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ANIMAL PAINTERS

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PORTRAIT OF HENRY ALKEN AS "BEN TALLY O'

ANIMAL PAINTERS

OF ENGLAND

From the Year 1650

A brief history of their lives and works

Illustrated with tiventy-eight sfecimeiis of their paintings, chiefly from
wood engro'iiings by F. Babbagc

COMPILED BY

SIR WALTER GILBEY, BART.
Vol. I.

Xon&on

VINTON & CO.
9, NEW BRIDGE STREET, LUDGATE CIRCUS, E.G.

1900

Limited-

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INTRODUCTION.

Pictorial records possess a value which in some depart-
ments of history is even greater than that of the written
word. The most minutely detailed description of the
writer conveys less to us than the brush of the artist, and
there are matters which only the painter can save from
oblivion. Social history would be incomplete without
its artistic exponents ; and the history of British field-
sports perhaps owes more than that of other institutions
to the painter. More especially is this the case in relation
to the Turf, the Hunting-field and the Road. The details
which by reason of their absolute familiarity or con-
temporary insignificance escape the chronicler are per-
petuated by the artist.

We learn more concerning the dress and equipment
of our forefathers on the race-course, in the hunting-
field, on the coach-box, in covert and by the river-side
from a glance at an old painting than we can glean
from perusal of many volumes. More than this, old
portraits of thoroughbreds, hunters, hacks, coach-horses,
heavy draught-horses, and domestic cattle, serve a use-
ful purpose which is apt to be overlooked. These
pictures viewed in chronological order show us the various
stages through which the four-footed servants of man
have passed ere they attained their present states of
development ; and they may be of service in indicating
how breeders should proceed in order to eliminate defects

vi. Introduction

and secure more perfect adaptability to our present
requirements.

The Horse as it was a century or more ago was not as
it is to-day. If we are not wedded to our own opinions
concerning equine characteristics of a hundred and fifty
years back, we can learn much from pictorial records.
There are some who look upon George Stubbs' portraits
of race-horses and exclaim "Impossible!" These in-
credulous ones who disdain what they can know nothing
of, may be reminded that great changes have been
brought about in the thoroughbred horse since Stubbs
lived and painted. Are they aware, for example, that
the average height of the race-horse in the middle of the
eighteenth century was one hand and a half less than
the average height of the race-horse at the end of the
nineteenth century ?

Admiral the Hon. Henry John Rous, the greatest
authority on race-horses and racing, in Baiiys Magazine
of Sports and Pastimes, i860, writes: "A century ago
race-horses were about the average of 14 hands 2 inches.
. . . . I attribute the great growth and size of the
present thoroughbred horses to the care which is bestowed
upon them in early life."

The thoroughbred ever since the middle of the last
century has been increasing in stature, on an average one
inch in twenty-five years, till we now seldom proclaim
him a race-horse of the first class unless he stands 15.3 to
16 hands.

A worthy painter therefore deserves that we should
invest him with something of the character of the
historian. The statements of tongue or pen, unhappily,
are often capable of differing interpretations ; but the
painted record allows of little or no dispute.

It is somewhat strange that no work has yet appeared
which chronicles the names and performances of those

Introduction vii.

artists who have devoted their talents to the portrayal
of animal life and scenes of sport ; and it is with the
view of supplying this blank that the following chapters
have been compiled.

The English school of animal painters is one of com-
paratively recent date ; it is perhaps not generally known
that prior to the year 1700, there were but two artists
who made the delineation of animals a speciality ; these
were Francis Barlow, born in 1640, and Luke Cradock,
born in 1657. Charles Collins, born in 1680, has left
proof of remarkable ability in paintings of bird life, but
by far the better part of his work was done during the
earlier decades of the eighteenth century. Peter Tilleman,
a German by birth, but an Englishman by adoption,
painted many racing pictures ; but inasmuch as he was
born in 1684, his artistic career began with the opening
years of the eighteenth century. The same remark applies
to John Wootton, born 1685, who must be regarded as
the first great English animal painter.

Prior to 1700, the only important painters resident in
this country were natives of Germany, Holland, Spain,
France and Belgium. We owe much to these artists
for most of them established art schools and instructed
our countrymen in art ; the works of our earlier animal
painters have therefore the additional interest which
accrues to evidence of this foreign influence. The
amount of information now obtainable concerning the
lives of these earlier painters is small and what has been
procured is the result of some considerable enquiry and
research.

Art in seventeenth-century England received little
encouragement and but meagre support ; the demand
for artistic productions was limited and such men as
Cradock, Collins and Casteels found their abilities most
often in request for decorative work, the adornment of

viii. Introduction

ceilings, over-mantels, monumental tablets and the like.
Under these circumstances it is not wonderful that con-
temporary records should be silent concerning their lives
and works, and that we can in many cases only follow
the career of an old painter by his pictures : more often
by the engravings therefrom, for original works now
existing are few and are rarely heard of.

Many dictionaries of Art have been published since
the first edition of Mathew Pilkington's Gentleman s and
Connoisseur's Dictionary of Painters appeared in 1770.
These are rich in information concerning foreign artists
whether they passed their lives in their own countries
or sought a home in England ; but only too often — and
the fact is eloquent of the little esteem in which English
Art was held a century and a half ago — they are silent
concerning even the names of British painters who are
not less worthy of notice.

A definite line may be drawn between English Art
before the year 1750 and English Art subsequent to that
date. During the former period the arts were at as low
an ebb as they well could be ; and from about the middle
of the eighteenth century the progress was sudden and
remarkable.

In little more than half a century were born several
of the greatest painters England has known. We had
Sir Joshua Reynolds born in 1723, George Stubbs born
1724, Thomas Gainsborough born 1729, George Barrett
born 1732, George Romney born 1734, Joseph Wright,
of Derby, born 1734, Sir Harry Raeburn born 1756,
George Morland born 1764, John Crome (founder of
the Norwich school) born 1769, J. M. W. Turner born
1775, John Constable born 1776, and many others. The
foundation of the Royal Academy in the year 176S
marks an era in the history of British Art ; yet Horace
Walpole writing fourteen years later says, " Painting

Introduction ix.

has hitherto made but faint efforts in England. At this
epoch of common sense one may reasonably expect to
see Art flourish to as proud a height as it attained in
Athens, Rome and Florence." Horace Walpole's five
volumes contain much concerning the early painters
with an interesting history of painting. In all subse-
quent Dictionaries of Art the main facts are taken from
his work.

Of no department of art is the observation by Walpole
above quoted more true than of the essentially British
school which delineates subjects of sport and portrays
animal life. Among animals the horse stands almost
alone in point of importance, and pictures of the horse,
or in which the horse occupies a conspicuous place,
will necessarily claim much of our attention. Nothing
in what may be called the pictorial history of the
horse is more remarkable than the influence wrought
upon it by the genius and industry of one man —
George Stubbs, the first of our animal painters to seek
inspiration direct from Nature. Stubbs was also the
first to recognise that accuracy could be attained only
through intimate and exhaustive knowledge ; and years
of arduous study and labour produced fruits which are
contained in that monumental work. The Anatomy of
the Horse ; and from 1766, the date when that book
was published, we discover the advance of equine
portraiture.

Previously to Stubbs few artists had displayed even an
elementary knowledge of the frame and muscular system
of the horse : nearly all painted from the eye and from
the eye only. There were notable exceptions it is true —
James Seymour, for example (1702 — 1752) shows distinct
feeling for anatomical correctness ; but he gropes almost
in the dark, for in his day practically nothing was known
of the subject to the mastery of which Stubbs devoted

X. Introdtution

some eight years of work. The pictures of the large
majority of painters who enjoyed no small measure of
success in their day make it clear to us that anatomy
was a study beyond their pur%"iew.

If it appear that the praise bestowed on these early
pictures is higher than they deserve, let it be borne in
mind that their merits must be considered not by the
artistic standards of the present day, but in comparison
with the work of contemporary or previous painters.
We may justly compare the horses of John Sartorius
(1710-1780) w-ith those of Thomas Spencer (1700-1763);
but to institute comparisons between the pictures of
either of these artists and those of J. F. Herring
(1795- 1 865), save for the purpose of marking the pro-
gress made in a centurj', would be absurd.

Completeness is not claimed for the lists of pictures
and engravings which are appended to the biographies •
but it is hoped that these are at least fully representative
of the artists' work. We owe much to the art of the
engraver ; and it curiously reflects the comparative merits
of artist and engraver that impressions from some of
these old paintings possess a higher market value than
the originals. Apart from this, engravings and etchings,
considered as accurate representations of paintings, are
no less valuable historically. William Roscoe aptly
says : —

"As the genuine paintings of ancient masters are becoming extremely
scarce, we are indebted to prints for the truth of our ideas respecting
the merits of such masters ; and this is no bad criterion, especially
when the painter, as is frequently the case, has left engravings or
etchings of his own. . . The principal excellence of an original
print is equally estimable with that of a painting. We have every
condition of design, composition, and drawing ; and the outline of
an engranng or etching is frequently marked with a precision which
excels that of the painting."

The art of engraving, it must be remembered further,
has not always been the art of copying ; it has been

Introdtution xi.

employed as the original medium of expression. Many
German, Italian, and French masters published prints,
the subjects of which were never painted, but were, so
to speak, created on the plate. Among such works are
some by Albert Diirer (who was born in 1471 and
founded the German school): "The Great Horse," "A
Knight on Horseback," and "Death's Horse" were
original engravings in the full sense of the word.
Rembrandt, John Fyt, Francis Snyders, and others
worked out some of their conceptions with the graver's
tool and not with the brush.

If this book does anything to show lovers of field
sports and of animals, the horse in particular, how
greatly we are indebted to painters of byegone days
for our knowledge of our ancestors' sports, the object
with which it has been written is fulfilled.

The old sporting publications to which such frequent
reference is made in the following pages are of the greatest
value and interest to the student of the historj' of sport.
Some little account of the " Sporting Magazine and its
Illustrated Contemporaries" will be found on pp. 254-5.
In all there were about 234 volumes of these, the original
being the Sporting Magazine, which commenced in 1792
and ceased in 1S70. The lives of the publications which
at various times sprang up in what proved a hopeless
endeavour to rival or eclipse it were comparatively brief.
The New Sporting Magazine, founded in 1S31, and the
Sportsiiuzn, founded in 1833, were merged in the Sporting
Review, founded in 1839, which in its turn was absorbed
by the Sporting Magazine in 1848.

ElsenJiam, June, 1900.

CONTEXTS.

Introduction-

ALKEX, HENRY

ALKEX, HENRY GORDON.

ALKEN, SAMUEL

BARENGER, JAMES ...

BARLOW, FRANCIS ...

BARRAUD, \VILLL\M

BARRAUD. HENRY ...

BEST, J

BLAKE, BENJAMIN ...

BOULTBEE, JOHN ...

BRISTOWE, EDMUND

CHALON, HENRY BERNARD

CLENNELL, LUKE ...

COLLINS, CHARLES...

COOPER, ABRAHAM, R.A.

COOPER, A. D

CRADOCK, LUKE

DALBY, DAVID

DAVIS, RICHARD BARRETT

ELMER. STEPHEN, A.R.A. .

FERNELEY, JOHN E.

FERNELEY, JOHN ...

GARRARD, GEO., A.R.A. .

GILPIN, SAWREY, R.A.

GOOCH, THOMAS

APPENDIX :

The Foxhound Troj.a^n
BioGR-A.PHic.4j. Sketch of Colonel

INDEX TO PAINTINGS, ENGR.WINGS

-THE SPORTING MAG.AZINE - AND
ILLUSTRATED CONTEMPORARIES

Thornton

1-c.

ITS
25+.

3
29

30

34
40
45

55

60

63

6S

75
Si
92
102
104
127
129
131

137
152

159
174
176
100
204

210

211
215

^55

ILLUSTRATIONS.

ALKEN, HENRY.

Portrait of the Artist as " Ben Tally O"

Frontispiece.
The Leicestershire Steeplechase, No. V. —

A Rich Scene ..- ... ... ... i

The Chase and the Road ... ... ... 20

BARENGER, JAMES.

Doll, a pointer ...

BARLOW, FRANCIS.

Turkeys

BARRAUD, WILLIAM.

Portrait of John Warde, Esq., on
Ruin"

BARRAUD, HENRY.

Portrait of the Artist

BEST, J.

Gamecocks

BLAKE, BENJAMIN.
Dead Game

BOULTBEE, JOHN.

The Death

BRISTOWE, EDMUND.

The Shoeing Forge

Blue

37
40

48
56
62

65
72

80

xvi. Illustrations

PAGK

CHALON, HENRY BERNARD.

Pointers and Gamekeeper 87

CLENNELL, LUKE

Riding in a Storm 97

Badger and Dogs ... ... ... ... 100

COLLINS, CHARLES.

British Birds ... ... ... ... ... 102

COOPER, ABRAHAM, R.A.

The Studio ... ... ... ... ... log

Portrait OF Thos. Waring, Esq., on "Peter" 112

Portrait of the Artist ... ... .. 115

DALBY, DAVID.

Lord Harewood's Hunt, No. hi — the

Death 134

DAVIS, RICHARD BARRETT.

Portrait of Tom Grant 141

"Luxury" ... 144

ELMER, STEPHEN, A. R.A.

Woodcock... ... ... ... ... ... 153

Trojan 155

FERNELEY, JOHN E.

Captain Ross on "Clinker" 172

GARRARD, GEORGE, A. R.A.

The Ninth Duke of Hamilton and Bran-
don 181

GILPIN, SAWREY, R.A.

Portrait of John Parkhurst, Esq ig6

Portrait of the Artist 202

GOOCH, THOMAS.

Goldfinder ... ... ... ... ... 204

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ANIMAL PAINTERS.

THE ALKEN FAMILY.

Henry ALKEN. (Born 1784. Died 1851.)

HENRY Gordon Alken. (Born 1810. Died 1892.)

Samuel Alken. (Born circa 1750. Died circa 1825.)

' I 'HE family to which one of our best known
-*■ sporting artists belonged was of Danish
origin. Its living representatives believe that
their name was formerly Seffrien, and that their
ancestors were attached in some capacity to the
Court at Copenhagen ; but that having become
involved in the political disturbances during
Christian VI I. 's reign, they were compelled, in or
about the year 1772, to fly the country, changing
their name to that of " Alken," which is the name
uf a little village consisting of a few farmhouses
about fifteen English miles south-west of Aarhus in
North Jutland.

The refugees on their arrival in England settled
in Suffolk, and at a later date the family moved

2 ANIMAL PAINTERS

to London, taking a house in Francis Street,
Tottenham Court Road.

The elder Aiken painted in water colours, but
does not appear to have done anything that brings
him within our purview ; his artistic gifts were
inherited by three of his four sons : — (i) George,
who was an artist of considerable ability, and
(2) John Seffrien, who possessed moderate talent ;
these two shared a studio at 15, Southampton
Row, Holborn, John Seffrien living for many
years in New Road, Ed^ware Road, and for a
few years at Great Marlow. Henry (3), upon
whom our chief interest centres, worked occa-
sionally at his brothers' studio in Southampton
Row. The fourth son, Martin, emigrated to
America and engaged in business, ultimately
becoming a mill owner in one of the Eastern
States. The elder Aiken, beside his four sons,
had one daughter, Lydia, who was blind. She
lived for many years at Childrey, near Wantage,
and died in 1880 at the age of eighty-seven.
Samuel Aiken, who achieved considerable success
as an animal painter, and whose works will here-
after receive notice, is stated to have been a
brother of the immigrant Aiken and to have
accompanied him to England in 1772. Samuel
Aiken would then have been about 22 years of

HENRY ALKEN 3

For these particulars of the family history of
the Alkens, and some other personal details g;iven
in the following pages, the writer is indebted to
Mr. Charles Aiken, of 13, Hilldrop Road, Camden
Road, NAV., a grandson, and to Miss Eliza
Lanham, of i, Flora Villas, Carlton Colville, near
Lowestoft, a granddaughter of Henry Aiken.

Some confusion exists concerning the works
attributable to each member of the family ;
seldom as between the paintings of Samuel
Aiken and his nephew Henry, for each usually
affixed his signature to his work ; in Henry's case,
for a time, the uom dc pliniic " Ben Tally O "
was equally distinctive. The confusion arises
between the original works of Henry and the
pictures turned out by his son, Henry Gordon
Aiken. Many errors of long standing are
accepted as truth owing largely to the imposi-
tions practised by Henry Gordon Aiken, which
will be noticed in due course.

Henry AlKEN was born in 1784 in Suffolk,
but the better part of his youth was passed in
London, whither his father, as already stated,
moved from his east country home.

The Dictionary of National Biography, Vol. I.,
states that Henry Aiken was originally huntsman.

T^

4 ANIMAL PAINTERS

Stud groom or trainer to the then Duke of Beaufort.
This account of his earher career, however, must not
be accepted, as the present Duke has taken consider-
able trouble in searchinor the Badminton records
for mention of the name, and failing to find any
reference to it, doubts the authenticity of the state-
ment quoted. The artist's mastery of hunting tech-
nique in every minutest detail possibly gave rise to
the conjecture that he owed his knowledge to
stable work. The only discoverable reference to
the pursuits of his early manhood is contained in
the Introduction to the Beauties and Defects in
the Figure of the Horse Comparatively Delineated,
which was published when the artist was thirty-twu
years of age. Here we read

" The author flatters himself that his work will be found
useful ; and as his remarks are the result of the most atten-
tive observation during the many years entirely devoted to
the pleasures of the field, he trusts that the general principles
which he has laid down, as well with respect to power,
strength, and the various points of action, as to the physiog-
nomical character and figure of the horse will be found clearly
elucidated in the following series."

This seems to controvert pointedly the assertion
that the artist had ever been employed as stud
groom or trainer. It is at least improbable that
a man whose knowledge of horseflesh had been
acquired in a menial capacity would thus refer to
years devoted to " the pleasures of the field."

HENRY ALKEN 5

Henry Aiken's name first occurs in the catalogue
of the Royal Academy exhibition for 1801, when
he was only sev^enteen years of age ; the work sent
was a miniature " Portrait of Miss Gubbins," and it
may be added that his first Royal Academy picture
was also his last, for in no subsequent catalogue
does his name appear. Miss Lanham states that
he had the strongest objection to criticism of his
works, and for this reason refused to exhibit his
pictures, much to the sorrow of his relatives. He
owed his early education in art to his father,
and, it is thought probable, to his uncle Samuel.
Although it is not definitely known that Henry
received instruction from Samuel Aiken, careful
comparison between the works of the two, more
especially of the younger man's earlier pictures
with contemporary pictures by his uncle, leaves
practically no doubt on the point. The influence
of the senior is apparent nowhere more plainly
than in the pencil drawings ; delicacy of touch
is apparent in Samuel Aiken's pencil work, and
the extreme delicacy of Henry's pencil drawings
indicates that he profited by his uncle's example,
and in time surpassed him in execution.

It must be added, however, that at the time
of his first and only appearance on the walls of
the Academy his address is given as at " J. T.
Barber's, miniature painter to the Duke of Kent,

6 ANIMAL PAINTERS

26, Southampton Street, Strand." In view of his
age, this may indicate that he was with the said
J. T. Barber in the capacity of a pupil.

He seems to have made a false start as a
portrait painter. We next find him painting, not
miniatures, but sporting subjects ; his productions
in this direction were for many years published
under the assumed name, " Ben Tally O." One
picture thus signed represented " Easter Monday.
A view near Windsor. Gentlemen sportsmen en-
deavouring to lead the field," a title which suf-
ficiently suggests the spirit in which the artist dealt
with his subject. The deer-cart stands in the back-
ground in a dip of the hill, and the deer at full
speed is leading hounds down the slope in the
middle distance ; down the highroad which winds
across the foreground gallops a crowd of riders dis-
playing every eccentricity of incompetent horseman-
ship. This picture was engraved, and printed in
colours by S. & J. Fuller, who published it on ist
April, 1817 ; the plate, which measures 18 inches
by 1 2 inches, also bears the following lines.

" Away the London sportsmen ride
And risk their necks at every stride ;
In torrents rush so swift and strong.
The yeomen prickers are borne along
Against their right good will."

A portrait of the artist as " Ben Tally O,"
engraved by M. Gauci, a well-known lithographic

HENRY ALKEN 7

artist of the time, and published by G. S. Tregear,
is here reproduced ; the print bears no date. Not
until 1816, when he was thirty-two years old, do we
discover works signed with his own name ; in that
year he executed and signed the series of eighteen
plates entitled The Beauties and Defects of the
Figure of the Horse Comparatively Delineated, to
which passing reference has been made. These
were engraved and printed in colours, a detailed
explanatory description accompanying each plate.
This work, with an illustrated title page, was
published in quarto by S. & J. Fuller, 34, Rath-
bone Place, London.

He did not, however, cease signing himself
" Ben Tally O." Hoio to Qualify for a Mcltonian,
published in 1819, was issued under the name
which was by that time closely identified with
clever hunting pictures. There is a good deal of
slightly cynical humour in the letterpress which
accompanies the six plates of the series. Thus
the artist words his " Address to Would-be
Meltonians. " : —

" The next best thing to being a man of high consideration is
to be takm for one ; to be thought in any way like a Meltonian
is honour quant, suff. for ninety-nine in a hundred. You have
here six conspicuous points of Meltonianship, accompanied
with some sHght remarks ; and should anyone have the good
fortune to accomplish but thvee out of the six he will stand a
fair chance of being taken for another — at any rate that he is
not himself."

8 ANIMAL PAINTERS

The six plates are entitled (i) How to Go to
Cover; (2) How to Appear at Cover; (3) How
to Ride down Hill ; (4) How to take a Leap ;
(5) How to go through an Overflow ; and (6) How
to take the Lead.

The would-be Meltonian in the letterpress to
Plate I is gravely enjoined to " never ride at a
less rate than sixteen miles an hour " ; in respect
of Plate 3, "Be sure to ride down hill at top
speed." The instructions about jumping are rather
more elaborate, and recall the amusing " Hints to
Young Shooters," offered a few years ago by Mr.
Punch : —

" Let your attitude be extremely careless, but at the same
lime determinedly singular. Pick your leaps high and strong.
However extraordinary the leap may be never appear to
think it of consequence. If you should fail in the attempt,
carelessly curse your horse and compare the fence, however
large, to anything extravagant that may suit your fancy,
such as a row of peas or cabbages. Endeavour to do all
this and perhaps you may be taken for a real Meltonian."

From the time the art dealers of London
recognised his genius his progress was rajiid, and
his works were in great demand by the leading
firms, among them Thomas Maclean, S. & J.
Fuller and Rudolph Ackermann.

He had few private patrons : perhaps the most
important among those who gave him commissions
was the late Mr. Charles Hollingworth Magniac,

&

HENRY ALKEN 9

M.P., whose unique collection of pictures and
articles of virtu at Colworth included many
fine examples of Henry Aiken's works. The
series of eight pictures in oils, entitled " The
Leicestershire Steeplechase," was painted to Mr.
Magniac's order. The scenes represented are : —
(No. i) The Start ; (2) Going the Pace ; (3) Symp-
toms of Distress with the Cocktail floored ; (4) The
Field becomes select ; (5) A Rich Scene, and such
as no other country can exhibit ; (6) Dick Chris-
tian's last fall, commonly called a Header ; (7) The
Climax of Disaster ; and (8) The Winning Post
at Billesdon Coplow. This race was run on [2th
March, 1829, and the pictures possess all the
interest of sporting history, containing as they do
portraits of men and horses famous in Leicestershire
in those davs. Among the likenesses are Dick
Christian on Mr. Maxse's grey. King of the
Valley, Captain Ross on his own mare. Polecat,
Mr. Beecher on Bantam, Mr. Haycock on Clinker,
Bill Wright on Mr. Patrick's bay mare Lazy
Bet, Mr. Field Nicholson on Sir Harry Good-
ricke's bay gelding, Magic, Mr. Guilford on Sir
Francis Mackenzie's bay gelding, Spartacus, and
" Nimrod " (Mr. C. J. Apperley) reading the
articles of the race.

Nimrod's graphic account of this steeplechase
may be found in the Spor/ing- Alagazine for April,

lO ANIMAL PAINTERS

i<S29, vol. l.xxiii. It was won by Mr. Field Nichol-
son on Magic : King of the Valley second, Lazy
Bet third, and Clinker fourth.

Henry Aiken paid several visits to Colworth, and
in the latter years of his life, when consumptive and
very weak, was asked by Mr. Magniac to come
and remain as long as he liked. The artist accepted
the invitation in the spirit in which it had been
given, and spent two years with his hospitable
patron. During his stay he painted numerous
pictures, among them the largest canvas that ever
left his easel; this was "The Oakley Hunt," of
which Mr. Magniac was master from 1841 to 1847.

In 1833 Henry Aiken painted "The Ouorn
Hunt," a series of eight pictures which were en-
graved by Lewis and printed in colour. They were
used to illustrate Fox-hunting, published by Rudolph
Ackermann. The incidents portrayed were taken
from an article describing a day's sport over the
cream of Leicestershire with Mr. Osbaldestone's
hounds, which appeared in the Qtiarter/y Reviezv in
1832, over the familiar signature of Nimrod. A
writer in the New Sporting Magazine for 1833,
thus describes the incidents illustrated : —

Plate i. — The Meet at Ashby Pasture, where tandems, car-
riages and four, barouches and horsemen without end are
seen drawing to the rendezvous, where Mr. Osbaldeston and
Jack Stevens are waiting with the hounds.

HENRY ALKEN 11

Plate 2. — The Find, where Snob appears on the good bay
horse, and Mr. Coke on Advance comes up at the rate of
thirty miles an hour, with the label on his back, " he kicks."

Plate 3. — Tally-ho and Aivay ! There is a desperate rush;
the Squire is flourishing his whip and " blowing up " like a
good one, while Lord Alvanley, jack-boots and all, is pounding
away in the front.

Plate 4. — A Fall over a Flight of Rails, with Lord
Brudenell and Jack Stevens looking back.

Jack's answer to Lord Brudenell's inquiry who the fallen
gentleman is, is capital, and very characteristic of the man :
" Can't tell, my Lord ; but I thought it was a queerish place
when I came o'er it before him." We heard him give just
such an answer last season. We found a fo.x at some cover
of Lord Spencer's, not far from Althorp, which, after thread-
ing the woods on the line of hills in Northamptonshire, took
into the vale below, pointing for Floor or Flower at a merry
pace, but after running two or three miles, the hounds came
to check all on a sudden, when, close by where they threw
up, a gentleman in scarlet (Mr. Poyntz, M.P. for Ashburton,
on a visit at Althorp) was seen lying on his back in the
middle of a small field of hard corn, his horse having put his
foot into a drain, and rolled over him. Some of the party of
course went to his assistance immediately, and Jack, in reply
to the question as to who he was, said, " Can't tell, I'm sure;
I fear the gentleman's badly hurt ; here again ! — hounds ! —
here again ! — " and, with a blast of his horn, trotted forward
to make his cast ; " the pace was too good " to afford help, in
fact.

Plate 5. — Snob's Figure, with His " Strait-cut Coat," and the
good bay horse " done up " at the gate, is capital. He is just
putting his whip under the latch to open it instead of riding
over. The horse is regularly gruelled.

Plate 6. — The Elite of the Field on Their Second Horses, going
at a devil of a pace. The Squire close to the tail hounds,
followed by Mr. Holyoake, Mr. Maher, Captain Berkeley,
Dick Christian, Sir F. Burdett, Sir H. Goodricke, Lord
Alvanley and Lord Gardiner.

12 ANIMAL PAINTERS

Plate 7. — The Whissendine Scene, some in and some over.

Plate 8. — The Death. The Squire flourishing the brush
and Jack Stevens vnXh the scratched face, and the fox equally
well drawn.

" Sporting Anecdotes " was the title of a series
of fourteen or more pictures. No. 12 of the series
was " The Sporting Bishop. The Clerical View-
halloo, or the Hounds at Fault," illustrating the well
known anecdote which occurs in one of Nimrod's
Htmting Tours. It will be remembered that a
certain high dignitary of the Church had kept a
pack of foxhounds, which, on his elevation to the
Bench he made over to his brother. The hounds
were out one day, and the Bishop who had taken
a route which he thought the hounds might cross,
viewed a fox and the hounds at fault. " Putting
his finger under his wig his lordship gave one of
his beautiful view-halloos. ' Hark halloo ! ' cried
the field. The huntsman listened and the halloo
was repeated. ' That will do,' exclaimed he,
knowing his old master's voice. 'That's Gospel,
by G— ! ' "

" The Hunting Sweep," perhaps one of Aiken's
best known drawings, forms the subject of the
fourteenth picture of this series. This man was a
well known character and a great favourite with the
Duke of Beaufort's Hunt. He is shown on horse-
back on the lawn at Badminton. This picture was

HENRV ALKEX I 3

engraved by the artist himself and published by

Ackermann in 1837.

"Fox Hunting" was a series of four pictures

painted in 1844, engraved by Harris and published

by Rudolph Ackermann in the same year. The

scenes illustrate well-known verses from Somer-

ville's poem, and the artist has added a description

of the incident represented in each picture.

(i) The Meet.

Delightful scene
WTien ail around is gay — men, horses, hounds,
And in each smiling countenance appears
Fresh blooming health, and universal joy.

The meet is at the Cross Roads, where the finger-post,
pointing to " Mehon Mowbray," teUs the whereabouts.
There, surrounded by the hounds, stand the huntsman and
his two whips. The rough rider of the county lays down the
law for the benefit of the rural Boniface. The country squire —
my lord in chariot and four — and the sporting parson are
coming down the hill, the chawbacons are tucking up their
skirts for a run, and all is expectation and exciting hope.

(2) A Change, and We're A way !

Hark I what loud shouts
Re-echo through the groves 1 — he breaks away :
Shrill horns proclaim his flight. — Each straggling houod
Strains o"er the lawn to reach the distant pack ;
'Tis triumph all — and joy.

The hounds have gone away, somewhat stragghng perhaps,
but the huntsman on his grey is well up with them. The
parson has got a capital lead, and is taking the rails in style.
The thistle-whipper in green too, is well handicapped — the
squire is going at the rails in a quiet and workmanlike
manner, and the crowd are emerging from the cover here,
there, and everywhere. The game's alive.

14 ANIMAL PAINTERS

(3) A Shift of the Scene.

The brook stares us in the face. The huntsman's grey is
landed — not very well— but on the right side. The squire is
pulling himself out as he best may, having been left, like
Moses, in the bulrushes. The parson goes like a man, clear
over his head, the thistle-whipper has lost start, and the rest
of the field, in various positions, but only thirteen in sight,
look very determined to make the best of a bad thing.

(4) Whohoop!

In bolder notes
Each sounUing horn proclaims the felon dead.

The hounds are clamouring for their due, the parson is
evidently entitled to the brush, and we may add, that the
thistle-whipper is nowhere to be seen.

The following works were published by R. Acker-
man n : — Foxhunters, four plates, i2| inches by 8|
inches ; Hunting Qualifications, six plates printed in
colours, I of inches by 85 inches ; Thoughts ivhile
Fox Hunting, six plates, ii\ inches by 83 inches,
printed in colours.

In an advertisement of " Standard Sporting
Prints," published by Ackermann, occurs a series
of eight coloured plates, 20^ inches by 12^ inches,
drawn by W. L. Hodges, and engraved by H.
Aiken. The artist sometimes engraved his own
pictures, but with the exception of two etchings
made from sketches by " Wildrake " ("Catching a
Tartar," or "The Death of the Stag" and "The
Meet of the Owl Hounds," reproduced in the
New Sporting Magazine of 1842) these appear

HENRY ALKEN I 5

to have been the only works not his own that
Aiken engraved, and therefore claim special
notice.

A set of four shooting pictures by H. Aiken was
engraved by T. Sutherland, and printed in colours
each plate i6|- inches by 13 inches. These are
(i) Pheasant Shooting; (2) Cock Shooting; (3)
Refreshing ; and (4) Going Home.

" Epsom Races : the Derby Stakes," May 28,
1 8 18, consists of two plates, 26 inches by 16 inches.
The first depicting Mr. Thornhill's chestnut colt,
Sam, beating Lord Darlington's Grey, Sir John
Shelley's Prince Paul, and other horses, was en-
graved by T. Sutherland. The second plate shows
the Two Mile Course with horses preparing to start.
These were published in February, 18 19, by S. and
J. Fuller.

The National Spojis of Great Britain, a magni-
ficent royal folio published by McLean in 182 1,
contains some of the artist's finest work, and also
shows the breadth of his acquaintance with sport.
This work contains fifty large plates engraved by I.
Clarke, and printed in colours ; the pictures cover
the whole range of field-sports and are described
in English and French.

" Real Life in London, or the Further Rambles
and Adventures of Bob Tally-ho, Esq., and the
Hon. Tom Dashall, through the Metropolis, by

l6 ANIMAL PAINTERS

an Amateur," published in two vols, royal 8vo, in
182 1-2, contains numerous coloured plates from his
pictures.

TJie Analysis of the Hunting Field, published
1846, contains seven coloured plates and forty-three
woodcuts. Aiken's British Proverbs published by
INIcLean in 1824, contains six plates engraved by
the artist himself The Melange of Himiour, pub-
lished by McLean in 1824, was the joint work of
Aiken and Mr. Egerton, who are responsible for
the thirty coloured plates it contains.

Though many of Henrj^ Aiken's hunting scenes
derive enhanced interest and value from the fact
that they contain portraits of well-known sportsmen
and horses, he did not often make portraiture of an
individual the sole aim of a picture ; and therefore
mention must be made of his equestrian likeness of
the Marquis of Anglesea, which was engraved by
H. Meyer, the size of the plate being 22 inches by
26 inches.

A series of fourteen pictures illustrative of post-
chaise travelling and fox hunting, several of them
reflecting the artist's lively sense of humour, were
printed in colours and published by S. & J. Fuller
in 1822.

These are entitled : —

(i) It thaws— we must be off to Melton. (2) Go! I fancy
he can ! " Upon my soul a lie ! " (Shakespeare.) (3) Doing

HENRY ALKEN I 7

a bit of City. (4) "All the world's a Stage" (BuU and
Mouth Inn). (5) " At his head a grass turf and at his heels
a stone." (6) These came hopping. (7) Non-effectives.

(8) Frogs and Cranes. Showing a friend the way to covert.

(9) "My soul's on fire and eager for the field." (:o) A
Struggle for a Start. (11) Candidates for Brooks. (12) A
check. (13) Death and the Doctors. (14) Home !

Much of Henry Aiken's best and cleverest work
was done to illustrate books by the leading sporting
writers of his day. The Life of John Myiioti,
Esq., by Nimrod, which was published by Rudolph
Ackermann in 1835, contains numerous plates from
Henry Aiken's pictures. The Life and Death of
John Mytt07i, published in 1837, is illustrated with
nineteen plates, and Jorrock's Jaunts and Jollities,
published in the same year, contains sixteen engrav-
ings from his pictures. The Life of a Sportsman, by
Nimrod, contains thirty-six coloured plates from his
drawings ; these plates were published in collected
form by Rudolph Ackermann in 1842. The N'ew
Sporting Magazine (vol. xxiii.) in reviewing the book,
says, "The description of sporting and domestic
scenes are in Nimrod's usual style of excellence.
Aiken's illustrations, however, form, to us, the
principal attraction of this very elegant volume."
Aiken, it must be added, etched several of these
plates himself.

The mag-azines contain numerous engravings

&

from his pictures. His name occurs in vol. Ixx. of

2

1 8 ANIMAL PAINTERS

the Sporting Magazine for 1827 under the " Portrait
of a Fox Hunter and his Hounds," engraved by
J. R. Scott ; but from that date onward to the year
1847, this publication does not contain a single plate
from his works. It is possible that the artist had
some misunderstanding with the editor or publisher,
for during the intervening one and twenty years he
was frequently represented in the Sporting Review,
Sportsman, and New Sporting Magazine, which
last was started to rival the Sporting Magazine.

The eleven volumes of the Sporting Review
published between 1839 and 1844 contain many
pictures of fox hunting, stag hunting, coursing,
deer stalking and road subjects, engraved by E.
Hacker, John Scott, and J. H. Engleheart, from
Henry Aiken's paintings. In the Nciv Sporting
Magazine, vols. ix. to xxix., between the years 1835
and 1845, we find fifteen plates from his works;
one of these is an engraving by E. Radclyffe in
vol. xxii. from a very clever picture of " Horse
Racing in Florence," executed to illustrate an
article. The Sportsman, volumes xvii. to xix., for
the years 1842 and 1843, contained nine engrav-
ings from his pictures ; six of these from a series
whose titles suggest their character.

Plate i.— Going to covert to meet the Difficulty. (2) Get-
ting into a Difficulty. (3) Got into a Difficulty. (4) Getting
out of a Difficulty. (5) Got out of a Difficulty ; and (6) Get-
ting home ; doing their best with Difficulty.

HENRY ALKEN IQ

These plates were engraved by J. H. Engle-
heart. The remaining three pictures : — The Fox
He breaks away : Greyhounds, The Last Act :
Foxhounds in Full Cry ; were engraved by
W. T. Davey.

In 1847 Henry Aiken began to contribute again
to the Sporting Magazine. Volumes ex. and cxi.
for that year contain two plates engraved by John
Scott from his pictures, and " A Sure Find " (uncart-
ing a stag), engraved by E. Hacker. Volumes cxix.
and cxx. for the year 1852, contain plates en-
graved by J. H. Engleheart from his paintings
" The Start for the St. Leger in 185 1," and " The
Race for the St. Leger in 1851 " — Newminster's
year.

The style of this artist was at once elegant and
refined ; the delicacy of his work is displayed in
his small pencil drawings, which are done with a
minuteness and lightness of touch which has rarely
been equalled, and certainly never excelled by any
animal painter. The anatomical studies, whose
direct fruit was The Beauties and Defects of the
Figure of the Horse, stood him in excellent stead
in painting the hunting and coaching scenes by
which he is so widely known. Proof of his genius
is found in the lasting popularity of engravings from
his works, which are probably more generally
distributed than those of any other sporting artist

20 ANIMAL PAINTERS

before or since. Aiken's original pictures or prints
therefrom are to be seen on the walls of dwellings
of every class throughout England, from the ducal
castle to the humblest country inn ; sure testimony,
not only to the skill, but to the close technical
accuracy of his drawings. He was essentially
an artist of the country, for there are few of his
creations that do not deal with those field sports
or phases of rural life which appeal to all classes of
Englishmen.

Lord Middleton has in his collection of pictures
at Birdsall, four tinted drawings by Henry Aiken.

A contemporary publication gives "A brief sketch
of our worthy friend, old Aiken, with his broad-
brimmed low-crowned hat, his frock of Kendal
green spotted with broad gold buttons, his rustic
waistcoat with its low cut and old fashioned pockets,
his brown cloth kickseys and his ditto gaiters, his
thick-soled shoes and sturdy walking-staff ; in gait
and altogether in appearance, the perfect inhabitant
of those country scenes which he so skilfully
depicts."

Henry Aiken married in 1809, Maria Gordon,
the ceremony taking place at St. Clement's Church,
Ipswich. He left three sons : Henry Gordon
Aiken, who requires passing notice ; George, who
was born in 181 2 and was found drowned in the
Thames at Woolwich in 1862 ; and Seffrien, who

^Jc '• f 'V.

HENRV ALKEN 21

died in 1873, a.ged fifty- four : and three daughters,
namely, Alice, Ellen, and Lydia Ann. The last-
named married John Christian Zeitter, an animal
painter of considerable merit. George Aiken is said
to have painted pictures similar to those by which
his father made his reputation. The writer
po.ssesses a hunting picture in water colours which
is believed to be the work of George Aiken. It
is unsigned and is quite in the style of Henry
Aiken.

Henry Aiken died on 8th April, 1851, in the
sixty-eighth year of his age, and was buried in
Highgate Cemetery. For many years he had been
resident at Kentish Town ; at a later period he
occupied a small house near St. Anne's Church,
Highgate, and here he passed his last days.

Miss Lanham, the artist's a-randdaughter, states
that Henry Aiken was an extremely eccentric man,
and led a very secluded life. He is said to have
been very stern in the family circle, and his bearing
towards strangers who might call upon him on
business connected with his pictures was somewhat
abrupt. He would present himself before them
with the curt self-introduction, " I am Henry
Aiken." He was very neglectful of his appear-
ance, and his attire — indoors, at all events — was
usually shabby and disorderly. The sturdy inde-

2 2 ANIMAL PAINTERS

pendence of character which underlay his brusque
manner is shown in the following verbatim copy of
a letter to his aunt, Mrs. Woodley. The original
is in Miss Lanham's possession : —

April 2nd, 1839.

Dear and Respected Aunt,

As I find there is to be a general letter writing to you,
I present what cannot well be called a letter but a bit of
mark'd paper, for I have nothing to write about. I go on the
principle of Sir Abel Handy. (If you have anything pleasant
to say I will thank you for it. If not hold your tongue and
make yourself pleasant that way.)

In the first place I must thank you for your kindness to
Ellen when at Childr'y. She was quite delighted with her
visit : it has been food for conversation ever since, and I have
no doubt but that it will last much longer.

All I can say about myself is that I keep grinding on in
this world with but little change except that I grow older
every day (work) and none the forwarder— but I thank God
and my own exertions I go on without having to ask favour
of any person or accepting it when offered, for I do not choose
to be a slave to any one however high in rank.

I often propose to myself to spend a few days in Childr'y,
but I am always disappointed not being able to spare either
the time or money ; it has been put off from year to year ;
perhaps if I lived at Kensington instead of Kentish Town I
might have made a start.

I must not trouble you with more nonsense. Maria has
been very poorly for some time, but as I never have a doctor
in the house she is now much better and joins with me in love
to dear Lyd and duty to yourself.

I remain, my dear Aunt,
To Mrs Woodley, with all duty and respect,

Childr'y, Your neppew,

Berks. H. Alken.

WORKS OF HENRY ALKEN 23

The sale of his pictures and copyrights brought
him considerable sums of money, and during the
greater part of his career he enjoyed a certain
affluence ; but in later years his circumstances
became greatly reduced, and he received much
assistance from his daughter, Lydia Ann Zeitter,
at whose expense he was buried.

In 1889 an excellent and representative loan
collection of Henry Aiken's pictures and engrav-
ings therefrom was exhibited in Messrs. Dickinson
and Foster's Galleries, 114, New Bond Street.
Over 160 examples of his works were catalogued,
including many designs and sketches which have
never been published. Among these will be re-
marked several pictures and sketches of oriental
cavalry, for drawing which the artist seems to have
had a predilection.

WORKS OF HENRY ALKEN.

IN THE BRITISH MUSEUM.

(2) Two on one mount, viz., (<i) A GROOM AND HORSES. A pair of harnessed
horses, very lightly sketched, with a groom standing before them. Pencil, on
greyish paper, heightened with body colour; size, 7} X q\ inches. — (/■) A POST
BOV. A post b^y riding a lean nag. Pencil, on greyish paper, heightened with
body colour ; size, 7J X g\ inches.

(j) A WOMEN'S RACE AT A VILLAGE FAIR. Four women running a race at
full speed. Two more have fallen, one of whom is being helped up by two men.
Behind, a cheering crowd of on-Iookers, a marionette show (left), and the village inn
(right). Three men on horseback in the foreground. Water. colour over pencil ;
size, gi X 13J inches.

IN THE SOUTH KENSINGTON MUSEUM.

FOX-HUNTING (walercolour) William Smith Bequest.
SPORTSMEN IN A WOOD (water-colour).

24 AXIVAL PATS^TEilS

PLATZ5 IX THE SPCRTIX^ MAZ-AZISE [ir is =sber).

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e:srsT— d by W. T. Iferey-

LOAN COLLECT! DK 0? PICTURES EXHIBITED
MESSRS. DICKINSON AND FOSTER'S GAEIZ?
IN iSSo.

T.=iS cs^ix-prcy cf ±:yoi-<xi'\sff:!^ zSyJ; ,4 cz^^ss f'sts-—

— li.T.'TE TO CCrSJl.

26 ANIMAL PAINTERS

Lent by Leicester Hibbert, Esq.

a burning scf.nl — the first ivhip—gone away— tally ho.

Lent by Sir Walter Gilbey, Bart.

a roadster— pheasant shooting— the real thing— on the
moors— arab cavalry— " laugh at him if you will"— a
mameluke— clever at hounds— a preliminary canter

— Three Studies of Persian Soldiers — Three studies in frame :— (a) MAN IN
ARMOUR— (i and c) ARAB SOLDIERS — WATERLOO (two sketches) —
GOING TO THE MEET— TIGER SHOOTING— AFTER A GOOD RUN
— POINTERS — STUDY OF HORSES' HE ADS— CRITICAL SITU A-
TIONS—A FRIGHTENED HORSE— JACK' FISHING— A STALLION—
SETTERS— HORSES' BEADS— A FRESH NEAR LEADER — GOING
TO THE STARTING POST— IN HIS BOX — RUNNING— V\ve hunting
subjects in pencil : (a) NEARLY READY TO START— (b) A RARE GOOD
ONE AT TIMBER— U) USED TO IT ^nd NOT USED TO IT-(d) TAKING
THE LEAD IN SPITE OF ALL—^e) THE WINNER OF THE BRUSH
—Four illustrations of the Pleasures of the Old Coaching Days : — (a) 3*45 a.m.,
"TIME TO GET UP, ZUR !"—{b) THE LITTLE BILL—^c) ITS AN
ILL WIND THAT BLOWS NOBODY GOOD— (d) THE CHAMBERMAID
—.Analysis of the Hunting Field ; Original pencil designs ;— (a) WITH BRIGHT
FACES AND MERRY HEARTS — (b) "THAT WILL SHUT OUT
MANY AND MAKE THE 1 HING SELECT"— if) "LETS TAKE THE
LEAD"— (tl)" LET'S KEEP THE LEAD" -(e) " WHAT THE DEVIL !"
&c.— {/) "A CHOSEN FEW ALONE THE SCENE SURrEY"—ToaT
vignette drawings of Deer StzWmg— PIGEON SHOOTING— WELL UP WITH

the hounds in a wall country.

Lent by Theo. Lumley, Esq.

six original designs for the celebr.ited " Panorama of Hunting." — ORIGINAL DESIGNS
FOR IDEAS : — (a) *' By George, Harry, I have an idea that the thing is not
quite so easy as I anticipated": {b) "My good fellow, I have an idea that I
shall be right on top of you"; (t) "My good fellow, I should be extremely
sorry to speak of any country with disrespect, but 1 have an idea that the water
hereabouts is not exceedingly fragrant"; (</)"You have no idea what a magni-
ficent day I have had — at least a dozen falls and twice in the brook ! Oh ! it was a
most magnificent day. Be kind enough to lend me a hat"; (,e) "I have an ft/^d
that this is a situation of considerable difficulty, and by no means an everyday
occurrence "; {/) " I have an idea that this is a most important and effective fall." —
CONE AWAY— AN AWKWARD PLACE— Tvo Letters on Fox Hunting^
by Peter Beckford, Esq. (illustrated by Aiken).— " ArOiO HARD, GENTLE-
MEN <"— A CRICKET .MATCH: One-Arm Players v. One-Leg Players-
Four highly-finished Hunting Subjects (in pencil) — TAKING IT CLEVERLY —
THE CHASE— A FIVE. BARRED GATE— THE DEATH (Whatcombe
\lo\ii<-)-PARK PALINGS— HARE HUNTING (i)—THE MEET (Yellow,
ham Wood-)— HARE HUNTING (2)-0N THE ROAD TO GRETNA
GREEN (2) — Frontispiece to "Life of Jack Mytton"(in pencil) — Six pencil
drawings in frame, viz., "IS THAT REALLY A 'ARE?" and five other
original designs for the well .known IDEAS— GOING TO THE DERBY:
(a and *) ON THE ROAD: (c) GOING TO THE POST: (d) THE R.4CE
—Two highly finished studies of MEN IN ARMOUR (in frame).

WORKS OF HENKY ALKEN

27

Lent by J. Granville, Esq.

POACHERS AND POACHED <2 sketches in noXom)— PHEASANT SHOOTING-
hare shooting. —setters— woodcock shooting. — noon-
tide rest— an arab chief— partridge shooting— group
of arab cavalry—the hounds will meet— tally ho !

Lent by Lord Henry Bentinck.
the unkennelers—full cry !— breaking cover— the death!

(four drawings, tinted, attributed to H. Allien).

Lent by R. Clarke, Esq.
breaking cover— the death!

Lent by Arthur W. Gilbev, Esq.

A DAY IN LEICESTERSHIRE (four suhjegts in frame).

The more noteworthy piihlished worl-s of Henry Allien.

Title of Work

No. of
Plates

Publisher

Date

The Beauties and Defects of the Figure

of the Horse

IS

S. and J. Fuller ...

1816

Sporting Discoveries : —

'The Miseries of .Shooting

7

>» >5

1817

'The Miseries of Hunting

7

»l »»

1817

*The Miseries of Driving

7

)» »J

1817

An hour with Unqualified Riders

Sketches of Cattle, six monthly numbers,

each containing ..

6

S. and J. Fuller ...

Cockney Shooting Season in Suffolk ...

6

Country and Town Sports : —

Steeplechasing ...

6

A Steeplechase

6

Sporting Notions ... ...

36

*How to Qualify for a Meltonian

6

S. and J. Fuller ...

1S19

'Military Discoveries, or the Miseries of

Campaigning ...

7

)j >}

1819

Humorous Specimens of Riding

1821

Qualified Horses and Unqualified Riders

7

S. and J. Fuller ...

1821

Landscape Scenery

26

J) »>

1821

Sporting Sketches, in eight numbers,

each containing

6

1} If

1821

Scraps from the Sketch Book

42

Thos. M'Lean

1822

Moments of Fancy

13

)i »»

1822

Sketches; Horses and Dogs

23

Rowney and F'oster

1S22

Symptoms of Being Amazed

1S22

• Signed " Ben Tally O. '

28

ANIMAL PAIKTER?

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The Life of a Sportsman

Ffyi Hanticg (large plates)

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30 ANIMAL PAINTERS

been remunerative, for Henry Gordon Aiken was
in needy circumstances for many years before his
deatii, being indebted to friends for support. He
was in receipt of parochial relief when he died in
London at the age of 82 in the year 1892.

Samuel Alken was born about the year
1750 ; we first find him resident in London, and re-
ceiving mention not as a painter, but as an engraver
in aquatint in connection with C. M. Metz, James
Daniel, Daniel and Robert Havell, John Black-
more, F. C. Lewis and John Hill, all of whom are
known as engravers. The art, at this period, had
made great strides ; engravers had discovered the
artistic value of "tone," the effect produced by
keeping flesh and coloured parts of a lower tint
than pure white details or accessories such as linen ;
they had also learned discrimination in the handling
of lights and shadow, and knew what could be done
by " biting over again " as the technical phrase has
it. This method of engraving was first practised
about 1750 by William Walker, who communicated
his discovery to William Woollett.

In 1780, Samuel Aiken's name appears as that
of a draughtsman ; at the Royal Academy Exhibi-
tion of this year he showed a " Design for a monu-
ment." A pair of female figure subjects, which

SAMUEL ALKEN 3 I

were engraved and published in London in October,
17S6, show that at this time he was living at 3,
Dufour Place, Broad Street, Soho. His forte lay
In directions different from these, however, and
subsequently he appears to have devoted himself
entirely to sporting subjects and with considerable
success. He worked in both oil and water colours,
sometimes on a large scale in the former ; other
drawings are mere pencil sketches only partly
coloured. Many of his pictures in either medium
display great merit, particularly as character studies
of the sport of his time.

His influence upon his nephew when the young
man was at the be2:InnInor of his career has been
remarked. It is at least likely that he imbued
Henry Aiken with the taste for delineating those
studies of Hunting character in which he so
peculiarly excelled.

His range was a very wide one ; but It is through
his innumerable hunting scenes that he is most
generally known. One of these entitled " Hunters
at Covertslde," portraits of horses belonging to the
celebrated Colonel Thornton, was engraved by J,
Pollard, and published by S. Knights in 1820.
Four companion works by this artist, " Fox Hunt-
ing," "Hare Hunting," "Stag Hunting" and
"Coursing," engraved by T. Sutherland, plates
measuring 26 inches by 9 inches, were published

32 ANIMAL PAINTERS

by James W. Laird, of i, Leadenhall Street, in
1 84 1, several years after the painter's death.
Another series of pictures, " Partridge Shooting,"
" Pheasant Shooting," " Woodcock Shooting," and
" Grouse Shooting," were engraved by J. Pollard,
the plates measuring 1 1 inches by 7^ inches, and
were published at the same time. The early num-
bers of the Amials of Sporting, published in and
after 1822, contain twenty-six plates from his
pictures engraved by T. Sutherland, J. Gleadale,
Roberts and others. These plates were printed
in colours for separate sale by the publishers of the
magazine, Sherwood Jones & Co., of Paternoster
Row, London.

The second volume of Remarks on Forest Scenery
and Other Woodland Views, by the Rev. William
Gilpin, Prebendary of Salisbury Cathedral and
Vicar of Boldre, near Lymington, contains a series
of scenes in the New Forest, "The animals by Mr.
Aiken." The author in a note at the end of the
book pays a tribute to the " masterly and excellent
work " of the artist. This book was published in
London in the year 1791. Sawrey Gilpin, the
author's brother, also contributed several pictures
to Forest Scenery.

Samuel Aiken's hunting pieces are cleverly
drawn and afford an excellent idea of the stamp
of horse hunted at the time, as well as of the style

WORKS OF SAMUEL ALKEN 33

of dress in vogue ; his hawking and coursing scenes
are equally characteristic, and his dogs — grey-
hounds, setters, pointers, and other breeds— are
always good.

At one period Samuel Aiken acted as tutor to
the Earl of Clarendon. He is said to have been
a dandy in his manner of dress. He died about
1825, when he would have been about 75 years of
age.

WORKS OF SAMUEL ALKEN.

EXHIBITED IN THE ROYAL ACADEMY.

YEAR

ij&o- DSS/G.V FOR A MONUMENT.

PLATES IN THE ANNALS OF SPORTING (26 in number).

(9) GROUSE SHOOTING, 1822, vol. i.— .-J MEMBER OF THE SURREY HUNT,
ON HIS HACKNEY, RIDING TO COINER, 1822, vol. 1.— RACE-HORSES
EXERCISING, 1822, vol. J.— BREAKING COINER, 1822, vol. 1.— RATTLE
AND CLI NKER, a bull-terrier and terrier, property of William Harris, Esq.,
1822, vol. I ; engraved by P. Roberts. — PIPER, a celebrated greyhound, property
of L. J. Pouch^e, Esq., 1822, vol. ^.— RACE-HORSES (fUla. ^\— MOUNTING,
1822, vol. I.— RACE-HORSES— IVINNING, 1832, vol. 1.— COCK-FIGHTING
—SETTING-TO, 1822, vol. i.

{•i) DUCK SHOOTING, 1822, vol. 2: engraved by Snlhei\^ni. — PARTRIDGE
SHOOTING, 1822, vol. 2 ; engraved by Sutherland.— /'/C^OA' SHOOTING,
1822, vol. 2; engraved by Suthiidind.— SPORTSMEN REFRESHING, 1822,
vol. 2.—PHE.4SANT SHOOTING, 1822, vol. 2 ; engraved by Sutherland.

(5) THE HATFIELD HUNT, 1823, vol. i.— UNKENNEL t.I.\G, 1823, vol. 3 ; en-
graved by SM'aerUni.— FERRETING RABBITS, 1823, vol. 3; engraved by
Sutherland.— Sr.^C AT BAV, 1823, vol. 3 : engraved by S. Aiken.— DRAINING
A BADGER, 1823, vol. 3 ; engraved by .S. Aiken.

(7) RACE-HORSES— SADDLING, 1823, vol. 4 ; engraved by Sutherland.— OTT^'^
HUNTING, 1823, vol. 3 ; engraved by SMher\?iTii—R.-iCE-HORSES— PRE-
PARING FOR SECOND HEAT, 1823, vol. 3; engraved by Sutherland.-
DUCK HUNTING, 1823, vol.3; engraved hy P. Rohens.—H.-IRE HUNT-
ING, 1823, vol. 3; engraved by P. RobsHi.— COURSING, 1823, vol. 3 ; engraved
by Sutherland.— ^.-i 7" HUNTING, 1823, vol. 3 ; engraved by Roberts.

34

JAMES BARENGER.
(Born 1780. Died 1831.)

TAMES BARENGER born 1780. was, there

^ is little room to doubt, the son of an artist

of the same name who, in the last decade of the

eighteenth century, exhibited a few pictures of

entomological interest, butterfly and insect studies,

at the Royal Academy. We do not anywhere

find it definitely stated that James Barenger, the

painter of insect life, was the father of James

Barenger, the painter of sporting subjects ; but

inasmuch as the Royal Academy catalogues give

the address of each as Kentish Town, the

similarity of name and sequence of dates justifies

the assumption that the two were father and son.

In Graves' valuable Dictionary they appear as : —

James Barenger, London. Exhibited 1793- 1799. Insects.
James Barenger, Junr., London. Ditto, 1807-1831. Sporting.

The elder Barenger and his brother, S. Barenger
who achieved some measure of success as an
engraver, were nephews of the famous engraver
William Woollett.

Landscapes, more especially park scenes which

JAMES BARENGER 35

afforded opportunity of introducing deer, figure
largely among the earlier works of the younger
Barenger ; and only after he devoted his attention
more strictly to animal portraiture was he repre-
sented in the exhibitions of the Royal Academy ;
his first exhibit being "Sheep, from Nature," and
" A Famous Setter," which were shown in the year
1807, when the artist was in his twenty-eighth year.
He was at this time living in Kentish Town, with
his father we may conjecture ; but at a later date
he moved to Camden Town. In common with
many other sporting artists his best known address
was Tattersall's, Hyde Park Corner.

He had numerous private patrons, for whom
he painted portraits of horses and dogs, and
sporting scenes; after 18 10 his works were in
considerable demand by the publishers of sporting
literature, and the first engravers of the time were
employed to execute plates therefrom. Between
the years 1807 and 1S31 he exhibited thirty-seven
pictures at the Royal Academy. Most of these
portraits of horses and dogs ; but the breadth of
his range is apparent in the variety of subjects
with which his brush dealt for the illustration
of books. British Field Sports, vol. viii., by
William Henry Scott, published in 1S18, contains
the following plates from works by Barenger ;
twelve of these were engraved by John Scott and

36 ANIMAL PAINTERS

the remaining five by J. Webb: — (i) Pointers
going out with Sportsmen ; (2) Woodcock Shoot-
ing ; (3) Sportsmen with Spaniels ; (4) Grey-
hounds with Dead Hare; (5) Greyhounds with
Sportsmen finding a Hare ; (6) Duck Shooting ;
(7) Sportsmen with Spaniels ; (8) Earth Stopping ;
(9) Pony and Dogs; (10) Hunting: going into
Cover; (ii) Hunting: the Chase ; (12) Hunting:
the Death; (13) Racing: the Finish; (14) Sligo,
a racehorse; (15) Cock-fighting; (16) Game
Fowls; and (17) Fly Fishing. The Sporting
Repository, vol. viii.. published in 1822 by Thomas
McLean, has five plates engraved by T. Hunt
from Barenger's pictures. These are : — ( i ) Claret,
a Hunter ; (2) A Hawk ; (3) A Herefordshire
Ox ; (4) Rubens, a Hunter ; and (5) Merino
Sheep. The portrait of Rubens was engraved
for separate publication by C. Turner, the plate
measuring 2'^\ inches by ic,^ inches. The Annals
of Sporting for the year 1824 contains two plates
to which special interest attaches, these being the
only examples of the artist's work which, so far
as our researches have shown, were engraved by
his uncle, S. Barenger. " Topthorn " is depicted
in the act of taking a leap of twenty-one feet
over the Whissendine brook.

