Edward Thomas Daniell

Edward Thomas Daniell
portrait by Linnell (1835)
Born	(1804-06-06)6 June 1804 London, United Kingom
Died	24 September 1842(1842-09-24) (aged 38) Antalya, Turkey
Nationality	English
Education	John Crome (Norwich Grammar School); Oxford University
Known for	Landscape painting; etching
Notable work	etchings of Norfolk (e.g., Flordon Bridge, Whitlingham Lane by Trowse) and watercolours of the Middle East
Movement	Norwich School of painters

Edward Thomas Daniell (6 June 1804 – 24 September 1842) was an English landscape painter and etcher known for the drawings he made during an expedition to the Middle East, including Lycia, part of modern-day Turkey. He is associated with the Norwich School of painters, a group of artists connected by location and personal and professional relationships, who were mainly inspired by the Norfolk countryside.

Born in London to wealthy parents, Daniell grew up and was educated in Norwich, where he was taught art by John Crome and Joseph Stannard. After graduating in classics at Balliol College, Oxford in 1828, he was ordained curate at Banham in 1832 and appointed to a curacy at St. Mark's Church, London in 1834. He became a patron of the arts, and an influential friend of the artist John Linnell. In 1840, after resigning his curacy and leaving England for the Middle East, he toured Egypt, Palestine and Syria, met the explorer Sir Charles Fellows and joined his archaeological expedition in Lycia as an illustrator. He contracted malaria there and reached Adalia (now known as Antalya) to recuperate, but died from a second attack of the disease.

He normally used a small number of colours for his watercolour paintings, mainly sepia, ultramarine, brown pink and gamboge. The distinctive style of his watercolours was influenced in part by Crome, J. M. W. Turner and John Sell Cotman. As an etcher he was unsurpassed by the other Norwich artists, and he anticipated the modern revival of etching that began in the 1850s. His prints were made by his friend and neighbour Henry Ninham, whose technique he influenced. His surviving drawings may have been made with future works in mind.

Background

Further information: Norwich School of painters

John Crome, whose pupils included Edward Daniell. Crome was the leading spirit of the Norwich School of painters.

Edward Daniell was associated with the Norwich School of painters, a group of artists connected by geographical location and their depictions of Norfolk landscapes, as well as by personal and professional relationships, but who had very different artistic styles. The school's most important artists were John Crome, Joseph Stannard, George Vincent, Robert Ladbrooke, James Stark, John Thirtle and John Sell Cotman, along with Cotman's sons Miles Edmund and John Joseph Cotman. The school was a unique phenomenon in the history of 19th-century British art: Norwich was the first English city outside London which had the right conditions for a provincial art movement. It had more locally born artists than any later school, and its theatrical, artistic, philosophical and musical cultures were cross-fertilised in a way that was unique outside the capital.

The Norwich Society of Artists, which was founded by Crome and Ladbrooke in 1803, arose from the need for a group of Norwich artists to teach each other and their pupils. Not all of the members of the Norwich School were members of the Society, which held regular exhibitions and had an organised structure, showing works annually until 1825 and again from 1828 until it was dissolved in 1833.

At the end of the seventeenth century, other schools of painting had begun to form, associated with artists such as Francis Towne at Exeter and John Malchair at Oxford, and other centres of population outside London were creating art societies, whose artists and drawing masters influenced their pupils. Unlike the artists of the Norwich School, many other provincial artists did not benefit from wealthy merchants and landed gentry demonstrating their patriotism at a time of international unrest, by acquiring picturesque paintings of the English countryside. The Norwich Society of Artists, the first group of its kind to be created since the formation of the Royal Academy in 1768, was remarkable in acting in its artists' interests for thirty years, longer than for any other similar group.

Life

Early life and education

Edward Thomas Daniell was born on 6 June 1804 at Charlotte Street, in central London, to Sir Thomas Daniell, a retired attorney-general of Dominica, and his second wife Anne Drosier, the daughter of John Drosier, of Rudham Grange, Norfolk. Sir Thomas' first wife, with whom he had a son Earle and a daughter Anne, died in London in 1792. Their daughter married John Holmes in Norfolk in 1802 and died in childbirth in 1805. Her brother Earle was an officer in the 12th Dragoons by 1806.

