Harvesters by Firelight, 1830

Not on View

Medium

pen and black ink with watercolor and gouache on wove paper

Dimensions

overall: 28.7 x 36.7 cm (11 5/16 x 14 7/16 in.)

Credit Line

Paul Mellon Collection

Catalogue Raisonné

Lister 1988, no. 125

Accession Number

1986.72.12

Artists / Makers

Samuel Palmer (artist) British, 1805 - 1881

Image Use

This image is in the public domain.
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Inscription

by A.H. Palmer(?) artist's son and biographer, on left half of verso in graphite: The reflections of one of the incendiary fires / fires in Kent, I th ink about 1830 done I think / the next day - The building is, I think / Ightham Mote. A.H.P. [Palmer' s son] / Subject the harvesters hurrying away the / last of the harvest.

Provenance

(sale, Christie, Manson & Woods, London, 27 July 1951, no. 19); (The Squire Gallery, London); Nigel Warren Q.C. [1912- 1967]. (sale, Christie's London, 24 March 1981, no. 142); (Baskett and Day, London); Paul Mellon, Upperville, VA; gift to NGA, 1986.

Associated Names

Mellon, Paul

Exhibition History

1987: English Drawings and Watercolors, 1630-1850, National Gallery of Art, Washington, DC, 1987-1988, no cat.

1993: The Great Age of British Watercolors 1750-1880, Royal Academy of Arts, London; National Gallery of Art, Washington, 1993, no. 224.

2005: Samuel Palmer, 1805 - 1881: Vision and Landscape, British Museum, London, and Metropolitan Museum of Art, New York, 2005 - 2006, no. 68.

2006: The Artist's Vision: Romantic Traditions in Great Britain, National Gallery of Art, Washington, D.C., 2006 - 2007

2016: In Celebration of Paul Mellon, NGA, 2016.

Bibliography

1988: Lister, Raymond. Catalogue Raisonne of the Works of Samuel Palmer. Cambridge, England: Cambridge University Press, 1988.

1993: Wilton, Andrew and Anne Lyles. The Great Age of British Watercolours 1750-1880. Exh. cat. Royal Academy of Arts, London; National Gallery of Art, Washington, 1993: no. 224.

2015: Vaughan, William. Samuel Palmer: Shadows on the Wall. New Haven, 2015: 196 (noting that "the attribution to Palmer is somewhat problematical."