One of the best of the twenty-six pictures re-
produced in the Sporting Magazine between 18 10

i

JAMES BAREXGER ^y

and 1832 was perhaps that of "Doll" a pointer
bred by the artist from a bitch belonging to W.
Whitbread, Esq., of Much Hadham, Hertfordshire,
who was well known for his famous strain of
pointers. This picture was beautifully engraved
by John Scott. Many of Barenger's works were
engraved in large size ; among these we may
notice: — "Pheasants" and "British Feathered
Game," companion plates measuring 17^ inches by
14 inches, engraved by Charles Turner and pub-
lished by Ackermann in 1810 ; and "The Earl
of Derby's Staghounds," the plate from which,
measuring 24 inches by 19 inches, was engraved
by R. Woodman. This work contains equestrian
portraits of Lord Stanley and the Hon. E. Stanley.
Jonathan Griffin, the huntsman, on "Spanker" is
the central figure; the first whipper-in on "Noodle"
also has place in the picture. This print was pub-
lished on 15th May, 1823, by I. Griffin, Carshalton,
Surrey.

Barenger's interest in field sports would seem,
from his having bred pointers, to have been more
than that of the artist : the sporting technique of
his pictures is always accurate, and his animals
are drawn with the knowledge that comes only
from personal observation and study. In a collec-
tion in Essex there are two companion coursing
pictures, each measuring 35 inches by 27 inches :

38 ANIMAL PAINTERS

these are "Loo Loo," and "The Death;" the
greyhounds and hare are most true to nature.

Mr. George Henderson possesses a picture by
James Barenger. This canvas, which measures 21
inches by 1 7 inches, shows a horse in the stable ;
the horse, a bay of the coaching stamp with a
closely docked tail, stands in the subdued light of
his stall, and is admirably painted. Mr. Charles
Cooper Henderson saw this work in a picture
dealer's window, and was so struck with its merits
that he possessed himself of it on the spot, giving
one of his own pictures in exchange. Mr. George
Henderson is a son of Mr. Charles Cooper Hender-
son, the celebrated artist.

James Barenger died in 1831, and was buried
in Old St. Pancras churchyard.

WORKS OF JAMES BARENGER.

EXHIBITED IN THE ROYAL ACADEMY {2,7 in Number).

YEAR

J807— (2) SHEEP FROM NATURE— A FAMOUS SETTER.

1809— (3) PORTRAIT OF A MARE— PORTRAIT OF A PUG DOG— SPARROW

FROM NATURE.
iSio— (3) BROOD MARES AND FOALS— A FAMOUS H.ACK OF MR. WESTS

—A DALMATIAN DOG.
tii2—(3) MARE AND FOAL— PORTRAIT OF A HORSE— PORTRAIT OF

CURRICLE HORSES.
,B,3_(3) A BROOD COCK AND HEN-PORTRAIT OF A HORSE— PORTRAIT

OF PHENOMENA, a Racehorse, the property of Mr. Sadler.
i3i4-(2) HORSE— PHEASANTS.
jSii-CRATEN HOUNDS.

jSi6— WARRIOR, the property of Mr. Tattersall.

,8,7_(2) SPRING TAIL, a Hunter, the property of Mr. Tzneri.,\\— POINTERS.
1818— <3) D.4RLINC, .1 Staghound, the property of the Earl of licihy— FOXHOUNDS

—SHORTHORN BULL.

WORKS OF JAMES BARENGER 39

VEAR

1S20— (5) GREVHOUXD, property of Earl Talbot— //.-I C/T-Vj? K MARE—POI!fTER
—GIG MARE SASE.VAGH, property of V. Corbett, Esq.- A FAMOUS
HACK.

i8j2— (2) DOG FROM NATURE— ALADDIN.

1824— (2) rONY— PHEASANT AND BRACE OF PARTRIDGES.

xi^a.— POINTER.

iZig-il) GOSHAWK, property of Duke of Grafton— /?£//=•£ '5, property of Duke of
GTsSton—MARE AND FOAL, property of Marquess of Londonderry.

itZi—TAM O'SHANTER, property of Captain Copland.

PLATES IN THE SPORTING MAGAZINE (26 in number).

THE ll'ELLESLEV ARABIAN, vol. 36, 1810 ; engraved by J. Scott.

(3) TIVO TAME LEVERETS, vol. 39, 1812; engraved by J. Scotl—n'OODCOCKS,

voL 40; engraved by J. ScoV. — FOXES PURSUING .4 HARE, vol. 40;

engraved by J. Scott.
MAT O' THE MINT, a Celebrated Racehorse, vol. 41, 1813 ; engraved by J. Scott.
BLUCHER, a Celebrated Racehorse, vol.49, 1816; engraved by J. Scott.
DOLL, a Celebrated Pointer, vol. 52, 1S18; engraved by J. Scott.
FIGHTING DOGS, vol. 54, iSio; engraved by J. Scott.

SASENAGH, late Impostor, a Celebrated Racehorse, vol. 55, 1820; engraved by J. Scott.
LAVENDER, a Greyhound, belonging to Earl Talbot, \o\. 57, 1821; engraved by J.

Scott.
PHEASANTS, vol. 63, 1823 ; engraved by J. Scott.
PROSPER, a Celebrated Hunter, belonging to the Earl of Derby, vol. 64, 1824;

engraved by J. Webb.
RUBENS, a Celebrated Racehorse, vol. 66, 1825; engraved by J. Webb.
PARASOL, a Celebrated Racehorse, vol. 69, 1826; engraved by J. Webb.
GULNARE, a Celebrated Racehorse, \o\. 71, 1827 ; engraved by J. Webb.

(3) MULEY, a Dark Brown Horse, vol. 72, 1828: engraved by J. Webb— W GAME-

COCK ; engraved by Raddon — PR UDENCE, a Brown Mare, the propeity of the
Duke of Grafton ; engraved by R. Woodman.

(4) MAR/A, a Celebrated Racehorse, belonging to George IV,, vol. 74, 1829 ; engraved by

J. Wehh—BUCKFOOT, an .-Vrabian Racehorse ; engraved by J. Webb—
FREDERICK, a Celebrated Racehorse ; engraved by J. Wehb— PANDORA,
a fine Hunter, vol. 75 ; engraved by J. Webb.

(3) GODOLPfllN, a Celebrated Racehorse, vol. 76, 1830; engraved by J. Scott —
SIGNAL, a High-bred Arabian; engraved by J. Scoa- NOSEGAY, a Brood
Bitch, belonging to the Earl of Kintore, vol. 77; engraved by J. Scotf.

TURK, a Retriever, belonging to the Marquess of Carmarthen, vol. 80, 1832 ; engraved by
H. R. Cook.

PLATES IN THE N£IV SPORTING MAGAZINE (3 in

number).

THE COLONEL, a Racehorse, 1831 ; engraved by J. Webb.

(■i) PARTRIDGES, 1834; engraved by R. Vm-THE PHEASANT; engraved by
J. R. Scott.

PLATES IN THE ANNALS OF SPORTING (2 in number).

TOPTHORN, a Celebrated Hunter, 1824 ; enraved by S. Karenger

MARENGO, a White Charger supposed to have belonged to Buonaparte, 1825 ; engraved
by S. Karenger.

40

FRANCIS BARLOW.

(Born circa 1626. Died 1702.)

pRANCIS BARLOW was bom in Lincoln-
•*■ shire about the year 1626, and is therefore
one of the earliest among animal painters of
English birth whose works are known to us. He
appears to have come up to London, no doubt in
search of the art education which in his day, as for
long after, could be obtained only in the studio of
some painter of established reputation : and to have
taken up his residence in Drury Lane while receiv-
ing instruction from William Shepard, a man about
ten years his senior, who practised as a portrait
painter during the reign of Charles II. William
Shepard, it must be added, has left proof of his
ability to portray animals as happily as he painted
portraits of men, in at least one picture, a mezzotint
engraving from which by Fairthorn is in the British
Museum. This is a portrait of Thomas Killigrew
the jester and his dog, with a medallion portrait of
King Charles I. in the right corner. An engraving
from this work, which belonged to Lord Godolphin,
was sold at the Strawberry Hill sale. At the same

FRANXIS BARLOW 4 1

sale a plate from another picture by Shepard was
sold ; this was a portrait of Mr. Henry Terne
which, according to Walpole's account, was after-
wards altered to represent the Duke of Monmouth !
Shepard eventually retired to Yorkshire, where he
died.

Pictures of birds and animals were Barlow's
speciality. Horace Walpole, in his Anecdotes of
Painters in England, says that altogether there
were published six books containing plates of birds
and beasts from drawings by this artist : one of
these was a series of folio plates entitled Nature
displayed in the Ani^iial and Feathered Species,
"being a collection of the capital studies of that
great Master Francis Barlow, in which are ex-
hibited a vast variety." Barlow's Birds and
Beasts was a collection of sixty-seven plates from
his chief works ; these represented various species
of wild and domestic birds and animals in character-
istic attitudes or situations ; several of these plates
were engraved by W. Hollar, and bear date 1664,
though the pictures in many instances had been
painted several years previously. Such is the case
in Barlow's "Turkeys," painted in 1654, an engrav-
ing from which by Hollar is here reproduced. The
work entitled Miiltce ct Diversce Avium Species,
published in the year 1658, contained eighteen
plates engraved by Hollar from his pictures.

42 ANIMAL PAINTERS

Another work entitled Various Birds and Beasts
contains eiglit plates drawn from life by this artist.
Walpole also makes mention of "a set of Cuts
for yEsop's Fables." He doubtless refers to the
folio edition, which was published in 1668, entitled
yEsop's Fables, "with his life in English, French,
Latin, &c., 112 sculptures, likewise added 31 figures
in his life by Francis Barlow." The large majority
of these elaborate studies of animal life are
preserved in the British Museum. A work on
sport entitled Several Ways of Hawking, Hunting,
and Fishing, published in 1671, contained fourteen
plates engraved by Hollar from designs by Barlow.
Barlow's name receives mention as that of an
etcher in Walpole's Catalogue of Engravers, pub-
lished by Dodsley in 1783, and we find plenty of
evidence to establish his right to the name. He
designed and engraved two plates for Benlowe's
poem Theophila, which appeared in 1652, and he
etched several desiorns of his own drawingf for
Ogleby's Virgil. For the edition of yEsop's Fables
(Behn's translation), published by Mrs. Afra in
1666, he designed and engraved upwards of one
hundred illustrations. This edition of the Fables is
very rare ; the greater part of the impression having
been burned in the Great Fire of London. One of
his most noteworthy etchings represented an eagle
soaring with a cat in its talons, an incident which

FRANCIS BARLOW 43

came under his notice when drawing landscapes in
Scotland. The struggles of the cat brought its
captor to the ground, and Barlow secured the two.
It is stated that the golden eagle is particularly
partial to the flesh of the cat, and that the bird will
eat this readily in captivity when, through indis-
position, it refuses other meat.

Barlow achieved considerable renown by his
success in decorating the ceilings in country
mansions with pictures of birds ; his brush was
much in demand for this work, and it became one
of his specialities. Natural history objects did not
claim his exclusive attention ; he designed some
monuments for Westminster Abbey among other
works ; and a curious long roll engraved by Robert
White, representative of the procession and cere-
monies with which the obsequies of General Monck,
first Duke of Albemarle, were solemnised in 1670,
has for frontispiece a design by Francis Barlow.
He painted and etched a half-length portrait of
Monck. Mention may also be made of two plates
engraved by Hollar from Barlow's drawings for
Stapylton's Translation of Juvenal published in
1660.

His talents as a draughtsman were more remark-
able than his skill as a colourist, hence his work
appears in a more pleasing aspect through engrav-
ings and etchings, especially those by such gifted

44 ANIMAL PAINTERS

men as Hollar, Fairthorn and John Griffiere, than
in the original paintings themselves. The engravers
indeed have placed him under an obligation in that
they have so largely contributed to rescue his name
as an artist from the obscurity which has overtaken
his followers.

Francis Barlow died in 1702.

WORKS OF FRANCIS BARLOW.

IN THE BRITISH MUSEUM.

(i) ILLUSTKATIONS TO ^SOP'S FABLE OF THE YOUNG MAN AND HIS
CA T. — A youth of effeminate appearance, fondling his cat, kneels on a balcony
supplicating Venus to transform it into a woman. She, with Cupid by her, newly
arrived from her dove-drawn car, appears in the sky (left) and grants his prayer. In
a recess (right) a bed, from which the woman springs on seeing a mouse run along
the floor. This design was probably done for Barlow's edition of the Fables, but
another was substituted in the book. Indian ink; size, 4^ io. by 6^ in.

(z) Two on one mount, viz. :— («) GOATS AND SHE£F.~-On a mound in the centre
hegoat ; two goats (left) and a ram with two sheep (right) under a tree with a magpie
and two tits ; in the foreground a mole. Indian ink ; size, 5^ in. by 8 in. (d) SIS 'INE
AND DONKEYS.— A yard with a mound in the middle, on which is a boar ; a
sow lying (left) and three pigs behind, one coming from a sty ; (right) two donkeys,
and a man with a pitchfork looking over the palings into the yard. Indian ink ; size,
5J in. by 8 in.

(3) Two on one mount, viz. \—{a) BEAKS. — Two bears confronting each other, with two

others behind, one of which (right) is climbing a palm tree. Indian ink ; size, 5I in.
by Sii in. iS) LEOPARDS AND LYNXES.— Two leopards, one seen in front,
the other turned towards a couple of lynxes ; in the background, a leopard leaping
on a stag. Indian ink ; size, i\ in. by Z\ in.

(4) STUDY OF A DEER. — A buck anda roe, side by side, moving towards the left, where

another buck is feeding, and a hare sits in a listening attitude ; (right) two rabbits
and tree with squirrels in the branches; five wild ducks flying (left). Indian ink;
size, 5I in. by 8i in.

(5) STUDY OF HORSES.— A horse turned towards the left; behind him another horse

reajing up on its hind legs, and a number of others in varied attitudes in an undu-
lating meadow beyond, bordered with distant trees. Indian ink; size, 5? in. by S in.

WORKS OF FRANCIS BARLOW 45

(6) STUDY OF CATTLE.— \ cow grazing, turned to the right ; two oxen half seen behind

her ; two more further off in the field (right), one lying down, the other feeding near
a tree ; in the distance a hill, crowned with a church spire. Indian ink ; size, gg in.
by 8 in.

(7) HOUNDS. — Five hounds, four of them coupled in pairs ; a man with lifted stick halloa*

ing (right) and a hare running away over a little hill in the landscape behind. Indian
ink ; size jf in. by 8 in.

(8) STUDY OF DOGS AND A C^T.— (Left) A mastiff, chained by the collar to his

kennel and showing his teeth ; in the centre a greyhound surveying a cat (ri-hl)
which stands with arched back and furious expression, on a low stone wall, while a
spaniel barks at it, with forepaws on the wall. Signed, " F. Barlow." Indian ink;
size 5^ in. by 8 in.

(9) ILLUSTRATION TO EDWARD BENLOIVE'S '' THEOPHILA, OR LOl'ES

SACRIFICE," 1652. — Theophila, besieged by deadly sins, in the shape of wild
beasts, kneels and prays to a fountain with a cross above it, emblematic of Christ's
sacrifice ; behind, the Garden of Eden, with Adam and Eve being tempted and
driven out. Indian ink; size, 7J in. by 5^ in.

(10) THE FOX AND THE EAGLE'S NEST.— An eagle's nest, apparently in flames,

on the top of a high rock ; a fox tumbles from it on the approach of the parent birds.
In the foreground the mother fox and cubs in a hole under trees (right), beyond the
trees a smoking altar. Pen and sepia, with Indian ink wash ; size, 3J in. by 3J in.

(i:) PARTRIDGE STALA'IA'G.~A field, with partridges in the foreground, and (right)
a man concealing himself behind a horse, which advances from under a tree ; a dof^
(right); beyond, trees and a hill. Indian ink ; size, -jl in. by ii| in.

(12) AN EAGLE CARRYING OFF A DUCKLING.— li soars in the air, grasping a
duckling in its talons, while it bites at the head with its beak. (Right) A hill with
a cottage among trees. Pen and sepia, with Indian ink wash ; size, 5 in. by 6^ in.
(An etching by Barlow of a similar subject, an eagle carrying off a cat, said to have been
sketched from life in Scotland, is in the department at the Museum.)

IN THE SOUTH KENSINGTON MUSEUM.

PARTRIDGES AND SNIPE (water-colour).

MARES AND FOALS (drawn with a reed pen in sepia and Indian ink).

FARAtrARD WITH FIGURES (Landscape background (Indian ink).

46

THE BARRAUDS.

William Barraud. (Born 1810. Died 1850.)
Henry Barraud. (Born 181 1. Died 1874.)

ABOUT the year 1650, half a century after the
Revocation of the Edict of Nantes, Gabriel
Barraud and Madeleine his wife came from
Normandy to London. What Gabriel Barraud'.s
calling was does not appear, nor does it greatly
concern us, it being with his descendants that we
have to do. One of these, Paul Philip Barraud,
about the middle of the eighteenth century,
established himself in Wine Office Court, Fleet
Street, as a watch and chronometer maker; and
afterwards moving to 41, Cornhill, achieved fame
in his own particular line. Paul Philip's son,
William Francis, who held an appointment in the
Long Room at the Custom House, married and
had twelve children, five sons and seven daughters.
The two elder sons, William and Henry, became
the artists whose works now claim our attention.

William Barraud, the elder of these two,
was born in iSio. From school he was sent direct
to an office in the Customs, where his father's

WILLIAM RARRAUD 47

interest had procured him an appointment — the
parent of large family feeling doubtless that it
was more important to secure for the boy a start
in life rather than allow him to depend for a
livelihood on the chance of succeeding as an
artist. That William Barraud's tastes were artistic
from the beginning is obvious, for he occupied
his stool in the Custom House only a short time,
and left it to study under Abraham Cooper, then
an Academician and enjoying the earlier years of
his fame as a painter of animals. Under such
guidance William Barraud's talents developed
very rapidly ; in his nineteenth year we find him
exhibiting for the first time in the Royal Academy,
and perhaps as a direct consequence receiving a
commission for the portrait of a dog. This was
given him in 1829 by Mr. John Turner, of
Clapham Common, a well-known coursing man
of the time, who commissioned him to paint
the likeness of a favourite greyhound named
Triumph. An engraving from this painting,
by J. Webb, appeared in vol. Ixxiii. of the
Sporting Magazine. Triumph is described as a
" red greyhound bitch " ; she won the Goblet at
Epsom in 1828, and divided the Hedley Stakes
with Mr. North's Lancer at Epsom in 1829.

In the following year William Barraud's work
attracted the attention of the famous Master of

48 ANIMAL TAIXTERS

Hounds, Mr. John Warde, known after fifty-seven
years of mastership as the " Father of Foxhunters."
The approbation of so acute a judge of horse and
hound indicates the skill with which the young
artist reproduced the character of an animal on
his canvas. His first picture for Mr. Warde was
a portrait of Betsy, a favourite fo.xhound bitch,
and the next, painted in the following year, a
portrait group comprising Mr. Warde on Blue
Ruin, with Betsy looking up to her master. The
picture of Betsy was engraved by J. Webb and
reproduced in the Sporting Magazine ; a plate by
Webb from the second work was published in the
New Sporting Magazine.

This portrait group proved a fortunate commis-
sion to William Barraud ; the likenesses of master,
horse, and hound were considered admirable, and
the artistic ability exhibited in the handling gained
the painter no little reputation. It must be added
that he was lucky in his equine subject, for Blue
Ruin was known as an extraordinary hunter.
Foaled in 18 10, Blue Ruin derived his name
from the fact that he was bred by a gin distiller
at Maidstone ; he was three parts bred, being by
Mr. Mellish's thoroughbred Didler, by Pegasus,
a horse nearly related to the famous Wellesley
Arabian, out of a half-bred mare. He stood
sixteen hands, and was long a favourite of Mr.

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WILLIAM EARRAUD 49

Warde, who, as his picture shows, was no ordinary
welter weight. On one occasion Blue Ruin was
lent to Mr. Assheton Smith, who rode him through
an extraordinary run which lasted nearly an hour ;
not a man of the field could catch them, and the
horse still had plenty left in him when hounds
pulled down their fo.x. Mr. Assheton Smith offered
Mr. Warde a large sum for Blue Ruin, but the
veteran refused to part with him at any price. He
was a marvellous stayer, and is said to have done
sixt}-two miles in a curricle without having the
bit removed from his mouth. This horse reached
his thirtieth year in Mr. Warde's possession, and
at that age was still able to do occasional journeys
in harness to London. "The Father of Fo.x-
hunting." a portrait of Mr. Warde. painted by
W. Barraud, engraved in large size and printed
in colours, was published in 1835 by Rudolph
Ackermann.

These works added yet further to the artist's
reputation, and his services were sought by many
of the leading sportsmen of the day, for whom,
often in collaboration with his brother, he painted
numerous pictures. Henr)- Barraud had achieved
success as a landscape and portrait painter, and
the brothers did so much work tosrether that it is
impossible to treat the career of each entirely by
itself One of their more noteworthy joint works

4

50 ANIMAL PAINTERS

was " The Wiltshire Coursing Prize Picture," a
large canvas containing forty-six portraits of the
leading lights in the turf and coursino- worlds.
Among the gentlemen who appear in this picture
are Lord Stradbroke, Sir Hesketh Fleetwood,
Mr. Bowes, Mr. Harry Briggs, Mr. Bagge, Mr.
Etwell, Captain Daintree, Mr. Graham, Squire
Goodlake, Mr. Inskipp, Mr. Parkinson, Mr. Bowyer
Smith, Mr. Wyndham, and Mr. Nicholson the
flag steward. The group is painted against a
landscape background with a view of Stonehenge
in the distance. This picture was afterwards en-
graved and published by the artists themselves.

Other pictures produced by the two brothers
were : " Portrait of Thomas Brand, Esq., and his
Huntsman;" "Portrait of Mr. Davis, Huntsman
to Her Majesty, on his favourite mare, with
hounds;" "A Royalist Family taken Prisoners by
the Puritans ; " " Waiting for the Laird ; " " The
Meet at Crick ; " " The Death of the Hare at
Stonehenge ; " " The Last Resource ; " " Androcles
and the Lion ; " " The Last Stake; " and " Border
Law." The last a Sporting Magazine critic,
writing on the Royal Academy pictures of 1838,
considered " the best the Barrauds have in the
e.xhibition," being noteworthy for its boldness of
conception. The work represented the return of
some marauding chieftain with a maiden on his

WILLIAM BARRAUD 5 I

saddle bow ; his followers drive before them the
"lifted" cattle. "The Fathers of the Pack,"
also a joint work, was a group comprising portraits
of Mr. Richard Hill, his huntsman and the
"fathers" of the Pytchley pack of the day, three
hounds named Fairplay, Helicon, and Watchman.
This work was engraved by Davey and published
in 1850. Davey also engraved a plate from
another picture painted by the brothers, " A
Portrait of Mr. Hill," w'ho was a Master of
Hounds in Yorkshire for forty years, and four
couples of his hounds. Several of the works
enumerated above were exhibited at the Royal
Academy, to which, between the years 1829 and
1850, William Barraud sent fifty -seven pictures,
inclusive of some in whose production his brother
had a part. In 1S33 he painted a small portrait
subject representing his uncle, Martin Barraud, a
well-known sportsman, standing with a greyhound
by his side, and a small retriever in the near
foreground.

In the volumes of the Sporting Magazine,
between the years 1829 and 1861, we find seven-
teen plates from his pictures, several of which
were the work of J. Webb, John Scott, and E.
Hacker. Portraits of greyhounds are frequent
among these : the picture of Mr. John Turner's
Triumph has already been mentioned as the

52 ANIMAL PAINTERS

artist's first commission. Tiney, another grey-
hound, whose portrait was engraved for the
magazine, won the Puppy Cup at Epsom in
1827. Twilight, a blue bitch, and Wyandotte,
a red do^, met in the deciding course for the
Wiltshire Coursino- Prize Picture. Sarah Bate
and Sedlitz were noted greyhounds ; the former,
in 1844, won a Puppy Stake, and in 1845 she
beat Captain Daintree's famous Killena in a
match for 100 guineas at Newmarket. Sedlitz,
in October, 1845 (then named Fan), ran up
to Pilgrim for the Great Champion Puppy Stake
at Amesbury ; in the following December she
won the Champion Puppy Cup at Newmarket ;
in 1847 she divided the Deptford All-aged Stakes
with Mr. Etwall's Waterfall ; and at Amesbury
won the first sixteen-dog stake for the Great
Wiltshire Coursing- Picture. Midsummer and
Snowball belonged to Mr. Henry Miller, of
Frome ; the former, a red bitch, won a ;^50 stake
at the Deptford Open Meeting in December, 1847.
A good example of William Barraud's skilful
handling of animals in motion is his picture of
Winchelsea, a deer belonging to the Surrey Stag-
hounds. Mr. Robinson, the master, bought him
with twenty others from Sir Edward Dering,
of Surrenden in Kent with whose hounds he had
given long runs. Winchelsea once went down a

WILLIAM BARRAUD 53

deep cutting on the Brighton Railway, near
Merstham, and led hounds in full cry through
the tunnel. The train from London to Brighton,
the deer, and the pack were all in the tunnel
together, but quarry and hounds emerged in
safety.

In the volumes of the New Sporting Magazine,
between 1831 and 1836, are five engravings
from William Barraud's pictures, three of them the
coursing subjects for which he seems to have had
a special liking.

If this artist attained to no conspicuous eminence
he was at least a clever draughtsman who has
left us good work in his pictures of sport, por-
traits of sportsmen and famous horses and dogs.
He did not confine his brush to sport and kindred
subjects ; a few of his Royal Academy works
betray his taste for classic and historical scenes,
while the pictures by which he is probably most
widely known are two of a sentimental or pathetic
character. The plates which were engraved from
these had an enormous sale

William Barraud died after a short illness in
1850 at the comparatively early age of 40 years.
He left one son, a member of the Catholic priest-
hood, believed to be living in 1898 at George-
town in the United States.

54 ANIMAL PAINTERS

WORKS OF WILLIAM BARRAUD.

IN THE SOUTH KENSINGTON MUSEUM.

MARES AND FOALS (water-colour), signed. (IViUiam Smith Bequest.')

EXHIBITED IN THE ROYAL ACADEMY.

YEAR

iSif-STUDy OF AN ASS.

1S30-/OHN TURNER, ESQ., ON " JIfAKQU/S" IVITH A BRACE OF GREY

HOUNDS.
i83i-(3) POINTERS— THE COUNCIL OF HORSES— AN OLD HUNTER.
i832-(3) AN OLD HACKNEV-A FAVOURITE COB— GULLIVER MEETING

THE HOUYHNHNMS.
iZii— (2) SHAKESPEARE, a Hanl^r — JULIAN PEVERIL COMPELS CHIP-

FINCH TO RESTORE THE STOLEN PAPERS (vide " Peveril of the

Peak.")
\%-<,l,—LORD MARMIONS CHARGER.

iS35-(3) THE SENTINEL- A TERRIER— A FAVOURITE HORSE.
i836-(2) RUFUS—PONY AND BOY.
\Zyi—FA VOURITES.
1^38— (3) A FAVOURITE SPANIEL — SCENE IN OTTERSHAW PARK,

SURREY, with portraits— r/jVl'.
1839— (3) PLATO, property of the Marquess of Hastings— 7"^j?7'/J^, property of Her

Majesty— 57/0 y.
ri^a-CAPTAIN DALGETTY AND HIS HORSE GUSTAVUS.
1841— (3) CATSUP— THE POPE'S .MULES AT THE FOUNTAIN OF TREVI—

PORTRAITS.
,843— (2) DEAD FALLOW DEER— HORSES, the property of Sir Geo. Farrant.
1844— (3) CONRACH-iVAlTING FOR THE FERRY— PORTRAITS.
1845— (2) FAVOURITE HORSES— FAVOURITE HORSES.
1S46— (2) CONRAD, a two-year-old shorthorn bull, bred by Sir Charles Knightley, Bart.—

TWO FAVOURITE SPANIELS OF LORD METHUEN.
,i^S—{2) FAI'OURITE HORSES OF THE MARQUIS OF WORCESTER-
SCOTCH TERRIERS.
iS^q— THE GRAYLING, a celebrated Huiiler.
,85o_(2) FAVOURITE PONY AND DOGS.—SKYE TERRIERS.

(For pictures painted by William Barraud in collaboration with Henry, see
page 59-)

PLATES IN THE SPORTING MAGAZINE (17 in number).

TRIUI\IPH, greyhound, i82g, vol. 73; engraved by J. Webb — TINEY, greyhound,
BETSY, foxhound, 1829, vol. 75 ; both engraved by J. Webb.

THE MOORS, 1840, vol. 96 ; engraved by John Scott.

THE TRYSTING PLACE, 1841, vol. 99 ; engraved by G. Patersoii.

WINCH ELSE A, a famous deer, vol 104.

ROBERT BARTLETT, ist whipper-in to H.M. Buckhounds, 1845, vol. 106; engraved
by 0. Paterson.

HENRY BARRAUD 55

Oi^CE MORE UPON THE MOONS, 1848, vol. 112 ; engraved by H. Beckwith.

TIV{LIGHT AND WYANDOT TE, 1S4S, vol. 112; engraved by J. Scott— Z'Vf/l/'T'J
FROM THE BAD.UINTON, 1848, vol. 112; engraved by J. Scott.

SARAH BATE AND SEDLITZ, 1849, vol. 114: engraved by E. Uxka.—THE
NEASDON HARRIERS, 184Q, vol. 114 ; engraved by E. Hacker.

(3) BRITISH YEOMAN, a bay hor«, winner of the Great Metropolitan Steeplechase,
1849. 1S50, vol. 115; engraved by E. HucVer — HERE COME THE
HOUNDS, jSso, vol. 115; engraved by E. Hacker — r//£ COURIER'S
COMPANION. Jack, a favourite servant of Henry Miller, with Midsummer
and Snowball, 1850, vol. 1T5 ; engraved by E. Hacker.

BEAUTY AND THE BEAST, 1853, vol. 121 ; engraved by E. Hacker.

A ROUGH LOT, i36i, vol. 138 ; engraved by E. Hacker.

PLATES IN THE NEW SPORTING MAGAZINE
(5 in number).

JOHN IVARDE, ESQ., ON HIS FAVOURITE HORSE BLUE RUIN, 1831;

engraved by Webb.
COURSING, 1832 ; engraved by Scott.
COURSING, 1833 ; engraved by Englehart.

GREYHOUND AND WHELPS, .834 ; engraved by Duncan.
THE JOCKEY AND HIS HACK, 1836 ; engraved by Cooke.

Henry BaRRAUD, born in 1811, like his
elder brother began life as a clerk in the Custom
House after leaving school, and for a short time
worked there under his father. Him also Art
claimed before he had long occupied his stool, and
he left the Customs to study under J. J. jMiddleton,
a draughtsman and landscape painter. His bent
was more in the direction of landscape and por-
traiture than towards sport and animal life. It
will be remarked that among the pictures which
he (from his own easel and not conjointly with
William) contributed to the Royal Academy
between the years 1833 and 1845, o"ly ^^e first
was an animal picture. This was sent in when

56 ANIMAL PAINTERS

he was living with his brother at Champion Hill,
Camberwell, and is thus described in the catalogue
of the 1833 exhibition: —

" FiTzjAMES Lamenting over his Steed."

" Woe worth the chase, woe worth the day
That cost thy life, my gallant grey."

Lady of the Lake, Canto I.

The two brothers shared a studio, and as already
said, painted numerous important pictures together :
among these, one which attracted great attention
and gained for the artists considerable repute was
" The Annual Benediction of the Animals of Rome
on the Feast of St. Anthony, by the Pope." This
work was exhibited in the year 1842. It seems
right to notice this picture among Henry's Royal
Academy exhibits rather than those of William,
as the works of the former betray a knowledge of
Italy which we do not discover in those of the
latter ; and while it is quite probable that William
contributed as much brush-work to the canvas as
his brother, the idea of the picture and the general
scheme must, for the reason given, be considered
Henry's.

The volumes of the Sporting Magazine between
1854 and 1 86 1 contain seven plates from pictures
of a sporting character by Henry Barraud — por-
traits of horses, hounds and greyhounds. -Wanton,
whose picture, engraved by Hacker, was published

\ ^^

^■^ \

^

.. /

HENRY BARRAUD

HENRY BARRAUD 57

in vol. 123, was a famous red bitch greyhound
bred by Mr. Webb in 1849 ; of the one and thirty
courses in which she was sHpped in pubHc she
won no fewer than twenty-si.x. Hotspur and
Languish were a couple of harriers from Sir
Humphrey de Trafford's pack.

Among his subject pictures may be mentioned
"The Lobby of the House of Commons in 1S72,"
"The London Season" and, more within our
scope, " Lord's Cricket Ground." His portrait of
Uxbridge, one of Her Majesty's saddle horses,
is in the possession of Mr. F. P. Barraud.

By far the best known of his works was the
picture of three choristers entitled, " We praise
Thee, O God ! " engravings from which have been
sold, it is no exaggeration to say, in hundreds of
thousands. Few pictures of the devotional class
to which this belongs have ever achieved the
immense popularity of this unpretentious work by
Henry Barraud. It may be added that the
legend concerning the fate of the youths whose
portraits appear in the picture was floated in a
spirit of cynical jest and has no foundation in fact
whatever. One of the boys was not hanged, nor
were the other two sentenced to penal servitude
for life ; the three were Henry Barraud's eldest
son, his nephew, a son of William, and a friend of
theirs ; all became respectable members of society.

58

ANIMAL PAINTERS

Henry Barraud died in the year 1874, leaving
nine children, five boys and four girls.

WORKS OF HENRY BARRAUD.

EXHIBITED IN THE ROYAL ACADEMY.

YEAR

i%yi—FlTZ}AMES LAMENTING OVER HIS STEED.

1834— y« PORTRAIT.

1835— /4 .MOTHER AND CHILD.

itid— PORTRAIT OF A LADY IN THE With YEAR OF HER AGE.

jS37— SCENE FROM THE OPERA OF LA GAZZA LADRA.

i%if,— MINSTRELS OF THE FIFTEENTH CENTURY.

lit,!.— DOORWAY IN THE CHURCH OF THE SPIRITO SANTO, FLORENCE.

JS42— ROBERT BRUCE AND THE SPIDER.

1844 (i)— /J BARD— THE THEORY OF GRAVITATION, suggested to Sir Isaac

Newton by the fall of an apple.
jiS-2— MASTER BERESFORD LOWNDES, WITH FAVOURITE PONY AND

DOGS.
liii-THE TEN VIRGINS.

i8s5-(2) BIRDS OF A FEA THER—THE HO.^IE A T NAZARETH.
iSsy—FETE DIEU.
\%iZ— PORTRAITS OF HORSES.
tis^-THE EARL OF ARUNDEL AND SURREY, WITH FAVOURITE

PONY AND DOGS.

PL.ATES IN THE SPORTING MAGAZINE (7 In number).

WANTON, a Greyhound, 1854, vol. 123 ; engraved by E. Hacker.

THE KEEP A T ARUNDEL, Three horses, the property of the Duke of Norfolk, 1836.

vol. 131 ; engraved by J. H. Engleheart.
HOTSPUR AND LANGUISH, 185S, vol. 132; engraved by W. Backshell.
A ROUGH CUSTO.tlER, a thoroughbred Skye Terrier, 1855, vol. 133; engraved by J.

H. Engleheart.
POLYDORA, WITH SISTER TO PANDORA AT FOOT, bred by the Duke of

Portland in 1S37. i860, vol. 135 ; engraved by E. Hacker.
ANNETTE AND POLYXENA, Brood Mares, the property of Earl Spencer, i860, vol.

136 ; engraved by E. Hacker.
KEEPER'S COME, SIR, 1861, vol. 137 ; engraved by E. Hacker.

WORKS OF HENRY BARRAUD 59

PICTURES PAINTED IN COLLABORATION BY WILLIAM

AND HENRY BARRAUD, EXHIBITED AT

THE ROYAL ACADEMY.

YEAR

1836— {2) THE LAST RESOURCE— THE CHILDREN OF THOS. KEEX

ESQ., WITH THEIR FAVOURITE PONY.
i%n—THE LAST STAKE.
■Al%-i-2) BORDER LAIV—ANDROCLES TAKING THE THORN FROM THE

LIONS FOOT.
■Ay^-THE MISSES ROBARTS ON THEIR FAVOURITE HORSES.
A^i—THE AN.VUAL BENEDICTION OF THE ANIMALS AT ROME ON

THE FEAST OF ST. ANTHONY.
1843— 7"jV£ claims OF ST. FRANCIS.
it\i,—HER .MAJESTYS BEAGLES.
\iiS—A. (K ROBERTS, ESQ.

1846-/4 ROYALIST FAMILY TAKEN PRISONERS BY THE PURITANS.
1847— (3) THOMAS BRAND, ESQ., WITH HIS HUNTSMAN— THE EARL

OF COVENTRY AND HIS SISTER— WAITING FOR THE LAIRD.

1S4B— THE STABLE YARD.

iS^g— MR. DAVIS, HUNTS.VAN TO HER MAJESTY, WITH HIS
FAVOURITE MARE AND SO.UE FAVOURITE HOUNDS.

6o

J. BEST.

(Born circa 1750.)

J BEST, though not one of the most notable
• artists of his time, is entitled to mention as
the painter of several pictures of animal life and
sporting subjects which secured the attention
of contemporary judges. He was born about the
year 1750, but we can ascertain nothing concerning
his parentage and circumstances. It is known that
he employed much of his time in copying the
works of other artists, and we find our starting
point in his artistic career while he was yet a
copyist. There is in the Elsenham collection a
large painting — 60 inches by 39 inches — which
was sold at Christie's twenty years ago under the
belief that it was by George Stubbs, R.A. ; it is
entitled " The Waldegrave Family," and contains
portraits of Lord and Lady Melbourne, Sir Ralph
Milbanke, and Mr. John Milbanke. The lady is
seated in a low park j^ony-carriage drawn by a
white pony, and Lord Melbourne stands by its
side. The execution of the work quite justified
the belief that Stubbs was the artist ; but during
the process of re-varnishing, "J. Best, 1770," was
discovered lurking modestly in the right-hand
corner. It is an excellent copy of the original

J. BEST 6l

picture by George Stubbs which is in possession
of Earl Cowper at Panshanger, Hertford.

The first mention of Best's original work occurs
in 1772 ; in that year he was for the first time
represented at the Exhibition of the Society of
Artists ; he contributed to this Exhibition in sub-
sequent years, but with no regularity ; on only
six occasions does his name appear in the cata-
logues of the Society from 1772 to 1787 — exclusive
of his maiden exhibit. Only two pictures from his
easel appear to have found their way into the
Royal Academy. In 1782, then residing at 10,
Titchfield Street, Oxford Street, he exhibited a
painting of "A Large Ox," and five years later
he was again represented at the Royal Academy
by his " Portrait of a Warwickshire Ox," his
address in that year being 108, Bunhill Row.

The former work, by the way, was executed for
Mr. Robert Bakewell of Dishley, the celebrated
grazier and farmer, who will ever be remembered
as the man who produced and established as a
distinct variety the Leicestershire breed of sheep.
The Leicester sheep, to quote Youatt, " within
little more than half a century spread themselves
over every part of the United Kingdom and to
Europe and America." More germane to the
matter in hand, however, though less potent in
contributing to Bakewell's fame, were his sue-

62 ANIMAL PAINTERS

cessful endeavours to produce a new variety of
cattle called the " Dishley cattle," or the "new
Leicestershire Longhorn." The breed has now
died out, but it was probably a typical specimen
which Best was commissioned to paint.

The first volume of the Sporting Magazine,
published in 1792, contains two plates from pic-
tures by Best, viz., "Gamecocks" engraved by
Cook. These are portraits of two birds which
achieved great fame in the cockpit ; one is of a
Birchin Yellow in full plumage : this cock fought
eleven battles, and was then withdrawn from
active service to be used as a brood cock. His
produce proved worthy of him, for we read that
thirty-six of them fought in one main in the
Royal Pit, Westminster, and that thirty-two of
them won their battles. The other picture shows
a Ginger Red Cock cut or trimmed in readiness
for the pit : this bird also fought at Westminster,
and won a battle in which he was backed at 20
to I : this bird was also a winner at Guildford
in the following year.

No record of Best's later career — if indeed the
above outline does not reflect the whole — nor of
the date of his death, can be traced.

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63

BENJAMIN BLAKE.

(Boru circii 1780.)

IDENJAMIN BLAKE was born about the year
-*-^ 1780; concerning his parentage, birthplace,
and early life nothing can be ascertained. Though
not an animal painter in the e.xclusive sense of the
expression, his frequent choice of subjects pertain-
ing to field sports justifies notice of his works;
and to his works indeed our remarks must be
confined in the absence of any record of the
painter's life.

Blake dealt with various subjects, showing a
preference for landscape ; but as he had few
private patrons and did most of his work for
dealers we may conjecture that in selecting sub-
jects for his brush he was influenced less by per-
sonal inclination than by the wishes of those who
commissioned pictures or purchased them. His
works display great ability and most careful execu-
tion ; the latter quality being one which is found
at its highest in the pictures of artists who paint
on a small scale. Blake was one of these ; his
paintings were most usually done on boards of

64 ANIMAL PAINTERS

small (cabinet) size. He was a skilful copyist, and
devoted a good deal of his time to making copies
of the Dutch masters. He did many of these,
and with such nice appreciation of style and
character as to deceive even connoisseurs in art.

He lived a very retired life, and there is nothing
extant to show where he dwelt; in 1807 we find
him in Winchester Row, Paddington, from which
address he sent his first picture to the Royal
Academy ; but it is not likely that a painter whose
works include so many landscapes passed any con-
siderable portion of his time in the metropolis.
Between the years 1807 and 1825 inclusive, he
was represented at the Royal Academy by thirteen
pictures shown at eight exhibitions. His first
exhibit was the " Portrait of an Artist " ; on sub-
sequent occasions his name occurs in the catalogue
as painter of a "View near Amesbury " (1808);
"View at Great Durnford, Wiltshire" (1811);
while two landscapes, painted respectively near
Amesbury and Great Durnford, shown at the
exhibition of 181 2, suggest that if he did not for
a time at least reside in that locality it had special
attractions for him. In 18 16 he was represented
at the Royal Academy by a " Sketch from Nature "
and a "Landscape with Figures;" while in 181 7
he reached his maximum in a single year with
three pictures on the Royal Academy walls. In

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BENJAMIN BLAKE 65

1 82 1 he exhibited one study of "Dead Game"
and in 1825 two similar works.

At other galleries he exhibited more largely. In
1824 his name is mentioned as that of a Founda-
tion member of the Society of British Artists : to
the annual exhibitions of that body he contributed
seventeen works ; and at the Suffolk Street gallery
he showed nineteen pictures. Many of his paintings
are to be seen in private collections, and occa-
sionally they come into the market. A few
examples of pictures which fall within our scope
may be described : —

" Dead Game," painted in 1823; a heron hanging
up by the feet with loosely extended wings ; a
pheasant and a partridge also hanging ; a hare,
wild duck, and other game on a table beneath.
On board: size igi inches by 133 inches. This
admirable specimen of Blake's work is here re-
produced. "Dead Game," painted 1S2S ; par-
tridges and wild duck hanging from ceiling ; an
earthen vessel and basket of eoro-s on a table. On
board : size 10 inches by 8 inches. " Dead Game
and Codfish," painted 1S30; the game, a pheasant,
hare, and wild duck are hanging ; the cod, sur-
rounded by oysters and vegetables, lies on a table.
On board, size 12 inches by 9^ inches. Another
picture of this class, which Blake was fond of
painting, shows a heron lying on a large barrel
5

66 ANIMAL PAINTERS

with an earthen vessel ; a partridge and a hare
with a long string of onions hang on the right ;
shelf with bottle and baskets in the near back-
ground. On board : size gi inches by 1 1 inches.
Yet another shows a hare, with wild duck and other
smaller birds on a table, a rush game bag hanging
against the wall. On board: size ii^ inches by
9 inches. He painted also a picture of " Dead
Game " for Lord Francis Egerton for the Bridge-
water Gallery.

Several of Blake's pictures were engraved ; in
the Sporting Review for 1843 we find a plate en-
graved by Westley from one of his beautiful
studies of Dead Game.

Nothing- can be discovered to show even the
approximate date of Edmund Blake's death ; the
last trace of his artistic career occurs in the year
1833, when a picture from his easel was exhibited
in one of the London galleries. His age would
then be about 53 years. There is nothing in the
Sporting Review of 1843, which contains the plate
above mentioned, to show whether the artist was
alive in that year.

WORKS OF BENJAMIN BLAKE 67

WORKS OF BENJAMIN BLAKE.

EXHIBITED IN THE ROYAL ACADEMY (13 in number).

VEAR

iZoj— PORTRAIT OF AN ART/ST.

iSoS—F/£ty AT DURFORD, NEAR AMESBURY.

iSii—y/Eir AT GREAT DURNFORD, WILTSHIRE.

1812— (2) VIEW NEAR AMESBURY, with dguTes—WOODHOi'SE, AT GREAT

DURNFORD, NEAR SALISBURY.
1816— (:) SKETCH FROM NATURE— LANDSCAPE AND FIGURES.
i&ij~{^) COTTAGE— A LUNCHEON— A LANDSCAPE
1S21— DEAD GAME.
1825— (j) DEAD GAME— DEAD GA.ME.

68

JOHN BOULTBEE.

(Born 1747. Died 1812.)

JOHN BOULTBEE was one of twin sons
born to Mr. Thomas Boultbee of Stordon
Grange, Leicestershire, in 1 747. The name was
originally spelt " Bolteby " ; but the owner of the
name, having got into trouble through his support
of the Stuarts was obliged to leave his native
county of Yorkshire and go into hiding ; after-
wards settling in Leicestershire as Mr. "Boultbee,"
the change being adopted for the sake of security.
Both the boys evinced marked artistic talent at
an early age, and In course of time became
pupils of Sir Joshua Reynolds. Thomas having
devoted himself principally to portrait and land-
scape painting, claims but little attention at our
hands ; but it may be of interest to mention
that among his pictures he painted a portrait of
his great-uncle, Thomas Boultbee, for sixty-three
years Rector of Brailsford, In Derbyshire. This
Mr. Boultbee was able to perform his duty till
the time of his death, which occurred when he
was ninety-two years of age. He was evidently a

JOHN BOULTBEE 69

sportsman as he is described in family papers as
being "great in the Scriptures as well as mighty
in the saddle." The picture referred to is now in
the possession of his descendants.

In 1776, John Boultbee, then resident at 338,
Oxford Street, e.xhibited his maiden picture in the
Royal Academy ; this did not reflect the true bent
of his talent, being described in the catalogue as
" A Landscape." After this we lose sight of him
for seven years ; recovering the thread of his
career through his second contribution to the
Royal Academy in 17S3. This work, sent up
from Derby, where, as the catalogue shows, he
then lived, was the portrait of a stallion named
Pensoroso which he painted for T. W. Coke, Esq.
Mr. Coke, it may be added, was a member of
the family of Cokes, a scion of which was
William, a famous follower of the Ouorn hounds,
who gained a modest meed of immortality by in-
venting the low-crowned hat which was named
after him the "billy-cock." In 1785, for Mr.
Richard Tattersall, Boultbee painted the portrait
of Highflyer, one of the most celebrated horses
on the turf, and at the stud known to equine
history.

Highflyer was bred by Sir Charles Bunbury
by King Herod, dam by Blank ; and was pur-
chased as a yearling at a very moderate price by

JO ANIMAL PAINTERS

Mr. Compton. He was a bay, standing about
15-3 hands, and up to weight; he had a tremen-
dous stride and was further a thoroughly honest
horse. Highflyer's height was quite beyond the
usual standard, as the average of race-horses (stal-
lions) at that period was between 15 hands and
I5'i hands. He never ran on any course but
the Beacon at Newmarket, was never beaten,
and never paid forfeit. It is true that his turf
career was as brief as successful ; before being
sent to the stud, he ran in only seven races, and
received forfeit in one, in 1778-79, but in each
event he started at odds on and won with ease.
In 1785 two-and-twenty of Highflyer's get started,
and all were winners, many of very considerable
sums. Among his progeny may be mentioned
Sir Peter Teazle, Rockingham, Marplot, Balloon,
Delpini, and Lady Teazle.

Mr. John Lawrence remarks, "the late Mr.
Tattersall informed me, as a curious circumstance,
that Highflyer got stock of all colours, even to
the pyebald." Boultbee's portrait of this horse
was shown in the Royal Academy Exhibition of

1785-
A year or two later the artist seems to have

turned his attention to the hunting field for

subjects; not unnaturally, inasmuch as in 1787

he was living at Loughborough, in Leicestershire.

JOHN BOULTBEE J I

While residing here he sent a picture entitled
" Horse and Terrier " to the Royal Academy.

In the ensuing year we find him executing a
commission for Mr. Robert Bakewell, of Dishley,
who secured his services to paint the portrait of
a favourite hunter. Though the famous founder
of the Leicestershire sheep achieved his perma-
nent fame through the success which attended
his efforts in that direction, and less lasting dis-
tinction by his evolution of the Dishley cattle,
he was by no means neglectful of the nobler
animal. For some months in 1785 he exhibited
in London a famous black horse which previously
by Royal command had been paraded before
King George III. in the courtyard of St. James's
Palace. Particulars concerning this horse are
wanting ; it would be interesting to know if it
were the animal which stood for its portrait to
Boultbee three years later.

The King furnished very practical proof of his
admiration for John Boultbee's work; not only
was the artist commissioned to paint portraits of
some of George III.'s favourite animals but he was
assigned a residence in Windsor Park that his
services might be the more readily available. We
are not told if Boultbee ever took up his quarters
within the royal demesne, but if he did so his
stay was not a long one, for failing health com-

72 ANIMAL PAINTERS

pelled resignation of the appointment. He exe-
cuted some pictures to the Royal command,
nevertheless ; the originals may be seen at
Cumberland Lodge ; engravings therefrom are in
Her Majesty's collection at Windsor Castle. Lord
Mount Edgcumbe was one of the more prominent
men of the day whom Boultbee counted among
his patrons.

In 1802 the artist painted a set of four hunting
scenes, uniform in size, viz., 2 feet by i foot 6
inches; these are (i) The Start, (2) At Fault,
(3) Full Cry, and (4) The Death. In these
pictures both horses and hounds are carefully
and cleverly portrayed, and are very realistic.
The huntsman and whipper-in are the only human
subjects represented, and their dress displays the
style of the period. These four works are in the
Elsenham collection and a photograph of the last
is here reproduced. The old-fashioned curly horn
carried by the huntsman will be noticed.

One of the artist's pictures, the portrait of a
favourite horse belonging to his brother Thomas,
is now in the possession of the Rev. James
Boultbee, Vicar of Wrangthorn, near Leeds ;
another " Gulliver among the Houyhnhnms," is
owned by the Rev. George Herbert, Rector of
Gannerew, near Monmouth. Both of these works
display the painter's ability, but unfortunately

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JOHN BOULTBEE 73

were left unfinished. A work called " Richard
III. at Bosworth " is reputed to be one of
Boultbee's most strikins^ efforts, but in whose
possession the picture now rests is not known.

"Nimrod," writing in 1835, refers to the splendid
horsemanship of a Mr. Charles Boultbee, a follower
of the Ouorn. The Rev. James Boultbee informs
me that the artist had a son named Charles, born
in 1795, and who died in 1854; but he thinks
the gentleman referred to is more likely to be a
distant relative, the Rev. C. Boultbee, of Temple
Balsall who was Rector of Baxterly.

For some interesting: details relative to the
career and works of John Boultbee, the writer
has to express his thanks to Mr. James T. Pownall,
of 14, City Walls, Chester.

The twin brothers seem to have been much
attached to each other for they lived together ;
Thomas sent his maiden pictures — two " Land-
scapes "—to the Royal Academy E.xhibition of
1776, from 338, Oxford Street, whence John in
the same year sent his first picture. In 1783
when John sent the portrait of Pensoroso from
Derby, Thomas from the same town sent up to
the Academy the only animal pictures we can
trace from his easel ; these were three in number:
— (i) Hunter and a Shooting Horse the property
of T. \V. Coke, Esq., (2) The Portrait of an

74 ANIMAL PAINTERS

Old Charger ; and (3) The Portrait of an Old
Hunter. The first it will be remarked was
painted for his brother's patron, Mr. T. W.
Coke. It is probably only a coincidence that each
of the brothers exhibited the same number of
works : each sent three pictures to the Exhibi-
tions of the Society of Artists, each sent three
pictures to that of the Free Society of British
Artists, and each sent six to the Royal Academy.
John Boultbee died in the year 1812, at the age
of sixty-five.

WORKS OF JOHN BOULTBEE.

EXHIBITED AT THE ROYAL ACADEMY (6 in number).

VEAR

1776— A LANDSCAPE.
i-jiy-PEXSOROSO, A STALLlOy.

1787— (2) TWO HORSES.— HORSE AXD TARRIER (j;Vr.)

i-!&&-i:i) PORTRAITS OF HORSES.— A FAVOURITE HORSE, the property of
Sir. BakewelU

PLATE IX THE SPORTJNG MAGAZINE.

HIGHFLYER, in Volume s3 of i32i.

75

EDMUND BRISTOWE.

(Born 1787. Died 1S76.)

pDMUND BRISTOWE, known as " Bristowe
'^ of Windsor," was born at Windsor on the
1st of April, 1787. The son of an heraldic painter,
he was thus brought up in an atmosphere not
devoid of art : whether he continued to live with
his parents when he reached man's estate we are
not told, but it seems certain that he passed his
whole long- life in the neighbourhood of his birth-
place. His disinclination to go afield may no doubt
be attributed in some degree to the Royal patronage
which was bestowed upon him while he was yet a
youth. At an early age he had the good fortune to
attract the notice of the Princess Elizabeth and the
Duke of Clarence, afterwards William IV. Evi-
dence of their patronage is found in three pictures
in the Royal collection at Windsor Castle. These
are : Coast Guard, a Newfoundland Dog, hang-
ing in the Winchester Tower ; Beauty, a favourite
hound belonging to George III., in the Round
Tower, and " The Pensioners," in the Lobby,
Prince of Wales's Tower.

76 ANIMAL PAINTERS

Bristowe did not confine himself to the portrayal
of animals, though in this department of art he
perhaps attained his highest excellence, displaying
great artistic ability, imaginative power, and intimate
technical knowledge. He painted also sporting
subjects, pictures of rural life, interiors and studies
of still life ; while his talent for portraiture is
sufficiently proved in his numerous sketches of
well-known characters in Windsor and Eton. His
pictures are usually painted on a small scale, cabinet
size finding special favour with him, and these often
display all the finish and delicacy of miniature work.
Among the best of his horse pictures special mention
may be accorded his " Cart Horses," " Barge
Horses," and " Horse Summering," which are
life-like in their pose and treatment and admirable
in composition.

His success as an animal painter was greatly
due to his intuitive sympathy with beasts ; his
remarkable gift for rendering their characteristic
movements and expressions was partly innate, but
it plainly owed much to close and careful observa-
tion. Admirable as are his pictures of horses, his
delineations of monkey, cat, and dog life and
character display equal merit. There is no higher
test of an artist's ability than the opinion his con-
temporaries entertain of it ; and of Bristowe it is
recorded that he was on terms of intimacy with

EDMUND BRISTOWE ']']

Sir Edwin Landseer, who freely accepted sugges-
tions from him.

Bristowe could not have been ambitious of public
recognition : the catalogues show that he sent
only seven pictures to the Royal Academy, and
these at irregular intervals. The probability is he
was satisfied with the distinction that the patronage
of Royalty conferred upon him : but apart from this
it would seem that he had some of the eccentricity
of genius. He would not work to order, but only
when the spirit moved him ; in this he resembled
many other painters whose works have attained
to wider fame, though, in some cases at least, not
more deservedly. His indifference to money, and
affection for some of his own creations are shown
by the circumstance that he sometimes refused to
sell his finished pictures.

His works were appreciated and sought for by
those residing in the immediate locality of his
studio, and private collections in Windsor and Eton
contain many excellent examples from his brush.

He was an occasional contributor to the exhibi-
tions of the British Institution and to the Society of
British Artists ; the latter had the honour of in-
cluding in its exhibition of 1838 the last picture
ever sent by Bristowe to a public gallery. This
was his painting of a " Donkey Race." Although
he lived for thirty-four years after the date named

8o ANIMAL PAINTERS

here reproduced ; and " Summer," also on board, of
similar size and painted in the same year. " Sum-
mer " represents two horses with pigs and poultry
in the foreoround.

The date on these two works mark the period
to which Edmund Bristowe's artistic career can
be traced, though he lived to the ripe age of
eighty -nine years, dying at Eton on the 12th
February, 1876.

Reference has already been made to the distinc-
tive qualities of Bristowe's work : the handling is
always masterly and the finish exquisite, resembling
in many respects the paintings of the old Dutch
masters. His works will doubtless create increased
demand, as few artists painted subjects which
appeal to those who appreciate historical records
of sport, and subjects appertaining to animal life
in the early part of this century.

It is surprising that so little should have been
recorded of this painter's life and works ; his dis-
inclination to court public notice by exhibiting his
pictures may in some measure account for it.

WORKS OF EDMUND BRISTOWE.

EXHIBITED AT THE ROYAL ACADEMY.
Year

iSog—S.lf/TH SHOEIXG HORSE.

1820 — (3) JEFFERIES, for many years earth stopper to the Berkeley Hounds— POi?-
TRAIT OF A HUNTER— MR. NOR.MAN AS DON QUIXOTE IN
THE PANTOMI.ME AT COVENT GARDEN THEATRE.

i823-<3) PORTRAITS OF MEN E.MPLOYED IN THE NURSERY GARDENS
AT SLOUGH— THE PARISH CLERK, SATURDAY EVENING.

li:iq—SH.i.VROCK, the property of C. T. Gaskell, Esq.

wrir\

8i

HENRY BERNARD CHALON.

(Born 1770. Died 1849.)