John Linnell, Mrs Daniell, Mother of the Artist E.T. Daniell (1835)

Sir Thomas purchased land and slaves in the Leeward Islands, which were then part of the British Empire. His estates, including 291 acres (118 ha) at Dickenson Bay on Antigua, had been bought in 1779 from the family of his first wife. He retired and moved to the west of Norfolk, but his health deteriorated and he died of cancer in 1806, leaving a young widow and infant son. He left his Dominican lands to her, and his Antigua estate to his adult son Earle, subject to him providing a guaranteed annual income of £300 to the family in Norfolk. His slaves were included as part of the bequest to his wife. Anne Daniell and her son moved to 68, St. Giles' Street, Norwich. She died in 1836 aged 64, and was buried in the nave of St Mary Coslany.

Edward Daniell grew up in Norwich and was educated at the Grammar School, where his drawing master was John Crome. He was taught etching by Joseph Stannard, and during school holidays practiced at Stannard's studio in St. Giles' Terrace, around the corner from his own house. The style of his earliest etchings were influenced by Crome and Stannard, but he later became more affected by the works of J.M.W. Turner. Daniell was involved in the art world at a young age; the brothers Thomas and Chambers Hall wrote to the artist John Linnell in 1822 about "our young friend Mr Daniells [sic] who accompanied us to your house last week and who wishes to possess a drawing".

On 9 December 1823, aged 19, Daniell went to Balliol College, Oxford to read classics. He graduated in November 1828, despite having neglected his studies in favour of art. In a letter by Daniell to Linnell, he wrote: "I find that the examinations for which I am preparing next month require a closer application to my literary studies than I had imagined & that I must not attempt to 'serve two masters'." He graduated with a Master of Arts on 25 May 1831.

Travels in Europe, Scotland and Ireland

Daniell had the financial means to travel abroad to find subjects to paint; of the Norwich School painters, only John Sell Cotman travelled further. During 1829 and 1830 he spent the months between his classics studies and his master's degree on a Grand Tour through France, Italy and Switzerland, producing scenic oil paintings and watercolours that the art historian William Dickes described as "well-centred, painted with fluidity and revealing a delicate appreciation of tone".

Bridge at Toledo (c.1831), Norfolk Museums Collections

The route taken during Daniell's eighteen months on the Continent is revealed by the order of his drawings. His travels through Switzerland are reminiscent of those of the artist James Pattison Cockburn, who published his Swiss Scenery in 1820. In Rome and Naples he met the artist Thomas Uwins, who wrote, "What a shoal of amateur artists we have got here! ... there is a Daniel, too, come to judgement! a second Daniel!—verily, I have got more substantial criticism from this young man than from any one since Havell was my messmate."

Daniell may also have visited Spain, as his drawings of the country were copied by the Norwich artist Henry Ninham, but there is no direct evidence that he went there. It is possible that he returned home in time for the funeral of Joseph Stannard, who died from tuberculosis on 7 December 1830, aged 33.

In the summer of 1832 he went on a walking trip in Scotland, accompanied by two contemporaries from Oxford, George Denison and Edmund Walker Head. The trip provided him with subject material and influenced his use of drypoint etching, as he was able to study the work of etchers such as Andrew Geddes. In The Etchings of E. T. Daniell, Jane Thistlethwaite wrote that his Scottish scenes "testify in their subjects to his enthusiasm for the beauties of Scotland and in their technique to his almost certain acquaintance with the Scottish etchers".

Church career

St. Mark's, North Audley Street, as it appeared in the 1830s

On 7 October 1832 Daniell was ordained in Norwich Cathedral as a deacon, and licensed as the curate of the parish church at Banham, a post he held for eighteen months. Letters to John Linnell show that he needed to increase his income, and might account for his decision to enter the Church. Little is known of his career as a Norfolk curate, but the Banham registers, all of which have been preserved, show he led an active life in the parish. He continue to etch at this time, and in Thistlethwaite's view produced his "loveliest and most sophisticated plates" at Banham.

On 2 June 1833, Daniell was ordained to the priesthood, but continued as the curate at Banham until 1834. That year he was appointed to the curacy of St. Mark's, North Audley Street in London, and took rooms at 77, Park Street, in Mayfair. He also worked at St. George's Hospital, but as with his curacy at St. Mark's, no official records of his employment have survived. In a letter written in 1835 to his Oxford tutor Joseph Blanco White, Daniell wrote, "You probably, thought I was haranguing the plough-boys in Norfolk, and you find me among the Dons of Grosvenor Square, and having to preach (as I must) next Wednesday at St. George's, Hanover Square. I wish you would come and give me some assistance." In about 1836 he moved to rooms at 13, Green Street, near Grosvenor Square and close to St. Mark's, living there until his departure for the Holy Land in 1840.

