- Description
-
- Creator(s)
- Thomas Girtin (1775-1802) and Joseph Mallord William Turner (1775-1851) after (?) John Henderson (1764-1843)
- Title
-
- Rye, from the River Tillingham
- Date
- 1795 - 1796
- Medium and Support
- Graphite, watercolour and scratching out on wove paper
- Dimensions
- 19.6 × 26.9 cm, 7 ¾ × 10 ⅝ in
- Object Type
- Collaborations; Monro School Copy; Work after an Amateur Artist
- Subject Terms
- River Scenery; Sussex View
-
- Collection
- Catalogue Number
- TG0846
- Description Source(s)
- Viewed in 2001 and June 2018
Provenance
Henry Vaughan (1809–99); bequeathed to the Gallery, 1900
Exhibition History
Annual January Turner Exhibition, National Gallery of Scotland, Edinburgh, 1900-
Bibliography
Armstrong, 1902, p.275 as by Joseph Mallord William Turner; Campbell, 1993, no.2 as 'Rye, Sussex' by Joseph Mallord William Turner; Baker, 2006, no.2, p.73; Baker, 2011, pp.350–51 as 'Rye, Sussex' by Joseph Mallord William Turner
Place depicted
Other entries in Monro School Copies:
British Views, Including Works after the Outlines of John Henderson

An Upland Landscape with a Rainbow, Said to Be Lowther Fells
Kendal Town Hall

Tonbridge Bridge and Castle
Yale Center for British Art, New Haven

The High Rocks, near Tunbridge Wells
National Gallery of Scotland, Edinburgh

The Town of Rye, Seen from the Marshes
Yale Center for British Art, New Haven

Dover Castle, Seen from the Beach
Yale Center for British Art, New Haven

An Upland Scene with a Wooded Valley
Leeds University Art Gallery

Unidentified Medieval Ruins, with Agricultural Buildings
Tate, London

A View near Keswick, Probably Bassenthwaite Lake
Private Collection

Skiddaw and Bassenthwaite Lake, from the Vale of Newlands
Private Collection

Looking South into Borrowdale, from the Shore of Derwentwater
Private Collection

Mountainous Landscape, Possibly in the Lake District
Walker Art Gallery, National Museums Liverpool

Boon Crag Cottage, with Coniston Water Beyond
Private Collection

A View in Cumbria, Probably Looking from Irton Fell towards Ravenglass
Clark Art Institute, Williamstown

A View in Cumbria, Looking towards Irton and the Irish Sea, with the Isle of Man in the Distance
Tate, London

The River Leven, Cumbria, Viewed from Penny Bridge
Tate, London

St John's Vale, Cumbria
Private Collection

The Lodore Falls
Yale Center for British Art, New Haven

Langdale Pikes
Private Collection

An Unidentified Bridge over a Stream, Possibly in North Wales
Private Collection

Derwentwater, with Skiddaw in the Distance
Eton College, Windsor

Beddgelert Bridge, North Wales
Private Collection

A Mountainous Landscape with an Overshot Mill
Clark Art Institute, Williamstown

A Mountainous River Landscape with a Bridge
Private Collection

Cynwyd Mill, near Corwen, North Wales
Brandler Galleries, Brentwood

Conwy: The Town Walls from the South East
Tate, London

Raglan Castle: The Great Hall
Private Collection

A Mountainous Landscape with an Unidentified Bridge, Possibly in North Wales
Ashmolean Museum, University of Oxford

The Iron Bridge at Coalbrookdale
Private Collection

An Estuary, Possibly Dartmouth
Private Collection

Grasmere: Looking North West to Helm Crag
Private Collection

The Head of Lake Windermere
Rhode Island School of Design Museum, Providence

The Head of Derwentwater, with the Lodore Falls
Private Collection

Dover Harbour, with Shipping Being Overhauled
Tate, London

A Two-Master in Dover Harbour, with the Castle Beyond
Tate, London

Dover Harbour: A Ship Being Overhauled
Tate, London

A Boat on the Shore, near Shakespeare Cliff, Dover
Tate, London

Dover Harbour: Fishing Vessels, Their Sails Drying
Tate, London

Shipping in Dover Harbour, with the Castle Beyond
Tate, London

A Lake View, Possibly Ullswater
Private Collection

A General View of Dover Harbour, from the East
Tate, London

Dover Harbour: Small Boats by the Quay
Tate, London

Boats in Dover Harbour
British Museum, London

A Ship under Repair in Dover Harbour
National Gallery of Ireland, Dublin

Figures on a Fishing Vessel in Dover Harbour
Private Collection

A Fishing Vessel with Hastings Beyond
Birmingham Museums & Art Gallery

Dover Castle from the Sea
Private Collection

A Beached Vessel in the Inner Harbour at Dover
Private Collection

Dover Harbour, with the Castle on the Hill
British Museum, London

Dover Harbour
Private Collection

Beached Vessels in Dover Harbour, the Castle in the Distance
Smith College Museum of Art, Northampton

