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James Ward, R.A.

JAMES WARD, r.a.

His Life and Works

With a Catalogue of his Engravings and Pictures,
By

C. Reginald Grundy

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LONDON
Published by

OTTO LIMITED

CARMELITE HOUSE, E.C.
1909

fo tlje honourable Joljn Marb, Jlt.^J.®.,

Whose kindness in allowing his unique collection of Pictures, Studies, and

Engravings by, and after James Ward, R.A., to be drawn upon for

Illustrations, has provided this Volume with its most attractive features,

this work is gratefully dedicated by the Author.

PREFACE .

THE literature relating to James Ward is scanty — one or two magazine
articles, some short notices in biographical dictionaries, a well written
monograph by Sir Walter Gilbey in his work on animal painters, an
anonymous biography relating to the artist's early career, published in 1807
— to which I shall refer later — and Mrs. Julia Frankau's sumptiously
mounted volume, published in 1904, complete the tale. Of these, the last named
work, though the most ambitious, and most elaborate, is unfortunately not
the most accurate ; and much as I admire the fluent picturesquenessof Mrs.
Frankau's narrative, I find myself in constant disagreement with the facts
and conclusions set forth by that lady. I must confess, that my alterations
are chiefly on the prosaic side ; thus, I have been obliged to prolong the
somewhat reprobate existence of James Ward, Senior, for twenty years
after the time Mrs. Frankau had killed him off — a chastened and penitent
sinner frightened into sobriety and death by the apparition of his deceased
brother. In like manner I have had to alleviate the hardships of Mrs. James
Ward, Senior, by endowing her with only five children, instead of eight, to
transform the " regal pomp and circumstance " of Ward's tours in Wales, for
the Boydells, into commonplace and economical journeyings in a second-hand
gig ; and by postponing, for nearly ten years. Ward's attempt to enter the
Royal Academy as a student, to make his conduct, then, appear perfectly
reasonable, instead of an exhibition of youthful petulence and conceit.

A hundred other instances might be mentioned, but as lack of space
forbids, I will content myself with giving, as a sample of Mrs. Frankau's
methods, a single quotation from her book. It is taken from page 57, and
forms part of a long tirade against James Ward for his treatment of his
children, more especially of his son George. " George was persuaded,
urged, forced eventually, to abandon art, to give up everything that had
filled his life, and provided him with the means of subsistence, and .
take to the manufacture of blacking ! ! " The only date Mrs. Frankau
mentions in connection with this event is 1857. To the reader who has
had his emotions excited by visions of a youthful stripling bullied into
obedience by a stalwart middle aged father, it may come as a relief to
know that in 1857, James Ward was a decrepit and tottering veteran of 88,
while George, who had reached the mature age of 58, might be reasonably
supposed to have outgrown parental control. It is improbable that at that

time he could have been "forced" into the blacking factory, as it had
ceased to exist for nearly twenty years. As a matter of fact George was
never connected with it. It was an enterprise in which his brother Claude
James persuaded their father to risk his savings and where he lost them
for him.

For the materials of my monograph, I am chiefly indebted to the
generosity of Mrs. E. M. Ward, the painter's granddaughter, who placed
at my disposal a voluminous mass of his letters and papers, and supple-
mented them with her own interesting personal recollections ; while Miss
Edith Jackson, a great-granddaughter of the artist, kindly lent me some
of his diaries. I have drawn from the 1807 biography, already mentioned,
some important details of Ward's early career, and have done this the more
confidently, as from the characteristic phrases and turns of expression,
contained in this work, and other internal evidence, I am convinced that it
was produced under the direct inspiration of James Ward himself, if not
actually written by him.

I owe a debt of gratitude to those owners of pictures and engravings
who have allowed me to reproduce the many interesting examples of the
artist's work ; and, in collating the list of engravings, must thankfully
acknowledge the kind assistance of Mr. Fritz Reiss, and Mr. A. R. Johnson,
who have made me free of their fine collections, and of Mr. Basil Dighton,
Mr. Frank T. Sabin, and Mr. Ernest Leggatt, who have given me much
valuable information, and last but not least of those officials of the British
Museum whose patience and kindness in supplying my somewhat onerous
requirements have been inexhaustible.

THE LIFE OF JAMES WARD, R.A.

Chapter I.

THE present year is the sixtieth anniversary of the death of James
Ward, animal, landscape, and portrait painter, engraver, litho-
grapher, and modeller. His disappearance left no gap in English
art, for he was then a veteran of ninety ; and, for a score of years
or more, had produced little work that added to his reputation. He was
in truth a survivor of the past, a straggler from the age of Reynolds and
Gainsborough, and the newer art movement which was heralded by the
advent of Millais, Leighton, and Watts, had in it no place for him.

He was born in 1769, the year of the foundation of the Royal Academy,
just at the time that English art was casting off leading strings, and
establishing itself on a firm footing. Hogarth was but five years dead.
Hudson and Ramsey were still fashionable portrait painters, Reynolds and
Gainsborough had barely reached their prime, Romney was courting fame
as an historical painter preparatory to his journey to Italy, and Stubbs was
gaining larger sums by his canvasses and enamels of horses, than most of
his brother artists could earn by painting portraits of men and women.

Of Ward's future contemporaries, Beechey, lately apprenticed to an
attorney, was cultivating art as a relaxation from the law, Hoppner had
not left the nursery, Morland was still unbreeched, and Lawrence was a
baby in long clothes. Six years were to elapse before the birth of Turner,
seven before that of Constable, and sixteen before that of Wilkie. Ward
wras destined to survive them all, to live far into the Victorian era, to find
his later work surpassed in popular estimation by the more taking pro-
ductions of Landseer and Sidney Cooper, his engravings only remembered
as curiosities, and the art of England diverted into new paths by the
influence of the Pre-Raphaelite movement, and the impassioned writings
of Ruskin.

From the pages of Ward's own memoirs, and the lips of one or two
who still remember him, his portrait can be drawn with tolerable accuracy.
Nature had intended him to be a big man, but early privation, and premature
hard work stunted his growth. He was broad and thick set, his head and
shoulders would have suited a six-foot figure, and his limbs were of
proportionate girth. He was big and vehement in his ways. When he sang
the volume of his voice made the welkin ring and the glasses on the table
quiver. He laughed boisterously, nor minded if it was at his own expense.
His grand-daughter, Mrs. E. M. Ward, tells me that, when a little girl,
dearly as she loved him, she dreaded his embraces, for he kissed with such
gusto and opened his mouth so wide, it seemed as if he was going to engulf
her. He spoke loudly, and with authority, and in whatever company he
found himself, he dominated it with his presence. This was the more
noteworthy because he was unlearned, having had but scant schoolinj^, and

his knowledge of reading and writing and power to express himself in fluent
though loquacious Enghsh, were due to his own unaided efforts. After his
boyhood he cared httle for reading, except as a means of equiping his mental
armory, especially as regards religion. Thus he knew the Bible by heart,
was as well versed in theological literature as a clergyman, and very rarely
opened a novel. The only one that made any impression on him, and
that very late in life, was " Uncle Tom's Cabin." Poetry he must have
studied to some extent, for he dabbled largely in verse, and in his ragged
numbers there can be frequently traced the influence of Blake, and more
occasionally that of Scott. Withal he was brimful of emotion, a pathetic
ballad making him cry like a child, and any piteous tale unloose his purse
strings, while an insult or wrong set him bristling with indignation. In
some of his letters he complains of his sufferings with the unrestrained
vehemence of a hysterical girl, and his language is no less forcible when
applied to the sufferings of others ; but these were not the vapourings of a
weak nature — a httle stubble quickly set aflame and quickly put out — but
rather the surface ebullitions of a fiery deep-rooted volcano, which the
waters of adversity could not quench, and even old age could only slightly
abate. No man was more fixed in his ideas, gave more free expression to
them, or pursued them against powerful opposition, with such indomitable
courage. Even in little matters such as dress he entirely disregarded
convention. To the last he affected tights which showed off to advantage
the well-shaped contour of his legs ; and having designed a great coat
which suited his fancy — a drab-coloured garment reaching to his heels — he
ordered his tailors to make all his future ones in similar fashion. When he
grew his beard, at a time when beards were scarcely tolerated in polite
society, he wrote a long pamphlet setting forth the moral and physical
advantages of remaining unshaven, and insisted on reading it aloud, to a
full assembly of his bored and yawning brother Academicians.

Though temperate he was no teetotaler, taking wine at dinner, yet so
rarely exceeding a fixed limit, that when, on one or two occasions, he drank
four glasses, he chronicled the event in his diary. One of his bitterest
complaints in the days of his old age and poverty, was that he was no
longer in a position to give a glass of wine to a friend.

For rank he had a profound respect, often sacrificing his own feehngs
rather than show a lack of deference to his titled patrons. Thus on one
occasion he concealed the fact of the death of his infant son from a party
of noble guests whom he was entertaining; but his was no cringing servility;
on matters of conscience or art he was adamant, as when executing some
commissions at a certain country seat he borrowed a horse and rode six
miles to attend a church service in defiance of the expressed wish of his
host ; while when George IV ventured to criticise the action of a trotting
horse in one of his pictures, he browbeat the astonished monarch into
owning himself mistaken. It is this trait of independence, which renders
noteworthy the warm friendship tendered to him by so many noblemen,
and shows that the man must have had many engaging and loveable qualities.

Like most artists who achieve early popularity, and attain a ripe old
age. Ward suffered first from the indiscriminating praise of the public, and
afterwards from its neglect. During the first period his colouring was said
to surpass that of Titian and Rubens, and his powers acclaimed as being

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LOUISA (portrait OF MRS. GEORGE MORLAND, NEE ANNE WARD)
Painted and Engraved by If. Ward

equal to perfecting vast and grandiose works that would have taxed the
genius of a Tintoretto. His own aspirations, and his lack of trained critical
acumen betrayed him into the same belief. His temperament was not
wholly that of an artist, before everything he was a theologian. In his
earliest boyhood, he pored over the pages of Bunyan's " Pilgrim's Progress,"
until the intense and fervid views of the Bedford tinker had become part
of his nature. For a time his religion was a thing apart from his art.
During the early part of his career he was either working as an engraver
in translating the ideas of other men, or painting under the influence of
Morland, confining himself to the same class of subject as that artist, and
only differing from him in regarding it from a higher, more sedate, and
more moral standpoint. When, however, he had freed himself from tutelage,
and found his strength, he gave his mysticism free vent, and in the intervals
of producing realistic cattle pieces, powerful landscapes, and occasional,
but always interesting essays in portraiture, he strove to express the
innermost thoughts of his soul in huge allegories. In these he failed
utterly. His art was wholly of the earth. He could paint anything that
he saw ; but the embodiment of abstract ideas, or the representation of
divine attributes were beyond his powers. These powers were neverthe-
less great — limited in fact only by the extent of his imagination. The vast
indefinite horizon of nature, as Turner perceived it, was beyond his vision,
he had not the intense feeling of Constable for atmosphere, he could not
impress a landscape with the glamour, the airy lightness, and the mystery
of Gainsborough, but what he saw he realized perfectly. And, as in life he
encountered much sorrow, and had from boyhood to face the sterner
realities of existence — care and poverty and never-ending toil — so he
regarded nature with melancholy eyes, that discerned its rugged and
majestic features, rather than its softer beauties. Thus of all trees, he
was most fond of the oak, not luxuriated with foliage, but gnarled and sere,
he emphasised all the broken features of a landscape — the rocks, the clefts,
and the surging inequalities of the hills — and delighted in skies serrated
with masses of heavy cloud. Nature to him, was hard and strong, and not
even Turner has better expressed in his pictures the brooding sense of her
dormant power. Power, indeed, was the key note of his work. He loved
to paint mighty bulls, and fiery stallions, picturing their brutal strength, as
no one has done, before or since ; and this without the sacrifice of any of
their other attributes. No other artist excells him in the rendering of the
texture of their coats, or keeps more closely to life in giving the exact
relative proportions of their limbs and bodies. With mankind he is not so
successful, yet the incidental figures in his pictures are scarcely inferior to
those of IVlorland, whom he far surpassed in the delineation of old age, or
in works where more than an elementary definition of character is needed.
Of his portraits, and he painted but few, one or two must take high rank.
What more charming for instance than his picture of Miss Musgrave, with
its rich lambent colouring, or the wonderful portrait of his mother, in whose
care-worn face we can read of the trials and sorrows of eighty years, as in
a printed book. If, in his allegories and religious pictures, he utterly
failed, because he disdained to follow or imitate the others who had preceded
him in the same path, the fault lay more in his upbringing, than in his own
innate shortcomings. Sprung from the midst of squalor, his intellect

narrowed by the pressure of poverty, and dwarfed by daily association with
people devoid of education or refinement, his aspirations chilled by contempt
and solitude, he yet achieved much. What might he have done, had his
genius been nurtured on a more kindly soil, and amidst more genial
surroundings ?

James Ward was son of the manager to a large wholesale fruiterer and
cider merchant in Thames Street, London. The father, whose name was
also James, was an easy going man, having a pretty turn for mechanics, but
given to drink, a habit which constantly grew upon him. The mother,
Rachael Ward, was a woman of energy and intelligence. Her son says of
her "that there never lived a brighter example of noble fortitude, firm
temper, long tried patience, and unwearied cheerful exertion in the charge
of every conjugal and maternal affection." The relations of the family
appear to have been highly respectable. Thomas, the elder brother of the
father, was a devout member of a neighbouring chapel, another uncle named
Gent, is said to have died while amassing a fortune by inventing colour
printing ; while a great uncle, whose name is not given, was one of the head
clerks at the Bank of England, and an intimate friend of the Rev.
John Newton.

The younger generation of the Ward family consisted of two boys and
three girls. William, the eldest, was born about 1762, and had the benefit
of the most affluent period of his father's fortunes. Educated at the
Merchant Tailors School, then situated near the top of Dowgate Hill, he
showed such talent for drawing, that when about thirteen his father paid
the necessary premium to have him apprenticed to John Raphael Smith,
the great mezzotinter. Of the girls we hear little. The eldest, who
subsequently married Edward Williams, an engraver of little note, made
James the butt of her ill-natured raillery. The boy, who was keenly
susceptible to ridicule, turned from her to Anne the second daughter, some
two years older than himself. His youngest sister, whom her grandniece
Mrs. E. M. Ward believes to have been named Charlotte, was probably less
precocious than the others, and though she was much in her brother's
company, he mentions her but seldom.

James was born on the 23rd of October 1769. Almost from the first
he shows the fully developed traits which were to characterise his manhood.
He was bold, self reliant, tenacious of his rights, his opinions, and ambitions.
Greedy of praise, he ever endeavoured to surpass his fellows for the sake of
winning it. He was keenly sensitive to criticism. Extremely credulous,
especially in matters relating to the marvellous and supernatural, he was,
early in life, afraid of ghosts, but presently acquiring a lively faith in
revealed religion, and in the direct interposition of a Divine Providence on
his behalf, he may be said to have become bankrupt of fear.

Of his babyhood nothing is recorded, except that even before his long
clothes had been discarded, he suffered severely from chilblains. The
affliction may have been constitutional, but more probably was caused by
neglect, for his mother can have had but scant leisure to devote to her
little ones. She was the guiding spirit, and hardest worker in a large
servantless household, where, besides performing the usual duties that
pertain to a wife and mother, she attended to lodgers in her upper rooms
and workmen in the cellars below, and also tried to atone for the short-

comings of her hard drinking husband in the business. In the meantime
great events were happening in the outer world, and presently the career
of little James became involved in the cataclysm which remoulded the
destinies of three continents. At the time he was short-frocked the
American colonists were still loyal subjects of the British crown, and he
was sent to the Merchant Tailors School while the revolution was
smouldering. Then came the outbreak of war, bringing with it bad trade,
and cruel times for the poor. The Wards were affected, and little James,
before he could properly read or write, was withdrawn from school and
given the freedom of the streets. They were a dangerous playground for
the little lad, who, in a richer and better ordered household, would have
still been under the tutelage of a nurse. His home was in the midst of a
foul and unhealthy neighbourhood. Dowgate Dunghill stood hard by, and
its noisome odours mixed with the dank vapours distilled from the
unembanked river foreshore. Thames Street, where he lived, was a
medley of warehouses and manufactories, of low-class houses, shops and
drinking dens, and was thronged with the bustling traffic, and motley
humanity of the waterside. James played about the unfenced wharves with
the other street urchins, and made friends with the carters and bargemen
of the vicinity. He learnt riding at the peril of his neck and limbs, knew
what it was to shoot a Thames bridge in a crazy boat with the lee gunwale
buried under the water, and found out how to use his fists, by guarding the
contents of his father's vegetable cart from the sneak thieves at Covent
Garden Market. He taught himself reading ; drawing and singing came
naturally to him ; and by watching, and perhaps occasionally assisting,
carpenters and basket makers at their work, he picked up something more
than the rudiments of their handicrafts. This completes the record of his
early accomplishments, to which he did not add materially until he had
turned thirteen. It is a pitiful one for a lad of genius, who was eager to
learn and allowed no opportunity of acquiring knowledge to pass him by
ungrasped. If ill-placed to secure an acquaintance with the erudition and
politer niceties of society, James was in a position to learn all about the
seamy side of life, and to catch more than a passing glimpse of death. He
himself early encountered the dread enemy. He fell from a barge into the
Thames, escaping drowning by a hair's breadth, only to encounter death at
still closer quarters in his bed chamber, the illness that supervened after
his wetting bringing him to the verge oiF dissolution. Once, when waking
out of what well might have been his last sleep, he found his mother holding
a looking glass to his mouth to discover if he yet breathed.

He saw malefactors taken through the streets on their way to
execution ; men at their work torn to pieces on the wheels then used for
raising heavy weights on the bank of the Thames, and his next door neigh-
bour " crushed to a mash " almost at his feet by the fall of a hogshead of
tobacco from the upper story of a warehouse opposite. Later on he went
through the inferno of the Gordon Riots, and witnessed the mob break into
Newgate, and the released prisoners come out, the red glare from the
burning buildings gleaming on their clanking chains.

These experiences early turned his thoughts to the idea of a hereafter*
His mother, who was pious, encouraged him, but the strongest influence of
all was that of his Uncle Thomas, from whose little library, when he had

taught himself to read, the boy appears to have drawn most of his books.
They were all of a religious character, and included Banyan's " Pilgrim's
Progress," which James accepted as a narrative of actual fact, poring over
it until the intense visionary views of the Bedford tinker became part of his
being. Even earlier than this, he had been put to work in his father's cider
cellar, bottling cider. Here, having a sweet voice, his grown up
companions, among whom was his own father, taught him songs, some of
which were of a questionable character. Ward, in his memoirs, speaks of
them as being abominable, but when these were written his ideas of
immorality had gone beyond the verge of prudery. Elsewhere he says that
the repertoire he then acquired included forty-seven songs by Dibden, a
proof both of the general harmlessness of their nature, and of the
retentiveness of his memory. The men laughed at the incongruity of
hearing Dibden's Bacchanalian and amourous sentiments trilled out in his
shrill childish treble ; but their laughter, even though at his own expense,
must have acted as a wholesome corrective to the gloom which brooded
over the rest of the household. The father was imperilling his situation by
his continued drinking, while the pious uncle tried to win him back to
temperance by vehement warnings of the hell fire that awaited the
impenitent sinner.

