- Description
-
- Creator(s)
- Thomas Girtin (1775-1802)
- Title
-
- The Pont Neuf, Part of the Louvre, Notre Dame and the College of the Four Nations: Pencil Study for Plate Seven of Picturesque Views in Paris
- Date
- 1802
- Medium and Support
- Graphite on three pieces of laid paper
- Dimensions
- 15.3 × 15.8 cm and 15.3 × 22.8 cm and 15.3 × 20.4 cm (15.3 × 59 cm); 6 × 6 ¼ in and 6 × 9 ¼ in and 6 × 7 ¾ in (6 × 23 ¼ in)
- Object Type
- Drawing for a Print; Outline Drawing
- Subject Terms
- City Life and Labour; Panoramic Format; Paris and Environs; River Scenery
-
- Collection
- Catalogue Number
- TG1872
- Girtin & Loshak Number
- 466 as 'The Pont-Neuf and Notre-Dame'
- Description Source(s)
- Viewed in 2001 and 2018
Provenance
John Girtin (1773–1821); bought by John Jackson (d.1828); his posthumous sale, Foster’s, 24 April 1828, lot 321; bought by 'Tiffin'; ... 'Colnaghi'; bought from them by the Museum, 1868
Bibliography
Binyon, 1898–1907, no.70; Halliday, 1983, pp.288–89
Place depicted
Other entries in Picturesque Views in Paris and Other French Subjects

The Tuileries Palace and the Pont Royal, Taken from the Quai d’Orsay: Pencil Study for Plate One of Picturesque Views in Paris
British Museum, London

The Tuileries Palace and the Pont Royal, Taken from the Quai d’Orsay: Colour Study for Plate One of Picturesque Views in Paris
Private Collection

The Louvre and the Pont Royal, Taken from the Pont Neuf: Pencil Study for Plate Two of Picturesque Views in Paris
British Museum, London

The Louvre and the Pont Royal, Taken from the Pont Neuf: Colour Study for Plate Two of Picturesque Views in Paris
Fitzwilliam Museum, University of Cambridge

The Ile de la Cité, with the Louvre and the Pont Neuf in the Distance, Taken from the Pont Marie: Pencil Study for Plate Three of Picturesque Views in Paris
British Museum, London

Paris with the Louvre, Taken from the Pont Marie: Copy of Plate Three of Picturesque Views in Paris
Private Collection

The Ile de la Cité, with the Louvre and the Pont Neuf in the Distance, Taken from the Pont Marie: Colour Study for Plate Three of Picturesque Views in Paris
Chazen Museum of Art, University of Wisconsin – Madison

Pont Saint Michel, from the Pont Neuf: Pencil Study for Plate Four of 'Picturesque Views in Paris'
British Museum, London

Pont Saint Michel, from the Pont Neuf: Colour Study for Plate Four of 'Picturesque Views in Paris'
Private Collection

Paris: The Isle de la Cité and the River Seine, Taken from the Pont Neuf
Private Collection

A Panoramic View of Paris from Chaillot, Looking up the Seine with the Dome of Les Invalides: Pencil Study for Plate Five of Picturesque Views in Paris
British Museum, London

Panoramic View of Paris from Chaillot, Looking up the Seine with the Dome of Les Invalides: Colour Study for Plate Five of Picturesque Views in Paris
Private Collection

The Banks of the Seine, with the Dome of Les Invalides
Private Collection

The Tuileries Palace and the Pont Royal: Pencil Study for Plate Six of Picturesque Views in Paris
Private Collection

The Tuileries Palace and the Pont Royal, Taken from the Pont de la Concorde: Pencil Study for Plate Six of Picturesque Views in Paris
British Museum, London

The Tuileries Palace and the Pont Royal, Taken from the Pont de la Concorde: Colour Study for Plate Six of Picturesque Views in Paris
Private Collection

The Pont Neuf, Part of the Louvre, Notre Dame and the College of the Four Nations: Pencil Study for Plate Seven of Picturesque Views in Paris
British Museum, London

The Pont Neuf, Part of the Louvre, Notre Dame and the College of the Four Nations: Colour Study for Plate Seven of Picturesque Views in Paris
Private Collection

The Pont Neuf and the Mint: Pencil Study for Plate Eight of Picturesque Views in Paris
British Museum, London

The Pont Neuf and the Mint: Colour Study for Plate Eight of Picturesque Views in Paris
National Gallery of Art, Washington

Part of the Pont Neuf, with the Mint: Pencil Study for Plate Eight of Picturesque Views in Paris
Private Collection

The Pont au Change, the Théâtre de la Cité, the Pont Neuf and the Conciergerie Prison, Taken from the Pont Notre Dame: Pencil Study for Plate Nine of Picturesque Views in Paris
British Museum, London

