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Edward Dayes, 1763–1804
Haweswater, Westmoreland
ca. 1795
Materials & Techniques:
Watercolor and graphite on moderately thick, slightly textured, cream wove paper
Sheet: 11 13/16 x 17 5/8 inches (30 x 44.7 cm)

Scratched signature, lower right: "Dayes"; not dated

Credit Line:
Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
Drawings & Watercolors
Prints and Drawings
Subject Terms:
boy | child | fields | fish | fisherman | fishing pole | genre subject | gesture | landscape | man | merchant | mountains | peasants | reservoir | rocks (landforms) | sailboat | trees | valley | woman
Associated Places:
Cumbria | England | Haweswater Reservoir | United Kingdom | Westmorland
Accessible by appointment in the Study Room [Request]
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IIIF Manifest:

It is not known Edward Dayes toured the Lakes. He exhibited "A View on Keswick Lake, Cumberland" at the RA in 1791 and another view of Keswick in 1802, suggesting a visit to the region in the years just prior to the earlier date, and perhaps a second visit in the later 1790s or early 1800s. While all these artists' tours must be seen in the context of picturesque touring, changing popular conceptions of the Picturesque caused some artists, including Dayes, to object to the whole notion. In his Essays on Painting, published shortly after his death, Dayes maintained that the Picturesque should not apply to "objects 'rough and irregular,' or such as a deformed, aged, and ugly," and he railed against the taste for pictures "peopled with gypsies and vagabonds, dirty beggars, clothed with rags." In his view of Haweswater, the fisherman and the milkmaid in the foreground are fastidious in dress and elegant in manner.

Scott Wilcox

Wilcox, Forrester, O'Neil, Sloan. The Line of Beauty: British Drawings and Watercolors of the Eighteenth Century. Yale Center for British Art, New Haven, 2001. pg. 67, cat. no. 52, N5220 M552 P38 2007 OVERSIZE (YCBA)

Picturesque and Sublime - Thomas Cole's Trans-Atlantic Inheritance (Thomas Cole National Historic Site, 2018-04-29 - 2018-11-04) [YCBA Objects in the Exhibition]

The Line of Beauty : British Drawings and Watercolors of the Eighteenth Century (Yale Center for British Art, 2001-05-19 - 2001-08-05) [YCBA Objects in the Exhibition] [Exhibition Description]

Fairest Isle - The Appreciation of British Scenery 1750-1850 (Yale Center for British Art, 1989-04-12 - 1989-06-25) [YCBA Objects in the Exhibition]

The Art of Paul Sandby (Yale Center for British Art, 1985-04-10 - 1985-06-23) [YCBA Objects in the Exhibition]

English Landscape (Paul Mellon Collection) 1630-1850 (Yale Center for British Art, 1977-04-19 - 1977-07-17) [YCBA Objects in the Exhibition]

Timothy J. Barringer, Picturesque and sublime : Thomas Cole's trans-Atlantic inheritance, Yale University Press, New Haven and London, 2018, pp. 106-7, no. 9, NJ18 .C67 B37 2018 (YCBA) [YCBA]

C. Reginald Grundy, A catalogue of the pictures and drawings in the collection of Frederick John Nettlefold, Bemrose & sons, London and Derby, 1933-1938, vol. 2, pp. 10-11, N5247 .N47 G78 + Oversize (YCBA) [YCBA]

Duncan Robinson, Fairest isle : the appreciation of British scenery, 1750-1850, , Yale Center for British Art, New Haven, 1989, pp. 5, 8, no. 22, ND1354.4 F35 (YCBA) [YCBA]

The Art of Paul Sandby, Yale Center for British Art, New Haven, Connecticut, 1985, p. 108, no. 150, NJ18 Sa56 R62 (YCBA) [YCBA]

Christopher White, English landscape, 1630-1850, drawings, prints & books from the Paul Mellon Collection , Yale Center for British Art, New Haven, 1977, pp. 54-5, no. 92, pl. XIV, NC228 W45 OVERSIZE (YCBA) [YCBA]

Scott Wilcox, Line of beauty : British drawings and watercolors of the eighteenth century, , Yale Center for British Art, New Haven, CT, 2001, pp. 67-9, no. 52, NC228 W53 2001 (YCBA) [YCBA]

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