Little James accepted these warnings with a more fervid belief than
did his easy-going father, and fed his superstitious terrors by listening
tremblingly to the ghost stories which circled at evening time round the
family fireside. Through this latter cause, the little boy — he was then
scarcely seven — suffered untold terrors. His father's chronic thirst required
slaking during the small hours, with draughts of the coolest well water and
it was James's nightly errand to fetch these. The well stood by an empty
vault, and was approached through a narrow lane, dark and lonelj', by the
side of which was an old charnel house filled with the mouldering bones of
dead and gone generations. The boy must have gone each night in fear of
encountering some ghastly apparition to bar his progress, or fleshless arm
stretched out to drag him to the depths. So deeply were the terrors of the
place impressed upon his mind, that years afterwards he could not revisit
it, even in daylight, without shuddering.

Then came an apparently real supernatural experience. The Uncle
Thomas was seized with a mortal illness, and, during the night of his death,
he sent repeatedly for his brother; but the latter either thinking that there
was no need of haste, or perhaps not in a fit state to go, deferred his visit
until the morning, to find, when he went, that Thomas was dead. The shock
made a deep impression on the mind of the drunkard, he became possessed
with the idea that he heard his brother's voice unceasingly calling upon him
to repent, and for twelve months the visitation never left him day or night.
He reformed for the time being, but his penitence came too late, for shortly
afterwards he was dismissed from his situation a hopeless wreck.

Mrs. Ward faced the situation with dour resolution, and opened a little
vegetable shop for the support of her broken-down husband, and five
children. James, who, though barely nine, was the only wage earner in the
family, went to a bottle warehouse on Four Cranes Wharf, where for a
weekly pittance of four shillings, he washed the returned empties over a tub
of hot water, working from six in the morning until six or eight at night.

The youngster accepted his lot with resolute cheerfulness. He found
leisure in his meal times to turn his chilblained hands to carpentering and
basket making, enjoyed surreptitious peeps at an old copy of Don Quixote he
found in the Counting-house, and revelled in debauches of salt junk and hard
tack, which were sometime provided him on outward bound ships to which he
took boat loads of bottles. One other amusement he had, which was to lead
him to better things, was drawing. He was in the habit of sketching
the objects which passed his window — the people, and above all the horses
and carts. These transcripts from life are described by an early biographer
as being " full at once of the vigour, the vivacity, and diffidence of talent."
It appears probable that they possessed merit; and that his brother William
showed them to his master, J. R. Smith, for when William's term was
nearly expired, the engraver, having a vacancy for a pupil, offered to take
James, without exacting a premium. It was arranged that as an equivalent,
the lad should serve two extra years before being bound for the usual seven,
and accordingly he was transferred from the dingy bottle warehouse to the
establishment of the great mezzotinter.

Chapter II.

To OUR modern ideas the most noted of the eighteenth century mezzotinters
are prodigies of talent and industry. The enormous output of their work is
not less amazing than its superlative excellence. While present day
engravers are content to produce two or three important plates in a year,
these older men issued them by the dozen. Nor do these works betray
signs of undue haste ; if every one is not a masterpiece, the worst of them
is distinguished by high technical excellence, and possesses qualities of tone
and handling, which few modern artists can do more than emulate. This is
due partly to the superior attributes of the copper plates, made from the
disused rollers of cotton mills, and the hand-woven paper used in the
eighteenth century, and more, perhaps, to the system under which the
engraver worked. He was not then fully recognised as an artist, but
regarded as merely a superior craftsman, a master artificer having journey-
men and apprentices to do the less difficult portions of his work, and keeping
a shop in which to sell his wares. The master engraver thus increased the
powers of his production almost in the same ratio as the number of his
assistants, the least proficient of whom was soon competent to rock a plate,
while the more skilled, working under his supervision, were practically his
doubles. The master had thus no necessity to tire eye and hand by
labouring at the uninteresting and semi-mechanical preliminaries to a plate,
but, with fresh and unjaded mind, could add the essential strokes that con-
verted the engraving into a work of art.

Such an engraver was John Raphael Smith. At the time that James
Ward came to him, he was at the height of his powers and reputation, and
had lately moved to 83 Oxford Street, opposite the Pantheon, an address
which appears in the publication line of many of his greatest works. He
was a consummate artist in mezzotint, a fine stipple engraver, and painted
portraits and subject pictures with respectable ability. Brought up as a
draper, he had acquired a keen business acumen, which usually placed him

on the upper side in every bargain. Withal he was a bon vivaiit, addicted
to convivial pleasures, and lax in his morals. Probably his example had
lowered the tone of the household, so that to the young lad, whose studies
of Bunyan had filled him with the ambition of becoming a second Christian,
the moral atmosphere must have been as uncongenial as was that of Vanity
Fair to Bunyan's hero.

James was apprenticed in the latter part of 1781 or the beginning of
1782. In a letter to Sir Charles Eastlake, written in his 89th year, he says
" I was under 12 years old when I came into it with J. R. Smith," but the
inspired biography of 1807, which is probably the more correct, puts it at
nearly thirteen. He describes himself as being a " tiny little boy — timid and
diffident " ; small he undoubtedly would be, as even when full grown, he
was considerably under the average height, but the remainder of the des-
cription may be questioned. His timidity, such as it was, would be entirely
owing to his poverty, his lack of education, and the strangeness of his
surroundings ; for constitutionally, his self-confidence amounted almost to
rashness. Smith early tried it by sending him alone to Norwich to fetch
back a valuable hunter by road, a commission which he successfully
performed. But the lad did not get on well with Smith, who kept him back,
told him that he would never succeed in art, put him to work sweeping out
the shop, running errands and other menial occupations, and withheld from
him any drawing materials. James, ever remarkable for self-resource,
helped himself to the trial proofs from Smith's plates, and practised drawing
on their backs. Probably the impressions thus sacrificed to James' industry,
would nowadays have brought a considerable fortune under the hammer.
A copy in crayon, made by James at this time, of Rapture, one of the series
of Le Brun's Passions, and now in the collection of the Honourable John
Ward, is on the back of the centre portion of an early proof of Smith's fine
plate of the Honble. Mrs. Stanhope after Reynolds, a copy of which has
realised over £500. This would seem to be the most expensive sub-
stitute for a penny sheet of drawing paper on record. There are several
other similar drawings in existence. The rotten state of the paper on
which they were executed prevents them I'eaching high technical
excellence, but they are marked by that boldness of execution
which always distinguished Ward's work, until old age had robbed him of
his vigour.

The records of Ward's life with Smith are meagre, he learned to rock a
plate, to draw a copy from the flat, and to imitate copper-plate lettering. Of
the visitors to Smith's establishment he probably saw little, for it cannot be
supposed that the shabby little shop-boy would be suffered to penetrate into
the drawing room, where, according to William Collins, they were enter-
tained with a view of the pictures that the engraver had in his house for
reproduction. Of Reynolds indeed, we catch a glimpse at second hand.
Ward writing to his son July 8th, 1848, apropos of some drastic changes
which had been made in one of the latter's plates, says : " It makes me so
much afraid of little alterations, one little thing begets another, until the
change is of a new picture. I remember when a boy, how often this was
the case with Sir Joshua Reynolds, to the annoyance of J. R. Smith and my
brother." This fragment is interesting as showing how extensively Smith's
fine plates after Sir Joshua were supervised by the artist.

With Fuseli Ward came into actual contact, though probably the " little
great " painter bestowed scant attention on the shop boy, called in, perhaps
to turn over some prints for his inspection. Smith had done well out of
Fuseli, making £500 from his plate of the Night Mare, for the original
picture of which the artist only received £20. This probably rankled
less in the artist's bosom, than the engraver's presumption in toning down
the eccentricities of his pictures when reproducing them. He revenged
himself by his savage denunciations of Smith's draughtsmanship, using
similies too coarsely expressive to be nowadays printable. During one of
these verbal encounters, Fuseli, to illustrate his point, drew with a few
vigorous strokes, a gigantic female arm and hand, James stood by in
wondering admiration, and after the painter was gone, repeated the drawing
from memory in white chalk on the front of an old print chest. He was so
successful in his rendering, that when he showed it to his brother, the latter
could scarcely believe that the lad had done it, and told him to keep it
secret. William, now nearly out of his time, may have wished to conceal
the lad's talent, in order to secure his services, when he set up for himself.
An untoward incident precipitated the matter. Smith had a pet terrier
which followed James on all his errands. During one of these excursions
the dog was lost. To quote the somewhat vague account given in the 1807
biography : " The conduct of the master on this occasion could by no means
be tolerated by our young student, who although ever humble, meek, and
respectful to the kind-hearted, has, from his earliest days, been firm and
towering to the haughty and tyrannical. Under the sanction therefore of
his brother, and all those who witnessed the transaction, a separation was
deemed advisable." As Ward elsewhere alludes to Smith as a " brutal
tyrant," one is tempted to suspect that the " transaction " mentioned,
included amongst other items, a good thrashing for the lad ; a lesser matter
would hardly have been deemed sufficient justification for the termination of
his apprenticeship.

Smith, who had previously disparaged James' talents, now showed him-
self keenly aware of them, and made a hard bargain with William before he
would surrender his indentures. It was agreed that William, when out of
his time, should work for his master three days a week at ten shillings a
day, during the succeeding three years, and not accept employment from
any one else during that period. As William Ward had now become, after
Smith, the best engraver of the day, his remuneration was worse than
moderate.

James was between thirteen and fourteen when he left Smith's estab-
lishment, he had been there for hardly more than a year and had learnt little
beyond how to rock a plate. William being still an apprentice himself could
not take one of his own, and a short interval elapsed before the boy could be
legally bound to him. During this period, and for some time afterwards,
James worked in William Ward's lodgings at 10 Well St., off Oxford St.,
where his occupations had best be related in his own words : " I was there
left quite alone, and kept constantly laying mezzotint grounds, dreadful
drudgery to a mind then all imagination, my only relief was breeding rabbits
and canary birds ; and a garden of flowers in my workroom garret window.
It happened that the house was kept by a large family of sisters in a very
genteel family reduced, who got their living by dressmaking, among them

being Mrs. Say (subsequently wife of William Say the engraver), then a
young woman. Their evening amusements were riddles, puzzles, forfeits,
&c., and I as a great favourite, was ever with them. Once on expatiating
upon the human form, I fetched down an antique cast of a figure of a man, and
pointed out all its beauties, quite unconcious of the sly giggle that passed
between a large circle of young ladies on such an open display. At this
time I was attending an evening school in Castle Street, to learn to write.
I have ever regretted that there was no kind fi'iend to come forward in the
midst of my earlier drudgery, to have got me into some public charity
school. For want of this, a very extraordinary timidity haunted me to
such a degree, as to prevent my ever writing before others, lest the spelling
should be wrong, and that, from a peculiarity of sentiment, appeared as a
crime. Not so with others, Nollekins for example and the president
(Benjamin) West, the latter in sending an apology to a public society for
not dining with them, concluded by wishing them all manner of " phylicity."
James had left Smith in 17S3, and was regularly apprenticed to his
brother in the same year, giving his first year's service in lieu of premium,
and being then bound for the remaining seven. William appears to have
retained the lodgings in Well Street until after May 1785, for he sent in
an exhibit to the Royal Academy of that year, from this address. James
did not go with his brother to Smith's, but was left " alone for days and
months without any regular employment that could benefit him in the arts."
He, later on, bitterly regretted that he was not at that time sent to the
Royal Academy Schools, but William never encouraged him to study, saying
" that an engraver required little knowledge of drawing, but the head and
the hands, the painter doing all the rest for him." James employed his
leisure in making cages for his birds, and cabinets for his flowers, and being
naturally of a mechanical turn found much enjoyment in these pursuits.
Whatever he wanted of this kind he either invented for himself, or if he
adapted the idea from a similar article, he never rested until he made some
improvement upon it either in construction or ornament. Without doubt
this lonely sojurn in his brother's lodgings was bad for the lad, and did much
to hamper his future career. Already unduly self-confident, his easy triumphs
over these mechanical difficulties fostered his egotism, and led him in after
years to apply the same methods to his art, so that he failed to avail himself
sufficiently of the teaching of others, and relied too exclusively on his own
judgment.

Chapter III.

J. R. Smith, having taken a country house called Fortune Gates at Kensal
Green, then a small village quite remote from London, persuaded William
Ward to rent a little place near by. The move probably took place in 1785,
and was undoubtedly beneficial to James. It transferred him from the
inactive cloistered solitude of the Well Street garret, to a busy, bustling
life, where every moment of his day was brimful of occupation. The new
residence, " a very pretty house — at a pleasant hamlet, on the Harrow
Road," as it is described by William Collins, was embowered in a large
garden, containing a miniature lake on which James rowed about in a boat

of his own making. Stabling was attached in which William kept three
horses, and there was other live stock, including at least " sixty head of
poultry," to be presently carried off at one fell swoop by some marauding
gipsies. James revelled in his new surroundings, and relates, with gusto,
that he was "head groom, head gardener, poultry keeper and everything
else." The vegetable shop having come upon evil days, William generously
afforded a harbour of refuge to his father, mother, and two unmarried sisters.
Of his parents, at this time, James says little. The mother was probably
too busied with the house work to enter into the life of her sons ; while the
disreputable old father, sobered somewhat by his recent experiences, became
a chimney corner ornament ; his favourite occupation being to sit in an easy
chair, with a tankard of liquor by his side, smoking a long pipe.

The eldest of the three daughters — whose portrait is perpetuated
in William Ward's attractive stipple plate of The Musing Channer — had
already left the family circle, having married Edward Williams, an engraver
of little note, though the progenitor of a distinguished family of artists.
The marriage, like the subsequent ones of her two sisters, ended disas-
trously. She had formerly made James the constant butt of her ridicule,
so he had no cause to regret her absence.

Anne, the second sister, was James's favourite. Her soft, yielding, and
loveable character was the exact antithesis of his own — a down cushion on
which a man might find solace from the hard corners of life. Her beauty
has been immortalized in a hundred or more pictures by her future husband,
George Morland, and her brothers, the one entitled Louisa, by William
Ward, a reproduction of which appears in this volume, according to the
family tradition, being the most life-like. At this time she was eighteen, in
the first blush of womanhood, and in all probability as ignorant of the
attractive qualities of the opposite sex as Miranda, the society she saw in
her mother's vegetable shop including few possible men. The Ferdinand,
who was to appear in the house in Kensal Green, was the erratic and im-
pressionable George Morland, who it must be confessed possessed more
resemblance to Tony Lumpkin than to Shakespeare's graceful hero. Since
leaving his father's tutelage, two years back, he had sown a flourishing crop
of wild oats, and had been the principal actor, if not the hero in several
discreditable love affairs. Now, though the kisses of his last amarata were
hardly cold upon his lips, his roving fancy was attracted to sweet Anne
Ward, who returned his light affection with that ardent devotion that only a
good woman can bestow on a worthless object. William Ward abetted the
courtship. He was dazzled by Morland's genius, and regarded his faults as
mere youthful exuberances, which would soon pass away. Probably, too,
he was influenced by ulterior motives, for Morland's pictures were providing
his graver with many profitable themes. The young artist was received
into the household as paying guest, and presently introduced his sister
Maria, to whom William became attached. It would be easy to throw a
glamour over the sojurn at Kensal Green, and make of the episode a
delightful country idyl, picturing George Morland in the intervals of his
work — and he worked hard — wooing his blushing mistress, or teaching her
clever young brother how to paint. But, as William Collins discovered
fourteen years later, the artist was chary in giving instruction to any one
whom it was likely to benefit ; and James during the whole term of their

intimacy never received a single lesson from him. One surmises that life
at the Ward's house, and the adjacent establishment at Fortune Gates,
was rough and boisterous, alternating between spells of hard w^ork, hard
drinking, rustic sport, and dangerous horseplay. James was handy man
to the two places, and was borrowed continually by Smith, — for a day's
work on the plate of the Duke of Orleans after Reynolds ; to attend him on
a rook shooting expedition ; or to escort his drunken guests back to town at
night. One of these latter, Kenny Meadows, riding home, holding on
mainly by his spurs, leaped Paddington Turnpike, and James in following,
only saved his neck by his horse coming a cropper on a heap of road sweep-
ings. But Smith, while willing enough to employ him for sport or pleasure,
had also an eye to his professional talents and presently secured his services
to himself as well as those of his brother. The boy's religious principles
seemed to have annoyed the others, they plied him with Voltaire and Tom
Paine; but he overcame the doubts raised by these works by studying
Young's " Night's Thoughts " and " Payley's Christian Evidences," and thus
added to the edifice of narrow religious convictions in which he was gradu-
ally imprisoning his imagination. Religion, however, did not at present
inspire James with any aversion to Morland's society ; the two had Idndred
tastes, among which was a fondness for firearms. They rarely seem to have
left the house without pistols, and incidents in connection with their use are
of frequent occurrence. A loaded weapon, which Morland was cleaning
once, exploded, the bullet lodging within an ace of James's head. The two
disguised as highwaymen stopped and robbed James Ward, senior, as he
jogged along from market in a chaise cart, and riding home in advance of
the old man, were there in time to hear him recount, with bombastic ex-
aggerations that would not have disgraced Falstaff, his desperate struggle
with a gang of masked ruffians of prodigious numbers. A little later they
practised shooting at the door of an outhouse inside which the old man was
sleeping. Morland, much to James's perturbation, even insisted on carrying
a pair of loaded pistols in his trousers pockets to his wedding, which cere-
mony took place at Hammersmith Church, July, 1786. Maria Morland
became Mrs. William Ward a month later. The joint establishment was
continued for a little time, but the two ladies, finding that their husbands
had frequent occasion to go into town, and being fearful of the dangers
they might incur at night returning along the lonely Harrow Road, insisted
on moving to High Street, Marylebone. James went with his master; but
what became of the rest of the family is not recorded. As a few years
later we find the father and mother established at Hendon, it is probable
that at this time they parted company from William, In a short tmie dis-
sensions broke out between Anne and Maria, and the quarrel was taken up
by their husbands, who grew into such a towering passion with one another
that they determined to settle the dispute in a neighbouring sand pit with
horse pistols loaded with slugs. Fortunately a reconciliation was patched
up ; but the two families separated. James probably got on the better for
Morland's absence. The painter did not help him in his art, and his jokes
and rough horseplay must have acted as a disturbing influence. At eighteen
James had become a thoroughly competent mezzotinter. This would be in
1787, at which time William Ward was installed in Warren Place, Kentish
Town, his younger brother's proficiency being marked by his own rapidly

extending output, from one plate in 1784, six plates in each of the years
1785 and 1786, it leaps up to 13 in 1787, a number which was equalled in the
following year.

Probably by this time William had some junior apprentices to do the
" dreadful drudgery " of laying mezzotint grounds, and the other semi-
mechanical tasks, which left James free to devote himself to the more
interesting and responsible portions of the work. The consciousness of his
own talents, and the knowledge that they were being appreciated by other
people, inspired the young man with, what was for the time being, an
unqualified enthusiasm for mezzotinting. No task was beyond his powers.
He laboured early and late, and so won his brother's confidence, that he
was practically allowed to execute whole plates by himself, which according
to the custom of the time, were published as the work of his master. More
especially was this the case in regard to subjects containing landscape, in
the rendering of which, according to the 1807 biography, "he always
evinced a peculiar taste, and without which perhaps we should never have
seen that character of Nature attempted in Mezzotint." Three engravings,
all of them being after Morland, are mentioned definitely in the same book
as being the work of James, viz.: Children at Play (probably "The Kite
Entangled"), published in 1789, and Coto^^rs and Trrtt'c/Zfrs, published in 1791.
This statement is hardly likely to be inaccurate as it was made at a time
when William Ward, who was always jealous of his reputation, was alive to
dispute it, and there is certainly nothing in the technique of the works
themselves to contradict the attribution, for it does not more nearly
resemble that of William Ward than does the technique of Rustic Felicity,
The Rocking Horse, the Sunset, Leicestershire, and other of James Ward's
early plates.