The outer shell of Norwich Castle's keep was refaced in Bath stone from 1834–1839, replicating the original blank arcading. Daniell was among those who strongly opposed the proposed refacing. Although living in London during this period, his letters show that he had not forgotten this contentious issue. He planned a plate of Ninham's drawing of the castle as a gesture of his opposition to the project, informing the antiquary Dawson Turner that "I have had a very beautiful drawing made of it, and I mean to etch it the size of the drawing." His etching of the old keep was never completed.

Tour of the Near East

At some date after June 1840, perhaps inspired by the Scottish painter David Roberts, who had travelled to Egypt and the Holy Land to find landscapes to depict, Daniell resigned his curacy, left England to tour the Near East, and arrived in Corfu in September 1840. Although Roberts' drawings of the Middle East are thought to have compelled him to tour abroad, he had also heard of recent discoveries in Lycia from his friend, the explorer Charles Fellows.

Nablous, Jordan (1841), Yale Center for British Art

Daniell was in Athens by the end of the year, and had crossed to Alexandria early in 1841, travelling up the Nile to Nubia, and then from Egypt to Palestine, on a route that took him past Mount Sinai. After travelling on to Syria, he reached Beirut in October 1841.

At the Turkish city of Smyrna Daniell met Fellows and joined his expedition, boarding HMS Beacon, a ship sent by the British Government to Lycia to convey home antiquities recently discovered at Xanthos. During the expedition eighteen ancient cities were located. They spent the winter at Xanthos and when Fellows left, Daniell remained to make a more thorough survey of the country, in company with Thomas Abel Brimage Spratt, a lieutenant in the Navy, and the naturalist Professor Edward Forbes. Spratt was responsible for researching the area's topography and Forbes its natural history: Daniell was to make records of any discoveries. He recorded their journey by producing a series of sixty-four drawings. The poet and art scholar Laurence Binyon said of them, "What strikes one most at first is the astonishing air of space and magnitude conveyed, the fluid wash of sunlight in these towering gorges and open valleys."

Larnaka, Cypress, from the Sea (1842), British Museum

After Fellows departed with HMS Beacon on 3 March 1842 to bring back ships more suited to transporting large marble tombs to London, Daniell travelled to Selge, sketching and exploring its ruins. He copied inscriptions from monuments in Lycia, the Cibyratis, Pisidia and Pamphylia, visited Sillyon, Marmara, Perga and Lyrbe, and collected coins. Most of the 200 inscriptions copied by the expedition were done by him. The original drawings he produced are now lost, but they were published in Travels in Lycia, Milyas, and the Cibyratis, in company with the Late E.T. Daniell, and were transcribed (inaccurately) by Samuel Birch for a book. Now in the British Museum, the book contains a single page of Daniell's original manuscript.

The expedition arrived at Antalya in April 1842. Spratt and Forbes left the city before Daniell, who travelled overland after meeting the Pasha. He then visited Cyprus and painted his only extant watercolour of the island, possibly while anchored off shore. The author Rita Severis has compared it with the watercolour paintings of Turner, whom he was known to admire. In her book on artistic representations of the island from 1700 to 1960, Severis wrote, "The interplay of the blue sea and the sandy colour of the land—which is repeated successfully in the foreground of the picture—accentuates the distance between the viewer and the land while simultaneously increasing the desire to look more closely and attentively at the subject."

Death

When in late May 1842, the ships HMS Monarch and Media arrived as replacement for HMS Beacon, Daniell had accepted an offer of a passage to England. In June, he left Rhodes to return to Lycia and rejoin Forbes and Spratt. He missed his ship—Monarch and Media had set sail the previous day—and was forced to amend his plans. There was a chance to return to Rhodes by caïque and join the returning ships, but chose to travell to Adalia (now known as Antalya) with the newly-appointed consul for the city, John Purdie. During the journey Daniell became ill with malaria, contracted, according to Forbes and Spratt, "by lingering too long among the unhealthy marshes of the Pamphylian coast".