The Pont au Change, the Théâtre de la Cité, the Pont Neuf and the Conciergerie Prison, Taken from the Pont Notre Dame: Colour Study for Plate Nine of Picturesque Views in Paris
Aberdeen Art Gallery

The Porte Saint-Denis, Viewed from the Suburbs: Possible Colour Study for Plate Ten of Picturesque Views in Paris
Musée Carnavalet, Histoire de Paris

The Porte Saint-Denis, Viewed from the Suburbs: Possible Colour Study for Plate Ten of Picturesque Views in Paris
Tate, London

The Pont de la Tournelle and Notre Dame, Taken from the Arsenal: Pencil Study for Plate Eleven of Picturesque Views in Paris
British Museum, London

The Pont de la Tournelle and Notre Dame, Taken from the Arsenal: Colour Study for Plate Eleven of Picturesque Views in Paris
Private Collection

The Pantheon, from the Arsenal, Looking across the Seine: Pencil Study for Plate Twelve of Picturesque Views in Paris
British Museum, London

The Pantheon, from the Arsenal, Looking across the Seine: Colour Study for Plate Twelve of Picturesque Views in Paris
Yale Center for British Art, New Haven

The Pantheon, from the Arsenal, Looking across the Seine: Pencil Study for Plate Twelve of Picturesque Views in Paris
Private Collection

Bellevue and the Pont de Sèvres, Taken from near the Pont de Saint-Cloud: Pencil Study for Plate Thirteen of Picturesque Views in Paris
British Museum, London

Bellevue and the Pont de Sèvres, Taken from the Terrace near the Pont de Saint-Cloud: Colour Study for Plate Thirteen of Picturesque Views in Paris
Private Collection

The Palace and Village of Choisy from the Banks of the Seine: Pencil Study for Plate Fourteen of Picturesque Views in Paris
British Museum, London

The Palace and Village of Choisy from the Banks of the Seine: Colour Study for Plate Fourteen of Picturesque Views in Paris
Private Collection

The Water Works at Marly, Saint-Germain-en-Laye in the Distance: Pencil Study for Plate Fifteen of Picturesque Views in Paris
British Museum, London

The Water Works at Marly, Saint-Germain-en-Laye in the Distance: Colour Study for Plate Fifteen of Picturesque Views in Paris
Yale Center for British Art, New Haven

The View from the Palace Terrace at Saint-Germain-en-Laye, the Aqueduct of Marly in the Distance: Pencil Study for Plate Sixteen of Picturesque Views in Paris
British Museum, London

The View from the Palace Terrace at Saint-Germain-en-Laye, the Aqueduct of Marly in the Distance: Colour Study for Plate Sixteen of Picturesque Views in Paris
Rhode Island School of Design Museum, Providence

The Village of Chaillot, Taken from the Pont de la Concorde: Pencil Study for Plate Seventeen of Picturesque Views in Paris
British Museum, London

The Village of Chaillot, Taken from the Pont de la Concorde: Colour Study for Plate Seventeen of Picturesque Views in Paris
Smith College Museum of Art, Northampton

Saint-Cloud and Mont Calvaire, Taken from the Pont de Sèvres: Pencil Study for Plate Eighteen of Picturesque Views in Paris
British Museum, London

Saint-Cloud and Mont Calvaire, Taken from the Pont de Sèvres: Colour Study for Plate Eighteen of Picturesque Views in Paris
Private Collection

The Banks of the Marne below the Bridge at Charenton: Pencil Study for Plate Twenty of Picturesque Views in Paris
British Museum, London

The Banks of the Marne below the Bridge at Charenton: Colour Study for Plate Twenty of Picturesque Views in Paris
Untraced Public Collection, Israel

The Champ de Mars, Seen from the Trocadéro, with Sèvres in the Distance: Unused Pencil Study for Picturesque Views in Paris
British Museum, London

The Watermill above the Bridge at Charenton, near Paris
British Museum, London

The Watermill above the Bridge at Charenton: Pencil Study for Plate Nineteen of Picturesque Views in Paris
British Museum, London

The Watermill above the Bridge at Charenton: Colour Study for Plate Nineteen of Picturesque Views in Paris
Private Collection

La Rue Saint-Denis, Paris: A Scene for Thomas Dibdin's Pantomime Harlequin's Habeas
Private Collection, Norfolk

Paris: Porte Saint-Denis and the Boulevard Saint-Denis
Victoria and Albert Museum, London

Part of the Tuileries Palace with the Louvre (Place du Carrousel)
The Higgins, Bedford

Part of the Tuileries Palace with the Louvre (Place du Carrousel)
Blanton Museum of Art, The University of Texas at Austin

