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Creator:
Abraham Solomon, 1823–1862
Title:
Second Class—The Parting. "Thus part we rich in sorrow, parting poor." [1854, Royal Academy of Arts, London, exhibition catalogue]
Former Title(s):
Third Class - The Parting
Date:
1855
Materials & Techniques:
Oil on panel
Dimensions:
8 x 10 inches (20.3 x 25.4 cm)
Inscription(s)/Marks/Lettering:

Signed and dated in red paint, lower right: "A Solomon. 1855"

Credit Line:
Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
B1987.26.4
Classification:
Paintings
Collection:
Paintings and Sculpture
Link to Frame:
B1987.26.4FR
Subject Terms:
advertisements | baby | bags | benches | bonnet | capote | children | conversation piece | couple | cravat | family | genre subject | hat | headcloth (headgear) | luggage | mother | seamen | separation | son | sorrow | train | transportation | travel | trousers | window | woman
Access:
On view
Link:
https://collections.britishart.yale.edu/catalog/tms:1372
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This pair of paintings, copies of larger originals, is Abraham Solomon’s earliest attempt at representing scenes from modern life after more than a decade of focusing on historical and literary subjects. Although he used suitable quotations from Shakespeare as subtitles for both pictures, these works reflect the social impact of new mass transit in the Victorian era. The railroad network expanded at a dramatic rate throughout the nineteenth century, becoming accessible to individuals at varying economic levels. Here, an unexpected romance begins in the close quarters of the first-class coach, where a young woman and a naval officer engage in a flirtation mediated by a young woman’s father or guardian. Meanwhile, in the second-class coach, the signs posted inside suggest that the young sailor at the center is about to leave his widowed mother to emigrate and seek a new life in Australia.

Gallery label for installation of YCBA collection, 2016

In a New Light: 500 Years of British Art (Yale Center for British Art, 2025-04-01 - 2026-01-30) [YCBA Objects in the Exhibition] [Exhibition Description]

Paintings from the Reign of Victoria - The Royal Holloway Collection (Yale Center for British Art, 2009-05-07 - 2009-07-26) [YCBA Objects in the Exhibition] [Exhibition Description]

Imaginative Geographies (Yale Center for British Art, 2006-02-01 - 2006-08-18) [YCBA Objects in the Exhibition]

Susan P. Casteras, "Oh Emigration! thou'rt the curse. . . " : Victorian images of emigration themes, Journal of Pre-Raphaelite Studies, vol. 6, , 1985, p. 15, , NX543 .J683 Mezzanine (YCBA) [YCBA]

Joan DelPlato, Review of Victorian artists’ autograph replicas : auras, aesthetics, patronage and the art market, Victorian Studies, vol. 63, Spring 2021, p. 446, DA550 .V53 Mezzanine (YCBA) [YCBA]

Exhibition of the Royal Academy of Arts, vol. 5, Royal Academy of Arts, London, 1854, p. 17, no. 361, N5054 A53 (YCBA) [YCBA]

Pamela Fletcher, "From replica to original : Abraham Solomon and the market for modern-life subjects" [IN] Victorian artists' autograph replicas : auras, aesthetics, patronage and the art market, Routledge (Taylor & Francis Group), New York, 2020, pp. 185-194, fig. 13.2, ND467 .V515 2020 (YCBA) [YCBA]

Lionel Lambourne, Abraham Solomon, Painter of fashion, and Simeon Solomon, Decadent Artist , Transactions (Jewish Historical Society of England), vol. 21, 1962-1967, p. 276, pl. 21, fig. 3, JSTOR [ORBIS]

Christopher Matthews, Love at first sight : the velocity of Victorian heterosexuality, Victorian Studies, vol. 46, Spring 2004, p. 431, DA550 .V53 Mezzanine (YCBA) [YCBA]

Helen Mullaly, Round the galleries : treasures and travels, Apollo, vol. 122, , November 1, 1985, p. 396, N1 .A54 Mezzanine (YCBA) [YCBA]


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