Plaque in St. Mary Coslany Church, Norwich

Daniell stayed at Purdie's residence to recover his health, and while there wrote to Forbes and Spratt describing his discoveries at Apollonia and Lyrbe. He left Adalia before he had fully recovered to undertake a solitary expedition to Pamphylia and Pisidia during the hottest part of the year. He was forced back after suffering a second attack of malaria, and at Purdie's house dictated what was to be his last letter, in which he expressed his intentions to continue his work. He lost consciousness after sleeping whilst exposed to the heat of the day on the front terrace of Purdie's residence, and died a week later, on 24 September. He was buried in the city. The Norfolk historian Frederick Beecheno wrote in 1889 that Daniell was "buried beneath an ancient granite column in the court of a Greek church in the centre of the town of Adalia".

Forbes paid tribute to his friend Daniell, writing that his illness "destroyed a traveller whose talents, scholarship, and research would have made Lycia a bright spot on the map of Asia Minor, and whose manliness of character and kindness of heart endeared him to all who had the happiness of knowing him". Roberts wrote, "Poor Daniell, like Wilkie, went to Syria after me, but neither returned. Had Daniell returned to England, I have reason to know, from Turner's own mouth, he would have been entrusted with his law affairs."

A memorial was placed near his tomb in Antalya "by his affectionate and grieving relatives". Another memorial can be seen in Norwich, on the wall of the church of St. Mary Coslany. His will is preserved in the National Archives at Kew.

Friends and associates

Portrait of the Rev E.T. Daniell by John Linnell (pencil on paper, undated), Norfolk Museums Collections

Many of Daniell's etchings were printed by his friend Henry Ninham, whose home and printing shop was a short distance from Daniell's house in Norwich on St. Giles Street. His friendships with Ninham and Joseph Stannard may have begun at school.

Daniell was an active patrons of the arts and held regular dinner parties and other gatherings at his home. His rooms at 77 Park Lane, in Mayfair became a resort of painters that included John Linnell, David Roberts, William Mulready, William Dyce, Thomas Creswick, Edwin Landseer, William Collins, Abraham Cooper, John Callcott Horsley, Charles Lock Eastlake, J. M. W. Turner and William Clarkson Stanfield. Alfred Story, Linnell's biographer, described Daniell's home as "a treasure-house of art, (which) comprised works by some of the best painters of the day".

One of Daniell's pupils, the writer Elizabeth Rigby, remembered him as an "old friend" who introduced her to etching and admired her drawings. In 1891 she wrote, "My recollection of his face was that of one of the openest that could be seen—a superb forehead, and splendid teeth, which showed themselves with every smile, and no one smiled and laughed more genially."

John Linnell

John Linnell (self portrait)

Daniell whom he first met the artist John Linnell while he was at Oxford. Their friendship began when Linnell wrote to for help in promoting the sale of Illustrations of the Book of Job by the English artist and poet William Blake, who was Linnell's great friend. Daniell commissioned him to produce the painting now known as View of Lymington, the Isle of Wight beyond for the price of 30 guineas. At a later date he exchanged it for Boy Minding Sheep, paying the difference of 20 guineas. In 1828, Linnell made a miniature of Daniell, and taught him how to paint in oils.

They corresponded regularly and Linnell was a frequent guest at Daniell's rooms in London. Daniell encouraged Linnell to complete his St. John the Baptist Preaching in the Wilderness (1828–1833), offering to buy it himself if it did not sell. When the painting was exhibited in 1839 at the British Institution, it helped to enhance Linnell's reputation as an artist.

Linnell first met J. M. W. Turner at Daniell's house in 1838. Before leaving for the Middle East, Daniell commissioned his portrait from Linnell. Turner had previously refused to sit for the artist, and it was difficult to get his agreement to be portrayed. Daniell positioned the two men opposite each other at dinner, so that Linnell could observe Turner carefully and portray his likeness from memory. Due to Daniell's death, the completed painting was never delivered.

When Linnell's painting Noon was rejected by the Royal Academy in 1840, Daniell came to his friend's assistance. The picture was taken to Daniell's house and hung above the fireplace, where it was admired by his dinner guests, including two members of the Academy. Daniell reprimanded them, saying "You are a pretty set of men to pretend to stand up for high art and to proclaim the Academy the fosterer of artistic talent, and yet allow such a picture to be rejected!"

