Samuel Palmer, R.W.S

Alfred Herbert Palmer (1853-1931);
his sale, London, Christie's, 24 May 1909, lot 115 (part of lot);
F.M. and E. Redgrave;
sale, London, Christie's, 29 June 1932, lot 119,
Meatyard;
Dr. Samuel Nazeby Harrington (d. 1934);
by descent to his son Sir Nazeby Harrington (1891-1951);
thence by descent to the present owners

London, Victoria and Albert Museum, An Exhibition of Drawings, Etchings & Woodcuts by Samuel Palmer and other Disciples of William Blake, 1926, no. 104

R. Lister, Catalogue Raisonne of the Works of Samuel Palmer, 1988, p. 167, no. 484

Window mounted. There are some small areas of very light foxing, in particular to the right edge and upper left corner. There are three blue stains to the right edge that may well be original to the artist. There are some small light brown stains to the lower right corner and minor wear and surface dirt to the lower left and right corners. The sheet itself has discoloured only very slightly and the medium is still fresh throughout.
"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."

After the intense period of creativity that Palmer experienced at Shoreham in the 1820s, he travelled extensively during the 1830s and 1840s in search of new subjects. The wild and rugged landscape of the West Country was a particular inspiration, and he was to return there often. The present work has been dated circa 1849 and demonstrates Palmer’s ability to capture the ‘heaped up richness’ of North Devon, with its dramatic rock formations and magical light.¹ The work can be compared with his View of Clovelly, Devon, which is now in the Metropolitan Museum of Art, New York.²

1. M Hardie, ‘Samuel Palmer (1805-1881)’, The Old Water-Colour Society’s Club, vol. IV, 1926-1927, p. 33
2. R. Lister, Catalogue Raisonne of the Works of Samuel Palmer, 1988, p. 166, no. 476