HENRY BERNARD CHALON was born
in London in the year 1770. His father,
a native of Amsterdam, had in early life left his
own country and had settled in London. The
name was uncommon in England before the
middle of the eighteenth century, and it is there-
fore likely that the two brothers, John James
Chalon and Alfred Edward Chalon, born re-
spectively in 1778 and 17S1, were relatives of
the subject of the present sketch. These brothers
came from Geneva, being members of an old
French family who had taken refuge in that town
after the revocation of the Edict of Nantes. John
James was a landscape and genre painter ; Alfred
Edward devoted himself to portrait and subject
painting; and both attained to considerable
eminence in their respective departments of art
after taking up their residence in England, which
they did in the latter portion of the century.

H. B. Chalon studied at the Royal Academy
and speedily made his mark as a painter of
6

82 AMMAL PAINTERS

animals. His first pictures were shown at the
Royal Academy Exhibition of 1792, when he was
twenty-two years of age ; these were a " Landscape
with Cattle " and a " Landscape with Horses."
He did not exhibit again until 1796; but he
worked to good purpose in the interval, for in
1795 he was appointed animal painter to H.R.H.
the Duchess of York. Late in life he had the
further honour of being appointed animal painter
to William IV.

Henry Bernard Chalon devoted his talents chiefly
to animal portraiture. His 193 contributions to the
Royal Academy, in whose exhibitions he was
represented for a period of forty-five years, consist
largely of such works and of portrait groups which
included likenesses of race-horses, hunters, and
dogs of various breeds. Sporting scenes, studies
of wild animals, of game birds and cattle pieces,
are also numerous among the pictures left by this
industrious painter, who counted the most dis-
tinguished people of the day among his patrons.

One of his best dog pictures is the portrait of
an Irish Water Spaniel, painted in the year
181 2, a canvas measuring 56 inches by 48 inches.
This compares favourably with the "White
Poodle," by George Stubbs, R.A., which is in
the collection of Lord Yarborough, at Brocklesby,
in Lincolnshire. Chalons portrait of The Colonel,

HENRY BERNARD CHALON 83

the famous race-horse and stallion, stands high
among his most successful horse pictures. This
work was executed in 1837 for the late Mr.
Richard Tattersall, into whose possession The
Colonel ultimately came. Bred by Mr. Wyvill,
of Burton Constable, in 1825, and sold when a
yearling to the Hon. Edward Petre, he won the
St. Lecrer for that gentleman, who afterwards
disposed of him for ^4,000 to George IV. Mr,
Richard Tattersall bought The Colonel at auction
for his breeding stud at Dawley, near London.
Chalons picture of this horse is now in the posses-
sion of Mr. Herbert Mavor. It was awarded
a special prize at the Loan Exhibition of pictures
held at the Agricultural Hall in 1896. The artist
had also painted the portrait of The Colonel,
with Wm. Scott, the jockey, in the saddle, after he
won the St. Leger of 1828. The work was in
the Royal Academy Exhibition of 1829.

Chalon's mastery of equine anatomy is well
shown in a series of seven large pictures repre-
senting " The Passions of the Horse,' which
were engraved and published by Jackson. Three
of this series were exhibited in the Royal
Academy, viz., an old hunter, Betty, in a
paddock roused by the huntsman's view halloo,
representing " Joy," and another representing
"Rage with Agony," shown in 1837: and

84 ANIMAL PAINTERS

"Terror," shown in the exhibition of 1843.
Direct evidence of the artist's careful study o.
the Horse may be found in a book entitled
" Studies from Nature," which was dedicated with
permission to his patroness the Duchess of York,
and published ist May, 1804, by H. B. Chalon and
J, C. Nattes. This contains twenty plates, each
14 inches by 11 inches; seventeen represent dogs
and birds, and the remainino- three are Anatomical
Tables, viz. : (i) The Horse's Skeleton on a New
System ; (2) Explanation of the Anatomical Table
of the Horse's Muscles ; and (3) The Proportions
of an Arabian on quite a new System.

Of the very numerous engravings which have
been made from Chalon's works, mention may be
made of the following : —

Eight engravings in mezzotint, by W. Ward,
A.R.A. : — (i) Pavilion, a race-horse with Chiffney
in the saddle, plate 2 if inches by 155- inches:
published by Boydell & Co., 90, Cheapside,
London, ist March, 1803 ; (2) Coursing, a por-
trait of the greyhound Snowball : published by
Random & Sneath, 1807 ; (3) Violante, a race-
horse with Buckle in the saddle, plate 21^
inches by 15 inches: published by Boydell &
Co., ist March, 1808 ; (4) Quiz, a race-horse ;
jockey, saddle on arm, entering the weighing-
room ; plate 21^ inches by 16 inches: pub-

HENRY BERNARD CHALOX 85

lished by R. Ackermann & Co., ist September,
1808 ; {5) Costive, one of the best foxhounds in
Lord Darlington's Raby pack. An etching from
this work by H. R. Cook, was also published in
the Sporting Magazine of iSio; (6) A Setter,
belonging to the Marquis of Ely; each plate \(j\
inches by 14 inches ; (7) The Raby Pack, por-
traits of the hounds on the flags with huntsman
and feeder ; and (8) Bull Dogs, namely Wasp,
Child and Billy, three famous dogs belonging to
Mr. Henry Baynton ; the two latter plates measur-
ing 24 inches by 18 inches : published by Random
& Sneath, 1809. This picture was also engraved
by Duncan for the Nciv Sporting Alagazine in 1S35.
Billy was originally purchased by Lord Camel-
ford and from his possession passed into that of
Mr. Boynton, member of a Yorkshire family.

Chalon's portrait of Brainworm, a race-horse,
was engraved by J C. Easling ; plate 22^ inches
by i6|- inches : the print was published by R.
Ackermann. His portraits of the race-horses
Morelli and Vandyke, were engraved by William
Say as companion pictures, each plate being
2 2|^ inches by 18^ inches. The portraits of the
Prince of Wales' horses, Orville and Sir David,
exhibited in the Royal Academy of 1808, were
engraved by William Ward, plates 2 if inches by
16 inches, and published by Colnaghi & Co., of

S6 ANIMAL PAINTERS

23, Cockspur Street, the former on 25th March,
1809, the latter on the 12 th August in the same
year. The portrait of Barbarossa, also shown at
the Royal Academy of 1S08, was engraved by
William Ward, plate 2i|- inches by 15! inches,
was published by C. Random, at The Sporting
Gallery, 5, Hart Street, Bloomsbury Square, on
2nd December, 1809. His portrait of Selim was
also engraved by W. Ward, plate 2 if inches by
16 inches, and published by Random & Sneath,
The Sporting Gallery, 5, Hart Street, Bloomsbury
Square, on 25th March, 1809.

Among the many interesting pictures by this
artist from which plates were engraved for the
Sportivg Magazine, may be noticed the portrait
of a famous Fighting Dog, owned by Lord
Camelford ; this dog is said to have killed three
celebrated dogs in his time and was never beaten.
Dog-fighting, it is hardly necessary to observe,
was one of the barbarous, but fashionable, "sports "
of the age. Flora was a famous hunter, belong-
ing to Lord Darlington ; her great achievement was
a leap of 23 feet 3 inches. Streamer was a red
greyhound bred by Mr. George Lane Fox, of
Bramham Park, and owned by the Rev. F. Best ;
he won the Cup at the Malton Coursing meeting
in 1 82 1. Vanity, a blue and white greyhound
bitch, also the property of Mr. Best, won the Cup

HENRY BERNARD CHAI.OX 87

at Malton in the followinsf year. The Dwarf
Beagles whose portraits appeared in the Magazine
in 1 83 1, were from the pack of Colonel Thornton,
who bred them ; these beagles were of the smallest
breed and were noted for their beauty. Bracer,
whose picture appeared in the Nevj Sporting
Magazine in 1836, w^as a famous hound in the
Linlithgow and Stirlingshire pack : this plate was
taken from a part of a large picture of Mr. W. R.
Ramsay, of Barnton, the Master, and his hounds.

Daniel's Rural Sports, published in four volumes
by Longman, Hurst, Rees & Orme in 1807, con-
tains four plates from paintings by Chalon, namely,
" The Old English Setter," " The Pointer,"
" Spaniels " and " Four Pointers standing to
Game ; " the first three were engraved by John
Scott and the last by Laney. Chalons Drawing
Book of Animals and Birds of every description,
contained a series of plates from his pictures
engraved on soft ground.

The engraving given is from this artist's picture
of a gamekeeper schooling pointers ; probably the
work which he exhibited, among others, at the
Royal Academy in 1805, under the title "Game-
keepers and Dogs belonging to the Duke of
York."

In 1S46 Chalon met with a severe accident, and
though the Royal Academy catalogue shows that

S8 AXDIAL PAIXTERS

he exliibited a picture in the subsequent year, it
does not neces^irily follow that the work was
executed after the accident, from the effects of which
he died in i S49.

WORKS OF HENRY BERNARD CHALON.
EXHIBITED IN THZ ROYAL ACADE\n" (193 in nnmber).

1:^2— {2) i^-VZJJ'C.iPt, WITH CASTZE—LASDSCAPR, JTITH HOSSES.

T7gj—I5i HORSES, beboi^ a Iteis c£Y:Ek—/T.-iL/AS^ GREYBOVSl^— SKULL
OF A LlOy— SKULL OF A BEAS—AX OLD EXCLISH SETTER—

179S— (o).-* P0MESAS7AX DOG— A HUXTE^—AX ASA3IAX, bsijcii^g to

Lore Uss:±xii—Sl!ETZAXD F-OXi', Iterbas of I>:Essi—A HOESE—

A HUXZER, y"t-r5^g ni Lrxd Hszi2a=iL
ijgg— (S) jJ FAJKOZ'S POXY, ieixiiis to Mr. FjeSi— TTFi? OF H.H. STATE

SCBSES—SORSE AXD lyOG—GEEYHOUXlO—A HORSE— A HUXTEK.
iStu— (i) HEXZr EA^LL—TTFO CHARGERS, "odDDgJiig to Ihie of Tori— Jf.-JXI'

OWEX.
x-ch—I^jC) EEAUin; coe of Hk M^^sn-'s Sisie Hdcss— 3TFi7 CHARGERS— TWO

HUXTERS—SFAX7ELS FLUSHIXG A WOODCOCK.
xxx>—MAX AXD DRAY-HORSE.
1B15— {5) DAXCELiWAY, Vr-.Tp-, ;b2 p.-ijg:lj of Gsossi Grorresar— 5'J'.-!.T7£i,

tjbjjai> CE Ma^or-G^osrsI Ur7r^'T?-t — M.-^LTESE ASS — A.X ARj^B/.-iV—

HUXTER—THE BI3URY WELTER STAKES.
iSoe— (i) DOGS—H.iXXI3AL AXD PRIXCESS, property cf Ihie of Tort
ikis— (4) GAMEKEEPER AXD DOGS, b=3ccsi=g to Deis at Y3rk.—.VARE—

GILES, propsrtj of W. Tftr. Esq.— ^P--lir/£X.
x3a6 — (5) HUXTER .4.XD HACK MARE, vrzrxny of SHr F- Eoyrtoo, Ean. —

HUXTERS, propi=rry of Coked Taociitoc — HUXTER, ptooerry of A. Robert

—HUXTERS, jrjjtTLLi of Sr F. Eoj^iioi— 51"Zi DOGS. ; :_ •' H.

IM7— {3) FAMOUS RACER— FA.MOUS R.iCER— SETTERS.

i3o£— (4) J/.? DAVID, bj Ti-spesr, wirb Sasoi: CngKv, prOTeTty of Prixe o!
Wais— (7.?;"7i:i£, J-Jjt-Li of Prizio= of W2>5 sns 5=:El=an, to- grooEi—
BAR3.4R0SS.~, prooerty of Pnucs of Waiss — CARLO, a ^s^ocs sjardd,

{E^pSkT CB i£rS. &2ZOSCT.

tScc— (2) DRAYHORSES, jjja^,. of C Ca-V-rt, Esq-, sod WRYXOXE JOE. THE
DRAYiiAX— HUXTERS.

lijo— p) HUXTER, prosKTT of Earl of IterSiigtcD— PC'CI^ii ^TZ) SCOTCH
TEZZIER—SRIGHTOX. irnr^sr, prxiertj of Ear] cf DararifTCD — C^^-
TOUCHE, £ pKwai, J.>je.o cf Itaci^ of Y^A— TERRIER .AXD TAME

WORKS OF HENRY BERNARD CHALON 89

BADGER— EATON, a race-horse, property of Earl of Gros^enor— /".■«/i?K,
Scotch terrier, property of Duchess of York — COSTIVE., hound, property of
Earl of Darlington.

i3ti-(3) FIDGET, a famous blood horse, propert>- of Major J. Moiiat— 7'»'0 PHAETON
PONIES, property of H.R.H. Princess Charlotte of 'W^l^s^SCORPIOX. a
famous blood horse, property of H.R.H. Princess Charlotte of "Wales — TWO
PONIES, property of H.R.H. Princess Charlotte of Wales— ^A' ARABIAN
BROKE LOOSE.

iSr2-(3) A HUNTER, property of Viscount Hawarden— ^4 CHARGER, property of
Earl of Portarlington, and Corpora] of zsrd Light Dragoons, who was at Castle
of Talavera— ^^00 rAVG PONi', GAMEKEEPER, AND DOGS, propertj-
of J. Larking, ^sn-— HUNTER AND FOXHOUND, propertj- of the Earl of
PortarUngton— T-JFO FAVOURITE PHAETON PONIES, propertj" of Princess
Charlotte of Vfalis— RACE-HORSE— OFFICER'S CHARGER, 7th Hussar^-
TIVO DOGS, properu- of the Duke of Devonshire.

i3i3— (3) SALLV, a spaniel— r/T^ EARL OF DARLINGTONS KENNEL, WITH
HIS HUNTSMAN, DOG-FEEDER, AND MOST CELEBRATED
HOUNDS OF RABY PACK-^IR MAL.4GIZI, famous race-horse, property
of Sir M. M. Sykes, Bart., iLP. — C.4MILLUS, famous race-horse, property of
Sir SL M. Sj-kes, Bart., ^^.V.—PHCEBE, spaniel, property of G. V'ere, Esq.

1814 — (5) ROSE, a terrier, property- of Lady Graham — FANCY, a spaniel, property of
E. Poore, Y.^.— GROOM AND HUNTER, belonging to Lady .\ngnsta Vane—
TWO F.-IMOUS HUNTERS AND HARRIERS, property of Sir B. Graham,
B^rt-STEDMORE, blood horse, propertj- of Sir B. Graham.

1815— (5) NOBLE.MAN AND SERVANT ON TWO F.-iST TR0TTING-H.4CKS—
TWO SPANIELS— MAJOR, a cbzrsei— MAMMOTH, property of Colonel G.
Thornton — FIDELE, Italian greyhound, property of W". Rogers, Esq.

i3i6— {3)Z^F/AY.4, a ^vis— OSTRICHES, property of H.R.H. Duchess of York—
NELSON, Newfoundland dog, property of H.R-H. Duke of York.

i3t7— (6) FL USH, spaniel (King Charles' breed)— THE ROYAL HUNT, MR. SHARP,
PRINCE REGENTS HUNTS.MAN, O.V FLA.MINGO, WHIPPERS-IN
ON FAVOURITE HUNTERS, AND GROUP OF PICKED HOUNDS-
HORSE, property of Princess Charlotte of Wales, and grooni — BERLIN, a
favourite Pomeranian, property of Duchess of York — PRINCE LEOPOLD, a
race-horse, property of the Duke of York, and Whealey the jockey — HORSE
propert>- of Prince Charlotte of Wales,
1S18— (to) CROUr -~ r 'S— SPANIEL— TERRIER— MELLOW, managed horse
propertj- : - Esq. — PIC-EON, an .\i3.Di^ — H.4CK — FAMOUS

HUNTE.K-^ ...:.:_ :.:4Y SHETLAND PONl'— CHESTNUT HUNTER-
SPANIEL.

iSiq— (8) SPANIEL— LADYS HORSE, PONIES, SPANIEL— HEAD OF FICKLE,
a terrier — G/G HORSE AND NEWFOUNDLAND BITCH — VICARE,
hunter, property- of Earl of Darlington — HUNTER, belonging to Countess of
Darlington— Cci«'5', belonging to Countess of Darlington— 7"A'^£'£ HORSES,
Tlt-0~FOA-HOUNDS, property of Hon. X. FeUowcs.

iS»-{6) PERSI.4N .M.4RE, presented to His Majesty Emperor of Pei^z-ESSE.Y, a
hunter, and his groom, with distant View of Thorpe Hall, Yorkshire — HUNTER
AND NEWFOUNDLAND DOG— AN ARABIA.V, propertj- of His Majestj-
TWO GREYHOUNDS— HUNTER A.VD NEWFOUNDLAND DOG.

l32i— (3) FOXHOUND, propertj- of Sir M. M. Sykes — HORSE, property of Miss
Beaumont, of Britton Hall, Yorkshire, with Groom — G.4MEKEEPER .4ND
PONY, WITH POINTERS.

90 ANIMAL PAINTERS

lEii— {4) HUSTER'S HEAD AXD FOXHOVSD—HUSTER a:'Z ---- •-?—

OLD HCXTER, with Distant View oe lirl of Csrfisks Seat, - - -—

SPAyiEL.
iSie— (3) TtFO HUSTERS— TERRIER.
I&3— (3) LITTLE MARE AXD KITTY, fcvo=ii-.5 hzunezs—Hl/XTER property of

Coduess rflteriiEStoo— PO-Vl-- AXD SPORTIXG DOCS.
1826— rWO SPAXIELS.
iSzT— {4) VIXEX, a icrAei—PIXCHER, te^er— BLOOD HORSE, v^agczty of

CcOooel Sir Jains Moozt, Bart.— 7"^0J/.45 DAXCER, ESQ., iVITH

FRIEXDS, HORSE AXD DOGS.
iSiS— {2) GIG HORSE— WOODCOCK.
1B29— (2) COZ^A'Xi, properTT CB Hca. E- Petre and Wn. ScxKt ma j^Kke- - ~ ~£,

XORn-EGIAX Ra'sBIT, cat, AXD TiVO TERRIERS, : irjy

EIEs-jn, Esq., cf Birericy, Yorishiie.
1S30 {5) SP.iXIEL—SO.V AXD PIGS— NEWFOUXDLAXD— THE illSCHIEV-

OUS BOY— PA TCH, a pony.
1831— (4) HL'XTER—THE BOY. a Peisian aX—HACK, property rf John Fieid, Esq.—

DEATH OF THE FOX, with Portrait cf Slarqnes of Ce-.V = -- a— -■<

Lo^xiafcip's Foihocnds.
i.l-S2r-{3) HVXTER .AXD SPAXIEL— SPOT, Ix^Sz^S^'haa^T.-, . . . ^

DeTctlihire — Tii-'O CATS, a white Petsan and a Siberian — F.-iXG, a hunter,

pcotKTty of Manrcis rfSEgo, Mr. Connelly in Vidrile— TERRIER.
zZj3—HEAD OF POXY, property of Ed. T. Q^Iey, Esq., Halnaiy Hail, Yatishire.
iSj4— (2) TOBIAS, pooy, froptity of Dndsess of Qweland— .i?.^ 7T-? TCHER, WITH

FA you RITE TERRIERS, jsxiperty of Rev. E. I :. Darlington.

i53j-<2) BESS, an old English masC3, pr-iperty o.' Dnke cf —XEWFOVXD-

LAXD DOGS, f^ojerty of Lady Frances W.ngh: V,;.^:-.
1S36— (2) BR.iCER, cflfhrated fDihonnd m Linlithgow and Sdrlingshire Vzdic— MASTER

HOPE JOHXSTOX, SOX OF JOHX J. HOPE JOHXSTOX, ESQ., MJ".,

OX PO:rY, tML^mu of Dowager Lady Tarj-iien.
1237 — (3) BETTY, cob, O^ird 0: series of seven Passions cf the Horse : JOY, old hunter

in paddcci ronsed by Tiew-haI!oo of hont^ma r— J L'RH.A M L.-iXDSC.-iPE

R.i S i - C.4S TLE IX DIS TA XCE-Tusl of SEiis of seven Pasaons of the Horse,

RAGE H'VTH AGO.TY, Arabian Scenery.

r:3=— (4) SPAXIEL—SPAXISH BAr:.T—^COTC.fI TERRIERS, Scenery near Edin-

' bcrgh— /'OJl"J".
ily)—{S) SP.-iXIEI^TURPIX. . ind dog, bred by llr. Charles Cater in t335,

won head prizE at Pirblic Sp^i. SLis- in iSyj-BROOD MARE, li'lTH FOAL.

iZvo—ls)/IM CROJf, spamel— TWO OF HER MAJESTY S ST.iTE HORSES IX
CHARACTER OF COURAGE (Passions rf the fioT^)— CELEBRATED
RACER, DALPIXE—DAHLI.-i, %xejhoai^— PARTRIDGE SHOOT I XG,
^eiV==il> of Thomas Henry Htypt, Esq.

J243— (3) THOROUGH-BRED SP.iXIEL OF KIXG CHARLES BREED— SYKE
TERRIER— TERROR, Pasaons of the Horse.

ili^—iS) FOREST MARE .4XD FOAL— TERRIERS ATA RABBIT HOLE—
W.iXDERIXG BOY, lauale!, -,: 'T '; "I- '.-_

il^i-SP.-iXIEL OF KIXG CHARLL

j;45— (2) TERRIER— GOATS, FROM rUXJAB, WiJH THEIR SIKH SHEP-
HERD.
I'.iT—TOYY, propenj- cf Mrs. Elandfoid.

WORKS OF HENRY BERNARD CilALON 9 1

PLATES IN THE SPORTING MAGAZINE (19 in number).

GREYHOUND, 1799, belonging to the Rev. H. B. Dudley, Bradwell Lodge, Esse.'c ;
engraved by J. Scott.

FIGHTING DOG, 1806, belonging to Lord Camelford ; engraved by H. R. Cook.

(4) AN OLD ENGLISH SPRINGER, 1807, bred at Thorney, Nottinghamshire, belonging
to N. G. Nevill, Esq.; etched by H. R. Cook— BOAR HOUNDS, the property of
the Duchess of York; engraved by H. R. Cook- AD/ UTANTS, the property of
the Duchess of York; etched by H. R. Cook— JIIAI.TESE ASS, 13 hands high ;
etched by H. R. Cook.

(3) CREAM-COLOURED CHARGER, 1808, an Hanoverian horse, belonging to His
Majesty ; engraved by H. R. Cook— ,-1 WILD CA T ; engraved by H. R. Cook—
DICK THE HUNTSMAN, well-known at Ne\vin.arket as a runner with hounds ;
engraved by H. R. Cook.

(2) WAG, 1809, a dog of King Charles' breed ; engraved by H. R. Cook— INDIAN RED
DEER, painted for the Duchess of York ; engraved by H. R. Cook.

(2) COSTIVE, 1810; etched by H. R. Cook— BONNY LASS, a hound of the Earl of

Darlington's pack ; engraved by H. R. Cook.
FLORA, 1811, property of the Earl of Darlington ; engraved by H. R, Cook.
OTTER-HOUND, i8i2, belonging to the Hon. Mr. Leslie ; engraved by H. R. Cook.
THE D.4RLEY AR.4BI.4N, 1824, from a copy of the original drawing, belonging to

Henry Darley, Esq., of Aldby Park, near York ; engraved by Webb.
STREAMER, 1826 ; engraved by W. Raddon.
V.4NITY, 1827 ; engraved by Raddon.
DiVARF BEAGLES, iSsr ; engraved by H. R. Cook.

PLATES LM THE NEW SPORTING MAGAZINE (4 in
number).

PINCHER AND SHIVERS, terriers, 1S34, Shivers w.ts the property of Mr. Surtees, of
Hamsterley Hall, in the county of Durham ; engraved by Duncan.

TOMMY SINKS, 1835, born in village of Stapleton, gained a living by killing vermin ;
engraved by Duncan.

WASP, CHILD AND BILLY, bull-dogs, 1833; engraved by Duncan.

BRACER, Mr. Ramsay, the Master Linlithgow and Stirlingshire, and his Hounds, 1836;
engraved by Duncan.

92

LUKE CLENNELL.

(Born 1781. Died 1840.)

T UKE CLENNELL was born at Ulgham,
-*— ' near Morpeth in Northumberland, on 8th
April, 1 78 1. His father, a farmer, apprenticed
the boy to an uncle who was a grocer ; but the
shop was so little to his taste that he was
removed, and allowed for a lime to follow his
own bent, which declared itself at an early period.
His love of drawing soon became marked, and
he employed himself in making pictures of his
rural surroundings. Unfortunately or perhaps for-
tunately, as the event proved, the innate mischief
of boyhood found vent in the artistic direction of
caricature, and, having on one occasion outstepped
the limits of a neighbour's toleration by this mis-
directed exercise of talent, it was considered
desirable to put an end to the comparative idle
life he was leading,

Luke Clennell was lucky enough to possess an
uncle, Mr. Thomas Clennell, of Morpeth, who
recognised the genuineness of his gift for drawing,
and through this gentleman's instrumentality he

LUKE CLENNELL 93

was apprenticed, in April, 1797, when sixteen years
of age, to Thomas Bewick, of Newcastle, one
of the most distinguished wood engravers that
this country has ever produced, and also one of
our most able and observant ornithologists. Under
Bewick's able direction the youth's natural abilities
were turned into right channels and speedily
developed. Such was his progress that Bewick
entrusted him with the execution of some of
Robert Johnson's designs for the second volume
of the Birds. This book was published in 1804,
the first volume having appeared in 1797. Clen-
nell would, therefore, have been twenty-one or
twenty-two years of age when he undertook a
task which indicates his competence as much by
reason of the high standard of excellence required
by the man who gave it as by its intrinsic difficulty.

He did not confine himself to engraving ; he
designed many of the illustrations for the third
edition of Solomon Hodgson's The Hive of Ancient
and Modern Literahtre, published in 1806; several
of the illustrations in this work bear his initials.
Wallis and Scholey's History of England contains
much work by Clennell's hand, done by the young
artist during his apprenticeship to Bewick ; he also
engraved the plates which his employer had under-
taken to furnish.

His contributions to the latter work were the

94 ANIMAL PAINTERS

means of bringing him to London. I\Ir. Scholey
did not fail to mark the merit of Clennell's designs
and plates, and in 1804, on the expiration of the
seven years, for which he had been apprenticed
to Bewick, sent for him to execute commissions for
his firm. After settling in London the artist mar-
ried a daughter of Charles Warren, the copper-
plate engraver. His marriage was the means of
introducing him to the society of Raimbach, Finden,
and other talented men, who vied with each other
in producing the delicate embellishments for books
published by Sharpe, Du Rovory, and others at
the beginning of the century ; and doubtless
this alliance with Miss Warren had the effect
of making him many useful friends.

He soon succeeded as an engraver; in 1806 he
was awarded the Gold Palette of the Society of
Arts for an engraving on wood of a battle
subject. About the same time he executed six-
teen wood engravings from designs by Thurston
to illustrate James Beattie's Minsti-e!, which was
published by Davison, of Alnwick, in Northumber-
land, in 1807 : from which it appears that he left
a reputation behind him when he left the north
country, and that his success in London was not
lost upon his friends near home. He also did
some of the pictures in W. M. Craig's Scriptnre
Illustrated, which was published at this time. In

LUKE CLENNELL 95

180S he engraved the plates for Falconer's Ship-
wreck, published by Cadell and Davies ; these
illustrations are made the subject of high and un-
qualified praise by Jackson in his History of Wood
Engraving. For Ackermann's Religious Eviblenis,
published in 1809, he engraved some of Thurston's
designs, notably those entitled the " Call to Vigil-
ance " and " The Soul Encaged." He worked in
good company for this book, as Nesbit, Branston,
and Hole were also engaged upon the task of
enoravino- the blocks. Indeed, Clennell's career at
this period was one of steady advancement, for in
1809 he was presented by the Duke of Norfolk
at the Annual Meeting of the Society of Arts
with the Gold Medal for his enoravino' on wood
of the design by Sir Benjamin West, P.R.A. for
the Highland Society's Diploma.

In 1 8 10 we find proof that success with the
graving tool had done nothing to divert Luke
Clennell's ambition to make a name as a painter,
for in that year he appears for the first time as an
exhibitor in the gallery of the British Institution,
to which during the next eight years he con-
tributed fifteen pictures. In a year or two he
worked with both the graver and the brush,
but, having found his footing as an artist, the
former was laid aside. His last notable work
as an engraver was done in the years 1810-1812,

96 ANIMAL PAINTERS

when he executed the plates for Rogers' Poems
from the drawinsfs of Thomas Stothard, R.A.
These are the most esteemed pieces of work accom-
pHshed by Clennell as an engraver,

After this he practically renounced engraving for
painting in oil and water-colours, and attained in
this field the success his abilities entitled him to
expect. We learn from the History of the Old
Water Colour Society that in 1810, 181 1, and 181 2,
Clennell was a member of the Associated Artists ;
these were the last years of the existence of that
body. On 8th June, 181 2, he was elected an
Associate of the Water-Colour Society, and in the
same year he exhibited for the first time at the
Royal Academy. His maiden picture at this exhi-
bition was entitled " Fox-hunters Regaling after the
Chase " (which was twice engraved), and the cata-
logue gives his address as 9, Constitution Row,
Gray's Inn Road. He was apparently of somewhat
restless disposition, for in 18 13 he had changed his
residence to 34, Tonbridge Place, New Road,
London; and in 1815 and 1816, the last years of
his working life, his address in the Royal Academy
catalogues is given as -^i, Penton Place, Penton-
ville. The exhibitions of the Old Water-Colour
Society received altogether eighteen of his pictures,
while fifteen were exhibited in the galleries of the
British Institution, and thirty-one were shown at
various other galleries.

LUKE CLENNKLL 97

The drawings shown at the exhibitions of the Old
Water Colour Society were chiefly figure groups of
contemporary life in picturesque aspects, soldiers,
smugglers, fishermen, country folk, &c., the works
of the landscape and figure artist rather than the
animal painter.

•^ '■ "- T.^

Riding in a Storm.

Fairly large sums have been paid for good
examples of Clennell's water-colour work in recent
years. In 1S80, at Mr. C. J. Pooley's sale, "The
Ferry Boat," a painting 32 inches by 17^ inches,
realised 64 guineas.

Among Clennell's earlier paintings not pertaining
to sport were "The Arrival of the Mackerel Boat"
7

98 ANIMAL PAINTERS

and " The Day after the Fair." These were
remarked for the skill with which the rustic
characters were portrayed, and for the mastery
of colour displayed. In 18 14 he painted, in col-
laboration with Benjamin Marshall, a portrait of
Thomas Gosden, the famous sporting bookbinder,
whose name recurs more than once in these pages.
Gosden is represented, gun in hand, with dogs
beside him. This picture was beautifully engraved
in mezzotint. A work published in 18 15, entitled
Recreations in Naticral History or Popular Sketches
of British Quadrupeds, large paper, quarto, con-
tains twenty-four plates engraved from pictures by
Luke Clennell. In 18 16 he won the premium of
150 guineas, offered by the British Institution, for
the best sketch of " The Decisive Charge of the
Life Guards at Waterloo," with a picture that did
much to increase public interest in his work and
enhance his reputation. This canvas and another
of exceptional excellence, " The Overthrow of
the French Army at the Battle of Waterloo,"
were shown at the exhibition of the British
Institution in 18 16.

It cannot be doubted but that these pictures,
more especially the former, were the means of
brino-inof the artist the commission which contri-
buted much to induce the terrible affliction which
terminated his working life in 181 7. The Earl

LUKE CLENNELL 99

of Bridgewater requested Clennell to paint a large
picture to commemorate the meeting of " The
Allied Sovereigns at the Guildhall Banquet '
after Waterloo, a work which may fairly be
termed one of international interest. Clennell
experienced infinite difficulty in obtaining the
necessary sketches of the great personages who
attended that memorable banquet and who were
therefore to figure on his canvas, and the artistic
temperament suffered under the stress of worry
thus caused. With increasing fame, too, had
come increasing work. Clennell was literally the
victim of his own success, and a career which
gave every promise of leading to the greatest
heights of artistic fame came to a most painful
close. The Guildhall Banquet picture was never
painted, for Clennell's mind gave way under the
strain of overwork, and in his thirty-sixth year he
became hopelessly insane. To make matters worse
his wife was soon afterwards overtaken by the
same disorder, and their children were thus
deprived of both parents and left unprovided for.
For their benefit " The Decisive Charge of the
Life Guards at Waterloo " was engraved by
Bromley and published by subscription, the sum
so realised being invested for Clennell's family.

Thus sadly ended the artistic career of a painter
and engraver who had done much, and must, under

lOO ANIMAL PAINTERS

happier circumstances, have achieved far more.
The remainder of Luke Clennell's life was passed
under control until on 9th February, 1840, he died
a harmless lunatic in a Newcastle Asylum. Four
years after his decease a tablet to his memory by
R. Davis, a local sculptor, was placed in St.
Andrew's Church in that city.

A certain melancholy interest thus attaches to
the six plates in British Field Sports, published
in 18 18 by W. H. Scott. These are from Clen-
nell's " Fox-hunters Regaling," " Fox-hunting,"
"Dog Pointing," "Squirrels," "The Fox," and
" Badger and Dogs," an engraving from the last
of which is here reproduced ; an example of his
engraving in the shape of a small woodcut entided
" Riding in a Storm," appears on page 97.

In some of Luke Clennell's works we find much
that recalls the style and touch of George Morland.
It is very unlikely that he went to the paintings
of that artist for inspiration however. Morland
died in the autumn of the year 1804 which saw
Clennell's arrival in London, and his pictures had
long ceased to find the acceptance they well
deserved and fully obtained at an earlier period.
The surroundings amid which Luke Clennell
passed his youth fully explain the love of rural
scenery and sport which found scope in the
exercise of his art. He was one of the very few

WORKS OF LUKE CLENNELL lOI

contemporary animal painters whose works were
never engraved for the Sporting Magazine.

WORKS OF LUKE CLENNELL.

IN THE BRITISH MUSEUM.

(i) PORTRAIT OF SIR IF. DOMl'ILLE, BarL—HnaA and shoulders in profile,
turned to left, with fur collar and broad chain over the shoulders. Probably done in
1814, when Sir W. Domville (b. 1742, d. 1833) was Lord Mayor of London. Water-
colours and pencil ; size, 7I in. by 6\ in.

(2) A COUNTRY MARKET PLACE.— kn open space, facing a long building with

five gables, over a colonnade, around which are groups of people and a horse with a
barrel on a dray; in the foreground a cart and two horses, and men near some
barrels (right). Sepia; size, loj in. by 13J in.

(3) NEWCASTLE FERRV.—FassengiiTS, landing from the ferry boat under the quay

(right) by which is moored a brig and a sloop further to the left ; a little beyond
them a stone bridge. Water colours ; size, 5J in. by Sg in.

(4) Two on one mount, viz. :— (a) TILBURY POKT.—V'xvi from the river of the low

buildings and ramparts of the fort ; sailing and rowing boats in a strong wind
tossing on the rough water. Sepia; size, 4^ in. by 7^ in. — (^) THE LOGAN
STONE— A rocky cliff projecting into the sea, seen from the land side ; on its
nearest summit is balanced the Logan stone, with a man sitting on its top and
others below. Sepia; size, 5 in. by 7I in.

(5) LA UNCHING THE LIFE BOA T.—h sea beach in a storm ; (right) a jetty dimly

seen, and in the foreground a boat-house and sailors launching the life-boat into the
breakers ; a man in command directing from the shore, and two women and a boy
at the extreme right. Indian ink with pen outlines ; size, ii\ in. by zo^ in.

IN THE SOUTH KENSINGTON MUSEUM.

THE PRESS GANG (sketch in sepia).

THE SAIV PIT (water colour), signed and dated iSio, given by Mr. H. Vaughan.

A RIVER SCENE (water colour).

EXHIBITED IN THE ROYAL ACADEMY.
(6 in number).

YEAR

iii2— FOX-HUNTERS REGALING AFTER THE PLEASURES OF THE

CHASE.
1S13— THE OLD FISHERMAN.
tSn—THE GAMEKEEPER.
xZiS—THE CAROUSAL.
1S16— (2) BAGGAGE IVAGGONS I.V A THUNDERSTORM— THE PEDLARS.

I02

CHARLES COLLINS.

(Born 1680. Died 1744.)

/^HARLES COLLINS, born in 1680, was
^-^ essentially a painter of English bird-life.
His works are very beautiful, being executed with
rare delicacy and sense of colour. He possessed
a marvellous eye for the distinctive pose and
character of a bird and his work betrays close and
accurate study of birds in their haunts. His
pictures of game are particularly true to nature.
He painted his own portrait with a hare and birds.

A picture of " Poultry," painted in 1733, from
the collection of Sir G. Osborne Page Turner,
Bittlesden Park, Woburn, was sold at Christie's in
1824.

Another sale, in 1825, included " A Landscape,"
with woodman and a woman with a basket ; this
picture belonged to Mr. James Milstead, the
Terrace, Edgware Road.

He executed three oil paintings of British Birds
in the year 1736 ; each picture measures 18 inches
by 12 inches. These paintings, executed 162 years
ago, are in e.xcellent preservation and are in their

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original frames. They were sold at Christie's in
May, 1896, from the collection of Mr. C. H. T.
Hawkins, of Pulborough, Sussex.

He painted twelve pictures, representing upwards
of 100 birds, which were engraved, plates 15 inches
by i8|- inches.

In the British Museum are two books, Scone's
AvUim, and Plates of Birds, the illustrations in
which are by Collins; these were published by John
Lee in 1736; twelve plates are coloured. In the
second book eight are line engravings, 18 inches by
14 inches.

Charles Collins died in 1 744.

I04

ABRAHAM COOPER, R.A.

(Born 17S7. Died 1S68.)

A BRAHAM COOPER was born on the 8th
-^^ September, 17S7, in Red Lion Street,
Holborn, where his father carried on business as
a tobacconist. The elder Cooper was afterwards
an innkeeper at Holloway, and at one period
followed the same calling at Edmonton. While
still at school the youth's talent displayed itself
in the sketches of horses, dogs and ships with
which he embellished his copy-books and margins ;
these differed much from the usual scribblings of
idle boyhood armed with a pencil. His artistic
gift was not observed, or if observed was not en-
couraged, and CoojDcr began life in Astley's Theatre,
of which his uncle, Mr. Davis, was at that time
manager. The precise nature of his duties is not
stated, but we may take it for granted that the
stables received much of his attention ; for when
he severed his connection with the theatre and
devoted himself to art, the first picture of which
we have record is that of an old horse named
Frolic, the property of Mr. Henry Meux, of

ABRAHAM COOPER I 05

Ealing-. The portrait must have been an excellent
one for Mr. Meux declared nothinsf should induce
him to part with it, and from that time forward
he was Cooper's constant friend and patron.

It was in 1809, when Cooper was in his twenty-
second year that he discovered his true vocation ;
and he applied himself diligently to study of the
rudiments of his art, perusing also the writings of
contemporary authorities on painting. The works
of Benjamin Marshall, R.A., his senior by twenty
years, particularly attracted him, and through his
uncle, Mr. Davis, he obtained an introduction to
the famous horse-painter. Marshall received him
with all the traditional courtesy extended by the
old artist to the young, giving him admission to
his studio at all times and doing whatever lay in
his power to promote his interests.

Guided and encouraged by Marshall, Cooper
pursued his studies assiduously ; each fresh attempt
displayed qualities which strengthened his friends
in their conviction that he possessed exceptional
talent, and thanks to his abilities and his own charm
of manner, he continued to extend his acquaintance
among the leading artists of the day. Cooper was
fortunate in making friends thus early in his career,
for however great his own gifts he could not fail to
profit by all he saw and heard in the studios of
older men who had made their mark as animal

I06 ANIMAL PAINTERS

painters. In the year 1812, he exhibited his first
pictures at the Royal Academy, "The Farrier's
Shop " and " A Terrier's Head ; " and from this
time onward till 1869, when his last and posthumous
work was shown, he sent in upwards of 332 pictures.
It is worth noting that during this long period of
fifty-eight years, no single exhibition lacked
examples of his work, a record that perhaps stands
alone in the annals of the Royal Academy.

In 1812 Cooper became a subscriber to the
Artists' Benevolent Fund, and from being a
member was afterwards nominated one of its
guardians, a circumstance which points to his being
a man of sound good sense and business capacity.
Industriously as he worked at his profession he
found time to discharge his duties with such success
that he was subsequently appointed Chairman of
the Institution, a position he held for five years.

He was for five years a constant exhibitor at the
ralleries of the Oil and Water Colour Societv, his
thirteen contributions to these bein^ for the most
part sporting subjects. He only ceased to send
works to the exhibitions of this Society when
elected an Associate of the Royal Academy, which
distinction was conferred upon him in the year
181 7. To the e.xhibitions of the British Institution
he contributed altogether seventy-four pictures.

For a few vears he seems to have devoted his

ABRAHAM COOPER IO7

brush almost exclusively to portraits of animals,
if his contributions to the Royal Academy exhibi-
tions fairly represent the scope of his work. In 18 16
he made a sketch entitled, " The Battle of Ligny,"
which does not appear in the Exhibition catalogues
but for which he was awarded 1 50 guineas.

This was the first of many battle pieces from
his easel ; such scenes naturally appealed to one
who delighted to portray horses and men in strong
action, and it will be observed that the majority
of his battle pictures were designed to this end.
Such were " The Battle of Marston Moor," exhibited
in 1819 ; "The Combat between Sergeant Bothwell
and Balfour of Burley " (Burleigh), a scene from
Sir Walter Scott's Old Mortality, exhibited in
1820 ; " Cromwell at Marston Moor," depicting
the incident which turned the day in favour of the
Parliament forces ; the Protector, though wounded
in the right arm called up a reserve and placing
himself at its head, with the aid of Lord Manchester
and others, won the victory. This picture was
exhibited in 1821. " Rupert's Standard at Marston
Moor " and " The Battle of Strigonium," were
among the pictures he sent to the exhibition of
the following year. Marston Moor found special
favour with Cooper; the exhibitions of 1823, 1852
and 1863 also containing pictures inspired by the
history of the fight. Other scenes of the civil

I08 ANIMAL PAINTERS

war were, " Arthur, Lord Capel, defending
Colchester for the King," a work containing por-
traits of Lord Capel and Fairfax, Sir George Lisle
and Sir Charles Lucas, shown in 1823; "The
Retreat from Naseby" shown in 1833 ; " The Fight
at Cropredy Bridge, where Sir William Waller
on 29th June, 1644, met King Charles L," shown in
1841 ; "Prince Rupert routing the Besiegers at
Newark," 22nd March, 1644, shown in 1844. The
Crusades, the Scottish Rebellion, the Peninsular
War, Indian wars, and, last, the Crimean War, also
provided Cooper with opportunities of displaying
his marvellous skill in portraying the Horse.
" Hors de Combat," one of three battle pieces
shown in 1853, was thus described by a critic of
the time : " an old standard-bearer is leaning on
his white charger which extends its weary limbs
on the ground : the man is worn and sjient by a
hard day's fight which has left pretty evident
marks on his person ; the white horse is wonder-
fully painted, texture preserved, and the tired,
relaxed expression shows at once this master's
knowledcfe of horse life."

This white horse figured frequently in Cooper's
pictures. The Sporting Magazine critic in his review
of the Royal Academy pictures of 1836, remarks of
the " Death of Harold at the Battle of Hastings,"
that its readers "will be gratified at least with an

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ABRAHAM COOrER IO9

old acquaintance a zohite charger who ' makes him-
self so generally useful,' in Cooper's studio and who
would throw no discredit upon any of the most
celebrated of Ducrow's unrivalled stud." We need
not doubt but that this is the animal which figures
in " The Studio," here reproduced.

In 1820 Cooper was elected to full honours as an
Academician, presenting as his diploma picture,
" Sir Trevisan flying from Despair," a scene from
Spenser's Faerie Queene. The Knight is depicted
helmetless, but otherwise in full armour ; he rides
a black horse which is galloping along a rocky
track towards the spectator's right ; the background
is dark with storm clouds.

It may here be added that in 1S62, six years
before his death, he resigned the honour of Royal
Academicianship.

Among Cooper's countless works of sporting
interest we may notice a few. A portrait of Elis,
winner of the St. Leger of 1836, was exhibited at
the Academy in 1S38: the jockey John Day is in
the saddle, Doe, Lord Lichfield's trainer, standing
on the risfht. In the backq-round is a travellinsf
horse-box or van from which The Drummer is
descending. A portrait of Mango, winner of
the St. Leger in 1837, was exhibited in the same
year ; Sam Day is the jockey in the saddle, and in
the right background we have again the travelling

no ANIMAL PAINTERS

horse-box with The Drummer emergrinof there-
from. The Drummer was a kicky travelHng
companion, his van-mates winning the St. Leger
in two successive years. This picture was painted
for Mango's owner, C. C. Greville, Esq.

The van, or travelHng horse-box for conveying
race-horses from one course to another, was first
used by Mr. A. W. Terrett in 1816, when that
gentleman had his horse, Sovereign, thus con-
veyed from Red Marley, in Worcestershire, to
Newmarket to fulfil his engagement in the Two
Thousand guineas. Mr. Terrett first made use of
a caravan to convey fat bullocks to Smithfield
Fat Stock Show, and so well satisfied was he
with the result that it occurred to him to try
how the system would answer in carrying race-
horses long distances by road. After his ex-
perience had proved the advantages of the horse
caravan, many prominent turfites adopted it,
among them the Earl of Lichfield, the Marquis
of Exeter, the Earl of Chesterfield, Lord Suffield,
Mr. Greville and John Day.

Cooper also exhibited in 1838 portraits of Airy,
winner of the Brighton Stakes of 1837, with litde
Will Day up, and Hassan, a grey Arab painted
for Henry Thomas Hope, Esq. He painted in-
numerable portraits of the famous race-horses of
his time and also of hunters.

ABRAHAM COOPER 1 1 T

Few Royal Academy Exhibitions during his
working Hfe did not contain a horse portrait of
interest to turfites or fox-hunters. In 1838, he
painted a hunt group of Sir James Flower with
his hounds, huntsman and whipper-in ; the men
wear the hunt uniform, green with blue collar.
A groom holds Lady Flower's horse ready for
his mistress to mount. " The Day Family,"
also exhibited in 1838, shows Cooper as a por-
trait painter ; the picture, which measures 4 feet
2 inches by 3 feet 2 inches, contains the follow-
ing likenesses : Mrs. Anne Day and Mrs. John
Day, the jockey's mother and wife, in a mule
carriage, John Day, whip in hand, standing on the
left, John Day, junior, leaning on the shaft of the
carriage, Samuel Day on Venison and William
Day on Chateau d'Espagne. The painting of
the horses shows infinite care and skill, and the
fore-shortening of the mule is very cleverly managed.

An excellent example of Cooper's work is his
portrait of "Thomas Waring Esq.," of Chelsfield,
Kent, shown in 1836, and engraved by W. B.
Scott in the following year; Mr. Waring is painted
on a favourite hunter named Peter, with five
couples of his harriers grouped round his horse.
" Nimrod," in a descriptive article written when the
engraving was published, gives the following
account of Mr. Waring's hounds : —

112 ANIMAL PAINTERS

" Mr. W'armg, as Master of Harriers, hunts the country
between Farningham and Sevenoaks, in Kent. The horse
upon which he is mounted may be called a pattern-card for
the purpose for which he is wanted. From the great obHquity
of shoulder he must be a good and safe fencer, and from the
setting-on of his head and his apparently placid disposition,
it is no wonder he is a favourite. His hounds, as Mr.
Cooper has represented them, are thoroughbred harriers,
without a cross of foxhound, not rounded in the ear and
conveying to us the idea of being well calculated to hunt."

The reproduction from W. B. Scott's engraving
preserves the prominent features of the artist's
wonderful draughtsmanship ; the drawing of horse
and hounds aHke betray his talent for catching the
character and subtle peculiarities of individual
animals.

Cooper had practical and intimate knowledge of
field sports, and this knowledge is made very
evident in his pictures. He v/as an all-round
sportsman, who rode well to hounds ; was a good
shot and an exceptionally clever fly-fisher. He
was a keen angler to the last. It is recorded of
him that from a lake in Capheaton Park, North-
umberland, the seat of Sir John Swinburne, Bart.,
which he frequently fished during his later years,
he killed pike, perch, and other coarse fish with
the fiy. In the Sporting Magazine of 1859 we
find reference to the artist's love of the rod ; then
seventy-two years old, he was "as fond as ever
of the art, a very expert fisherman, and well

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acquainted with many of the streams in England
and north of Tweed."

Mr. Wheble, the proprietor of the Sporting
Magazine, "discovered" Cooper in iSii, the
year before pictures from the artist's easel were
exhibited in the Royal Academy, and from that
date until 1S69 eighty-nine engravings from his
pictures were published in the Magazine, many
of these being works which had been hung on
the Academy walls. John Scott and J. Webb
engraved a large proportion of these plates, but
the names of other engravers of the first rank,
J. H. Engleheart and E. Hacker particularly, occur
with frequency on more recent prints.

Among the pictures engraved for separate jaub-
lication we may note the portrait of a famous
pointer named "Shot," size of plate 24^ inches
by iQi inches (with this picture was published a
companion by Agasse of " Dash," a famous setter) ;
" Fallow Deer," " Stag," and " Roebuck," three
engravings on stone by Fairland, the plates
measuring each 12 inches by 10 inches; "Ring-
wood," "Carlo and Shandy," "Fidele," and "Juno,"
four companion pictures, also engraved on stone
by Fairland, plates 14 inches by 11 inches; and
"A Fo.x Hunt," size of plate 8^ inches by 7 inches.
These prints were published by R. Ackermann.

Cooper numbered among his friends and patrons
8

114 ANIMAL PAINTERS

the first sportsmen in England. Of these, as
collectors of his works, may be named, H.M.
George IV. ; the Dukes of Grafton, Bedford, and
Marlborough ; the Marquis of Stafford ; the Earls
of Essex, Carlisle, Egremont, Upper Ossory, and
Brownlow ; Lords Ribblesdale, Arundel, Towns-
end, Ducie, Kerr, Bentinck, and Holland ; the
Hon. Grantley Berkeley ; Sirs M. White Ridley,
R. C. Hoare, G. T. Hampson, J. Swinburne, and
Grey Egerton ; Colonel Udney ; Messrs. Henry
Meux, G. W. Taylor, H. Combe, E. Marjoribanks,
George Morant, J. G. Lambton, F. Freeling, J.
Archer-Houblon, R. Alston, T. Miles, R. Frank-
land, John Turner, T. Nash, N. W. Ridley Col-
borne, and D. Marjoribanks.

A writer in the Sporting Magazine (vol. cxxxiv.)
of 1859 so aptly sums up the merits of this artist's
works that we cannot do better than quote a few
lines from him : —

" Whether racing, hunting, shooting, or fishing, you have
only to look at them to see that they are done by a thorough
sportsman, and are sure to bring back some pleasant recol-
lection of the past — either when you were at Newmarket and
had a pony on something of Lord George's — you re-
member John Day sitting with his hands on both thighs,
the horse with his nostrils extended, and remarked the
dilated eye on his going back to weigh just as Mr. Cooper
had depicted him ; how Todd, when Mr. Coombe hunted
the Berkeley country, capped on the hounds in the Wood-
lands when the meet was at Halton, and the fox broke away

zssa!

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ABRAHAM COOPER I I 5

in a line for Mendover. You had a glorious five-and-thirty
minutes — only t-so up and yourself, the others on the wrong
side of the wood. You felt half inclined to write to the
editor for the addresses of the owners of the hunters and
hacks, and have them at any price. Then his shooting
scenes. You say : ' I recollect finding a cock in such a place.
I have seen many a bird fall like that. What a likely place
for a pheasant ! Ah, what sport I had with Old Turk, the
ferret, and the nets many, many years ago ! The attitudes
of the men, how natural ! They all look like sportsmen, too.'
Then his hounds, setters, pointers, retrievers, spaniels, and
terriers — how life-like ! "

•' The very dead creation from hU toach
Assume? a mimic life."

Abraham Cooper died in the eighty-first year of
his acre, at his residence, Woodbine Cottasre, Wood-
lands, Greenwich, on 24th December, 1S6S. He
was buried in Highgate Cemetery. The portrait
of the artist is taken from a painting by John
Jackson, R.A., an engraving from which was
pubUshed in the Sporting Magazine of December,
1 82 7. It therefore shows Abraham Cooper at
about the age of forty, when he was enjoying the
zenith of his fame.

For some of the information concerning the
artist's Hfe and work, the writer is indebted to the
Dictionary 0/ National Biography, \o\. xii.

no ANIMAL PAINTERS

WORKS OF ABRAHAM COOPER.
IN THE BRITISH MUSEUM.

(i) PORTRAIT OF A JOCKEY.— YitsA only, wearing a cap, three-quarter face, turned
to the left. Red and black chalk ; size, 4J in. by 3J in.

(2) Two on one mount, %-iz. :— (a) STUDY OF A DEAD KING-FISHER— IMnz, on its
belly. WaterK:olours; size, 4} in. by 6 in.— (*) STUDY OF A DEAD /AY—
Lying on its back. Water colours ; size, 4I in. by 6 in.

IN THE SOUTH KENSINGTON MUSEUM.

A DONKEY AND SPANIEL : an ass tied in a stable ; in the foreground a spaniel lying
on a yellow stable jacket, panel 12 inches by 9 inches upright ; signed and dated
iSi3 {Skeepshanks gi/i).

GREy HORSE AT A STABLE DOOR : a horse with cart harness about to enter the
stable, panel 12 inches by 9 inches, upright ; signed and dated 1818 {Sheepshanks

eifO-
EXHIBITED IN THE ROYAL ACADEMY (332 in number).

YEAR

i8i»-<j) THE FARRIER'S SHOP— TERRIER'S HEAD.

,813— (5) THE FIRST OF SEPTEMBER—ELEPHANT, a stallion— G/C, a favourite
greyhound, property of Lord C. Bentinck- .^.V/J/z^Z.S', property of T. Milles
Esq., with servant— .4 GREYHOUND.

i3i4— (6) ZEBU BULL AND COW— MR. KEW AND HORSE— FANNY, a charger
and .MUFF, a poodle — LEOPARD, a dray-horse belonging to Messrs. Barclay
Perkins & Co., and Will Craddock, a servant— j?6)i'£' AND CRIB, two celebrated
bulldogs — A HUNTER, property of Viscount Deerhurst.

1815 — (7) SCRUB, a shooting pony, aged thirty years, belonging to Sir R. C. Hoare, Bart.,
with two favourite c\amhers—H.4CKNEY—DELPINI, a charger, property of
Major T. P. Milles, 14th Light Dragoons— TWO SPANIELS— FAVOURITE
CAT—CUTHULLIN, from Oss\a.n — HUNTING MARE AND FOAL,
property of the Duke of Grafton.

1816— (8) THE DESERTED CHILD FOUND— PONY, belonging to Mr. Edmund—
PADDY, an old xn<:T— GOLDFINCH, a celebrated hunter— .4 FAVOURITE
GALLOWAY, property of Lady Charles lovm-i'nitnA— PARTIS AN, by Walton
—HUNTER AND SPANIEL, the property of F. Wilson, Esq.— WHISKER
AND MINUET, winners of the Derby and Oaks Stakes, 1B13.

,8,7— (7) THE ADVENTURE OF MAMBRINO'S HELMET— HUNTSMEN AND

HOUNDS — FISHERMEN— PILGRIM, a 'a\xn\.a-TOM —A MORNING

RIDE— CURL, a pug dog.
i8l3— (6) THE WAPITI— ALDERNEY BULL AND COWS-HUNTING MARE—

THE HAPPY FOX-HUNTER -SPANIELS— THE FOX-HUNTER'S

RETURN.

,li9-(i) STUDY FROM NATURE— THE BATTLE OF MARSTON MOOR—
THE TURNPIKE GATE— A CELEBRATED FLY-FISHER— STUDY
FROM NATURE— JACK, a celebrated \inM.a — LORILDA, a favourite
hackney— //ICA', .-a cclebrat'--'J hunter.

WORKS OF ABRAHAM COOPER II7

1820— (6) SKIRMISH— THE COMBAT BETU'EEX SERCEAXT BOTHWELL
AXD BALFOUR OF BURLEV, Vide Old Mortality, Tales of Mv Lindlord—
PORTRAITS— PORTRAITS— A FAVOURITE HUXTER—A HORSE,
property of — Wilson, Esq.

iSsi— (2) CROMWELL AT MARSTOX MOOR— MR. T. ROUXDIXG OX
SPAXKAIVAV, with portraits of Gladsome, Governess, and Svreia, stagbouiids
in the Epping Forest hunt.

1822— (5) THE BATTLE OF STRIGOXIUM, now Gran in Hnnffarr. fonght in 159;—
A XATIVE DOG IX XEtV SOUTH IVALES— RUPERTS STAXDARD
AT MARSTOX MOOR— FAVOURITE HORSE, property of Afar. W.
Robans, Esq., yi.P.—RHODA, by Asparagus, a raxs-horse, tied by the Dnke of
Rutland.

1823— (6) A FAVOURITE DOG — DRAUGHT ■ HORSES — DEATH OF A
CAVALIER AT MARSTOX MOOR— ARTHUR, LORD CAPEL, DE-
FEXDIXG COLCHESTER for the Kmg (Charles the First) in the year 1048,
with portraits of Thomas Lord Fairfax, Sir George lisle, and Sir Charles Lncas —
IVOUVERMAXS, a chestnut bons^lVAMBA.

i824-(6) THE TOtVIXG HORSE, a study — G.ff£r /EM, a hunter— ^AVG
tVILLIAM III., LORD COXI.VGSB}', and the FIRST EARL OF
P0RTL.4XD—AX .4R.4BI.-iX, of the purest blood, bred by the MomeSck
Arabs— 5.4 r/Xi: OF SHRE!rSBU'Ry—.4L.4CRITy, a favourite mare.

1825— (4) BOSIVORTH FIELD— SOHO, .VY MAX !—THE POOR M.4X jiXD HIS
DISTRESSED HORSE, assisted by the Rev. G. Htilxit-THE ADIEU.

1B26— {5) B.4TTLE OF ZUTPHEX, 15S6— riTO HORSES, property of Lord
Charles V. Townshend, ^\.V.—PAIXTER, s. r^ais\-ei— THE LIBERATOR,
a hunter — S.MOJCER, a celebrated dog, propertj- of the Hon. Grantley F.
Berkeley.