J. M. W. Turner

J.M.W. Turner, painted from memory by Linnell

Daniell's friendship with Turner, whom he met in London, was short but intense. He was a regular guest at Daniell's gatherings and dinner parties, and they quickly became close friends. He was considered by Daniell's circle of artists to be their doyen. Beecheno, in his E.T. Daniell: a memoir, recalled that on one occasion Turner was asked his opinion of Daniell's work. ""Very clever, Sir, very clever" was the great master's dictum, delivered in his usual blunt way." Elizabeth Rigby wrote of Daniell, "His admiration for Turner inspired Turner with genuine affection for him. Boxall has told me that at an R.A. dinner, he and Turner sitting with one between them, Turner leant back, and touched Boxall to attract silently his attention, and then pointing to a glass of wine in his other hand, whispered solemnly, 'Edward Daniell'."

Roberts wrote that Daniell "adored Turner, when I and others doubted, and taught me to see & to distinguish his beauties over that of others ... the old man really had a fond & personal regard for this young clergyman, which I doubt he ever evinced for the other."

He may have helped Turner spiritually. His biographer James Hamilton writes that he would have been "able to supply spiritual comfort that Turner required to help him fill the holes left by the deaths of his father and friends and to ease the fears of a naturally reflective man approaching old age". The old artist is known to have mourned Daniell's early death deeply, saying repeatedly to Roberts that he would never form such a friendship again.

Turner's romantic style is approached by Daniell's watercolours painted during his travels abroad. Coincidentally, Turner toured Switzerland in 1829, visiting sites that Daniell had earlier depicted.

Works and artistic style

See also: List of works by Edward Thomas Daniell

Daniell's untitled drawing of the River Xanthus (1842), British Museum

As the son of a baronet, Daniell was of a higher social class than his Norwich School peers, and lived during a time when "it was not suitable for young gentlemen to become artists". His considerable private income and position as a curate meant he was to remain an amateur artist throughout his life; in a letter to Rigby, he referred to himself as a "tree and house sketcher".

The writer Derek Clifford believed that Daniell's distinctive style was influenced by the methods of John Sell Cotman, an artist he deeply admired, but the art historian Andrew Moore writes that "his artistic influences are not readily established", and Searle notes that he had an "assured individuality that recalls no one else". The historian Josephine Walpole, who believes Daniell's talent has yet to be properly recognised, praised his ability to "create a sense of space, a feeling of heat or cold, of poverty or plenty, with apparent lack of effort".

In 1832 Daniell exhibited a number of his own pictures of scenes in Italy, Switzerland and France with the Norwich Society of Artists, which were favourably commented upon by the Norwich Mercury. During the sole instance of an exhibition of Daniell's works with the Society, which was disbanded the following year, he showed Sketch from Nature, Lake of Geneva, from Lausanne, painted on the spot. Ruins of a Claudian Aqueduct, in the Campagna di Roma, and Ruined Tombs, on the Via Nomentana, Rome, painted on the spot.

He served on bodies involved with the arts, becoming a Fellow of the Geological Society of London in 1835, and a committee member of the Society for the Encouragement of British Art in May 1837.

Oils and watercolours

Sketch for a Picture of the Mountains of Savoy from Geneva (oil on canvas, 1839?), Norfolk Museums Collections

Daniell's oil paintings generally depicted subjects encountered on his continental travels, and were shown in annual exhibitions during his time in London. He was an honorary exhibitor with the Royal Academy, showing four pieces there: Sion in the Valais (1837); View of St. Malo (1838); Sketch from a picture of the Mountains of Savoy from Geneva (1839); and Kenilworth (1840), as well as four at the British Institute (The Temple of Minerva (1836); Ruins of the Campagna of Rome (1838); Meadow scene (1839); and The Lake of Geneva, from near Lausanne (1840)).

His watercolours draw from a deliberately limited palette, exemplified by the paintings from his tours of the Middle East where he employed sepia, ultramarine, brown pink and gamboge, with the details emphasised using bistre, burnt sienna or white. The 120 sketches at Norwich Castle and the 64 drawings at the British Museum may have been made in preparation for etchings and paintings that were never made.

Daniell’s watercolours have been highly praised by art historians. Binyon described them as showing him “at the height of his subject”, and according to Andrew Hemingway, his drawings are "magnificent". In Moore's opinion, Daniell’s "fluid, sensitive use of washes", testified by his early Bure Bridge, Aylsham, ranks him alongside William James Müller and David Roberts, and the drawings produced on his last tour “reveal a vision that emulates that of David Roberts and exceeds that of Edward ”. Clifford identified Daniell's distinctively bold style and sense of draughtsmanship, but points out what he sees as weaknesses in some of the drawings: a “fear” of using colour, the emptiness of some of the panoramic views, and an unsuitable use of coloured paper.