In following Ward's progress in engraving 1 have overshot the time
when he made his first essays in painting. He was inspired to make them
by Morland's work, but received neither his countenance nor his assistance.
The two families had probably remained apart after the quarrel, and Anne,
wrapped up in her affection for her husband, needed no other society. For
a time he was a model Benedict, then his wife had a long illness, lost some-
thing of her good looks, and perhaps of her cheerfulness, and George began
to seek for society and amusement elsewhere. The Morlands' move, in
1787, to one of the largest and most handsome of the new houses in Warren
Place, a few doors away from her brother's humbler residence, may have
been inspired by her desire to be near her family again. Morland was at
this time earning a thousand a year, and spending considerably more, but
James found him still the good natured, pleasant and somewhat rowdy
companion of yore, and the two renewed their intimacy. They boxed,
sparred and rode together, probably often turning their horses in the
direction of Watford, for James, in a letter dated 1823, recalls that it was
in "this part of the country where poor Morland and the (prize) fighters
used to ride about so much." Sometimes also they mildly lampooned their
acquaintances in doggerel rhyme, which, judging by Ward's later effusions,
cannot have been of a high order. George desired to know something of
engraving, and James initiated him into some of the mysteries of the art,
while he himself was never tired of watching his brother-in-law painting.
For a long time the friendship continued with unabated warmth. Then it

gradually cooled, for James developed an unexpected trait ; he began to
paint, and what was more disconcerting, to paint well. Henceforth
Morland regarded him as a possible rival and his visits to the studio were
no longer encouraged.

The knowledge that he could paint came to James by accident. A
picture by Copley which he and his brother were engraving got damaged.
James borrowed some colours to repair it, found the brush a more fluent
and facile method of expression than the graver, and after making good the
defect, continued his experiments on an old canvas. He had probably
already practised in water colour, in which his brother William attained
some proficiency, but in spite of this, the picture, which is now in the
possession of the Hon. John Ward, is a marvellous piece of work for a first
effort. It is boldly, almost arrogantly painted, with a freedom and breadth
that speaks of an assured self-confidence. The result is a triumph for
Ward's memory, which indeed was so phenomenal that towards the close
of his life he was able, without any extraneous assistance, to paint an
excellent likeness of a lady whom he had not seen for twenty years. He had
closely watched xMorland's methods in painting, and now was able to put
his observations so perfectly into practice that the picture might well be
mistaken for a Morland — not, indeed, one of that painter's best works, but
something that he had carelessly composed and dashed off on the spur of
the moment, yet characterised by the charm of his colour and handling.
Ward was fired by this triumph to fresh efforts. Instinctively he seems to
have turned to animal subjects. He painted a sow and her litter in the
courtyard of his next door neighbour, which was followed up by a picture
of some sheep.

William appears to have encouraged his brother in every way possible.
Probably he would not have been ill-pleased if the latter, who bade fair to
become his most formidable rival in engraving, had had his attention wholly
diverted to the sister art. He purchased some of James's pictures and hung
others in his studio. One of these, the fourth effort of James, picturing a
white horse sheltering in a storm, caught Alorland's attention. He regarded
it critically for some time, and then made some comments on the young
artist's growing skill, but ever afterwards he ceased to welcome his
brother-in-law to his painting room. The picture may, I believe, be
identified with one now in the possession of the painter's grandson, Mr.
Phipps Jackson. A little later James painted a copy of Morland's picture
of The Travellers which he was then engraving. Morland, when he saw it,
mistook it for the original and henceforth had as little to do with W'ard as
possible. In spite of the many assertions to the contrary, this is vouched
for by James Ward himself as the only oil copy he ever made from Morland.
It remained in the artist's possession for many years, but was ultimately
stolen in 1819. Doubtless its present owner prides himself on possessing
a genuine Morland.

James, in spite of the encouragement which William gave to his
painting, seems still to have turned out his full quantum of engraving. To
conserve the daylight necessary for working in colour he curtailed his sleep,
and roused himself at dawn by means of an alarum. This in a short time
proving ineffectual, he had a cord tied to his wrist and suspended from his
window, by the aid of which a neighbouring watchman dragged him out of

D If
X g

O g
O c^

bed every morning. Again exhausted nature intervened, and in his sleep
he used to automatically unfasten the rope, but James, still unbeaten,
transferred it to his ankle, and this device appears to have proved effectual.
At this time he so thoroughly tired himself out, that when he reached his
room at night he often had not the energy to undress, but used to fall
asleep in his clothes.

Chapter IV.

James terminated his apprenticeship to William Ward in 1791, and wished
to bind himself to Morland for a couple of years. The latter, however, did
not relish the prospect of taking his clever young brother-in-law as pupil.
The men already with him were too stupid ever to become his rivals ; of the
two most competent, Hands and Brown, he contemptiously said that he
could put his pencil in his button hole and paint better than either of those
daubers. But James was a horse of a different colour. Morland did not
definitely refuse him, but when asked by mutual friends, why he did not have
him, candidly acknowledged that " Jammie " would get too forward for him.

In the meantime Ward had left London and gone to live with his
parents at Hendon, a hopeless love affair probably hastening his departure.
The details of it that have been handed down are tantalizingly meagre.
The lady was a friend of the family and James, though ardent in his affec-
tions, was diffident, the absence of a tangible income helping to make him
tongue-tied.

The disconsolate lover did not suffer his unrequited passion to interfere
with his art. He was in ill health through overwork, but nevertheless on his
way down to Hendon he sat on the top of his cartload of belongings, sketch-
ing the driver, and every interesting object or person he came across. At
Hendon he continued the practice, until the house was besieged, and his
walks haunted by all the picturesque blackguards in the neighbourhood, who
waylaid him in the hopes of earning a few pence by posing as models. Nor
did he neglect more serious work. He painted the picture Rustic Felicity,
which so impressed J. Simpson the famous publisher of St. Paul's Church
Yard, that he bought it, commissioned him to paint the companion picture of
The Rocking Horse and entrusted him with the task of mezzotinting plates
from the two works. Simpson also bought some of Ward's sketches which
he reproduced in book form in company with a number by Morland.
William Ward also gave the young painter a helping hand, by buying his
next pair of pictures Compassionate Children and Haymakers at Rest which the
elder brother engraved and published himself.

Ward was now doing so well that a move back to town was deemed
advisable. He went to live at 20 Winchester Row, Paddington, a pleasant
residence with a large garden attached. The 1807 biography stai;es that he
took the house himself, but as I have discovered a letter, dated 1794,
addressed to Mr. Ward c/o Dawes, Winchester Row, it is probable that he
only sub-rented a portion of it. Here his sister Charlotte came to keep
house for him. Encouraged by the ready demand which existed both for his
plates and pictures, he bought furniture, kept a horse, and took a number
of apprentices, of whom the name of one only, John Buck, has come down
to us. On January 1, 1794, a further triumph awaited him, for he was then

appointed Painter and Engraver in Mezzotinto to the Prince of Wales. It
seems curious that Ward, an artist of only two years standing, and without
influence at Court, should have been awarded this coveted distinction.
Pi'obably his plate of Edmund Burke from the bust by Hickey may have had
something to do with obtaining the favour for him, as Hickey was appointed
sculptor to the Prince of Wales at the same time.

Great as had been Ward's success, he soon found that it was based on
unsubstantial foundations. The war with France, which had broken out in
1793, by cutting off the chief market for English engravings, scattered his
new born prosperiety to the winds. He and his now numerous pupils were
left without any profitable work to do, or prospect of obtaining any. The
pleasant residence in Winchester Row had to be given up, the horse sold
and the establishment broken up. Charlotte went back to her parents while
Ward took lodgings in Bow Street.

His fecundity during the years 1792 and 1793 is remarkable, he had
exhibited nine pictures in the Royal Academy, three of which had been en-
graved, as well as three others of his works ; and during the same period
he had mezzotinted eight or nine plates. Three mezzotints after Morland —
Fishermen, Smugglers and A Boy Employed in Burning Weeds are included
among the latter. Their completion marking the final severance of business
relations between the two friends. Since they last separated, Morland had
gone to the dogs. He earned ten times as much as his brother-in-law ; yet
could not keep a roof above his head, and was beset on every side by im-
portunate creditors, duns and baiHff"s. James in the meanwhile had become
sincerely devout. He sat under the Rev. John Newton, attended church
three or four times every Sunday, went regularly to week-night meetings,
and regarded his former tolerance of Morland's drunken and riotous excesses
as pandering to the Devil. He broke off his friendship with the painter,
and neither the prospect of obtaining profitable subjects for engraving, nor
the desire for the society of his favourite sister, could induce him to renew
it. Once and only once did he break his resolve, and that was when Morland,
at his wits end for a safe retreat implored James to harbour him in his
lodgings, as being the last place on earth where the baliffs were likely to
look for him.

At Bow Street, Ward, in default of better employment, made a series
of soft ground etchings, which were published in book form, but did not
prove profitable. At this time he was reduced to great straits. He still
retained two pupils, one of whom was probably William Say — the afterwards
famous mezzotinter — and a servant, and the drain of even this modest
establishment proved too great for his income, which was further depleted
to give much needed assistance to his father and mother. His plates
of A Dairy Farm and A Tiger Devouring his Prey, both after his own
pictures, probably belong to this time, though one may suspect that the very
shadowy and ghost-like lion which disfigures the latter subject, was added
as an after thought immediately before publication, which did not take place
until some years later.

About this time also James first met his future wife, Miss Emma Ward,
who, though possessing the same surname, was unrelated. Their acquaint-
ance probably commenced professionally, for at one period her sister and
brother were among his pupils, but showed no aptitude for engraving. His

painter's eye was attracted by her beauty. According to her portraits she
was richly coloured, with full red lips and dark eyes, while her manner was
lively and vivacious. Ward was speedily fascinated, but it was no time for
him to take upon himself additional responsibilities ; his private clientele had
disappeared, and to keep a roof above the heads of his parents and to pro-
vide for his own necessities, he was reduced to hawking his highly finished
pictures round to the dealers at two or three pounds apiece. The worry
incident to his unpropitious circumstances brought on a nervous illness ; his
mind became confused and irritable ; and, a mental wreck for the time
being, he retired to a little cottage on Hornsey Common, where he stayed
for a year, by which time his mind recovered its equanimity. He still
continued working with undiminished industry ; in fact, it seemed impossible
for him ever to be idle. In his rural retreat he finished mezzotinting some
of his plates, painted " three fancy pictures for a gentleman in Bethnal
Green," several portraits, and two or three subjects for his brother to
engrave. Amongst the latter was probably The Gleaner's Return, in which
the background has the hilly characteristics of Hornsey scenery.

He was urged to go back to town again, and probably the call was one
too persuasive for him to resist, for next we find him, after settling in
Paddington, leading the fair Emma to the altar. The wedding, which was
celebrated from his father's house in Kentish Town, gave Morland — who
was not invited to the ceremony — an opportunity to play a characteristic
practical joke on his Puritan brother-in-law. 'The nuptial knot had been
tied, the guests re-assembled in the house, when suddenly a party of butchers
appeared outside raising a hideous din by beating their cleavers against
hollow marrow-bones. This, at that period, was a customary salutation to
a newly married pair, the serenaders invariably retiring after a gratuity had
been given them. Not so on this occasion ; directly the front door was
opened they forced their way among the guests, using the most filthy
language, and threatening with their cleavers everyone who tried to eject
them. It transpired that they had been bribed to do this by Morland, who,
during the height of the tumult, was discovered looking on from the street
nearly speechless with drink and laughter.

Morland's genius serves as ample excuse for his shortcomings to
posterity, who only see the fruits of the former, without having experienced
the inconveniences of the latter; but Ward was in a different position, and
it is not surprising that the memories he cherished of his brother-in-law
were tinged with bitterness. Morland's treatment of his wife's parents was
a constant source of conflict between them. He was now without a regular
home, and Anne — who was in ill health— lived with her mother ; the painter
paying two guineas a week for her maintenance. George made this an
excuse for constantly invading the Wards' house, generally with a horde of
followers who kept the place in a state of constant tumult. The mother,
already fully occupied with looking after her sick daughter, was worn out
with attending to their wants. "The father was kept in a state of chronic
drunkenness. James remonstrated with Morland, only to be abused, until at
length the tangle appears to have been solved by James Ward, senior,
drinking himself to death.

Ward at this time found his connection with Morland a distinct dis-
advantage to him professionally. He had so far modelled his style on that

painter's, and now the reputation of the latter cast a shadow over his best
efforts. If he painted a good picture the dealers bought it to presently sell
it as a Morland, while Morland's bad works were attributed to Ward. In
1797 James determined to free himself from the thraldom, and essaj'ed a
most ambitious composition, crowded with figures, such as Morland had
never attempted, and which he hoped would establish his position as an
independent artist. This was the Bull Bait, which was placed admirably in
the Royal Academy, and met with universal approval ; but on every hand
James heard it lauded as the work of a pupil and imitator of JVlorland. Just
at this time he met John Raphael Smith at a dinner party, who said to him :
" Ward you have taken up painting and you are right, for it's all over with
printselling, but why do you follow Morland. Look at the old masters.
Look at Teniers. Morland after Teniers is like reading a Grubb Street
ballad after Milton."

James, though he did not agree with this verdict, followed his old master's
advice, and henceforth discarded Morland as a model. But the dictums of
the fallen Divinity still held weight with the ex-worshipper. Morland had
declared that de Loutherbourg was the only man to whom he would yield
the palm ; and to de Loutherbourg James accordingly turned. While
he was engaged in mastering the secrets of this second rate artist, the
family exchequer needed replenishing, and this was only to be done by
applying himself to engraving in which he was now beginning to make a
great name, though robbed of the credit of some of his best plates.

His first great success had been the mezzotint of the Douglas Children
in 1796, a masterpiece which placed him at the top of his profession, for
J. R. Smith was now past his prime, and William Ward never seems to have
cut any great figure in the eyes of his contemporaries. Considering the great
posthumus reputation of the latter, wonderfully little is known concerning
him. There is a well founded tradition that he was intensely jealous of his
younger brother, and he certainly appears to have used his best endeavours
to divert him from engraving to painting.

In 1796 the interests of the two brothers coincided, for any success
that James achieved in engraving might jeopardise his future career as a
painter. It was contrary to the rules of the Royal Academy to admit
engravers as full members. The painters were opposed to the exponents of
the black and white art trying to enter their ranks ; and if James became
definitely known as a mezzotinter, it was probable that they would try to
compel him to remain one. He had then his large picture of The Bull Bait
on the stocks, which he hoped would secure his election as an Associate
painter, but for the time being his pictures were not selling well, he wanted
money badly, and Hoppner and other artists were ready to thrust upon him
commissions for engraving their works. The situation was complex. There
is more than a suspicion that James solved it by agreeing to work for his
brother, and did in fact largely engrave for him Hoppner's picture of The
Daughters of Sir John Frankland.

There is a mystery concerning the production of this plate, and the
equally fine Mrs. Michael Angelo Taylor as Miranda also after Hoppner. The
former bears on it the name of William Ward as engraver, the latter has not
this imprint, but until quite recently was always claimed as his work, the
two mezzotints being usually regarded as his masterpieces. Mr. Alfred

Whitman has stripped William of his borrowed plumes in regard to the
Miranda, but the Frankland Sisters is a more complex matter for there is the
direct evidence of the imprint to be overcome. And yet this evidence when
carefully weighed amounts to little. Engravers at that period were not
accustomed to differentiate the work of pupils and assistants from their own.
WiUiam had cheerfully acquiesced in many of his own early efforts being
fathered by J. R. Smith, and in similar fashion he had claimed the credit for
several plates by James. To add another to their number would neither
conflict with his ideas of morality nor fraternal affection.

William published the plate March 1st, 1797. James' last important
mezzotint The Douglas Children was issued exactly a year earlier. The
interval was certainly not wholly filled in by the production of his one large
and two smaller Academy pictures, nor can it be supposed that when paint-
ings were so difficult to sell, and money urgently needed, he would remain
altogether idle with the graver. Hoppner, before the mezzotinting of the
Douglas Children had several times employed William, and the superb plate
of the Frankland Sisters, if by the latter, should have drawn him back to his
old allegiance with ropes of steel, but instead, he showered his commissions
on James and did not return to William until 1804, when he apparently
regarded him as a sorry substitute for the younger brother, who had by that
time declined to do any more work for him. The four plates of the Frankland
Sisters, Miranda, and the Douglas and Hoppner Children, the two latter being
indisputably the work of James, are absolutely indentical in style and
manner, and are distinguished by a boldness and richness of chirascuro not
generally so marked in the plates of William, but thoroughly characteristic
of James who mezzotinted almost with the freedom of brush work, and
wrought with astonishing rapidity, thus attaining a quality which renders
his work in some respects unique, and caused Hoppner to say "Ward has
done something which has never been done before." The most convincing
fact of all is that the choice proof impression of The Frankland Sisters from
Lord Cheyelesnore's collection, now in the British Museum bears on it the
words " Published as the Act Directs" in James Ward's handwriting. This
piece of evidence is almost conclusive in itself. The proof is probably the
first copy from the completed plate after it had been passed as finished by
the artist. It would be the engraver's business to write the inscription for
the print writer to engrave beneath the work, and if James was not the
engraver there is little likelihood that he would have had a hand in the
matter.

The mezzotint of Mrs. Michael Angela Taylor as Miranda was probably
completed about a year after that of the Frankland Sisters. A mystery has
always attached to this plate. Though a superlatively fine piece of
work, hardly a score of copies are known to exist. Two of these, — brilliant
proof impressions before any lettering whatever, — have the margin intact ;
the others are all cut close to the work to do away with the record as to
who was the engraver. For years the mezzotint was attributed to William
Ward, and the credit of restoring it to its proper author belongs to Mr.
Alfred Whitman, who finding a copy from the plate in the British Museum,
with some fragments of the upper portion of the inscription remaining, in-
genously deciphered from it the words " engraved by James Ward," which
had evidently been scratched on the plate. That this attribution is correct

is proved by abundant confirmatory evidence. The biography of 1807
mentions it as being one of James' finest plates, and an impression from it,
probably the one now possessed by Mr. Fritz Reiss, is catalogued in the
exhibition of his works shown in Newman Street in 1841. It has been
suggested that the plate was suppressed owing to the jealousy of William
Ward ; but James in a letter to the Marquess of Londonderry, dated
June 9th, 1830 gives the matter quite a different aspect. He writes " I en-
gaged to engrave a print after a picture painted by Mr. Hoppner, of Mrs.
Taylor, with the knowledge and sanction of the family. When that engrav-
ing was completed, a mysterious movement between Mr. Hoppner and the
family took place. I know nothing of the circumstances, but through the
entreaty of the artist, I submitted to the loss of professional reputation with
the prospects I had of pecuniary advantage {i.e. by allowing the plate to
remain unpublished). That plate was afterwards put into the hands of
another engraver for the purpose of getting some impressions struck off,
and for him to make some whimsical alterations which would have spoiled
the engraving. This he declined doing." It would seem that Hoppner acted
somewhat disingenuously in the matter, for, after that painter's death. Ward
had the mortification to learn that the non-publication of the plate was
ascribed by the Taylor family to the misbehaviour of the engraver.