1E27— (S) THE DEATH OF SIR FRAXCIS RUSSELL, treacherously slain at a
Border meeting, i6th July, i~Si—TROU.yCER, a foihovmd— ^ FAVOURITE
HORSE, property of Thomas Harrington, Esq. — FLEUR-DE-LIS by
Bourbon, property of Sir M. W. Ridlej-, Bart., yi.P.— ir.4MBA—THE HOX.
GRAXTLEV F. BERKELEY taking a slag— //.-!A'.Vt'3T, a foxhound bitch—
HORSES IX A STOR.U.

jS25-(4) RICHARD I. UXHORSIXG SALADIXI, at the Ba:tle of .ksczlon—THE
SHOOTIXG P0XY—DR.4UGHT.H0RSES, property of Mr. Crampem, of
Jermyn Street- THE STALLIOX. RICHARD.

iS::9— (3) SHOOTIXG POXY, dogs, game, Sic-SAXD DIGGERS— SPAXIEL.

1830— (6) J'H'.-JP, a hunter— /.JiVi', a lady's donkey— C.-! rrZi:, portraits— fF/£i>
FOIVL SHOOTIXG— .VISS TURXER, the celebrated trotting mare, property
of J. Gordon, Ksq.-THREE HORSES.

1831— (2) MARY OUEEX OF SCOTS MEETIXG THE EARL OF BOTHTVELL
between Stirling and Edinburgh— rJi"C SP.4XIELS.

i832-(5) THE BAGGAGE IVAGGOX-.VISS EDIVARDS, an old hackney— r//£
RETREAT— irOODCOCK SHOOTI.VG—BRIAX DE BOIS—GUIBERTS
ESCAPE FRO.U TORQUILSTOXE C.4STLE.

1S33— (7) THE SHOOTIXG POXY— THE RETREAT FROM XASEBY— T.HE
HORSE FERRY— PORTRAIT OF .-} GE.VTLE.V.4X on a favourite hunter—
FIDELIA— THO.MAS BLOOD, ESQ.—J.4CK1X THE BOX.

1S34— (7)^ HAU-AV.VG PARTY— AYRSHIRE COirS— GREEKS JiVTH ARAB
HORSES— I.VTERIOR OF .4 STABLE, with horses, goats, ic— .-1 SHOOT-
IXG PARTY— A TERRIER— SHAKSPEARE,by Six-olen-sko property of
Richard Wilson. Esq.

Il8 ANIMAL PAINTERS

YEAR

1835— (6) /C/iVO property of W. Pinney, Ebq., M.P.—^.-IiV.V!', property of —Peacock,
Esq.-COCOA, property of Sir John St. Aubyn, •&szi.— TOM JONES— PLENI-
POTENTIARY, winner of the Derby in 1834, &c., with'portraits of Conolly, the
jockey, and Ha>-ne, the trainer— Z>.ff .4 ] '-HORSES.

1836— <7) THE SPORTSMAN'S BOTHY— THE DEATH OF HAROLD at the
Battle of Hastings— /?^.W/'/OiV, a hunter, property of Earl Grosvenor— r/rO
HORSES AND A DOG—THOM--IS WARING, ESQ., on Peter, with five
couples of harriers— r/i'.E DOCTOR, a V^xtAzt — SPORTSMEN IN THE
HIGHLANDS.

l837-{8) GREEKS— JACK, property of Charles Brown, Esq. — MASTER FITZ-
GIBBON on his pony. Lion, with Mustard, Pepper and Spice, Skye terriers —
POP, property of .Sir John Shelley, Bart.— i'^J/, a setter— 5/'/C£, a Skye
<.errier—GREEKS—THE TRL'.VPETER.

tS3S—(y) HASSAN, an ArMa.n—IVELLINCTON AT WATERLOO— SIR JAMES
FLOWER, BART., and his hounds— £Z /J', ridden by John Day, and Lord
Lichfield's trainer Doe, at Doncaster, in 1S36— THE DAY FA.VILY— .MANGO,
property of the Hon. C. C. Greville—--^ //?!', winner of the Brighton stakes, 1837,
ridden by Will Day.

•839— (7) CO.MUS, one of Her M.ijesty's favourite riding horses— A'OATOiV, a hunter,
property of Earl Grosvenor— 5.-1 TTLE OF LEWES— AN ITALIAN SHEEP-
DOG—CRAB .4ND PICKLE, Scotch terriers, belonging to Lady Flower—
CHARLES BRETT, ESQ., with his horse Tohy— BAY MIDDLETON, pro-
perty of Lord George Bentinck, M.P.

i84o-(7) A DAYS SPORT IN THE HIGHLANDS, with portraits of Captain George
Rooke and the ailht— RICHARD CCEUR DE LION REVIEWING THE
CRUSADERS IN PALESTINE — STAVELY — ARABY and a PONY,
favourites of Sir John Swinburne, Bart., and Miss Swinburne's grey horse,
RAPID— BRUNO — MY FATHER'S FAYOURITE MARE, property of
J. Stamford Caldwell, Esq. — GREY MO.UUS, property of Lord George
Bentinck, M.P.

1841— (6) LA UNCELOT, winner of the St. Leger, iZ^o-THE FIGHT A T CROPREDY
BRIDGE— EQUESTRIAN PORTRAIT OF MISS HOARE-TWO DOGS,
painted for Sir John Swinburne, Bart. — .4, L. PFEIL, ESQ., on a favourite hack,
with Columbine and Nelson, greyhounds — G.-\RRY OWEN, property of the Right
Hon. George Byng, ^LP., ridden by E. Flatman.

T.ii,-2—{i) SCYROS AND TIT— THE CAVALIER— TWO MARES AND TWO
SKYE TERRIERS, property of Sir Henry Meux, B:iTt.—THE HIGHLAND
GILLIE— A BROOD MARE AND HER FOAL, property of Sir J. E. Swin-
burne, 'Bz.n.-FLORA, a thoroughbred maie—TOM THUMB AND JACKY,
property of Harvey Combe, Esq.

1843— <4) SAILOR, a retriever— Z£'X TALIONIS, the raid on the Reivers, or the
laird getting his ain &z^\n— PORTRAITS OF ALL THE HORSES AND
JOCKEYS ENGAGED IN THE DERBY STAKES, r34o; won by Little
Wonder, property of David Robertson, Esq.— THE GILLIES DEPARTURE
FOR THE MOORS.

1844— <4) PRINCE RUPERT ROUTING THE BESIEGERS AT NEWARK, on
the morning of the 22nd March, 164.^— RETURNING FROM DEER-ST.4LK-
ING— BRUSH, a retriever, property of Sir James Flower, Bart., M.P.— THE
FORD, a scene in Inverness-shire.

,S^i-{i) HIGHLAND COURTSHIP— THE igth JUNE, 1S15—A FAVOURITE
OLD HUNTER— MR. ROBERTSONS LITTLE WONDER, winning the
Derby, 1840.

WORKS BY ABRAHAM COOPER II9

1845— <3) THE LIFE GUARDS, in the costume of liii—SIR ROULAND, a favourite
horse— ^^'Z* DEER, ridden by Kitchener, property of the Duke of Richmond —
AN ARABIAN,-pioftny o{ Sn George Philip Lee— .-J FAVOURITE MARE
liiiy- it) CUPID AND NYMPHS — THE SLAVE DEALER — LA PUCELLE,
Old Talbot, and his Son at the Battle of Patay— /t'K, a favourite spaniel—
REFRACTION, property of the Duke of Richmond ; ridden by Henrj- Bell—
VINGT-UN AND MAJOR, property of Sir Henrj- Meux, Bart.
1S4S— (6) ARIADNE AFTER HER DESERTION BY THESEUS— MR. IVORLEY,
stud groom to Queen XA<:\Mde—HARVEST IN THE HIGHLANDS— THE
DEAD KID— THE FORAY— A STUDY.
i849-(6) THE WOUNDED CREEK— THE OASIS— ALIIVAL, an Arab charger,
property of Sir Harry G. W. Smith, Bart., G.C.B.— INTERIOR OF A HIGH-
LAND INN— RETURNING FROM DEER-STALKING — SURPLICE,
winner of the Derby and St. Leger, 1S48.
tB^o— (7) BLACKBERRY GATHERERS — SHOOTERS ON THE MOORS-
ARABS — jVEETING OF THE KEEPERS OF SIR JOHN EDWARD
SWINBURNE, BART., on his Moor in Northumberland - .4 iJC.-IZ)/.4i\'3'—
A HUNTER— THE PEAT CART.
i85i-(8) VIVE LE ROI'. — THE DEAD TROOPER— " HE WAS A MIGHTY
HUNTER BEFORE THE LORD"— " WITH WHAT SUM WILL YOU
OPEN THE BIDDINGS FOR HER >"—THE FORD— EDWARD COUTTS
son of Edward Marjoribanks, Jun., Esq.. with pony and greyhound (the portrait
by Thomas Webster, R.A.) — MOCKING-BIRD, a greyhound— Z)C'C5.
185a— (8) THE ROUT A T MARSTON MOOR— A GREY HORSE, property of Lady
Charles P. P. Clinton— .4 CHARGER, property of Lord Charles P. P. Clinton—
STARTLING INTELLIGENCE— THE ARABS SURROUNDED AND
FIERCELY ASSAULTED THE CARAVAN AND KILLED THE AT-
TENDANTS, NOT SPARING ONE OF THEM— ONE OF THESE—
SHOOTERS ON THE MOORS— THE BUTCHER BOY.
,853— (7) WELLINGTON'S FIRST GREAT VICTORY— THE BATTLE OF
ASSAYE—THE GILLIE'S COURTSHIP — LA VIVANDIERE—HORS
DE CO.MBAT— HENRY MORTON RESCUING LORD EV AND ALE
FROM THE FURY OF BURLEY MDrxxmAo?.— THE SHOOTING PONY
—PILOT AND MIDGE, property of Viscountess Maiden.
,85^_^6) DEERSTALKERS— HIGHLAND GAME— THE BEDAWEEN'S HOME
—COLLECTING THE WOUNDED AFTER A SKIRMISH — POR-
TRAITS—THE FALCONER.
1S55— (.7) SPANIEL AND WOODCOCK — GOING OUT — THE GILLIE— THE
VIDETTE— REPULSE OF THE COSSACKS BY THE NINETY-THIRD
— THE TIRED HUNTER— TAM O' SHANTER.
jii6—(,S) ENNUI, property of Lord Londesborough — JF.fii'y AUSTRALIAN, pro-
perty of Lord Londesborough— .-lyVjr/j^ri— .-! SCENE IN THE CRIMEA-
TWO OLD CA.MPAIGNERS, MARENGO AND COPENHAGEN— THE
FISHER.MAN'S BOY AND HIS DOG — MAMBRINO'S HELMET-
HIGHLAND LASSIE GETTING UP THE KYE.
,857— <7) THE FIRST OF OCTOBER, containing portraits of the painter and his son;
the former painted by Mr. J. -Hzi^aai— SMUGGLERS ON THE NORTH-
UMBERLAND COAST— RETURNED FROM THE CRIMEA— ARABS-
MASTER LEWIS, son of the Right Hon. the Chancellor of the Exchequer—
JOHN COMYN, the veteran Highlander of Glen Urquhart preparing a salmon
Ry—THE SHOOTER'S RETURN.
ziii—(.i) AN UNLICENSED HA WKER— ARABS— BLACKCOCK SHOOTING—
A HIGHLAND DAIRY— A CONFERENCE— PHEASANT SHOOTING-
GROUSE SHOOTIaVG— POST-HASTE.

I20 ANIMAL PAINTERS

YEAR

1859— (8) TAJ?, a retrievei — r//£ FUSEE— A CUP <^' WHISKEY— THE HIGH-
LAND VULPECIDE—MY ARAB STEED— ROBIN HOOD AND ZOE—
WOODCOCK SHOOTING— MERRY, the property of Mrs. Palmer.

i36o-(7) THE GUARD— MAJOR-GENERAL SKIPPON'S TROOP OF HORSE
CAPTURING THE KING'S GUNS, BAGGAGE, &'c., AT NASEBY—
LIEUT.-GEN. THE HON. SIR EDWARD OUST, Culonel of the
i6lh (Queen's) Lancers— CO 6/iVrAVC THE DA ^^S SPOR T— SNIPE SHOOT-
ING—GROUSE SHOOTING— THE ARAB AND HIS STEED.

1861— (7) 07V THE BANK OF LOCH NESS — MONTROSE ROUTED AT
PHILIPHAUGH BY SIR DAVID LESLIE, wso—DUCK SHOOTING:
SECOND BARREL — SHOOTERS GOING OUT — SCOTLAND— THE
STIRRUP CUP— THE FIGHT AT GLADSMOOR, near Edinburgh, 1650—
HUNTERS.

t362— (6) THE CONTRAST, OR THE OFF SHOE— THE BATTLE OF NASEBY,
June 14th, i(,ii—THE GILLIE— SHEARERS AND SPORTSMAN, scene
near Mealfourvanie, Inverness-shire— ^i?^fi5', &.C.— HORSES IN A STORM.

1863— (6) THE PRIDE OF THE DESERT— MY OWN GREY— THE GIAOUR—
WOMANS .MISSION— CROMWELL A T MARSTON MOOR— HUNTERS,
property of Sir Tatton Sykts, Bart.

1864— <5) THE DESPATCH — SHOOTERS ON THE HILLS — A LESSON IN
MENDICITY— SHOOTING PONY, &.C.— SILENT SORROW.

1865— <4) GONE AWAY— THE BATTLE OF EDGE HILL— THE SUTTLEKS
BOOTH— ARABS.

1866— {4) ARAB CHIEF AND HORSE— THE TIRED CAMEL — CAVALIERS
AND ROUNDHEADS, A STRUGGLE FOR THE STANDARD— AN
AWKWARD PASS.

1867— (3) THE PAINTER AND HIS MODELS— ARABS— DR ESSING A FLY,
a scene in Glen Urquhart, Loch Ness.

iSoS— THE ADVENTURE OF THE CAPTURE OF M.^MBRINO'S HELMET.

iZt<)—THE BARON HE LOVES HIS OWN GOOD STEED, bj- the late A.
Cooper, R.A.

PLATES IN THE ANNALS OF SPORTING.

STAG AND HIND, 1824, vol. 5; engraved by J. Scott.

FOX OF SPITZBERGEN, 1824, vol. 6 ; engraved by VV. R. Smith.

PLATES IN THE SPORTING MAGAZINE (189 in number).

(i) BASTO, a doc, i3ii, vol. 38; engraved by Scott— ;i«. DAVIS AS THE
GEORGIAN CHIEF IN TIMOUR THE TARTAR, iBii, yo\. 38; engraved
by Scott.

(2) PINCHER, a dog, 1811, vol. 39 ; engraved by %co\.\.—M.-iDCAP, a celebrated hunter,

1811, vol. 39 ; engraved by Scott.
141 HIPPOLYTUS, 1813, vol. 41 ; engraved by Scott— i'T'.'lG'^' HE.iD, 1812, vol. 41 ;
engraved by Scon— HORSES IN A STORM, 1S12, vol. 41 ; engraved by Scott—
THE STAG-HUNT AT EPPING, 1812, vol. 41.

(3) THE CHARIOT RACE, 1813, vol. 42; engraved by Scon— DOGS FIGHTING,

j8r3, vol. 42; engraved by Scott — FLY, a brindled greyhound bitch, unbeaten
during six seasons, 1013, vol. 42: engraved by Suolt.

WORKS BV ABRAHAM COOPER 121

(2) GIG^ a greyhound bitch, property of Lord Charles Hentinck, 1813, vol. 43 ; engraved by

Scon— THE RA T TRAP, 1814, vol. 43 ; engraved by Scott.

(3) INTERIOR OF A COSTER-MONGER'S STABLE, with .\ss and Goat, 1S14,

vol. 44; engraved by Scott— i'/Z^'-GC'^ T^, FOX AND KID, 1S14, vol. 44; en-
graved by Sco\\.~ DRAKE, a water spaniel, property of Lord Charles Kerr, 1814,
vol. 44 ; engraved by Scott.

(4) SQUIB, properly of Lord C. Kerr, 1814, vol. 45; engraved by Hcolt— FIRST OF

SEPTEMBER, 1814, vol. 45; engraved by Scott— FRANCIS BUCKLE, 1814,
vol. 45; etched— X)i/A'.£ OF GRAFTON S H'OFUL, by Waxy, 1815, vol. 45;
engraved by Scott.

(5) PENELOPE, a bay mare foaled 1798, bred by the Duke of Grafton, 1815, vol. 46;

engraved by Scott—/. COODISSON, 1S15, vol. 46; an etching - r//.E HIGH-
METTLED RACER, 1S15, vol. 46 ; engraved by Scott— FRIEND, a greyhound,
1815, vol. 46 ; engraved by Scott— JSIORNING OF FIRST OF SEPTEMBER,
1815, vol. 46 ; engraved by Scott.

(2) DON, a pointer, properly of Jasper Bates, Esq., Sussex, 1815, vol. 47; engraved by
Scott— MINUET, property of the Duke of Grafton, 1S16, vol. 47 ; engraved by
Scott.

(2) EVENING OF tsi OCTOBER, 1S16, vol. 48; engraved by Scott— PA R TIS A N, a
bay horse foaled 1811, bred by the Duke of Grafton, 1S16, vol. 48; engraved by
Scott.

(5) PADDY, a setter, 1S16, vol. 49; engraved by Scotl—THOMAS OLDAKER, hunts-

man of the Berkeley Hounds, j8i6, vol. 49 ; etched by Scott — IVHISKER, a hay
horse, foaled 1812, bred by the Duke of G.afton, 1816, vol. 49 ; engraved by Scott —
THE EAGLE AND NEWFOUNDLAND DOG, 1816, vol. 49; an etching—
STATELY, a hound belonging to the Berkeley Pack, iSi6,vo1.4q; engraved by
Scott.
(4) FOX'S HEAD, 1817, vol. 50; engraved hyScott— THE ASTONISHED YILLAGE,
1817, vol. 50; an etching — DULCINEA, a hunter mare famed with the Craven
and Essex hounds under Colonel Cook, 1817, vol. 50; engraved by Scott —
HARES FIGHTING, 1817, vol. 50 ; engraved by Scott.

(6) STILL LIFE, 1817, vol. 51; engraved by Scott— IVAPITI DEER, 1817, vol. 51;

engraved by Scott— GREYHOUND AND FOX, 1817, vol. 51; engraved by
Scott— /'0.4C//yrA'5', i8i8, vol. 51 ; engraved by Scott— HORSE'S HEAD
FROM THE ELGIN MARBLES, 1S17, vol. 51 ; etched by J. Scott— EQUES-
TRIAN FIGURES FROM THE ELGIN MARBLES, 1817, vol. 51; etched
by J. Scott.

(2) TRUFFLE, a bay horse foaled 1S08 (bred by Colonel Udny), 1818, vol. 52; engraved
by Scott— THE FOX-HUNTER'S RETURN, 1818, vol. 52; engraved by
Scott.

ARCTIC DOG AND FOX, 1819, vol. 53 ; engraved by Scolt.

(2) SPANIELS, iSi9, vol. 54 ; engraved by Scott— THE FL YING LEAP, 1819, vol. 54 ;
engraved by Scott.

(2) DRAY-HORSES, 1S20, vol. 56; engraved by Scott— ^ CART COB, 1820, vol. 56;

engraved by W. Smith.
GLADSOME, a staghound bitch, 1821, vol. 57 ; engraved by \Vm. Smith.
{2) RHODA, ahay filly, bred by the Duke of Rutland, 1821, vol. 58; engraved by Wm.

Sm\th— THE HON. THE KING'S CHAMPION, HENRY DYMOKE,

ESQ., 1821, vol. 58; etched by W. Sm'itti-STUDY FROM NATURE, 1821,

vol. 58 ; etched by A. Cooper, R.A.

(3) SLEEPY TRAVELLERS, 1821, vol. 59; etched by W. Smith— LAPLANDERS

AND REINDEER. 1S22, vol. 59; etched by T. fry— ADVANTAGES OF
THE MARTINGAL, 1822, vol. 59; etched by W. Smith.

122 ANIMAL PAINTERS

NA TIVE DOG OF NEW SOUTH WALES, 1822, vol. 60 ; etched by W. Smith.

(2) BOXER, a black water spaniel, 1823, vol. 62 ; engraved by Cooke— WO UVER MANS,

a chestnut horse, 182?, vol. 62 ; engraved by W. Smith.
(2) GREY JEM, aged 21, well-known with the Hatfield Hunt, 1823, vol. 63 ; engraved by

Vfiihh— FLEMISH FISHERMEN, 1824, vol. 63 ; engraved by J. Phelps.

(4) POACHER DETECTED, 1824, vol. 64; an etching— ^'iW/'.ff SHOOTING, 1824,

vol. 64 ; engraved by J. Scott— THE ARABIAN, BORACK, brought from
Madras, 1824, vol. 64; engraved by J. Webb— /(-"(J't'Z'COCA' SHOOTING. 1824,
vol. 64 ; engraved by J. Webb.

VIGNETTE, 1824, vol. 65; engraved by J. Scott.

VIGNETTE, 1823, vol. 66 ; engraved by J. Webb.

(5) VIGNETTE, 1825, vol. 67 ; engraved by J. Webb— PHEASANT SHOOTING, 1S25,

vol. 67; engraved by J. Wehh— GREEN SANDPIPER, 1825, vol. 67; engraved
by Mr. R^ddon— BLUNDER, a staghound in the pack of the Hon. Grantly
Berkeley, 1826, vol. 67; engraved by J. Wehb—PERDRIX BOREALIS, or
Maryland Quail, 1S26, vol. 67.

(4) VIGNETTE, 1826, vol. 68; engraved by J. Webb— Z)OG AND CAT, 1826, vol.68;

engraved by J. R. Scott— SUSSEX CARP, 1826, vol. 68; engraved by W.
Ks^iAon— STORMY PETEREL, 1826, vol. 68; engraved by W. Raddon.

(2) VIGNETTE, 1826, vol. 69; engraved by J. Webb— HARMONY, a foxhound bitch,

1827, vol. 69 ; engraved by J. Webb.

(5) VIGNETTE, 1827, vol. 70 ; engraved by J. Webb— TROUNCER, a foxhound, 1827,

vol. 70; engraved by J. Webb— ARBUTUS, by Walton, 1827, vol. 70; engraved
by J. Webb— GREENS HANK, 1827, vol. 70; engraved by W. Raddon—
VICTORY, a pointer, 1S27, vol. 70 ; engraved by J. R. Scott.

(3) VIGNETTE, 1827, vol. 71; engraved by J. Webb— RICHARD, a d.irk brown horse,

1828, vol. 71 ; engraved by J. Webb— GEORGE NELSON, 1828, vol. 71 ; engraved
by J. R. Scott.

(4) VIGNETTE, 1828, vol. 72; engraved by J. R. Scott— HORSES IN A STORM,

1828, vol. 72 ; engraved by J. Webb— CADLAND, a brown colt, bred by the Duke

of Rutland in 1825, 1828, vol. 72; engraved by J. Webb— SOLITARY SNIPE,

1S28, vol. 72.
COCA' ROBIN, a bay colt, 1828, vol. 73 ; engraved by J. Webb.
FLEUR-DE-LIS, a bay mare, property of His Majesty, 1S29, vol. 74 ; engraved by

J. Webb.

(2) VIGNETTE, 1829, vol. r^-DUCN SHOOTING, 1829, vol. 73; engraved by

J. Webb.

(3) VIGNETTE, 1S30, vol. -jf^THE WHIPPER-IN, 1830, vol. 76; engraved by J. R.

Scott — ARCHER, a foxhound in the Old Berkeley Pack, 1830, vol. 76; engraved
by J. Webb.

(2) VIGNETTE, WATER-HEN, 1830, vol. t,—MISS TURNER, a trotting mare,
bred in Wales, 1S30, vol. 77 ; engraved by J. Webb.

OCTOBER'S OWN, 1S46, vol. 108; engraved by J. Scott.

ALIWAL, an Arab, property of Sir Harry Smith, Bart.

WITHIN RANGE, 1849, vol. 113; engr.ived by E. Hacker.

MOCKING-BIRD, a black bitch greyhound, winner of the Wiltshire Champion Stakes,
March 1851. 1851, vol. 117; engraved by E. Hacker.

(2) THE COMPLETE ANGLER, 1851, vol. iiS ; engraved by J. Scott— THE SPORTS-
MANS PICNIC, 1851, vol. 118 ; engraved by E. Hacker.

(2) THE STAG MUST DIE! 1852, vol. 119; engraved by E. Hickei— HOLIDAY
TIME, 1S32, vol. 119; engraved by E. Hacker.

WORKS BY ABRAHAM COOPER I 23

THE COUNT OUT, 1852, vol. 120; engraved by J. H. Engleheart.

THE BURN, 1S53, vol. 121 ; engraved by W. Backshell.

(3) WHICH IVAY NOIV? 1S53, vol. 122-, engraved by VV. Backshell— ^ frt'.^A'

GLEANINGS, 1S53, vol. 122; engraved by S. Sqo\i—TO AN OLD TUNE,

1853, vol. 122 ; engraved by W. Backshell.
RED-HEADED WIDGEON, 1854, vol. 123; engraved by J. Outrim.
(3) THE OPENING DAY, 1854, vol. 124; engraved by J. H. Engleheart— /■//£

SPORTSMANS SIESTA, 1854, vol. 124; engraved by J. H. Engleheart—

MARK! COCK t 1S54, vol. 124; engraved by E. Hacker.
HERE HE IS ! 185s, vol. 125; engraved by W. Backshell.
THE BLACK COCK, 1855, vol. 126; engraved by E. Hacker.
(3) IN THE RIGHT PLACE, 1856, vol. 127; engraved by J. H. Engleheart— ?■//.£

VEDETTE, 1856, vol. 127; engraved by E. Hacker— 7"//£ QUARRV, 1856, vol.

127 ; engraved by J. H. Engleheart.
(3) UNDER WEIGH, 1856, vol. 128; engraved by W. Giller— AV THE MORNING

EARLY, 1856, vol. 128; engraved by J. H. Engleheart— r//£ FORESTER'S

FREIGHT, 1856, vol. 12S ; engraved by W. Backshell.
THE COMING MAN, 1857, vol. 129-, engraved by E. Hacker.
A STRONG POINT, 1857, vol. 130 ; engraved by J. H. Engleheart.
(2) THE DOG IN THE MANGER, 1S5S, vol. 131; engraved by J. H. Engleheart-

WHAT SPORT! 1858, vol. 131; engraved by J. H. Engleheart.
(5) THE FIRST BARREL, 1858, vol. 132; engraved by J. OMnm—HOME FROM

THE HILL, 1858, vol. 132; engraved by W. Backshell—^ CROSS SHOT, 1858,

vol. 132; engraved by E. Hacker— 7"//£ SHEALINC, 1858, vol. 132; engraved

by J. H. Engleheart— .4 " NE EXEA T," 1858, vol. 132 ; engraved by E. Hacker.
(2) UP THE PASS, 1859, vol. 134 ; engraved by J. H. Engleheart— i'O FAR, SO GOOD,

1S59, vol. 134 ; engraved by E. Hacker.
U) BOCK AGEN, i860, vol. 135; engraved by J. H. Engleheart— /I QUIET PIPE,

i860, vol. 135 ; engraved by J. H. Engleheart — A KILLING FLY, i860, vol. 135;

engraved by E. Hacker— THE DEAD HART, i860, vol. 135; engraved by W.

Backshell.
THE TOD-HUNTER, 1S60, vol. 136 ; engraved by J. H. Engleheart.

(2) TAR, a retriever, 1S61, vol. 137; engraved by J. H. Engleheart — THE WILD

HUNTSMAN, 1861, vol. 137 ; engraved by E. Hacker.

(3) THE FIRST FLIGHT, i86i, vol. 138; engraved by T. S. Engleheart— r//jE

BOUNDS OF THE BEA T, 1861, vol. 138 ; engraved by T. S. Engleheart— rZ/j?
MOUNTAIN PASS, 1S61, vol. 138 ; engraved by J. H. Engleheart.
(5) DECLINING DAY, 1862, vol. 139; engraved by E. Hx^ex— RIGHT AND LEFT,

1862, vol. 139; engraved by T. S. Engleheart— 7"//.£ PYRA.^IID, 1862, vol. 139;
engraved by E. Hacker — SAFT AN SLYLY, 1S62, vol. 139; engraved by E.
Hacker— r//^ FISHERMAN'S FAMILY, 1862, vol. 139; engraved by E.
Hacker.

(2) VIGNETTE, LANGUISH, properly of Her Majesty, 1S62, vol. 140 ; engraved by E.

HsLcVet— AN AUTUMN EVENING, 1862, vol. 140; engraved by E. Hacker.

(3) THE LOST SHOE, 1S63, vol. 141 ; engraved by E. Hacker— .l/.ff. JOHN GULLY,

1863, vol. 141 ; engraved by J. B. Hml—THE MORNING MEAL, 1863, vol.
141 ; engraved by E. Hacker.

(2) THE MOUNTAIN DEW, 1S63, vol. 14;; engraved by J. H. Engleheart—

EXCELSIOR, 1863, vol. 142 ; engraved by \V. Backshell.
NEWBJGGIN, a greyhound, property of Captain L. W. Atkinson, King's Dragoon

Guards, 1864, vol. 143 ; engraved by E. Hacker.

124 AXIMAL PAINTERS

{3) THE THREE GRACES, iSat, toL 144: eagiaved by E. H^cier— rj/£ CaJ/AVG
STORM, 1S64, tdL 144 ; eagi2TCd by E. H?rVer— r.y-gJg^'J' /J Ri\C A T
THE BEEL, 1364, \T3L 144 : engiav-^ by tl. Hacker.

(2) iTAJlKET DAI', 1=0;, 143; engisred by E. Hacker— .-3 WAYSIDE WELCOME,

IC65, vt^ 145 ; engrav-sd by E. Hacker.
(S) rffE HOUSE-KEEPER, 1=65, voL 146: eagraved by E. n^daiT—THE REST,
A.VD BE THAXKFUL, 1065, Tot 146; engra^d byE. n^s^ei—MAXORIAL
RIGHTS, iSoj, voL 146; englared by E. Hacker— T.'i^.E FIRST BRACE, iSos,
\xA- 146: eEgrared by £- HprVer — HIT HIM AGAIX! 1565, vti 146; engraved
by E- Hacker.

(3) HARD TIMES, 1S66, voL 1.17; engraved by E. Haiier— O-V THE REiy, 1S66,

toL 147; engraved by E. Hzid-^—THE HUXTSMAS'S HOLLOA, 1866, voL
147 ; engraved by E. Hacker.

(4) By HABEAS COREL'S, 1H06, vbL 14= ; engraved by E. Kzi:ke!—THE FOOT OF

THE HILL, 1S66, vdL 143 ; engraved by E. Hacker — A WIXGED BIRD, 1S06,
voL 145; engiaved by E. Hacker — HA.BET, iS^, voL 148; engraved by
E. Hacker.

{4) HAKE READ}', 1167, vo'_ 145 ; engraved by E. Hacker — 0-V THE RIPPLE, liS?,
VT>L 149; engraved cy E. Hacker — Mi' LADi'S HOBBY, 1S67, voL 149; en-
graved by E. Hacker — FASHIOXIXG A FLY, 1S67, voL 149; engraved byE.
Hacker.

STEADY, 1HC7. voL 15a ; engraved by E. Hacker.

AFTER, 1B6S, voL 151 ; engraved by E. Hacker.

(3) AX L'XDER CL'RREXT, i=63, voL ijr: ; engraved by E. Hacker— rif^ PRI^'A TE
BOX, 1-65, voL 132, engraved by E. Hacker— rA'£' CREEK, io63, voL 133 ;
engraved by E. Hacker.

iS)OX THE BRIGHTOX LIXE, i369, voL 153; engra^-ed by E. Usd^ei—THE
ARAB/AX KXIGHTS, 1S69, voL 153; engrav^ by E. Uzdca—THE
STUDIO, a ponrak of himself, 1S69, vdL 133 ; engraved by E. Hacker.
THE DEATH STRUGGLE, 1S69, voL rjt; engraved by E. Hacker.

PLATES IN THE NEW SPORTING MAGAZINE
(71 in number).

(5) PARTRIDGE SHOOTIXG, rSsi, voL 1; engraved by J. VlAh—FLY-FISHIXG,

iS3r. voL r ; engraved by J. Scott — BLACK GAME, iSsr, vol. i; engraved by
W. Raddoc: — CAMEL, a brown bcrse, bred by tbe Earl of EgrenionC in iBza,
1331, voL ■; engraved by J. Webb— j?/5 C/.VC, THE STARTIXG POST, i83r,
voL I ; engraved by J. Scocr.

(6) VIGXETTE, ri3r, voL 2; engraved by V{Ah— RABBIT SHOOTIXG, iBsr, voL 2;

engraved by Webb— T'i'^Z., rSsi, voL 2; engraved by J. SzoK—HUXTIXG:
No. T—Go'lXG TO COVER, rBsr, V0L2; engraviad by Webb— JF/ZiJ FOWL
SHOOTIXG, 1Z3Z, voL 2; engraved by R. Golding- i'J/OA'£^, a dog, property
of the Hon- G. Berkeley, rSsr, voL 2 ; engraved by Webb.
(3) FLY FISHIXG, Xo. 2, r3j2, voL 3; engraved by Smith— MULE PHEASAXT,
1832, voL 3: engraved by W. Radd-an — RACIXG, Xo. 2, 1832, vol. 3: engraved
by Scoct — TROUT, 1332, vol. 3 : engraved by Raddon — GALA TA, a brown filly,
bred in 1829 by Lord Exeter, 1H52, voL 3 ; engraved by Scoa — SETTERS, 1S32,
voL 3; engraved by R. T^JZ— PHEASAXT SHOOTIXG, 1S32, voL 3; engraved
by W. R. Sunrh—n'OCXDED MALLARD, 1232, voL 3; engraved by W.
Raddoo.

WORKS BV ABRAHAM COOPER 1 25

(S) THE TERRIER, 1232, voL 4; e-srsved by R. Go-Iding— A"'.Vr/_VG^, iSja, -toL 4 ;
esigTaved by J- R- SccrjL—PTARJ'TIGAX OR IVHITE GROZ'SE, 1=^2, voL 4:
engraved by J. Engieheart — C-yi-'G^.V, 2, brom inare, bi^ by tbe Duke of
Grafton in iSaS, 1E32, voL 4; engrsred by Sc&Ji—THE DVIXG WOODCOCK,
1332, voL 4; eugraved by R. Goldiog— iT/ii iA^^: THE PEA-HEX, THE
PIXTADO, AXD THE JAV, 1S23, voL 4: engraved by W. Radd-c^r^^
HOBBY HAil'JC, i523. tcL 4; engrav^ by R. Goldliig—THE PIKE, iS^,
vdL 4 ; «3graTec by A, W. Warren.

(2) PERCH, i?33, ToL 5 ; engraved by Warren— T.Y^ TVOUXDED S.WPE, 1333, vuL 5 ;

engraved by R. Golding.

(3) RABBIT SHOOTIXG, 1133, voL 6; engraved by rhmca:>--C.^.?/', 1333, v^L 6 ; e=-

gra-red by Warren — GOXE A WA >', 1S33, vcL 6 ; engraved by Scoc
(2) SHAKESPEARE, a celebrated stallion, 1=33, voL 5; engra^sd by J. R- Scxi— .=:^i?
GROUSE, 1S33, voL 6 ; engraved by J. EngSebeart.

(2) THE SHOVELLER, 1S34, voL 5; engraved by W. Raddoo— Pr5i'i; a ^^^ Ero^m

mare, bred fay Mr. Leciuasre Cbarltoa, 1S34, voL H ; engraved by R- Parr.
THE BLACKCOCK, 1E55, voL 10 ; engraved by Parr.

(3) A MEALFOURVOXIE TROUT, i-jS, vr>L 11 : engrav^ by l>^c3Zir-THE SKYE

TERRIER AXD WHELP, 1136, voL 11 ; engraved fay R. Vzn— GROUSE

SHOOT I XG, 1:365 vol. II ; engraved by Duncan.
(4)^r FAULT. i337, voL 12; engraved by Duocan— JtC^^C'CA" S.^fTOr/.VG; 1337,

roL 12; engraved by Duncan — THE 5IOORHEX, 1537. voL r^ : engrav^ by

Dnncan — RACIXG, Xo. 3, 1337. vcL 12: engraved hj R. Parr.
(a) PHOSPHORUS, property of Lord Bemers, 1537^ voL 13; engraved by J. R. Sccc—

^lAXGO, a three-y^earnald colt, bred by ilr. Tbocnhil!, 1S37, voL 13 ; engraved by

T. E. XidioIscHi.

(3) FOX-HUXTIXG, portrait of Wlffiam Pimiey, Esq., M.P., 1335, toL 14; aigraved by
T. E. Nicholson — POP, a favocrite pointer, property ^ Sir John SheHey, Bart,
1S33, voL 14 ; engraved by J. W. Arcber — THE COMMOX AXD THE
BRAXDLIXG TROUT, zZsS. voL 14 ; er:graved by J. W. Arcber.

(3) AMATO, a tbree-year-old colt, bred by Sir Gilbert Heaibcote, Bart., 1331, voL 15:
engraved by W. B. Scott — ROE DEER on the banks ct Loch Xess, 1:33, voL 15 ;
engraved by E. Harker — IXDUSTKY, a brosTJ filly, ZE^Dperty cf, and bred by the
Earl of GiestexBdd, iSsS, voL 13 ; engraved by W. B. Scott.

(a) DELIA AXD LUCV, hoonds bred by T. Groves, Esq., 1330, vtsL i5; engrav^ by J.
W. Aicber — RETRIEVER, a deer-hocnd of the old F-^g^^^Ln cEeed, property cf
the Hon. Mr. Grantley Berkeley, 1E39, voL 16 ; engraved fay W. RaddcHi.

(2) BLOOMSBUR >', winner of the Derby Stakes at Eps^n, 1539. ^yz, vol. 17 ; engraved

by J. W Aich^—DECEPTIOX, bred by Mj. Isaac Saddler, 1-39, v^ 17 : en-
graved by W. B. Scott.

(3) HEADS UP, STERXS DOii'X, dcgs, 1S43, voL i3; sigiav^ by J. W. Amh^—

GREy MOMl'S, a hcrse sold to Co=j:nt Hahn and taken over to C-emany, 13.40,
voL i3; engraved by J. W. Azf^i-zi—BULL TROUT, iSic, voL i3 ; engra^-ed by
J. Octrim.

(5) LITTLE JVOXDER, winner of the Derby Shakes at Epscm. 134a. i34o. vcA i2ci,
engra\-ed by W. B. Scott — CRUCIF/-\~, winner of the Oaks Stakes at Epson:,
iSao. 1240, vob 19; engraved by J. W. Arche- — PARTRIDGES, 1340, vcL 19 :
engraved by J. Ontiim — LAUXCELOT, bred by the Manjnis cf Westminster,
1S40, voL 19; engraved by W. B, Scott — XELSOX, a blai greybwnnd, ;£40.
vol. 19 ; engraved by J. Outrim.

PIGGIXG OUT. i34t. voL so; engraved by E. Radclyne.

126 ANIMAL PAINTERS

AUGUST, 1843, vol. 25; engraved by J. Godden.

(2) BRUSH, a spaniel, property of Sir James Flower, Bart., 1845, vol. 28; engraved by
E. B.&c\i&x~DEAD BEAT, 1845, vol. 28; engraved by E. Hacker.

(2) SHOOTING ON THE MOORS, 1845, vol. 29; engraved by J. R. ^coiv— REFRAC-
TION, a brown filly, bred by the Duke of Richmond, 1845, vol. 29; engraved by
E, Hacker.

READY, a spaniel, property of Sir James Flower, Bart., 1846, vol. 30; engraved by
Scott.

127

ALEXANDER DAVIS COOPER.

A LEXANDER DAVIS COOPER, son of
•^*- Abraham Cooper, followed, but at a distance,
in the footsteps of his father, whose tastes for art
and sport he inherited. He is described in Graves'
Dictionary as a Landscape artist ; but some of the
works exhibited by him at the Royal Academy,
and those engraved for the Sporting and New
Sporting Magazines show that he could paint
animals and sporting scenes with sufficient skill
to render his comparative neglect of such subjects
matter for regret. Volume xiv. of the latter (1838)
contains an engraving by E. Hacker from a picture
entitled "Spaniel and Dead Game," which is made
the subject of editorial remark: — "The painter of
this subject is the son of A. Cooper, R.A., and
this, we believe, is the young artist's maiden
plate. . . The picture which was exhibited at
the Royal Academy last year is very cleverly
composed, and the head of the spaniel is, in par-
ticular, well painted." In 1841 he painted the
portrait of Byron, a famous black and tan spaniel,
for which the owner. Baron Lenton, had paid

128 ANIMAL PAINTERS

lOO guineas. Like his father he was an angler,
and left evidence of his affection for the rod in
his pictures. In the New Sporting Magazine for
1843 ^^^ ^^^ ^''' engraving by J. Godden from
"The Burn Side," a clever fishing piece; and
again the Sporting Magazine for 1859 contains a
plate entitled "Arcades Ambo," in which are
represented two large trout with a fisherman whip-
ping a rapid stream in a beautiful landscape. " No
doubt," says the descriptive article, "Mr. Davis
Cooper sat down and sketched them on the spot."
A. D. Cooper contributed altogether sixty-seven
pictures to the Royal Academy exhibitions between
the years 1837 and 1888. The very large majority
of these were landscapes and subject pictures. To
the British Institution he contributed twenty-seven,
and to various other galleries twenty pictures.

WORKS OF A. D. COOPER.

SPORTING AND AXIMAL PICTURES IN THE ROYAL

ACADExMY (II in number.)

iiyjSPANIEL AND GAME.

iSyf-CAVALIERS.

li^l— PORTRAIT OF A. COOPER, ESQ., R.A.

iZ^^— MILKING TIME, the cows the property of Chas. Brett, Esq.

T.%tf>—QUARRELSO.ME CO.MPANIPNS, the properly of Mrs. H. C. Hoare.

lisi—HOR.'iES, the property of the Hon. G. W. C. Byng.

1869— rO/'i'K, IVASP, SAILOR, AND MASTER TURl'V, protigis of James Farrer,

Esq., of Ingleborough.
iZTi—AT BAV.
itig— AFTER THE FAIR.

iSSo—BLACA'COCR- AND MOUNTAIN HARE.
T%1.%—A MUTUAL SURPRISE.

129

LUKE CRADOCK.

(Born circa 1657. Died 1717.)

T UKE CRADOCK was born at Somerton, in
-*— ' Somertsetshire, about the year 1657. In his
youth, his parents, actuated perhaps by the desire
to encourage what they supposed to be his natural
bent, apprenticed him to a London house-painter ;
and in this very elementary school, without instruc-
tion and with few opportunities of study, Cradock's
innate talent developed.

Birds and animals were the subjects to which
he devoted his brush and his success in the
portrayal of these was the more remarkable, inas-
much as he was entirely self-taught. His birds,
particularly, show strength and truth of colouring,
but spirit and fidelity to nature distinguish all his
works. His paintings were in much request for
decorative purposes to be placed over chimney-
pieces and doors ; their value rose greatly after
his death for Horace Walpole quoting Vertue.
the great authority on painting in the various
English collections, states that Cradock's pictures
9

130 ANIMAL PAINTERS

frequently brought from three to four times the
price the artist received for them.

The British Museum contains four examples
of this artist's work, engraved by Josephus
Sympson, 1740- 1743: — (i) A Heron and Geese
near a mill wheel ; (2) Hawk swooping down
on Fowls ; (3) Hawk carrying off a Chicken ;
(4) Various birds — pigeons, plover, and a parrot
perched on a bough.

The birds in the above four engravings are very
spirited in drawing. Size of each plate 18 inches
by 14 inches.

A painting by Cradock is described in a catalogue
of the sale of pictures belonging to Sir G. Osborne
Page Turner, Battlesden Park, Woburn, 7th June,
1824 : " Poultry, a Stork, a Passage-boat on a Canal,
and Figures crossing a Bridge." The catalogue of
a sale at Christie's in May, 1847, includes one of
his works, " Poultry attacked by a Hawk," the
property of Edward Harman.

Luke Cradock died in London 1717, and was
buried at St. Mary's, Whitechapel.

131

DAVID DAL BY.

(Born cin-a lygo.)

FN AVID DALBY was born about the year 1790,
'-^ and was probably a Yorkshireman ; but
where he first saw the Hght, who were his parents,
how or where he received his education, under
what circumstances he adopted the brush as a
means of Hvehhood, and where and when he died,
cannot be discovered. It is certain that for some
years he resided at York, and that he left that
city to seek a home in Leeds ; and the fact that
this migration took place very shortly after the
publication of a sketch he made, caricaturing the
Sheriff, appears at once to furnish a motive for
his change of residence, and also to indicate that
Dalby occasionally employed his talents with more
ability than discretion.

He appears to have had a struggle for his bread
after he settled in Leeds, as we are informed that
he painted pictures for a dealer there, work which
for a time kept him from starvation. However that
may be, his gifts in course of time won the recog-
nition which is their due, and he found patrons

132 ANIMAL PAINTERS

among the most prominent North-country sports-
men of the second decade of the century.

Dalby's style of painting is chaste and much
resembles that of J. F. Herring; and if he could
not impart to the coats of his race-horses the
wonderful sense of texture for which Herring's
pictures are remarkable, his horses are at all events
anatomically correct in drawing while his hunting
pieces are superior in their grouping and also in
sporting technique. We see by the manner in
which he puts his men in their saddles that Dalby
himself was a good horseman ; he also understood
fox-hunting and could prove his knowledge on his
canvas ; Herring knew more of coaching than of
fox-hunting, and thus Dalby had the advantage
over him in the latter department of art.

It is by his hunting scenes, and by the portraits
of race-horses which North-country sportsmen com-
missioned him to paint, that Dalby is known. One
of his earliest patrons was Richard Watt, Esq.,
of Bishop Burton, at that time one of the most
celebrated men on the turf. It was for Mr. Watt
that he painted that remarkable portrait of a
wonderful horse, the famous Blacklock, to whom we
trace the best blood on the English turf to-day.
This portrait, which is life-size, is a most life-like
presentation of the great sire. The picture, which
was painted in the year 1823, was sold at Christie's

DAVID DALBY 133

on 9th May, 1892, when it fell to the bid of Mr. E.
R. B. Hall Watt, and is now at Bishop Burton.
Blacklock was foaled in 181 5, ran until the York
August Meeting of 1819, and died in 1831.

Two years before he painted the portrait of
Blacklock, in 182 1, Dalby executed for Mr. T. O.
Powlett a picture of Jack Spigot, winner of the
Doncaster St. Leger of that year, with his
jockey up. This picture was engraved in small
size by T. Sutherland, and published in colours by
T. Sotheran, of York, whose business as a book-
seller, by the way, did not prevent his holding the
office of Clerk of the Course.

In 1823, Dalby painted a small hunting picture
called " Down Hill," which serves to display the
artist's knowledge of both the horse and horse-
manship. It represents a man in the fashionable
hunting dress of the period — scarlet double-breasted
tail coat, closely buttoned, tall beaver hat, and blue
choker tie with white spots — on a black hunter
which he is handing down a high and steep bank.
The rider's pose, as he sits well back to relieve his
mount's forehand, is cleverly treated. Size of
canvas, 1 1|- inches by 9 inches.

In 1826, for INIr. Consett Dryden, he did
the portrait of White Legs, a celebrated hunter.
This painting which has considerable merit, is now
in the possession of Thomas Parrington, Esq., of

134 ANIMAL PAINTERS

Whitby, Yorkshire ; as also is another excellent
sketch in oil by Dalby, namely a portrait of Done
Up, a chestnut hunter, ridden by a sportsman in
pink with the blue and white spotted choker tie
which appears to have been the "correct thing"
for wear in the hunting field at that date.

In 1834, he painted a picture of Bran, by
Humphrey Clinker. Bran was bred by Lord
Sligo, and was foaled in 1831. He won his share
of honours on the turf ; he ran second to Touch-
stone in the St. Leger of 1834, in which year
he was purchased by Sir Edward Baker for 1,300
guineas. This work was engraved by Richard
Parr and the plate therefrom forms the frontis-
piece to vol. Ixx.xv., the Sporting Magazine of
1835. In 1837 Dalby painted the portrait of
Mango, by Emilius. Mango was bred in 1834,
by C. C. Greville, Esq., for whom, in Sam Day's
hands, he won the St. Leger of 1837 ; he also won
many other races. The picture of Mango was
engraved by J. H. Engleheart ; the plate forms
the frontispiece to vol. xci., 1838, of the Sporting
Magazine. These two plates it may here be added,
are the only examples the Magazine contains of
the works of this artist, who is described as "Dalby,
of York."

The artist did not confine himself exclusively to
horse portraits; he painted in 1834, for Edward

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DAVID DALBV I 35

Howard, Esq., a picture of Lear, a celebrated
retriever, which was bred by the Marquess of
Carmarthen. An engraving from this picture
appeared in the New Sporting Revieisj, vol. viii.

For Mr. William Scott, Dalby painted the por-
trait of Blacklock's well-known son Velocipede,
winner of the York St. Legrer in 1828. The size
of this canvas is 29 inches by 24 inches.

Let us revert to the artist's fox-hunting pictures.
Li 1824, he painted three hunting pieces, "Lord
Harewood's Hunt" (as the Bramham Moor was
called during the twenty years of Lord Harewood's
mastership) at Knaresborough. No. i shows
The Meet, a group of eight horsemen waiting
in easy attitudes for the hounds ; a clump of trees
forms an effective back-ground ; in the right dis-
tance the pack with huntsman and whipper-in are
approaching, through a stream. The eight figures
are evidently portraits, but whose it is not possible
now to discover. No. 2, Full Cry, shows the
pack with huntsman in attendance, driving through
a wide stretch of water ; and in No. 3, The
Death, hounds are in the near foreground breaking
up their fox. These pictures, which are in the
writer's possession, are of uniform size, showing
that they form a series. They are very cleverly
drawn ; again we recognise Dalby's close and
careful study of horse and hound in action, and the

[36 ANIMAL PAINTERS

workmanlike style in which he puts his men in
their saddles. The third of the set faces page

134-

Dalby, for all his talent, does not appear to
have succeeded in a pecuniary sense, for we find
that at one time Mr. Dryden, Mr. John Booth,*
and others clubbed together to guarantee him
twenty hunters to paint at three guineas each.
That such an arrangement should have been
suoforested at all, indicates that the artist was in
want when he had many admirers ; and the fact
that he gladly accepted the commission, modest
though the remuneration was, confirms the im-
pression that this guarantee was in the nature of
a charity.

With the number of patrons and friends upon
whose support Dalby could reckon, he should at
least have been able to realise a competence ; but
had he reaped only a share of the success to which
his talents entitled him, it would surely be possible
to trace his later career. As it is, we lose sight
of him in middle age, when he passes into the
unknown. The only conclusion is that the man
was his own enemy, and that the kindly exertion
of friends failed to save him from himself.

* Mr. Booth, of Killerby, Yorkshire, was a yeoman farmer
and famous breeder of Shorthorns, also one of the best
known hunting men in the north of England ; he had great
reputation as a wit.

137

RICHARD BARRETT DAVIS.

(Born 1782. Died 1854.)

p ICHARD BARRETT DAVIS, bom 1782
-'■^ at Watford, in Hertfordshire, was, it may be
said, reared in the atmosphere of sport. His
father, Richard Davis, was huntsman of George
HI.'s harriers, and one of his eight younger
brothers, Charles, who began by turning hounds
to his parent, became in 1822 huntsman to the
Royal Buckhounds a post he held under George
IV., William IV. and Her Majesty Queen
Victoria. With such connections it was only to
be expected that Richard's artistic tastes would
take the direction they did.

He studied under William Evans, better known
as Evans of Eton ; and also under Sir William
Beechey who, as drawing master to the Princess,
resided much at Windsor. It may be conjectured
that he owed the advantage of tuition by Sir
William to the positions held by his father and
brother ; Charles Davis, as Lord Ribblesdale tells
us in his published work, Tlie Queens Hounds,
was indebted to George HI. for his later educa-

'^

8 ANIMAL PAINTERS

tion, and it is probable that the Royal favour
extended to the elder brother. When nineteen
years of age Richard Barrett Davis became a
student at the Royal Academy, and while there
painted the first of his pictures of which there is
record. One of these was a portrait of the Duke of
Beaufort's huntsman, Philip Payne, on his favourite
grey horse Charington with eight and a half couples
of hounds, three of the hounds leading the way
into covert over a wall. This painting was beauti-
fully engraved in mezzotint by C. Turner, the plate
being 27 inches by 18 inches; the print bears a
dedication to the Duke of Beaufort. The second
picture was entitled " Mares and Foals at the Royal
Stud."

In 1802 R. B. Davis, then in his twentieth
year, contributed his first picture, " A Landscape,"
to the Royal Academy exhibition. Two landscapes
with cattle represented him in the following year,
and in the exhibition of 1805 he had a picture of
" His Majesty in his Travelling Chariot returning
to town from Windsor, accompanied by his usual
escort of Guards, Riders and Attendants." This
work, which is happy in composition and spirited
in drawing, was engraved by Charles Turner and
published on 20th February, 1806, by Mr. R. B.
Davis, 41, Great Portland Street (for the proprietor)
and C. Turner, 50, Warren Street, Fitzroy Square.

RICHARD BARRETT DAVIS I 39

The artist being himself proprietor of the work,
it would seem that this was his first venture in
publication and that the engraver shared the
speculation. This very fine example of mezzotint
engraving is " by permission humbly dedicated to
H.R. H. the Duke of Cumberland by his devoted
and very humble servant, R. B. Davis." The plate
measures 28 inches by 21 inches.

Having proved his artistic ability it was only to
be expected that his family connections should have
brought him renown in the country hunted by the
Royal hounds ; and he soon numbered among
his patrons many of the best known sportsmen
of the day, including King George III., the Duke
of York, the Duke of Cumberland, the Dukes of
Beaufort, Grafton and Richmond, the Earl of
Egremont, and Sir F. Bourgeois. Time brought
him distinctions both significant of his talent and
remunerative; in 1831 he was appointed animal
painter to King William IV., and in 1842 he
received the patronage of Her Majesty and the
Prince Consort.

In 1813 he executed a picture of "The King's
Harriers," with portraits of the huntsman and
whipper-in on horseback and thirteen couples of
hounds grouped about them ; this work was, no
doubt, commissioned in view of the abolition of
the Royal harrier pack, as it was given up in April

140 ANIMAL PAINTERS

of the same year. The picture was engraved, and
the print bears dedication to General Manners.
It may be added that in 1824 King George IV.
re - estabHshed the Royal Harriers, purchasing
drafts from Mr. Loraine Smith, of Enderby
Hall, Leicestershire, and thirteen couples of the
pack sent up to Tattersall's by Lord Maynard's
executors. Charles Davis, who had succeeded
George Sharpe as huntsman of the Royal Buck-
hounds in 1822, undertook to hunt the harriers on
non-staghunting days. George IV. was a keen
sportsman and appreciated the joys of pace ; when
Prince of Wales he accepted a Mastership of Fox-
hounds during his residence at Critchill, in Dorset-
shire. His father was fond of the chase, and in
1780 established a pack of foxhounds with Sharpe
as huntsman ; but His Majesty's weight was against
him in the field, and, according to Lord Ribblesdale,
he was not in the habit of tempting Providence
by trying big places or of riding too hard.

In 1822 Davis painted for the Duke of York
a portrait of his horse, Moses, which in Tom
Goodisson's hands had won the Derby of that year.
His Royal Highness is said to have been a good
judge of a horse, and Moses he bred himself out of
Sister to Castensa by Whalebone. This picture
was shown at the Academy of 1823 ; an engraving
of the work by J. Scott was published in vol. Ixi.

I'.ilntcd h Rithard B.untI l\ivh. I' )ii;r,ir,.l on Wood by K l:,Ma!;

TOM GRANT, Huntsman at Goodwood

RICHARD BARRETT DAVIS I4I

of the Sporting Magazine. The Royal Academy
Exhibition of 1824 should have included a large
picture of " His Majesty's Hunt," to which Davis
had put the finishing touches in April of that
year ; but unfortunately the carrier to whom he
entrusted the work for conveyance from Windsor
to London, omitted to deliver the picture within the
time prescribed by the Academy, and in consequence
it was never shown. In the same year he painted
the portrait of Tom Grant, for many years huntsman
to the Dukes of Richmond ; this picture was
engraved by W. T. Fry and the reigning Duke
was so much pleased with it that he accepted
dedication of the engraving.

Portraits of horses, more especially race-horses
and hunters, formed a considerable proportion of
Davis's works, but likenesses of men and subject
pictures also frequently occupied his easel. In 1827
he painted the portrait of George Sharpe, who after
many years service as huntsman to George III.,
had retired on a pension in 1822. This work was
also engraved by W. T. Fry. In 1831 he painted
his brother's portrait, " Air. Charles Davis, His
Majesty's Huntsman on his favourite Alare Colum-
bine ; " Charles Davis, cap in hand and at full
gallop, is waving hounds on to the line beside a
coppice. This picture was engraved by W. Giller,
the plate measuring 19 inches by 15 inches, and

142 ANIMAL PAINTERS

was published in July, 1831, by Moon, Boys and
Graves, London. The engraving was dedicated
by the artist to the then Master of the Buckhounds,
Viscount Anson.

Shooting subjects do not figure largely among
the works of this artist, but when he turned his
attention to sport with the gun he was highly suc-
cessful, as witness the set of six pictures painted in
1836 and engraved by R. G. Reeve; this com-
prised : —

" Grouse Shooting," August ; " Partridge Shoot-
ing," September; "Pheasant Shooting," October;
"Snipe Shooting," November; "Woodcock Shoot-
ing," December ; and " Water-fowl Shooting,"
January.

These were printed in colours, the plates being
18 inches by 14 inches, and were published on
2nd November, 1836, by Thomas Maclean,
London.

He was a keen sportsman and jDOssessed wide
knowledge of sporting matters, particularly of hunt-
ing ; he does not appear to have been a great
horseman, as we are told that it was his custom
to follow the Royal pack on foot and make rough
and hasty sketches of incidents which he turned to
account after in his hunting pictures. He was a
o-ood judge of both horse and hound nevertheless.

In 1837, by command of the Queen Davis

RICHARD BARRETT DAVIS T43

painted a " Scene in Windsor Great Park," con-
taining some twenty equestrian portraits. The
scene is the Long Walk, Windsor Castle appearing
in the distance, and the picture shows Her Majesty
attended by her suite and accompanied by the King
and Queen of the Belgians, and other distinguished
persons. The horses, all portraits of favourites of
the Queen, are admirably painted. This picture,
which was engraved in 1838 by F. Bromley and
published by Hodgson & Graves, was exhibited at
the Royal Academy in 1841.