Walpole sees Daniell’s watercolours as having a style that "is all his own"—freely drawn, ambitious and "having a powerful feeling for the atmosphere of the landscape". She notes how his delicate outlines and distinctively varied tones convey a sense of space and give an illusion of detail, citing Interior of Convent, Mount Sinai as watercolours that expresses to her all that is best about Daniell's "understated artistry".

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  Burgh Bridge near Aylsham (1827), Norfolk Museums Collections
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  Kobban (1841), Norfolk Museums Collections
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  Near Kalabshee 1841, Norfolk Museums Collections
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  Interior of Convent, Mount Sinai (1841), Norfolk Museums Collections
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  Termessus, looking SE (1842), British Museum
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  Stadium of Cibyra (1842), British Museum

Etchings

Daniell's 52 attributed etchings, though small in number and not exhibited during his lifetime, are the basis for his reputation as an artist. The author Geoffrey Searle asserts that only a lack of plates has prevented him from being one of the great etchers of the world. In 1899, Binyon considered his etchings to be—from a historical point of view—the most remarkable of his works, anticipating, with their freedom of line, the etching revival personified later in the century by Seymour Haden and James Abbott McNeill Whistler. Malcolm Salaman, writing in the 1910s, observed, "No etcher of this early English period evinced a truer and more subtle understanding and handling of the medium than Crome's pupil, the Rev. E. T. Daniell, a very interesting artist of the Norwich School, whose plates, etched in the eighteen-twenties, are remarkable for genuine etcher's vision, expressive charm, and delicacy of craft. His View of Whitlingham, full of light and air, proves him to be in the direct line of the masters."

View of Whitlingham (1827), British Museum. "His View of Whitlingham, full of light and air, proves him to be in the direct line of the masters." (Salaman, The Studio, 1914)

Miklos Rajnai, a Keeper of Art at Norwich Castle Museum, compared Daniell's skill as an etcher with John Crome and John Sell Cotman. The British art historian Arthur Hind said that the etchings "anticipated far more than nearly anything of Crome or Cotman the modern revival of etching".

Daniell's first etchings were made with Joseph Stannard in 1824. An 1824 etching of a church tower and trees resembles one by Stannard, who is thought to have taught his friend how to etch. Three distinct groups of etchings can be identified: those produced in Norfolk, including Flordon Bridge, his masterpiece from his early years, which according to Searle has "an assured and individuality"; a more grandiose group of etchings made during his tours of Scotland and the continent; and those etchings made during his curacy at Banham, which includes his most assured work of this period, Whitlingham Lane near Trowse. He stopped etching after his move to London. Although his Norfolk prints mostly landscapes, they were intended to be artistic rather than topographically accurate, and any figures (that were often pairs of companions) were used simply to indicate the scale of the landscape they were set in.

Daniell later employed a looser style, moving away from Stannard and towards that of Andrew Geddes and other Scottish etchers, whose output he almost certainly first saw while in Scotland in the summer of 1831. His was outstanding in the use of drypoint, which allowed him to strengthen his design by using the needle's point to create a burr in the plate. Burrs allowed the ink to collect, producing a darker tone in the print. Thistlethwaite views his large drypoint etchings and Norfolk landscapes after 1831 as being "supremely independent and for his time unique", once he had moved away from the traditional style of etchers like Geddes. He is thought to have introduced drypoint etching to his Norwich peers; both Thomas Lound and Henry Ninham etched in this way after 1831, producing works of a quality that approached Daniell's own.

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  Church Tower and Trees (1824), Norfolk Museums Collections. This work is probably Daniell's first etching,
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  River Scene with Man fishing from a Boat (1824), Norfolk Museums Collections
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  Flordon Bridge (1825), Norfolk Museums Collections
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  Aylsham Bridge, or Burgh Bridge (1827), Norfolk Museums Collections
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  Castle of Dunolly, Oban (c.1831), Norfolk Museums Collections
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  Ruin at Rome (c.1831), Norfolk Museums Collections
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  Whitlingham Lane by Trowse (c.1833), Norfolk Museums Collections
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  At Banham, Norfolk (c.1833), Norfolk Museums Collections
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  Norwich Castle—before the restoration of 1834, Norfolk Museums Collections

Legacy

Most of Daniell's works form part of the Norfolk Museums Collections, or are held at the British Museum, which obtained some of his etchings before 1852 and purchased his prints as early as 1856. Binyon's biographical article appeared in 1889.