Vessels Anchored in Dover Harbour, with the Castle Beyond
National Gallery of Scotland, Edinburgh

Warehouses with Shipping in Dover Harbour
Smith College Museum of Art, Northampton

Vessels in the Harbour at Dover, with the Castle Beyond
Private Collection

Dover Harbour, with the Cliffs Beyond
Tasmanian Museum and Art Gallery, Hobart

Vessels Moored in Dover Harbour
Private Collection

The Inner Harbour, Dover, with the Castle Beyond
Brighton Museum and Art Gallery

A Ship Drawn Up on a Beach Being Careened
Private Collection

Beached Fishing Vessels, Dover Harbour
National Gallery of Ireland, Dublin

Beached Fishing Vessels in the Harbour at Dover
Private Collection

Boats Anchored in Dover Harbour
Victoria and Albert Museum, London

Boats Anchored in Dover Harbour
Private Collection

Dover Harbour, with Fishing Boats at Low Tide
The High Museum of Art, Atlanta

Dover: The Harbour with Vessels
Fitzwilliam Museum, University of Cambridge

A Smack in Dover Harbour, Drying Sails, with the Old Church in the Distance
National Maritime Museum, Greenwich

Dover Harbour: A Boat under Repair
Private Collection

Fishing Boats at Low Tide, near Dover
Courtauld Gallery, London

Dover: Two Boatmen Standing by the Prow of a Brig
Private Collection

Dover Harbour
Private Collection

A Fisherman's Cottage, Said to Be at Dover
Yale Center for British Art, New Haven

The Hull of a Ship under Repair, with a Barge and Smaller Boats
Tate, London

A Boat-Builder’s Yard, Possibly on the River Medway
Fitzwilliam Museum, University of Cambridge

A Boat-Builder’s Yard, Possibly on the Medway
Private Collection

A Boat-Builder’s Yard, Possibly on the River Medway
Private Collection

A Boat-Builder's Shed, Possibly on the River Medway
National Gallery of Scotland, Edinburgh

A Boat-Builder’s Shed, Possibly on the River Medway, with a Fishing Boat with Drying Sails
Tate, London

The Coast, near Dover
The Higgins, Bedford

Folkestone Harbour
Julian Huxley-Parlour Fine Art, London

Beachy Head, Looking towards Newhaven
National Gallery of Scotland, Edinburgh

Beachy Head, Looking towards Newhaven
Ulster Museum, Belfast

Shakespeare Cliff, Dover
National Gallery of Ireland, Dublin

Beached Vessels in Dover Harbour, the Castle in the Distance
Ashmolean Museum, University of Oxford

Buildings on a Wooden Quayside
Private Collection

A Coast View with Chalk Cliffs, Probably from near Beachy Head
Ashmolean Museum, University of Oxford

A Small Boat under Repair by a Jetty
Private Collection

Dover: Snargate Street, Looking West
Private Collection

Dartford High Street
Private Collection

Tonbridge Bridge and Castle
Fitzwilliam Museum, University of Cambridge

Rye, from the River Tillingham
National Gallery of Scotland, Edinburgh

Dover: Fishing Boats at Low Tide
Private Collection

Two Boatmen Caulking the Bows of a Beached Brig, Probably at Dover
Private Collection

Hastings: A Beached Fishing Boat
Private Collection

A Coastal Scene at Dover
Worthing Museum and Art Gallery

Mickleham Church
Tate, London

Dolbadarn Castle on Llyn Padarn
Clark Art Institute, Williamstown

Conwy Castle, from the East
Huddersfield Art Gallery

Harlech Castle, from the South
National Gallery of Ireland, Dublin

The Gatehouse, Harlech Castle, Seen from the Moat
Private Collection, Gloucestershire

