Samuel Palmer, R.W.S

Sale, London, Sotheby's, 21 March 2002, lot 195

This large sheet has generally been well preserved and apart from two very small repaired tears (located at the upper right hand corner and upper edge of the sheet), there is no further damage. Some of Palmer's more delicate colours have faded somewhat, however the pencil remains strong. The work has not been laid down and it has been carefully framed - with a non-acidic mount and a frame fitted with museum quality glass.
"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 sweeping panorama, Palmer shows the great Renaissance city of Florence from the Church of San Miniato. Many of the great landmarks can be seen, including the Duomo, with Brunelleschi's majestic dome, the octagonal Baptisty, Giotto’s elegant tower and the imposing Palazzo Vecchio. Further to the left four bridges, including the famous Ponte Vecchio, traverse the Arno, while in the distance the Apennines can clearly be seen.

Palmer drew this work in September 1839, towards the end of his extended honeymoon to Italy. Despite remaining in the city for six weeks, very few works from this part of his trip have survived. Raymond Lister, the Palmer scholar, only recorded two views of Florence in his catalogue raisonné. He noted that one has been untraced since 1909, while the other is in the Victoria and Albert Museum, London.¹ A third watercolour of the city was included in a sale at Christie's on the 14 November 1989, lot 150.

1. R. Lister, Catalogue Raissonne of the Works of Samuel Palmer, London, 1988, p. 135, no. 347 and 348