Paris: View over the Rooftops towards Montmartre
British Museum, London

Paris: The Ruins of the Roman Baths, Hôtel de Cluny
Tate, London

Paris: The Ruins of the Roman Baths, Hôtel de Cluny
The Whitworth, The University of Manchester

A Sheet of Figure Studies
Ashmolean Museum, University of Oxford

A Sheet of Figure Studies Relating to Picturesque Views in Paris
Ashmolean Museum, University of Oxford

A Sheet of Figure Studies: Women Washing Clothes at a River
Ashmolean Museum, University of Oxford

Studies of Women and Men, Including an Advocate Pleading
Private Collection

Paris: The Hôtel de Ville and the Church of Saint-Jean-en-Grève
Private Collection, Norfolk

The Church of Saint Corneille at Compiègne
Ashmolean Museum, University of Oxford

The Porte Chapelle, Compiègne
Victoria and Albert Museum, London

Paris: The Entrance to the Hôtel du Grand Prieur du Temple
British Museum, London

An Interior View of the Nave of Laon Cathedral
British Museum, London

A Wooded River in an Extensive Landscape
Private Collection

A River Scene with a Castle on a Cliff
Yale Center for British Art, New Haven

A Wooded Landscape with a Hermit
Victoria and Albert Museum, London

Buildings by a Road, with Passing Figures
Private Collection
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About this Work
This view of the Pont Neuf, with Notre Dame beyond, was drawn on the spot by Girtin early in 1802 in preparation for plate seven of his Picturesque Views in Paris (see print after TG1872a). Frustrated in his attempt to show his London panorama in Paris, Girtin took up the suggestion of his patron Sir George Howland Beaumont (1753–1827) and made a series of detailed pencil drawings of the French capital, which he reproduced as soft-ground etchings on his return to London in May, though they were not finally published until after his death, with the addition of aquatint to create tones similar to those in his watercolours (Hardie, 1966–68, vol.2, p.8; Smith, 2017–18, pp.32–35). The brief cessation of hostilities between Britain and France, known as the Peace of Amiens, attracted thousands of British visitors to Paris, and so Girtin’s prints were targeted at a tourist audience keen for souvenirs of their trip and who prized carefully rendered details of the city’s buildings and inhabitants. To ensure such fidelity, Girtin appears to have employed a camera obscura for about half of the pencil drawings, and the modest size of this instrument required him to use small pieces of paper from which he assembled his mostly panoramic images of the scenery along the river Seine. All but one of the supports used by Girtin in the twenty-one Paris sketches he produced has been identified by the paper historian Peter Bower as the same cream laid writing paper, made by the Blauw and Briel company in Holland (Smith, 2002b, p.141; Bower, Report). This, he believes, was bought by Girtin in Paris, and it may have been made up to twenty years earlier.
Girtin’s soft-ground etching (see the print after, above) was published separately from the finished aquatint, on 6 July 1802. To create this autograph print, the artist first traced his own drawing, reversing the image in the process (see figure 1), and then, using the tracing as a template, impressed the lines onto an etching plate coated in a tacky ground of an acid-resistant mix. Lifting the tracing and taking away the ground where the lines had been pushed in, he would then have immersed the plate in acid, which would have bitten into the unprotected areas. Cleaned up, the plate, with the etched lines now according with the direction of Girtin’s original drawing, could then be used to print from. Such a complex procedure employed by a novice printmaker like Girtin no doubt required a number of proof stages, though the only one to survive in this case does not include any of the corrections and amendments that are common elsewhere (Victoria and Albert Museum, London (E.615–1907)).
The College of the Four Nations (also known as the Collège Mazarin), which is at the centre of the composition with its distinctive dome, was suppressed during the French Revolution and the building subsequently became known as the Palais de l’Institut de France. The building, together with the Louvre and the west towers of Notre Dame, also feature in plate six (see print after TG1871a), whilst the Pont Neuf again appears prominently in plate eight (see print after TG1874). Such a lack of variety was perhaps inevitable given that at the heart of the publication are three downriver views taken from points no more than a hundred metres apart. Having already studied the river facade of the Louvre on a number of occasions, Girtin was presumably content to leave the left part of this drawing in a relatively sketchy state, with the boats, in particular, unfinished. Much of the detail here was therefore improvised by Girtin as he worked on the etching plate, though he still followed the carefully noted architectural features.
1802
The Pont Neuf, Part of the Louvre, Notre Dame and the College of the Four Nations: Colour Study for Plate Seven of ‘Picturesque Views in Paris’
TG1872a
1802
The Tuileries Palace and the Pont Royal, Taken from the Pont de la Concorde: Colour Study for Plate Six of ‘Picturesque Views in Paris’
TG1871a
1802
The Pont Neuf and the Mint: Pencil Study for Plate Eight of ‘Picturesque Views in Paris’
TG1874