View on the Devon Coast
View on the Devon Coast
View on the Devon CoastWatercolour over pencil heightened with touches of bodycolour18.7 by 26.9 cm., 7 ¼ by 10 ½ in.Provenance:By descent from the artist to Alfred Herbert Palmer (1853-1931), his sale, Christie's, 24th May 1909, lot 115 (part);F.M. and E. Redgrave, their sale, Christie's, 29th June 1932, lot 119, bt. Meatyard;Dr Samuel Nazeby Harrington (d. 1934);By descent to his son Sir Nazeby Harrington (1891-1951);By descent until 2013Literature:Raymond Lister, Catalogue Raisonné of the Works of Samuel Palmer, 1988, p.167, no.482 as `Untraced since 1932'Exhibited:London, Victoria and Albert Museum, An Exhibition of Drawings, Etchings and Woodcuts by Samuel Palmer and other disciples of William Blake, 1926, no. 104Palmer visited Devon in July and August of 1848 and again in June and July of 1849 and the present watercolour is likely to date from one of these trips. Apart from the Italian sketches executed on his honeymoon, watercolours drawn directly from nature are comparatively rare in Palmer's oeuvre. Martin Hardie describes how Palmer captured the 'heaped up richness' of North Devon's dramatic rock formations and magical light.){kind=link}
Samuel Palmer (1805-1881)
View on the Devon Coast
Watercolour over pencil heightened with touches of bodycolour
18.7 by 26.9 cm., 7 ¼ by 10 ½ in.
Provenance:
By descent from the artist to Alfred Herbert Palmer (1853-1931), his sale, Christie's, 24th May 1909, lot 115 (part);
F.M. and E. Redgrave, their sale, Christie's, 29th June 1932, lot 119, bt. Meatyard;
Dr Samuel Nazeby Harrington (d. 1934);
By descent to his son Sir Nazeby Harrington (1891-1951);
By descent until 2013
Literature:
Raymond Lister, Catalogue Raisonné of the Works of Samuel Palmer, 1988, p.167, no.482 as `Untraced since 1932'
Exhibited:
London, Victoria and Albert Museum, An Exhibition of Drawings, Etchings and Woodcuts by Samuel Palmer and other disciples of William Blake, 1926, no. 104
Palmer visited Devon in July and August of 1848 and again in June and July of 1849 and the present watercolour is likely to date from one of these trips. Apart from the Italian sketches executed on his honeymoon, watercolours drawn directly from nature are comparatively rare in Palmer's oeuvre. Martin Hardie describes how Palmer captured the 'heaped up richness' of North Devon's dramatic rock formations and magical light.