Samuel Palmer, R.W.S

George Gurney (1828-1903), who acquired the work directly from the artist;
his Executor's sale, London, Christie’s, 11 July 1903, lot 32;
Sydney Morse (1854-1929);
his Executor's sale, London, Christie’s, 26 July 1929, lot 30;
bt. McDonald;
Dr. Samuel Nazeby Harrington (d. 1934);
by descent to his son Sir Nazeby Harrington (1891-1951);
thence by descent to the present owners

London, The Old Watercolour Society, 1870, no. 105;
London, The Fine Art Society, A Collection of Drawings, Paintings, and Etchings by the Late Samuel Palmer, 1881, no. 72

The Portfolio, December 1881, p. 207;
A. H. Palmer, A Memoir, 1882, p. 34;
M. Hardie, 'Samuel Palmer (1805-1881)', The Water-Colour Society's Club, Vol. IV, London 1926-1927, p. 46 & p. 50; 
R. Lister, Catalogue Raisonne of the Works of Samuel Palmer, 1988, p. 205, no. 654

Support Samuel Palmer has painted directly on a thick, laminated board of good quality. This artist was very particular about his materials and the condition is good. The verso shows a few old tapes. Medium The medium is also in a generally good condition and the non-fugitive colours are bright. Where a mount has covered the edge, particularly on the right-hand side, there is a darker area of stronger pigment demonstration slight fading. There is a small, surface damage in the trees and a scratch below the shepherd which has been retouched, maybe by the artist. We are grateful to Jane McAusland for conducting this condition report.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

In this majestic watercolour Palmer depicts an imaginary Italianate landscape that shimmers in the warm evening light. Immersed in cool shadows, the foreground conceals a myriad of subtle details. To the right a herdsman quietly observes his goats while reclining amongst lush green shrubs. On the left, and slightly downhill, a man has scaled a ladder and is seen hard at work, picking fruit from a heavily laden tree. Further down the hill a dusty path is densely populated with people, goats and a cart, drawn by two powerful oxen. In the distance a village, which appears embedded into the very hillside, crackles white under the sun’s rays. Behind this lies a stupendous mountain landscape and sunset - whose pinks, vermilions, yellows and purples, contrast harmoniously with the deep blue of the Mediterranean Sea.

Although painted many decades after the event, this watercolour was inspired by Palmer’s fond memories of Italy.  In September 1837, he had married Hannah Linnell, eldest daughter of the painter John Linnell. They decided to honeymoon in Italy and over the next two years explored the region extensively. Not only was this a very happy time in Palmer’s life, but while abroad he assembled a body of work, ranging from studies of trees to panoramic views, to which he would refer back for the rest of his life.

The startling freshness of the colours; greens, blues, pinks, oranges and yellows, transfix the viewer even from a distance. Palmer uses this kaleidoscope of vivid colours in an exuberant display of technical virtuosity. His application of the medium is equally bold. A true tour de force of his mature style, he contrasts subtle watercolour washes with layers of gouache. He vigorously scratches out areas of paper, only to re-fill them with another colour and he liberally employs gum arabic varnish, which only succeeds in heightening the sense of depth and texture to the surface of the picture.

Palmer created this watercolour in 1870 at Furze Hill, his gothic villa in Redhill, Surrey. This house was to be his home from 1862 and it was here, according to Leonard Rowe Valpy (d. 1884), that some of his ‘most splendid pictures were produced.’ Palmer clearly held this particular work in high regard as he chose to exhibit it at the 1870 Old Water-Colour Society’s exhibition. The work was immediately acquired by George Gurney, a retired wine-merchant who owned at least four other watercolours by the artist.

Upon Palmer’s death in 1881, the Fine Art Society held a memorial exhibition in their London galleries. Many great pictures were assembled and Gurney allowed the present work to be included. Since then several other distinguished collectors have owned the watercolour.  Chief amongst these were Sydney Morse (1854-1929), who played rugby for England between 1873 and 1875, before assembling a significant collection of British paintings, and also Dr Samuel Nazeby Harrington (d. 1934). Harrington was an expert on the printmaker Sir Francis Seymour Haden (1818-1910) and also helped to establish the Williamson Art Gallery, Birkenhead.

This important late watercolour, which is still held in its original frame, has remained hidden from public view since the 1930s.