- Description
-
- Creator(s)
- Thomas Girtin (1775-1802)
- Title
-
- Llawhaden Castle Gatehouse
- Date
- (?) 1791
- Medium and Support
- Watercolour on paper
- Subject Terms
- Castle Ruins; South Wales
-
- Collection
- Catalogue Number
- TG0052
- Description Source(s)
- Auction Catalogue
Provenance
Greenwood, 25 January 1792, lot 66 as 'Leihaiden castle gate, by Girtin'
Place depicted
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An Icelandic Woman in Her Bridal Dress
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Eton College, from the River
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Metropolitan Museum of Art, New York
Rochester Castle, from the River Medway
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Brown University Library, Providence, Anne S. K. Brown Military Collection
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Indianapolis Museum of Art at Newfields
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Hereford Museum and Art Gallery
Chepstow Castle, on the River Wye
Victoria and Albert Museum, London
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Fine Arts Museums of San Francisco
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Ashmolean Museum, University of Oxford
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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
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National Gallery of Scotland, Edinburgh
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Tate, London
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About this Work
Girtin’s untraced watercolour of the gatehouse of Llawhaden Castle in South Wales dates from the period of his apprenticeship to Edward Dayes (1763–1804) and it was his master who sent it to auction in January 1792, where lot 66 was listed as ‘Leihaiden castle gate, by Girtin’ (Exhibitions: Greenwood, 25 January 1792). As with a number of other watercolours, such as Durham Cathedral, from the River Wear (TG0012) and Rochester, from the River Medway (TG0015), Dayes was hoping to profit from the precocious skills of his pupil, as Girtin’s apprenticeship was apparently set to end prematurely.
Although the work has not been seen since the 1792 sale, we can get an idea of its appearance from an aquatint made by George Isham Parkyns (c.1749–1824) after a drawing by the amateur artist and antiquarian James Moore (1762–99) (see figure 1). During the period of Girtin’s apprenticeship, Dayes was employed by Moore to produce polished professional versions of his field sketches, a task that Girtin himself was to take up soon after, and it is likely that a drawing made by Moore at Llawhaden on 25 July 1788, also untraced, was the basis for Girtin’s lost watercolour. Girtin’s view of Llawhaden was doubly significant therefore, being the first of as many as a hundred or so versions that he made of Moore’s sketches and also providing evidence that the young artist’s first significant patron came through his work in Dayes’ studio.
1790
Durham Cathedral, from the River Wear
TG0012
1791
Rochester, from the River Medway
TG0015