 39–41).

February 1822

The Magazine of Fine Arts, vol.1 (February 1822), pp.46, 47

A discussion of William Bernard Cooke’s (1778–1855) first exhibition at Soho Square mentions ‘the illusive colouring of Girtin’ and his ‘remarkably fine’ works.

3 February 1822

The Examiner, 3 February 1822, p.75

Reviewing William Bernard Cooke’s (1778–1855) first exhibition at Soho Square, the anonymous author notes the progress from the ‘insubstantial and scratchy manner’ of Paul Sandby (c.1730–1809) ‘through the more solid pencils of Dayes, Girtin, &c.’.

16 February 1822

Letter from Dr Thomas Monro (1759–1833) to John Linnell (1792–1882), 16 February 1822 (Fitzwilliam Museum, Cambridge, MS 2397-2000)

D^r Monro rec^d M^r Linnel’s communication yesterday Eveng. by the stage…

D^r M. has not at present time to look out the drawing in question but will take an early opportunity of looking for it – a friend of Dr M’s has a few drawings of Girtin which may be had likewise if M^r L. thinks he can dispose of them –

     Bushey - Saturday Feb. 16. 1822

20 February 1822

‘Fine Arts: Exhibition of Drawings, Soho-Square’, The New Times, 20 February 1822, p.3

Reviewing a watercolour identifiable as Durham Cathedral and Castle, from the River Wear (TG1074) at William Bernard Cooke’s (1778–1855) first exhibition at Soho Square, the anonymous author writes that ‘118, Durham, by Girtin, is admirably faithful to nature, both in detail and in general effect, and most strongly recalls the original to recollection’.

23 February 1822

The Literary Gazette, and Journal of Belles Lettres, Arts, Sciences, &c., no.266 (23 February 1822), p.122

Reviewing William Bernard Cooke’s (1778–1855) first exhibition at Soho Square, the writer notes the progress of the art of watercolour painting to the ‘abstract effects of Girtin, Turner, De Wint, Prout, &c’.

21 March 1822

Letter from Dr Thomas Monro (1759–1833) to John Linnell (1792–1882), 21 March 1822 (Fitzwilliam Museum, Cambridge, MS 2398-2000)

D^r Monro has rec^d. M^r Linnels intimation respecting the Girtin drawing – but he cannot at present find time to look for the drawing in question – as D^r M’s Collection is by no means in any sort of order, it would give him a great deal of Trouble – & as he knows the Drawing of York is a valuable one of the kind he is perfectly indifferent about parting with it at present ––

     Bushey ––

     March 21. 1822.

March 1822

The Repository of Arts, new series, vol.13 (March 1822), p.173

William Bernard Cooke’s (1778–1855) first exhibition at Soho Square is said to allow viewers to appreciate the progress to perfection of painting in watercolours from ‘its origin amongst us, in the labours of Sandby and Girtin’.

March 1822

The Gazette of Fashion, no.3 (March 1822), p.41

Reviewing William Bernard Cooke’s (1778–1855) first exhibition at Soho Square, the anonymous writer notes ‘the illusive colouring of Girtin’ and adds that those works ‘by Girtin are remarkably fine’.

18 April 1822

John Linnell's Cash Book for the Years 1822–1836 (Fitzwilliam Museum, Cambridge, MS21–2000, p.5)

to D^r Monro for a Drawing by Girtin of Buildings & Cows £10 –

John Linnell (1792–1882) acted as an intermediary between Dr Thomas Monro (1759–1833) and various collectors of Girtin's works including Chambers Hall (1786–1855) between 1820 and 1822. This record of a payment of £10 may have related to the ambitions of Edward Thomas Daniell (1804–42) 'to posses a drawing by Girtin’ as noted above and more specifically to the 'Farm yard' that Monro considered to be 'one of the best studies from Nature Girtin ever accomplished' (his letter, dated 24 January, is transcribed above).

5 August 1822

Letter from Dr Thomas Monro (1759–1833) to John Linnell (1792–1882), 5 August 1822 (Fitzwilliam Museum, Cambridge, MS 2399-2000)

D^r Monro informs M^r Linnel that he cannot at present look for the drawing of Girtin – & is really at this moment rather indifferent about the sale of it

D^r M consider it a bank note at any time & thinks that at any rate that he sh^d not be disposed to take £10 for it

     Bushey –

     Aug. 5. 1822