Surtees points out that this watercolour was “Possibly originally conceived as the left panel of a triptych...Mary, standing by a stream, plants a lily plant and a rose bush” (Surtees, A Catalogue Raisonné, vol. 1, 50 (no. 87)). That conception dates back to July 1849, according to WMR's diary entry for 28 July 1849. The triptych would have included The Girlhood of Mary Virgin as the center panel, this picture as the left panel, and Mary in the House of St. John as the right panel.
Reception
The picture was exhibited in May 1857 at the Russell Place Pre-Raphaelite Exhibition, which included seventy-two entries. DGR was one of the twenty-two artists who contributed pictures. For an account of the exhibition see
Fredeman,
Correspondence 57. 23 and note.
This collection contains 3 texts and images, including:
Tate Gallery, watercolor
Scholarly Commentary
Production History
Surtees points out that this watercolour was “Possibly originally conceived as the left panel of a triptych...Mary, standing by a stream, plants a lily plant and a rose bush” (Surtees, A Catalogue Raisonné, vol. 1, 50 (no. 87)). That conception dates back to July 1849, according to WMR's diary entry for 28 July 1849. The triptych would have included The Girlhood of Mary Virgin as the center panel, this picture as the left panel, and Mary in the House of St. John as the right panel.
Reception
The picture was exhibited in May 1857 at the Russell Place Pre-Raphaelite Exhibition, which included seventy-two entries. DGR was one of the twenty-two artists who contributed pictures. For an account of the exhibition see Fredeman, Correspondence 57. 23 and note.