Circle of Thomas Girtin, Figures on a Country Lane – c.1800 watercolour painting
Circle of Thomas Girtin, Figures on a Country Lane – c.1800 watercolour painting
Circle of Thomas Girtin, Figures on a Country Lane – c.1800 watercolour painting

Circle of Thomas Girtin Figures on a Country Lane

£795.00
£795.00
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An original c.1800 watercolour painting, Circle of Thomas Girtin, Figures on a Country Lane.

This attractive and intriguing watercolour bears the inscription 'Girtin' on the verso, and shares stylistic similarities with the great artist's work.

The art of watercolour was transformed during Thomas Girtin's brief life (1775–1802). Girtin, along with his friend and rival J.M.W. Turner, abandoned the careful stained drawings of their predecessors, widening the scope of the watercolour medium to communicate mood and atmosphere, and establishing it as a reputable art form.

Girtin's early work resembles the 18th-century topographical sketches of his master Edward Dayes (1763–1804), using a traditional linear style, to which tone and colour were then added. But his mature style developed the distinctive brushwork and rich colouration evident in the present watercolour; innovatively, he conceived his pictures as a single cohesive entity rather than a collection of parts.

Girtin completed a number of sketching tours during his short life, journeying into the English countryside, visiting North Wales, the Lake District, Yorkshire and the West Country. But in comparison with other topographical artists, and notably his contemporary Turner, he was not particularly well travelled. Instead, throughout his career, Girtin would often use secondary sources as the basis for his watercolours and also construct compositions in his studio. The composition of the present watercolour bears similarity to some of the more modest rural subjects resulting from Girtin's short excursions in the vicinity of London, such as a sketch at Turver's Farm, Wimbish, nr Saffron Walden, Essex (BM no. 1855,0214.13) and Lane at Hampstead (V&A no. 1089-1884).

Also unlike Turner, Girtin remained something of an outsider to the art establishment: he did not study at the Academy's schools, and was rumoured to have radical, or even revolutionary sympathies. As well, he tried to break away from the traditional reliance on patronage, partly by trying to sell his work on the open market.

The connection of the present watercolour to Girtin is unclear. It certainly warrants further investigation in light of the collaboration and copying that went on at the Monro School around this time.

On wove paper laid down on card.

+ Read the Artist Research

Thomas Girtin (1775–1802)

Thomas Girtin (1775–1802) was born in Southwark, London, the son of a wealthy brushmaker of Huguenot descent. Girtin learnt drawing as a boy, attending classes with topographical artist Thomas Malton (1748–1804), and later being apprenticed to the watercolourist Edward Dayes (1763–1804). While a teenager, Girtin became friends with the young J.M.W. Turner. The boys were employed to colour prints with watercolours. Girtin exhibited at the Royal Academy from 1794. He completed a number of sketching tours during his short life, journeying into the English countryside, visiting North Wales, the Lake District, Yorkshire and the West Country.

By 1799, he had acquired influential patrons such as Lady Sutherland and the art collector Sir George Beaumont. Girtin was the dominant member of the Brothers, a sketching society of professional artists and talented amateurs. In 1800, Girtin married Mary Ann Borrett and set up home in St George's Row, Hyde Park, next door to the painter Paul Sandby, but his health deteriorated until his death aged just twenty-seven in 1802. Turner is famously said to have remarked, 'Had Tom Girtin lived I should have starved.'

Thomas Girtin's work can be found in numerous public collections, including Tate Britain, the British Museum, Victoria and Albert Museum, National Galleries of Scotland, and the Yale Center for British Art, Newhaven.

COA
+ Artwork Details

Dimensions: Height: 14.6cm (5.75") Width: 26.8cm (10.55")

Presented: Unframed.

Medium: Watercolour

Age: Early 19th-century

Signed: No.

Inscribed: Inscribed with artist's name verso.

Dated: --

Condition: Some minor age toning and marks, as shown. There are remnants of red sealing wax at the corners on the verso of the card from historic mounting. Please see photos for detail.

Stock number: JZ-598