- Description
-
- Creator(s)
- (?) Thomas Girtin (1775-1802) after (?) Edward Dayes (1763-1804)
- Title
-
- All Saints' Church, Marlow
- Date
- 1792 - 1793
- Medium and Support
- Graphite on wove paper
- Dimensions
- 13 × 20.3 cm, 5 ⅛ × 8 in
- Inscription
‘Henley on Thames / Bt at Sotheby’s from Girtin Coll, July/14’ on the back
- Subject Terms
- Buckinghamshire View; Gothic Architecture: Parish Church; River Scenery
-
- Collection
- Versions
-
All Saints’ Church, Marlow
(TG0249)
- Catalogue Number
- TG0271
- Description Source(s)
- Viewed in 2001 and March 2022
Provenance
James Moore (1762–99); his widow, Mary Moore (née Howett) (d.1835); bequeathed to Anne Miller (1802–90); bequeathed to Edward Mansel Miller (1829–1912); bequeathed to Helen Louisa Miller (1842–1915); bought by Thomas Girtin (1874–1960), 1912; his sale, Sotheby's, (?) July 1914, unknown lot; bought by Alexander Joseph Finberg (1866–1939); acquired by the Gallery with his archive, 1939
Bibliography
Girtin and Loshak, 1954, p.153; Hartley, 1984, no.58
Place depicted
Other entries in Master and Pupil:
Edward Dayes and the Industrious Apprentice
An Icelandic Woman in Her Riding Dress
National Museum of Iceland, Reykjavik
An Icelandic Woman with Her Young Daughter
National Museum of Iceland, Reykjavik
The Great Geysir, Iceland, as It Appeared during Its Eruption to Sir Joseph Banks in September 1772
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Mount Hekla, with Sir Joseph Banks and His Party Descending from the Volcano
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Lava as It Has Run Over the Ridge of a Hill, Iceland
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The House of Thorstein Jonsson at Hvaleyri, Iceland
National Museum of Iceland, Reykjavik
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The Basalt Pillars near Laugarnes, Iceland
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An Icelandic Woman in Her Bridal Dress
National Museum of Iceland, Reykjavik
Durham Cathedral, from the River Wear
The Hermitage Museum, St Petersburg
Eton College, from the River
Yale Center for British Art, New Haven
London: Interior of St Stephen Walbrook, Looking East
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Rochester, from the River Medway
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St Mary’s Church, Battersea
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The Interior of Buildwas Abbey Church
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Untraced Works
An Exterior View of Henry VII’s Chapel, Westminster Abbey
The Huntington Library, Art Museum and Botanical Gardens, San Marino
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Untraced Works
The Interior of Westminster Abbey: The Nave Looking East
Untraced Works
The Queen’s Palace, or Buckingham House
Royal Collection Trust (Windsor)
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The Banqueting House, Whitehall
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Untraced Works
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Untraced Works
The West Front of St Paul’s Cathedral
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The West Front of Westminster Abbey
Untraced Works
Interior of St Stephen Walbrook, Looking East
Untraced Works
A French Lady of Quality in 1581
Yale Center for British Art, New Haven
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Yale Center for British Art, New Haven
A Noble Virgin of Bologna in 1581
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
Private Collection
Tynemouth Priory, from the Coast
Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York
The River Wensum at Norwich
Metropolitan Museum of Art, New York
Rochester Castle, from the River Medway
The Museum of Fine Arts, Houston
Tintern Abbey, from the River Wye
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All Saints' Church, Fulham, from the Seven Bells, Putney
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London from Highgate Hill
Yale Center for British Art, New Haven
'First Regiment of Foot Guards, 1660': Officer and Subaltern
British Museum, London
'First Regiment of Foot Guards, 1660': Sergeant and Private
British Museum, London
First Regiment of Foot Guards, 1660: Drummer and Private
Brown University Library, Providence, Anne S. K. Brown Military Collection
'Coldstream Regiment of Foot Guards, 1650': Officer and Sergeant
British Museum, London
'Coldstream Regiment of Foot Guards, 1650': Sergeant and Private
British Museum, London
Coldstream Regiment of Foot Guards, 1650: Drummer and Corporal
Brown University Library, Providence, Anne S. K. Brown Military Collection