In 1837, Davis appears again as the publisher
of his own work. At Wilton Street, Grosvenor
Place, he issued the first number of The Huntej's
Annual, a series of four drawings on stone by
J. W. Giles from the artist's paintings, all "on
elephant size," viz., 28 inches by 23 inches. The
publication is dedicated to the King, and the pic-
tures are (i) a portrait of Charles Davies on Hermit,
just emerging from the kennels surrounded by the
Buckhounds — "all remarkable likenesses," says the
writer of an appreciative critique in the Sporting
Magazine ; (2) a portrait of T. Goosey, huntsman
of the Belvoir, the scene being Croxton Park ;
(3) Geo. Montford and Will Derry, huntsman and
whipper-in to the Melton (Quorn), scene John o'
Groat's Gorse ; and (4) John Shirley, huntsman to
the Bramshill hounds, scene Bramshill House. In

144 ANIMAL PATNTERS

each case the hunt servants are accompanied by
hounds. An additional plate gives portraits of the
most prominent hounds in the four packs with
their names. The Hunter s Annual does not seem
to have enjoyed a very prosperous career for we
can trace reference to only three issues of the publi-
cation in the Sporting Magazine, the third and
evidently last number having appeared in the
autumn of 1839.

One of Davis's most successful hound portraits
was that he painted in 1841 of a bitch in the
Royal pack named Luxury, bred by his brother.
Luxury was considered a model hound ; she came
of the best Goodwood and Belvoir blood, and stood
23 inches high ; she was six years old when she
stood for her portrait. The sixth volume of the
Sporting Review contained a well-executed engrav-
ing by A. Warren from this picture ; a reproduction
of this plate faces this page.

Davis's picture of Hermit deserves mention as
one of his best equine portraits. Hermit was a grey,
bred by Mr. Gates, of Brookwood Stumps, near
Woking, by Grey Skin out of a white Arab mare,
and was considered by Charles Davis the stoutest
and best hunter he ever had. His speed and bottom
were proved one day when Harry King, who was
riding" him, received the order to stop hounds when
they "were rtying like pigeons" over the grass

to

>-
D

X

RICHARD lURRETT DAVIS I45

more than a mile away. He stopped them
ultimately ; from that time Charles Davis rode
Hermit, and continued to do so till he was lamed,
which happened after he had been worked for
nine seasons. This picture was shown at the
Royal Academy E.xhibition of 1S40, and was
engraved for the Sporting Review. A portrait of
Charles Davis on Hermit was exhibited in the
Academy two years later.

In 1845 Davis painted "The Royal Hunt," in
which is portrayed Charles Davis galloping away
from the spectator, up a broad, winding ride in
Windsor Forest with about twelve couple of
hounds some of which are racing on the line ahead
of the huntsman, while the remainder are streaming
out of the woodland ; the field and whippers-in are
grouped on the right of the canvas. The hounds
are full of movement and spirit, and the artist has
painted his brother in a position which shows to
perfection the graceful seat in the saddle for which
Charles Davis was famous. The landscape, with
Windsor Castle in the distance, is only fairly good ;
the canvas measures 44 inches by 48 inches.

Another picture of the Royal Hunt was that
painted in 1847, as a presentation work to Earl
Granville, Master of the Buckhounds. The scene
is a meet on Ascot Heath ; Charles Davis is on a
favourite grey Lincoln — an entire ; Robert Bartlett,
10

146 ANIMAL PAINTERS

first whipper-in rides Corn Law ; Harry King is on
Postmaster-General ; J. Freeman on Traverser, and
George Bartlett, the feeder, stands on the left
looking at the hounds. This picture, which
measures 72 inches by 48 inches, was shown at the
Royal Academy Exhibition of 1847.

Davis's pictures of the Royal Hunt and Mr.
Garth's hounds, and of incidents connected there-
with, were numerous : many of them are to be
seen in the houses of hunting residents and in
the hotels of the district, where they possess an
interest apart from their artistic merit which would
not attach to them elsewhere.

Among other works may be mentioned, " Fox-
hounds and Whelps," which was engraved on stone
by S. W. Giles, size of plate 12 J inches by 10 inches :
" Foxhounds Running in Covert," size of canvas 2
feet 6 inches by 2 feet 2 inches. The hounds,
about five couple, are in full cry on the outside of
a thick forest ; a glimpse of light is shining-
through the distant foliage. A beautiful mezzotint
engraving of the work, 15! inches by 11^ inches,
was executed by W. Giller, published in 1S29 by
Mr. Davis, at 10, Wilton Street, Grosvenor Square,
and sold by Boys and Graves, 6, Pall Mall ; the
original picture is now in the collection of H. J.
King, Esq., 138, Piccadilly, London. "Foxhounds
in their Kennel," and "The King's Harriers,"

RICHARD I5ARRETT DAVIS I47

companion pictures, were engraved by Giles, plates
16 inches by io| inches.

Davis resided at Windsor during a considerable
period of his life ; among his friends he counted
James Ward, R.A., Edmund Bristowe and James
Stark, the last named a landscape painter who took
up his abode at Windsor in 1840.

Hounds excepted, the artist painted few pictures
of dogs ; so far as our researches have shown, he
has not even left a portrait of one of the black
and tan wire-haired fox-terriers, a breed celebrated
for their keenness at fox, badger, and other vermin,
and which at the time were much prized by hunts-
men. Davis shared possession of this breed with
an old friend of his, Mr. P. L. Rumbull, of Sey-
mour Place, London.

Thouijh the artist must have been much with
his brother Charles, to whom it is no doubt truly
stated he owed a great deal as sporting mentor, the
two were not very deeply attached to one another ;
they were too utterly unlike to have much in com-
mon. Charles Davis's staid character, the "even
and deserved prosperity of his career, his converse
— almost identity — with great personages, and the
responsible authority of his position may easily have
induced a certain semi-royal aloofness," to quote
from Lord Ribblesdale's excellent account of him.
Richard Davis on the other hand was careless and

148

ANIMAL PAINTERS

Bohemian in his mode of life. Charles Davis when
he died, at the age of seventy-nine, in 1867, left a
large fortune which he bequeathed to Her Majesty ;
whereas Richard, when he died, at the age of sixty-
two, in the year 1854, was in poverty.

WORKS OF RICHARD BARRETT DAYIS.

IN THE SOUTH KENSINGTON MUSEUM.

NEAR I'IRGINIA WA TER, Two tall trees oversh.iilow cottage, backed by a part of the
forest ; in the front is a pool of water covered with water-lilies, a boy fishing on the
margin ; canvas 17 inches by isi inches upright (^S'lcc/'sjianks Cijt).

EXHIBITED AT THE ROY.'\L ACADEMY (69 in numbert.

YEAR

i3o2— ^ LANDSCAPE.

1803— {2) LANDSCAPE AND CATTLE— LANDSCAPE AND CATTLE.

1805— ///5 MAJESTY IN ins TRAVELLING CHARIOT, RETURNING TO

TOWN FROM WINDSOR.
iS.o6— {2) JII A RES AND FOALS IN HIS MA//:sTrS STUD AT UTNDSOR—

AN OLD HUNTER, the properly of H.R.H. the Duke of Cumberland.
iioy—[i) DUNCANS HORSES— PORTRAIT OF A HUNTER— A UIEIV OF

WINDSOR CASTLE.
ii.oZ— LANDSCAPE, horse and figures.
iZog— {-2) HACK, the property of Capt. H. Vyse-THE WILD HUNT.'i.UAN, z/dir

"Scots' Ballads and .Songs."
i3io— .4 VLOOD MARE, the property of Sir F. Boingeois.
iZi^—A BOAR HUNT.

1S14— (2) GOING TO MARKET— THE STABLE.
J817— (2) HORSES— PORTRAIT OF A RACEHORSE
iii&—(2) CLAFILENO, property of the Earl of C\v,rmicin— PORTRAIT OF VAN

DYKE, property of the Earl of Clarendon.
iSig — (3) HACK, property of — I^ombard, Esq. — HACK, property of H. R. Hoare, Esq. —

I/UNTFR, property of — Lombard, Esq.
1820— (3) OLD CARRIAGE HORSES IN HIS LATE MAJESTY'S STUD AT

WINDSOR— MAZEPPA, property of an officer in the GaziAs— FAVOURITE

OLD HORSE, property of a gentleman at Windsor.
■,Z2i—l2.) LANDSCAPF—A HORSE FAIR— AN OLD GIG HORSE— EATON, by

SnPeM— PORTRAIT OF A CHARGER-PORTRAIT OF A RACER—

AN OLD HUNTER—PORTRAITS OF HUNTERS.
1S22— {5) PONY, property of the Earl of C\&renion— BROOD MARE, property of the

Earl of Clarendon— i^i^/,L, property of the Earl of Clarendon— ..^A" OLl)

HUNTER— PORTRAIT OF A HUNTER,

WORKS OF RICHARD BARRETT DAVIS 1 49

VEAK

iSr3-<4) MOSES, property of the Duke of \ork— THE HAIVKI.VG PARTY; vule
Bracebridge Hall— /).V OLD COACH HORSE, aged thirty-five years—
AX OLD HORSE.

1825— (3) EMILY, the dam of Km\\\ns—EMILlUS—PORTRAIT Of A CEXTLE-
MAX, WITH HIS MA/ESTiS HUNT.

iZ^i—.M/DDLETOX, property of the Earl of Jersey.

1S27 — MARE, property of— Davison, Esq., 2nd Life Guards.

1S29— /4 FAVOURITE OLD POXY.

\Zy>—AX OLD CARRI.4CE HORSE, property of His .Majesty.

1S31— TRAVELLERS ATTACKED BY IVOLVES, a Sketch.

1S32—LORD FREDERIC FITZCLAREXCE; A Study for a Picture of the Coronation
Procession.

1S33— .4 SKETCH.

iSsi—lVAITIXG FOR A TURX.

iS3<)— PORTRAIT OF A FAVOURITE.

1S40— (2) THE HERMIT, celebrated in the Royal Hunt, property of Her Majesty—
XEAR THE BANKS OF LOCH LAGGAN, INVERNESS-SHIRE, deer-
stalkers in the distance.

tc^i—A SCENE IX IVIXDSOR GREAT P.4RK, containing portraits of Her Majesty
Queen Victoria, the King and Queen of the Belgians, the Hon. Colonel Cavendish, the
Earl of Bclf.LSt, Lord Lilford, Colonel Buckley, Lord Tonington, Sir George
Quintin, Miss Quintin, Sir Frederick Stovin, the Earl of U.\bridge, Colonel
Wymes, Lord .\lfred Paget, — Fozard, Esq., &c. Painted 1837.

1842— .V.ff. DAVIS, HER .MAJESTY'S HUNTS.VAN, ON HER.VIT.

■il.\i—SIR ROGER DE COVERLEV AND THE SPECTATOR GO HUNTING.

1844— y//£ HAIVKING PARTY, vide Bracebridge Hall.

I S46— TA KING THE S TA G.

l^^^~THE ROYAL HUNT, AT THEIR MEET ON ASCOT HEATH.

1048 — " Hark 1 What loud Shouts

Re-echo through the Groves ! He Ijreaks away.
Shrill Horns proclaim hii Flight." — Somekville.

i&^g— OLD FRIENDS.

iSsi— FA VOU RITES.

iS32— THE CAVERLEY HUNT.

1853— (2) TRESPASSERS— THE WILD HUNTSMAN, from the German.

PLATES IN THE SPORTING MAGAZINE (30 in number).

(2) THE LADY AT EGHA.1I RACES, 1812 ; an <tiCbmg— GO H ANNA, a bay horse,
foaled in 1790, bred by the Earl of Egremont, 1013; erigraved by Scott.

MOSES, a celebrated race-horse, the property of His Royal Highness the Duke of York,
1822 ; engraved by J. Scott.

MINOS, a favourite hound in His Majesty's Pack, 1824 ; ergra\ed by J. Webb.

TOM GR.4NT, huntsman to His Grace the late Duke of Richmond, at Goodwood, 1S27 ;
engraved by Mr. Fiy.

(2) .1/^. G. SHARPE, many years huntsman to His Majestj-, 1027; engia^ed by Mr.
Yxy— MAMELUKE, 1827; engraved by J. R. Scott.

SOUTH AMERICAN MULE, sent to His Majesty from Valparaiso, by Mr. Nugent,
appears from its make, as well as the beauty of its colour, to be a mixture of
the Spanish horse and the ^ebra or the ijuagga, 1827 ; ciigra\ed by J. R. Scott.

150 ANIMAL PAINTERS

LOPy a celebrated hunter, 1828 ; engraved l;y J. R. Scott.

SWIXLEV, a Hanoverian Sta^, presented to His Majesty by the DuVce of Cambridge
1829; engraved by J. R. Scott.

TURQUOISE, a brown mare, foaled in 1S35, bred by, and the property of, the Duke of
Grafton, 1829 ; engraved by J. R. Scott.

CRITIC^ a red dog, property of Mr. F. Clarke, three times winner of the Cup at Nether-
haven, 1835 ; engraved by H. Setchel.

FORWARD ALL! FORWARD! 1837; engraved by H. Setchel.

ALP AND GLORY, a dog and bitch of the true Mont St. Bernard breed, the pro-
perty of Her Majesty and Prince .\lbert, 184-; ; engraved by H. Beckwith.

THE NEWMARKET TOUT, 1844; engraved by J. H. Kernot.

(i) A DILEMMA, 1845, vol. 105; engraved by J. H. Engleheart— r.-J A'AVc; THE
STAG, 1845, engraved by G. Paterson— /iVC/Z)£:.Vr OF THE CHASE, 1845;
engraved by G. Paterson.

VIGNETTE, 1S46 ; engraved by J. H. Engleheart.

PORTRAITS OF HER MAJESTY S STAGHOUNDS, 1846 ; engraved by J.
Scott.

(2) WHO'S UP FOR THE RESCUE? 1S47, vol. 109; engraved by E. Hacker—
HAVE A CARE FOR THE VIXEN! 1847; engraved by J. Scott.

PORTRAITS OF HER MAJESTYS STAGHOUNDS, 1849; engraved by E.
Hacker.

FUTURE HOPES 1848 ; engraved by J. Scott.

A CASE OF REAL DISTRESS, 1850; engraved by J. Scott.

VIGNETTE, 1852; engraved by W. Backshell.

VIGNETTE, A Fresh Fox, 1852 ; engraved by E. Hacker.

OVER THE OPEN, 1854; engraved by E. Hacker.

THE DEER PADDOCK, 1855; engraved by W. Backshell.

THE GLOOMY WOODS, 1869; engraved by J. Scott.

PLATES IN THE NEW SPORTING MAGAZINE
(7 in number).

GADFLY, a fo.\hound, the property of His Majesty, 1831 ; engraved by Webb.

THE ILLUSTRIOUS SPORTSMAN, a portrait of His Grace the Duke of Welling-
ton, with the Vine Hounds, 1841 ; engraved by E. Radclyffe.

ORNAMENTS OF THE BENCH, Foxhounds, 184J ; engraved by J. Bull.

THE EARTHSTOPPER ON HORSEBACK (in a wood, on a stormy night), 1843;
engraved by J. Godden.

YOICKS! GONE AU'AY, horseman and hounds, 1843; engraved by J. H. Engleheart.

THE DEER PADDOCKS, ASCOT, 1S43 ; engraved by J. Godden.

RIGGING HIM OUT or MAKE YOUR GAME, 1S45 ; engraved by J. R. Scott.

PLATES IN THE SPORTING REVIEW {12 in number).

THE BADMINTON SWEEP, Wot Hunts with the Duke, 1840; etched by
Landells.

THE HERMIT, a hunter belonging to the Royal Hunt. 1S40; engraved by H. B.
Hall,

WORKS OF RICHARD BARRETT DxUTS 151

MEET OF HER MAJESTY S STAGHOUKDS, 1S40; engraved by T. A. Prior.
FOX-HUNTJNG: pi. i, THE DNAIf: pi. 2, COiVE AH'-AV; pi. 3, FULL

CRY; pi. 4, THE DEATH; 1841; engraved by T. A. Prior.
COirES HARBOUR, rS4i; etched by E. Landells.

LUXURY, one of the Royal Stag Hounds, 1S41 ; engraved by A. W. Warren.
ILLUSTRATIONS OF THE EQUESTRIAN ORDER, 1841 ; etched by Landells.
PHEASANT SHOOTING IN SIVINLEY PARK, His Royal Highness Prince

Albert shooting, 1841; engraved by A. W. Warren.
ILLUSTRATIONS OF THE EQUESTRIAN ORDER, No. 2, A Patrician, 1841,

etched by Landells.

152

STEPHEN ELMER, A.R.A.

(Born 1717. Died 1796.)

STEPHEN ELMER was born at Farnham,
Surrey, in 1717. The son of a maltster,
he was brought up to his father's business ;
but while following that occupation he found
ample time to devote to artistic pursuits and won
success as a painter of animals and birds, rural
scenes and still life. In the last department of
art, in the portrayal of dead game, fish, flowers,
and fruit he particularly excelled ; but his pictures
of birds, more especially of game birds, combine
with high artistic merit, great accuracy of draw-
ing and fidelity to life ; he possessed in a degree
that has been rarely exceeded the gift of seizing
the characteristic pose or attitude of birds, and
betrays a knowledge of their ways of life and
habits that only a careful student of nature can
acquire. Notwithstanding the nicety of touch re-
quired for the accurate presentation of the plumage
of birds, Elmer was master of a bold and free style
of draughtsmanship which lends individuality to his
pictures. Character studies occur occasionally in

STEPHEN ELMER. A.R.A. I 53

the list of his contributions to the Royal Academy ;
thus, in 1777 he exhibited "The Politician" (after-
wards engraved by T. Ryder), and in 1785
"Avarice." "The Miser," engraved by B. Granger,
was another of the same class ; but studies of birds,
noticeably pheasants, partridges and woodcock, of
trout and of fruit seem to have possessed most
attraction for him.

In the vestry of Farnham Church is a picture of
"The Last Supper," which formerly hung over the
altar. This, so far as can be ascertained, is the
only work ot sacred character painted by Elmer :
and we may suppose that it was executed for
the express purpose of presentation to the church
of his native place.

Elmer, in 1763, was a member of the Free
Society of Artists, at whose annual exhibitions he
showed numerous works. The fifth exhibition of
the Royal Academy, held in 1772, included nine
pictures by Elmer, then in his fifty-fifth year ; and
for the ensuing twenty-three years, until 1795, with
the e.xception of the 1792 exhibition, he was
unfailingly represented upon its walls. The nine
works contributed by him to the exhibition of 1772
were very fairly representative of his range of art,
including as they did pictures of a fox, hare,
pheasant, small birds and trout, flower and fruit
pieces, all of which were marked " For Sale." In

154 ANIMAL PAINTERS

regard to this it is worth noting that as time passed
by Elmer appears to have made no attempt to sell
his pictures ; at all events he possessed a large
collection of his own paintings at the time of his
death. His reputation had been well established
long ere this date, and the Royal Academy evidently
only waited until he should send pictures to their
exhibition to elect him an Associate ; for this honour
was conferred upon him in 1772, the first year in
which he exhibited. Between that year and 1795
he sent altogether 1 1 7 works to the Royal Academy
exhibitions.

Elmer's addresses in the catalogues are given as
Farnham, Surrey, and 44, Watling Street, London ;
the latter perhaps being an occasionally visited place
of business, for he seems to have made the pretty
little Surrey town where he was born his place of
residence.

Foxhounds and other sporting dogs furnished
subjects for some of Elmer's best pictures. Two of
his pictures were engraved by W. Smith for repro-
duction in the Sporting Magazine. One occurs in
the issue for April, 1805, entitled "Mallard and
French Spaniel ; " it shows a dog whose closely
shaven legs, shaven tail, with tip-tuft and fierce
moustaches suggest the poodle rather than spaniel.
The letterpress describing the original as the work
of "the ingenious Mr. Elmer, of Farnham," says

<

o
cc

H

STETHFS ELMER, A.B.>_ Iff

" The rough French spaniel has been tVa-Ki the
best companion on these occasions .^duck shoodn^^ :
he watches the conduct of the sportSinan. and with
a velocity- uneqaalled. darts on the wo'onded bird,
and ha\Tng fastened on his prey, presents it wiih all
possible speed at the feet of his master."' The
second plate is from Elmers portrait of Trojan, a
famous foxhound belonging: u3 Mr. Corbet, when he
hunted the Warwickshire ODuntr\-. " Ximrod's ~
a : : . _ - : : f this hound, whose portrait faces this oage,
: i; :':.:nd in the Apcendix. page 210-

Traitor. TyranL Tormentor, Turpin and Tarquin.

all as fine hounds as ever went into a field, were

among' Trojan's get. When the pack was sold in

1790, Mr. Corbet reserved the cid hc-und for

himself

Daniel's Rural Srcrzs contains ten engravings bv
by John Scott, from ELmer's paintings, namely.
"Terrier and Fox". •■Hare Sitting." ""Snared
Hare, " " Groups of Fish. " "• Pheasants." " Wotmied
Pheasantj" "Black Grouse."^ " Red Gnxisc," " Covev-
01 Partridges "" and " Woodcocks." The last named
is here reproduced. The A^^^ils of Spcrfiis^ i-os
iS:;5 contains a plate engraved by Joim Scoa frcsn
*• Partridges Basking in the Sun."" a picture which
had been exhibited by Eimer at the Rcyal .Aca-
demy : it depicts a covey alarmed while d-.3ting
by the sudden liight overhead of a couple of duck.
and is beaudfullv executed.

156 ANIMAL PAINTERS

Among many important engravings from his
pictures mention may be made of three fine plates
on a large scale engraved by Charles Turner and
published by W. D. Jones, of Oxford, in 1807 ; these
are "Dead Game," "Black Game" and "Red
Game."

Elmer died at the age of seventy-nine, in 1796,
having exhibited for the last time three years pre-
viously ; he was buried at Farnham. Dying as he
had lived, unmarried, he bequeathed his property
(which included, as already remarked, a large number
of his own works), to his nephew. These were ex-
hibited at the Large Room in the Haymarket in the
spring of 1799, under the title of " Elmer's Sports-
man's Exhibition." Many of them were disposed
of at good prices, and the remainder were removed
to Gerrard Street, Soho, where they were acciden-
tally destroyed by fire on 6th February, 1801. The
catalogue of these pictures consisted of 148 lots,
and the Introduction describes it as a collection of
pictures of dead pheasants, partridges, hares, "and
the numerous etceterae of what painters call still
life." It proceeds : — "To blazon the merit of Mr.
Elmer is quite unnecessary, as for more than half-a-
century his talents have been universally admitted
and universally admired. 1 le took Nature, English
Nature, for his model, and in his works she herself
appears as in a mirror. ' I'he story of the ancient

WORKS OF STEPHEN ELMEK, A.K.A. 1 57

painter whose grapes were so natural that the birds
flew and pecked at them is quoted, and it is added
that Elmer's painting went further, for on one
occasion, a lady of rank, calling at his studio at
Farnham, found him painting a brace of partridges
hangingf before him, and exclaimed,

" No wonder, Mr. Elmer, you succeed so well,
for I see you paint from Nature."

" Not now, madam, not now ; for I am copying
a picture I painted last year," replied the artist ;
and he lifted from his easel the picture which his
visitor had mistaken fir two real birds.

WORKS OF STEPHEN ELMER, A.R.A.

IX THE SOUTH KEXSIXGTON MUSEUM.

GROUP OF FISH LVIXG O.V THE GROUND, on canvas, 24! inches by 29! im-he.,
oblong. Signed.

PICTURES EXHIBITED IX THE ROYAL ACADEMY
(117 in number).

YEAR

i772-<9) A FOX, &'c. A HARE— A PHEASANT— Ttuc FLOWER PIECES—

Two FRUIT PIECES— Three DEAD BIRD PIECES— A BRACE OF
PHEASA NTS— BRACE OF TROUT— Two pieces of SMALL BIRDS.

i-,-,^— (10) FOIVLS — LURCHER AND DEAD FOX — SPORTSMEN, with dead
game, &c.— CANARY IN A CAGE— FRUIT PIECE— Two small FRUIT
PIECES— BRACE OF PARTRIDGES — WOODPECKER, JAY, &'c.—
BASKET OF STRA WBERRIES—GAME.

,7-^— (9) HERON AND SPANIEL — POINTER— PHEASANTS— PARTRIDGES
— TROUT— FRUITS— FRUITS— GAME— HARE AND PHEASANTS.

177s— (4) A BRACE OF TROUT— WOODCOCK.'i-PARTRIDGES-A BASKET
OF STRA WBERRIF.S.

r„(r~{^) DEAD CAME — DEATH OF A FOX— FISH AND CAT— FRUIT-
FRUIT.

158

ANIMAL PAINTERS

YEAR

^m~(l) FOX AND PHEASANT — FOWLS, &-c. — BASKET OF STRAIV-
BEKKIES — PARTRIDGES — FK UIT ~ A POLITICIAN— r/Eir OF
FARNHAM CASTLE.

l^^Z-^6) A BRACE OF TROUT— BASKET OF S TRAIl'BERRIES—FR UIT—
FR UIT— FLOWERS— FLOWERS.

1779— (6) A BRACE OF PHEASANTS— CARP— WOODCOCKS— WILD DUCKS,
TEAL, &'c.— TROUT, CARP, b'c.—HEN AND CHICKENS.

i7So-(6) FRUIT — WOODCOCKS — HARE AND PARTRIDGES — PERCH-
BRACE OF PARTRIDGES— PHEASANT AND WOODCOCKS.

1781— <6) WOODCOCKS— BR. ACE OF PARTRIDGES— BRACE OF PHEASANTS
—FRUIT— FRUIT— COVEV OF PARTRIDGES.

1782— <s) WOODCOCKS— DEAD G.iME—FISH AND CAT— FRUIT— FRUIT.

^■jS3-(7) FISH— NEWFOUNDLAND DOG — SPANIELS AND WOODCOCKS-
BLACK GAME— PAR TRIDGES— WOODCOCKS— FR UIT.

17S4— (5) PHEASANTS— FRUIT— WOODCOCKS— AN ALAR.MED PO.ICHER—
PARTRIDGES.

1785— (5) GOLD PHE.4S ANTS — FRUIT— .MANDARIN DR.! KE— AVARICE-
PHEASANTS.

tji6—(.$) BRACE OF PIIE.4SANTS—HAWK AND PAR TRIDGF— FIGHTING

COCKS— WOODCOCK.';— GR A PES, &=€.
7S7— (4) Cr);'£ J- OF PARTRIDGE.';— BR.-ICE OF PHE.4SANTS—HARE AND
WOODCOCKS— FOX .AND PHEASANT.

\nZi-(S) BR.-iCE OF PARTRIDGES— COUPLE OF WOODCOCKS— A HARE
SITTING.

1 7S9— ( 5) PEA COCK— FISH— FR UI T—PA R TR IDGF.S—PHEA SA NTS.

1790— (3) FISH— PHEASANTS— FRUIT, &=€.

^ni— COVEV OF PARTRIDGES.

1793— (2) COUPLE OF WOODCOCKS— FRUIT.

,jg4_(2) TEAL— PARTRIDGES.

tn'^—BR.'ICE OF TROUT.

PLATES IN THE SPORTING MAGAZINE (2 in number.)

MALLARD AND FRENCH SPANIEL, 1805, vol. 26.
TROJAN, 1825, vol. 65; engraved by W. .Sniich.

PLATE IN THE ANNALS OF SPORTING.

COVEY OF P.l R TRIDGES, 1823, vol. 7 ; engra\'ed by J. Scott.

159

JOHN E. FERNELEY.

(Born 1782. Died i85o.)

JOHN E. FERNELEY was born on i8th
^ May, 1782, at Thrussington, in Leicester-
shire, a place well known to followers of the
Quorn. The son of the village wheelwright, he
followed his father's craft and worked in his
yard until he attained the age of twenty-one.
A wheelwright's business is not one that at first
sight appears to offer scope for the exercise of
artistic talents. But the born artist makes oppor-
tunities for himself, and in his teens young
Ferneley betrayed his real bent by adorning the
foreboards of waggons sent for repair with devices
in colours which he prepared for himself Further
proof of his proclivities was forthcoming in his
method of employing his leisure hours, which he
spent copying pictures borrowed for the purpose.

His success in these early efforts evidently
impressed Ferneley senior, who must have been
a man of less narrow views than some of the
parents who have claimed incidental notice in
these biographical sketches, for in 1803, John E.

l6o ANIMAL PAINTERS

Ferneley, being then of age, migrated with his
father's consent to London in order to study under
Benjamin Marshall. He spent a year in Marshall's
studio in Beaumont Street, Marylebone, varying
his work there with occasional visits to Dover,
where he painted pictures of horses for the officers
of the Leicestershire Militia then stationed at
Dover Castle. That gentlemen from his native
county should have requisitioned his services so soon
after he had embraced the artist's career, seems
to indicate that the work which engaged his spare
time while in his father's yard had attracted atten-
tion beyond the limits of his own village.

He appears to have been of rather restless disposi-
tion. When he had spent about twelve months
with Marshall, he started to seek his fortune in
Ireland, thinking no doubt that a country in which
sport ranked so highly in the esteem of all classes
offered a promising field to one of his profession.
His residence on the other side of St. George's

o

Channel was not continuous, as he found time to
pay occasional visits to Thrussington. Travel in
those days was neither cheap nor expeditious, so it
may be fairly concluded that Ferneley was doing
well in a pecuniary sense. At all events, he found
patrons among the most prominent Irish sportsmen
of the time; between the years i8og and 1813 he
executed commissions for the Earl of Belmore,
Lord Lismore, Lord Rossmore, and many others.

JOHN E. FERNELEY l6l

As was most natural in view of the place of
his birth and upbringing, fox-hunting pictures were
Ferneley's speciality. Mr. Thomas Assheton Smith
was one of his first patrons. That gentleman left
Northamptonshire to succeed Lord Foley as Master
of the Ouorn in 1806, collecting a first-rate pack
from various kennels, his best draft being purchased
for 1,000 guineas from Mr. Musters, of Colwick
Hall. For Mr. Assheton Smith, in the first year
of his mastership of the Quorn, Ferneley painted
some large hunting pictures. Afterwards he under-
took commissions for Lord Tamworth, at Stanton
Harold, near Ashby-de-la-Zouch. Having these
successes to remind him that there was no better
field for a painter of fox-hunting scenes than his
own county, it is not surprising that Ferneley, when
weary of vacillating between Ireland and England,
should have selected as his home the metropolis of
the sporting world, Melton Mowbray, not half a
dozen miles from Thrussington. Here he married
and settled down.

Once established at Melton work flowed in upon
him ; his reputation grew apace, and soon was
almost unrivalled by that of any man in his own
line. His talent as a portrait-painter, combined
with his remarkable ability in catching the likeness
of horse and hound, rendered his position excep-
tionally strong ; and he numbered among his
II

l62 ANIMAL PAINTERS

patrons such men as the Duke of Rutland, the
Marquis of Westminster, the Earls of Cadogan
and Kintore, Lords Jersey, Middleton, Forester,
Gardner, and Tyrone, the Hon. Augustus Craven,
Sir Bellingham Graham, Sir Harry Goodricke, Sir
J. Crewe, Mr. F. H. Standish, and many of the
other celebrated hard riders of the time.

Among Ferneley's best known pictures may be
noted one painted in the year 1815 for the Earl
of Plymouth, " The Quorn Hunt, Mr. Thomas
Assheton Smith and his hounds"; a group of fifteen
sportsmen. Mr. Assheton Smith stands by his
horse Gift, a light chestnut, whose rein is held by
Dick Burton. He is talking to Mr. Mills, who is
mounted on an iron-grey. Lord Plymouth stands
near, leaning over his horse Fancy ; Tom Edge is
on Cayman ; and Jack Shirley from the back of
Young Jack o'Lantern looks down on his favourite
hounds. Young Will Burton lingers on the out-
skirts of the group waiting to see hounds thrown
into covert before he takes home his master's hack.
(Young Burton was only fourteen years old at the
time this picture was painted, and he died a few
months afterwards). The meet is at Barkby Holt,
and the eye, passing the church tower of Hunger-
ton and Quenby Hall, rests on the fir-clad eminence
of Billesdon Coplow.

For Sir Bellingham Graham, who was Master

TOHN E. FERNELEY 1 6

J>

of the Ouorn from 1821 to 1823, Ferneley painted a
picture which Sir Reginald Graham has now in his
possession ; he says " it is perhaps the largest and
probably the best work of that excellent artist."
This was "The Ouorn at Ouenby in 1823"; it
contains more than forty portraits of men well
known in Leicestershire ; among them are Lord
Darlington (Master of the Raby), Lord Cardigan,
Mr. Maxse, on Cognac, Mr. Valentine Maher,
Captain the Hon. F. Berkeley, R.N. (afterwards
Lord Fitzhardinge), Colonel Coke, on Advance,
Lord Rancliffe (of Bunney Park), Sir Bellingham
Graham, Lord Sefton, Sir Francis Burdett, M.P.,
Colonel George Anson, Lord Elcho, Sir James
Musgrave, Captain Whyte Melville, Sir Roderick
Murchison, Mr. Greene (of Rolleston), Mr. Frank
Forester, Sir George Wombwell, Mr. John Bushe,
Mr. " Jack " White (afterwards Master of the
Cheshire, 1841-1855), Will Staples, first whipper-in,
and Jack Wrigglesworth, second whipper-in.

" The Meet at Kirby Gate " was also painted for
Sir Bellingham Graham.

Mr. Osbaldeston's first commission to F"erneley
was for a portrait of Assheton, a hunter for which
Lord Plymouth gave 400 guineas. It shows Mr.
Osbaldeston on this horse topping a flight of
rails ; he is in the act of checking the hounds.
Mr. Holyoake on Crossbar is at his side, and

164 ANIMAL PAINTERS

some of the other leading Meltonians are equally
well up.

" Scurry," painted for Mr. Crawfurd, of Langton
Hall, is a large canvas which has special interest
as containing the portraits of three famous sports-
men, .Sir Harry Goodricke, Squire Osbaldeston
and Mr. Francis Holyoake (afterwards Sir F.
Holyoake Goodricke). In reference to the last-
named, a quotation from Sir John Eardley Wilmot's
Reminiscences of Thomas Assheton Smith, Esq.,
published by John Murray, is not out of place
here :

" He was first man at one time for a twenty minutes' thing,
was Mr. Holyoake. To see him ride Brilliant, shoving the
fox along 1 This horse was a rich dark chestnut ; such a
countenance, such an eye ; he had him from Newmarket. Sir
Harry Goodricke, Sir St. Vincent Cotton, and Mr. Holyoake
lived together at Quorn, and were called ' The Sporting
Triumvirate.' Mr. Holyoake succeeded by will to the entire
property of his brother-sportsman. Sir H. Goodricke, whose
name he took, and was afterwards created a baronet. He
himself rode Young Sheriff for several seasons. Clinker
originally belonged to him, but was subsequently bought by
Captain Ross. Sir Francis Goodricke has long since left the
hunting-field under the influence of deep and very sincere
religious impressions ; the zeal which unilormly displayed
itself with such ardour in his case in the pursuit of a
favourite diversion, is now directed with even greater
strength and intensity into a far higher and nobler channel."

Among J. E. Ferneley's other pictures may
be mentioned a smaller work, termed " Modern

JOHN E. FERNELEY 1 65

Scarlets," which was won by the Earl oi Milton
in a raffle, by whom organised and under what cir-
cumstances does not appear.

"A Favourite Hunter," the property of H. De
Burgh, Esq., of Drayton Hall, near U.vbridge,
dated 1823 ; size, 41 inches by 33 inches. This
picture is in the Elsenham collection.

An equestrian portrait of Sir Harry Goodricke,
with that of Mountford, the huntsman, who holds
aloft the fox ; Will Derry and Beers, the whippers-
in, appear in the background. This picture was
left unfinished.

For Mr. Foljambe, of Osberton Hall, near East
Retford, he painted a portrait of a famous mare
named Lark, the property of Sir Vincent Cotton.
So admirably did the artist catch her likeness that
" Nimrod " said when he saw the mare herself he
recognised her from her portrait at the first glance.

" Silver Firs " : a shooting picture painted for
Mr. Foljambe.

" The Quorn Hunt " : a caricature sketch in oils.
The scene is the district of Stapleford, in Leicester-
shire, and the figures are portraits of well known
followers of the Hunt. Sir F. Holyoake Goodricke
leads the first flight on Brilliant, and the other
riders are the Marquis of Worcester, Lord Belgrave,
Lord Milton, Lord Forester, Lord Alvanley, Lord
Brudenell, .Sir Belling-ham Graham, .Sir Francis

1 66 ANIMAL PAINTERS

Burdett, Sir Edward Mostyn, Sir Francis Mackenzie,
Col. the Hon. Arden, the Hon. Robert Grosvenor,
Captain Frederick Berkeley, Captain C. Berkeley,
Captain Garth, Captain Ross, Count Sandois,
Messrs. George Anson, Blount, "Billy" Coke,*
Maxse, Maher, White, Kent, Patrick, T. Heycock.
Gilmore, Nicholson, Lyne Stephens, Wharton, John
Wormald, Henry Wormald, and Dick Christian.
The riders are represented in very various attitudes :
Sir F. Holyoake Goodricke, who was said to
try and catch the fox himself, is leading, while
others are riding: hard, fallino- off — in short, in everv'
position in which the fortune of the chase may find
a keen rider. On the left of the picture we see a
group, eager and angry, having been stopped at a
gate in a lane by a brood mare and her foal, which
block their way. This canvas is in the Elsenham
collection; it is dated 1S28; size, 83 inches by 25
inches.

" Sir Francis Burdett, Bart." : an equestrian por-
trait. Ferneley received from Miss Burdett Coutts
(now the Baroness Burdett Coutts) the commission
to paint this picture of her father, who then resided
at Foremark, Derbyshire. Sir Francis Burdett
died in 1844.

* This gentleman, nephew of Mr. Coke, who was afterwards created Earl
of Leicester, is portrayed in the foreground on his famous chestnut Advance.
Mr. William Coke introduced the low-crowned hat in which Ferneley has
represented him ; this style of head gear was afterwards known by his name
in the slightly corrupted form of " Billycock. "

JOHN E. FERNELEY 1 67

" The Lambton Hounds at Feedino- Time," was
painted in 1832 and exhibited at the gallery of the
Society of British Artists. The figure by the
kennel door is Fenwick Hunnum, the feeder. This
picture was engraved in 1833.

"Breaking Cover" was painted in 1833. This
work contained portraits of members of the Sedge-
field Hunt ; it was presented to Mr. Ralph Lamb-
ton at a dinner given in March, 1S33, by Mr.
Fawcett, on behalf of the subscribers.

Filagree and Cobweb : two race-horses with
foals ; painted for Lord Jersey.

Velocipede and The Cur : two race-horses ;
painted for Mr. Crawford.

" Waiting for a Shot at Roedeer " : a portrait of
John Henry Bouclitch, for forty-five years head
keeper to the Earl of Kintore.

"The Horse Fair" and "The Cattle Market."
These were two of Ferneley's latest works ; their
interest is largely due to the artist's introduction
therein of equine portraits, and of " horsey " char-
acters of note at the time.

He painted the portrait of Samuel Dumbleton,
for twenty-three years whipper-in to the Earl of
Spencer's hounds under the two Richard Knights.
This picture was drawn on stone by Miss
Ferneley, the artist's daughter, and published by
Ferneley himself at Melton Mowbray in 1834.

1 68 ANIMAL PAINTERS

The Nevj Sporting Magazine, vol. viii., for
Januar)-, 1835, gives a description of the work.

" Here is the f>ortrait of a veteran sportsman — a man in his
eighty-fifth year, who is yet able to get to hounds ! beautifully
drawn on stone by the hand of a fair lady. Why, it is
enough to rejuvenate the old fellow ! This picture of one of
the men of olden times — who flourished in the palmy days
of the Pytchley and " Dick Knight " — is published for the
benefit of the venerable subject of it, both Mr. Femeley and
his daughter ha^-ing, with a Hberality of feeling that reflects
the highest credit on their character, given their time and
talents to its execution. The likeness is admirable, and we
feel assured that Mr. and Miss Ferneley's charitable exer-
tions only require to be known to receive the generous
suppon of the hunting world, particularly of the gentlemen
who are acquainted with the original. We have elsewhere
in this number said a few words on behalf of the ser\-ants of
hunting establishments, and have often regretted the non-
existence of a benevolent fund among them, from which aged
and infirm members might draw a little relief in sickness and
the decline of life ; for as things now stand we hold it to be no
discredit to them not to have saved a competency during
their ser\-itude, and such, we fear, is the case with honest
Samuel Dumbleton."

Ferneley's contributions to the Royal Academy
were less numerous than his large output might
justify us in expecting ; the probability is that in
his day the practice, now so usual among painters,
of stipulating for permission to exhibit a work before
delivery to the person who had commissioned it,
was not in vogue. During the period 1806- 1853
he sent only nineteen pictures. In the issues of
the Sporting Magazine, between the years 18 12 and

JOHN E. FERNELEY 1 69

1859. we find seven engravings from his works,
and the New Sporting Magazine, for the years
I S3 2, 1S34, and 1S38, contains three plates, en-
graved from pictures by Ferneley.

During the artist's lonsf residence at J^Ielton
Mowbray, extending over fifty-four years, he
necessarily witnessed many changes ; his experience
is eloquently reflected in his works, which give us
portraits of three generations of the hard-riding
sportsmen of Leicestershire. It is impossible to
leave this phase of the subject without more specific
reference to the man who was so prominent a
figure with the Ouorn hounds in Ferneley "s day ;
and again, we cannot do better than quote from
the book already mentioned — Sir John Eardley
W'^ilmot's Reminiscences of Thomas Assheton Srnith.
It is peculiarly apposite, as the writer's remarks are
inspired by a picture painted by Ferneley : —

" Speaking on the subject of hounds, we are naturally drawn
to contemplate the splendid picture of the hunt at Tedworth,
painted at Penton in 1829 by Mr. Ferneley, who came ex-
pressly from Leicestershire into Hants, and was the Squire's
guest for a fortnight for this purpose. Mr. Smith, as has been
elsewhere already mentioned, is on Ayrton, with Dick Burton,
his huntsman, standing at the side of the Big Grey ; Tom
Day, the first whip, on Reformer ; and Bob Edwards, the
second whip, holding Anderson, Mr. Smith's second horse.
The numerous hounds in the picture are all portraits. Amcng
those most famous are Rifleman, standing close to Dick
Burton, who has a pair of couples in his hand, Watchman,

170 ANIMAL PAINTERS

Dimity, Chorister, Dabchick, Trimbush, Tomboy, Traffic,
Reginald, Rubicon, Roundley, Rosy, Commodore, and
Clinlver. Trimbush is looking up at Mr. Smith, while
Chorister stands under his horse's head, and Rifleman with
the huntsman is at his side. In front of the picture are
Commodore and Watchman, while Rarity is gambolling
towards her master. Under the tree, in the background, sits
Remus, a well-known hound. On the left is Tedworth House.
The sportsman in the green coat just about to mount his horse
in the distance is Mr. Northeast, the agent of the Tedworth
estates, famous for his judgment and experience in the breed-
ing of Southdown sheep." Speaking of this picture and of
the principal figure in it, Mr. Ferneley says in a letter written
on the 23rd of October last : " It gives me much pleasure to
hear of the publication of a memoir of so excellent a sports-
man and so good a man. It is now fifty-three years since I
first saw him ; he was riding his horse Jack-o'-Lantern. I
saw him near Frisby Gorse, trying to get his horse over a
flight of rails six or seven times, but he refused, and Mr.
Smith had to take him to another place before he could suc-
ceed." Mr. Ferneley adds : " He was the first red-coat I
painted, and on Jack-o'-Lantern. The picture was bought by
Mr. Valentine Maher, and at his death it was sold, and I do
not know what became of it. This was in 1S06, the year Mr.
Smith first took the Quorn hounds. I also painted his portrait
with his hounds for the Earl of Plymouth. In the same
picture were portraits of Lords Plymouth, Aylesford and
Dartmouth, Messrs. P. Mills, J. Bradshaw, Paris, J. W.
Edge, Hinton, &c. This was in 1819 ; and I fear never again
will Leicestershire boast the assembling together of such
thorough sportsmen, as well as kind, noble-hearted men."

Ferneley's unwearying energy and industry and
dauntless perseverance continued until the last,
though during the two closing years of his life
he was a great invalid. To the end he was an

JOHN E. FERNELEY 171

early riser; no matter how sleepless or full of pain
the night, he was in his studio with the morning
light. He was a man whose interests were not
confined to his own department of art ; to the end
of his life it was his custom to come up to London
every year to keep himself abreast of the artistic
life of the time by visiting the exhibitions.

Many of the equine portraits and hunting pieces
which came from his prolific brush adorn the walls
of English country houses ; these, as we have said,
were his specialities, but he occasionally painted
scenes of Turf and Coaching life and other sporting
subjects. Many of Ferneley's works will live to
perpetuate his name in the world of sport ; for if
his achievements were not of an order which would
entitle him to rank with the first animal painters
of his time, it must be admitted that he possessed
gifts, the exercise of which assured him the patron-
age of the best sportsmen of his day, and also won
him, despite his humble origin, the personal friend-
ship of all with whom he came in contact.

He married, first Miss Sally Kettle, by whom
he had seven children, and who died in 1836.
His second wife. Miss Ann Allan, by whom he
had one son, died in 1853. Two of his sons
followed in his footsteps, John, of whom some
notice follows, and Claude Lorraine, landscape and
animal painter.

172 ANIMAL PAINTERS

An engraving of the picture of Captain Ross
on Clinker, which appeared in the Sporting Maga-
zine oi 1827, faces this page.

John E. Ferneley died in the seventy-ninth year
of his age, on the 3rd June, i860, and was buried in
the churchyard of his native village, Thrussington.

WORKS OF JOHN E. FERNELEY.

PICTURES EXHIBITED IN THE ROYAL ACADEMY

(20 in number).

YEAR

1806— (2) MR. FREER— L. SMITH, /UN., ESQ.

iSo7-i^) P0RrR.4ir OF A HUNTER AND CROO.M— PORTRAIT OF .4

GENTLEMAN AND HIS HORSE— SETTERS, the properly of Mr. Lambert

—A F.4.M0US SETTER.
1819— /. MILLS, ESQ., on horseback.
1821 — A GROUP, containing portraits of horses, grooms, and barriers, belonging to

J. Morant, Esq.
1^2:1— PORTRAIT OF A HORSE.
1828 — (2) GLENARTNEY, and his jockey, George Edwards, painted for the Earl of

Jersey— /J GROUP OF CHILDREN, PONY AND ASS.
1S31— SIR RICH.4RD SUTTON, BART., his hounds, and portraits of gentlemen of

the Lincoln Hunt.
iSsg— PORTRAITS OF THREE HUNTERS.
liii-PORTRAIT OF MELTONIAN.
li^-j-M'ILLIAM RUSSELL, ESQ., with his horses, dogs, &c. Presented to him by

the members of the Brancepeth Hunt Club.
1849— (2) PORTRAIT OF A HUNTER— THE CUR, winner of the Caesarewitch Stakes

at Newmarket, 1848.
i85c^2) HUNTERS, Sambo and Pilot, property of Lord Gardner— i^. GRANT, ESQ.,

A.R.A., on a favourite hunter.
iSs}— GROUP OF DOGS.

PLATES IN THE SPORTING MAGAZINE {y in number).

JUPITER, bred by Col. Thornton, 1812, vol. 40 ; engraved by Scott.

COGNAC, a celebrated hunter, property of James Maxse, Esq., 1S26, vol. 67 ; engraved by

H. R. Cook.
CAPTAIN ROSS ON CLINKER, 1S27, vol. 70; engraved by J. Webb.
LORD KINTORE'S KEEPER SHOOTING ROEDEER, 1831, vol. 78; engraved by

H. Woodman.

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en

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.liaiia;::i;ffiiJii:M3ijiLi,

WORKS OF JOHN E. FERNELEY I 73

LEATHERHEAD, property of Mr. Callinan ; this horse was reputed the best hunter in

Ireland, 1831, vol. 79 ; engraved by H. R. Cook.
ORELIO, a celebrated Arabian, 1833, vol. 83 ; engraved by J. Greig.
RALLVIVOOD, a celebrated foxhound, the property of the Duke of Rutland, 1859, vol.

134 ; engraved by E. Hacker.

PLATES IN THE NEW SPORTING MAGAZINE
(3 in number).

JOHN U'lXTER, huntsman to Ralph John Lambton, Esq., 1832, vol. 4; engraved by

J. R. Scott.
THE LAMBTON HOUNDS AT FEEDING TIME, 1834, vol. 7; engraved by

R. Parr.
EXTRAORDINARY LEAP TAKEN BVCOL. STANDEN, 1838, vol. 14 ; engraved

by T. E. Nicholson.

174

JOHN FERNELEY.

(Born 1815.)

JOHN FERNELEY, eldest son of John E.
^ Ferneley, was born in 1S15. His pictures
have merit, whether we consider them from the
artistic or sporting stand-point ; but they cannot be
compared with those of his father's. John Ferneley's
work is first mentioned in the Sporting Magazine :
vol. ci. of 1843, contains a plate engraved by J. H.
Engleheart, from the artist's portrait of Theon,
a dark brown horse by Emilius out of Maria, by
Whisker. The picture was painted for Mr. R.
Blacker, of Ripon, 1843.

Two plates also appear in the Neiv Sporiitig
Magazine, in vol. v., 1833, viz.: — a portrait of
Robert Hunnum, Mr. Ralph John Lambton's first
whipper-in. This was painted by John Ferneley
from a large work by his father ; it was engraved
by W. Raddon. In vol. vii., 1834, we find a
portrait of Eglinton, a celebrated hunter belonging
to Mr. Ralph John Lambton, of Durham ; this
plate was engraved by Engleheart.

Vol. ii. of the Sporting Review, 1839, also contains

JOHN FERNELEY 1 75

an engraving from a picture by John E. Ferneley,
"The First Step," engraved by J. W. Coolc.

The Htmting Exploits of Count Sandois, pub-
lished by Rudolph Ackermann, London, 1841, con-
tains ten coloured plates, 13^ inches by \oh inches,
engraved by E. Duncan from paintings by J.
Ferneley. Deer Stalking also published by
Rudolph Ackermann, 1841, contains two coloured
plates, namely "The Stag Soiling" and "The
Death," after J. Ferneley, engraved by E. Duncan,
24 inches by 18;^ inches.

For Mr. R. Goddard he painted an equestrian
group representing Messrs. Robert Darling and
John Browne, two well-known characters in the East
Riding of Yorkshire. This work was engraved and
was published by Maclean, of the Haymarket, in
1840.

Little is known concerning John Ferneley's
career beyond the fact that he resided chiefly in
Yorkshire ; as an artist we know him chiefly from
the engravings of his paintings, which may be found
in the sporting publications of his time.

176

GEORGE GARRARD, A.R.A.

(Born 1760. Died 1S26.)

r^ EORGE GARRARD was born on 31st May,
^-^ 1 760. He came of a family of artists, tracing
his descent to Marcus Garrard who came from
Bruges to England in 1580, and became painter
to Queen Elizabeth. Among other important
works executed by him was a picture of the pro-
cession on the occasion of the Queen's visit to
Hunsdon House, near Ware, Hertfordshire, in 1584.
Marcus Garrard died in 1635. The name in con-
nection with art next occurs in the Stafford Papers,
among which we find two letters dated respectively
9th November and 13th December, 1637, from "Mr.
Garrard," who writes of Charles I. as a great patron
of the Arts : " In evidence of the King's affection for
his pictures," he says, "a great room is being erected
in the first court at Whitehall, betwixt the guard-
chamber and the banqueting-house, which will cost
the King ^2,500, because he will not have his
pictures in the banqueting-house hurt." The new
room was only a temporary structure, built of
weather-boarding; and it was intended to house the

GEORGE GARRARD, A.R.A. 177

King's pictures while the banqueting-hall was given
up to rehearsals of two masks, one of which was to
be held at Twelfth-tide and the other at Shrove-tide.

Of George Garrard's early life very little is known.
He studied under Joseph Simpson, a famous draw-
ing-master and was afterwards a pupil of Sawrey
Gilpin; in 1778 he studied at the Royal Academy.
His first contribution to the Royal Academy exhibi-
tion was a picture entitled " Two Horses," which
was shown in 17S1, when his address is given as
"At IVIr. Gilpin's, Knightsbridge." It was not
long before he received a convincing proof of the
opinion entertained of his work by the first artists of
the day. This was a commission from Sir Joshua
Reynolds, who was so pleased with his " View of a
Brewhouse Yard," exhibited in 1784, that he gave
the young artist an order for a picture of similar
character. Though portraits of horses and dogs
occupied much of Garrard's attention at this period,
as they did for the best part of his career, he also
enjoyed some reputation as a landscape painter.

Hence when Colonel Thornton,* in preparing for
his famous sporting tour in Scotland about 1786,
addressed "the ingenious Mr. Gilpin, in whose
taste as an artist, and good sense as a man I could
confide ; particularly lamenting the want of a proper

* See Appendix, p. 211.
12

178 ANIMAL PAINTERS

person with me last year to do justice to the views
I had been so enchanted with," Gilpin promised
" to exert himself to find some young man of good
family whose abilities were equal to the task," and
suggested among others, George Garrard. For
excellent reasons Colonel Thornton chose Gilpin's
old pupil — " The scenes which I wished to have
painted were to illustrate not only the views as mere
views, but as scenes adapted to sport ; and his forte
in animals was very manifest ; his age, constitution
and acknowledged rising genius would admit of no
comparison ; added to which he was an excellent
walker."

During his patron's six months' tour about the
northern counties of England and the Highlands of
Scotland, Garrard's brush was steadily employed ;
and when the Sporting Tour was published in 1804,
the work was illustrated with engravings from these
pictures.

Garrard, after his tour in the wilds of Scotland
with his patron, appears to have settled down in
London to work at his profession. The Royal
Academy exhibition of 1786, contained evidence of
his travels in a " View of Hamilton Palace," and
a "View of Inverary, in Argyllshire," another view
of the same mansion being shown in the following
year. Portraits of horses and dogs and landscapes
make up the majority of his contributions during

GEORGE GARRARD, A.R.A. 1 79

the next few years. In 1796, he exhibited a picture
entitled "A Wharf near London Bridge." "Anthony
Pasquin " (John Williams), in his Critical Guide
to the Exhibition, " notices this performance with
satisfaction as it affords us an opportunity of ad-
ministering praise in consonance with our duty.

. . . In the material parts of the outline the
artist has soared above his competitors and has
given us something very near the truth of cha-
racter." The critic, however, is weighed down
with a sense of his self-set task to "Ascertain the
Truth and Improve the Taste of the Realm," as
declared on the title-page of his guide ; and he
complains that " the objects are too much crowded
for any choice of nature unconnected with a mob."

In 1795, we find the first indication of his taste
for modelling in the " Model of a Cow," exhibited
at the Royal Academy of that year. From this
date he devoted an increasing proportion of his
time to modelling and sculpture, if we may judge
by the preponderance of models, busts and kindred
works which represented his art in the Royal
Academy exhibitions.

The idea that models of cattle might be of utility
to landscape painters seems to have inspired his
efforts in this direction, but he found himself con-
fronted at the outset with the difficulty that there
was no copyright in works of plastic art. To secure

l8o ANIMAL painters'

therefore the fruits of their work to sculptors and
modellers he obtained the support of the Council
of the Royal Academy and some of the leading
sculptors of the day, and petitioned Parliament for
the legal protection of such works. In 179S, his
exertions were rewarded by seeing 38 Geo. III.,
c. 71, placed on the Statute Book. This is an
Act " for encouraging the art of models and casts
of beasts, and other things therein mentioned."

In 1792 were published engravings from two
good examples of his work, " A View from the
East End of the Brewery, Chiswell Street," the plate,
measuring 21 inches by i6| inches, being engraved
in mezzotint by W. Ward, and "A Brewhouse
Yard," plate 22 inches by 17 inches, engraved also
in mezzotint, by R. Earlom. The artist's choice of
scene was doubtless due to the fact that on a
brewer's premises he found the massive old English
horse which at an earlier date was known as the
War horse. The animals in these pictures are
typical specimens of the heavy Shire horse of the
present time ; the gelding in the Chiswell Street
brewery picture is a model which breeders of Shire
horses will find instructive. Garrard's knowledge of
anatomy is made apparent in the drawing of these
horses. One of his best subject pieces is to be
seen in the Duke of Bedford's collection at Woburn
Abbey. This is "An Agricultural Show," which is

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described by a modern authority as luminous and
powerful in colour ; the canvas possesses additional
interest in that the figures are portraits of men
prominent in the agricultural world of the day.

The portrait of a horse named Soldier was
engraved by S. Aiken— size of plate i8f inches by
1 4-J- inches — and published in January, 1793, "by
G. Garrard and Mr. Gilpin Knightsbridge, No. 43,
Little Britain."

Archibald, ninth Duke of Hamilton and Bran-
don, was one of the patrons for whom Garrard
executed many pictures, among them a portrait of
"The Duke on a Cover Hack" with a foxhound
in front. This canvas shows admirably the dress
of the period ; the action of the horse is exceedingly
well presented ; the work was engraved in mezzo
tint, the plate measuring 23 inches by 174 inches,
the artist himself being the publisher in 1797.

Two of his pictures, " Coach Horses " and
" Chaise Horses " were engraved in mezzotint by
J. Young, size of plates 23 inches by 16 inches;
these, dedicated to Sir John Leicester, Bart., were
published by John Jeffreys, London, 1798. Plate
I shows a grand pair of horses, fully seventeen
hands high, with cropped ears and short, nicked
tails ; they are harnessed and two men quaintly
attired in knee breeches, buckled shoes, wigs and
turned up hats are preparing to attach them to a

1 82 ANIMAL PAINTERS

heav)- state carriage which stands in the back-
ground. Plate 2 shows four grey post-horses with
two postboys in attendance ; one boy stands by
the near leader while the second is drawing out
from the coach-house the travelling chaise ; the
wheelers stand about sixteen hands, the leaders
about two inches less. In both these pictures the
excellent drawing of the horses arrests attention.

" A Holderness Cow," or as we should now call it,
a Shorthorn, is an admirably drawn picture, a plate
from which, by W. Ward, dedicated by the artist
to Lord Somerville, President of the Board of
Agriculture, was published in 1798. This plate
measures 22 inches by 17 inches.

The year 1800 saw Garrard's election as an
Associate of the Royal Academy ; it was in 1800,
too, that he completed the designs for that most
valuable and instructive work, Garrard's Prints of
Improved British Cattle. The introduction to
this work shows that the artist had obtained the
support of the Board of Agriculture in making the
drawings. The volume, a folio published by J.
Smeeton, of St. Martin's Lane, Charing Cross,
contains coloured plates representative of all breeds
of cattle ; a table of the dimensions of the animals
portrayed and a history of the breed accompany
each plate. Not the least remarkable part of the
undertaking was a set of models from Nature made

GEORGE GARRARD, A.R.A. 183

to show the exact proportions of every part of
the animal. The Royal Academy recognised the
importance of the work, and the skill with which
it had been executed, by awarding Garrard a formal
vote of thanks and congratulation.

