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Finally A Perfect Palmer for Our Collectors!  
White Morning 1915, 16.5 x 22.5
Walter Launt Palmer
Mixed media, Water
Color,  Gouache, ink
(Call 646-239-6142)
Winter Forest brought $198,000 at Sotheby's in 2007
Palmer ready for plein
air ca. 1880
Walter Launt Palmer
Self-Portrait, 1885
Newly Framed Under Museum Glass

                                                THE PROVENANCE IS IRON CLAD        

White Morning, painted in 1911, was gifted by Palmer himself to the artist Jane Peterson
(see under that name elsewhere in our listings) in 1913. It was subsequently acquired by
Maybelle Mann, and listed in her catalogue raisonee: Walter Launt Palmer: Poetic Reality,
Schiffer Publishing, Easton, Pennsylvania, 1984. Mann owned and loved this work, listed
as No. 596 (p. 137), as attached labels attest, which she acquired from the Kenneth Lux
Gallery, and gave it a full-page color illustration (p. 38) as well a smaller black and white
illustration on p. 94), where she cites Palmer's diary on the gift to Peterson. As another
label attests, she lent White Morning to the Albany Art Institute.
                                                          PALMER WAS BORN TO PAINT        

As the son of sculptor Erastus Dow Palmer, Wallie as he was called, came to know almost
all the painters of the Hudson River school. He was trained first by Charles Elliott and later
by Hudson River School master Frederic Edwin Church. The bond with Church was long
lasting, they traveled together to Mexico and shared a studio in New York and elsewhere.  
Palmer's work was first accepted for the National Academy of Design show of 1872, when
he was only 18. After a European tour in 1873, Palmer continued his art studies in Paris
until 1876. One of his masters was Emile Auguste Carolus-Duran, in whose studio he met
and worked along side John Singer Sargent. But later he worked with artists as diverse as
Vonnoh, Haley-Lever, John Francis Murphy, Will Low and many others.  
                            HE IS RECOGNIZED AS THE LEADING ARTIST OF SNOW        

Palmer started out by following Edward Gay as a painter of interiors, and went on to prefer
what he called the more luxurious interiors of Europe. But Church's influence re-interested
Palmer in landscape during their New York period. By the mid-1880s Palmer began
working on winter scenes. These masterpieces captivated viewers with their serenity and
masterful tonal subtleties. Fir trees and barren branches droop under the weight of freshly
fallen snow and ice glistens on half-frozen streams in a way that captures the immediacy
of the moment. Palmer continued to paint these very popular winter landscapes until his
death in 1932. He moved back to Albany, and worked there except for summering in
Gloucester where he was a member of the Rockport group of impressionists. He was
fascinated by snow, and used both oil and mixed media to capture its subtlety. He once
said, "Snow, being colorless, lends itself to every effect of complement and reflection," and
his use of blue shadow in the snow is considered one of the first treatments of this
technique. People and writers would remark that it was strange to see him sitting on his
Gloucester Bay dock in the summertime while painting a snow scene. All the while the
picturesque harbor's beauty was right in front of him. But he responded that he felt that it
was no more inconsistent than many of his fellow artists who painted summer scenes in
the dead of winter. Needless to say Palmer chalked up gold medals, prizes and
recognition right to the end of his career.
Palmer as painted by Irving
Ramsey Wiles in 1909
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