The years 1798 and 1799 mark the culmination of James' career as an
engraver ; after that his aspirations were turned in another direction, and
though his hand had not lost its cunning, his heart was not always in his
work. He was counted an extraordinarily rapid worker even in those days
when artists in black and white were compelled by necessity to turn out
their plates by the half-dozen. His son relates that Saye, during his appren-
ticeship to Ward on returning from a brief absence at lunch was astonished
to find that his master had scraped in and finished an entire head during
the interval. Such a rate of progress demanded that the graver should be
used with the freedom of a brush, and this method of handling at once
constitutes Ward's chief excellence and his weakness. In his best works
this swift execution is combined with a high degree of finish. His plates
are carried to the point of highest perfection ; and the strength and direct-
ness of the work, unmarred by any hesitancy or retouching, gives an
extraordinary rich and luminous effect to the whole. His blacks are
lustrous and velvety, his high lights fresh and sparkling, and if he never
quite attains to the refined delicacy shown in some of the masterpieces of
J. R. Smith, he excels that artist in the richness of his chiroscuro. But in
his poorer plates, his rapidity of handling degenerates into lack of finish.
Nothing that Ward ever did could be called bad, but some of his works
could be carried further with advantage.

One suspects that if James had lived at a sufficiently early date to have
worked under the careful and precise supervision of Sir Joshua Reynolds,
he might have developed into a greater mezzotinter than he actually was —
perhaps have become the greatest mezzotinter of the English School.

He is generally at his best when engraving for Hoppner, but Hoppner
met him late in his career, and attained to no great mastery over the strong
willed engraver. Ward sometimes in his reproductions corrected the
artist's works, and the latter, at least once, — in his picture of Lady
Heathcote, — embodied the alterations on his canvas.

Chapter V.

Ward's career during these two years becomes involved into so many
channels, that in describing it, one hesitates in what direction to turn first.
Perhaps a quotation from his memoirs will serve as the best introduction.
He relates " At this period I was introduced to Mr. Bryan, whose wife was
sister to Lord Shrewsbury ; the former dealt largely in pictures, and at his
house I saw the finest works of the old masters. He engaged me to
engrave the Cornelius after Rembrandt, the Diana after Rubens, with
several others ; and to paint a large picture containing himself, Mrs. Bryan
and children, life size. There was a law suit between him and a nobleman
about a Venus by Titian, he asked me if I could copy it. I did so, and when

done, Mr. Bryan said ' Now Lord may take which he pleases.' The

picture was recovered by the nobleman and I have I'eason to believe my
copy was destroyed."

The sight of Mr. Bryan's collection was a revelation to Ward and he
obtained permission to go in and study it at all times, setting himself to
learn not only the technique of the old masters, but also the secrets of their
pigments. In this last endeavour he must be held to have largely succeeded,
for he is one of the few artists of the period, whose colours never fade but
remain as fresh as the day when they were painted. Ward's labours at this
period must have been prodigious. His necessities, now heightened by the
advent of a rapidly increasing family, compelled him to work more and more
with the graver, yet far from ceasing his efforts to improve himself as a
painter, he redoubled them. He had by this time discarded the inspiration
of de Loutherbourg to remodel himself on Teniers and Paul Potter, which
presently lead him to discover his deficiencies as a draftsman, and determine
to enter the life schools of the Academy.

In the meantime he had engraved portraits of Admiral Duncan after
Hoppner, and John Revoult after Beechey, both published in 1798.

This last work probably led to a momentous episode in Ward's career,
for through it Ward was brought into contact with Beechey. This con-
nection presently resulted in Ward, not content with the labours of two
ordinary men, commencing a large publishing business, which though
initiated by a success ended disastrously. This venture was started with
the issue of a plate after Beechey's picture of the Revicno which contained
equestrian portraits of George III, the Prince of Wales and several well-
known general officers. Ward had a share, and not an unimportant one in
the production of the picture, for he painted the horses, which nearly as
much as their riders are the principal objects in the foreground. The work
brought him into contact with Royalty ; and, perhaps, influenced by the
idea of strengthening the connection, he bought the copyright of the painting
and proceeded to engrave it. Having no capital at his disposal, he was
compelled to seek the aid of a Dr. Daw, who took a half share in the venture.
The engraving had a very large sale, so large, indeed, that Ward apparently
was compelled to mezzotint two distinct plates, to supply the demand for
impressions. Ward relates that he presented a proof of the engraving
in person to Queen Charlotte who was so pleased with it that she had it
hung in her own bedroom. Dr. Daw, having reaped a substantial amount
of profit, cheerfully entered into partnership with James ; and William Ward

who had not been making much progress since his brother left him, induced
the two to allow him to join. He appears to have again tried to divert his
brother from engraving, suggesting that this should be his part of the
business while James painted subjects for him ; and on these lines the firm
was eventually established.

The partnership was probably arranged in 1799. In that year James
moved to 6 and 7 Newman Street, which he took on a long repairing lease
at a rental of £77. It was a spacious house — almost a mansion — having a
plentitude of apartments for work and entertainment. A large top-lighted
gallery had been built out at the back on the site of some former stables,
where James could show his pictures, or if need be work on those canvases
too large to be accomodated in his ordinary painting room. This latter
chamber was of considerable size, and James had in addition a small gallery,
and a colour room where he ground, mixed and stored his colours. For
entertainment he had front and back drawing rooms, and a dining room
where he could seat thirty guests, besides a back parlour reserved for
family use. The premises of the new firm were located here, and operations
commenced on a considerable scale. A bran-new printing press costing
£100 was installed, and pictures by Opie, Owen, and other well-known
artists purchased for engraving. Dr. Daw nominally acted as manager, but
as he posessed neither experience nor capacity, it is probable that almost
from the beginning James occupied that office. He certainly appears as the
predominating figure in the new concern. The firm is nearly as often styled
"James Ward and Co." as by its official title of "Messrs. Ward and Co."
He produced most of the plates, engraving twice as many as William, nor
did he altogether neglect painting, for among the works issued are nearly a
dozen from subjects by him. If his energy and industry alone could have
atoned sufficiently for the other partners' shortcomings the business would
have flourished ; but he was not sufficiently tactful, and perhaps too straight-
laced to be a good man of affairs. The other publishers, while not actually
boycotting their new rival, took care not to push the firm's wares. Ward
says "Of all my prints my best works never sold! Of the Rembrandt
I never sold half a dozen. My large Rubens never sold one, and also of
Mrs. Billington the dealers told me they never sold one."

After a short career of three or four years, though not an inglorious
one if the quality of the works issued is taken into account, the firm was
wound up, and its effects sold under the hammer, the printing press only
fetching £18.

The articles of the firm were apparently drawn up, so as not to preclude
the two working members from receiving private commissions; for the first
work that James carried out in his new residence was the large plate of
Lord Duncan's Victory over the Dutch which he engraved for Copley. The
agreement and correspondence relating to this is still extant. It shows the
formality that marked the letter-writing of the period, that the artists
though often thrown into close contact, continue to address each other in
the third person until the end of the series, and that every letter commences
with the sender's compliments. Here is the gist of the agreement, which
throws an interesting light on the prices then obtained by leading engravers,
and the number of impressions which a mezzotint plate was expected to
produce. It is dated September 30th, 1799, and sets forth that "Mr. Ward is

to execute, in his best and most finished manner, a mezzotint engraving, thirty
inches and an half long and twenty-two inches and an half broad. — He is to
complete the engraving in the course of the next April — and to keep the
plate in repair — tile (sic) it has produced four hundred good impressions."
Copley was to pay Ward two hundred and fifty guineas in two equal instal-
ments, the first to be handed over when the earliest trial proof was taken
from the plate and the remainder on completion. The engraving was not
finished until July 18th, but as Ward had to put in an extra six weeks' work
by strengthening the plate with etching, which was not originally contem-
plated; and was further hindered by illness, and Copley's inability to provide
the first payment to time, the delay cannot be ascribed to his lack of
industry.

Notwithstanding his triumphs as an engraver, James had not for one
moment relinquished his ambition to become a painter. The study of Mr.
Byran's collection, and probably the criticisms of Benjamin West, then
President of the Royal Academy, and a near neighbour to him in Newman
Street, made him conscious of his deficiencies in drawing the figure, and so
at about this time we find the popular and courted engraver, beset with
more commissions than he had time to execute, modestly trying to enter
the life schools of the Academy as an ordinary student.

It was a hazardous undertaking for one of his years and professional
standing. Then, as now, a candidate had to submit a drawing from the
antique, which, in competition with others, had to be passed by the Council
before he could obtain admission. It was quite on the cards that Ward,
who had never studied from the antique, and was unpracticed in the nicities
of stippling required by the examiners, might be passed over in favour of
some young stripling fresh from an orthodox art training. If he was
accepted, his reputation would not be enhanced, if rejected it would be
irretrievably damned. Ward nevertheless took the risk, sent in a drawing
on which he was highly complimented by West and Northcote, and was
accepted. Then the Council discovered that they had not sufficient
accommodation for all the students, and decided that the whole body must
again compete for re-admission. No exception was made in favour of Ward,
though he might have reasonably expected that as painter-in-ordinary to
the Prince of Wales, and one of the leading engravers of the day, some
indulgence would have been shown to him. He decided not to undergo a
second ordeal, but to secure by his election as an Associate of the Academy,
all the advantages of the life schools, without the risks and humiliation of
a second examination.

To quote his own words, " The question was whether I should come
forward as a painter or engraver. I enquired if I became an associate
engraver first, I could change that and become an Academician." (En-
gravers were then only admitted as Associates, the distinction of
Academician being confined exclusively to painters, sculptors and architects.)
" The reply was, ' Certainly not,' I must withdraw and be elected associate
painter. Not forseeing what followed I chose (to put up) as painter. Mr.
Hoppner came forward and candidly stated as follows to my wife : ' Mrs.
Ward, do all in your power to dissuade your husband from pursuing
painting. He has done something in engraving which has never been done
before, and we all want him to engrave our pictures. He will command

everything and make a fortune, and what can he want more. I and all the
R.A. will support him. At the same time 1 and all the R.A. will set ourselves
against him as a painter, for taking it at his time of life he never can hope
to overtake and make a stand with the painters. Therefore what shall we
do ? Lose our first engraver whom we want, and encourage a poor painter
that we do not want. I shall oppose him.' "

"When I heard this my reply was, ' Does Hoppner say that I cannot
climb up to the painters ? Then I'll try '; and in one year I declined com-
missions (for engraving) amounting to nearly £2,000, while I had not a single
commission for a picture."

Ward's defiance of Hoppner probably occurred in 1799. It was a bold
action on his part, but neither rasla nor ill-considered. If he had submitted,
it would have resulted in his remaining an engraver to the end of the
chapter, and he was not a man to have his destiny moulded to suit another's
convenience. Nevertheless, at the time, he intended neither permanently to
give up engraving nor to cease working for Hoppner. During the next seven
years he mezzotinted nearly a score of plates, including the reproduction of
that artist's portrait of Lady Heathcote, published in 1804. But he had
changed his standing, henceforth painting was to be his main business,
engraving only a useful auxiliary.

He was well provided with the sinews of war. The publishing business
had started with high hopes, a dozen fresh plates were ready to be issued,
and though James' mezzotints after the old masters did not sell, his
reproductions, and those of his brother, from James' own pictures still had
a popular vogue.

It is noteworthy of the man that, when things went ill with him, he
generally sought refuge in the country, as though, like Acheus, he needed
contact with Mother Earth to replenish his strength. On this occasion he
went to the Isle of Thanet, where he rested himself by assiduously painting
marine subjects. Here Fate presently diverted his talents into the channel
that best suited their expression. He received a commission from Sir John
Sinclair to paint a Dutch cow for the newly formed Agricultural Society.
Ward, above all men, was qualified to descry all the picturesque elements
in this unpromising subject, and at the same time to record the animal's
points with that photographic accuracy which alone would content a breeder.
His work gave great satisfaction ; other commissions poured in, and
presently he was introduced to Lord Somerville, an expert in both agricul-
ture and the arts. Owing to his powerful patronage, and Ward's own
merits, the latter soon found himself the most popular cattle painter of the
day. His brush was constantly called into requisition by noble breeders,
among whom was the Duke of Bedford, who, as well as Lord Somerville,
was a leading spirit in the Agricultural Society. Under the auspices of this
body, an ambitious project was put in hand, which seemed to place James
for the time above the need of any Academy distinctions. This was, that
he should paint a series of two hundred portraits, illustrating the represent-
ative breeds of cattle, pigs and sheep in Great Britain. The great, though
no longer flourishing, firm of Boydells were to finance the undertaking.
They arranged to pay Ward fifteen guineas for each subject, and to advance
cash for his expenses when travelling in search of models. The pictures of
the animals were to be painted to an exact scale of measurement, and the

whole series engraved. An agreement was drawn up, which was supple-
mented by a verbal understanding. Unfortunately the two did not
correspond. Ward was led to believe that one picture a week would be
required of him. Later on it was pointed out to him that this was not set
forth in the agreement, and the firm could have the pictures how and when
they liked.

For the time everything seemed to promise fair. The Duke of Bedford,
on behalf of the Agricultural Society gave Ward a circular letter of intro-
duction to all the nobility and gentry of the Kingdom, the King promised
his patronage, Lord SomerviUe and Mr. Lawrenceson drew up a list of
subjects, and the Boydells supplied James with a second-hand gig, in which
to set forth on his travels, for which they charged him £27. The price
sounds moderate, but it proved a sorry bargain. Later on Ward complained
that he had to have it repaired 14 times, the last item being for a pair of
new springs at Bangor, and that finally he was compelled to sell it for
£3 13s. Od.

Chapter VL

Ward's ambition would not allow him to remain a mere cattle painter
or perhaps it was less ambition than the abnormal requirements of a mind
which sought relaxation, not through rest, but by constant change of
occupation. He could not endure idleness, and generally had to be doing
something necessitating either great mental or physical activity.

His son George has left a picture of his life in Newman Street, which
though drawn a few years later, was doubtless equally true, for the
beginning of the 19th century. He writes, " In the Newman Street days,
the windows of my father's studio faced those of West ; they were both
midnight workers, and they were used to crow over one another, on com-
paring notes, as to which had first relinquished work. So, too, in the small
circle of intimate friends, while my mother was engaged in playing whist,
my father would sit apart working at pen and ink studies ; indeed he could
be never made to understand cards or take the slightest interest in games
of chance. He was a lover of active exercises — many a set-to I witnessed
in the studio between himself and his brother William with the gloves—
they were both short men, but very lithe and active— the exchange of blows
was as rapid as lightning — my father's great quickness of eye usually
giving him the advantage. He was a great adept at skating, and oddly
enough was very fond of dancing, rejoicing in the vigourous steps in vogue
in other days."

James passion for dancing was fostered by frequent visits to Almacks,
where his wife was one of the reigning beauties, and had a little court of
beaux and dandies always in attendance. She loved to move in fashionable
assemblies, with her silken train rustling behind, decked with sparkling
gawds, of which she gradually accumulated a valuable collection. Many of
James' titled clients honoured her big dinner parties with their attendance,
little thinking that the fresh vegetables and luscious fruit of which they
partook had, before six that morning, been carried in a huge market basket
from Covent Garden, by their stately hostess, who had cheapened them with
the skill of a practised huckster. She was an excellent manager, and if she

incited her husband to Hve in a style almost beyond his means she at least
took care that the large household should be carried on as economically as
possible. She was up in the morning with her maids, and early passers by
looking through the basement windows could see her bustling about the
kitchens doing her share of the work and seeing that the girls did theirs.

James more than matched his wife for energy. He scoured round the
London slaughter houses for suitable models for his cattle, often sitting
up through the night painting, by the flickering light of a torch, some
particularly fine beast that was to be slaughtered on the morrow. He was
again honoured by his work being brought to the notice of Royalty. This
time it was his large equestrian portrait of King George 111. which he
copied for Lord Somerville from the picture of The Revieii). The letter
dated March 21, 1800, is still extant, requesting him to send to the Queen's
house for the work, " as their Majesties and the Princesses " have seen it,
and " were very much pleased with it." An illness intervened — probably
of a nervous character — which must have been of some moment, as it is
described as " a relaxation of the whole internal machine, with the most
threatening symptoms of an agonising death;" but James recovered and
turned, like a giant refreshed, to new work. In 1801 he put himself under
Mr. Brooks, the anatomist of Blenheim Street, where he dissected bodies
not only of human beings, but also of various animals, birds and serpents.
In the same year, on his mission for Boydell and the Agricultural Society, he
travelled to Windsor, and then through Berkshire, Wilts., Dorset, Somerset-
shire, Devon, and Cornwall, finishing up with a week's stay at the Duke of
Bedford's, at Woburn. In 1802 he traversed the length and breadth
of Wales and the bordering counties, painting not only the live stock, which
was the nominal object of his journey, but recording in his sketch book
every picturesque or uncommon object that he encountered. As the fruits
of his three months' Welsh tour he brought back with him five hundred and
eighty one sketches from Nature.

Up to this period Ward seems to have avoided producing any important
effort in pure landscape, using it, indeed, with much skill as a background
to his figure and subject pictures, but never essaying to make it the principal
motif for a work. Hitherto this branch of art had profited its exponents
but little ; Wilson had starved at it, Gainsborough had followed it during
the intervals of portrait painting as an unprofitable though much loved
amusement, and even the more original genius of Constable was tramelled
down to the same practice. However, in 1803, Sir George Beaumont
purchased the fine landscape by Rubens of A view of the Chateau de Stein,
Autumn, now one of the most treasured possessions of the National Gallery,
for 1,500 guineas, a sum, which taking into account the comparatively small
prices paid for old masters in those days, would be equal to ten times that
amount at the present time. It was taken to Mr. West's Studio and, to
continue the narrative in Ward's own words, "He came, inviting me to see it.
I did so, and remained the whole day studying it. Many artists of the first
distinction came in to look at it, and generally gave it as their opinion that
Rubens had some colour or vehicle which we had not. I said nothing, but
took the size of the picture and sent to my Upholsterer to know if he could
make such a panel. I shut myself up, painted my picture The Fighting Bulls
at St. Donats Castle (now at the South Kensington Museum), and called upon

H ^

- 5

Mr. West to look at it. He sent off to Sir George Beaumont and brouglit
him. The latter came with friends, I think, nine days in succession.
Mr. West brought Mr. Beckford in to see it, and I overheard him say
' Mr. Beckford, I consider this the perfection of execution, and when I go
back and look at the Rubens it is gross and vulgar.' The next time I called
upon Mr. Tresham (the Royal Academician), infirm as he was, he got up and,
by the use of the table, came round and took me eagerly by the hand, with
the following expression: 'Ward, I congratulate you. You have thrown the
gauntlet at Rubens, and you have beaten him.' "

Ward had in truth painted a magnificent picture, as visitors to South
Kensington can testify ; and if, in an age when critics had no superstitious
reverence for the works of the great dead to stultify their praise for the living,
he was told that he had bettered Rubens, small blame to him if he believed
it. A similar conceit had inspired Hogarth to found the English School
of Painting. Though Ward's sublime confidence in his own powers led him
to perpetrate many extravagances, and squander his talents on subjects for
which they were unsuited, it also nerved him with the strength to produce
his best works. Had he been modest and diffident he might have remained
a bottle-washer to the end of his days. The subsequent history of the
St. Donats Castle is not without interest. Ward sacrificed it to his urgent
necessities by selling it to his late partner, Dr. Daw, for 100 guineas, the
latter being apparently loath to purchase it even at this price. A few days
later, however, when the artist received an offer for it of double this amount,
the Doctor, realising that he had secured a masterpiece, declined to part
with it for less than 500 guineas. Proud as Daw was of his treasure,
he took but little care of it, and when he moved it to Gloucester sent
it down unpacked in a common wagon. The panel was cracked and
the picture so badly damaged that he had to spend ten pounds in having
it repaired. On his death it was sold by auction in a little country
town at a time when Ward's works were out of fashion and realised only
120 guineas.