Daniels Rural Sports, published in four volumes
in 1 80 1, contains two engravings from pictures by
Garrard : '' Hounds in Full Chase " and "A Vixen
and Cubs." A glance through the list of the
painter's contributions to the Royal Academy
exhibitions shows that he did not confine himself
to the delineation of British animals. Indian cattle,
nvlghai, camels, reindeer, lions, timers and other
beasts formed the subject of many pictures and
models. In 1802 one of his exhibits was "A
Peasant attacked by Wolves in the Snow"; "A
Norway Elk pursued by Wolves " having been
one of his pictures in the exhibition of 1800.

From 1802 until 1824 Garrard devoted himself
almost entirely to the plastic art, an occasional
portrait of man or horse and, more seldom, a
landscape, varying the long record of modelled
and sculptured works ; but during the last three
years of his life he turned again to palette and
brush, as if to show the world that in animal por-
traiture and landscape his hand had lost none of
its cunning. Between 1803 and 1S23, the most
notable picture from his easel was, perhaps.

I 84 ANIMAL PAINTERS

" Woburn Sheep Shearing," painted in 1804;
this work vies with " An Agricultural Show " in
historical interest, containing no fewer than eighty-
eight portraits of celebrated agriculturists. The
work which is in the Woburn Abbey collection was
engraved in aquatint by the artist himself.

Garrard's pictures, though very frequently en-
graved, rarely found their way into the serial
publications which were the means of making so
many paintings of sport and allied matters known
to the world at large. One picture in the Sporting
Magazine and one in the New Sporting Magazine
complete the list of these. The former was a por-
trait of " Betty Bloss," a mare, which at six years
old went totally blind, but was ultimately cured.
In her prime she was capable of trotting 17 miles
in the hour carrying ten stone; of galloping 22 miles
an hour, under eight stone ; and of travelling 120
miles in twelve hours on the road. The artist
sent altogether fourteen works to the exhibitions
of the British Institution and nine to the Suffolk
Street galleries.

We must revert for a moment to Garrard's
achievements in sculpture. In 18 19 in the
Sculpture Room at the British Institution, Garrard
exhibited models of equestrian statues of the Duke
of Wellington and Sir John Moore, and at the
Royal Academy in the same year he showed four

GEORGE GARRARn, A.R.A. (85

models, all of which received the warm approval
of critics. At the Royal Academy in 1829 he
showed a bronze equestrian statue of the Duke of
York, which the Sporting Magazine eulogises in
these terms : — " An inimitable performance. The
attitude and spirited character of the horse are in
accordance with the noble and commanding figure
of the equestrian, whose likeness to the lamented
original is as faithful as anything can be con-
ceived." An excellent example of his work as a
sculptor, is a bas relief in marble, 1 5 inches by 9
inches, representing a group of four horses, which
is in the Elsenham Collection.

It is hardly necessary, after what has been said,
to lay stress on the remarkable range of George
Garrard's abilities. He was a painter in both oil
and water colour, equally capable whether he
elected to portray domestic animals or wild, por-
traits of men, sporting subjects or landscapes. He
executed busts, statues and groups in clay, marble
and bronze, and was equally clever in handling so
large a subject as a public monument, or one
requiring such fineness of touch as a medallion ;
and finally he engraved, with no mean skill, plates
from his own pictures.

George Garrard died in his sixty-sixth year on
8th October. 1826, at Queen's Buildings, Brompton,
London,

1 86 ANIMAL PAINTERS

WORKS OF GEORGE GARRARD.

IN THE POSSESSION OF Mr. J. M. GARRARD, PINNER
PLACE, PINNER (13 in number).

I. PARK SCENE, WITH HUNTERS ; a bright bay and a golden bay Between the
two stands a hunt servant with three more hunters.

I. CREAM-COLOURED HORSE, having a snalce twined round his n^ar fore-leg.

Colouring rich and harmonious.

3. WINTER FARMYARD SCENE. In the foreground, sheep in the snow. Evening

effect.

4. MARES AND FOALS. To the left a white mare standing in repose ; to the right, a

bay mare suckling her foal. This picture was engraved by Thos. Morris.

5. A SUSSEX COW.

6. AFRICAN CAMEL, and in middle distance a second camel reposiog.

7. BLACK-AND-WHITE GREYHOUND.

8. FOXHOUND.

9. GROUP; THREE MAR.MOZET .MONKEYS.

10. A RED DEER.

II. HANOVERIAN HORSE.

12. SKEWBALD MARE AND FOAL in field.

13. BA Y HORSE grazing.

EXHIBITED IN THE ROYAL ACADEMY (215 in number).

YEAR

17S1— r/CCl HORSES.

J783— (3) PORTRAIT OF FRIEZLAND MARE and NEWFOUNDLAND DOG—

PORTRAIT o^& Gentleman and his HoKe— PORTRAIT of ^ dog.
1784— (4) VIEW OF A BREWHOUSE-YARD—PONY AND DOG— PORTRAIT

of a Miie— SKETCH FOR HUNTING PICTURE.
1786— (5) PORTRAIT of a nobleman on a trotting horse— VIEW OF HAMILTON
PAL.4CE— HORSES AT A FARRIER'S SHOP— VIEW OF INVERARY
IN ARGYLESHIRE— PORTRAIT of a race-horse, property of the Duke of
Hamilton.
iyiy-<,2) PORTRAITS of horse and dog— VIEW OF INVERARY CASTLE.
,jW—(p) GOING OUT IN THE MORNING — PORTRAITS OF DOGS — POR.
TRAITS OF HORSES— PORTRAIT of an old Suffolk hone— PORTRAIT
OF .4 HORSE in miniature— /"Oj^r/e^/T" OF A HORSE in miniature.
,^8g_(^) I'/EW IN A BREWHOUSE-YARD — HOUND RETURNING FROM
CHASE— PORTRAIT oi a gentleman and pony— PORTRAITS OF HORSES,
with view of Burley near Otley, Yorkshire, the seat of P. Mosley, Esq.
,^qo_(4) PORTRAIT OF A HORSE— PORTRAIT of a gentleman and grey horse—

COACH-HORSES— PORTRAITS OF HORSES.
,^,3_(,,) y! .S'NOIV PIECE— VIEW OF A GENTLE.MANS SEAT IN HERT-
FORDSHIRE — VIEIV IN TRING PARK, HERTS. — MARES AND
FOALS FRO.M THE PRINCE OF WALES' STUD— VIEW OF A
GENTLEMANS SEAT IN HERTFORDSHIRE — A YARMOUTH
CART, WITH VIEW OF YARMOUTH— PORTRAIT OF A HORSE—
"SALTRAM" — SHEEP-SHEARING AT ASTON CLINTON, IN
BUCKINGHA.MSH/RE — PORTRAIT OF BULL DOG — SIM! A J AC.
CHUS.

WORKS OF GEORGE GARRARD, A.R.A. 1 87

VBAR

■ 79-(— (5) MARES AND FOALS— .If A RES AND FOALS— THE ZEBU— POR-
TRAIT OF A PONY-MARE, property of Sir John Dashwood.

J79S— (5) PORTRAITS OF HORSES— PARK SCENE at Witham, V-,iif:x— CAMELS
—MODEL OF BULL— MODEL OF COir.

ijgS-iio) THE LIME UVEA'S AT PURFLEET —" HAMBLETONIAN" —
" CAVENDISH" — "BENNINGBROUGH" — A IVHARF NEAR LON-
DON BRIDGE— MODELS : NIL GAIV iNVLGHAP) ANTELOPE— REIN-
DEER — SHEEP — HEAVV DRAUGHT HORSE— TABLET FOR A
CHIMNEY PIECE.

•797— (ii) PORTRAITS OF HORSES— BULL-BITCH AND PUPPIES— STABLE
YARD—YIEirOF IVOOL.MER PARK, HERTS.— VIEW IN BEDWELL
PARK, HERTS.— MODEL OF COIV AND CALF— GROUP OF
PUGILISTS — MODEL FOR EQUESTRIAN STATUE— GROUP OF
LA.MBS— MODEL OF STAG— BUST OF INFANT.

179S— (3) MODEL OF .4 POINTER, property of Sir Charles Hunter— 5,)^ RELIEF:
DUNCANS HORSES (from a sketch by Mr. G[\fm)—BAS RELIEF: LION,
LIONESS, AND WHELPS.

^l^—(i) PORTRAIT OF A CO.iCH-HORSE — " IVHISKV," property of J. H.
Durand, Esq. —STABLE YARD — MODEL OF BISON AND ZEBU —
IRISH PIG, 4 ft. 2 in. high, and BERKSHIRE HOG, j ft. 10 in. high—
NESS US AND DE/ANIR A— ALEXANDER AND BUCEPHALUS.

iS^-(s) PORTRAITS OF TWO HORSES— PORTRAIT OF A HORSE— POR-
TRAIT OF A HORSE— SCULPTURE, FIGHTING BULLS— NORWAY,
ELK PURSUED BY WOLVES.

1801— (3) BUST OF A YOUNG LADY— GROUP OF HOLDERNESS CATTLE,
from the King's stock at Windsor— .5" 7"- -J TUE OF AN INFANT recumbent (sod
of Sir J. Mildmay).

1802— (3) VIEW IN THE HIGHLANDS OF SCOTLAND— TIGER, from nature—
PEASANT ATTACKED BY WOLVES.

>8o3-{5) BUSTS: A. YOUNG, ESQ.— P. COX, ESQ.—B. WEST, ESQ., P.R.A.—
HOLLAND, ESQ.— THE EARL OF FA UCONBERG.

1804— (10) SOUTH DEVON RAM, from the Duke of Bedford's flock at Woburn Abbey—
TWO PRIZE HEREFORD OXON— DURHAM OX, AND MR. COATES'
SHORT- HORNED COW— VIEW FRO.VI THE EAST END OF THE
INNER COUR T OF BURGHLEY HOUSE, the seat of the Marquis of Exeter
—BUSTS: W. STEVENSON, ESQ.— LORD SOMERVI LLE—S. WHIT-
BREAD, ESQ.— J. HEAVISIDE, ESQ.— SIR J. BANKS, K.B. (in marble)
— A. i'OUNG, ESQ., Secretary to Board of Agriculture.

1805— (7) ALTO RELIEF— ALTO RELIEF— BUSTS : REV. MR. GILPIN, Vica
of Boldre — J/A'. A. NEWLAND, chief cashier of the Bank of England —
MR. FULLAR— MAJOR BATTEN— T. IV. COKE, ESQ.

1806— (2) BUST: S. GILPIN, ESQ., R.A.—A LADY.

iSoj— it) BUST: THE LATE RT. HON. W. PITX,—A YOUNG LADY— EARL
ST. VINCENT— THE LATE RT. HON. C. J. FO.\'—THE RT. HON.
J. FOSTER—/. C. CUR WEN, ESQ.

1808— (6) MODEL for bust of a \:xdy— SKETCH IN CLAY: The death of Adonis—
MODEL for bust of V. Green, A.E.— BUST IN MARBLE OF THE LATE
RT. HON. WM. PITT— BUST IN MARBLE OF J. C. CURWKN, ESQ.,
M. P.— MODEL for bust of Mr. Pugett.

1809— (6) MODEL for statue of the Rt. Hon. William P'M—BUST OF A L.-IDY—
MODELS for bu.'its : the Rt. Hon. W. Pitt, in the robes of the Chancellor of
the Exchequer^Capt. Thompson — H. Ashby, Esq.^The Rev. T. Fry, A.M.

iBitt— (s) MODELS for busts: H. Repton, Esq.— Dr. S. Jackson— T. Tomkins, Esq.— W.
Wilberforce, Esq., M.P.

l88 ANIMAL PAINTERS

VEAR

1811— (8) MODELS for busts: W. Adam, E'iq.— A lady— The Rt. Hon. Sir J. Sinclair,
Bart. — A youth — MODEL for equestrian statue of Sir John Moore — STUDY for
equestrian study of His Majesty, proposed as design to commemorate the Jubilee
—MODEL for a Xmn— MODEL for statue of His Majesty.

1812— {7) MODEL for bust of a gznlX^Tn^n— MEDALLION of the Duke and Duchess
of Bedford — Case containing THREE BRONZES to press letters : a favourite
terrier, the property of Lady E. Whitbread ; bull-dog, the property of the Hon. R,
P. D. Burrell ; and greyhound, the crest of the Duke of Newcastle— .1/0 i?^'^ t
life size, of a true bred bull bitch, property of the Hon. R. P. D. Burrell — MODEL
for bust of General T^\aan— BRONZE, Sir J. Uoar^— MEDALLION of Tom
Cribb, the British champion.

1B13— (6) COLONEL BEAUMONT, M.P.—REV. MR. HUTTON, with view of
Houghton Hall, Durham — Glass case containing THREE MODELS : favourite
dogs, properly of Mrs. Baker, of Elemore Hall, Diu-ham ; and of Miss Foljambe,
of Osberton ; and of a horse— Z?0^ SERPENT CR USHING A TIGER :
STUDY for has-rfAxi— MODELS for busts of a young lady, and R. B. Sheridan,
Esq.

iSh— (3) BUSTS: A YOUNG LADY— AN INFANT— BONERS : a late celebrated
combat between the Champion and the Black.

i8i5-<9) PERSIAN HORSES AND SPANISH SHEEP DOG, the property of Earl
Percy— THE FALL OF PHAETON: model for a %A\>:x— MODELS for
busts: LORD, LASCELLES— PRINCE HOARE, ESQ., Secretary for Foreign
Correspondence to the Royal Academy— 5'/yf T. FRANKLAND, BART.—
HON. .MISS LASCELLES— SIR J. GILPIN, M.D., Inspector General of the
fortress of Gibraltar— T'/i'.fi' Z'i/A'.ff OF WELLINGTON \n Marshal's uniform,
executed at the instance of subscribers to a proposed equestrian statue ; cast pre-
pared for Her Majesty's apartments at Windsor — .-i GENTLEMAN.

1816— (5) MODELS: for BUST OF A GENTLEMAN— DESIGN FOR A STATUE
—for BUST OF IV. IVILSHIRE, ESQ.— for MONUMENTAL BUST OF S.
WHITBREAD, ESQ.— BUST OF THE DUNE OF WELLINGTON.

■ 817— (7) H. HOLLAND, ESQ., architect, with a view of Hans Place— SIR A. COR-
BET. BART.— MEDALLION of a lady— .MODEL for bust of an artist—
MODEL of "Comet," a celebrated improved short-horned bull, which sold for
r,ooo gs. — STUDY for a monumental bust of young lady — MODEL of a bull calf
of the improved short-horned breed.

1818— (4) riEW OF ALNWICK' CASTLE, with Indian cow and group of half-
bred Highland cattle — THE WAPITI, in possession of Lord James Murray —
MODELS: for EQUESTRIAN STATUE OF THE DUKE OF WEL-
LINGTON—ior BUST OF H.R.H. PRINCESS CHARLOTTE.

1819— (5) MODEL (or BUST OF THE REV. W. CONE, M.A., F.R.S., F.S.A., Arch-
deacon of Wills. — BAS RELIEF of a bull, from an antique gem — .MODEL in
clay of design for public monnrrxeM- MODEL in clay : VICTOR Y AND FAME,
design for public mox\amem— MODEL lor BUST OF MR. CLIFT.

1820— (3) MODEL for EQUESTRIAN STATUE, to commemorate the downfall of
usurpation— .Si/JT.? in bronze : DUKE OF WELLINGTON— SAM WHIT-
BREAD, ESQ.

1834— (7) HORSE AND DOGS, the property of R. Westenra, Esq., M.P.— ^ CELE-
BRATED GREYHOUND, j>ropeny o! Edviaid Ellice, Esq., U.V.—VIEW IN
THE PLEASURE GROUNDS OF CRAVEN LODGE— A FAVOURITE
PONY, property of Lady Hannah Ellice— INTERIOR OF CRAVEN COT-
TAGE—MODELS (in clay) for BUST OF JOSEPH BARRETT, ESQ.—
MODEL for bust for General Mina.

WORKS OF GEORGE GARRARD, A.R.A. 1 89

YEAR

1825— (S) STABLE YARD— SUNSET VIEW OF THE LIME WORKS AT PUR-
FLEET — "ECLIPSE" p:iinled at Colonel O'Kelly's stables, Epsom, in 1787, and
finished in 1824— iY£(r l.V OSTERLEV PARK— DESIGN (ar Gothic truss,
busts of a lady and her seven daughters— .l/t'Z)£Zi' for busts : MASTER LANE
FOX— MISS LANE FOX.

1826— <8) SHEEP SHEARING— VIEir IN SANDWELL PARK, seat of the Earl of
D^nmonih-POR TR AIT OF A HORSE— Yarn STUDIES of the Marquis of
Exeter's mare, " A.i\g,\i%ta."— MODELS for busls : A LADY— MRS. LANE
FOX— BRONZE BUSTS: A GENTLEMAN— A LADY.

PLATE IN THE .'^PORTING MAGAZINE.

BETTY BLOSS, a famous trotting mare, bred by a smuggler in K^nt, and ultimately
belonging to Mr. LawTence, 1834, vol. 24 ; engraved by Scolt.

PLATE IN THE NEW SPORTING MAGAZINE.

ECLIPSE, a celebrated race horse, bred by the Duke of Cumberland, 1S43, vol. 24 ; en-
graved by v.. Hacrke.

IQO

SAWREY GILPIN, R.A.

(Born 1733. Died 1807.)

OAWREY GILPIN, son of Captain John Ber-
^ nard Gilpin by his wife Matilda, daughter of
George Longstaffe, was born at Carlisle in 1733.
The Gilpins come of a very old Cumberland family,
the famous " Apostle of the North," Bernard
Gilpin, a collateral ancestor, being recognised as a
man of ancient lineage even in his day (15 17-1600).
Captain Gilpin possessed some artistic talent him-
self and was able to direct his son's first efforts
with the pencil ; but the boy's exceptional ability
soon became evident to his father, and at the
age of fourteen Sawrey Gilpin was sent up to
London to study under Samuel Scott, the emi-
nent painter of river pieces and sea-scapes.

From the circumstance that his father sent
Sawrey Gilpin to study under Scott, we may hazard
the conjecture that at this early period the special
bent of his genius had not declared itself ; but if
this were so it was not long before his peculiar skill
in portraying animals was recognised. Scott lived
in the near neighbourhood of Covent Garden, and

SAWREY GILPIN, R.A. I9I

in the great market his pupil is said to have found
his first models among the horses and carts which
thronged it daily. The Duke of Cumberland was
shown some of his sketches, and so greatly did their
merit impress him that he extended his patronage
to the young man. and employed him to paint
portraits of his favourite race horses at Newmarket
and Windsor. One of the pictures he exhibited
at the gallery of the Society of Artists in 1771,
reflects this connection ; it shows " The Duke of
Cumberland visiting the Stud at Windsor " ; this
work was painted in collaboration with another
pupil of Samuel Scott, namely W. Marlow who
executed the background, a view of the Castle.

After leaving Samuel Scott, Gilpin went, in 1758
to Newmarket to study the horse ; and afterward
returned to London and settled in Knightsbridge.
He first appears as an exhibitor in the year 1762,
when he was represented in the gallery of the
Society of Artists ; for a period of twenty years
he was a frequent contributor to this exhibition,
sending altogether eighty-three works. Among these
may be noticed a drawing " Darius gaining the
Persian Empire," illustrative of the familiar legend :
" Gulliver's Visit to the Houyhnynms," and
"Gulliver taking leave ot the Houyhnynms," two
large paintmgs of incidents selected from Dean
Swift's classic ; the picture of " Gulliver's Visit

192 ANIMAL PAINTERS

was engraved in mezzotint by Valentine Green,
the celebrated mezzotint engraver. The latter
works are in the Cambridge House collection,
and the former of the two, it may be added
parenthetically, was selected for mutilation by
burglars who broke into the house in 1892, the
head of the dapple-grey horse having been cut out,
" Pegasus at the Fountain of Hippocrene, being
haltered by Perseus," is another of the pictures
which displays Gilpin's talent for the presentment
of scenes mythological and fanciful. This work is
said to have been painted for a wager. At a party
of artists, the possibility of painting a horse with
wino^s and without obvious and flagrant violation
of anatomical laws was discussed. Sawrey Gilpin
declared his ability to do it, his brother artists
defying him to perform a feat they deemed im-
possible ; Colonel Mitford, Professor of Ancient
History at the Royal Academy, who was of the
party, laughingly offered to bet him a hundred
guineas he failed to paint the winged horse of
mythologists, and Gilpin took the wager. By a
clever but simple artifice the artist won his bet :
he drew Pegasus in the act of alighting, his wings
being so disposed that the spectator does not see
whence they spring, and anatomical laws are kept
inviolate. This picture is now in the collection of
Mr. A. B. Freeman- Mitford, C.B., at Batsford

SAWREV GILPIN, R.A. 1 93

Park ; the colours are as fresh and bright as on
the day they were laid on.

The Rev. William Gilpin, the artist's brother, is
known by his book Forcsf Scenery, published in
1 79 1, and other works for the illustration of which
Sawrey Gilpin executed several cattle pieces. The
Sporting ivlagazine for April, 1807, contains refer-
ence to " the Rev. William Gilpin, the tourist " ;
Mr. Giljiin no doubt travelled like other men of
culture and taste, but his famous Forest Scenery
owes its inception to the fact that he counted
among his pupils at the school he kept near
Cheam, the first Lord Redesdale and his brother,
Colonel Mitford, the historian of Greece, of whom
passing mention was made above. Colonel
Mitford (who was the great-grandfather of Mr.
Freeman-Mitford, of Batsford, lately M.P. for the
Stratford-on-Avon division of Warwickshire) in
later years presented his old master to the living
of Boldre, in Hampshire ; here Mr. Gilpin wrote
his books and passed the remainder of his life.
It may be added that at the time of the artist's
death, 1807, his only surviving brother, Joseph
Dacre Gilpin, filled the mayoral chair of Carlisle.

In 1773 Sawrey Gilpin was made a Director of

the Society of Artists, and in the following year

was elected President of that body. The earlier

exhibitions of the Royal Academy included no

13

194 ANIMAL PAINTERS

works from his easel ; he contributed his first
pictures in 1786, sending then the "Portrait of a
Horse belonging to His Majesty," and the portrait
of "A Foxhound in the Possession of Colonel
Thornton." His contributions to the Royal
Academy were not numerous by comparison with
the number of his works, nor did he exhibit with
any great regularity ; between 1 786 and 1 807, when
he died, he sent in thirty-six pictures. He was
elected an Associate in 1795, and an Academician
two years later : he deposited as his Diploma
work " Horses in a Storm " ; horses in various
attitudes of terror grouped round a leafless tree
as if seeking shelter from the heavy storm and
lightning approaching from the right distance.

Colonel Thornton, whose name occurs in con-
nection with one of the artist's first Royal Academy
works, was his friend and patron, and it was for
Colonel Thornton that Sawrey Gilpin painted one
of his best sporting pictures, "The Death of the
Fox," exhibited at the Academy in 1793. The
incident portrayed occurred one day when Gilpin
was hunting with the Colonel's pack ; and the
picture received perhaps more general approbation
than any from his brush. The art critic of the
Sporting Magazine (vol. 11) writes as follows: —
"The public has long been indebted to Mr. Gilpin
for his valuable exertions which have greatly con-

SAWREV GILriN. R.A. 1 95

tributed towards the enrichment of our equestrian
collections. In the particular scene before us —
' The Death of the Fox ' — he has displayed much
judgement and knowledge of his art : the hounds
are equal to anything we have seen of the kind in
our school." This picture is one of the three which
we find reproduced in the Sporting Magazme, an
engraving by T, Cook accompanying the notice
quoted. Eighteen years afterwards, in 1811, John
Scott completed a large plate from this work, and
another to serve as a companion from Philip
Reinagle's beautiful picture of " The Fox Breaking
Cover " ; these engravings, which are among Scott's
happiest efforts, will receive their meed of attention
under the name of that famous artist and en-
graver.

"The Death of the Fox" was sold at Hick-
man's gallery, St. James's Street, in June, 1819,
with other sporting pictures belonging to Colonel
Thornton, when recklessness and extravagance
brought that celebrated sportsman's property into
the market ; it passed into the possession of Baron
de Tessier, and when his pictures were sold at
Brighton in 1864, it was purchased by Mr. William
Hine-Haycock, of Belmont, Sidmouth, in Devon-
shire, in whose collection it may now be seen.

In 1785 Gilpin painted the portrait of a boon
companion of Colonel Thornton, namely, John

196 ANIMAL PAINTERS

Parkhurst, Esq., of Catesby Abbey, Northampton-
shire. The canvas is a large one, measuring 6 feet
square : Mr. Parkhurst is on a grey horse, and
capping his hounds on to the Hne of a fox. An
engraving by Mr. Babbage from this picture faces
this page: the easy and workmanHke seat of the rider
arrests attention in the reproduction ; indeed the
whole pose is admirable, recalling the touch of
Snyders, the Dutch artist. Mr. Parkhurst was a
remarkably good-looking man, and appears at his
best in pink with the powdered hair usual at that
period ; he was known as " Handsome Jack," and
after accession to his estates joined many of Colonel
Thornton's wild and extravagant exploits, until he
ran through his fortune, which did not take long to
accomplish. About the year 1800 he married the
widow of Sir Griffith Boynton, Bart., who had died
leaving her with three sons ; Mr. Parkhurst brought
up his stepsons, Francis, Griffith and Henry, in
every sort of vice, and it is probable that the succes-
sion of each in turn to the baronetcy was due to
the ill-health caused by excesses.

On 1st January, 1783, Geo. Garrard, from
Sawrey Gilpin's address, published an engraving by
Wm. Ward of Gilpin's portrait of Lord Derby's Sir
Peter Teazle; size of plate, iS^- inches by 14
inches. Sawrey Gilpin painted a portrait of the
famous racehorse, PotSos, which was engraved by

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SAWREY GILPIN, R.A. 19/

H. Hodges, plate i8f inches by 14^ inches, and
published on 25th March, 1790, by Jas. J. Boydell,
of Cheapside and the Shakespeare Gallery, Pall
Mall. His portrait of Colonel Thornton's Jupiter,
exhibited in 1792 at the Royal Academy, was
engraved by Wm. Ward, plate igj inches by 14
inches, and was published by George Garrard, "at
Mr. Gilpin's, Knightsbridge." His portrait of
Highflyer, which was etched by himself and also
engraved by F. Jukes, plate 19 inches by 14;^
inches, was likewise published by Garrard "at Mr.
Gilpin's, Knightsbridge."

In the Royal Academy Exhibition of 1794,
Sawrey Gilpin showed " A Gentleman on Horse-
back bringing up lag Hounds," the portrait being
by the hand of Philip Reinaglc. Of this work
Anthony Pasquin (John Williams) says in his
Liberal Critique on the Exhibition for that year :
" This is the prime picture in the exhibition of
its kind. Mr. Gilpin is inferior to Mr. Stubbs
in anatomical knowledge, but is superior to him
in grace and genius. The human portrait is
not disreputably finished." The critic, it should
be observed, is by no means lavish of his praise
whatever the work under notice. Very many
of Gilpin's pictures were painted in collaboration
with other artists ; Reinagle and he together exe-
cuted a portrait of Colonel Thornton shooting with

198 ANIMAL TAIN'TERS

a twelve-barrelled rifle (the only weapon ol the kind
ever made) in Glenmore Forest : " A Litter ot
Foxes," shown in the Royal Academy Exhibition
of 1796, owed its background to P. Reinagle.
Anthony Pasquin remarks of this picture that
" these are as faithful portraits of foxes as any we
have beheld from the graver of Ridinger, and the
subtle character of this prowling savage is so well
depicted that we think a hen and her brood might
tremble at the terrific effigies." He complains,
however, that " the force of the background over-
powers those objects in colour and effect " in such
degree that the picture were better described as
"a background with a litter of foxes."

George Barrett, R.A., the landscape painter, was
frequently indebted to Gilpin for the animals which
lent animation to his scenes, as also was William
jNIarlow. Among the collection of Richard Hulse.
Esq., of Blackheath, whose pictures were sold at
Christie's on 21st and 22nd March, 1806, was "a
chef-d'(£iivre that does infinite honour to the British
School," to quote from the description in the
catalogue. This was a view of Lake Windermere
with a man driving sheep and cattle, the joint work
of George Barrett, R.A., and Sawrey Gilpin, R.A.
It brought the sum of eighty guineas.

Perhaps some of the most noteworthy examples
of joint work in art known are three large pictures

SAWREV GILPIN, R.A. 1 99

illustrative of incidents in Colonel Thornton's famous
Sporting Tour through the Highlands of Scotland.
These were painted conjointly by Sawrey Gilpin,
who did the animals, Philip Reinagle, who drew the
portraits, and George Barrett, who was responsible
for the landscape and the work as a whole. As
might fairly be expected of the combined efforts
of three Royal Academicians, the pictures display
peculiar merit as well as interest. " Czarina and
Maria," a brace of greyhounds coursing a hare, was
engraved by John Scott, and was used to illustrate
Daniels' Rural Sports, published in iSoi. These
dogs were no doubt two of Colonel Thornton's ;
in the Sporting Magazine for INIay, 1805, we read
that "The produce of [Colonel Thornton's] Major
and Fawn-coloured Czarina, Lvdia and Czarina, are
in London, and may be seen by applying to Mr.
Tattersall. They are matched for 2,000 guineas to
kill a box hare within 500 yards, and the hare to
have 20 yards law." The three works mentioned
above as having been painted for Thornton's tour
in Scotland are in the Elsenham Hall collection.

Mr. Freeman-Mitford, C.B., has at Batsford Park
very fine samples of Sawrey Gilpin's work in the
large painting of " Cattle going down to Water at
Sunset " ; in the finished sketches from which the
two pictures of Gulliver's Travels were made ; in
a study in sepia entitled "The War Horse, " and in

2CO ANIMAL PAINTERS

" Horses," the landscape in which was painted by
William ]\IarIow.

In the Duke of Portland's collection at Welbeck
Abbey there is a picture by Sawrey Gilpin of a
" Hound in Chase"; the scene is an open landscape,
with tall trees and a wood in the distance ; it bears
date 1773, and the canvas is 61 inches high by 71^
inches long.

The Right Hon. F. J. S. Foljambe has in his
collection at Osberton Hall, Worksop, Notts., a
painting of the celebrated racehorse and stallion,
Jupiter, a son of Eclipse, which was executed by
Gilpin for Colonel Thornton. This picture, which
is 6 feet 8 inches wide by 5 feet 5 inches high, was
engraved by Scott for the Spo]'ts)iians Repository,
published in 1845 by Henry C. Bohn.

The four volumes of Rural Sports, in addition
to the picture of greyhounds already mentioned,
contain ten e.xquisitely fine engravings by Scott
from Gilpin's pictures of renowned pointers, fox-
hounds, harriers, and beagles ; also a plate from
a clever picture entitled " Terrier worrying a
Fox."

The Sporting Magazine for 1795, vol. vii.,
contained an engraving from Gilpin's portrait of
Colonel Thornton's famous pointer Dash ; and the
vol. 54, for 18 19, contains a plate from the portrait
of the Earl of Derby's racehorse, Sir Peter Teazle,

SAWREY GILPIN, R.A. 20I

a turf giant of his day ; both of these plates were
executed by John Scott.

In the South Kensington Museum there are
examples of Gilpin's work in oil and water colour,
some sketches and a few spirited etchings.

The Sporting Magazine of April, 1807, in course
of an obituary notice of the artist, says of his paint-
ings that they "are justly admired for the great
truth and spirit of the composition and extreme

chasteness of colouring- The Prince oi

Wales' and the Duke of Hamilton's collections are
both enriched with the productions of his pencil,
but we believe his chef-cTceuvrc is in the possession
of S. Whitbread, Esq., M.P. It consists of a group
of tigers, and is a noble and spirited composition.
He excelled much in giving an expression of
terrible but majestic fierceness to that noblest of
animals, the lion." Without in any way impugning
Gilpin's skill in portraying wild animals, it is safe
to assert that his reputation is most surely based
upon the insight, knowledge and truth to life with
which he painted the horse, the dog and the fox.

Sawrey Gilpin was a man of culture and refine-
ment, who in a licentious age was held in deserved
respect by his contemporaries for his high moral
character and extreme simplicity of manner.

An industrious and prolific workman, he pro-
duced a very large number of pictures during his

202 ANIMAL PAINTERS

life. His hand retained its cunning to the last ;
the Royal Academy Exhibition of 1807 contained
three pictures from his easel, the artist having died
on the 8th of March in that year, at Brompton.

He left one son, William Sawrey Gilpin, who for
a time pursued the study of art and painted in
water colours. William Gilpin, however, possessed
little talent ; he became the first President of the
Water Colour Society, and was a frequent con-
tributor to its exhibitions ; but so indifferent were
his performances, says Redgrave, that he injured
his practice as a drawing master by showing his
pictures. He eventually laid aside the palette and
brush to adopt landscape gardening as a profession.

The accompanying portrait of Sawrey Gilpin has
been engraved from a picture kindly lent by
Captain Norclifte Gilpin, of Brighton, a descendant
of the painter.

WORKS OF SAWREY GILPIN, R.A.

IN THE SOUTH KENSINGTON MUSEUM.

coil's IN A LANDSCAPE ; three red cows in the foreground of a suniij- landscape ; on

canvas 24J inches by 18 inches, oblong. Water colours.
SKETCH OF A LION AND LIONESSES.
A MAAS/ON IN I'KOCESS OF CONSTKUCTION (Fonthill Abbey?), signed and

dated, 1797.
MOUATAIN LANDSCAPE WITH CATTLE AND FIGURES, signed and dated

1787-
TREES AND HORSES (painted with (ieorgc Bauelt, sen., R.A.) dated 17S2.

SAWREY GILPIN, R.A.

From a Fainliiig in the f-ossesiioii of Caplniii Norciiffc (-ji//>iii,
y, Katon Gardens, Wesl Brii;hlon.

"WORKS OF 5A\\*REV GILPIX. R.A. 203

PICTUfiES E:XH:3;TED in the royal ACADE^rY
36 in number .

17M— ;3) A ffJSSE SEI^DSVISO TO h'fS 3rA/£S7~!'—A EJXrfCCXD IX THE

POSSESSION OF COL. THCKi—JX.
ijSS— (j) LA2rDSCA.PE AST) CATTLE — m'H'PCOS-- — DTSCAXXOX —

Hocyns SEizfSu a rox—SA a-x ajtd ha-RE.

1755 -(3) .4 DOG FROJf SA3LE CAPE— A STAG-SJ Z'-TJ — SSSC FETES.

TELiZLE.'
1792 — A Rp-^p^-rsg. JTPITER. fcKuybs.-_. oc'Cci- Trcczcnc-
i-m—THE DEATH OF THE FOX.
:7H— (s) XAEE A.J>'D COLT—AJT OLD HTXTES—CEXTLE-VAX O.V HTESE-

S.iCX BS/SUfXG UP LAG HOVyDS TO COyEKT.
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1797— Cs) HOSSES— POSTS ASTS OF HOSSES—.i .F.iS-V-iASjy.
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DEX.
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PLATES IN THE SPJRT/XG MAGAZIXE 3 in namber^.

DE.A TH OF THE .^J-V, :tc;^ va^ 11 : Kgia-red "st X. Cock.

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SIS PETES TEAZLE, iSri toL j^ ; c j>gi br Scxt.

204

THOMAS GOOCH.

(Born circa 1750.)

nnHOMAS GOOCH, who was born about the
•■■ year 1 750, is another of the artists whose frag-
mentary history is written only in the catalogues
of exhibitions. His pictures are occasionally seen
in collections in the old country mansions of Eng-
land, but it would appear that he had a tolerably
extensive connection. His specialities were eques-
trian portraits and portraits of horses and dogs, in
the execution of which he displayed considerable
artistic talent. He exhibited largely ; his name
first appears in 1772, when he contributed a
picture to the exhibition of the " Free Society of
Artists;" between that date and 1781, when his
name figures for the first time in the catalogue of
the Royal Academy, he does not appear to have
exhibited ; but we find a connecting link in his
portrait of the racehorse Goldfinder^size of canvas
2 feet 7 inches by 2 feet 2 inches — which he
executed in 1777 for Mr. Cook. This picture is
in the Elsenham collection, and an engraving from
it is here given.

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THOMAS GOOCH 205

In 1 78 1, the year of his first contribution to the
Royal Academy, Gooch's address is given as " 7,
facing the Chapel, Knightsbridge " : he was repre-
sented by three works in that year's exhibition,
and thenceforward until 1S02 was a tolerably
regular and often large contributor, sending no
fewer than seventy-six pictures in eighteen years.
The large proportion of portraits in the list which
follows indicates the extent of his connection, and
testifies to the esteem in which his work was held
by contemporary sportsmen and other patrons of
art. His predilection for painting horses and dogs
on the same canvas compels notice ; but no doubt
this was usually done in compliance with the wish
of his patron. His pictures from time to time
received flattering notice in the pages of the
Sporting Magazine. Thus in the issue for May,
1 793, the critic remarks of Gooch's exhibits in the
Royal Academy : " ' The portrait of a horse ' will
be no disgrace to the Dormitory stud of the first
sportsman in the kingdom.' Again — "'Breaking
in the Young Coach-horse ' with its companion
picture ' The Latter State of the Coach-horse '
does the artist credit ; they are a pretty pair of
pictures, and worthy a place in any sportsman's
collection." Modern art critics may perhaps con-
sider these remarks lacking in discrimination and
analytical spirit, but they at least go to prove that

THOMAS GOOCH 205

In 1 78 1, the year of his first contribution to the
Royal Academy, Gooch's address is given as " 7,
facing the Chapel, Knightsbridge " : he was repre-
sented by three works in that year's exhibition,
and thenceforward until 1802 was a tolerably
regular and often large contributor, sending no
fewer than seventy-six pictures in eighteen years.
The large proportion of portraits in the list which
follows indicates the extent of his connection, and
testifies to the esteem in which his work was held
by contemporary sportsmen and other patrons of
art. His predilection for painting horses and dogs
on the same canvas compels notice ; but no doubt
this was usually done in compliance with the wish
of his patron. His pictures from time to time
received flattering notice in the pages of the
Sporting Magazine. Thus in the issue for May,
1793, the critic remarks of Gooch's exhibits in the
Royal Academy : " ' The portrait of a horse ' will
be no disgrace to the Dormitory stud of the first
sportsman in the kingdom. " .A.gain — " ' Breaking
in the Young Coach-horse ' with its companion
picture ' The Latter State of the Coach-horse '
does the artist credit ; they are a pretty pair of
pictures, and worthy a place in any sportsman's
collection." Modern art critics may perhaps con-
sider these remarks lacking in discrimination and
analytical spirit, but they at least go to prove that

206 ANIMAL PAINTERS

Gooch's work attracted notice when the art critic's
survey of the exhibitions was much less exhaustive
than it is nowadays.

In 1794, the year in which the artist had no
fewer than thirteen paintings on the Royal Aca-
demy walls, the critic is at greater pains to express
his appreciation. "The smaller sized pictures of
Mr. Gooch's are meant as different characters,
and the set (of which he is now finishing the
remainder) comprises twelve, with the like number
of dogs to correspond ; these, together with six
stages of the racehorse, are designed for the
furnishing of any gentleman's room entirely with
portraits of those useful and entertaining animals,
and which from the specimens here given certainly
will form a very pleasing assemblage." That the
pictures were well worth buying was the highest
praise the writer could bestow ; we have not gone
much beyond that at the present day, but the idea
is less frankly expressed.

In the exhibition of 1800 he exhibited a portrait
of an ox which had distinguished himself by the
unbovine achievement of winning a race. The
animal is said to have run this race, which was
nearly two miles, in eight minutes.

Gooch appears to have painted either one, two
or three sets of pictures representing the career
of a racehorse. The Royal Academy exhibition

THOMAS r.OOCH 207

of 1 783 included among other works from his
brush "The Life of a Racehorse " in six scenes,
viz., (i) The Foal with the Mare ; (2) The Colt
Breaking ; (3) The Time of Running ; (4) As a
Hunter; (5) As a Post- Horse and (6) His Death.
This horse in his time played many parts ! In 1790
a series of six engravings from the " Life of a
Racehorse " was published ; but in the absence of
particulars it is impossible to know whether these
plates were executed from the pictures exhibited
seven years earlier or from another set. In 1792,
Edward Jeffery, of Pall Mall, published a book,
in folio size, from whose title page the following
quaint description is taken : —

" The Life and Death of a Racehorse exemplified in his various
stages of existence till his dissolution. The whole drawn and
engraved in Aquatinta by Thomas Gooch, Esq., with an
Essay tending to excite a benevolent conduct towards the
Brute Creation by Dr. Hawksworth, to which is added ' The
Song of a Racehorse,' " &c.

The plates are six in number, and their titles at
once challenore comparison with the set exhibited
in 1783 :—

(i) When a Foal with his Dam; (2) When a
Colt Breaking ; (3) After running a Race and
Winning ; (4) As a Hunter going out to the
Chase ; (5) As a Postchaise- Horse, on the Road ;
and (6) His Dissolution.

208 ANIMAL PAINTERS

It will be noted that this publication shows the
artist in the role of engraver of his own works.

Though Gooch did much and excellent work,
few of his paintings seem to have been engraved,
and the fact that his brush was so frequently em-
ployed upon portraits of animals more interesting
to their owners than to the general public, may in
a measure account for this. One of his works,
" Foxhounds," was engraved by Godby and Merke
and published by Orme in 1808.

We find no record of the date or circumstances
of Thomas Gooch's death. His last contributions
to the Royal Academy appeared in the exhibition
1802, after which date we lose sight of him, the
engraving of a painting at a later date being of
course no proof that he was at the time alive.

WORKS OF THOMAS GOOCH.

EXHIBITED AT THE ROY.\L ACADEMY (76 in number).

YEAR

■781— (3) A GIG-MARE, the property of a ^enA^m^n— PORTRAIT OF A GENTLE-
MA I'f WITH HIS HOR.'^E AND DOGS— A HORSE, for Colonel Gallatine.

1782— (6) PORTRAIT OF A HUNTER— PORTRAIT OF AN OLD HORSE-
HORSES AND DOGS belonging to the Hon. Mr. Vm— PORTRAIT OF A
HORSE WITH DOGS— PORTRAIT OF A HORSE AND DOG— POR-
TRAIT OF A NOBLEMAN ON A MANAGED HORSE.

ijSj— (4) PORTRAIT OF A GENTLEMAN ON HORSEBACK— PORTRAITS
OF A YOUNG NOBLEMAN AND HIS SISTER ON HORSEBACK-
PORTRAITS OF Tiro HORSES— "The Life of a Raceh.rse," in a series of
six different stages, viz. :— ist, THE FOAL IITTH THE MARE. 2nd,
THE COLT BREAKING. 3rd, THE Tl.VE OF RUNNING. 4th, AS A
HUNTER, sth, AS A POST HORSE. 6th, HIS DEATH.

ijii—P0R7-RAIT OF A HORSE.

WORKS OF THOMAS GOOCH. 2O9

YEAR

ij^—{j) PORTRAIT OF A HORSE AND DOG - PORTRAITS OF TWO
HORSES— PORTRAIT OF A HORSE If/TH A GREYHOUND— POR-
TRAIT OF A HORSE WITH FIGURE AND DOGS— A GENTLEMAN
ON HORSEBACK, WITH HIS GAMEKEEPER AND POINTERS —
TWO HORSES IN A CURRICLE— AN OLD HORSE.

11%!— (it PORTRAIT OF A BROOD MARE— A POINTER— A GENTLEMAN
WITH HIS SPANIELS

■789-K3) Three studies of horses—^ SHOOTING HORSE, WITH POINTERS-
HOUNDS KILLING A FOX.

ijgo— {12) LA DVS LAP-DOGS— PORTRAIT OF A CAT— A STAGHOUND—A
SETTING DOG — A GREYHOUND — SPANIELS — FOXHOUNDS —
POMERANIAN DOG— COACH DOGS— A NEWFOUNDLAND DOG-
PORTRAIT OF A HORSE— AN OLD POINTER.

1792— (3) PORTRAIT OF A HORSE— PORTRAIT OF A DOG— PORTRAIT OF
A HORSE.

\ia-i—(i)) PORTRAIT with horse and dogs— THE LATTER STATE OF THE
COACH-HORSE — PORTRAIT OF A LADY ON A REMARKABLE
TROTTING MARE — A DOG FROM MILAN — PORTRAIT OF AN
ITALIAN GREYHOUND— " STARING TOM" — " SATELLITE," by
Eclipse, a favourite nM\on — BREAKING IN THE YOUNG COACH-
HORSE— PORTRAIT OF A HORSE.

■794— (13) PORTRAIT OF AN OLD PACK-HORSE— A CURRICLE HORSE, the
property of a noUemRn— THE RACEHORSE— POR TRAIT OF A HORSE
AND DOG— THE DEATH OF A MARE— Equine Characters: (i) THE
CART-HORSE— (2) THE POST-HORSE— (,3) THE DR AY-HORSE —U)
THE GALLOWAY— ii) THE C0ACH-H0RSE — (6) THE HUNTER
(7) THE STALLION— PORTRAIT OF A GENTLEMAN ON HORSE-
BACK.

i795-<2) PORTRAIT OF A HUNTER— A FAVOURITE HACKNEY.

i-jge-THE PROGRESS OF THE RIDING SCHOOL.

1797— A GENTLEMAN ON A FAVOURITE TROTTING MARE.

i7gS— (3) PORTRAIT OF A HUNTER— PORTRAIT OF A DOG— PORTRAIT
OF A BLOOD MARE.

lioo— THE OX THAT WON THE PLATE AT LYNDHURST RACES.

iSoi— <2) PORTRAIT OF A HUNTER— PORTRAIT OF A HORSE.

i8oii-(3) PORTRAIT OP A HUNTER— PORTRAIT OF A HUNTER.

H

APPENDIX.

I. Trojan.

From Nimrod's account in the Sporting Magazine of January,
1825.

"Whoever has hunted in Warwickshire has heard of 'the
blood of the Trojans,' which was a standing toast in that
country when Mr. Corbet hunted it, and was always drunk
after ' the King ' in the club-room at Stratford-on-Avon.
The hero from whom these modern sons of Ilion were
descended was one of the best foxhounds that ever challenged
on a fox, and whose blood has circulated through most of the
first kennels in the United Kingdom. Various have been
the reports respecting this celebrated hound, some of which
gained credit enough to be believed. One was that he came
astray to Mr. Corbet's kennel, and distinguished himself by
carrying the scent for a considerable distance along the top
of a park wall, thereby recovering his fox when lost to the
rest of the pack. Whether he ever performed this exploit
(as he was before my time) it is not in my power to determine ;
but certain it is that old Trojan was bred by Mr. Corbet, and
got by Lord Spencer's True-boy out of a bitch called Tidings
(of unknown pedigree) purchased by Mr. Corbet at Tatter-
sail's.

" Trojan was entered in 1782 and hunted nine seasons. He
would never look at a hare, and would speak only to a fox,
a marten cat, or a pheasant. In his day, however, pheasants
in Warwickshire were not much thicker than foxes, so that
this propensity, if I may so call it, was of little consequence,
for in chase he was as perfect as his nature could make him.

APPENDIX 2 I I

With the nose of a bloodhound, his pace was a killing one ;
and as a proof of his powers in chase, Mr. Corbet has often
been heard to say that he was the only hound he ever had
who could leap Chillington Park wall after a fox. This
circumstance, perhaps, may have given birth to the other
story of the park wall exploit. It appears that Mr. Corbet's
hounds found a very dark-coloured fox in Chillington Park,
in Staffordshire, the seat of Mr. Gifford, which had beaten
them twice. The third time they found him Trojan leaped
the park wall after him, but, in consequence of the rest of the
pack not being able to follow him, old Cjesar, as the gallant
fox was called, beat them again. The following season Trojan
found this fox again, nearly in the same place, and leaped the
wall close at his brush, but from the cause before mentioned,
although he afforded a good run after the other hounds got
around to him, he beat them once more ! In short, in spite of old
Trojan, ' Caesar's fortune ' attended him to the last, as he was
never killed by hounds, neither was it ever known in what
way he ended his life."

II. Colonel Thornton.

Colonel Thomas Thornton was so conspicuous a figure in
the sporting world during the later decades of the eighteenth
century and the earlier years of the nineteenth, and was also
so liberal a patron of art in its sporting aspects, that more
than passing notice of him seems desirable. He was born in
the neighbourhood of St. James's about the year 1755, his
father being Colonel Wm. Thornton, who raised a troop of
yeomanry one hundred strong, and maintained it at his own
cost while serving with distinction under the Duke of Cum-
berland in the Scottish Rebellion. Young Thornton was sent
to Charterhouse where he remained till he was fourteen ;
when having made rapid progress, he was removed and sent
to Glasgow University. When about sixteen years of age
his father, then M.P. for York, died somewhat suddenly, and
Thomas Thornton, at the age of two-and-twenty, came into
possession of an immense fortune. Sport, and above all

2 I 2 APPENDIX

things hawking, was a passion with him ; in more than one of
his portraits he is represented as a falconer or engaged in
hawking ; hence on leaving Glasgow he soon took up his
quarters at the family place in Yorkshire, Old Thornville, and
busied himself about the congenial task of laying the founda-
tions of the sporting establishment with which his name is
associated. He joined the West York Militia of which he
ultimately became Colonel and, in pursuance of his favourite
scheme to bring hawking to perfection, formed a Falconers'
Club. He kept a pack of foxhounds, hunting them himself,
and was a familiar figure on the turf both as an owner and
rider. His bodily activity was remarkable and he delighted
in athletic feats ; he was an excellent shot with gun and
rifle, and a good fisherman. About 1785 he appeared to
have made a sporting tour in the Scottish Highlands ; and so
pleased was he with the experience, that in the following
year he organised the formidable expedition whose events are
recorded with minuteness and detail in A Sporting Tour, a
work which has recently been republished by Mr. Edward
Arnold. It was on this expedition that George Garrard
accompanied him as his " special artist." It is to be observed
that the Colonel gave his voluminous diaries to an old school-
fellow who was in distress, and whose necessities, it appears,
the proceeds of the work went to relieve. In 1789 Colonel
Thornton purchased from the Duke of York, Allerton Maul-
evrer, which he afterwards renamed Thornville Royal, paying
for the estate £"i 10,000 which it is said he had won from the
Duke and others in gambling transactions. As the standing
crops hindered hawking from Thornville Royal, he built a
house on the Wolds near Baythorpe, about twelve miles
from Scarborough, and when he was in residence here, the
place became the scene of sport on a scale of mediaeval
magnificence ; the revels, for the word is not misused, were
sometimes continued for three or four weeks in succession,
the guests being entertained with hunting, hawking, and
coursing every day, and with the most sumptuous banquets
at night. Early in 1803, for example, the programme for a

APPENDIX 213

week's sport was made public. It ran thus : " On Monday,
stag-hunting, followed by coursing ; Tuesday, wolf, stag and
fox-hunting and beagling ; Wednesday, stag-hunting and
coursing ; Thursday, wolf, stag and fox-hunting, beagling
and coursing ; to meet every day at Falconer's Hall where
there will be a sportsman's breakfast provided for all the
company." This particular entertainment may have been
organised to celebrate the Colonel's return from France,
whither he had gone on a sporting tour equipped on his
customary lavish scale.

In 1805, Thorn ville Royal was sold to Lord Stourton,
and three years later Colonel Thornton left Yorkshire for
Spye Park, Wiltshire, which he had taken on lease ; the
increase of cultivation on the wolds which formed an obstacle
to hawking is the reason assigned for his leaving. The order
of his going was regal in its magnificence ; to give full details
here of the procession which wound its way from Yorkshire
southward, would be impossible. The king of sport was
followed by a retinue of huntsmen, falconers, grooms, keepers,
kennelmen, and other servants ; by his horses and hounds,
and by a train of waggons containing a menagerie of beasts
of chase. Among great variety of animals there were red-
deer, roebuck, fallow-deer and Eastern species ; Russian wild
boar and French, received from the First Napoleon in
exchange for seventy couples of foxhounds, having the blood
of the famous Old Conqueror to prove their breeding ; and
cormorants, wearing silver rings about their necks, for fishing
after the Chinese fashion. Dog-carts conveyed milk-white
terriers and greyhounds whose sheets were embroidered with
records of the various matches they had won. A feature of
the cavalcade was a boat waggon which had once done
yeoman service in conveying voters to the poll, filled for
the occasion with the materiel of sport — guns, rifles, fishing
rods and nets, otter spears and the like ; the conveyance
being decorated with deer skins, and drawn by Arab mares
from the King's stud. Waggon loads of wine brought up the
rear. The cellars at Thornviile Royal v.ere famous, and the

214 APPENDIX

Duke of York pronounced some possessed by the Colonel to
be the finest in the kingdom. It must be added that with
all this parade and display, the business of transporting these
many varied matters was so perfectly organised and carried
out that everything reached Spye Park in safety. We can
only regret that Colonel Thornton did not, on this occasion,
include among his retinue George Garrard, to immortalise a
scene of such curious ostentation !

About the year 1815, the Colonel gave up hawking and
retired to France. In 1817, he bought the Chateau of Pon-
le Roi, in the Dept. d'Aube, reselling it in 1821. He died in
Paris in the spring of 1823, in his seventy-fifth year.

INDEX TO PAINTINGS, ENGRAVINGS, SCULPTURES, .Vc.

PAGE

" A Change and we're Away "

Henry Aiken

... 13

"A Chosen few alone the Scene Survey' ...

Henry Aiken

... 26

Adieu, The

A. Cooper, R.A.

... 117

Adjutants ...

H. B. Chalon ...

... 91

Advantages of the Martingp.l

A. Cooper, R.A

... 121

Adventure of the Capture of Mambrino's

Helmet

A. Cooper, R.A

116, 120

African Camel

George Garraid, A. R.A.

.. IS6

"After"

A. Cooper, R.A. ...

... 124

After a good Run ...

Henry Aiken

26

After running a Race and winning ...

Thomas Gooch ...

207

" After the Fair "

A. D. Cooper

,,. I2S

Agricultural Show

George Garrard, A. R.A.

180, 1S4

" Airy," winner of the Brighton Stakes

A. Cooper, R.A

no, iiS

" Alacrity," a mare ...

A. Cooper, R.A. ...

117

"Aladdin"

James Barenger ...

■ 39

Alarmed Poacher, An...

Stephen Elmer, A.R..\..

158

Alderney Bull and Cows

A. Cooper, R.A. ...

. 116

" Alexander and Bucephalus "

Geo. Garrard, A.R..-\.

.. 1S7

" Aliwal," an Arab Charger ...

A. Cooper, R.A

119, 122

" All the World's a Stage "

Henry Aiken

... 17

"Alp and Glory"

R.B.Davis

... 150

Alto Relief

Geo. Ganard, A. R.A

187

" Amato," a Colt

A. Cooper, R.A

"S

American Bears

Sawrey Gilpin, R.A.

.. 203

" An under current "

A. Cooper, R.A

124

Analysis of the Hunting Field

Henry Aiken

25

" Androcles and the Lion "

William and Henry Barr

nud 5°>59

Animals

A. Cooper, R.A

n6

" Annette and Polyxena," brood mares

Henry Barraud ...

S8

Annual Benediction of the Animals of Romt

on the Feast of St. Anthony, by the Pope

W. and H. Barraud

56.59

"Anxiety"

A. Cooper, R.A

.. 119

Arab and his Steed

A. Cooper, R.A

120

Arab Cavalry

Henry Aiken

26

Arab Chief

Henry Alkcn

... 26

Arab Chief and Horse

A. Cooper, R.A. ...

120

Arab Soldiers

Henry Alkcn

... 26

2l6

INDEX

Arabian, An

Arabian, An

Arabian, Borack, The...
Arabian broke loose, An

Arabian Knights

Arabs ... A. Cooper, R.A., 1850, 1852,
" Araby and a Ponv "

"Arbutus" ... '

Arcades Ambo

Arcadians

" Archer," a foxhound ...

Arctic Dog and Fo.\

" Ariadne after her desertion by Theseus" .

Arrival of the Mackerel Boat

Arthur, Lord Capel, defending Colchester..

" Assheton," portrait of

Astonished Village, The ... ^^

At Bay

At Bay

At Exercise ...

At Fault

At Fault

At High Pressure

"At his head a grass turf and at his heels

stone"

August ...

" Augusta," studies of

Autumn Evening
Autumn Gleanings

"Avarice"

Awkward Pass, An

Awkward Place, An

Ayrshire Cows

r.\GE

. H. B. Chalon, 1798, 1803, 1820

...88,89

. A. Cooper, R.A., 1824, 1846..

.117,119

. A. Cooper, R.A

. . 122

. H. B. Chalon

... 89

. A. Cooper, R.A.

... 124

, 1857, 1858, 1862, 1865, 1867..

.119, 120

. A. Cooper, R.A

... 118

. A. Cooper, R.A. ...

... 122

. A. D. Cooper

... 128

. A. Cooper, R..\

... 119

. A Cooper, R.A. ...

... 122

.. A. Cooper, R.A

... 121

.. A. Cooper, R.A

... 119

. Luke Clennell

... 97

. A. Cooper, R.A

108, 117

. John E. Femeley

... 163

. A. Cooper, R.A

... 121

. H. Aiken

... 2S

. A. D. Cooper

. . 128

,. Henry Aiken

... 25

. John Boultbee

... 72

. A. Cooper, R.A. ...

125

. Henry Aiken

24. 25

a

. . Henrj- Aiken

17

.. A. Cooper, R.A.

... 126

.. Geo. Garrard, A.R..\. . .

... 189

.A.. Cooper, R.A

... 123

. . A. Cooper, R.A.

. . 123

.. Stephen Elmer, A. R..-\....

153. 158

.. A. Cooper, R.A

... 120

.. Henry Aiken

... 26

.. A.Cooper, R.A

117

B

Badger and Dog hght

Badger and Dogs

Badminton Sweep
Baggage Waggon
Baggage Waggons in a Thunderstonn

"Barbarossa"

Barbary Sheep

"Bard"

Barge Horses ...

Baron of Beef ...

Barraud, Martin, portrait of ...

Barrett, J., model for bust of.

Bartlett, Robert

Bas-relief of a Bull

Basketof Strawberries... Stephen Elmer,

" Basto,' a Dog

Batten, Major, bual of

... Henry Aiken

... 25

... Luke Clennell

... 100

... R. B. Davis

... 150

. . A. Cooper, R.A.

117

... Luke Clennell

.. lOI

... H. B. Chalon

86,88

... Sawrey Gilpin, R.A.

. 203

.. Henry Barraud

... 58

... Edmund Bristowc

... 76

... Henry Aiken

... 25

... \V. Barraud

... 51

.. Geo. Garrard, AR.A. ...

... 18S

... W. Barraud

54

... Geo. Garrard, A. R.A. ...

188

A.R.A., 1773, 1775. '777. '778..

157, IS8

.. A. Cooper, R.A. ...

... 120

... Geo. Garrard, AR.A. ...

... 187

INDEX

217

Battle of Assaye

Battle of Edge Hill

Battle of Lewes

Battle of Ligny

Battle of Marston Moor

Battle of Naseby

Battle of Shrewsbury ...

