Samuel Palmer – Letter No3

Out of stock

Autographed (unpublished) letter to George Richmond R.A. Provenance: By descent in the Richmond family.


Furze Hill, Mead Vale, Red Hill May 30/1880
My dearest friend,
A thousand thanks for the consolatory details:- they somewhat console me, while unable in person to bid farewell after almost a brotherhood of 60 years, and I do hope you will see travelling was impossible, after having been confined since last autumn to the present moment, literally to two rooms, having not ventured even into the garden. At such a moment I do not like to touch upon my own affairs, but am bound, in answer to your kind inquiries to say that Herbert, after a severe attack is much better, and hope and trust to hear the like of dear Inglis ere long – for I had no notion that he was seriously ill. How many have been affected by those dreadful East winds! I am comforted to know that my dear Cousin received my little message of love, and can not enough thank you for such a narrative as —? to lessen the intervening miles between the dear sufferer and,
Yours ever affectionately,
Samuel Palmer.
P.S. My wife is grieved that her name was not coupled with mine – but the tidings were so sudden that I hardly knew what I wrote.

Additional information

Letter (folded)

18 cm x 11.4 cm.


Palmer, Samuel (1805-1881)

Palmer became an artist at an early age, at 14 he had exhibited at the British Institution, sold a landscape and had three works hung in the Royal Academy. At 17 he met the artist John Linnell, later to become his father in-law, who guided and mentored him and introduced him to William Blake, who influenced his work throughout his life. Palmer became the leader of a group of young artists called the 'Ancients', his good friend George Richmond was also a member. During the 1820s Palmer went to live in the Kent village of Shoreham, which he called ‘Valley of Vision’ and it was here, living together with fellow Ancients, that he produced some of his most celebrated romantic landscapes combining visionary imagery with a highly detailed study of nature. It was when he left Shoreham that he went on his travels to Wales and the Wye Valley and after marrying Hannah Linnell, to Italy. Palmer’s spirituality, his relationship and attitudes to rural life shaped his work. His personal life was marred with tragedy and turmoil. He had 3 children with his wife, daughter of John Linnell, only one of which survived. Palmer was distraught after the death of his eldest son at 19, and never fully recovered, blaming himself for pushing his son too much. Palmer’s relationship with Linnell became strained due to their differences over religion and politics and resentment over his continued financial support. Palmer received little critical attention during his lifetime but posthumously has been more widely recognised. His work featured in ‘Watercolour’, an exhibition at Tate Britain (Feb-Aug 2011).