This fine mid-19th-century watercolour by British artist Charles Davidson (1824-1902) depicts a haymaking scene in Lewes, Sussex. It was shown at the Royal Society of British Artists in 1857 and praised by the art critic John Ruskin who exclaimed “what a lovely field that must be!”.

Weary hands rest in the shade of a welcoming oak tree, as the buoyant heat of Summer cascades across sun-bleached grass. It’s time for haymaking - a communal endeavour. In 1856, a similar piece by Davidson was acquired by Queen Victoria and given to Prince Albert as a Christmas gift. It’s currently in the Royal Collection.

Described by the London Illustrated News as “exquisitely simple and pure in feeling”, this charming portrayal of the picturesque Sussex countryside is a splendid example of the artist’s abundant mastery of watercolour.

Born in Chelsea, London, to Scottish parents, Davidson was orphaned at an early age and undertook his education locally. Initially, he was apprenticed by a seedsman, followed by a spell studying music, before finally pursuing a career as an artist. He was trained by the accomplished British watercolourist, John Absolon (1815-1895).

As he progressed, his circle of friends (or his ‘society’ as it was known) included several of his older, more established, contemporaries such as John Linnell, Samuel Palmer, and John Varley. Undoubtedly, he gained valuable insight via this considered group of aficionados, particularly Linnell who became a good friend.

At the age of 20, he debuted at the Old Water Colour Society and began to develop a solid reputation for his “modest and true” renderings of rural Britain. He often included believable figures haymaking, harvesting or fishing, which were more than simply ‘staffage’. His picturesque views were studied during excursions to various counties - primarily those close to his home in Reigate, Surrey, but also further afield.

In 1849, as a result of his endeavours and respect among peers, he was elected a member of the New Water Colour Society, and nine years later, a member of the Old Water Colour Society. Remarkably, he exhibited over 800 works at the latter.

Considered a master of naturalism, Davidson’s temperate visions of pastoral bliss, gained much popularity with both the public and the press. In 1876, The Graphic described his work as “unpretending transcripts of Surrey wood or pasture, or cornfield, or Berkshire riverside, in spring or autumn”.

Seeking a quieter life by the sea, in around 1881, he moved, together with his wife and daughter, to St Buryan on the Cornish coast, and then Falmouth, where he remained for the rest of his life. Here, he introduced numerous coastal views into his repertoire and his ‘Bossinney, near Tintagel’ is currently at the V&A Museum.

Charles Davidson was one of the finer watercolourists of his generation and highly regarded during his lifetime. In addition to the two societies referred to above, he also exhibited at the Royal Academy, the British Institution, and the Royal Society of British Artists. His works are held in numerous public collections including the Walker Art Gallery, British Museum, and Royal Collection Trust. His photograph is at the National Portrait Gallery.

Held in a later frame and labelled on the reverse.

Learn more about Charles Davidson in our directory.

Medium: Watercolour with scratching out on paper
Overall size: 41” x 30½” / 104cm x 78cm
Year of creation: 1857
Labels & Inscriptions: Label relating to the art dealership, David James / Christie’s stencil and chalk.
Provenance: Fine English Drawings and Watercolours, Phillips, London, 1988, lot 62 (£3,800) / With the David James Gallery, London / With Mr and Mrs K Fawcett / British and Continental Watercolours and Original Book Illustrations, Christie’s, London, 3 July 2007, lot 681 (£2,880) / Private collection, UK.
Exhibited: London, Society of Painters in Water-Colours, 1857.
Condition: Very good. Frame with various marks and showing its age.
Artist’s auction maximum: £3,800 for ‘Haymaking, Lewes, Sussex’, Watercolour, Phillips, Fine English Drawings and Watercolours, London, 1988 (lot 62).
Our reference: BRV2007