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| Samuel Palmer At Hailsham, Sussex - Storm Approaching 1821 watercolor Yale Center for British Art (painted at age 16) |
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| Samuel Palmer Cow-lodge with Mossy Roof ca. 1829 watercolor, gouache Yale Center for British Art |
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| Samuel Palmer Barn with Mossy Roof, Shoreham ca. 1830 watercolor, gouache Yale Center for British Art |
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| 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
'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.'
'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)
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| Samuel Palmer Harvest Moon ca. 1833 oil on paper, mounted on panel Yale Center for British Art |
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| Samuel Palmer The Weald of Kent 1833-34 watercolor Yale Center for British Art |
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| Samuel Palmer The Timber-Wain 1833-34 watercolor, gouache Yale Center for British Art |
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| Samuel Palmer Rocky Landscape in Wales ca. 1835-36 watercolor, gouache Yale Center for British Art |
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| Samuel Palmer View from Rook's Hill, Kent 1843 watercolor, gouache Yale Center for British Art |
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| Samuel Palmer Wilmot's Hill, Kent 1851 watercolor, gouache Yale Center for British Art |
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| Samuel Palmer Sunset ca. 1861 watercolor Yale Center for British Art |
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| Samuel Palmer Opening the Fold - Early Morning ca. 1880 wash drawing Yale Center for British Art |
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| Samuel Palmer Rock-slip near Boscastle before 1881 gouache, colored chalks Yale Center for British Art |
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| Samuel Palmer Rustic Contentment before 1881 watercolor, gouache Yale Center for British Art |