The Academy had still to be convinced of Ward's genius. West recom-
mended that he should try "something large and striking" in order to
remove the feeling " of his being an engraver." The advice coincided with
Ward's ambitions, and he carefully evolved a subject which should display
his knowledge of anatomy to the best advantage. The theme he selected
was terrific. A hugh boa serpent, anchored fast to a gnarled oak, crushing
in its massy folds a negro mounted on a white stallion. The man is helpless,
but the horse, with terror in its eyes, and dilated nostrils, is biting and
plunging furiously in its desperate efforts to rid itself of the convulsive
embrace that is slowly crushing out its life. All the figures were painted
the size of life. West lauded the work highly, and James sent it to
the Academy in company with the St. Donats Castle. His hopes were san-
guine as to its success, he probably anticipated that it would be awarded a
principal centre. The sequel had best be told in his own words. He
writes: "To my mortification a friend heard that the great picture was
rejected. I sent to the R.A., and it was found among the rejected works
standing in the hall. On my going to Mr. West to complain, and stating ' I
must now give it all up, I find it is of no use.' He said, ' Mr. Ward, I fear
your powers are not understood by the Royal Academy. The wisest man

1 know is Mr. Romney (who always declined to exhibit there). Make your
own connection and live quietly.' Feeling the force of this I withdrew my
large landscape, and was thrown out of becoming a member for some years."

James was not the man to sit idly under the rebuff. He gathered
his works together, and started an exhibition of them in his painting gallery
in Newman Street. The affair had roused much comment, and the Hanging
Committee were severely criticised even by many of their brother members.
This all tended to advertise the show, which was then far more in the
nature of a novelty than it would be nowadays. It was thronged with art
patrons, connoisseurs, and artists. Among the latter came poor George
Morland, now in "an emaciated and feeble state of body and mind." He
tottered round the room, leaning on the arm of some disreputable hanger-on,
"squalid, bloated, cadaverous, and trembling under the weight of his own
fi'ame." This was the last meeting between James and his whilom com-
panion, and it is pleasant to record that it was of a thoroughly friendly
character ; Ward indeed being moved to tears at the sorry plight of his
brother-in-law. A short time later he and his brother William were among
the small party who followed Morland to the grave. Sweet Anne Ward did
not long survive her husband. She had been used to say to James, "I know
my friends wish George dead, and think that I shall be happy, but they
don't know what they wish for ; whenever that happens I shall not live
three days after." Her prophecy was almost literally fulfilled. She died
on the fourth day.

James appears to have been sensibly affected by his favourite sister's
death, and it was some time before he could get into the full swing of work
again. By now commissions were pouring in upon him. Only the great
work for the Boydells languished, and this through no fault of the painter.
The giant firm was tottering, Josiah Boydell had no longer sufficient spare
capital for the enterprise. It was initiated in 1800, and now five years later,
not a single plate had been published, though several were in the course of
being engraved. Boydell on various pretexts had repeatedly delayed the
progress of the work, and perhaps would have been glad to have given it up,
but James was not one to set his hand to the plough without completing the
furrow. He had made sketches for the bulk of the two hundred subjects,
and had actually delivered or got ready for delivery about twenty-five com-
pleted panels. These were all charmingly painted. No other than James
could have made pictures from such subjects, but he is indefatigable in
seizing every opportunity to introduce some element of beauty into these
exact records of the size, weight, and form of the beefy ungainly oxen and
cows, whose picturesque outlines and hollows have been squared and filled
in by the scientific methods of the breeder ; and so there are beautiful little
vistas of country life in the backgrounds, strongly reminiscent of Bewick.
In one a group of oxen ploughing, in another, a heavily laden barge being
towed along a canal, yet every incident is subservient to and helps to illus-
trate the leading theme of the subject.

Matters came to a crisis in August, 1805, by which time James had
been paid in driblets £438 14s. on account. Mrs. Ward then, apparently,
was drawing money from the Boydells for housekeeping expenses while
her husband was away. On the 7th of the month there unexpectedly
arrived a curt note from the firm, to say that they declined to make any

further advances. James was summoned home and a heated correspondence
ensued. He demanded that they should either pay him for the time
occupied, and the expenses incurred while making the sketches, or take
from him the full total of pictures as originally arranged. Josiah Boydell
made out the best case he could in reply, but it is obvious that the rights
of the matter are on the side of the artist. The publisher, however, could
do nothing, he was no longer his own master, his business >vas in the
hands of his creditors, and all he could suggest was that Ward should
finish sufficient panels to work off the balance of forty or fifty pounds, for
which he had not yet delivered pictures. To this arrangement James
apparently agreed.

The commission for the work had greatly aided his professional
advancement, by introducing him to a number of rich and influential patrons,
yet its abrupt termination must have been a severe blow to him financially.
His expenses in collecting material alone amounted to over £750, and
instead of receiving 3,000 guineas, he was left over £300 out of pocket.
Neither of his large pictures had sold. Still affairs were flourishing. His
prices for the small cattle panels had gone up from fifteen to twenty-five
guineas, and as a result of the success of St. Donats Castle he had painted
the Twelve Signs of the Zodiac for Mr. Beckford, and four important pictures
for Lord Somerville. The latter nobleman, who was always Ward's good
friend, introduced him and his works to George III. The artist may have
hoped to receive a royal commission, but if so he was disappointed. It
was the third time that James had been brought to His Majesty's notice,
the first as an engraver, next as a portraiturist, and now as a landscape
painter. The triplication of roles puzzled the monarch.

"How! How! How! Mr. Ward," he exclaimed, "How is this.
That you, so fine an engraver, should turn painter, and landscape painter
too. Why, I am sure that it cannot pay you as well as engraving ? "

"An please Your Majesty," retorted James, "I engrave to live and
I paint for the pleasure of the art."

"Well! Well! Well! That puts me in mind of Gainsborough. He
told me that when he painted only landscape no one would buy his pictures,
and he turned portrait painter, and then people bought his landscapes,"
answered the King, then pointing to Lord Somerville, he added, "You have
got hold of the right man here. I hope he gives you a good price for your
landscapes. He ought to have done so, for I have just paid him two
hundred and fifty guineas for a ram."

Later on Lord Somerville whirled James off in a post chaise and four
to his Scottish seat at Melrose. On their way they stopped a day and a
night at Abbotsford, to reach which they were obliged to cross the river
Tweed with the water flowing over the floor of their carriage. Ward gives
a short but vivid description of Scott. He writes, " I was struck with his
appearance and simplicity as very unfavourable to the impression his works
had made upon my mind, but during the evening he repeated a poem in
manuscript, he had lately received from Mr. Campbell ; and as he proceeded,
his countenance lighted, his eyes sparkled, and his nostrils opened like those
of a blood horse at a race course. This was the real Walter Scott."

Though James had gained entrance to the most exalted circles, without
the aid of the Academy, he still hankered after an official recognition from

that body, as a tangible hall mark to his merit. His friends there were
urgent that he should exhibit again. He suffered himself to be persuaded
and in 1805 contributed four pictures the fruits of a recent Welsh tour.
Whether they were accepted or rejected mattered little to him, for three
were commissions from Sir Watkin Williams Wynne, and the fourth,
Sheepwashing, had been bought by a " gentleman of Lincoln's Inn." They
were hung, but Ward was not among the candidates elected to an
associateship, and this seems to have determined him to force matters to a
head. On the following year he sent in a number of works carefully
painted to show the wide range of his talents and asked that they all might
be grouped together. The hanging committee declined to make the
innovation, so James v^athdrew the pictures to form an exhibition at
Newman Street, which, like the earlier one, crowded his gallery with visitors.
His canvasses had now become the fashion, his commission book was like
a miniature " Debrett," so filled was it with the names of the nobility and
country gentry ; and though his great picture of the Boa Serpent still
remained unsold, it attracted a vast amount of attention, apparently
impressing the visitors with a sense of wonder that so huge a canvas could
have been painted by so short an artist. Among its admirers was Lord
Ribblesdale's son and heir, who invited the artist to the family seat in
Yorkshire. To this visit we owe the fine Gorsdale Scar, now occupying a
place of honour in the Tate Gallery. Sir George Beaumont had declared
that the subject was quite unpaintable ; but James, with a confidence in
his own powers, which in this instance was fully justified, accepted a
commission for a picture of it from Lord Ribblesdale. The theme was one
which attuned with his talents. Vast, gloomy, and rugged, the scene has
been invested by him with a sombre majesty, which impresses the spectator
with a sense of awe, and marks the picture as a work of original genius.

The subsequent history of the painting is not without interest to the
public. Lord Ribblesdale intended it for the decoration of a dining room
in a large mansion which he proposed erecting. This house, however, was
never built. The huge canvas, for want of a more suitable place, had to be
hung in an ill-lighted corridor; and Lord Ribblesdale, thinking it a pity
that such a fine work could not be seen to better advantage, some years
later, presented it to the British Museum. This proved to be a move from
the frying pan to the fire, for it was promptly rolled up, and for many years
stowed away in a cellar. Some of the artist's friends commenced to agitate
for its proper exhibition, whereupon the authorities indignant at being thus
called to account, had the picture exhumed and returned to the heir-at-law
of the late owner, the latter having died in the interval. The new owner
had no reason to be dissatisfied with his acquisition, as some years after
the artist's death he sold it back to the Government for £1,200. There is
small need for wonder that Ward in one of his last letters wrote very
bitterly about the treatment which the "jacks in office " had meted out to
his picture.

Chapter VII.

In 1807 Ward was again persuaded to send to the Royal Academy, and he
exhibited nine pictures, the subjects of which ranged from a study of Pigs
to a picture of The Infant Christ embracing the Cross. This last may have
been painted as a gage of defiance to certain members who had told him
"We will receive you, for we cannot keep you out any longer, but you must
suffer us to clip your wings ; you must not fly amongst us, that has not
been customary." The warning was futile. If James's aspirations soared
heavenwards, not the whole Academy could bring them down. Perhaps
they recognized this, for he was now elected an Associate, and three years
later advanced to the standing of an Academician. The honours came too
late to help him, and, in truth, were given because he had conclusively proved
that he could do as well without them. Yet the long delay was in the end
to indirectly mar Ward's future career. If he had been elected in 1799 it
is probable that he would never have turned his attention to the religious
and allegorical subjects, on which, in the future, he was to squander so much
of his time and strength. It was his eagerness, to prove that he was no
mere engraver, that lead him into paths so uncongenial to the true bent
of his talents, and his distrust, of those artists who had attempted to force
him to remain a black and white craftsmen, which kept him there despite
their advice and criticisms.

About this time he added the painting of blood horses to his already
extended repertoire of subjects. This was a profitable branch of art in the
hands of comparatively few exponents, of whom his brother-in-law, H. B.
Chalon, was one of the most able and popular. The latter told a friend,
who passed it on to James : " Ward can paint rustic horses, but can no
more paint blood horses than my boot," a criticism which James never
forgot nor wholly forgave. Presently an opportunity came to him to dis-
prove it. He was down in Wiltshire engaged in some cattle portraits for a
noted breeder, who possessed a racing stud, when a friend called his
attention to a beautiful brood mare and colt, saying " Here is a subject you
could not paint." The remark instantly put James on his mettle. He
painted a fine portrait of the pair and exhibited it in the Academy of the
following year, when it brought him in a shoal of commissions. By refer-
ence to the Academy catalogue one is able to identify this work as being
the picture of Grandillo and her colt Skyscraper, shown in 1809.

This successful venture was the means of sending up Ward's prices by
leaps and bounds. In 1807 he sold for thirty guineas his picture of the
Fighting Horses. This was probably the work exhibited in the Academy of
the following season. Four years later we find him pricing his huge canvas
of the Boa Serpent at £300 to a Philadelphian dealer, who took it to the
United States on sale. It was lost at sea, so that Ward probably never
received payment for it. By 1814 he was at the height of his reputation,
and had drawn out the following elaborate scale of charges, to which he
appears to have strictly adhered, whether the subject was a portrait, animal,
or landscape. For a canvas 10 by 12 inches, 50 guineas; 14 by 17, 60
guineas ; 20 by 26, 70 guineas ; 24 by 30, 80 guineas ; 28 by 36, 90 guineas ;
32 by 44, 100 guineas; whole length portrait under life-size, 120 guineas;
whole length portrait, life-size, 250 guineas, or when one or more extra

figures were introduced, 125 guineas for each additional figure. Unlike the
other portrait painters he rated the animals in his pictures just as highly as
the figures, so that when he painted the portrait of the two daughters of the
Earl of Chesterfield fondling a pet fawn, the Earl had to pay 125 guineas
for the addition of the latter, making the total cost of the picture 500
guineas.

His prices appear to have advanced so quickly as to have outrun the
knowledge of some of his noble clients, for we find both Lords Chesterfield
and Darnley demurring to the amounts he demanded for commissions
executed at their request. The former merely stated that had he realised
Ward's prices he would have contented himself with a smaller number of
pictures, and settled his account for over a thousand guineas ; but with
Lord Darnley there ensued a long and acrimonious correspondence.
Ward asked him 100 guineas for a portrait of a small dog, which he
had painted on a canvas 36 by 35. His lordship replied in a letter, which
even a less touchy man than James would have resented, suggesting that
most artists would have done the work for five pounds, and that in offering
Ward fifty in full settlement he was acting with great liberality. The
matter was eventually referred to arbitration when James was awarded the
full amount. In this as in other matters he acted with consistent integrity,
for when Lord Darnley suggested West as one of the arbitrators, he at
once wrote back saying that as he had already spoken to West on the
subject it would be fairer to appoint some other artist who was not biassed
in his favour.

As a proof, that Ward was not unduly estimating the market value of
his work, it should be mentioned that only a little before this time he
engaged to paint for Mr. John Barnes, a London stockbroker, a picture 25
inches by 19, of a white horse in a sandpit. The price arranged was 100
guineas. Sir Thomas Lawrence saw the completed work and at once
offered James 150 guineas for it. The latter declined, as he considered he
was bound by his original arrangement. Mr. Barnes was so pleased with
the picture that he spontaneously sent a cheque for 25 guineas in addition
to the sum originally specified.

It might be thought that James would now be in a fair way to amass a
fortune. Without being miserly he was jealously careful of his personal
expenditure, setting forth his own disbursements to the last halfpenny.
But he had no aptitude for money grabbing, and would as lief paint a picture
that brought him in no return, save the satisfaction of accomplishing a
difficult piece of work, as one that had a good fat honorarium attached to it.
He took many expeditions into the country, not only for the purpose of
levying toll on his wealthy patrons, but also for the purpose of studying
nature, and recording anything curious or extraordinary that he came across,
which latter mission he considered as one of the chief duties of an artist.

The record of one of these expeditions — a walking tour through the
South of Scotland in the late summer of 1811 — is not uninteresting, both
as illustrating the primitive state of the country at the time and the tenacity
of the artist. It reads more like the record of an intrepid adventurer ex-
ploring an uncivilized land, than of a middle aged gentleman by now inured
to good living, to the luxurious hospitality of the great country seats, and
to the easy travelling by stage coach or post, taking a pleasure excursion.

The fare provided at most of the inns appears to have been barbarous.
Here are some of the menus. Black cabbage soup eaten out of a wooden
bowl common to the assembled company — this was at Carnworth ; at the
larger town of Lanark, a two course dinner was provided of " dirty dry salt
fish, and soup made of rice and cabbage and a stinking knuckle bone of
ham." James lived mostly on bread and butter and eggs, yet even this
simple food, was often scarcely eatable. The eggs were not unseldom bad,
and generally boiled to powder, while the butter was so full of cow hairs as
to taste like mortar. If a joint was cooked, the gravy was inevitably
solidified with coal dust. Sometimes he got delectable morsels, such as
freshly caught trout, at others even the bread failed, and he was compelled
to make his meals on underbaked oat cake.

Bad as was the living, the accommodation was worse. The bedrooms
were as often as not open to one another. Occasionally the kitchens were
turned into dormitories for the poorer male guests, who undressed without
shame or diffidence before the assembled company. The bed linen was dirty,
swarmed with insects of a most objectionable character, and was generally
reeking with damp. Where James could manage it, he had a fire in his
room and dried the clothes before retiring, at other places he went to bed
with all his garments on, even to his overcoat. These discomforts would
have been sufficient to turn back most men from such a trivial enterprise,
and James in addition was in a poor state of health. He was afflicted with
gravel, one of his feet became lame, and he caught a bad cold on his chest.
That he continued his tour as originally conceived, without abating its length
or laying by for a day to nurse his ailments, despite continued bodily pain
and weakness, shows the man was of a heroic fibre. The following is an
abbreviated record of a few days out of his six weeks' journey, the whole of
which is worth recounting but would need a volume to do it justice. On the
second day out one of his feet blistered. He put tobacco leaves in his boot
and did his alloted number of miles. The next day he writes, " My foot
very painful and swelled got a needleful of worsted and let out the water,
leave the worsted in the blisters, and sow some rag round it, and set out for
Lanark with my boot down at heel." He walked eighteen miles in this
pHght, in the teeth of a heavy storm of wind and rain. After such heroic
treatment, the foot became worse, James applied poultices and plasters but
never rested it. He could not sleep for the pain, yet even on a Sunday he
crawled seven miles, going to a neighbouring church in the morning, and not
liking the preacher, migrating to a more distant one in the afternoon, where
he had the mortification to encounter the same minister, who repeated his
morning's sermon word for word. The next day he got gravel into his
wound through wearing his boot down at heel. Still he had no thought of
laying up, and of the succeeding day gives us the following record. "Got
up tolerably well but for my foot, see through Hamilton Palace ... go
down the glen and sketch Cadgow Castle, then my foot so painful I can
scarce draw a line. I hobble round to the other side of the river, about
three miles away, and make studies. My leg worse and worse, get very
feverish with the pain, manage to go round with great difficulty back again
to the Palace to draw Hamilton, but find it lost in the fog, return with much
pain to the inn." The leg swelled and blotched, but eventually got tolerably
well, to be succeeded by a bad feverish cold, yet with this on him James

regularly did his thirty miles or more a day in the pouring rain, subsisting
for the most part on milk and whiskey, and occasionally lightening the
weight of his sodden garments by taking them off and wringing the water
out of them.