None of Daniells' etchings were exhibited or published during his lifetime, but some were given to friends. They were first shown in public in 1891 in a Norwich Arts Circle exhibition. The original impressions are generally held in public collections, and so it is unusual for any to appear for sale. In 1882, the economist Inglis Palgrave wrote Twelve Etchings of the Rev. E. T. Daniell, and 24 copies of the book were printed, one of which is at the Victoria & Albert Museum. The book was never published.

In 1921, the author Martin Hardie delivered a lecture to the Print-Collectors' Club in which he discussed Daniell's etchings. He later described the prints as being "full of interest and technical value, and at the same time curiously modern in their spirit", adding of Daniell, "He reaches a very high level of refined thought and execution in his Borough Bridge." Daniell's Middle East landscapes have provided important documentary evidence of the region during the 1840s.

His works were exhibited at Aldeburgh in 1968, and at an exhibition From Norfolk to Nubia: The Watercolours of E.T. Daniell, held at Norwich Castle in 2016.

Bibliography

• Beecheno, Frederick R. (1889). E.T. Daniell: a memoir. Privately printed (Limited edition of 50 copies). OCLC 27318993.
• Binyon, Laurence (1899). "Edward Thomas Daniell, Painter and Etcher". The Dome. IV (12). London. OCLC 665160418. Retrieved 17 July 2020.
• Binyon, Laurence (1900). Catalogue of drawings by British artists and artist of foreign origin working in Great Britain. Vol. 2. London: Longmans & Co. OCLC 1041783494.
• Clifford, Derek Plint (1965). Watercolours of the Norwich School. London: Cory, Adams & Mackay. OCLC 1624701.
• Cundall, Herbert Minton (1920). Holme, Geoffrey (ed.). The Norwich School. London: Geoffrey Holme Ltd. OCLC 651802612.
• Daniell, Edward Thomas; Palgrave, Robert Harry Inglis (1882). Twelve etchings by the Reverend E.T. Daniell with a short notice of his life by R.H. Inglis Palgrave. Great Yarmouth. OCLC 558920940.{{cite book}}: CS1 maint: location missing publisher (link)
• Day, Harold (1968). East Anglian Painters. Vol. II. Eastbourne, UK: Eastbourne Fine Art. ISBN 978-0-902010-10-9.
• Dickes, William Frederick (1905). The Norwich school of painting: being a full account of the Norwich exhibitions, the lives of the painters, the lists of their respecitve exhibits and descriptions of the pictures. Norwich: Jarrold & Sons Ltd. OCLC 558218061.
• Forbes, Edward (26 November 1842). "The Late Rev. E.T. Daniell". The Athenaeum (787). London: 1014–1015. Retrieved 17 December 2018.
• Forbes, Edward; Spratt, Thomas Abel Brimage (1847). Travels in Lycia, Milyas, and the Cibyratis, in company with the Late E.T. Daniell. London: John van Voorst. LCCN 05010095. Volumes 1 and 2
• Geological Society of London (1838). Proceedings of the Geological Society of London, November 1833 to June 1838. Vol. 2. London: R. & J.E. Taylor. OCLC 1050830712.
• Gower, Ronald Sutherland (1902). Sir David Wilkie. London: G. Bell and Sons. OCLC 2078601.
• Graves, Algernon (1905). The Royal Academy of Arts; a complete dictionary of contributors and their work from its foundation in 1769 to 1904. Vol. 2. London: H. Graves. OCLC 1066795832.
• Graves, Algernon (1895). A dictionary of artists who have exhibited works in the principal London exhibitions from 1760 to 1893. London: H. Graves. OCLC 758406892.
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External links

• Works relating to Edward Thomas Daniell in the Norfolk Museums Collections
• Works by Edward Thomas Daniell in the British Museum.
• Works by Edward Thomas Daniell in the Yale Center for British Art
• Parish records for Banham, from 19 October 1832 – 23 March 1834, written by Edward Thomas Daniell: 1832 (image 64 onwards), 1833 (image 60 onwards) and 1834 (image 56 onwards). FamilySearch (registration required)
• Extract of a letter from Edward Daniell to The Athenaeum, describing some of the events of the expedition in Lycia