'Third Regiment of Foot Guards, 1660': Officer and Sergeant
British Museum, London
'Third Regiment of Foot Guards, 1660': Grenadier and Private
British Museum, London
Third Regiment of Foot Guards, 1660: Drummer and Private
Brown University Library, Providence, Anne S. K. Brown Military Collection
Christ Church, Southwark
Yale Center for British Art, New Haven
Llanthony Priory
Ashmolean Museum, University of Oxford
Rochester, from the North
Yale Center for British Art, New Haven
The View from the Great Boathouse, Lake Windermere
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Westminster Abbey and Bridge, from Lambeth
Private Collection
The Dover Mail, Dover Castle in the Distance
Private Collection
Rochester Cathedral and Castle, from the North East
Eton College, Windsor
Worcester, from the River Severn
Indianapolis Museum of Art at Newfields
Lake Windermere and Belle Isle
Wordsworth Grasmere (Dove Cottage and Wordsworth Museum)
London Bridge, from the South Bank
Private Collection
The Demolition of a Building, Said to Be Part of the Ruins of Old Drury Lane Theatre
Private Collection
Dover Castle: The Constable's Tower
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A Cottage on the Solent
Birmingham Museums & Art Gallery
Hereford Cathedral, from the River Wye
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
Caesar’s Tower, Warwick Castle
Ashmolean Museum, University of Oxford
An Interior View of the Ruins of the Savoy Hospital
Yale Center for British Art, New Haven
A Bronze Age Palstave and a Roman Bow Brooch
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
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A Distant View of Marlow, from the River Thames
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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
Part of the Ruins of the Savoy Palace, Westminster Bridge Beyond
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Buildings in the Process of Demolition, Said to Be the Ruins of the Savoy Palace
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
St Mary’s Church, Monken Hadley
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
This second version of a drawing that formed the basis for an early watercolour of All Saints’ Church, Marlow (TG0237), next to the river Thames, has had a chequered history since it was acquired from the art historian Alexander Joseph Finberg (1866–1939) as part of his archive. Thomas Girtin (1874–1960) and David Loshak attributed the sketch to Girtin’s master, Edward Dayes (1763–1804). They argued that Girtin made a copy of it (TG0249) and that the drawing formed the model for the watercolour now at The Whitworth in Manchester (Girtin and Loshak, 1954, p.153). Craig Hartley, in his catalogue of the works by Joseph Mallord William Turner (1775–1851) at the Whitworth, subsequently proposed a different solution, suggesting that this drawing is by Girtin and that the pencil drawing now at the Yale Center for British Art (TG0249) is the Dayes prototype (Hartley, 1984, p.58). Neither authority, however, considered the possibility that is sanctioned by a number of examples across Girtin’s career – namely, that the artist made a replica of his own drawing. The potential motive for this copying is unclear, but it may have been related to the fact that one of the pencil outlines was acquired by the antiquarian and amateur artist James Moore (1762–99), who commissioned Girtin to produce numerous watercolour versions of his own, rudimentary sketches beginning around 1792. The copy may then have been produced by Girtin as a way of keeping a record of a composition that might attract commissions in the future.
None of this undermines the argument that Girtin’s pencil drawing was based on the work of another artist, especially as it is highly unlikely that the young artist was able to travel as far out of London as Marlow. An undated watercolour by Dayes (see figure 1) shows a very similar view of All Saints’ Church from across the river and, despite the claims of Moore, Dayes is still the most likely source for both pencil drawings and, ultimately, the watercolour that derived from them (TG0237). Differences between Girtin’s drawing and the Dayes watercolour, such as the greater extent of the buildings to the left and right and the variation in the shipping shown on the river, suggest, however, that Girtin did not copy the watercolour itself but worked from an untraced common source – an on-the-spot pencil sketch by his master.
1792 - 1793
All Saints’ Church, Marlow
TG0237
1792 - 1793
All Saints’ Church, Marlow
TG0249
1792 - 1793
All Saints’ Church, Marlow
TG0249
1792 - 1793
All Saints’ Church, Marlow
TG0237