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Kirkman Hodgson [1814-1879], of Ashgrove, Sevenoaks, Kent; by descent to his son, Robert Kirkman Hodgson [1850-1924], of Gavelacre, Hampshire. H. Darell Brown, London, by 1908;[1] (sale, Christie, Manson & Woods, London, 23 May 1924, no. 17); (Thos. Agnew & Sons, London); sold that same day to the Hon. (later Sir) Arthur Howard [1896-1971].[2] (Thos. Agnew & Sons, London), by 1973;[3] purchased July 1974 by Mr. and Mrs. Paul Mellon, Upperville, Virginia; gift 1983 to NGA.

Exhibition History
Probably Norwich Society, 1817, no. 14, as Moon Rising.
Franco-British Exhibiton, Fine Art Palace, London, 1908, no. 73.
International Fine Art Exhibition, British Fine Art Palace, Rome, 1911, no. 19.
English Eighteenth Century Pictures, Thos. Agnew & Sons, Ltd., London, 1919, no. 19.
Crome Centenary Exhibition, Castle Museum, Norwich, 1921, no. 29.
British Art, Royal Academy of Arts, London, 1934, no. 447 (Commemorative Catalogue, no. 332, repro. pl. xcviiib).
Treasures from Sussex Houses, Art Gallery, Worthing, 1951, no. 167.
Crome and Cotman, Thos. Agnew & Sons, Ltd., London, 1958, no. 52, repro.
John Crome, Arts Council of Great Britain, Castle Museum, Norwich; Tate Gallery, London, 1968, no. 12.
Gifts to the Nation: Selected Acquisitions from the Collections of Mr. and Mrs. Paul Mellon, National Gallery of Art, Washington, 1986, unnumbered checklist
William Wordsworth and the Age of English Romanticism, New York Public Library; Indiana University Art Museum, Bloomington; Chicago Historical Society, 1987-1988, no. 280, 187 color repro., fig. 173.
Technical Summary

The coarse canvas is plain woven; it has been lined. The absence of cusping except along the right edge suggests that the dimensions may be slightly altered; although the work is only a little smaller than a standard canvas size, 40 x 50 in., the original painting might have extended an inch or so farther at the top, where the tips of the branches are truncated. The ground is light beige. The painting is executed in rich, fluid, translucent scumbles with thicker wet into wet blending in the sky and whites, and some palette-knifelike passages in the tree trunk and interstices of the foliage on the left; the ground is used as a middle tone. The paint surface is slightly solvent abraded and has been very slightly flattened during lining; paint losses are minimal. The older natural resin varnish has been partially removed from the trees and foliage and completely removed in the sky. The moderately thick top layer of synthetic varnish has not discolored.

Dickes, William Frederick. The Norwich School of Painting. London and Norwich, n.d. [1905]: 98, repro.
Baker, C.H. Collins. Crome. London, 1921: 149, pl. xxxv.
Clifford, Derek and Timothy. John Crome. London, 1968: 200-201, no. P43, pl. 88.
Goldberg, Norman L. John Crome the Elder. 2 vols. Oxford, 1978: 1:186, 218, no. 99; 2:pl. 99.
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 108, repro.
Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 48-50, repro. 49.
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