The Good Harvest of 1854 thumbnail 1
Image of Gallery in South Kensington
On display at V&A South Kensington
Paintings, Room 82, The Edwin and Susan Davies Galleries

The Good Harvest of 1854

Oil Painting
1854 (painted)
Artist/Maker
Place of origin

Collins was a friend of the Pre-Raphaelites and imitated the bright colour and detail of their pictures. The critic John Ruskin admired 'the careful painting in this little study'. The sheaf of corn symbolises bread. The ivy may allude to the wine used in Holy Communion, as it was sacred to Bacchus, the Greek god of wine.


Object details

Categories
Object type
TitleThe Good Harvest of 1854 (popular title)
Materials and techniques
oil on canvas
Brief description
Oil painting, 'The Good Harvest of 1854', Charles Allston Collins, 1854
Physical description
Oil painting
Dimensions
  • Estimate height: 43.8cm
  • Estimate width: 34.9cm
  • Framed height: 65cm
  • Framed width: 55cm
  • Frame depth: 7.5cm
Dimensions taken from Catalogue of British Oil Paintings 1820-1860, Ronald Parkinson, Victoria and Albert Museum, London: HMSO, 1990
Style
Marks and inscriptions
'CA Collins 1854' (Signed and dated by the artist ['CAC' in monogram] diagonally, in red, lower right)
Credit line
Bequeathed by Rev. Chauncey Hare Townshend
Object history
Bequeathed by Rev. Chauncey Hare Townshend, 1868
Historical context
The 1850s saw a number of bountiful harvests in Britain, following a series of disastrous harvests in the 'hungry forties'. This painting celebrates the magnificent harvest of 1854. Collins adds an extra dimension by painting the child holding a bound sheaf of wheat, both the traditional symbol of concord and the attribute of Ceres, classical goddess of agriculture and abundance. The ivy on the wall is the symbol of Bacchus, god of wine, so the artist may be referring to the Eucharist, the Christian sacrament of consuming bread and wine. Collins was one of the earliest friends of the Pre-Raphaelites, particularly Hunt and Millais, fellow-students in the 1840s at the Royal Academy. He was even proposed for membership of the Brotherhood itself. This picture was painted mainly in the summer of 1854 before he went to Scotland with Millais.
Subjects depicted
Summary
Collins was a friend of the Pre-Raphaelites and imitated the bright colour and detail of their pictures. The critic John Ruskin admired 'the careful painting in this little study'. The sheaf of corn symbolises bread. The ivy may allude to the wine used in Holy Communion, as it was sacred to Bacchus, the Greek god of wine.
Bibliographic references
  • Parkinson, R., Victoria and Albert Museum, Catalogue of British Oil Paintings 1820-1860, London: HMSO, 1990, p. 33
  • Ahlund, Mikael (ed.), The Pre-Raphaelites Stockholm : Nationalmuseum, 2009 no. 62
  • Evans, Mark et al. Vikutoria & Arubāto Bijutsukan-zō : eikoku romanshugi kaigaten = The Romantic tradition in British painting, 1800-1950 : masterpieces from the Victoria and Albert Museum. Japan : Brain Trust, 2002
Collection
Accession number
1394-1869

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Record createdDecember 15, 1999
Record URL
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