In other expeditions James fared sumptuously, toui'ing about from one
lordly seat to another, and being welcomed as an honoured guest at each.
With the country gentlemen, he was popular for more reasons than his
painting, for he shot straight, and was a consummate horseman, winning
more than one brush by his prowess in the hunting field. His Stirling
independence of character must also have obtained for him the regard of
many of the noblemen whom he encountered, for while he paid them the
deference, and perhaps more than the deference due to their rank, he was
punctilious in exacting from them the respect he considered due to himself.
Thus when the Marquess of Londonderry directed a letter to him as Mr.
James Ward, portrait painter, he wrote back, pointing out that as a Royal
Academician, and thus a holder of the King's sign manual, he was entitled
to be addressed as " Esquire." He was equally punctilious in other
respects, even when it was against his own interests. When on a visit to
the Earl of Chesterfield at Bradby, his daughter Matilda came to join him.
She was a bright, vivacious girl, inheriting her mother's good looks, and
possessing considerable personal charm. The nephew of the Earl,
Lieutenant Stanhope, who formed one of the house party, fell a victim to
her attractions, and a flirtation sprang up between the young people, which
might easily have developed into a serious love affair. Nothing would have
pleased James better than that his daughter should have married into such
a distinguished family. Probably if he had allowed matters to take their
course, the match might have come off, but he would countenance nothing
that was not perfectly above board. He put the matter to the Earl, and
finding that the latter would disapprove of such an alliance, carried his
daughter back to town again.

This was in 1814, Ward's family was then five in number. They had
proved a not inconsiderable drain on his fortune, for having had next to no
education himself, he was anxious that his children should be better
equipped for the battle of life, and sent them to boarding schools at the
earliest possible moment. He states in his memoirs that this was when
each attained the age of two and a half. It seems incredibly young, yet the
statement may be correct, for Mrs. Ward was no lover of children, and was
probably glad to have her off-spring out of the way. Henry, the eldest, was
weak minded. Matilda, the second, who has already been mentioned, was
much given to nervous attacks of a hysterical nature, and showed to greater
advantage in society than in the home life. The two boys who came next,
were of very different dispositions. George Raphael, the elder, was of a
retiring nature, diffident of his own powers, but possessing his father's
conscientiousness and unremitting industry. His brother, James Claude,
was good natured, fascinating in his manners, and extremely popular, but an
unreformable spendthrift. He wrecked his own career by his extravagance,
and in the end did much to beggar his father. Emma, the next in order,
was of such a singulary sweet and religious disposition, that she might have
stepped out of the pages of an old time moral story book. Of the youngest
child, Somerville, we hear little, he died when he was eleven, and appears

i:^

to have flitted from the family circle without leaving tangible mark of his
presence.

In 1815 however, the family circle was still unbroken. Mrs. Ward's
mother lived with them at Newman Street, while James's mother had
apartments of her own, not far distant, in which she was supported in
comfort by her son's bounty. Mrs. James had grown much stouter, but her
matronly presence became her. She entertained more than ever, and still
did her shopping in the early mornings at Covent Garden, her son George
now assisting her, by carrying the heavy marketing basket. Matilda was
little domesticated, but made an attractive figure at her mother's numerous
dinner parties, to which James's brother artists were always welcome.
Calcott, Owen, Hills, and John Jackson were among his intimates. After
the repast was concluded, James would " talk shop," or more frequently sit
down and sketch, while his wife had her rubber at whist, and the younger
members of the company, which not unfrequently exceeded a score, amused
themselves with conversation.

James had now reached the zenith of his reputation, and in this year
an event occurred which placed him for the time being at the head of his
profession. The British Institution offered a thousand pound prize, for the
best allegorical picture commemorating Wellington's triumph at Waterloo.
The leading artists in England competed, among them being Ward, whose
design was probably the most ambitious and elaborate of those sent in. It
easily gained the prize, and he was entrusted with the commission for the
picture.

The story of the work is comedy, but comedy in which the elements of
tragedy are so interwoven, that it excites tears rather than laughter. This,
the crowning triumph of Ward's career, was in the end to prove his undoing.
Misfortune dogged him while carrying out the great work. The shadow of
death darkened his household, his family dispersed, his friends were alienated,
and he himself, weary with disappointment, and afflicted with grief, lost
much of his faith in human nature, and perhaps a httle of his trust in God.

It is difficult at the present time to put ourselves in Ward's position.
Our taste has been educated by the contemplation of great masterpieces
which were then not accessible. We know now that neither Ward nor any
other native painter of his time was competent to paint an allegory of the
lofty conception, and heroic size such as he attempted. Such a work cannot
result from one man's isolated effort. It must be built up on accumulated
experience, gathered from the experiments and failures of the men, who,
have gone before, feeling their way step by step, and passing from one
achievement to another; until in the fullness of time some great genius, like
Michael Angelo or Tintoretto, the heir and master of the treasure of the
ages, shall embody the knowledge, the unrealized ideals, and the beatific
visions of those who have gone before, in some stupendous creation that
shall be the wonder and admiration of all time.

Ward's immediate predecessors in heroic art, were Barry, West, and
Haydon, painters whose works only survive in popular memory by the des-
criptions of them given in text books. He might be forgiven for thinking
that he could more than rival their efforts ; but he was probably less able to
cope with his task than many of the modern art students, who have the
contents of the National Gallery to guide their taste and train their judgment.

xli.

His own previous experience with work of tlie same elevated type was next
to nothing. He had painted a few religious subjects and designed a stained
glass window for a church. Perhaps if he had contented himself with an
allegory dealing only with Wellington's success as a general, and filled his
canvas with armed warriors and prancing steeds, backed by the smoke and
flame of battle, he might have achieved a success, but it was the moral,
and not the martial aspect of Wellington's triumph which appealed to him.
He regarded Napoleon as an Anti-Christ, and endeavoured to symbolize the
Emperor's overthrow, as it might have been recorded by the inspired writer
of the Apocalypse. In his picture there is an areole typifying the presence
of the Deity. There are angels and fiends, dragons and serpents, the Vices
and the cardinal Virtues, and in the midst of all Wellington attired in full
field marshal's uniform.

The British Association by accepting Ward's design, shared with him
the responsibility for its incongruities ; and to their secretary's suggestions
may be ascribed the inordinate size of the work. Originally it was
planned to be 14 feet by 12 feet, Ward, to avoid crowding his composition,
increased the dimensions to 20 feet by 14 feet, and actually partly completed
it on this scale. The secretary, learning, that even then, the figures would
not be life size, urged the artist to make them so, and said, that Ward might
recoup himself for the increased labour by exhibiting the picture ; West's,
Christ Healing the Sick having brought in upwards of £6000 by this method.
James adopted the suggestion, and decided to execute the work on a canvas
35 feet by 21 feet.

One would wish to leave the history of this gigantic failure in oblivion,
but it is impossible to do so, for the painting of the work was Ward's
principal occupation during the six years ending 1821 and proved the
turning point of his career.

James equipped himself for his task both mentally and spiritually. He
spent days in the British Museum studying and modelling from the Elgin
marbles, and hours on his knees in the studio engaged in fervent prayer.
Nor did he forget more material considerations. His time was so largely
occupied with his great work, which was to be paid for on completion, that
his opportunities of earning money were largely curtailed. Mrs. Ward does
not seem to have lessened the number of her dinner parties to accord with
his narrowed income, but he himself dispensed with his horse, and kept
himself in form by digging in his back garden. The expenses in connection
with the big picture were considerable — the huge canvas which had to be
specially woven, the large rollers on which it was hung, and the tremendous
amount of paint he used, which all had to be paid for, demanded ready money.
He got into debt, but by taking all commissions he could execute in town he
managed to keep his head above water. On July the 3rd, 1817 he writes in
his diary " Thank God for ease and health this day. I won't forget my
feelings on paying the last £5 due on Mr. Knight's draft. Bless God." A
further source of gratitude to the Almighty was that his wife was becoming
more devout, for a few days later he writes " Hear Dr. Busfield (the Rector
of Marylebone) with great pleasure, Mrs. Ward much effected to excess of
weeping, God grant that the impression may last."

This diary throws an interesting light on the amount of care and time
he devoted to his animal portraits. For a picture of a horse, belonging to

xlii.

Mr. Han'ison, 30 inches by 24 inches, he had seven sittings from Hfe, some
of which were over six hours each, and he occupied three more days with
the finishing touches. It was his habit to adapt his pictures as far as possible
to the surroundings in which they were to be placed, he studied the lighting
of the rooms, and brought away with him samples of the wall papers.

For a time all things went auspiciously. George, the second son, a
youth of eighteen, who after a brief experience in a wine merchant's
office, had adopted miniature painting as a profession was showing great
promise. He is described by his father as being " free from every
inclination of evil of every kind, with a good capacity and great steadiness."
James Claude, his younger brother, was doing well at school ; whilst Ward
himself had received a number of profitable commissions from Lord Powis
which occupied most of the time he could spare away from his allegory.

Yet even then the muttering of the approaching tempest could be heard.
Ward's success had been bitterly resented by many of the recognised
historical painters. They regarded him as a charlatan, and were indignant
that the prize awarded by the British Institution should have been won from
them by a mere cattle painter. Their views too found active expression in
the Press, and the members of the Institution became dubious as to the
wisdom of their choice. They could not withdraw their commission, but
they could and did withold any active support to ensure its execution.
Ward had been led to believe, that a painting room would be found for him
sufficiently large to receive his gigantic canvas when strained. There were
suitable places belonging to the Government and other public bodies, and
Ward pleaded desperately for one of these, but the British Institution
instead of exerting their powerful influence in his favour remained quiescent
and his applications were rejected. It seemed that the picture must remain
unpainted, but Ward, with characteristic resource, had the canvas hung on
rollers, and as the height of his gallery did not permit the whole of it to be
unrolled at once, he rolled and unrolled it so as to expose the particular
portion on which he wanted to work. Sometimes, where the paint had not
thoroughly set, a week's work would be destroyed in rolling it up, and the
artist would set to work grimly to repair the damage. He could never see
his whole conception at once, but toiled on like a man feeling his way in the
dark. Doubts began to assail him, as to whether the work was receiving
Divine approval. On September 19th, 1817, he writes in his diary "The
Tempter at work to make me think my great picture an offence to God, and
a great curse with everything connected with it."

He had however no thoughts of relinquishing the task. There arose
domestic troubles. Mrs. Ward like Martha was careful and troubled about
many things. She saw that much money was going out, and little coming in,
and she worried both herself and her husband. Then came a keen blow ;
about the beginning of November Ward's favourite daughter, Emma, was
taken ill but the illness appears to have caused little alarm until the 23rd,
when there is the note in Ward's diary " Emma much weaker." This is
followed by the entry " The dear daughter worse and worse," and then there
is a long gap. It was not until the 1 6th of December, that Ward found the
strength to write " It is all over now and nearly a month passed." There
follow many closely lined pages, where indifferent penmanship and faulty
speUing show that the writer's emotion is still fresh ; he records how he

xliii.

spent hour after hour at the bedside of his beloved daughter comforting her
dying moments with the thoughts of Jesus, and fervently praying that if it
was God's will, she might be spared. Though she longed for life, she was
fully prepared for death. In the p^ean to God for his mercies with which
his entry concludes one can read the unexpressed wish, that he too might
have gone with her and been at rest.

Ward does not say what was the cause of his daughter's death, but he
mentions that during her illness, from first to last, seven doctors were
called in, which appears in itself sufficient reason. Indeed it seems
wonderful that any of the family survived their attentions. Mrs. Ward's
grief was assuaged by blood letting ; George had twelve leeches applied to
his stomach ; and James himself was anointed with an ointment to produce
an eruption which he naively hopes "did him good." Matilda is said to
have been on the point of death for four days, but recovered ; and in six
months' time was led to the altar by her father's old friend and neighbour
John Jackson, R.A., a widower with a grown up daughter older than the
bride. He nevertheless, was cordially welcomed by Ward as a son-in-law,
as being a man of strong and sincere religious convictions. The married
couple were away on the Continent, when Mrs. Ward, whose health had
been undermined by her increasing stoutness and many worries, was taken
ill. Her doctor's remedy, the extraction of twenty-six ounces of blood, can
scarcely have strengthened her. She ultimately took to her bed, and on
September 26th, 1819, made an edifying end. A little later there is still
another death to record — that of Somerville the youngest boy, a child
of eleven. He had been away at boarding school ; there is mention of him
once or twice in the diaries and letters, but he appears in them as a name
only, giving no vital evidence of his presence. James was left in the great
empty house, with only his son George and the unfinished allegory to bear
him company.

The latter had been in progress four or five years when it came to
a standstill. Even Ward did not dare to put the finishing touches to a work
of which he could not see the whole effect. Besides which, the picture was
much in the condition of the play of " Hamlet" with the title role omitted. The
central figure on his canvas had still to be inserted, for the artist had not
yet obtained sittings from the Duke of Wellington.

It would have been far better for Ward had these obstacles proved
insurmountable, but his energy carried everything before it. He imagined
that the Duke of Wellington would not sit to him because he was not a
recognized portrait painter; so in 1818 to prove that he was capable, he
got the Rev. Dr. Busfield to sit to him. To recoup himself for the picture,
which he presented to the sitter, he engraved a plate from it, hoping to
realise £200 from the sale of the impressions. The portrait was wasted so
far as the Duke was concerned, for he was called out of the country. In
the meantime, James was searching for a suitable place in which to finish
his picture. Haydon had such a studio which he wanted to let, but was one
of Ward's bitterest decryers and opponents, and though James made
application for the place, his offer was declined. He was consequently
compelled to turn to other work. In 1819 he went to Northumberland and
commenced a picture of a "Persian Horse" for the Duke of that county,
and the fine " Lambton Hunt," so well known by the engraving from it, by

xliv.

Charles Turner, for Mr. Ralph John Lambton. In 1820 he paid a visit to
his old friend, and faith patron, Mr. Levett and painted the " Deer Stealer,"
one of his largest works.

Towards the close of 1821, his hopes at last seemed on the point
of consummation. Haydon relinquished his studio, and though he tried to
force another tenant upon his landlord, the latter gave James the first
option. A thousand pounds was necessary to secure the lease, and Ward
scarcely possessed so many shillings. He borrowed the money in equal
moieties from Sir John Soane and his tried friends the Levetts of Wicknor.
The Iron Duke sat for his portrait in the early part of 1822, and the gigantic
work was at last completed. Ward hired the Egyptian Hall for its exhibit-
ion. He now looked to secure the reward for the courage and tenacity
which had enabled him to surmount so many rebuffs and disappointments.
But the picture was doomed to failure. Had it been a masterpiece by
Raphael, it would have fallen equally short of success, for the public taste
for allegory had vanished, and the Duke of Wellington was in the nadir of
his popularity.

There is Httle need to expatiate on the details of the grim fiasco. The
work was not destitute of merit. Though the composition as a whole
was ill conceived, many of the individual figures were well drawn, as may be
seen from the illustration from the " Study for Hope " at the end of the book.
The members of the British Institution who attended the private view, were
loud in their praises ; but when it presently appeared that both press and
public were unanimous in condemning the work, their voices quavered.
Despite all arrangements to the contrary, they suffered the canvas to
be mutilated by the authorities of the Chelsea Hospital, who fitted it over a
balcony which partially concealed it from public view. Here it hung for some
years until removed to make room for a collection of Chinese trophies.
Later it was unearthed from the cellars of the Hospital and contemptuously
given back to the artist's family, who cut it up into several fragments which
appear to have vanished completely.

Chapter VIII.

James' plight would have driven a weaker man to despair. He had hazarded
fortune and reputation on the cast, and lost. The six best years of his life
had been wasted. His out-of-pocket expenses in connection with the
production and exhibition of the work amounted to over seventeen hundred
pounds ; the thousand pounds that was to be paid for it had already been
so largely drawn upon that the balance remaining was but as a drop in the
ocean of his liabilities. Again he proved himself unconquered by fortune
and faced the chorus of execration levelled at his picture with undaunted
mien, considering the public unable to appreciate the work because it
transcended their intelligence. To re-establish himself he descended to
their level by painting the picture originally called Protection, but now
hanging in the Tate Gallery under the more prosaic title of Landscape with
Cattle. The size of the canvas is 10ft. Sin. by 15ft. lOin. Large as it is.
Ward relates that the work seemed as child's play to him after the allegory.
The picture was exhibited in the British Institution in 1823, it did some-

xlv.

hing to restore his bankrupt reputation, but henceforth the struggle was a
losing one tor him, though waged with desperate resolution, and lit up by
some transient gleams of success. James felt this and his letters betray
his despondency. He writes in 1822, " I may find some little corner (in the
country) in which to bury my aching head and repose my aching heart,"
and again in the same year apropos of a squabble between some artists,
" a little while, a very little while, and those in and out of the Academy will
sleep together in peace."

He was now over fifty, a widower, hampered with debt, and thoroughly
weary of the world, yet he pursued his work with the same dogged determin-
ation, if not with the same high hopes as before. Fame had eluded him,
but he was eager to free himself from his liabilities, to keep his old mother
in comfort during her declining years, and provide a competence for his
children before he died. He stooped to beg favours for his boys which he
would have scorned to ask for himself. We find him soliciting commissions
for George with the assiduity of a professional bagman. James invented
work for him, and paid for it out of his own lean pockets, rather than the
young man should lack employment; and to do George justice, he more than
deserved the assistance, for he repaid it in a thousand ways, taking charge
of the Newman Street establishment during his father's long absences, and
acting as his housekeeper, agent, and business manager. Nor was his
pencil unworthy of recommendation. Lawrence, for whom he made
miniature copies of his pictures, was so pleased with them, that at least
once he paid a higher price than the amount demanded, and gave him all
the work of this character that he could.

James, in his endeavours to further his son's interests, was thrust into
the practice of lithography. He made drawings of some prize cattle for
Mr. Arbuthnot, which it was arranged should be reproduced on stone.
Ward had earmarked the work for George, but the latter was away engaged
on more profitable commissions, so James performed the task himself, with
the success which always attended his efforts at realistic art. This opened
to him a new, and for the time being, a profitable field of employment. In
the course of two years, he drew a set of fourteen lithographs from his
own pictures of celebrated horses, and over half-a-dozen other works as
well, which appear to have commanded a readier sale than ever did his
fine mezzotints. At this time his waning career appears to have entered
upon a little St. Martinis summer of success. In 1823, whilst on a visit to
Newmarket, he was honoured by the Duke of York with a commission to
paint his well-known thoroughbred Moses. On the following year he made
a long visit to Tabley, painting pictures for Sir John Leicester. Then
followed one of the crowning events of his life, a visit to Windsor and two
long interviews with George IV. The king fascinated Ward, his personal
charm was irresistible, with winning suavity he declared that the three
pictures which Ward was painting of the royal horses must be considered
as commissioned from himself, and led the delighted artist to infer that he
was at least as much pleased to secure his work, as the latter was to
receive the royal patronage. Ward asked that he might be allowed to send
home for further pictures to show His Majesty, who was charmed by the
suggestion. James was brimming over with joy, he hastily wrote home to
George to despatch the canvasses, and with them "the large magnifying

xlvi.

glass" so that the king might see the minute finish of the work, he
concludes with the instructions, "Call upon my dear old mother to make
her happy with the news, and remember that those who live upon
Providence will never be in want of Providence if they will wait upon His
time." The second interview was granted. The king was even more
gracious than before, he talked to the artist as an equal, and placed his
hand familiarly on his shoulder, a gracious action that lingered long in
Ward's memory and is often referred to in his letters and reminisences.
His Majesty ventured to criticise the action of one of the horses in Ward's
pictures which had all its four feet off the ground, but in this he presumed
too far. James, like the " Yerl o'Waterydeck," was absolute in his own
domain, and overwhelmed his sovereign with arguments and illustrations,
making sketches of the action of the horse, and imitating the gait of a high-
paced racer in front of the king until the latter expressed his entire
agreement with the artist. Perhaps Ward was hardly deferential enough
in his behaviour, perhaps the death of the French king, which occurred
about that time, blotted the recollection of the artist from the king's
memory, for when the three works were finished, and James begged leave
to submit them, he was told that His Majesty was too busy to attend to
the matter, and so ended his last intercourse with royalty.

