Celadon and Amelia
- Line engraving and etching on moderately thick, moderately textured, cream wove paper
- Sheet: 18 1/8 x 22 1/4 inches (46 x 56.5 cm) and Plate: 17 1/2 x 21 5/8 inches (44.5 x 54.9 cm)
Inscribed, verso, in graphite, lower left: "20./ - "
Lettered lower left: "R.Wilson pinxit Londini."; lower left: "The tempest caught them on the tender walk, | _____________ from his void embrace, - | Mysterious Heaven! that moment to the ground, | A blacken'd corse, was struck the beauteous maid."; lower center: "CELADON and AMELIA | from an original picture, in the Collection of Wm. Lock Esqr. | Publifh'd June 10th. 1766 as the Act directs, by Wm. Woollett in Green Street, Leicefter Fields, & Ryland & Bryer at the King's Arms in Cornhill, London."; lower right: "But who can paint the lover, as he stood, | Pierc'd by severe amazement, hating life, | Speechless, and fix'd in all the death of woe! | Thompson's Summer, p. 1191. 1214."; lower right: "Browne Aqua forti fecit. Woollett Sculpt."
- Credit Line:
- Yale Center for British Art, Paul Mellon Collection
- Copyright Status:
- Public Domain
- Accession Number:
- Prints and Drawings
- Subject Terms:
- bridge (built work) | dead | landscape | lightning | literary theme | meteorology | ruins | science | shepherd | storm
- Associated People:
- Accessible by request in the Study Room [Request]
Note: The Study Room is open to Yale ID holders by appointment. Please visit the Study Room page on our website for more details.
Sebastian Mitchell, James Thomson's picture collection and British history painting, Journal of the History of Collections, 2011, pp. 1, 2, fig. 1, V 2208 (YCBA) Full Text also Available on line (ORBIS)
Martin Postle, Richard Wilson and the transformation of European landscape painting, Yale University Press, New Haven, 2014, pp. 132, 133, 284, 286, Cat. No. 101, fig. 110, NJ18.W72 R53 2014 OVERSIZE (YCBA)
David H. Solkin, Richard Wilson, the landscape of reaction, Tate Publishing, London, 1982, pp. 220-21, no. 112, no. 112, NJ18 W72 S65 + (YCBA)