Tuesday, June 27, 2017

Samuel Palmer in New Haven

Samuel Palmer
At Hailsham, Sussex - Storm Approaching
1821
watercolor
Yale Center for British Art
(painted at age 16)

Samuel Palmer
Cow-lodge with Mossy Roof
ca. 1829
watercolor, gouache
Yale Center for British Art

Samuel Palmer
Barn with Mossy Roof, Shoreham
ca. 1830
watercolor, gouache
Yale Center for British Art

Samuel Palmer
The Bright Cloud
ca. 1831-32
watercolor
Yale Center for British Art

One morning he pulls off his diamond ring, and writes upon the glass of the sash in my chamber this line 

'You I love, and you alone.'

I read it, and asked him to lend me his ring, with which I wrote under it thus 

'And so in love says every one.'

He takes his ring again, and writes another line, thus 

'Virtue alone is an estate.'

I borrowed it again, and I wrote under it 

'But money's virtue; gold is fate.'

He coloured as red as fire to see me turn so quick upon him, and in a kind of rage told me he could conquer me, and writes again thus 

'I scorn your gold, and yet I love.'

I ventured all upon the last cast of poetry, as you'll see, for I wrote boldly under his last 

'I'm poor: let's see how kind you'll prove.'

This was a sad truth to me; whether he believed me or no, I could not tell; I supposed then that he did not.  However, he flew to me, took me in his arms, and kissing me very eagerly, he called for pen and ink, and then told me he could not wait the tedious writing on glass, but, pulling out a piece of paper, he began and 
wrote again 

'Be mine, with all your poverty.'

I took the pen, and followed him immediately, thus 
                         
'Yet secretly you hope I lie.'

He told me that was unkind, because it was not just, and that I put him upon contradicting me, which did not consist with good manners, any more than with his affection; and therefore, since I had insensibly drawn him into this poetical scribble, he begged I would not oblige him to break it off; so he writes again 

'Let love alone be our debate.'

I wrote again 

'She loves enough, that does not hate.'

This he took for a favor and so laid down the cudgels, that is to say, the pen; I say, he took it for a favor, and a mighty one it was, if he had known all.  However, he took it as I meant it, that is, to let him think I was inclined to go on with him, as indeed I had all the reason in the world to do, for he was the best-humored, merry sort of a fellow that I ever met with, and I often reflected on myself how doubly criminal it was to deceive such a man."

 Daniel Defoe, from Moll Flanders (1722)

Samuel Palmer
Harvest Moon
ca. 1833
oil on paper, mounted on panel
Yale Center for British Art

Samuel Palmer
The Weald of Kent
1833-34
watercolor
Yale Center for British Art

Samuel Palmer
The Timber-Wain
1833-34
watercolor, gouache
Yale Center for British Art

Samuel Palmer
Rocky Landscape in Wales
ca. 1835-36
watercolor, gouache
Yale Center for British Art

Samuel Palmer
View from Rook's Hill, Kent
1843
watercolor, gouache
Yale Center for British Art

Samuel Palmer
Wilmot's Hill, Kent
1851
watercolor, gouache
Yale Center for British Art

Samuel Palmer
Sunset
ca. 1861
watercolor
Yale Center for British Art

Samuel Palmer
Opening the Fold - Early Morning
ca. 1880
wash drawing
Yale Center for British Art

Samuel Palmer
Rock-slip near Boscastle
before 1881
gouache, colored chalks
Yale Center for British Art

Samuel Palmer
Rustic Contentment
before 1881
watercolor, gouache
Yale Center for British Art