watercolour and bodycolour on paper, 19.9 × 42.7 cm
Lister, who gives this drawing an alternative title of Returning from the Vintage, suggests that it is no doubt based on scenes Palmer witnessed during his Italian tour of 1837-9 and describes it as one 'of happy abandon'. Although not exhibited until 1859, Lister notes some stylistic affinities here with works of the immediate post-Shoreham Period (1828-35).
Palmer married Hannah Linnell in 1837 and for their 'wedding trip' as Palmer described it, the couple visited Italy, a trip beset from the outset with financial difficulties; it was later described by his son as 'humiliating and penurious'.
Palmer had hoped that through George Richmond’s influence he might find buyers for his work in Rome but he met with little success. Palmer considered Richmond to blame but he also lacked in social judgement; his clothing, for example, being described as 'appalling'.
It was, however, a period in their lives when they enjoyed a degree of happiness and freedom, away from Palmer’s over-bearing father-in-law, John LINNELL.