Battle of Strigoniuoi ...

Battle of Zutphea

Bay horse

" Bay Middleton "

Bears

Beaumont, M.P., Colonel

Beauties and Defects of the Figure of the
I lorse comparatively del ineated

"Beauty"

" Beauty," a favourite hound belonging to
George III.

" Beauty and the Beast "

Bedaween's Home, The

" Ben Tally O," portrait of

Benningburgh ...

Berkeley, The Hon. Grantley F

Berkshire Hog

" Berlin,"' a favourite Pomeranian ...

" Bess," Mastiff

" Betsy," portrait of a foxhound bitch

"Betty"

" Betty Blois," a mare

Bibury Welter Stakes, The

"Bijou"

Birds and Beasts

" Birds of a feather "

Bison and Zebu, model of

Black and WTiite Greyhound

Black Game

Black Game

Black Grouse ...

Blackberry Gatherers ...

Blackcock and Mountain Hare

Blackcock Shooting ...

Blackcock, The

" Blacklock," portrait of

Blood Horse ...

Blood Mare, portrait of a

Blood Mare, portrait of a

Blood, Thomas

Bloomsbury

" Blowhard," the Hoghunter

" Blucher," a racehorse

" Blunder," a staghound

Boa Serpent crushing a Tiger : Study for bas-
relief

Boat Hounds

PAGB

A. Cooper, R.A

... 119

A. Cooper, R.A

... 120

A. Cooper, R.A

... IlS

A. Cooper, R.A

... 107

A. Cooper, R. A

107, 116

A. Cooper, R.A

. . 1 20

A. Cooper, R.A

117

A. Cooper, R.A.

107, 117

A. Cooper, R.A

.. 117

Geo. Garrard, .VR.A. ..

... 186

A. Cooper, R.A

.. IlS

F. Barlow

44

Geo. Garrard, A. R.A. ..

... iSS

H. .Aiken

... 7, 19

H. B. Chalon

... S8

Edmund Bristowe

75

\V. Barraud

55

A. Cooper, R..\

... iig

M. Gauci ...

6

Geo. Garrard, A.R.A. .

... 1S7

A. Cooper, R.A

... 117

Geo. Garrard, A.R.A. ..

... 1S7

H. B. Chalon

... S9

H. B. Chalon

90

William Barraud

4S, 54

H.B. Chalon

83,90

Geo. Garrard, A.R.A. ..

184, 189

H. B. Chalon

... 88

W. Barraud

... 54

Francis Barlow

41

H. Barraud

... 58

Geo. Garrard, .\.R..A. ..

.. 187

Geo. Garrard, A. R.A. ..

.. 1S6

A. Cooper, R..\.

.. 124

Stephen Elmer, A.R.A.

J 56, 1 58

Stephen Elmer, A.R.A. .

... 15s

A. Cooper, R.A.

... 119

A. D. Cooper

... 12S

A. Cooper, R.A

119

A. Cooper, R. A

123. '25

David Dalby

... 132

H. B. Chalon

... 90

R. B. Davis

... 148

T. Gooch

... 209

A. Cooper, R.A

... 117

A. Cooper, R.A...

... 125

Henry Aiken

... 24

J. Barenger

- 39

A. Cooper, R.A

... 122

Geo. Garrard, A.K..\. ..

.. 18S

H. B. Chalon

... 91

2l8

INDEX

Boar Hunt

Bock Agen

"Bolted!"

"BonnvLass"
"Border Law"
Bosworth Field
Bonnds of the Beat, The
" Boxer," a water spaniel
Boxers, bust of...
" Boy, The," a cat ...
Brace of Partridges ...
Brace of Partridges
Brace of Pheasants
Brace of Pheasants
Brace of Trout...

Brace of Trout

"Bracer"

" Brainwonn," a racehorse

"Bran"

Brand, Thomas, and his huntsman ...
Breaking Cover

Breaking Cover ...

Breaking Cover

Breaking in the Young Coach-horse

Brett, Charles

Brewhouse Yard, A ...

" Brian deBois"

" Brighton," a hunter...
British Feathered Game
" British Yeoman," a bay horse
Bronze busts of: —

Gentleman

Lady

Moore, Sir J

Wellington, Duke of

Whitbread, S

Bronzes, case containing 3 bronzes to press

letters

Brood Cock and Hen

Brood Mare and her Foal, A

Brood Mare, portrait of a
Brood Mare, portrait of a
Brood Mare with Foal
Brood Mares and Foals

Brook, The

"Bruno"

" Brush," a retriever

" Brush," a Spaniel ... ...

" Buckfoot," a racehorse

Buffalo Shooting

BuU

Bull-bitch and Puppies

Bull-dogs

Bull Trout

R. B. Davis

A. Cooper, R.A

Henry Aiken

H. B. Chalon

... W. and H. Barraud
A. Cooper, R.A.

... A. Cooper, R.A. ..

A. Cooper, R.A

Geo. Garrard, A.R.A. ..

H. B. Chalon

. . ... Stephen Elmer, A.R..\.,
Stephen Elmer, A.R.A., 17S0, 17S1,

Stephen Elmer, A.R.A.,

Stephen Elmer, A. R.A. , 1780, 1781,1786,

Stephen Elmer, A.R.A. , 1772,

Stephen Elmer, A-R.A., 1778,

H. B. Chalon

H. B. Chalon

David Dolby

... W. and H. Barraud

... H. Aiken

... S. Aiken

.. J. E. Femeley

... Thomas Gooch ...

... A. Cooper, R.A. . .

... George Garrard, A.R.A.

... A. Cooper, R.A.

... H. B. Chalon

... J. Barenger

... \V. Barraud

1773

I -88
1772

1787.

I-75.

1795

PAGE
.. 148
.. 123

.. 25

•• 9»
SOi 59
. 117
. 123
122
. 188
90

• 157
158

■ 157
158
157
158

Geo. Garrard, A.R.A.

Geo. Garrard, A. R.A.

J. Barenger

A. Cooper, R.A. ...

R. B. Davis

T. Gooch

H. B. Chalon ...

J. Barer.ger

H. Aiken

A. Cooper, R.A

A. Cooper, R.A....

A. Cooper, R.A

J. Barenger

Henry Aiken

R. B. Davis

Geo. Garrard, A. R.A.

H. B. Chalon

A. Cooper, R.A. ...

87, 90, 91

... 85

• • 134

50. 59

25, 27

■• 33

... 167

205, 209

... 118

... 180

... 117

... 88

-■ 37

... 55

... 189

... 189

... 188

... 188

... 188

... 188

... 38

... 118

... 148

... 209

... 90

... 38

... 24

... 118

... 118

... 126

• • 39

... 25

... 148

... 187
85, 88, 91

... 125

INDEX

2IQ

Bnrdett, Sir Frandi .,
Burn, The
Burning Scent, A
Bumside, The
Butcher Boy, The
" By Habeas Corpus "
" Byron," a. spaniel ..

PAGE

... T. E. Femeley

... A. Cooper, R.A

... Henry Aiken

... A. D. Cooper

. i66

; '%

. 12S

... A. Cooper,' R.A

... A. Cooper, R.A

... A. D. Cooper

■ "9

124

• 127

"Cadland," a brown cok

"Call for the Clippers"

"Call to Vigilance"

Camel, A

" Camel," a brown horse

" Camillus," famous race horse

Canary in a Cage

" Candidates for Brooks "

Captain Dalgetty and his horse Gustavus . . .

Captain Ross on Clinker ...

"Carlo and Shandy"...

" Carousal, The "

Carp

Carp

Cart Cob, A

Cart-horse

Cart-horses

"Cartouche" ...

"Case of Real Distress, A"

Cat, portrait of a,

"Catching a Tartar" by " Wildrake " and

etched by ...

"Catsup"

Cattle

Cattle going down to Water at Sunset

Cattle Market, The

Cavalier, The ...

CavaJiers

Cavaliers and Roundheads, a Struggle for

the Standard

Cavendish

Caverley Hunt, The

Celebrated Fly-fisher, A

Celebrated Greyhound, A

Chaise Horses

Chambermaid, The

Champion of England, The ...

Change, and We're Away, A...

Charger, A

Charger, A

Charger, A

Chariot Race, The

Chase, The

A. Cooper, R.A.

122

Henrv Alkea

24

Luke'ClenneU

93

Henry Aiken

25

A. Cooper, R.A.

124

H. B. Chalon

■ S9

S. Elmer, .\.R..\

• «57

Henry .\lken

17

W. Barraad

5+

J. E. Femeley

- 172

A. Cooper, R.A.

■ "3

Lake Clennell

lOI

A. Cooper, R..\

• 125

Stephen Elmer, A.R..\

• 158

A. Cooper, R.A.

. 121

T. Gooch

. 209

Edmund Bristowe

. 76

H.B. Chalon

88

R. B. Davis

• 150

T. Gooch

. 209

Henry AJken

14. 24

W. Barraud

• 5+

A. Cooper, R..A

. "7

Sawrey Gilpin, R.A.

■ 199

]. E. Femeley

. 107

.\. Cooper, R_V

. iiS

A. D. Cooper

. 12S

A. Cooper, R.A

120

Geo. Garrard, A. R.A.

■ 1S7

R. B. Davis

• 149

A. Cooper, R.A

. 116

Geo. Garrard, A.R.A

. iSS

Geo. Garrard, .\.R..\

. iSi

Henry Aiken

. 26

Henr)- .-Vlken

• 25

Henry .\lken

13

H. B. Chalon

- 89

.\. Cooper, R.A.

119

R. B. Davis

.. 148

.A. Cooper, R..\

. 120

Henry .\lkea

26

220

INDEX

Chase and the Road, The

Check, A

Chestnut Hunter ... ...

Children of Thomas Keen, Esq., with pony
Claims of St. Francis, The ...
" Claret," a Hunter ...

"Clavileno"

Clever at Plounds
Climax of Disaster, The

Close Finish, A ...

Coach-dogs

Coach-horse

Coach-horses ...

"Coast-guard," a Newfoundland Dog

Cock-Fighting ...

Cock-Fighting

Cock Robin

Cock Shooting ...

"Cocoa"

" Cognac," celebrated hunter

Coke, T. W., bust of

Collecting the Wounded after a Skirmish ...

" Colonel, The," a racehorse...

" Colonel, The," a racehorse

Combat between Sergeant Bothwell and

Balfour of Burley
Combat between Smugglers and Revenue

Officers
Coming Man, The
Coming Slorm, The ...
Common and the Brandling Trout ...
Complete Angler, The
" Comus," one of Her Majesty's favourite

horses
Conference, A . .
" Conrach"

" Conrad," Shorthorn Bull ...

Contrast, or the Off Shore ...

Cooper, A., R.A., portrait of

Cooper, A., R.A. , portrait of

Corbet, Sir A. ...

"Costive," a hound ..

" Colherslone," winner of the Derby, 1S43

Cottage, A

Council of Horses, The
Counting the Day's Sport
Count out. The
Country Market Place, A

Couple of Woodcocks

Coursers' Companion, The

Coursing ...

Coursing
Coursing
Coursing

Henry Aiken

Henry Aiken

H. B. Chalon

H. Barraud

H. Barraud
J. Barenger

R. B. Davis

Henry Aiken
Henry Aiken

Henry Aiken

T. Gooch

T. Gooch

Geo. Garrard, A.I\.A. ...
Edmund Bristowe
Samuel Aiken

J. Barenger

A. Cooper, R.A

Henry Aiken

A. Cooper, R.A. ...

J. E. Ferneley

George Garrard, A. R.A.

A. Cooper, R.A

L. Barenger

H. B. Chalon

A. Cooper, R.A

Henry Aiken

A. Cooper, R.A. ...

A. Cooper, R.A

A. Cooper, R.A

A. Cooper, R.A

A. Cooper, R.A....

A. Cooper, R.A

W. Barraud

W. Barraud

A. Cooper, R.A

A. D. Cooper

John Jackson, R.A.
George Garrard, A.R.A.

H. B. Chalon

Henry Aiken

B. Blake

W. Barraud

A. Cooper, R.A

A. Cooper, R.A

Luke Clennell

S. Elmer, A.R.A.

W. Barraud

Samuel Aiken

Barraud, W., 1832, 1833

Edmund Bristowe

H. B. Chalon

PAGE

... 24

... 17

... 89

• • 59
. . 59
... 36
... 148
... 26

9

... 25

. . . 209

. . . 209

181, 186

... 75

• 33
... 36
... 122
... IS
... 118
... 172
... 187

119

•■• 39
...82, 90

107,117

... 25

... 123

... 124

... I2S

... 122

... 118

... 119

• •• 54
... 54
... 120
... 128
... IIS
... 188

85, 89, 91

... 25

... 67

... 54

... 120

... 123

... lOI

... 158

. . 55

• 3'. 33
•■ 55

... 79

... 84

INDEX

221

Coursing

Coutts, Edward

Co%'ey of Partridges ...

Cowes Harbour

Cows

Cows in a Landscape . .

Cox, P., bust of

Coxe, Rev. W., M.A., bust of

" Crab and Pickle," Scotch terriers...

Craven Hounds

Cream-coloured Charger

Cream-coloured horse

Creek, The

Cricket, Extraordinary

Cricket Match, A

" Critic," a red dog ...

Critical .Situations

Cromwell at Marston Moor ... ... A.

Cross Shot, A ...
Crossing the Line
"Crucifix"

Cup of \Vhi.skey, A

" Cupid and Nymphs "

"Cur, The"

" Curl," a pug dog
Curricle horse, A

Curwen, J. C, bust of

Cu.st, Lieut. -Gen. the Hon. Sir Edward

"Cuthullin"

" Czarina and Maria"

.. Sawrey Gilpin, R. A.

... 203

... A. Cooper, R..-\

.. 119

... St. Elmer, A.R.A.

'55.158

... R. B. Davis

... 151

.. H. B. Chalon

... 89

.. Sawrey Gilpin, R. A.

. 202

. . George Garrard, A.R.A.

,. 187

... George Garrard, .\.R. A.

... 188

.. A. Cooper, R..\.

... 118

... ]. Barenger

... 38

.. H. B. Chalon

ql

... George Garrard, A.R.A.

. 186

... A. Cooper, R.A...

... 124

... Henry Aiken

... 25

... Henry Aiken

... 26

... R. B. Davis

... 150

... Henry Aiken

... 26

Cooper.'R.A., 1821, 1863. ..107, 117, 120

. . A. Cooper, R.-\.

• 123

... Henry Aiken

... 24

... A. Cooper, R.A. ...

... 125

... A. Cooper, R..\

... 120

... A. Cooper, R..\

... 119

... J. E. Ferneley

... 172

. .. A. Cooper, R.A.

... 116

... Thomas Gooch

. , . 209

... George G.irrard, A.R.A.

... 1S7

... A. Cooper, R.A...

... 120

... A. Cooper, R.A

... 116

... Sawrey Gilpin, R.A.

... 199

" Dahlia," a greyhound

Dalmatian dog, A.

" Dalpine," celebrated Racer

" Danceaway," a hunter

Dancer, Thomas, with friends, horse and dogs

Daniel in the Lion's Den

Darius gaining the Persian Empire ...

" Darley Arabian, The "

" Darling," a Staghound

" Dash," a Pointer

" Dash," a Setter

Davis, Charles, on " Hermit "

Davis as the Georgian Chief in Timour

the Tartar

Day after the Fair, The

Day Family, The

Day in Leicestershire, A

Day's .Sport in the Highlands

Dead Beat

Dead Fallow Deer

H. B. Ch.ilon

90

T. Barenger

3S

H. B. Chalon

90

H. B. Chalun

88

H. B. Chalon

90

S.iwrey Gilpin, R.A.

203

Sawrey Gilpin, R.A.

191

H. B. Chalon

91

J. Barenger

38

Sawrey Gilpin, R.A.

200,

203

A. Cooper, R.A.

113

R. B. Davis ... 141,

143. '45.

149

A. Cooper, R.A

120

Luke Clennell

98

A. Cooper, R.A

HI,

, 118

Henry Aiken

27

A. Cooper, R.A

118

A. Cooper, R.A

126

W. Barnard

54

222

INDEX

Dead Game
Dead Game
Dead Game and Codfish

Dead Hart, The

Dead Kid, The

Dead Trooper, The

Dealh, The

Death, The

Death, The

Death, The

Death, The

" Dealh and the Doctors "

Death of a Cavalier at Marston Moor

Death of a Mare ...

Death of Harold, The

Death of Sir Francis Russel ...

Death of the Fox

Dealh of the Fox

Death of the Fox

Death of the Hare at Stoneheiige, The

Death of the Slag

Death Struggle, The

" Deception" ...

Decisive Charge of the Life Guards at

Waterloo
Declining Day ...

Deer Paddock, The ...

Deer Paddocks, Ascot, The ...

Deerstalkers

" Delia and Lucy"

" Delpini," a charger

Deserted Child found. The ...

Design for a Monument

Design for Gothic Truss, busts of a lady and

her seven daughters
Design for Hunting Appointment Card
Despatch, The...
Devonshire Cattle
Dick Christian's last fall, commonly called

a He.ader

Dick the Huntsman ...

" Dido," portrait of a Setter ...

Digging out

Dilemma, A ...

Dilemmas

" Doctor, The," a hunter

Dog and Cat ...

Dog from Botany Bay

Dog from Milan, A ...

Dog from Nature

Dog from Sable Cape...

Dog in the Manger, The

Dog Painting ...

Dog, portrait of a ...

Benjamin Blake, 1821, 1828,

Stephen Elmer, A.K.A., 1776, 17S2, 1807
.. Benjamin Blake ...

.. A. Cooper, R.A

., A. Cooper, R.A

,. A. Cooper, R.A. ...

. H. Aiken

. J. Barenger

. John Boultbee

. T- E. Ferneley

. R. B. Davis

, Henry Aiken

. A. Cooper, R. A....
. Thomas Gooch ...

. A. Co'iper, K.A

. A. Coopc-r, R.A

. Stephen Elmer, A. R.A.

. H. B. Chalon

. S. Gilpin, R.A. ...
. W. and H. Barraud

. "Wildrake"

. A. Cooper, R.A. ...

. A. Cooper, R.A

. Luke Clennell

. A. Cooper, R.A

. R. B. Davis

. R. B. Davis

. A. Cooper, R.A

. A. Cooper, R.A. ...

. A. Cooper, R.A

. A. Cooper, R.A

. Samuel Aiken

George Garrard, A. R.A.

Henry Aiken

A. Cooper, R.A....
Sawrey Gilpin, R.A.

Henry .Mken

H. B. Chalon

E. Biistowe

A. Cooper, R.A....

R. B. D.ivis

Henry Aiken
A. Cooper, R.A.
A. Cooper, R.A. ...

S. Gilpin, R.A

T. Gooch
J. Barenger

S. Gilpin, R.A

A. Cooper, R.A

Luke Clennell

T. Gooch

i94i

PAGE
1S23...65, 67
■157, 158, 156

. ... 65

... 123
... 119
... 119

12, 26, 27

. ... 38

... 72

... 175

... 151

... 17

... 117

... 209

loS, 118
... 117
... 157
... 90

195. 203
... 50
... 14
... 124

... I2S

98, 99

• • 123

... 150

... 150

... 119

... 125

... 116
... 116

30, 33

... 189

... 25

... 120

... 203

9

... 91

... 79

... 125

... 150

... 25

... 118

... 122

... 203

... 209

••■ 39

... 203

... 123

... 100

... 209

indSx

Dogs

Dogs

Dogs and bitches v. Police and others

Dogs and bitches z;. Pups

Dogs fighting

Doing a bit of City
" Doll," a pointer
Domville, Sir W., portrait of
"Don," a pointer
" Done up," a Chestnut hunter
Donkey and Spaniel ...
Donkey Race ...

Doorway in the Church of the Spirito Santo,
P'lorence ...

Down HiU

Drafts from the Badminton ...
" Drake," a water spaniel
Draught-horses
Draw, The

Drawing a Badger

Dray-horse

Dray-horses

Dray-horse

Dressing a fly ...

Duck Hunting...

Duck Shooting...

Duck Shooting

Duck Shooting...

Duke of Cumberland visiting the Stud at
Windsor ...

" Duke of Grafton's Woful''

Duke of Wellington, Bust of

Duke of Wellington, Statue of

Duke of York, Eque.^trian Statue of...

Duke on a Cover Hack, The...

" Dulcinea," a hunter mare

" Duncannon"

" Duncan's Horses" ...

" Duncan's Horses"

" Duncan's Horses"

Durham Landscape ...

Durham Ox and Mr. Coates' Short-horned
Cow

Dutch Pups

Dwarf Beagles, The

Dying Woodcock, The

Dymoke, The Hon. Henry

223

PAGE

H. B. Chalon ...

88

A. Cooper, R.A. ...

119

H. Aiken

25

H. Aiken

25

A. Cooper, R.A. ...

120

H. Aiken

17

T. Barenger

37, 39

Luke Clennell ...

lOI

A. Cooper, R.A. ...

121

David Dalby

131

A. Cooper, R.A. ...

116

Edmund Bristowe

77

PL Barraud

S8

David Dalby

133

W. Barr.aud

55

A. Cooper, R.A....

I2t

A. Cooper, R. A....

117

R. B. Davis

151

S. Aiken

33

Th. Gooch

209

H. B. Chalon ...

88

A. Cooper, R.A....

iiS, 121

A. Cooper, R.A. ...

120

S. Aiken

33

S. Aiken

33

J. Barenger

36

A. Cooper, R.A., 1

S29.

1S61 122, 120

S. Gilpin, R.A. ...

191

A. Cooper, R.A....

121

Geo. Garrard, A.R

.A.

188

Geo. Garrard, A, R.A.

184

Geo. Garrard, A.R.

A.

185

Geo. Garrard, A.R,

.A.

181

A. Cooper, R.A. ...

121

S.Gilpin, R.A. ...

20?

R. B. Davis

148

Geo. Garrard, A.R

.A.

187

S. Gilpin, R.A. ...

203

H. B. Chalon ...

90

i

. Geo. Garrard, A.R

.A.

187

S. Gilpin, R.A. ...

203

H. B. Chalon ...

87,91

A. Cooper, R.A....

i-^S

. A. Cooper, R.A. ...

121

E

Eagle and Newfoundland Dog A. Cooper, R.A. .

Eagle carrying olT a Duckling F. Barlow...

Earl of Arundel and Surrey, with favourite

Pony .and Dogs H. Barraud

121

45
58

224

INDEX

Earl of Coventry and his Sister

Earl of Darlington's Kennel, with his

Huntsman, &c

Earl of Derby's Staghounds

Earl of Fauconberg, Bust of ...

Earl St. Vincent, Bust of

Earth Stopping

Earthstopper on Horseback, The

Easter iMonday, a View near Windsor

" Eaton," a racehorse...

" Eaton," a racehorse...

" Eclipse," celebrated racehorse

Edwards, Miss

" Eglinton," celebrated hunter

Elephant

'; Elis," Winner of the St. Leger

Elite of the Field on their Second Horses . . .

"Emilius" ...

" Emily," the Dam of Emilius
Encounter, The

" Ennui" ...

Epsom Races : the Derby Stakes ...
Equestrian Figures from the Elgin Marbles
Equestrian Portrait of Miss Hoare ...
Equestrian Statue to commemorate tlie

Downfall of Usurpation

" Essex," a hunter

Evening of 1st October

"Excelsior" ...

Explanation of the Anatomical Table o(

the Horse's Muscles
Extraordinary Leap taken by Col.

Standen ...

PACE

H. Barraud

... 59

H. B. Chalon

.. 89

J. Barenger

-.- .37

Geo. Garrard, A.R.A. ..

.. 187

Geo. Garrard, A.R.A. ...

... 187

]. Barenger

... 36

R. B. Davis

... 150

Henry Aiken

6

H. B. Chalon

.. 89

R. B. Davis

... 148

Geo. Garrard, A.R.A. ...

... 189

A. Cooper, R.A....

. . 117

John Ferneley

174

A. Cooper, R.A....

... 116

A. Cooper, R.A....

109, 118

Henry Aiken

II

R. B. Davis

... 149

R. B. Davis

... 149

H. Aiken

... 24

A. Cooper, R.A

... 119

H. Aiken

15

A. Cooper, R.A

... 121

A. Cooper, R.A

... iiS

Geo. Garrard, A.R.A. ...

,. iSS

H.B. Chalon

... 89

A. Cooper, R.A. ...

... 121

A. Cooper, R.A

... 123

H. B. Chalon

... S4

J. E. Ferneley

■ ■ 173

" Fairy," a terrier

Falconer, The ...

" Fall of Phaeton," The

Fall over a Flight of Rails .,

Fallow Deer

Famous Hack of Mr. West's.
Famous Hunter

Famous Pony

Famous Racer
Famous Setter

Famous Setter...

" Fancy," a spaniel ...

" Fang," a hunter

"Fanny"

" Fanny and Muff" ...

Farmyard, A ...

Farmyard with Figures

... H. B. Chalon

... 89

... A. Cooper, R.A

... U9

... Geo. Garrard, A.R.A. ...

... 188

... H. Aiken

II

... A. Cooper, R.A. ...

... 113

... T- Barenger

... 38

... H. B. Chalon

... 89

... H. B. Chalon

... 88

... H. B. Chalon

... 88

...J. Barenger

35.38

... J. E. Ferneley

... 172

... H. B. Chalon

... 89

... H. B. Chalon

... 90

... A. Cooper, R. A....

... 118

... A. Cooper, f^.A

... 116

... S. Gilpin, R.A

... 203

... F. Barlow

... 45

INDEX

225

PAGE

Farrier's Shop, The

... A.Cooper, R.A. ...

106, 116

Fashioning a Fly ...

... A. Cooper, R.A. ...

124

Father of Foxhunting, The ...

... W. Barraud

49

Fathers of the Pack, The

... W. & H. Barraud

SI

Favourite Cat ... ...

... A. Cooper, R.A. ...

il6

Favoufile Cub

... W. Barraud

S4

Favourite Dog... ...

... A. Cooper, R.A. ...

117

Favourite Galloway, A

... A. Cooper, R.A. ...

n6

Favourite Hackney, A

... Thomas Gooch ...

209

Favourite Horse, A

... W. Barraud

S4

Favourite Horse, A

... John Boultbee

74

Favourite Horse, A ...

... A. Cooper, R.A. ...

117

Favourite Horses ...

... W. Barraud

54

Favourite Horses of the Marquis of Wor

cester \V. Barraud

54

Favourite Hunter ...

... A. Cooper, R.A. ...

117

Favourite Hunter

... J. E. Ferneley

I6S

Favourite Mare

... A. Cooper, R.A. ...

119

Favourite old Horse ...

... R. B. Davis

... 148

Favourite old Hunter

... A. Cooper, R.A. ...

118

Favourite old Pony .,

... R. B. Davis

149

Favourite Pony ...

... George Garrard, A. R.A

.. 1S8

Favourite Pony and Dogs

... W. Barraud

54

Favourile, portrait of a

... R. B. Davis

149

Favourite Spaniel

... W. Barraud

54

Favourites

... W. Barraud

54

Favourites ...

... R. B. Davis

149

Ferreting Rabbits

... S. Aiken

33

Ferry Boat, The

... LukeClennell ...

97

Fete Dieu

... H. Barraud

S8

"Fidele"

... H. B. Chalon ...

89

"Fidele"

... A. Cooper, R.A....

"3

"Fidelia"

... A. Cooper, R.A. ...

117

" Fidget," a blood horse

... H. B. Chalon ...

89

Fight at Cropedy Bridge, The

... A. Cooper, R.A.

108,118

Fight at Gladsnioor, The

... A. Cooper, K.A —

120

Fighting Bulls, Sculpture

... Geo. Garrard, A.R. A.

187

Fighting Cocks

... Stephen Elmer, A. R.A.

158

Fighting Dogs ...

... ]. Barenger

.39

Fighting Dogs ...

... "H. B. Chalon

9'

" Filngree and Cobweb"

... J. E. Ferneley

167

Find, The

... H. Aiken

II

First Barrel, The

... A. Cooper, R.A. ...

123

First Brace, The

... A. Cooper, R.A. ...

J24

First Earl of Portland

... A. Cooper, R.A....

117

First Flight, The

.. A. Cooper, R.A....

'23

First of October

.. A. Cooper, R.A. ...

i>9

First of September

... A. Cooper, R.A. ...

116, 121

First Step, The

... J. E. Ferneley

175

First Whip, The

... Henry Aiken

26

Fish

... Elmer, A.R.A. ...

.. 158

Fish and Cat ...

.. S.Elmer, A.R. A., 1776,1

782.. .157, 158

Fisherman's boy and his dog...

... A. Cooper, R.A. ...

i"9

Fisherman's Family, The

... A. Cooper, R.A. ...

123

Fishermen

... A. Cooper, R.A. ...

116

IS

226

INDEX

Fitz-Gibbon, Master, on his pony ...
" Fitzjames lamenting over his Steed "
Five-barred Gate
Flemish Fishermen

"Fleur-de-lis"

"Flora"

"Flora"

Flower, Sir James, and his Family ...
Flowers of the Hunt ...

"Flowers"

" Flush," a spaniel ... ...

" Fly," a greyhound ...

Fly-fishing

Fly-fishing

Flying Leap, The

Foot of the Hill

Foray, The ...

Ford, The

Forest Mare and Foal

Forester's Freight, The

" Forward All ! Forward" ...

Foster, The Rt. Hon. J., bust of

Four Pointers standing to Game

Fowls ... ... ... ... ... S

Fox, The

Fox, &c., A ...

Fox and Pheasant ... ...

Fox and the Engle's Nest, The

Fox breaking Cover ... ...

" Fox he breaks away. The "

Foxhound in the possession of Colonel

Thornton ...

Fox Hunt, A

Fox-hunters Regaling

Fox-hunters' Return

Fox Hunting ... ... ...

Fox Hunting ...
Fox Hunting ...

Fox Hunting ...

Fox Hunting ... ...

Fox of Spitzbergen

Fox, the late Rt. Hon. C. J., bust of

Foxes pursuing a Hare ...

Fo.xhound

Foxhound

Foxhounds

Foxhounds

Foxhounds and Whelps

Foxhounds in Full Cry

Foxhounds in their Kennel ...

Foxhounds running in Covert

Fox's Head

Francis Buckle...

Frankland, Sir T., Bust of

A. Cooper, R.A

118

Henry Barraud

58

Henry Aiken

26

A. Cooper, R.A....

122

A. Cooper, R.A. 1827, 1829..

.117.

122

H. B. Chalon

86

. 91

A. Cooper, R.A. ...

118

A. Cooper, R.A

III,

iiS

Henry Aiken

25

Stephen Elmer, A. R.A. ...

158

H. B. Chalon

89

A. Cooper, R.A....

120

J. Barenger

36

A. Cooper, R.A...

124

A. Cooper, R.A

121

A. Cooper, R.A

124

A. Cooper, R.A. ...

119

A. Cooper, R.A. 1844, 1S51..

.iiS,

119

H. B. Chalon

90

A. Cooper, R.A. ...

123

R. B. Davis

150

Geo. Garrard, A. R.A. ...

1S7

H. B. Chalon

87

. Elmer, A.R.A., 1773, I777--

• 157.

158

Luke Clennell

100

Stephen Elmer, A. R.A. ...

157

Stephen Elmer, A. R.A. ...

158

F. Barton

45

Philip Reinagle ...

195

Henry Aiken

19

Sawrey Gilpin, R.A,

194,

203

A. Cooper, R.A

113

Luke Clennell 96,

, 100,

lOI

A. Cooper, R.A

116,

121

Henry Aiken

i;

5.23

S. Aiken

31

Luke Clennell ...

100

A. Cooper, R.A

125

R. B. Davis

151

A. Cooper, R.A. ...

120

Geo. Garrard, A. R.A. ...

187

J. Barenger

39

H. B. Chalon

89

Geo. Garrard, A. R.A. ...

186

J. Barenger

38

T. Gooch

208,

209

R. B. Davis

146

Henry Aiken

19

R. B. Davis

146

R. B. Davis

146

A. Cooper, R.A....

121

A. Cooper, R.A. ...

121

Geo. Garrard, A. R.A. ...

1 88

INDEX

" Frederick," a racehorse
Freer, Mr., Portrait of
Fresh Near Leader, A
Fresh Team,"' A
" Friend," a greyhound
Frightened Horse, A ...
Frogs and Cranes
" Frolic," a horse
From Chester Races ...
Fruits

Full Cry

Full Cry

Full Cry

Fuller, Mr., Bust of ...

Fusee, The

Future Hopes

J. Barenger
, J. E. Ferneley

Henry Aiken
, Henry Aiken

A. Cooper, R.A. .
, Henry Aiken

Henry Aiken

A. Cooper, R.A.

Henry Aiken

227

PAGE

39
172

26

25

121

26

17
104

25

-57, 15S
24, 25, 27

... Henry Aiken
S. Elmer, A.R.A., 1774, 1776, 1777, 177S,
1780-1785, 1789, 1790, 1793 ... 15
... Henry Aiken ... ... 24,

... J. Boultbee ... ... ... 72

... R. B. Davis ... ... ... 151

Geo. Garrard, A.R.A 1S7

A. Cooper, R.A.... 120

R. B. Davis 150

G

" Gadfly," a fo.xhound

" Galaia," a brown filly

Galloway Shetland Pony

Galloway, The...

Game ...

Game Cock, A...

Gamecocks

Game Fowls ...

Gamekeeper, The

Gamekeeper and Pony, with Pointers

Gamekeepers and Dogs belonging to the
Duke of York

" Garry Owen," Portrait of ...

General Mina, Model for Bust of

Gentleman on a Trotting Mare

Gentleman on Horseback bringing up lag
Hounds ...

Gentleman on Horseback, Portrait of a

Gentleman on Horseback, with Game-
keeper, &c.

Gentleman with his Horse and Dog,
Portrait of...

Gentleman with his Spaniels, A

George Montford and Will Derry

George Nelson...

George Sharpe, Portrait of

Getting Home — doing their best with
difficulty ...

Getting into a Difficulty

Getting out of a Difficulty

The Giaour

" Gig," a greyhound ...

Gig Florse ... ...

R. B. Davis

.. 150

A. Cooper, R.A

... 124

H. B. Chalon

... 89

T. Gooch

... 209

S. Elmer, A.R.A.

... 157

J. Barenger

•■■ 39

J. Best

... 62

I. Barenger

... 36

Luke Clennell

... lOI

H. B. Chalon

... 89

H. B. Chalon

87, 88

A. Cooper, R.A

... 118

Geo. Garrard, A.R.A. ...

... 18S

T. Gooch

... 209

S. Gilpin, R.A

197, 203

T. Gooch, 1783, 1794 ...

208, 209

T. Gooch

... 209

T. Gooch

... 20S

T. Gooch

. . . 209

R. B. Davis

• ■■ 143

A. Cooper, R.A.,..

... 122

R. B. Davis

... 141

Henry Aiken

... iS

Henry Aiken

18

Henry Aiken

18

A. Cooper, R.A

... 120

A. Cooper, R.A

116, 121

H. B. Chalon

... 90

228

INDEX

Gig Horse and Newfoundland Bitch

Gig Horse, Norwegian Rabbit, Cat and Two

Terriers ... ...

Gig-Mare

Gig-Mare

"Giles"

Gillie, The

Gillie's Courtship, The

Gillie's Departure for the Moors, The

Gilpin : —

Rev., bust of

Sawrey, R. A., bust of

Sir J. M. D., bust of

" Gladsome," a staghound bitch
Glenartney and his Jockey ...

Gloomy VVoods, The ...

"Go! I fancy he can ! " ...

Goats and Sheep

Goats from Punjab, with their Sikh Shepherd

" Godolphin," a racehorse

"Gohanna"

Going Home ...

Going Out

Going Out in the Morning ...

Going the Pace

Going to Cover

Going to Cover

Going to Covert to meet the Difficulty

Going to Market

Going to the Derby: on the road

Going to the Meet

Going to the Post: the Race

Going to the Starting Post ...

Gold Pheasants

" Goldfinch," a hunter

" Goldfinder," a racehorse

Gone Away

Gone Away

Gone Away

Goodisson, J., portrait of

Goodricke, Sir Harry, portrait of ...

Goosey, T., a huntsman

Gosden, Thomas, portrait of ...

" Goshawk "

Got into a Difficulty

Got out of a Difficulty

Grant, F., portrait of ... ...

Grapes ...

" Grayling, The," a hunter

Greeks ...

Greeks with Arab horses

Green Sandpiper ...

" Greenshank"

Grey Horse ... ...

H. B. Chalon

... 89

H. B. Chalon

... 90

J. Barenger

.■■ 39

T. Gooch

... 20S

H. B. Chalon

... 88

A. Cooper, R.A.,i855, 1862..

.119,120

A. Cooper, R. A. ...

... 119

A. Cooper, R.A

... u8

George Garrard, A. R. A.

... 187

George Garrard, A. R.A.

... 187

George Garrard, A. R.A.

... 188

A. Cooper, R.A

... 121

J. E. Ferneley

... 172

"R. B. Davis

... 150

Henry Aiken

... 16

F. Barlow

... 44

H. B. Chalon

... 90

J. Barenger

39

R. B. Davis

.. 149

Henry Aiken

... 15

A. Cooper, R.A

... 119

George Garrard, A. R.A.

... 186

Henry Aiken

9

H. Aiken

25

A. Cooper, R.A.

124

H. Aiken

. . 18

R. B. Davis

... 148

H. Aiken

... 26

H. Aiken

... 26

H. Aiken

... 26

H. Aiken

... 26

St. Elmer, A. R.A.

... 158

A. Cooper, R.A. ...

... 116

. T. Gooch

. . . 204

H. Aiken

25, 26

, A. Cooper, R.A.

120, 125

R. B. Davis

... 151

A. Cooper, R.A.

.. 121

, [. E. Ferneley ...

... I6S

R. B. Davis

■■■ 143

Luke Clennell

... gH

. J. Barenger

... 39

H. Aiken

... 18

H. Aiken

... 18

, J. E. Ferneley

... 172

S. Elmer, A. R.A.

... 158

W. Barraud

51

A. Cooper, R.A. ...

... 118

A. Cooper, R.A. ...

... 117

A. Cooper, R.A. ..

... 122

A. Cooper, R.A

. . 122

. A. Cooper, R.A. .

... 119

INDEX

Grey Horse at a Stable door

" Grey Jem '' ...
"GreyMomus"
Greyhound
Greyhound

Greyhound ...

Greyhound

Greyhound and Fox ...
Greyhounds

Greyhounds and Whelps , .

Greyhounds, The Last Act ...
Greyhounds with Dead Hare
Greyhounds with Sportsmen finding a Hare...
Groom and horses, A ...
Groom and Hunter

Group of Arab Cavalry

Group of Children, pony and ass

Group of Dogs...

Group of Dogs...

Group of Fish lying on the Ground ...

Group of four Horses, a has relief in marble...

Group of Holderness Cattle ...

Group of Horses, grooms and harriers

Group of Lambs

Group of Pugilists

Group representing Messrs. Robert Darling

and John Browne... ...

Groups of Fish...
Grouse Shooting

Grouse Shooting A. Cooper,

Grouse Shooting

"Guard, The"

Gubbins, Miss, portrait of ...

Guibert's escape from Totquilstone Castle ...

Gulliver among the Honyhnhnms ...

Gulliver meeting the Honyhnhnms

Gulliver taking leave of the Honyhnhnms . .

Gulliver's visit ...

Gulliver's Visit to the Honyhnhnms

Gully, John

" Gulnare," a racehorse

229

PAGE

A. Cooper, R.A

116

A. Cooper, R.A

117, 122

A. Cooper, R.A

118, 125

J. Barenger

39

"H. B. Chalon ...

88,91

A. Cooper, R.A

116

T. Gooch

209

A. Cooper, R.A —

121

Edmund Btistowe

78

W. Barraud

55

H. Aiken

19

J. Barenger

36

J. Barenger

36

H. Aiken

23

H. B. Chalon ...

89

H. Aiken

27

J. E. Ferneley

172

H. B. Chalon ...

89

T. E. Ferneley ...

172

S. Elmer, A. R.A.

157

Geo. Garrard, A. R.A. .

185

Geo. Garrard, A.R.A. .

187

J. E. Ferneley ...

172

Geo. Garrard, A. R.A. .

-87

Geo. Garrard, A.R.A. .

187

J. E. Ferneley ...

175

S. Elmer, A. R. A.

15s

S. Aiken

32, 33

, R.A., 1836, 1858, i860..

.125, 119, 120

Davis, R.B

142

A. Cooper, R.A. ..

120

H. Aiken

5. 24

A. Cooper, R.A. ...

117

John Boultbee ...

72

W. Barraud

54

S. Gilpin, R.A

191

S. Gilpin, R.A. ...

19'

S. Gilpin, R. A. ...

191

A. Cooper, R.A. ...

123

J. Barenger

39

"Habet"

Hack

Hack

Hackney

Hackney Mare

Hack Stable, The

Hall, Henry

" Hambletonian"
Hannibal and Princess

A. Cooper, R.A:

... 124

H. B. Chalon, 1818, 1831

...89,90

R. B. Davis

... 148

A. Cooper, R.A

... 116

J. Barenger

... 39

H. Aiken

... 24

H. B. Chalon

... 88

Geo. Garrard, A.R.A. .

... 187

H. B. Chalon

88

230

INDEX

Hanoverian Horse

Happy Foxhunter, The

Hard Hit

Hard Time3

Hare, A

Hare and Partridges

Hare and Pheasants ... ...

Hare and Woodcocks

Hare Hunting ...
Hare Hunting ...

Hare Shooting

Hare Sitting

Hares Fighting

" Harmony," a foxhound bitch

Harvest in the Highlands

" Hassan," an Arabian

Haifield Hunt, The

" Have a Care for the Vixen "

Hawk, A

Hawk and Hare

Hawk and Partridge ...

Hawk carrying off a Chicken

Hawk swooping down on Fowls

Hawking Party

Hawking Party

" He was a mighty Hunter before the Lord "

Head of " Fickle, " a terrier

Head of Pony ...

Heads up. Sterns Down

Heaviside, J., bust of

Heavy Draught Horses ...

Hen and Chickens

Henry Morton rescuing Lord Evandale, &c

Her Majesty's Beagles

Her Majesty's Staghounds, portrait of

" Here come the Hounds "

"Here he is!"

Herefordshire Ox

"Hermit"

Heron and Geese near a Mill Wheel

Heron and Spaniel

Highflyer

Highflyer ...

Highland Courtship

Highland Dairy, A

Highland Game

Highland Gillie, The

Highland Lassie getting up the Kye

Highland Vulpecide, The

Highmettled Racer, The
Hill, A., portrait of ...

"Hippolytus"

His ilajesty in his travelling Chariot re-
turning to Town from Windsor, &.C....

PAGE

Geo. Garrard, A.R.A. ..

... 186

A- Cooper, R.A

... 116

H. Aiken

... 24

A. Cooper, R.A

... 124

S. Elmer, A. R.A.

... 157

S. Elmer, A. R.A.

... 158

S. Elmer, A. R.A.

... 157

S. Elmer, A.R.A.

... 158

H. Aiken,

... 26

S. Aiken, 1833, 1S41 ..

-33.31

H. Aiken

... 27

S. Elmer, A.R.A., 1788

iSS. 158

A. Cooper, R.A

... 121

A. Cooper, R..\

117,122

A. Cooper, R.A

... 119

A. Cooper, R.A

no, 118

Samuel Aiken

- 33

R. B. Davis

... ISO

J. Barenger

... 36

S. Gilpin, R.A

... 203

S. Elmer, A.R..A..

... 158

Luke Cradock

... 130

Luke Cradock

... 130

A. Cooper, R.A

... 117

R. B. Davis

... 149

A. Cooper R.A

... 119

H. B. Chalon

... 89

H. B. Chalon

... 90

A. Cooper, R.A

... 125

Geo. Garrard, A.R.A. ..

... 187

Geo. Garrard, A.R.A. ..

... 187

S. Elmer, A. R.A.

... 158

A. Cooper, R.A. ...

... 119

H. Barraud

... 59

R. B. Davis

... 150

W. Barraud

• ■■ 55

A. Cooper, R.A

... IZ3

J. Barenger

... 36

R. B. Davis ... 144,

145, 149, 150

Luke Cradock

... 130

S. Elmer, .A R.A.

... 157

John Boultbee

...69, 74

S. Gilpin, R.A.

... 197

A. Cooper, R.A

... 118

A. Cooper, R.A

... 119

A. Cooper, KA

... 119

A. Cooper, R.A

... 118

A. Cooper, R.-i^.

... 119

A. Cooper, R.A

... 120

A. Cooper, R.A....

... 121

W. and H. Barraud

... 51

A. Cooper, R.A —

... izo

R. B. Davis

138. 148

His Majesty's Hunt

" Hit him again ! " ...

Hobby Hawk, The

"Hoik in, There!"

" Hold hard, gentlemen! " ...
" Hold hard, There 1 "

Holderness Cow, A

Holiday Time

Holland, Mr., bust of

Holland, Mr. H., portrait of...

"Home!"

Home at Nazareth, The

Home from the Hill

Hope, Johnstone, Master, on Pony .

Hors de Combat

Horse ...
Horse ...

Horse

Horse

Horse

Horse and Dogs
Horse and Dogs
Horse and Dogs

Horse and Terrier

Horse Fair, A

Horse Fair, The

Horse Ferry

Horse Racing in Florence

Horse Summering

Horse with a Greyhound, portrait of

Horse with Figure and Dogs, portrait of

Horses

Horses

Horses

Horses ...

Horses ...

Horses at a Farriers Shop

Horse's Head from the Elgin Marbles

Horses' Heads, Study of

Horses in a Storm ... A. Cooper, R.A.

Horses in a Storm

Horse's Skeleton on a New System, The

" Hotspur and Languish "

Hound in Chase

Hound returning from Chase

Hounds...

Hounds in Full Chase

Hounds Killing a Fox

Hounds Seizing a Fox

" Hounds will meet, The "

Horse-keeper, The

How to appear at Covet

How to go to Cover

How to go through an Overflow

INDEX

... R. B. Davis

... A. Cooper, R.A....

... A. Cooper, R.A.

... n. Aiken

... H. Aiken

... H. Aiken

... George Garrard, A.R.A.

... A. Cooper, R.A.

... Geo. Garrard, A.R.A. ...
... Geo. Garrard, A.R.A. ...

... H. Aiken

... H. Barraud

... A. Cooper, R.A. ...

... H. B. Chalon

... A. Cooper, R.A

... J. Barenger
.H. B. Chalon, 1798, 1799, 1817, 1S21

... A. Cooper, R.A

... S. Gilpin, R.A

T. Gooch, 17S1, 1784, 1790, 1792, 1801..

H. B. Chalon

Geo. Garrard, A.R.A. ...

T. Gooch, 1782, 1786, 1794...

John Bouitbee

K. B. Da\-i3

... J. E. Femeley

... A. Cooper, R.A. ...
H. Aiken

... Edmund Bristowe

T. Gooch

T. Gooch

W. Barraud

H. B. Chalon

A. D. Cooper

R. B. Davis

S. Gilpin, R.A., 1797, 1798, 1805, 1807..

... Geo. Garrard, A. R. A. ...

... A. Cooper, R.A...

... H. Aiken

1S12, 1S27, 1828, 1S62...120, 117,

.. S. Gilpin, R.A., 1797, 1799-

... H. B. Chalon

... H. Barraud

... S. Gilpin, R.A. ...

... George Garrard, A.R.A.

... F. Barlow

.. George Garrard, A.R.A.

.. T. Gooch

... S. Gilpin, R.A.

... H. Aiken

... A. Cooper, R.A

... H. Aiken

,.. H. Aiken

... H. Aiken

231

PAGE
... 141
... 124
... 125
24
... 26
... 24
... 182
... 122
... 187

... iSS

... 17

... sS

... 123
... 90

loS, 119

... 3S

...SS, Sg
.. 117
... 203

.208, 209
... 88
... 1S8

20S, 209
71.74
... 14S
... 167
... 117
... iS
... 76
... 209
... 209
... 54
... 8S
... 128
... 148

200, 203
... 1S6
... 121
... 26
122, 120

194. 203

... 84

57,58

... 200

... 1S6

... 45

... 1S3

... 209

... 203

... 27

... 124

8

8

8

232

INDEX

PAGE

How to ride down Hill

H. Aiken

8

How to take a Leap ...

H. Aiken

8

How to take the Lead

H. Aiken

8

How to qualify for a Meltonian

H. Aiken

7

Hunnum, Robert, portrait of...

John Ferneley

.. 174

Hunt Dinner, The

H. Aiken

2<i

Hunier...ChaIon, H. B., 1797, 1799,1803, 1806

,1810,1819,1812,1825, iSji...S8,89, 90

Hunter ...

A. Cooper, K.A., 1814, 1850 i

16, 119

Hunter ...

R. B. Davis

.. 148

Hunter and a Shooting Horse

T. Boultbee

74

Hunter and Foxhound

H. B. Chalon

.. 89

Hunter and Hack Mare

H. B. Chalon

•• 90

Hunter and Newfoundland Dog

H. B. Chaion

.. 89

Hunter and Spaniel ... ...

H. B. Chalon

.. 90

Hunter and Spaniel ...

A. Cooper, R.A.

.. 116

Hunter and Terrier ...

H. B. Chalon

90

Hunter, portrait of ... T. Gooch, 17S2,

1794. 1795. 1798. iSoi, 1S02...:

08, 209

Hunters...

H. B. Chalon

.. 88

Hunters

A. Cooper, R.A.

120

Hunters ...

J. G. Ferneley

.. 172

Hunters at Covertside

Samuel Aiken

•■ 3>

Hunter's Head and Foxhound

H. B. Chalon

90

Hunters, portraits of

R. B. D-ivis

.. 148

Hunting ...

A. Cooper, R.A

.. I2S

Hunting: Going into Cover ...

T. Barenger

.. 36

Hunting Incidents

H. Aiken

25

Hunting Mare ...

A. Cooper, R.A. ...

.. 116

Hunting Mare and Foal

A. Cooper, R.A

.. 116

Hunting No. 1

A. Cooper, R.A. ...

.. 124

Hunting Sweep, The ...

H. Aiken

12

Hunting, the Chase ...

J. Barenger

.. 36

Hunting, the Death

J. Barenger

.. 36

Huntsman's Holloa, The

A. Cooper, R.A. ...

.. 124

Huntsmen and Hounds

A. Cooper, R.A

.. 116

Hutton, Rev. Mr., with View of Houghton

Hall

Geo. Garrard, A. R.A.

.. 188

" I shall begin to think," &c.

Illustration to Edward Benlowe's "Theophila,

or Love's Sacrifice " ...

Illustrations of the Equestrian Order
Illustrations to ^sop's Fable of -the Young

Man and his Cat ...

Illustrious Sportsmen, The ...

In Cover

In his box ... ... ...

In the Belvoir Country
" In the Morning Early "
In the Right Place
Incident of the Chase ...
Indian Red Deer

II. Aiken

25

F. Barlow...

45

R. B. Davis

.. 151

F. Barlow

44

R. B. Davis

.. ISO

H. Aiken

24

H. Aiken

26

H. Aiken

25

A. Cooper, R.A.

.. 123

A. Cooper, R.A....

.. 123

R. B. Davis

.. ISO

H. B. Chalon

91

INDEX

233

PAGE

" Industry," a brown filly

. A. Cooper, R.A

... 125

Infant, bust of

Geo.

Garrard, A.R.A., 1797, iSl

[4. ..187, iSS

Interior of a Costermonger's Stable ...

A. Cooper, R.A. ...

... 121

Interior of a Highland Inn ...

A. Cooper, R.A. ...

.. 119

Interior of a Stable ...

. A. Cooper, R.A. .

... 117

Interior of Craven Cottage ...

Geo. Garrard, A.R.A. ...

... 18S

Irish Pig

, Geo. Garrard, A. R.A. ...

... 1S7

" Is that really a 'are?''

, H. Aiken

... 26

" It thaws — we must be off to Melton '

H. Aiken

... 16

Italian Greyhound

H. B. Chalon

... 88

Italian Greyhound

T. Gooch

... 209

Italian Sheep Dog

A. Cooper, R.A. ...

... 118

" It's an ill wind that blows nobody good "...

H. Aiken

... 62

"Jack," a hunter

Jack-fishing

Jack-in-the-box

"Jack Spigot," winner of the Doncaster ...

"Jane," a lady's donkey

Jefferies, Earth stopper to the Berkeley

Hounds
"Jim Crow," a spaniel

Jockey and his Hack

"JohnComyn"

John Shirley, a huntsman

John Winter, a huntsman

" Joy " (Passions of the Horse)

"Joy"

Julian Peveril compels Chiffinch to restore

the Stolen Papers

"Juno"

"Jupiter"

"Jupiter"

A. Cooper, R.A.,lSi9, 1837.
H. Aiken

..116, 118
... 2O

A. Cooper, R.A

David Dalby

A. Cooper, R.A

... U7

••. 133
... 117

E. Bristowe

... So

H. B. Chalon

... 90

W. B.irraud

... 55

A. Cooper, R.A. ...

R. B. Davis

... 119
... 143

J. E. Ferneley

H. B. Chalon

... 173
83,90

A. Cooper, R.A.

... 119

W. Barraud

... 54

A. Cooper, R.A., 1S35 ...
J. E. Ferneley

iiS, 113

... 172

S. Gilpin, R.A

197, 200

Keep at Arundel, The
" Keeper's come. Sir "
Kew, Mr., and his Horse

Kjlligrew, Thumas

Killing Fly, A ...
King's Harriers, The ...
King WiUi.am III., Lord Conini
Knight in Armour, A...

;sby

II. Barraud

58

W. Barraud

58

A. Cooper, R.A. ...

116

VVilliana Shepard

40

A. Cooper, R.A. ...

'^3

R. B. Davis

139, 146

A. Cooper, R.A. ...

"7

H. Aiken

25

' LaPucelle" ...
' La Vivandi^re '

A. Cooper, R.A.
A. Cooptr, R.A.

119
119

234

INDEX

Lady at Egham Races

Lady, bust of ...George G

Lady on a trotting Mare, portrait of...

Lady's Horse, ponies, spaniel

Lady's Lap-dog

Lambton Hounds at Feeding Time, The

Landscape, A ...

Landscape, A ...

Landscape, A ...

Landscape, A ...

Landscape with Cattle

Landscape with Cattle

Landscape wiih Cattle

Landscape with Figures

Landscape with Horses

Landscapes ... ...

Laplanders and Reindeer

Large Ox ...

" Lark," a famous mare
Lascelles, Miss, bust of
Last Resource, The ...

" Last Scene of all ! "

Last Stake, The

Last State of the Coach Horse, The

Last Supper, The

" Laugh at him if you will "

" Launcelot " ...

Launching the Lifeboat

" Lavender," a greyhound ...

" Lavinia," a pug

" Lear," a celebrated retriever

Leatherhead

Leicestershire Steeplechase, The

" Leopard," a dray-horse

Leopards and Lynxes

Lesson in Mendicity, A

" Let's keep the Lead "

" Lets take the Lead "

Lewis, Master ...

" Lex Talionis "

" Liberator, The," a hunter ...

Life Guards, The

" Life of a Racehorse "

Life and Death of a Racehorse

(i) When a Foal with his Dam

(2) WTien a Colt Breaking

(3) After Running a Race and Winning

(4) As a Hunter going out to the Chase

(5) As a Postchaise Horse, on the Road

(6) His Dissolution

PAGE

... R. B. Da\-is

... 149

rrard, A.R.A., 1806, 1807. 1S26.

.187, 1S9

... T. Gooch

... 209

... H. B. Chalon

... 89

... T. Gooch

... 209

... John E. Femeley

167, 173

... B. Blake

... 67

... Tohn Boultbee

69. 74

... C. Collins

... 102

... R. B. Davis

138, 148

... H. B. Chalon

82, 88

... R. B. Davis

... 148

... S. Gilpin, R.A

... 203

... B.Blake

64,67

... H. B. Chalon

82, 88

... T. Boultbee

••• 73

... A. Cooper, R.A.

... 121

... J. Best

... 61

... John E. Femeley

... 165

... Geo. Garrard, R.A.

... 188

... W. and H. Barraud

50. 59

... H. Aiken

24

... W. and H. Barraud

50, 59

... T. Gooch

205, 209

... S. Elmer, A.R.A.

••• 153

... H. Aiken

... 26

A. Cooper, R.A., 1840, 1S41 .

..125, 118

... LukeCIennell

... lOI

...J. Barenger

•• 39

... H. B. Chalon

.. 89

... David Dalby

- 13s

... J. E. Femeley

■•■ 173

... H. Aiken

9

... A. Cooper, R.A.

... 116

... F. Barlow

... 44

... A. Cooper, R.A

... 120

... H. Aiken

... 26

... H. Aiken

... 26

... A. Cooper, R.A

... 119

... A. Cooper, R.A

... 118

... A. Cooper, R.A

... 117

... A. Cooper, R.A.

... 119

... T. Gooch

207, 208

. T. Gooch

... 207

Lime Works at Purfleet, The

Lion, Lioness and Whelps, bas relief

Litter of Foxes

Little Bill

Geo. Garrard, A. R.A. ... ... 187

Geo. Garrard, A.R.A 187

S. Gilpin, R..\, 198,203

H. Aiken 26

INDEX

235

PAGE

Little Mare and Kitty

... H. B. Chalon ...

90

"Little Wonder"

... A. Cooper, R.A

125

Lobby of the House of Commons in

1S72,

The

... H. Barraud

57

Logan Stone, The

... Luke Clennell

lOI

London Season, The

... H. Barraud

57

"Loo Loo"

... T- Bareni;er

38

" Lop," a celebrated hunter

... R. B. Davis

150

Lord Frederic Fitzclarence

... R. B. Davis

149

Lord flarewood's Hunt, The Meet,

Full

Cry, The Death

... David Dalby

135

Lord Kintore's Keeper Shooting Roedeer ... J. E. Ferneley

172

Lord Lascelles, bust of

... Geo. Garrard, A.R.A. .

18S

Lord Marmion's Charger

... \V. Barraud

54

Lord Somerville, bust of

... Geo. Garrard, A.R.A, .

187

Lord's Cricket Ground

... H. Barraud

57

" Lorilda," a hackney

... A. Cooper, R.A

116

Lost Shoe, The

... A. Cooper, R.A

123

Luncheon, A

... B.Blake

67

Lurcher and Dead Fox

... S. Elmer, A.R.A.

157

" Luxury," a hound

... R. B. Davis

144.15'

" Madcap," a hunter ...

H

... A. Cooper, R.A

120

" Major," a charger ...

... H. B. Chalon

89

Major-General Skipper's Troops of Horse

capturing the King's Guns, &c. ...

... A. Cooper, R.A

I20

"Make Ready!"

... A. Cooper, R.A

124

Mallard and French Spame

... Stephen Elmer, A.R.A..

154,15s

Maltese Ass ... ...

... H. B. Chalon ...

88,91

Mambrino's Helmet ..

... A. Cooper, R.A

"9

Mameluke, A. ...

