- Description
-
- Creator(s)
- Edward Dayes (1763-1804)
- Title
-
- Harrow Common
- Date
- 1790 - 1791
- Medium and Support
- Graphite and watercolour on three pieces of wove paper
- Dimensions
- 15.1 × 39.2 cm, 6 × 15 ⅜ in
- Inscription
'Harrow Common -- / 4' on the back
- Object Type
- On-the-spot Colour Sketch
- Subject Terms
- London and Environs; Panoramic Format
-
- Collection
- Catalogue Number
- TG0053
- Girtin & Loshak Number
- 8 as by 'Girtin'; '1791'
- Description Source(s)
- Viewed in 2001
Provenance
Thomas Calvert Girtin (1801–74); then by descent to Thomas Girtin (1874–1960); given to Tom Girtin (1913–94), c.1938; bought by John Baskett on behalf of Paul Mellon (1907–99) 1970; presented to the Center, 1975
Exhibition History
London, 1962a, no.112 as by Thomas Girtin; New Haven, 1986a, no.125 as by Edward Dayes
Bibliography
YCBA Online as 'Attributed to Edward Dayes' (Accessed 02/09/2022)
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
Private Collection
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
A Section of the 'Boiling Fountains' (Geysers) and the Surrounding Country, Iceland
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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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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
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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)
The King’s Mews, Charing Cross
London Metropolitan Archives
The East Front of St Paul’s Church, Covent Garden
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Untraced Works
The Banqueting House, Whitehall
Victoria and Albert Museum, London
The Interior of St Paul’s Cathedral: The Nave Looking East
Untraced Works
St Paul’s Cathedral, from the South West
Untraced Works
The West Front of St Paul’s Cathedral
Ashmolean Museum, University of Oxford
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
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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
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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
Courtauld Gallery, London
All Saints' Church, Fulham, from the Seven Bells, Putney
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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
Private Collection
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
Untraced Works
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
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Yale Center for British Art, New Haven
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Society of Antiquaries of London
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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
Private Collection
A Distant View of Marlow, from the River Thames
The Huntington Library, Art Museum and Botanical Gardens, San Marino
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Private Collection
An Interior View of the Ruins of the Savoy Hospital
Ashmolean Museum, University of Oxford
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Private Collection
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
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Tate, London
An Exterior View of the Great Hall of Eltham Palace
Victoria and Albert Museum, London
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Private Collection
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Private Collection
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About this Work
Thomas Girtin (1874–1960) and David Loshak suggested that this view of Harrow Common, north of London, was produced by Girtin during his apprenticeship to Edward Dayes (1763–1804) and that it was an ‘early out-of-door sketch’ (Girtin and Loshak, 1954, p.135). Their argument was based on the belief that the work was acquired by the artist’s son, Thomas Calvert Girtin (1801–74), ‘from the artist’s portfolio’ and that it descended through the family thereafter. Thomas Calvert Girtin did inherit a number of his father’s works, but he also bought others, some of which have proved not to be by Girtin (such as TG1271), and this, as Susan Morris has noted, is surely the case here (Morris, 1986, p.51). Harrow Common is indeed an on-the-spot colour sketch, but it is entirely consistent with the practice of Girtin’s master, Dayes, as a comparison with an example such as Gibside Park, from Goodshield Haugh shows (see figure 1). The erroneous attribution of this work is, however, highly instructive, suggesting that Girtin’s lifelong commitment to sketching in colour in the field was inspired by a little-known aspect of his master’s practice, albeit that he employed a broader palette than the muted blues and greys seen here.
1798 - 1803
Berry Pomeroy Castle
TG1271