Palmer chose a pastoral subject for this his first etching of a willow beside a stream. Palmer began etching in 1849 and only produced thirteen etchings over three decades. Many artists had a sketch-like approach to etching. In contrast, Palmer was meticulous using elaborate and time-consuming methods. His fine flowing lines give tone and texture to the composition.
An etching is a recessed-line method of printmaking. The artist first draws his design onto a prepared zinc or copper plate. The plate is then immersed in acid to erode the drawn areas of the plate to produce indentations that will retain the printing ink.
The Willow 1850 by Samuel Palmer (1805-1881). Etching
In this 1926 impression of a state 3 of 8 etching a large willow grows out of the bank of a shallow stream, its trunk curving across the water in which two cattle stand. A swan stands centre foreground.
This is Palmer’s first etching which gained him election to the Etching Club. It is based on a watercolour of the same subject. The Cotswold Gallery produced this impression in 1926 as part of their Final Edition of five Palmer etchings. It was printed by three admirers of Palmer including the artist and etcher Frederick Landseer Maur Griggs. Palmer was a meticulous etcher. Working from paper studies he spent days perfecting his initial composition until it was faultless. He worked repeatedly on the same plate until he achieved his desired effect. Palmer arranged for a professional to print his plates and provided detailed notes on how he wished them to be printed.
Samuel Palmer is considered to be one of Britain’s most original artists, and a key figure in the Romantic movement.
There are these inscriptions on the exhibit:
Tullie House Museum and Art Gallery collection, bequest of Emily and Gordon Bottomley 1949
Image © Tullie House Museum and Art Gallery
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