... H. Aiken

26

Mameluke, A. ...

... R. B. Davis

149

" Mammoth"

... H. B. Chalon

89

Man and Dray-horse

... H. B. Chalon ...

88

Man in Armour

... H. Aiken

26

Mandarin Drake

... Stephen Elmer, A.R.A..

«58

" Mango," winner of the St. Leger ...

.A.. Cooper, R.A., 1S37, 1S3S..

.109, nS, 115

" Mango," winner of the St. Leger ...

... D. Dalby

134

Manorial Rights

... A. Cooper, R.A

123

Mansion in process of construction ...

... S. Gilpin, R.A

202

Mare, A

... H. B. Chalon ...

88

Mare, A

... R. B. Davis

'49

Mare, A

... Geo. Garrard, A.R.A. .

187

Mare and Colt

... S. Gilpin, R..A

203

Mare and Dog

... H. B. Chalon ...

88

Mare and Foal...

... J. Barenger

38. 39

" Marengo," a white charger

... J. Barenger

39

Mares and Foals

... F. Barlow...

45

Mares and Foals

... \V. Barraud

54

Mares and Foals

... Geo. Garrard, A.R.A. .

1S6, 187

Mares and Foals

... S. Gilpin, R.A. ...

.. 203

Mares and Foals at the Royal Stud ...

... R. B. Davis

13S, 148

236

INDEX

Mares and Foals from the Prince of Wales'

Stud

" Maria," a racehorse...

"Mark!"

"Mark ! Cock !"

Market Day

Marmozel Alonkeys, Group of

" Mary Owen"

Mary Queen of Scots meeting the Earl of

Eothwell

Master Beresford Lowndes, with Pony

and Dogs ... ...

" Mat o' the Mint "

" Mazeppa "
Mealfourvoine Trout, A

Medallion of a Lady

Medallion of the Duke and Duchess of

Bedford

Medallion of Tom Cribb
Meet at Ashby Pasture, The...

Meet at Crick, The

Meet of Her Majesty's Staghounds ...
Meet at Kirby Gale, The
Meet of the Owl Hounds, The

Meet of the Owl Hounds, The

Meet, The

Meeting in a Stone Quarry ...

Meeting of the Keepers of Sir Julian E.

Swinburne
" Mellow," a horse
Member of the Surrey Hunt, on his Hackney,

riding to Cover

Men in Armour ...

Merino Sheep ...

"Merry"

" Middleton "

Milking Time

Mills, J., portrait of ..

" Minos," abound

Minstrels of the Fifteenth Century

"Minuet" '

Mischievous Boy, The

Miser, The

" Miss Turner," a mare

Misses Robarts on their favourite Horses,

The

" Mocking-bird," a greyhound

Model for a Lion

Model for Equestrian Statue ...

Model for Equestrian Statue of Sir John

Moore
Models for busts, by George Garrard, A.R.A..

W.Adam

Artist

Geo. Garrard, A.R.A. ...

... i86

J. Barenger

••• 39

H. Aiken

24

A. Cooper, R.A

... 123

A. Cooper, R.A

... 124

Geo. Garrard, A.R.A. ...

... 186

H. B. Chalon

... 88

A. Cooper, R.A. ...

... 117

H. Barraud

... S8

T. Barenger

39

R. B. Davis

... 148

A. Cooper, R.A. ...

... 125

Geo. Garrard, A.R.A. ...

... 188

Geo. Garrard, A.R.A. ...

... 188

Geo. Garrard, A.R.A. ...

... 188

H. Aiken

10

W. and H. Barraud

... 50

R. B. Davis

... 151

|. E. Ferneley

.. 163

"H. Aiken

24

"Wildrake"

14

H. Aiken

13, 25, 26

H. Aiken

... 25

A. Cooper, R.A

... 119

H. B. Chalon

... 89

S. Aiken

■•■ 33

H. Aiken

... 26

J. Barenger

... 36

A. Cooper. R.A. ...

... 120

R. B. Davis

... 149

A. D. Cooper

... 128

J. E. Ferneley

... 172

R. B. Davis

... 149

H. Barraud

... 58

A. Cooper, R.A

... 121

H. B. Chalon

90

S. Elmer, A.R.A.

••• 153

A. Cooper, R.A

... 122

H. Barraud

59

A. Cooper, R.A '

119, 122

George Garrard, A.R.A.

... 188

George Garrard, A.R.A.

... 187

George Garrard, A.R.A.

... 188

.. of :-

... 188

... 188

INDEX

Models for busts, by George Garrard, A. R.A., of : —

H. Ashby

K. B. Banks

Mr. Gift

Rev. T. Fry, M.A

Gentleman

V. Green, A. E

D. S. Jackson

Lady, i8oS, 1809

Lady, 1811

Master Lane Fox

Miss Lane Fox ... ...

Mrs. Lane Fox

Mr. Pugett

H. Repton

R. B. Sheridan

Rt. Hon. Sir J. Sinclair... ...

General Tarleton

Capt. Thomson ...

T. Tomkins

W. Wilberforce, M.P

Lady Young
Models (or statues, by George Garrard, A.R.A., of: —

His Majesty ... ... ...

Rt. Hon. William Pitt

Models by George Garrard, A. R.A. , of: —

Bull

Bull Bitch

Bull Calf

"Comet"

Cow

Cow and Calf

Favourite Dogs, property of Mrs. Baker

Pointer ...

Stag

" Modern Scarlets " J. E. Ferneley

" Monck," portrait of ... ... Francis Barlow

Montrose routed at Philiphaugh, &c. ... A. Cooper, R.A.

" Moorhen, The " A. Cooper, R.A.

Moore, Sir John, statue of Geo. Garrard, A.

Moors, The ... \V. Barraud

" Morelli," a race-horse H. B. Chalon

Morning Meal, The A. Cooper, R.A.

Morning of First of September A. Cooper, R.A.

Morning Ride, A A. Cooper, R.A.

" Moses," a race-horse ... ... ... R. B.Davis

Mother and Child, A H. Barraud

Mountain Dew, The A. Cooper, R.A.

Mountain Landscape with Cattle and figures S. Gilpin, R.A.

Mountain Pass, The A. Cooper, R.A.

Mule Pheasant A. Cooper, R.A.

" Muley," a horse J. Barenger

Mutual Surprise, A A. D. Cooper

My Arab Steed A. Cooper, R.A.

R.A.

FAGS

187

. 187

. 188

. 187

. 188

. 187

. 1S7

. 187

. 1S8

. 189

. 189

. 189

. 187

. 187

. 188

. 1S8

. 188

. 187

. 187

. 187

. 188

. 188

. 187

. 187

... 1S8

179. 1S7

... 187

... 188

... 187

... 187

... 16S

... 43

... 1 20

... 125

... 184

... 54

... 85

... 123

... 121

... 116

140, 149
58

... 123

... 202

... 123

... 124

■• 39

.. 12S

... 120

238

INDEX

" My dear Sir," &c. ...

" My Father's favourite Mare "
My Lady's Hobby

"My own Grey"

" My soul's on fire and eager for the field"...

N

Native Dog in New South Wales

Nature displayed in the Animal and Feathered
Species

" Ne exeat " ...

Near the Banks of Loch Laggan, Inverness-
shire

Near Virginia Water ...

Nearly ready to Start

Neasden Harriers, The

" Nelson," a greyhound

" Nelson," Newfoundland dog

" Nessus and Dejanira "

" Newbiggin," a greyhound

Newcastle Ferry

Newfoundland ...

Newfoundland...

Newfoundland ...

Newfoundland ...

Newland, A., bust of

Newmarket Tout, The

Nilgaw Antelope, model

Nineteenth June, l8i 5, The

Nobleman and Servant on two fast-trotting
Hacks

Nobleinan on a Managed Horse, portrait
of a

Non-effectives

Noontide Rest ...

Norman as Don Quixote in the Panto-
mime, &c....

Norway Elk pursued by Wolves, A...

" Nosegay," a brood bitch ...

O

Oakley Hunt, The

Oasis, The

October

October's Own

Officer's Charger, 7th Hussars

Old Carriage Horse, An

Old Carriage Horses in His Late Majesty's

stud at Windsor

Old Charger, portrait of

Old Coach Horse, An

Old English Setter

PAGE

H. Aiken

25

A. Cooper, R.A

... 118

A. Cooper, R.A. ...

... 124

A. Cooper, R.A

... 120

H. Aiken

... 17

A. Cooper, R.A

117, 122

Francis Barlow

... 41

A. Cooper, R.A —

... 123

R. B. Davis

... 149

R. B. Davis

... 148

H. Aiken

... 26

W. Barraud

•■• 55

A. Cooper, R.A. ...

... I2S

H. B. Chalon

... 89

Geo. Garrard, A.R.A. ..

... 187

A. Cooper, R.A

... 123

LukeClennell

... lOI

H.B. Chalon

... 90

St. Elmer, A.R.A.

... 158

Geo. Garrard, A.R.A. ..

... 186

T. Gooch

. . . 209

Geo. Garrard, A.R.A. ..

.. 187

R. B. Davis

... 150

Geo. Garrard, A.R.A. ..

... IS7

A. Cooper, R.A —

.. 118

H. B. Chalon

... 89

T. Gooch

... 208

H. Aiken

... 17

H. Aiken

... 27

Edmund Bristowe

... 80

Geo. Garrard, A.R.A. .

183, 187

J. Barenger

■■ 39

H. Aiken

10

A. Cooper, R.A

... 119

H. Aiken

... 24

A. Cooper. R.A

... 122

H. B. Chalon

... 89

R. B. Davis

... 149

R. B. Davis

... 148

T. Boultbee

... 74

R. B. Davis

... 149

H. B. Chalon

87,88

INDEX

Old English Springer

Old Fisherman, The

Old Friends

Old Gig Horse, An

Old Hackney, An

Old Horse, An

Old Horse, portrait of, An

Old Horse, portrait of. An ...

Old Hunter, portrait of. An ...

Old Hunter, portrait of, An

Old Hunter

Old Hunter

Old Hunter

Old Pack-horse, portrait of an

On the Bank of Loch Ness

On the Brighton Line...

On the Moors

On the Rein ...

On the Ripple ...

Once More Upon the Moors...

"One of These"

Opening Day, The ...

Opposition Coaches with and without Bear-
ing Reins ...

" Orelio," a celebrated Arabian

Oriental Horsemen

Original Designs for Ideas ...

Ornaments on the Bench

" Orville," Prince of Wales' horse ...

Ostriches

Otter-hound

Otler-hunling ...

Olter-hunling ...

Over the Open

Overthrow of the French Army at the
Battle of Waterloo, The

O.t, portrait of an

" Oxygen," a brown mare

" Paddy," a setter

" Painter," a retriever

Painter and his Models

" Pandora," a fine hunter

" Parasol," a race horse

Parish Clerk, The, Saturday Evening

Park Palings ...

Park Scene, at Wilham

Park Scene with Hunters

Parkhurst, John, Portrait of ...

" Partisan," a bay horse

Partridge Shooting, September

Partridge Shooting

239

PAGE

H. B. Chalon

91

Luke Clennell

... lOI

R. B. Davis

... 149

R. B. Davis

... 148

W. Barraud

54

R. B. Davis

... 149

Thomas Gooch, 1782 ..

... 208

Thomas Gooch, 1786

... 209

W. Barraud

54

R. B. Davis, 1S06, 1S21,

1S22... 148

T. Boullbee

74

H. B. Chalon

90

S. Gilpin, R.A

203

T. Gooch

209

A. Cooper, R.A

120

A. Cooper, R.A....

124

H. Aiken

26

A. Cooper, R.A

124

A. Cooper, R.A

124

W. Barraud

55

A. Cooper, R.A. ...

119

A. Cooper, R.A

123

H. Aiken

25

J. E. Ferneley

173

H. Aiken

25

H. Alkcn

26

R. B. Davis

150

H. B. Chalon ...

85, 88

H. B. Chalon

89

H. B. Chalon ...

91

H. Aiken

25

S. Aiken

33

R. B. Davis

150

Luke Clennell ...

9S

T. Gooch

206, 209

A. Cooper, R.A

'2S

A. Cooper, R.A. ...

n6, 120

A. Cooper, R.A

"7

A. Cooper, R.A

120

J. Barenger

39

J. Barenger

39

E. Bristowe

80

H. Aiken

26

Geo. Garrard, A. R.A.

187

Geo. Garrard, A. R.A.

186

S. Gilpin, R.A. ...

>96

A. Cooper, R.A. ...

... 1.6,121

R. B. Davis

142

H. Aiken

27

240

Partridge Shooting
Partridge Shooting
Partridge Shooting
Partridge Stalking
Partridges
Partridges

INDEX

S. Aiken .,,
H. B. Chalon
A. Cooper, R. A.
F. Barlow...
J. Barenger
A. Cooper, R.A..

Partridges Stephen Elmer, A.R.A., 1774, 1777, 17S3, 1784, 1789. I
Partridges and Snipe ... ... ., ^ .

Partridges basking in the Sun
Passions of the Horse, The ...
" Patch," a pony
" Pavilion," a racehorse

Payne, Philip, portrait of

Peacock

Peasant attacked by Wolves, A

Peat Cart, The

Pedlars, The

Pegasus at the Fountain of Hippocrene, &c,

" Penelope," a bay mare

Pensioners, The ...

" Penseroso," a stallion

Perch

Perch

" Perdrix Borealis " ...

Persian Horses and Spani.sh Sheep Dog

Persian Mare ...

Pfeil, A. L., portrait of

Pheasant and Brace of Partridges ...

Pheasant and Woodcocks

Pheasant Shooting

Pheasant Shooting

Pheasant Shooting

Pheasant Shooting

Pheasant Shooting

F. Barlow

Stephen Elmer, A.R.A.

H. B. Chalon ...

H. B. Chalon

H. B. Chalon

R. B. Davis

Stephen Elmer, A.R.A.

Geo. Garrard, A.R.A.

A. Cooper, R.A.

Luke Clennell

S. Gilpin, R.A.

A. Cooper, R.A.

E. Eristowe

John Boultbee

A. Cooper, R.A.

Stephen Elmer, A.R.A.

A. Cooper, R.A.

Geo. Garrard, A.R.A.

H. B. Chalon ...

A. Cooper, R.A....

... J. Barenger

Stephen Elmer, A.R.A.

H. Aiken

S. Aiken

... E. Bristowe
A. Cooper, R.A., 1825, 1832, 1858
R. B. Davis

Pheasant Shooting in Swinley Park R.B.Davis

Pheasants J. Barenger

Pheasants...Stephen Elmer, A.R.A., 1772, 1774, 1784^1785,1789,1790,

" Phoebe," spaniel
" Phosphorus"

Pig Slicking ... ...

" Pigeon," an Arabian

Pigeon Shooting

Pigeon Shooting

Pigeons, Plover and Parrot on a bough

"Pike, The"

" Pilgrim," A hunter ...

" Pilot and Midge "

" Pincher," a terrier ...

" Piiicher," a terrier ...

" Pincher and Shivers," terriers

" Piper," a celebrated greyhound ...

Pitt, The late Rt. Hon. W., bust of

" Pittites, but no Tories "

Plato

H. B. Chalon

A. Cooper, R.A. ...

H. Aiken

PI. B. Chalon

H. Aiken

S. Aiken,

Luke Cradock

A. Cooper, R.A. ..

A. Cooper, R.A

A. Cooper, R.A....
H. B. Chalon ...
A. Cooper, R.A. ...
H. B. Chalon
Samuel Aiken
George Garrard, A.R.A,

H. Aiken

W. Barraud

PAGE

32,33

... 90

... 124

... 45

■■ 39

... 125

794. ..157, 158

... 45

■■ 155

... 83

... 90

... 84

... 138

... 158

1S3, 187

119

... lOI

... 192

.,. 121

... 75

69, 74

125

... 158

122

... 188

... 89

... 118

■ 39

... 15S

5, 25, 26, 27

32, 33

... 78

[22, 124, 119
... 142
... 151

37, 38, 39

155.157- 158

... 89

... 125

... 25

... 89

... 26

•■. 33

... 130

.. 125

... 116

.. 119

... 90
1 20

... 91

.. 33

.,. 1S7

... 24

... 54

INDEX

"Plenipotentiary," Winner of tiie DeVby,

1834

Poacher, Tlie

Poacher Detected

Poachers

Poachers and Poached

Pointer
Pointer
Pointer

Pointers

Pointers (2)

Pointers (i)

Pointers going out with Sportsmen

Poison ...
Politician, A

A. Cooper, R.A....

PI. Aiken

A. Cooper, R.A. ...
A. Cooper, R.A. ...

H. Aiken

li. B. Chalon ...
S. Elmer, A.R.A.
Thomas Gooch ...

H. Aiken

W. Barraud
J. Barenger
J. Barenger

H. Aiken

Stephen Elmer, A.R.A.

' Polydora, with Sister to Pandora at Foot " H. Barraud

Pomeranian Dog
Pomeranian Dog
Pony
Pony

Pony

Pony

Pony and Boy

Pony and Dog ...

Pony and Dog

Pony and Sporting Dogs

Poodle and Scotch Terrier

Poor Man and his distressed Horse ...

" Pop," a pointer

Pope's Mules at the Fountain of Trevi, Tlie

Portraits

Portraits

Portraits

Portraits of all the horses and jockeys en

gaged in the Derby Stakes

Portraits of Artist

Portrait of Bull-dog

Portraits of Coach-horse

Portraits of Curricle horses ...

Portrait of Davis, Mr., Huntsman to Her

Majesty, on his favourite horse, with

hounds

H. B. Chalon ...

Thomas Gooch ...

T. Barenger

"H. B. Chalon ...

A. Cooper, R.A....

R. B. Davis

W. Barraud

]. Barenger

George Garrard, A.R..

H. B. Chalon ...

H. B. Chalon

A. Cooper, R.A. ...

A. Cooper, R.A

W. Barraud
H. Barraud
W. Barraud
A. Cooper, R.A

A. Cooper, R.A....

B. Blake

George Garrard, -V.R.^
George Garrard, A. R.^
J. Barenger

241
TAGI!

118

24
122
121

27

87

157

209

26

54

38.39

36

25

158
58
88

209

39

90

116

148
54
36

186
90

... 117
ti8, 125

153

117

54
58
54

119

W. and H. Barraud

Portraits of Dogs by

Portraits of Famous Fighting Dog
Portraits of Fox-hunter and his hounds
Portrait of P'riezeland Mare ...
Portrait of a Gentleman
Portrait of Gentleman and Grey Horse
Portrait of Gentleman and his Horse
Portrait of Gentleman and his Horse

Portrait of Gentleman and Pony

Portrait of Gentleman with His Majesty's

Hunt

Portrait of a Horse

i6

George Garrard, A.R.A., 17S3, 1788

A

H. B. Chalon

H. Aiken .

George Garrard, A.K.I

A. Cooper, R.A

Geo. Garrard, A.R.A.
J. E. Ferneley
Geo. Garrard, A.R.A.
Geo. Garrard, A.R.A.

R. B. Davis
J. Barenger

,. iiS
.64,67
.. 186
. 187

. 38

...50,59
t86, 186
... 86
...18,24
... 186
... 117
... 186
... 172
... 186
... 186

149

83

242

INDEX

.Geo. Garrard, A.R.A

Portrait of a Horse

Portrait of a Horse

Portrait of a Horse

Portrait of a Horse

Portrait of Horse and Dog ...

Portrait of Horse belonging to His Majesty...

Portrait of Horse in Miniature

Portrait of Horses

Portrait of Horses

Portrait of Horses

Portrait of Horses

Portrait of Hunter .. ...

Portrait of Hunter

Portrait of Hunter

Portrait of Hunter and Groom
Portrait of Irish Water Spaniel

Portrait of Jockey, A

Portrait of Lady in the 104th year of her age...

Portrait of Mare, A

Portrait of Mare, A

Portrait of Meltonian ...

Portraits of Men Employed in the Nursery

Gardens .at Slough
Portrait of Nobleman, &c.

Portrait of Old Suffolk Horse

Portrait of Phenomena
Portrait of Pony, A ...

Portrait of Pug Dog, A

Portrait of Race-horse, A
Portrait of Race-horse, A ...

Portrait of Three Hunters

Portrait of Warwick.shire O.K...

Post Boy, A

Post-Haste

Post-horse, The

Pot-8-os, a famous race-horse

Poultry ... ...

Poultry, a Stork, a Passage-boat on a

Canal, &c.
Poultry attacked by a Hawk

Preliminary Canter, A

Press Gang, The

Pride of the Desert, The

Prince Hoare, Esq., bust of ...

" Prince Leopold," a race-horse

Prince Rupert routing the Besiegers at

Newark

Princess Charlotte, Il.R.II., bust of

Private Box

Progress of the Riding School, The...
Proportions of an Arabian, or quite a New

System

" Prosper," a hunter ... ...

"AGE

J. E. Ferneley

172

., 1790, 1793, 1800, 1S26.

'186,187

189

S. Gilpin, R.A. ...

203

Thos. Gooch

205

209

Geo. Garrard, A.R.A, .

1S6

S. Gilpin, R.A

194

203

Geo. Garrard, A.R.A. .

1 86

PI. Barraud

58

John Boultbee

74

Geo. Garrard, A.R.A.

,' 1788;

1789, 1790, 1795, ! 797, I

300...186

1S7

S.Gilpin, R.A

203

E. Bristowe

80

R. B. Davis

148

J. E. Ferneley ...

172

J. E. Ferneley ...

172

H. B. Chalon ...

82

A. Cooper, R.A. ...

116

II. Barraud

58

J. Barenger

38

Geo. Garrard, A.R.A. .

186

J. E. Ferneley ...

172

E. Bristowe

80

Geo. Garrard, A.R.A. .

186

Geo. Garrard, A.R.A. .

186

J. Barenger

38

Geo. Garrard, A.R.A. .

187

]. Barenger

38

"R. B. Davis

148

Geo. Garrard, A.R.A. .

186

J. E. Ferneley

172

J. Best

61

H. Aiken

23

A. Cooper, R.A. ...

119

Thomas Gooch ...

209

S. Gilpin, R.A

197

Charles Collins ...

102

Luke Cradock

130

Luke Cradock

130

H. Aiken

29

Luke Clcnnell ...

lOI

A. Cooper, R.A. ...

120

Geo. Garrard, A.R.A. .

188

H. B. Chalon

89

A. Cooper, R.A

loS,

118

Geo. Garrard, A.R.A. .

188

A. Cooper, R.A. ...

124

T. Gooch

209

II. B. Chalon ...

84

J, Barenger

39

INDEX

" Prudence," a brown mare
Ptannigan, a white grouse
" Pussy," a brown mare
Pyramid, The

J. Barenger
A. Cooper, R.A..
A. Cooper, R.A. ,
A. Cooper, R.A.

PACE

39
125

125

123

Q

Quarrelsome Companions
Quarry, The

Quiet Pipe, A

" Quiz," a race horse ...
Quorn at Quenby in 1823, The
Quorn Hunt
Quorn Hunt

A. D. Cooper
A. Cooper, R.A.,
A. Cooper, R.A..
II. B. Chalon
J. E. Fcrneley
II. Aiken ...
J. E. Ferneley

162,

128
123
■23

84
163

10
165

R

Rabbit Shooting ...

Raby Paclv, The

Race for the .St. Leger in 1851
Race-horse, The
Race-horse, The

Race-horses— exercising

Race-horses — mounting

Race-horses — preparing for second heat

Race-horses — saddling

Race-horses — winning

Racer, portrait of a

Racing

Racing ...

Racing at Florence

Racing, the Starting Post

Rage with Agony (Passions of the Horse)
" Rallywood," a celebrated foxhound
" Rampion," a hunter

"Rapid"

Rare Good One at Timber

Rat-hunting

Ratcatcher with Favourite Terriers ...

Rat trap. The

" Rather too much down "

" Rather too much up "

Rattle and Clinker

" Ready," a spaniel

Real Thing, The

Red Deer

Red Deer

Red Game

Red Grouse

Red Grouse

Red-headed Widgeon

Refraction

.. A. Cooper, R.A

124, 125

.. II. B. Chalon

... 85

.. II. Aiken

19,24

.. H. B. Ch.alon

... 89

.. T. Gooch

... 209

.. S. Aiken

33

.. S. Aiken .,

- 33

.. S. Aiken

• 33

.. S. Aiken

- 33

.. S. Aiken

••■ 33

.. R. B. Davis

... 148

.. J. Barenger

... 36

.. A. Cooper, R.A

124, 125

.. II. Aiken

... 24

.. A. Cooper, R.A

... 124

... H. E. Chalon

S3- 90

,. J. E. Ferneley

••• 173

.. A. Cooper, R.A

... 118

.. A. Cooper, R.A

... 118

.. H. Aiken

... 26

.. S. Aiken

•■• 33

,. II. B. Chalon

... 90

... A. Cooper, R.A

... 121

... H. Aiken

... 25

.. H. Aiken

... 25

,.. S. Aiken

•■• 33

.. A. Cooper, R.A

... 126

... II. Aiken

... 26

... A. Cooper, R.A

... 119

... Geo. Garrard, A.R.A. ...

... 186

... Stephen Elmer, A.R.A... .

... 156

... A. Cooper, R.A

... 125

... S. Elmer, A.R.A.

... 155

... A. Cooper, R.A

... 123

... A. Cooper, R.A

119, 126

244

INDEX

Refreshing

Reindeer

Repulse of the Cossacks by the 93ril
Rest, and be Thankful, The
" Retreat from Naseby, The "
" Retriever," a deer-hound ...
Return from the Derby
Return Home, The ...
Returned from the Crimea ...
Returning from Deer-stalking
Returning from Deer-stalking

" Rhoda," a race-horse

Rich Scene, and such as no other Country

can Exhibit, A

" Richard," a brown horse ...

Richard Cceur de Lion, Reviewing the

Crusaders in Palestine ...
Richard I. unhorsing Saladin
Richard III. at Bosworth
Riding in a Storm
Rigging Him Out

Right and Left ...

" Ringwood " ...

River Scene, A

Roadster, A ...

Roadster's Album, The
Robert Bruce and the Spider...

Roberts, A. W.

Robertson's Little Wonder, Mr.
Robin Hood and Zoe...

Roe Deer ... ... ...

Roebuck

Roebuck Shooting
" Rose," a terrier
" Rose and Crib "
Rough Customer, A ...

Rough Lot, A

Rounding on Spankaway, Mr. T

Rout at Marston Moor, The

" Roxton," a hunter ...
Royal Hunt, The

Royal Hunt, The

Royalist Family taken by the Puritans, A ...
" Rubens," a hunter ...

"Rufus"

"Rufus"

Runaway Coach, A

Running

Rupert's Standard at Marston Moor
Russell, W., portr.iit of

" Saft an' Shyly "

" Sailor," a retriever ..

PACE

H. Aiken

IS

Geo. Garrard, A.R.A. ..

. ... 187

A. Cooper, R.A

"9

A. Cooper, R.A

... 124

A. Cooper, R.A

108,117

A, Cooper, R..'\

125

H. Aiken

25

H. Aiken

25

A. Cooper, R.A. ...

"9

A. Cooper, R.A., 1S44 .,

iiS

A. Cooper, R.A., 1849 .

"9

A. Cooper, R.A. ...

117, 121

H. Aiken

9

A. Cooper, R.A

122

A. Cooper, R.A

.. 118

A. Cooper, R.A....

"7

John Boultbee

73

Luke Clennell

97. 100

R. B. Davis

ISO

A. Cooper, R.A

123

A. Cooper, R.A. ...

113

Luke Clennell ...

IQI

H. Aiken

26

11. Aiken

2S

H. Barraud

58

II. Barraud

59

A. Cooper, R.A

118

A. Cooper, R.A —

120

A. Cooper, R.A

I2S

A. Cooper, R.A. ...

113

A. Cooper, R.A

125

II. B. Chalon ...

89

A. Cooper, R.A

116

II. Barraud

58

W. Barraud

55

A. Cooper, R.A

117

A. Cooper, R.A

"9

A. Cooper, R.A

118

H. B. Chalon ...

89

R.B.Davis

145, 146, 149

\V. & H. Barraud

SO. S9

J. Barenger

36, 39

J. Barenger

39

W. Barraud

54

H. Aiken

25

II. Aiken

26

A. Cooper, R.A

107, 117

J. E. Ferneley

172

A. Cooper, R.A

123

A. Cooper, R.A

iiS

INDEX

-M5

"Sally" a spaniel

... H. i;. Chalon

... 89

"Salliam"

... Geo. Garrard, A.K.A. ..

... 186

" Sam," a .seller

... A. Cooper, K.A

... 118

Samuel Dumbletun, purlrait uf ..

... J. E. Ferneley

... 167

Sand-Uiggers

... A. Cooper, K..\

... 117

"Saiali Bate and Seidlitz "

... W. Barraud

••• ss

39

" Sasenagh," a race horse

... ]. Barenger

"Satellite"

... "T. G.ooch

... 209

Saw Pit, The

... Luke Clennell

... lOI

Scene from ihe National Steeplechase

at

Liverpool

... H. Aiken

... 25

Scene from the Opera of La Gazza LaJra

... IL Barraud

... sS

Scene in Ottershaw Park, Surrey ...

... \V. Barraud

... 54

Scene in the Crimea

... A. Cooper, K.A ...

... 119

Scene in Windsor Great Park

... R. B. Davis

... 143

" Scorpion," a blood horse

... H. B. Chalon

... 89

Scotch Terriers

... W. Barraud

54

Scotch Teniers

... H. B. Chalon

... 90

Scotland

... A. Cooper, R.A

... 120

" Scrub," a pony

... A. Cooper, R.A

... 116

"Scurry"

... J. E. Ferneley

... 164

" Scyrus and Til "

... A. Cooper, R.A

... 118

.Second Barrel

... A. Cooper, R.A

... 120

Second Horses

... H. Aiken

... 25

"Selim"

... IL B. Chalon

... 86

Sentinel, The

... W. Barraud

... 54

Setters

... IL Aiken

. 25, 26, 27

Setters

... IL B. Chalon

85, 88

Setters

... A. Cooper, R.A. ...

... 124

Setters

... J. E. F'erneley

... 172

Setting Dog, A

... T. Gooch

... 209

Setting to

... Samuel Aiken

■■• 33

Shakespeare

... A. Cooper, R.A

... 117

" Shakespeare," a lumter

... W. Barraud

•■• 54

" Shakespeare," a stallion

... A. Cooper, R.A

... 125

Shamrock

... E. Bristowe

... 80

Sharpe, G. , portrait of

... R. B. Davis

... 149

Shealing, The

... A. Cooper, R.A

... 123

Shearers and Sportsman

... A. Cooper, R.A

... 120

Sheep

... Geo. Garrard, A.R.A. ..

... 187

Sheep, from Nature

... J. Barenger

35. 38

Sheep Shearing

.. Geo. Garrard, A.R.A. ..

... 1S9

Sheep Shearing at Aston Clinton

... Geo. Garraid, A.R.A. ..

... 186

Shetland Pony

... IL B. Chalon

... 88

She-Goat, Fvx and Ivid

... A. Cooper, R.A. ..

... 121

Shift of the Scene

... IL Aiken

... 14

Shoeing Forge

... E. Bristowe

79

Shooters Going Out

... A. Cooper, R.A

... 120

Shooters on the Hills

... A. Cooper, R.A

120

Shooters on the Moors

... A. Cooper, R.A

119

Shooter's Return, The

... A. Cooper, K.A —

119

Shooting Horse, with Pointers, A ...

... T. Gooch

... 209

Shooting on the Moors

... A. Cooper, R.A

... 126

Shooting Party

... A. Cooper, R.A

... 117

246

INDEX

Shooting Pony... A. Cooper, U.A., 182S,

Shooting Pony, Gamekeeper and Dogs
Shorthoin Bull...
" Shot," a pointer

" Shoveller," The

" Signal," a high bred Arabian

Silent Sorrow ...

Silver Fir.s

Simia Jacchus ...

"Sir David"

" Sir Malagizi," a racehorse ...

" Sir Peter Teazle" ...

Sir Roger de Coverley, &c. ...

" Sir Rowland " ... ...

Sir Trevisan flying from Despair

Sketch, A

Sketch from a Hunting Picture

Sketch from Nature ...

Sketch in Clay...

Sketch of a Lion and Lionesses

Skewbald Mare and Foal

Skirmish

Skull of a Bear...

Skull of a Lion

.Skye Terrier and Whelp

Skye Terriers ...

Slave Dealer, The ...

Sleepy Travellers

" SI igo," a racehorse ...

Smith, L., portrait of...

Smith shoeing horse ...

" Smoker," a dog

Smugglers on the Northumberland Coast ...

Snared Hare ...

Snipe Shooting

Snipe Shooting

Snipe Shooting

Snob's Figure, with his " Short cut Coat "
Snow Piece, A...

" .Snowball," a greyhound

" So far, so good "

" Soho, my Man ! ' ...
" Soldier," a horse
•Solitary Snipe ...
Soul Encaged, The
South American Mule...
South Devon Ram
.Sow and Pigs ...

Spaniel

Spaniel

Spaniel PL B.

.Spaniel ..

.Spaniel and dead game

Spaniel and Woodcock

PAGE

1829, 1833, 'S53, I8G4...II7, 119, 120

IL B. Chalon

,. 89

J. Barenger

.. 38

A. Cooper, R.A. ...

.. 113

A. Cooper, R.A. ...

.. 125

J. Barenger

•• 39

A. Cooper, R.A...,

.. 120

J. E. Ferneley

.. 165

Geo. Garrard, A. R.A. ...

.. 186

H. B. Chalon

85,88

H. B. Ch.alon

.. 89

S. Gilpin, R.A. ... 196, 3

01, 203

R. B. Davis

• ■ 149

A. Cooper, R.A. ...

.. 119

A. Cooper, R.A

.. 109

R. B. Davis

.. 149

G. Garrard, A. K.A.

.. 186

B. Blake

64,67

G. Garrard, A.R.A.

.. 187

S. Gilpin, R.A

.. 202

Geo. Garrard, A.R.A. ...

.. 186

A. Cooper, R.A

.. 117

PL B. Chalon

88

H. B. Chalon

.. 88

A. Cooper, R.A

.. 125

W. B.irraud

■■ 54

A. Cooper, R.A....

.. 119

A. Cooper, R.A

121

J. Barenger

.. 36

J. E. Ferneley

.. 172

E. Bristowe

.. 80

A. Cooper, R.A. ...

17, 124

A. Cooper, R.A

.. 119

S. Elmer, A.R.A.

• 15s

H. Aiken

■■ 25

A. Cooper, R.A....

20, 122

R.B.Davis

.. 142

PI. Aiken

II

Geo. Garrard, A.R.A. ...

.. 186

PL B. Chalon

.. 88

A. Cooper, R.A

• 123

A. Cooper, R.A. ...

.. 117

G. Garrard, A.R.A.

.. 181

A. Cooper, R.A. ...

122

Luke Clenntll

95

R. B. Davis

•• 149

Geo. Garrard, A.R.A. ...

.. 187

H. B. Chalon

go

H, B. Chalon, 1S03, 1805

.. 88

H. B. Chalon, 1818, 1819

.. 89

Chalon, 1822, 1830, 1838, 1839

.. 90

A. Cooper, R.A

.. 117

.\. D. Cooper

27, 12S

A. Cooper, R.A

.. 119

INDEX

Spaniels and WoodcDcks

Spaniel of King Charles' Breed

Spaniels

Spaniels

Spaniels

Spaniels

Spaniels flushing a woodcock

Spanish Bark ...

Sparrow from Nature ...

" Spice," a terrier

Sporting Anecdotes ...

Sporting Bishop, The Cleiical \'

or the hounds at Fault ...
Sporting Scraps and the M.iil Cha:
Sportsman and Gamekeeper . . .
Sportsman's Bothy, The
Sportsman's Picnic, The
Sportsman's .Siesta, The
Sportsmen in a Wood...
Sportsmen in the Highlands ...
Sportsmen Refreshing
Sportsmen Refreshing
Sportsmen with dead game, &c.
Sportsmen with Spaniels
"Spot," Italian greyhound ...
" Spring Tail," a hunter
"Squib"

Squirrels

Stable-yard

Stable-yard

Stable-yard

Stag

Stag and Hind ...

Stag at Bay ...

Stag-hound
Stag-hound

Stag hunt at Epping

Stag hunting

Stag's head ...

"Stag must die! The"
Stag soiling

Stallion, A

Stallion, A

" Staring Tom "

Start, The

Start, The

Start for the St. Leger in 1S51
Startling Intelligence ...
" Stately," a hound ...
Statue of an Infant
" Stavely "

Steady

" Stedniore," a blood horse ...
Stevenson, W., bust of

S. Elmer, A.R.A.

II. B. Chalon

II. B. Chalon

... A. Cooper, R..\., 1S18 ...
... A. Cooper, R.A., 1S19 . .
.. T. Gooch...

II. B. Chalon

II. B. Chalon

... J. Barenger

A. Cooper, K.A

II. Aiken

itwhalloo,

H. Aiken

ngc ... II. Aiken

... E. Bristowe

A. Cooper, K.A

A. Cooper, R. A

... A. Cooper, R..\

H. .\lken

... .\. Cooper, K..\. ...

.S. Aiken

... E. Bristowe

S. Elmer, A.R.A.

... J. Barenger

H. B. Chalon

... J. Barenger

... .\. Cooper, R. A. ...

... Luke Clennell

II. Barraud

K. B. Davis

George Garrard, A.R.A., 1797, 1IJ25,

A. Cooper, R. A

... A. Cooper, R.A —
... Samuel Aiken

S. Gilpin, R.A

... Thomas Gooch ...

... A. Cooper, R.A

Samuel Aiken

A. Cooper, R.A

... A. Cooper, R.A

... John Ferneley

II. Aiken

Thomas Gooch

... Thomas Gooch ...

II. Aiken

... T. Boultbee

"H. Aiken

A. Cooper, R.A

A. Cooper, R.A

G. Garrard, A.R.A.

... A. Cooper, R.A —

... A. Cooper, R.A

M. B. Chalon

G. Garrard, A.R.A.

247

PAGE

... 158

... 90

... 87

... 116

. 121

... 209

... 88

... 90

... 38

... iiS
12, 25

12

... 25

... 78

... 118

... 122

... 123

... 23

... 118

••• 33

.. 78

... 157

... 36

... 90

... 38

... 121

... 100

... 59

... 14S
1S7, 189

... 113

... 120

•• 33

... 203

... 209

... 120

... 31

... 120

... 122

.-. I7S

... 26

... 209

... 209
9

... 72
...19.24

... 119

... 121

... 187

... 118

... 124

... 89

... 187

h8

INDEX

Still life

Stirring Cup, The

" Stormy Petrel "

" Streamer," red greyhouml

Strong Point, A

Struggle for a Start, A

Studio, The

Study, A

Study of Equestrian Study of I lis Majesty,

&c

Study from Nature

Study of an Ass

Study of Cattle

Study of Dead Jay

Study of Dead King-fisher

Study of Deer

Study of Dogs and Cat

Study of Fo.\hound

Study of Horses

Summer

Sunset View of the Limeworks at Purllect ...

Sure Find, A ...

" Surplice," winner of the Derby, 1S4S

.Sussex Carp

.Susse-\ Cow

Suttler's Booth, The

Sutton, Sir Richard

" Swap," a hunter ...

" Swinley," Hanoverian stag...

Swine and Donkeys ...

Syke Terrier ...

Symptoms of Distress with the Cocktail

Floored

PAGE

A. Cooper, R.A

A. Cooper, R.A. ...
A. Cooper, R.A....

121, 125
... I20
... 122

II. B. Chalon

...86,91

A. Cooper, R.A

... 123

H. Aiken

17

A. Cooper, R.A

A. Cooper, R.A....

109, 124
... 119

G. Garrard, A.R.A.

... iSS

A. Cooper, R.A., 1S19, lb
W. Barraud

21. ..116, 121

••■ 54

F. Barlow

... 45

A. Cooper, R.A

A. Cooper, R.A. ...
F. Barlow

... u6
... ii5

44

F. Batlow

... 45

II. Aiken

... 25

F. Barlow .. .

... 44

E. Bristowe

... 80

Geo. Garrard, A.R.A. ...

... 189

H. Aiken

...19,24

A. Cooper, R.A. ...
A. Cooper, R.A.,..
Geo. Garrard, A.R.A. ...

... 119
... 122
... 186

A. Cooper, R.A

J. E. Ferneley

A. Cooper, R.A

R. B. Davis

... 120
... 172
... 117
... 150

F. Barlow

44

H. B. Chalon

... 90

II. Aiken

9

Tablet for a Chimney-piece ...

... G. Garrard, A.R.A.

... 1S7

Taking it Cleverly

... H. Aiken

... 26

Taking the lead in spite of all

... H. Aiken

... 26

Taking the Stag

... R. B. D.avis, 1845, 1S46..

150, 149

"Tally IIo!"

... H. Aiken

26, 27

" Tally Ho and Away ! " ...

... H. Aiken

II

"Tam O'Shanter"

... A. Cooper, R.A

... 119

"Tarn O'Shanter"

... J. Barenger

••• 39

Tandem

... H. Aiken

... 25

" Tar," a retriever

... A. Cooper, R.A. ...

120, 123

"Tartar"

... W. Barraud

... 54

Teal

... A. Cooper, R.A

... 124

Teal

... Stephen Elmer, A.R.A...

... 158

Ten Virgins, The

... H. Barraud

... 58

Terne, Henry, portrait of

... W. Shepard

... 41

Terrier, A

... W. Barraud

■•• 54

Terrier, A

"ii.

B. Chalon, 1S18, 1824, 1832, 1

846

...89,90

INDEX

249

I'AGE

Terrier, A

A. Cooper, R.A., 1S32, Ii>34...

125, 117

Terrier and Fox

. Stephen Ehncr, A.R.A....

... 155

Terrier and Tame BaJger

. H. B. Chalon

... Sg

Terrier worrying a Fox

S. Gilpin, R.A

... 200

Terriers at a Rabbit Hole

. H. B. Chalon

90

Terrier's Head, A

. A. Cooper, R.A

06, 116

" Terror" (Passions of the Horse)

H.B. Chalon

84, 90

"That will shut out Atany and make tlit

Thing select"

H. Aiken

.. 26

"The Baron he loves his own good Steed'

' A. Cooper, R.A

.. 120

The Field becomes Select

H. Aiken

9

The Kill wins

H. Aiken

24

"Theon"

J. E. Ferneley

•• "74

Theory of Gravitation

H. Barraud

.. 58

" There's a Ring at the Bell "

A. Cooper, R.A

.. 124

"These came Hopping"

H. Aiken

17

Thomas Oldaker, huntsman ...

.\. Cooper, K.A

121

Thorough-bred Spaniel of King Charles

Breed '

H. B. Chalon

.. 90

Three dead Bird Pieces ...

Stephen Elmer, A. R.A...

■ • 157

Three Graces

A. Cooper, K.A

.. 124

Three Horses

A. Cooper, R.A

.. 117

Three Horses and Foxhounds

PI. B. Chalon

.. Sg

Tiger, A

Geo. Garrard, A. R.A. ...

.. 187

Tiger Shooting

H. Aiken

26

Tigers

S. Gilpin, A.R.A.

.. 203

Tilbury Fort

LukeClennell

101

" Time to get up, Zur ! "

H. .\lken

.. 26

" Tiney," a greyhound

W. Barraud

52. 54

Tired Camel, The

A. Cooper, R.A

.. 120

Tired Hunter, The

A. Copper, R.A

.. 119

To an old tune

A. Cooper, R.A

.. 123

" Tobias," pony ...

li. B. Chalon

.. 90

Tod-hunter, The ...

A. Cooper, R.A

.. 123

"Tom"

A. Cooper, R.A

.. 116

Tom Grant, a huntsman

R. B. Davis I

41, 149

Tom Jones

A. Cooper, R..\

.. u8

" Tom Thumb and Jackie"

A. Cooper, R.A...

,. 118

" Tommy Binks"

H. B. Chalon

91

" Topsy, Wasp, Sailor and Master Turvy"..

.v. n. Cooper

.. 128

" Topthorn," a hunter

J. Barenger

■• 39

"Tony"

H. B. Chalon

.. 90

" Towing-horse "

A. Cooper, R..\

.. 117

Travellers attacked by Wolves

K. B. Davis

■• 149

Trees and Horses

S. Gilpin, R.A

202

Trespassers

R. B. Davis

■ 149

" Triumph," portrait of a dog

W. Barraud 47

, 51. 54

" Trojan," foxhound

S. Elmer, A.R..\. ... I

55. 158

" Trouncer," foxhound

A. Cooper, R.j\ I

17, 122

Trout

A. Cooper, R.A

.. 124

Trout

S.Elmer, A.R.A. ,1774, I779-'

57, 158

" Truffle," a bay horse

A. Cooper, R..\.

121

" Trumpeter," The

A. Cooper, R.A

.. 118

Trysting Place

W. Barraud

•■ S4

250

INDEX

" Turk," a retriever ...

Turkeys

Turnpike Gate ...

Turner, J., on " MMquis" ...

Turner, Miss ...

" Turpin," blind dog ...
" Turquoise," a mare ...

" Twiliglit and Wyandotte "

Two Cats
Two Chargers ...
Two Dogs
Two Dogs

Two Famous Hunters and Harriers

Two Favourite Phaeton Ponies

Two Favourite Spaniels of Lord Methuen ...

Two Flower Pieces

Two Fruit Pieces

Two Greyhounds

Two Horses

Two Horses

Two Horses

Two Horses in a Curricle

Two Hunters ...

Two Mares and Two Skye Terriers ...

Two of Her Majesty's Stale Horses, &c. ...

Two Old Campaigners, " Marengo and

Copenhagen"

Two Phaeton Ponies ...

Two Pieces : Small Birds ...

Two Ponies

Two Prize Hereford Oxen
Two Spaniels ...
Two Spaniels ...

Two Tame Leverets

Two to One

PAGE

J. Barenger

39

F. Barlow

41

A. Cooper, R.A....

116

W. Barraud

54

A. Cooper, R.A. ...

117

H. B. Chalon

90

R. B. Davis

150

W. Barraud

55

H. B. Chalon

90

H.B. Chalon

88

H. B. Chalon

89

A. Cooper, R.A

118

H. B. Chalon

89

H. B. Chalon

89

W. Barraud

54

S. Elmer, A. R.A.

157

S. Elmer, A. R.A.

157

H. B. Chalon

89

A. Cooper, R.A

117,

118

Geo. Garrard, A. R.A. ...

177.

186

T. Gooch, 17S3, 1786 ..

208,

209

T. Gooch

209

H. B. Chalon, itioi, 1824

'.'.'.Si

1, 90

A. Cooper, R.A

118

H. B. Chalon

'si

!, 90

A. Cooper, R.A

119

H. B. Chalon

89

S. Elmer, A. R.A.

157

H. B. Chalon

89

Geo. Garrard, A.K.A. ...

187

H. B. Chalon, 1815, 1S26

.■.■.'89,90

A. Cooper, R.A., 1S15, 1830.

..116,

.117

J. Barenger

39

H. Aiken

25

Under Weigh A. Cooper, R.A.

Unkennelers, The H. Aiken ...

Unkennelling S.amuel Aiken

Unlicensed Hawker, An A. Cooper, R.A.

Up the Pass A. Cooper, R.A.

Used to it and not used to it H. Aiken ...

" Uxbridge," Her Majesty's saddle horse ... H. Barraud

123
27

33

119

123

26

57

" Van Dyke," portrait of
Vandyke, a racehorse ...

"Vanity"

Vedette, The

R. B. Davis

148

H.B. Chalon

85

H. B. Chalon ...

86,91

A. Cooper, R.A....

119,123

INDEX

251

PAGE

"Velocipede"

David Dalhy

•■• 135

" Velocipede and the Cur" ...

J. E. Ferneley

... 167

" Vicare," a hunter

H. B. Chalon

... 89

" VictL'ry," a pointer

A. Cooper, R.A

... 122

Victory and Fame, model of ...

George Garrard, .\. R.A.

... 1S8

View at Great Durnford, Wiltshire

B. Blake

...61,67

View from the East End of the

Brewery,

Chiswell Street

... George Garrard, A. R.A.

... iSo

View in Bedwell TarU, Herts

G. Garrard, A.R. A.

... 1S7

View in Brewhouse Vard

... G. Garrard, A.R.A., 1784, 17S9 ..

. 177, 186

View in Grounds in Craven Lodge

G. Garr.ard, A.R.A.

... 1S8

View in Highlands of Scotland

G. Garrard, A.R. .A.

... 187

View in Ostcrley Park

G. (Garrard, A.R..\.

... 189

View in .Sandwell Parl<

G. Garrard, A.R.A.

... 189

View in Tring Park

G. Garrard, A.R.A.

... 1S6

View near Aniesliury ...

B. Blake

...64,67

View of Alnwick Castle

G. Garrard, A. R.A.

... 18S

View of Burghley House

G. Garrard, A.R.A.

... 187

View of Farnham Castle

Stephen Elmer, .A.R.A....

... 158

View of Gentleman's Seat in Hettfjrdshire... G. Garrard, A.R. A.

... 186

View of Hamilton Place

G. Garrard, A.R.A.

178, 186

View of Inverary, in Argyllshire

G. Garrard, A.R.A.

178, 186

\'iew of Lake Windermere ...

... G. Barrett, R.A., and S. Gil|nn, R

A. 198

View of Windsor Castle

K. B. Davis

... 148

View of Woolmer Park, Herts

G. Garrard, A.R.A.

... 187

Vignette

...A. Cooper, K.A., 1824 1830, 1831 .

. 122, 124

Vignette

R. B. Davis

... ISO

" Vignette, Languish"

A. Cooper, R.A

... 123

" Vingt-un and Jlajor "

A. Cooper, R.A

... 119

" Violante," a race-horse

H. B. Chalon

... 84

"Vive-Ie-Roi !"

A. Cooper, R.A

... 119

Vixen

H. B. Chalon

... 90

Vi.xen and Cubs, A ...

G, Garrard, A.R.A. ..^

... 183

w

" Wag," 1S09, a dog of King Charles

Breed

H. B. Chalon

... 91

Waiting for a shot at Roedcer

J. E. Fernelev

... 167

Waiting for a turn

R. B. Davis '

... £49

Waiting for the Ferry ...

W. Barraud

... 54

Waiting for the Laird

W. and H. Barraud

50.59

Waldegrave Family, The

]. Best

... 60

"W.aniba"

A. Cooper, R.A

... 117

Wandering Boy

H. B. thalon

- , 90

" Wanton," a greyhound

H. H.arraud

56,58

Wapiti deer

A. Cooper, R.A

116, 121

Wapiti deer ...

Geo. Garrard, A.R.A. ..

... 188

War Horse, The ...

S. Giljnn, R.A. ...

... 200

Warde, J., on his favourite horse "

Blue"

Ruin"

W. Barraud

48, 55

" ' Ware' Horse ! "

H. Aiken

... 25

Waring, Thomas

A. Cooper, R.A

III, 118

"Warrior"

J. Barenger

... 38

252

INDEX

Water-fowl Shooting ...

Waterloo

Wayside WclcoiiK", A...

" We praise Thee, O God ! " Three Choristers

Well up with hounds in a wall country

Wellesley Arabian, The

Wellington at Waterloo

Wellington's First Great Victory

West Australian

West, B., portrait of

Wharf near London Bridge, A

What became of the Mail ?

"What Sport?"

" What the Devil !" &c

Where they ran into him

" Which way now?" ...

Whipcord

Whipper-in, The

" Whisker," a bay -horse

" Whisker and Minuet "

"Whisky"

Whissendine Scene, The

Whitbread, .S. , bust of ... ... G.

"White Legs," a celebrated liunter...

White Poodle

" Whohoop !" ... ...

" Who's up for the Rescue ! "

Wildcat

Wild Ducks

Wild Fowl Shooting ...

Wild Huntsman, The...
Wild Huntsman, The...
Wiltshire Coursing Prize Pictuie, The

Wiltshire, W., bust of

"Winchelsea" ...

Winged Bird, A

Winner of the Brush, The

Winning Post at Billesden Coplow, The ...

Winter Farmyard Scene

With bright faces and merry hearts ...

'' With what sum will you open the Biddings

for her?" ...
" Within Range "
Woburn Sheep Shearing
Women's Mission
Women's Race at a Village Fair
Woodcock Shooting ...
Woodcock .Shooting ...
Woodcock Shooting ...
Woodcock Shooting ... ... A. Cooper,

Woodcock Shooting ...

Woodcocks

Woodcocks

Woodcocks Stephen Ehiicr, A.

PAGR

R. B. Davis

.. 142

H. Alkeu

.. 26

A. Cooper

.. 124

n. Barraud

57

H. Aiken

.. 26

J. Barenger

39

A. Cooper, R.A

.. iiS

A. Cooper, R. A

.. 119

A. Cooper, R.A

.. 119

Geo. Garrard, A. R.A. ...

.. 187

Geo. Garrard, A. R.A. ... I

79. 187

H. Aiken

.. 24

A. Cooper, R.A

•• 123

H. Aiken

.. 26

H. Aiken

24

A. Cooper, R.A

.. 123

S. Gilpin, R.A

.. 203

A. Cooper, R.A

.. 122

A. Cooper, R.A

.. 121

A. Cooper, R.A. ...

.. 116

Geo. Garrard, A.R.A. ...

.. 187

H. Aiken

12

Gariard, A.RA., 1804, 1S16...1

87, 188

David Dalby

■ 133

George Stubbs, R.A.

82

H. .\lken

14

R. B.Davis

•• 150

H. B. Chalon

•• 91

S. Elmer, A.R.A.

.. 158

A. Cooper, R.A., 1S30, 1831...

117,124

A. Cooper, R.A

.. 123

R. B. Davis, 1809, 1S53... 1

48, 149

W. and H. Barraud

50. 52

G. Garrard, A.R.A.

.. 18S

W. Barraud

52. 54

A. Cooper, R.A

.. 124

H. Aiken

.. 26

H. Aiken

9

G. Garrard, A. R.A.

.. 186

H. Aiken

.. 29

A. Cooper, R.A

.. 119

A. Cooper, R.A. ...

122

G. Garrard, A.R.A.

.. 184

A. Cooper, R.A. ...

120

H. Aiken

• 23

H. Aiken

■• 27

S. Aiken

• 32

]. Barrenger

.. 36

,"R.A., 1824, 1832, 1859.. .122,

17, 120

R. B. Davis

.. 142

T. Barenger

■ 39

"H. B. Chalun

90

R.A., I77S. >779, I7i>-1. 17S6...1

57. 158

Woodhouse, at Great Duiiiford

Sailslmry ...
Woodperker, Jay, &c....
Worley, Mr. ..'.
Wounded Greek, The...
\Vounded Mallard
Wounded Pheasant ...
Wounded Snipe, The ...
" Wouvermans," a horse
Wrynone Joe, The Drayman

INDEX

253

PAGE

near

... B. Blake

... 67

... Stephen Elmer, A. K. A..

... IS7

... A. Cooper, R.A

... 119

... A. Cooper, R.A

... 119

... A. Cooper, R.A

... 124

... Stephen Elmer, A.R.A..

... 155

... A. Cooper, R.A

... 125

... A. Cooper, R..\

117,122

... H. B. Chalon

... 88

Yarmouth Cart, with views of Yarmouth

"Yoicks!"

" Yoicks 1 Gone Away "

Young, A., bust of

Young nobleman and his sister on horseback
portr.nit of a

G. Garrard, A. R.A.

H. Aiken

R. B. Davis

G. Garrard, A.R..-\.

Thomas Gooch ...

186

25

150
187

208

Zebu, The

Zebu, Bull and Cow

... G. Garrard, A.R.A.
... A. Cooper, R.A.

.87
116

"THE SPORTING MAGAZINE" AND ITS ILLUS-
TRATED CONTEMPORARIES.

The very frequent mention of old sporting publications in the
preceding pages seems to render desirable some little account
of these and their relation one to another.

The history of the four principal magazines is slightly
involved, and thanks are due to Mr. Frederick S. Banks, who
stands alone in his knowledge of these old publications, for
the following outline of their history. The Sporting Magazine,
born in 1792, held its own till 1870, when it ceased ; having
twenty-two years previously absorbed the Sporting Review
which at different dates had absorbed the Sportsman and New
Sporting Magazine. The word "absorbed" is not employed
in its strictly literal sense ; when the Sportsman was absorbed
by the Sporting RevicK' in 1845 (see diagram on opposite page),
publication of the former continued, but its contents were
word for word identical with the contents of the Sporting
Review. When the New Sporting Magazine was also absorbed
by the Sporting Revietv in 1846, publication of the former was
continued, but its contents were thereafter word for word
identical with the contents of the Sporting Review and the
Sportsman. Finally, when the proprietors of the Sporting
Magazine bought the Sporting Review in 1848, their purchase
included the Netc Sportincj Magazine and the Sportsman, and
thence forward four monthly magazines identical in contents,
and differing only in title, ran abreast of one another till
1870, when they came to a common end. The diagram
shows in the simplest form the periods during which each
magazine had an independent existence and the dates at
which the contents of each became identical with those of a
purchasing rival.

The year i860 had seen the birth of Baily's Magazine of
Sports and Pastimes : the Sporting Magazine group of publica-
tions continued to compete with this new rival for ten years,
when as already stated they came to an end.

The Annals of Sporting, which was of small size, started in
the year 1823 and "died" in the following year after three
volumes had been completed. The Sportsman's Cabinet, printed
on larger paper than any of its contemporaries, enjoyed an
existence even shorter; started in 1832 it came 10 an end in
1833, when only two volumes had been completed. These
two serials may be thus briefly dismissed, their respective
careers having been independent.

The Sporting
Magazine.

Fonnded 1792.

New Sporting
Magazine.

Founded 1S31.

Sportsman.

Founded 1833.

Sporting
Bevies.

Fonnded 1839.

In 1845 the Sportsman was
immerged in the Sjmrt-

ing Review

In 1846 the New Sporting MagaHm was immevged

in the Spmtinq Bfrim'

Sim-ling Magamie absorbed the Sporting Semew in 1848.

The Sporting
Magazine.

Ceased 1S7U.

Webster F^.miiv Ubrary of Veterinary Kledicine
r,, " ' f Veterinary iVledicine at

0 hoad

-.n i\/IA OIR'^R

WORKS BY SIR WALTER GILBEY, BART.

Animal Painters of England

from the year 1650. Illustrated. Two vols., quarto, cloth
gill, Two Guineas net on subscription. Prospectus free.

The Great Horse or War Horse

From the Roman Invasion till its development into the
Shire Horse. New and Revised Edition, 1899. Seven-
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The scarcity of Carriage Horses and how to breed them.
3rd Edition. Twenty-one Chapters. Seven full-page
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Young Race Horses — suggestions

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Life of George Stubbs, R.A.

Ten Chapters. Twenty-six Illustrations and Head-
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Small Horses in Warfare

Argimients in favour of their use for light cavalry and
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Horses Past and Present

A sketch of the History of the Horse in England from
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