E. Adams, Francis Danby: Varieties of Poetic Landscape, New Haven and London 1973, pp. 14, 16, 20, 21;
F. Greenacre, Francis Danby 1793 - 1861, exh. cat., London 1988, pp. 17, 38.

Hagar in the Desert is the masterpiece of Francis Gold, a talented amateur artist who was prominent in Bristol's artistic community and a leading figure in the sketching society based in Bristol in the early years of the nineteenth century. The society attracted notable local artists including Edward Bird, Edward Rippingille and Francis Danby. Gold was an inspirational figure (Danby described him as 'a man of great genius'), and it was his vivid description of Gericault's Raft of the Medusa which inspired Danby to pursue his career as artist. In 1820 both Danby and Gold decided to send large works to the British Institution in London, Danby sending up his colossal The Upas Tree of Java and Gold Hagar in the Desert. Sadly Gold lost heart, apparently after a meeting with Augustus Callcott, and the picture was never exhibited. Gold abandoned his career as artist and went to India in the service of the East India Company. It is possible that had he persevered Gold might have become an artist of some significance. In an article in The Art Journal Rippingille even wrote of him as an artist 'whose power as an artist far transcended any I have ever known possessed by anybody' and as 'one of the most promising spirits that have ever appeared on earth'. The subject of Hagar in the Desert is taken from Genesis, and was popular with a number of artists including Rubens. It shows Hagar, the Egyptian slave of Abraham's wife Sarah, who was banished into the desert with Ismael, her son by Abraham. Hagar (or Haajah) is also an important and revered figure in the Islamic faith.