THOMAS GIRTIN (LONDON 1775-1802)
THOMAS GIRTIN (LONDON 1775-1802)
THOMAS GIRTIN (LONDON 1775-1802)
THOMAS GIRTIN (LONDON 1775-1802)
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THOMAS GIRTIN (LONDON 1775-1802)

Dunnottar Castle, Kincardine

细节
THOMAS GIRTIN (LONDON 1775-1802)
Dunnottar Castle, Kincardine
signed 'Girtin' (lower left)
pencil, pen and black ink and watercolour on paper
6 5/8 x 8 1/2 in. (16.8 x 21.7 cm )
来源
James Moore and by descent to his widow,
Mary Moore (née Howett), by whom bequeathed to
Anne Miller, and by descent to
Edward Mansel Miller, and by descent to
Helen Louisa Miller, from whom purchased by
Francis Pierrepont Barnard, 1912, from whom purchased by Thomas Girtin 1912, and by descent to his son
Tom Girtin, c.1938.
Anonymous sale; Sotheby's, London, 14 July 1994, lot 129, when acquired by the present owner.
出版
C.R. Grundy, 'Loan Collection of Drawings by Girtin at the Fitzwilliam Museum', Connoisseur, March 1921, repr. p. 135.
T. Girtin and D. Loshak, Art of Thomas Girtin, London, 1954, no. 30.
G. Smith, Thomas Girtin, online edition, no. TG0124.
展览
Cambridge, Fitzwilliam Museum, Water Colour Drawings by Thomas Girtin, 1920, no. 7.
注意事项
This lot is offered without reserve. This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

荣誉呈献

Freddie de Rougemont
Freddie de Rougemont Director

拍品专文

This drawing was made after a sketch by the antiquarian James Moore (1762-99), Girtin’s earliest patron and a linen draper in Cheapside, London. Girtin himself never visited Dunottar Castle, high on a cliff on the north-east coast of Scotland. Moore, however, made an extensive tour of Scotland in the late summer of 1792, and his sketch of the castle from an inlet below the fourteenth-century tower house is dated 5 September. Moore was primarily interested in the ancient architecture of Britain, but here it was the location of the castle which drew his attention.
Girtin worked for Moore between October 1792 and February 1793, producing watercolours, each with a distinct washline mount, and the majority of the same size as the present sheet. Moore employed other artists to work up his sketches, including Edward Dayes (1763-1804), of whom Girtin was a pupil, but Girtin produced around seventy watercolours from his sketches, including thirty from the 1792 Scottish trip. Moore eventually amassed a collection of over 100 watercolours by Girtin, which remained in his family until 1912.

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