Perhaps it was well that James did not come into more frequent
contact with such exalted circles, for two anecdotes which he relates, show
that the artists attached to the Court in those days must have kept their
tempers well under control, an attainment beyond Ward's powers. The
following is the first of the tales " There was a certain bishop who had been
a great friend of Beechey's with King George III. He came to the artist
to paint his portrait, but explained that he could not afford to go to his high
prices. Beechey, in gratitude, charged him less than usual, which the
prelate imprudently made known to His Majesty. The next time Sir
William went to the King, the latter, who was then verging on one of his
attacks of madness, foamed with rage, and burst upon him in the most
abusive language as charging him more for his pictures than he did other
people. Beechey fainted under the shock, and the princesses who were
present kindly took him into another room, where they brought him to
with smelling salts." " Such is the post of honour ! " interjects Ward, who
then proceeds to give an anecdote of George IV., and Sir Thomas Lawrence.
" He (Lawrence) when painting the portraits of the distinguished characters
in the late war (with France) made a very beautiful portrait of Napoleon's
son, which was engraved. As he had been in the habit of presenting all the
engravings from his works to the King, he brought an impression to His
Majesty. The latter took it out of the artist's hand, and instantly tearing it
to atoms, threw it in his face. The gentleman, then superintendent at
Carlton House, told me, that when Sir Thomas came out of the King's room,
his state of mind was such, that he thought he had become deranged."
Ward adds the reflection "It was a lesson to me — Fear to be too near
Kings."

The King's patronage, however, short-lived as it had proved, enabled
Ward to maintain his position for a few years longer. Though he was
earning more than he spent, his debts hung about him like mill-stones, and
it was only by strenuous efforts he could keep himself from being submerged.

xlvii.

Such was his lack of ready money that now he rarely started on a journey
with sufficient cash to carry him through with it. This resulted in situations
which were almost painfully ludicrous. At Paris, which he visited in the
winter of 1825, he was to outward appearance, floating on a flood-tide of
prosperity. The Fi'ench authorities received him with distinguished
courtesy, the large copy which he made from a Giorgione in the Louvre
had been commissioned in advance, and, around his easel there daily
gathered the elite of the English visitors to the French capital ; among the
most faithful attendants being the Duke of Bedford, who was so impressed
with the work that he arranged that the artist should paint an important
picture for his collection at Woburn. Doubtless many an artist was
envying Ward his distinguished cortege, and rich clientele, while poor
James in the solitude of his inn chamber, was counting over his fast
vanishing francs, conscious, that unless George could raise enough money
to send him a remittance he must remain in pawn to his landlord for his
unpaid hotel bill. The money, however came, and Ward was set free to
resume his never ending labours. I suppose that no man in his declining
years was ever more heavily weighted by the faults, the weaknesses, and
the misfortunes of others. For over a decade he had kept his wife's mother
and sister. His own mother was still his cherished pensioner. There was
no money he grudged less than that he sent to the old lady. She was
constantly in his thoughts, and he never mentioned her but in the terms of
the warmest aff^ection. He instructed George, however hard pressed they
were, to pay her allowance to the day, lest she should be worried by
thinking things were not going well with him. Here is a characteristic
extract from a letter to George impressing him to look after her: "When
did you see my dear, dear mother ? Let it be very often. Her spirits at
times are subject to depression, do all you can to prevent it. Take tea
with her at times, and see that she wants nothing. My kind love to her,
and never forget to convey it with every letter I write."

Ward's afflicted son Henry was another constant expense, fifty pounds
a year being paid for his board in the country. Finally there was James
Claude. "The clever boy had developed into a spendthrift, and money
passed through his pockets like water through a sieve. Ward, at the cost
of many rebuffs, had begged for him a cadetship on board an East
Indianman, and spent £250 in fitting him out. Less than a year elapsed
before he was back on his father's hands ; again the father went the round
of his patrons, and eventually secured for him a clerkship at the Tower.
Claude (for it is advisable to drop his first name to prevent it being confused
with that of the parent), was lax in his morals, he developed habits of
staying out late, and mixing with undesirable associates. Nothing could
have been more displeasing to James, who was puritanically exact in such
matters ; he expelled his son from Newman Street and forbade him to the
house. Claude, left to his own devices, garnered in a fine crop of debts,
and presently, when threatened with arrest by his creditors, came whining
to his father for assistance. James did not respond willingly, he stormed
and lectured as was his nature to ; but ultimately an arrangement was
efi^ected by which the young man's salary was set aside for his creditors,
while the much burdened father provided him with means of subsistence.
Claude's allowance was a pound a week, sixteen shillings of which went to

;tlviii.

his sister Matilda and her husband, with whom he now boarded. The
prodigal found this penury irksome, he pestered his father with a constant
succession of letters, all savouring of the professional mendicant, filled with
contrite sentiment, and ingenious pleas to extract money. Five pounds
were wanted for a set of new shirts, two pounds for a pair of boots,
six guineas for a series of medicated baths to restore him to health, and
other amounts for various items, which it may be suspected were but aliases
for some delectable morsels, to garnish the prodigal's fare of husks.

Ward grew tired of the drain. He was on the eve of contracting new
responsibilities, for, by now he had become engaged to Charlotte Fritche, a
cousin of his first wife, whom he had known for over thirty years, and who
was to prove a loving and helpful companion during the remainder of his
pilgrimage along the vale of life. George too had become engaged. The
two couples were married in 1828 on the same date, and though from this
time father and son lived in separate establishments, their intercourse
continued with unabated affection.

Claude, in the meanwhile, was finding his position increasingly irksome,
and in 1829 cut the Gordian Knot of his difficulties by enlisting in a cavalry
regiment outward bound for India ; his last act before leaving the country
being to buy himself a " handsome chased gold-mounted riding whip," for
which his father was presently favoured with a bill of three and a half
guineas. Unfortunately, this was not Claude's final appearance on the
scene, and even his temporary exit was the occasion of a fresh crop of
troubles. He was declared bankrupt under the style of James Ward, late
of Newman Street, and the coincidence of his name with that of his father
caused the latter's credit to be impaired.

James, a year or two previously, had taken a Httle country house —
Roundcroft Cottage at Cheshunt, Huntingdon—at an annual rental of £40 ;
and now, stung with a sense of disgrace, he determined to retire there.
It was a thatched, two-storied building, very picturesque, but woefully
dilapidated, and constantly needing repairs, which Ward had to have
executed entirely at his own expense, for the owner met all applications
for assistance by threatening to have the place pulled down. Ward
retained a few rooms in his Newman Street house but let off the greater
portion, the proceeds more than covering his entire rent. He was persuaded
to put up his collection of unsold pictures at Christie's, a hazardous
proceeding for any artist, however eminent. The sale, which took place
in 1829, more than realized his worst forebodings. For his large Cattle-Piece
there does not seem to have been a single bid ; of the other lots, a number
were bought in, and the remainder brought less than a quarter of their
original prices. The net proceeds were under a thousand pounds — a little
nest egg to help James over his declining years, and one that was urgently
needed, for he was turned sixty, and craved for rest from the stress and
strain, the bitter rivalries and never ending turmoil of London life, and sought
to find it amidst the country surroundings that he loved so well. Thirteen
years later he was to record in his exhibition catalogue : " Complete rest
is only to be found in the grave." The interval had proved the truth
of the statement. James was given a few years of freedom from worry,
and then his son Claude returned to England, invalided out of the army,
in which, to do the young man justice, he had borne himself creditably,

x|ix,

attaining the rank of a Corporal. The prodigal was welcomed back with
open arms; but after the "veal" had been eaten and the feast brought
to a close, it was necessary that he should be put in the way of earning
a living. James had invented a kind of waterproof blacking, which
met with the approval of the experts to whom it was shown. It was
arranged that Claude should exploit the novelty. Another gentleman
was found, who put his son and a considerable sum of money into the
concern, which was financed by James to at least an equal extent. The
rest may be told in a few words. The invention proved a failure. Claude
dropped the blacking and turned to gutta-percha, then a little known
substance, more used for fancy articles such as rings, watch chains,
and ladies' garters, than for ordinary commercial purposes. He seemed
to be doing well, and actually paid off a portion of his father's loan.
Then returning to his former extravagant habits, he ordered a phaeton
and a set of harness from the King's coachbuilders, and was looking
out for the best horse procurable, when death put a period to his quest.
The reader can probably surmise what followed. The business proved
insolvent. James' thousand pounds had vanished, and having committed
himself to a guarantee he found himself heavily involved. The old man,
now turned seventy-two, went back to town to gather up the threads of his
connection and retrieve the position. Fortunately, he had not occasion
to remain there long ; some of his former patrons, among whom was
the Duke of Northumberland, came forward and purchased several of his
more important works ; and by realising all his tangible assets he was able
to pay every creditor in full.

Ward's retirement to Roundcroft synchronised with the period of his
most pronounced literary activities. The writing mania came to him late in
life, and as youthful maladies are said to assail the aged with peculiar
virulence, so he was strongly affected, and never outgrew the habit. His
description of his allegory, issued some years previously, contained about
half the matter of a three-volume novel, and had created some sensation
in the artistic world, though not of a nature to gratify the author, for the
pamphlet did more towards damning the picture than the combined efforts
of the hostile critics. Now he brought out a treatise, entitled: "New Trials
of the Spirits, in reply to two sermons preached in the Parish Church
of Upper Chelsea, and published by the Rev. Henry Blunt, M.A., written
in a letter to a friend by James Ward, R.A." This was presently to be
followed by "A Defence of the Beard," and a brochure on "The folly
of docking horse's tails" ; while the catalogue of his exhibition in Newman
Street was enlivened by some hundreds of lines of original descriptive verse.
The prose compositions are distinguished by much admirable if verbose
moral sentiment, some sound common sense, and an extravagant use
of italics and leaded capitals. The poetry is distinctly inferior. Ward having
no ear for either rhythm or rhyme, and, in happy unconsciousness that
he is offending against the laws of verse, matches "moan" with "thorn,"
" knows " with " lose," " moon " with " tomb " and gives us stanzas such as

" I am modest and bashful at bazaar or class,
In public or private hating vanity's fuss,
And I'm pained to the heart when they're over and gone,
But the thistle has down, as the rose has a thorn."

1.

After reading this, one sympathises with the frank brutaHty of the
criticism contained in a letter from his brother-in-law, G. Fritche, apropos
of a catalogue of the Newman Street Exhibition. He writes : " I went to
see the pictures, and when Mr. Swan read your descriptions, became
disgusted with them. Your poetry lowers them 100 per cent. For God's
sake don't let the public read such d — d doggerel stuff! " It is refreshing to
think that though this criticism failed to cure James of his weakness for
poetastry, it did not interrupt the friendship of the two men.

Ward succeeded in re-letting his premises in Newman Street, and after
Claude's affairs had been wound up there was nothing to prevent him
from returning to his beloved country cottage. Here in peace and con-
tentment he spent the remainder of his days, secluded from the world, yet
neither forgotten nor unheeded, and taking a lively interest in public affairs,
and in the concerns of his children, grandchildren and great-grandchildren.
Though his latter end was not blessed with great material prosperity, his
trust in God sweetened his dinner of herbs, and secured him in the belief
that he should not be utterly cast down nor forsaken in his old age.

Here is an extract from a letter to his son George, written in 1849,
showing with touching simplicity his belief in the efficacy of prayer, even in
small matters. He writes : " You have heard that one of our torments
here has been bad servants, and my prayer has been for (a good) one. A
man is suddenly sent to me all the way from Norfolk, who has also prayed
for a quiet situation in life, being advanced in years. If I had painted a man
as to what appearance I should like, he is the man. Who, but Providence,
could induce him to seek a place so far from home, or direct him to
Roundcroft."

The man's name was Peg, he w^as an ex-gamekeeper, partially crippled
by some wounds received in his former occupation. He proved a most
faithful and exemplary servant, looking up to Ward, on religious matters,
as a disciple to a master, and ending his days in the latter's service. At
the time of Peg's advent James was enabled to gratifj' a long cherished
desire of buying a little pony and phaeton for his wife to drive about in.
He obtained them for a trifle, as both horse and vehicle were the worse for
years. The pony was slow and lame, but perfectly suited his master and
mistress ; and when not in service, grazed on the little paddock in front of
the house, with its long tail and main flowing in the wind — for James would
never permit a single hair of them to be docked — ready to come instantly to
its master's call.

James loved all animals, wild or tame, and neither bird nor beast was
allowed to be disturbed in his little domain. On his dogs and cats he
lavished nearly as much affection as an ordinary man would on his children.
In a letter to George he recounts the history of his pets from the beginning.
The first was a little dog named Dandy, so small that James " used to button
him up " in his bosom, and take him to Hampstead Heath " and there let
him loose to frolic among the furze bushes and heather," to the mutual
delight of the two playmates. He ultimately was poisoned by swallowing
some paint left about by careless workmen, and James records, " I felt as
though I had lost a child ! " Dandy was succeeded by a " beautiful thorough-
bred little spaniel," who in his turn met with an untimely end. Straying by
mistake into a strange house he was there done to death with pitch-forks

under the apprehension that he was mad. James and his servant scoured
the country in search of the missing pet. At length Ward met the man
" returning with the poor little darling hanging by a string about his neck."
James in his grief at first decided never to have another pet, but was
persuaded to accept a second spaniel in the person of " little Dash," who
won his master's heart completely, and waxed old in his service. At length
he " became diseased all over." James doctored him daily with ointment,
and " the dog was as sensible of the relief afforded him as a human being."
Eventually he grew too ill for the remedy to ease his sufferings, and then
he would gaze reproachfully at his master, as though he thought that the
latter could assuage his pain but would not. This preyed so much on
James's feelings that he had the dog made away with, and buried in an
unmarked grave so that he should not learn where his favourite lay. " I do
not know to this day," (1853) he writes, " and I am glad of it, for the sight
of Dash's picture is still too much for me, if I dwell on it." The last of
Ward's pets was a cat which was wont to jump on his lap, " purring and
fondling him as a child." Much to James's sorrow and indignation the
animal was ultimately shot by a neighbouring land-owner for poaching.

As the years rolled on Ward's income from the sale of his pictures
gradually dwindled, and finally ceased altogether. In 1847 he was driven
to apply to the Academy for assistance, when he stated that for years he
had not sold a single picture. The Council of that institution responded
with willing alacrity, for not a man among them but was proud of the grand
old veteran who had pursued his professional career so long and honourably,
and against such weighty antagonisms. He was granted a pension of £100
— not a large amount, but sufficient, eked out with the little salvages that
occasionally came to him, to keep him and his wife in comfort. In the
following year an unexpected piece of good fortune came to him in the sale
of his important picture, the Cotmcil of Horses, painted in his eightieth year,
and bought for £250 by that well known connoisseur, Robert Vernon. The
subject is taken from " Gay's Fables," and is finely rendered, the contrast-
mg characters of the individual horses, composing the assembly, as des-
cribed by the fabhst, being fully expressed, and this not at the expense of
the truth by humanizing them, but by the perfect realization of their equine
variations. It was a wonderful work for a man of Ward's years, and though
age had abated the vigour of his handling, it is questionable whether any
artist then living could have shown an equal amount of technical skill and
knowledge in painting the same theme. It was Ward's swan song. Though
he did not relinquish his brush, no after work by him attained the same high
level of excellence.

Though his frame was enfeebled, he still retained his mental and
physical activity, got up at six in the morning, and worked unceasingly.
When he lay awake, during his meagre hours of rest, he wiled away the
dragging night by composing poetry, which he inflicted on his long
suffering relatives, and on the compilers of the Academy Catalogues. Many
and ingenious were the excuses invented by the latter for not printing
in extenso the metrical descriptions of his pictures. He still dabbled in
theology, discussing abstruse points of doctrine with his parish clergyman,
and pursuing the solution of the " ten horns " of Daniel's vision with
unbated ardour.

He in no whit abdicated his position as head of the family. He leant
on George, almost wholly transferred to him the management of his business
affairs, and made him largely his medium of communication with the outer
world, but if he considered that his son had acted wrongly with regard to
matters of deportment or morality, he chided him as he would have done a
sixteen year old boy. Thus when he learnt that his favourite granddaughter
Henrietta, George's only child, had attended a fancy dress ball garbed as
Nell Gwyn, his wrath knew no bounds, and in a series of indignant letters,
he sternly rebuked her parents for permitting a Christian girl to assume the
disguise of a courtesan. This self same Henrietta, now widely known as
Mrs. E. M. Ward, and still living among us, exhibiting regularly in the
Academy, and producing work which conclusively proves that age has not
dimmed her eyes, nor caused her hands to lose their cunning — showed
extraordinary talent as an artist, even in her earliest days, and owed much
to her grandfather's criticisms, and kindly praise. Later on he was to
perform for her a service of a different kind — to act as mediator between the
young girl and her parents. The occasion of this intervention was Henrietta's
marriage. A precocious, because an only child, she ripened into a beautiful
woman at an age when most girls have scarcely doffed their pinafores.
Among her father's friends was Edwin Mathew Ward, a namesake but
unrelated, already known to fame as an historical painter. The young couple
found a mutual attraction in each other's society, and when Henrietta was
yet fifteen, they plighted their troth. The consent of her parents to their
immediate marriage was demanded, Mr. and Mrs. Ward who had no reason
for witholding it, except on account of their daughter's extreme youth,
promised that if the affianced pair remained of the same mind for a year,
they would grant their sanction ; but the period of probation having elapsed,
the parents still hesitated, and finally extended it for a second twelve months.
This was more than the lovers could endure, they were fearful for the future,
and anxious to be united beyond the possibiHty of separation. One morning
Henrietta left her parents' house, nominally to spend the day with a sister of
E. M. Ward. She met her lover by pre-arrangement, and they were married
by special license, Wilkie Collins the well known author, giving the bride
away. The wedding was kept secret from the parents, who in company with
the newly made bridegroom and bride dined that night at the house of
Charles Ward. The situation was ludicrously embarrassing. Host and
hostess, and all the company, with the exception of Mr. and Mrs. George
Ward, knew of the event of the morning, but had to act as if nothing
had occurred. For some months things continued as though no wedding
had taken place, then one fine morning, the young couple eloped to Ivah.
Mr. and Mrs. George Ward were naturally angry, and declined to be
reconciled with their daughter and son-in-law. James however sided with
the latter, and advocated their cause, though at first without avail ; for the
parents hearing that he had invited the pair to Roundcroft, objected on the
ground that he was countenancing filial disobedience. Such was the old
man's reverence for parential authority that he deemed it his duty to with-
draw the invitation, until by continued pleading, he had obtained for them
forgiveness.

James's last years ebbed peacefully away. He and his wife were never
lonely. They made their little cottage, a place of entertainment for their

relations where all were welcome, and so the rooms re-echoed with the
laughter of little children whose hearts were not more pure, or whose lips
more innocent of guile, than those of the white haired old man now verging
upon ninety.

