This view of Bellevue and the Pont de Sèvres, taken from near the Pont de Saint-Cloud looking south along the river Seine, was coloured by Girtin working over a soft-ground etching (see print after TG1881), which, in turn, reproduced an on-the-spot pencil drawing made in early 1802 (TG1881). Girtin added the washes for the guidance of Frederick Christian Lewis (1779–1856), who was employed to aquatint the artist’s plate, fleshing out the etched lines with tones that approximate to those of a monochrome sketch (see the print after, above). The completed print was published a month after the artist’s death as plate thirteen of Twenty of the Most Picturesque Views in Paris and Its Environs by his widow, Mary Ann Girtin (1781–1843), and his brother, John Girtin (1773–1821), the latter of whom, in addition to financing the project, took over the final stages of its production. The twenty prints were finally published together in an edition of around 130, with the etchings selling for four guineas, the aquatints for five guineas and a set of proof impressions six guineas (Hardie, 1966–68, vol.2, p.8; Smith, 2017–18, pp.32–35). The large prints were very much a luxury product, so it is somewhat surprising that the list of subscribers includes, in addition to many of the best known of Girtin’s patrons, a significant number of artists, amongst which are the names of Joseph Mallord William Turner (1775–1851), Sir William Beechey (1753–1839), Benjamin West (1738–1820), John Hoppner (1758–1810) and Henry Edridge (1768–1821) as well as many of Girtin’s fellow watercolourists, such as John Varley (1778–1842) and John Glover (1767–1849) (Chancery, Income and Expenses, 1804).¹

Girtin produced a second set of hand-coloured impressions of his etchings, which were carefully mounted and sold by John Girtin to the dedicatee of the publication, George Capel-Coningsby, 5th Earl of Essex (1757–1839), for £50, though this example has not been traced. The two sets have been the cause of considerable confusion, but, following the discovery of new evidence about John Girtin’s role in the project, it has been possible to distinguish their very different functions (Smith, 2017–18, pp.32–35). The set sold to the earl is thus complete, and it is carefully rendered and presented so as to resemble Girtin’s finished watercolours. In contrast, the group of eighteen hand-coloured etchings, which were once owned by Francis Russell, 7th Duke of Bedford (1788–1861), are very much working drawings; indeed, in some cases they have been cut down, presumably to disguise their careless treatment whilst in the studios of the four men who were employed by the Girtin brothers to add aquatint to the plates. The practical function of such drawings is also evident in the fact that, in addition to providing instructions to the professional aquatinter regarding the distribution of light and shade and the basic form of the sky and the reflections in the water, they often include Girtin’s amendments. In this case, the artist added a number of boats on the river, which, though not a feature of either the outline drawing (TG1881) or the soft-ground etching (see print after TG1881), reappear in the finished aquatint.

Another hand-coloured impression of the soft-ground etching appeared at an auction in 2013 (Mallam's, Oxford, 8 March 2013, lot 129). It has not been possible to confirm Girtin's involvement from the poor quality illustration that accompanied the lot.² And yet another hand-coloured etching is in the collection of the Williamson Art Gallery and Museum, Birkenhead (BIKGM.2062). It is distinguished by the addition of a boat on the river.