The High Street at Egham
Private Collection

Boats in Dover Harbour
Leeds Art Gallery

Two Trees Overlooking a Meandering River
Private Collection

A Dilapidated Cottage
Private Collection

Dover: Boats Anchored in the Harbour
Private Collection

A Coastal View near Dover, probably at St Margaret's, Cliffe
Private Collection

Dover: Beached Boats, with the Castle Beyond
Private Collection

Dover Harbour: The Stern of a Large Ship, and Smaller Vessels
Tate, London

The Town of Rye, Seen from the Marshes
British Museum, London
Footnotes
- 1 The full diary entry, giving crucial details of the artists’ work at Monro’s house, is transcribed in the Documents section of the Archive (1798 – Item 2).
Revisions & Feedback
The website will be updated from time to time and, when changes are made, a PDF of the previous version of each page will be archived here for consultation and citation.
Please help us to improve this catalogue
If you have information, a correction or any other suggestions to improve this catalogue, please contact us.
About this Work
This view looking south-east to Rye from the river Tillingham, with the tower of the church of St Mary prominent in the centre, displays many of the signs that mark the unique collaboration between Girtin and his contemporary Joseph Mallord William Turner (1775–1851) at the home of Dr Thomas Monro (1759–1833). Here the two artists were employed across three winters, probably between 1794 and 1797, to copy ‘the outlines or unfinished drawings of’ principally John Robert Cozens (1752–97), but other artists too, including Girtin’s master, Edward Dayes (1763–1804), and the patron’s neighbour, the amateur John Henderson (1764–1843), who lent his ‘outlines for this purpose’ (Farington, Diary, 30 December 1794). Henderson visited Dover and the adjacent coast in the autumn of 1794 and the ‘outlines of Shipping & Boats’ he made there, described by the diarist Joseph Farington (1747–1821) as ‘Very ingenious & careful’, provided the basis for a substantial number of copies of coastal scenery and views of shipping commissioned by Monro (Farington, Diary, 1 December 1795). As with the copies the artists made after the sketches of Cozens, ‘Girtin drew in outlines and Turner washed in the effects’, with Turner receiving ‘3s. 6d each night’ though ‘Girtin did not say what He had’ (Farington, Diary, 12 November 1798).1
Some of the Henderson outlines used by the Monro School artists include the spectacular cliff scenery of Kent and it is possible that the amateur artist travelled along the coast into Sussex and thus provided the basis for a group of copies that include comparable views such as Beachy Head, Looking towards Newhaven (TG0836). Girtin is not known to have visited Rye, and the views he executed of the ancient coastal town were based on the sketches of his other important early patron, the antiquarian and amateur artist James Moore (1762–99), including views of the Landgate (TG0223) and the Ypres Tower (TG0342). This essentially panoramic view of Rye does not resemble any of Moore’s compositions, however, and I am increasingly inclined to the idea that it was Henderson after all who provided the model for Girtin to follow. A panoramic watercolour of Rye, seen from the marshland to the south east of the town, was produced by Girtin for Henderson (TG1752), and the drawing that this was based on (TG0241) appears to have been copied from a lost sketch by the amateur as well. I suspect that it is no coincidence that that pencil drawing and this Monro School watercolour of the view of the town from the Tillingham share the same dimensions; the two, it seems, were therefore ultimately derived from a pair of on-the-spot sketches by Henderson.
The bulk of the copies sold at Monro’s posthumous sale in 1833 were attributed to Turner alone, but, despite the pioneering article published by Andrew Wilton in 1984, which established the joint authorship of many of them, this work is still catalogued by the National Gallery of Scotland as being solely by Turner (Wilton, 1984a, pp.8–23; Baker, 2011, pp.350–51). This is somewhat surprising, given that the pencil work, including an unusually rich, dark graphite line that might even be black chalk, features prominently and displays many of Girtin’s characteristic and inventive touches. Turner’s sparing application of a limited palette of blues and greys, particularly on the buildings, which are predominantly left untouched to create the highlights, allows one to appreciate the unusually prominent role played by the outline in a broad landscape.
1795 - 1796
Beachy Head, Looking towards Newhaven
TG0836
(?) 1795
The Landgate, Rye
TG0223
1795 - 1796
The Ypres Tower, Rye
TG0342
1796 - 1797
The Town of Rye, Seen from the Marshes
TG1752
1795 - 1796
The Town of Rye, Seen from the Marshes
TG0241