1855 was the year of his last exhibit in the Academy. He nevertheless
continued to paint for a little longer. A letter, dated 1856, contains the
record of what was apparently his final picture. It is scribed in Ward's charac-
teristic writing, now however, grown feeble and uneven, and runs as follows:
" Last picture, J. Ward, R.A., Heading the Fox, March, 1856." In August of
the same year he writes to his son George, " I hope to hear of you having new
commissions, assured that we are never so happy as when full of work, my
pain is increased by having the desire to work but without the power ; but
how thankful I ought to be that my mind has not left me." The last letter
of his that I have discovered, is dated April, 1857, and is also written to
George ; it contains the following sage maxim which applies to no time more
than the present, "Live close, and spend not one unnecessary shilling — for
times are coming which I think will be more trying than any we have yet seen."

He barely outlived his ninetieth birthday. The end came on November
16th, 1859. It was such as befitted his life. He passed into the unknown
hereafter with the confident assurance of a weary traveller reaching his
long sought for goal. He is buried in Kensal Green Cemetery, a beautiful
monument by Foley, marking his last resting place. By a curious coinci-
dence, the site of the cottage, in which William Ward and George
Morland lived together in the May dawn of their careers, forms part of the
cemetery grounds, and it may well chance that the mortal remains of the
old veteran, lie on the very scene of some of his youthful labours.

It is still full early to speak of Ward's position in English Art. His
career was so extended, and his productions so varied in their character,
and so unequal in quality, that posterity has not yet had time to separate his
transient work from that which has in it the elements of the eternal. By
an irony of fate, he is at present best appreciated for his engraving of which
he thought little, for he despised the art as mere craftsmanship, did his best
to prevent its exponents from being admitted as full members to the
Academy, and was himself in no wise anxious to be distinguished or honoured
as one of them. There is no need to enlarge on his achievements in this
branch of the profession, for his position as one of England's greatest
mezzotinters is firmly established, and the proofs of his finer works are
ransomed by collectors at prices which would have astonished their author.

During the first portion of his career, Ward was painting pictures
which he himself described as being " pure Morland," this phase of his
art lasted from 1790 to 1797; few of the works of this period are known
to exist, and probably many of the best of them have been passed off on to
collectors as genuine Morlands, a practice which was in vogue even during
the lifetimes of the two artists. Some of those surviving are charming, but in
them Ward reveals little of his own personality, they are frank imitations — the
compositions of a scholar who still saw nature through the eyes of his
master. From 1797 until 1803, Ward was gradually evolving a style of his
own. His experience, as a painter of prize cattle, taught him to note detail
minutely and accurately, while the study of the works of the Dutch and
Flemish painters, which came under his notice at this period, encouraged

liv.

him to express it with great elaboration, thus his development was wholly
in the direction of greater definition. The salient characteristics of Ward's
style are brilliancy, clear definition, and minature like finish. His pictures
are concrete statements of fact, that leave no ellipsis to be filled in by the
imagination of the spectator, and in this lies both their strength and weak-
ness. All art is in the nature of a compromise, for as no picture can embody
the whole truth of nature, some portion of it must be sacrificed, in order
that full expression may be given to the remainder; hence the greatest artist
is he who expresses most, and does it in the most perfect manner. Ward
was unwilling to make any conscious sacrifice, he tried to combine breadth
with elaborate detail, and not seldom the attainment lagged behind the
intention. In his huge " Cattle Piece " at the Tate Gallery, he records the
marks on a butterfly's wing, and the minute forms of the weeds and grasses
in the foreground, with the same close observation that he devotes to the
rendering of the group of cattle, trusting to his skill to subordinate these
details to the leading viotif of his picture. In his smaller works he carries
this love of minuti^ even further, so that they may be examined under a
magnifying glass without losing their effect of perfect finish. In nearly
all the pictures of his best period — that is from 1803 until about 1830 — his
brushwork is free and virile, his execution solid, and his colouration strong
and brilliant, so that many of our present day pictures, when put alongside,
look thin, flat, and lacking in chiroscuro.

Ward's weaknesses are on the surface, his occasionally faulty drawing,
his over accentuation of the rugged and eccentric features he depicted, and,
in some of his earlier works, the division of his composition into several
minor groups insufficiently correlated to form a homogeneous whole ; but in
spite of these blemishes he is a great artist, interesting in all his work, and
within narrow limits an unsurpassed master. There have been other
painters of cattle, who have produced pictures, which, as a whole, may rank
higher than any of his, but in the deliniation of the animals themselves, their
forms, the texture of their coats, and their characteristic traits, no one has
equalled him.

In painting Ward has still to come into his own. The present age is
hardly likely to do him justice, for the critics are leading us further and
further from his ideals, and putting before us fresh conceptions of art of
which he knew nothing. To them the suggestion of a transient impression,
or the blurred epitome of one of Nature's moods, in which form, detail, and
local colour are expressed in vague generalisations, are all sufficing. They
regard Ward's pictures as unatmospheric, his outlines as too clear cut and
hard, and his work as cumbered with over elaborated masses of detail ; yet
as I write this, on a furze clad English hill slope, with the span of half a
county spread out in front of me, and see the definiteness with which every
object, however remote, impresses itself on the eye — the flaming blooms
within my hand's reach, hardly more distinct than the red-roofed houses of
the village in the valley below, or the trees, that nearly a dozen miles away,
sierrate with their jagged outlines the circumfluent sweep of the horizon —
I feel that Ward was in the right ; and that our teachers are drawing us
away from Nature into a maze of bewilderment, where the idiosyncracies,
the mannerisms, and sometimes the impertinences of a few artists of great
but imperfect talents, are held up to us as our guides.

Iv.

t ^

PORTRAIT OF JAMES WARD

By John Jackson, R.A. From an Engraving by J. Wuni, in the collection oj Mrs. E. M. Ward

PORTRAIT OF THE ARTISl S MOTHER
By J. Wind. From a Piiiurc belonging Ij Miis J.ukMii

WOOD SAWYERS

Fyom a Drenching by James ]Vani, in the colkrtiuu of the Honble.John U'dnl. M.WO.

MRS. MICHARL ANC.ELO TAVL(.)R AS "MIRANDA

Engraved by J. Ward. After the Picture by John Hoppner

STUDY OF A WAGGON By J . Ward. Fiomtlw Watci-colouf in the collection of the Honhlc. John Ward, M.V.O

MRS. BILLINGTON AS "ST. CECILIA " E II.L;! d.cd hy J . U'dnl.

From the Picture by Sir Joshua Reynolds. (The Print lent Ijy Messrs. Grundy & Robinson)

, J

STUDY FOR FIGURE IN' THE ■' HAY-MAKERS '

By James ]Vard

From collection cj Honhlc. John W ard, M.V.O.

STUDY FOR FIGURE OF "HOPE IN' THE
ALLEGORY OF THE BATTLE OF WATERLOO

npssmav^^HwtHiE^

:\iH i

STUDY OF HOUNDS From the Collection of the HonbU. John Ward, M.V.O.

6

THE COUNTRY liUTCHER S SHOP

Bv ]. Ward

From an Engraving by S. W . Reynolds, in the collection of the Hoiihle. John Ward. M.WO.

THE FAMILY COMPACT (PORTRAIT OF THE ARTIST S MOTHER AND HIS SECOND WIFE)

Liihoi^raph by J. Ward

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STUDV FOR FIGURE IN " THE MOUSE S PETITION

By ]. Ward, from the cuUcctiaii oj llic Huulile. Jnl,:i Ward, MJ.O.

LIONESS AND HERON By J. War^l

DESCENT OF THE SWAN

By J. Wiinl. From the collection of Briton Riviere, Esq.. R.A.

ROUNDCROFT COTTAGE (THE ARTISTS LAST RESIDENCE)

By James Ward. From the Picture belonging to Miss Jackson

SUMMER

By J. Wan!

From an Eni^nnnng by ]V. Ward, in the collation of the Honblf. John WarJ, MJ'.O.

13

FIRST SKETCH FOR FRIiMROM- AND FOAI,

By James Wani

VVATERCOLOliR STUDY

By J. Wnid. in the collection of the Uoublc.Joliu Wani. MA'.U.

H

*;«f»*aSi^^.

LORD SOMERVILLE S FISHERMAN

From a water-colour hy J. Warii. in the collection of the Hon. John Word. .V.T.O.

I'ORIRAIT OF JAMES WARD WHEN ID

By II'. ll'dci/. ill the colUctum of Mrs. E. M. U'linl

MRS. HIBBERT

Eii,::nivcif by ]. WanUfvom the picture by Hoppney

SUNSET — A VIEW IN LEICESTERSHIRE Froiii the Mczzotiiit by J . Ward, after G. Morland

ALSO CALLED "A BOY EMPLOYED IN BURNING THE WEEDS "

i6

A WILTSHIRE HIND By J . ]y,ird. Ivvma Wati-r-coluiir ill the collertioii (if the Hoitblc. John ]V,iiii,M.\'.U.

19

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STUDY OF A SWAN DvJ. ll'.in/. F roin thc ijUci lion ,>J Ihc HiinJilc. ] uliu Wani. M.V.O.

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STUDY OF A PIG Bv /. U',/;-,/. From tlic collection of tlic Hoiihlc. John Wani.M.WO.

STUDY OF A DONKF.v. By J . Wavcl. From thi' cnllcilum of the Ilou.Johu Wani.M.V.O.

STUDY OF CALF. By]. Woui. I : om lln' , oiicitinn oj the Iloiihlc. John iWiul.M.l'O

i >#

-«*^.~-^'*^

PORTRAIT OF JAMES WARD
From a soft ground Etching;

23

JUVENILE RE rlREMENT (tHE DOUGLAS CHILDREN)

By J. W'lini. after Iloppucr

24

THE DUKE 01- WELLINGTON From a Lillio,^i dph by and uj I, r J . Waul

25

'M?'^^

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PORIKAII OF MRS. GEORGE MORLAXD By Jinuc\ Ward.
STUDY FOR FIGURE IN " THE MOTHER'S BRIBE "

From the colluctioii uf Mrs. E. M. Ward

26

Q 5

27

PORTRAIT OF MRS. GEORGE MOKLAND. STUDY I-OR EIGUKE IN "THE CLEAN
FACE rewarded"

From the collection of Mrs. E. M. Ward

28

• "'"^

^<^s^

29

THE WOUNDED LIONESS Jly J . W'linl . J nun llli i<ilL\ I li'll iij J lulf^c livtllls

if^^^k

^^^'/t .

STUD^ I OK MOURE IN '' DISOBEDIENCE IN DANOEK

By J. Ward. From Ihc collaiiuii of the HunbU. Jnhn Waid, MAX).

30

31

STUDY FOR FIGURE IN THE PEASANT S SUNDAY DINNER

Fr.iiii the colUctioii nj the Hanble. John Wniii, M. V.O.

donkey's head By J. \\\mi. From the Oil Painting in the collectwn of the Honhle. John Want. .V. T.O.

32

33

LADY HEATHCOTE AS " HEBE "
Engraved by J. Ward, after John Hoppncr
From a print in the British Museum

34

FLEA-BITTEN ARAB III the puSSCSsiull of Mli. E. M. \\\ll\1

YOUTH AND TIME In tlif possession o/ Mrs. E. M . WhvlI
35

^

PORTION CF AN AUTOGRAPH LETTER BY JAMES WARD

SIGNATURES USED BY JAMES WARD
36

I List of Pictures by James Ward, R.A.

The following list of pictures by James Ward R.A. is confined to works whose authenticity is guaranteed
by (1) being mentioned in his letters or papers, (2) exhibited publicly during his life time, (3) engraved
during his life time, (4) included in the artist's sale at Christies, or (5) which have been exhibited in
the Old Master's Exhibitions at the Royal Academy and British Institute or in important loan exhibitions.
As Ward apparently kept no systematic record of his output, it is probable that he painted a number of
works which do not occur under any of the above headings. This would be especially the case with
regard to his earlier pictures, the majority of which are probably now masquerading under the guise of
Morlands; Ward's style until 1797 being, to use his own words, "pure Morland." He evolved his own
characteristic style very early in the 19th Century. It is often difficult to assign a period to Ward's
pictures not actually dated, firstly, from his habit of repeating the same theme with only slight variations
after very long intervals, and secondly from his fondness for retouching, and often nearly repainting his
earlier works, when they came into his possession a second time. His signatures vary greatly. Three
characteristic forms are given in the fac simile of his letter reproduced on the opposite page, and I have
ventured to add imitations of other characteristic signatures by him, which I have seen on his works.
Nos. 1 and 2 are taken from early water-colour drawings. No. 3, in which the letters " A" and " R" are
altogether omitted from his monogram, is a form which he used almost as frequently, especially during
his middle period, as the more elaborate monogram he gives in his letter. No. 4 is from a picture dated
1806, No. 5 from a sketch of 1821, No. 6 is an interesting example of Ward's monogram occurring before
he was made A.R.A., and Nos. 7 and 8 are taken from early oil paintings. There are instances, though
not many, of pictures by Ward altogether lacking a signature.

In compiling the list of pictures I have been much assisted by Mr. Algernon Graves, whose kindness
in allowing me to make use of his invaluable published Dictionaries as well as his copious manuscript
indices, has saved me many weary hours of labour.

The letters after the pictures refer to the exhibitions or sales in which they were shown. R.A.
standing for Royal Academy, B.l. for British Institution, and Xies for Christies. The figures immediately
following refer to the year of the exhibition and the number of the exhibit in the catalogue. The prices
given are either those originally fixed by Ward, or those actually realized.

For pictures of asses see under that sub-heading, in the same way those of serpents are classified under Boa-
constrictors; bulls, cows, oxen, etc. under Cattle; bucks, stags, etc. under Deer; dogs, hounds, etc. under
Dogs; boars, sows, etc. under Pigs; rants, ewes, etc. under Sheep; and Copies and Portraits under their
respective headings.

Action see No 221

1 Admonition (Portrait of the Artist's Mother) BI 1818. 63 Ward worked on ibe portrait after its return

from exhibition. Bought by Earl Fitzwilliam for £84. see also Nos 298, 710, 711 and 712
Adonis see Nos 353 and 354

2 Affection and Gratitude B I 1834. 124. l"-2'xl". 2'

3 Age and Infancy (Abraham and his son Isaac) RA 1850. 387.

4 do Spanish grandfather and English offspring RA 1851. 702 probably a picture of Asses.

5 L'Araour de cheval RA 1828. 302. 6". 11' x 4" 8' sold to Mr Darbeney for SOOgs. sold in the L Huth

collection Xies 1905

6 Ashbourne Mill B I 1807. 303. 3" 11 x 4" - 7' painted in imitation of Rembrandt's Mill Newman

Street 1822

PICTURES OF ASSES

7 Ass and foal stolen from Newman Street about 1819 in company with a number of other pictures

8 do do do B I Loan Ex 1860. 154 owner J. AUnutt

9 do do do &c B I Loan Ex 1860 163. owner R. Rothwell

10 do A grey, side view belonging to Thomas Crooks Esq stolen from Newman St in 1819

11 do Study of the foal of an. (highly Bnished) Xsties 1829. 74 5 gs

12 do Maltese, and a mule foal with her former ass foal in background RA 1830. 81

13 do The obstinate RA 1811. 208 (probably the same picture shown in the RA Old Masters Ex 1872 no 20)

The Obstinate Donkey 53J x 44J owner G R Ward)

14 do do B I. 1818. 182. I".0'xl0'

15 Mrs E M Ward possesses a third version of this subject somewhat larger than No 14.

16 do A Spanish Xies 1829. 94. 5gs

17 do of the Spanish breed RA 1828. 139 (probably the picture Ward mentions as having been bought by

Mr Ludgate inspector general of the customs at Liverpool)

18 do Spanish bred, grey, front view Stolen from Ward's studio in 1819

19 do do back view do

37

LIST OF PlCTVnES— continued.

20 Ass Spanish with her English foal RA 1830. 98.

21 do ,, Two different portraits of, in a landscape, treated with bold pencil but highly finished Xies

1S29. 101. £31.10.0

22 do An old Spanish. Newman Street 1841

23 do Young Spanish owner Thomas Crooks Esq

24 do Head of a young Spanish. do do

see also No 4

25 Asses .Mr Chantreys. Commenced July 4. 1817, a small picture probably a companion to the " Goats " for

same gentleman

26 do Sand. R.4 1845. 142. £21.

27 do waiting the return of flshing-boats RA 1809. 165

28 A picture of " Donkey and Pigs " is in the South Kensington Museum no 216.
For Asses see also Nos 291. 301. 423A. 555.

29 Attention Newman St 1841
Augusta see Nos 366 and 367

30 Bacchanalian A. RA Old Master Ex 1896 no 120 52x39 owner the Royal Academy. Ward's diploma

picture.

31 Bacchus and a young Satyr (painted before 1807)

32 do teaching use of the grape B I. 1806.95

33 Bad day The RA. 1853.1807. £25
Banker See No 368

34 Baptism, The. of Jesus. RA. 1850. 357 reproduced as a stained glass window in Hoxton Church, Ward
receiving 30 guineas for permission

35 Bark weighers, an early picture bought by Dr. Daw

36 Battle near Boston Lincolnshire RA. 1826. 23 £525 (Cromwell was a principal figure in this)

37 Sketch for above Xtie 1829. 85 £36.15.0

38 do of Worcester. The discomfiture of Charles II at RA. 1847. 10
Bean .Master see No 661.

do .Miss see No 662.

39 Beaumont near Cheshunt, residence of Mathew Hunt Esq RA 1833 108
Beauty see 370

40 Bethany next day after raising Lazarus. R.A 1850. 343

41 Bethesda The Pool of B I. 1818. 94 8"-0' x 10"-8' commissioned by .Mr John Knight of Lee Castle £420

This picture appears to have been finished before 1817

42 do (smaller work) Newman Street 1822

43 Bird Keepers Repast. RA. 1801. 289. bought by Dr. Daw engraved by the artist. ; ee also 798

44 Bittern, A. RA 1814. 656
Blackthorne see 369.
Blucher see No 472.

Bloomfield The Young see No 8S2 _

45 Boa constrictor, Indian struggling with Xies 1829. 58. 2gs

46 Boa serpent seizing horse (portrait of Adonis) RA 1822. 529 this was probably the picture Ward

mentions as being in the possession of Wm Theobald 1840

47 (Lib)oya do seizing his prey. B I. 1806. 32 £315 for description see page 35.

48 do do Bnished study for above painted 1804 (now in collection of Duke of Sutherland)

49 do destroying a Tiger B I. 1807. 299. 3". 6 x 4". 10' engraved by H. R. Cook.

50 Boa Constrictor and Tiger R.-V Old .Masters Ex 1893 no 16. 32i" X 46 owner the Earl of Lichfield

51 Boar-hunting in East Indies -Morning RA 1816 168.

52 do do Noon do 187

53 do do Evening do 138

54 do do Night do 128

A study for one of these was exhibited in Newman Street 1822
Bob see No 371

Boston. Battle near, see No 36.
Boy see No 663.
Bov scaring birds see No 43.

55 Bradby Cedar. RA 1816. 24. Half length size ; painted for Earl of Chesterfield 120gs. Commenced 1814.
Briggs .Mr see No 664.

56 Broken Fence. The. B I. 1847. 417. l"-4' X l"-9'
Bryan .Michael see No 665

57 Buchan, picture commissioned by Mr. 1809 oOgs
Buck in Landscape see 208

58 Bull bait The. RA. 1797. 308. (Wards first important picture See page XXVI)

59 Bulls fighting B I. 1817. 12 5.6x8.9

59a The Butchers Shop, engraved by S. W. Reynolds. See No. 718.
Busfield Dr see No 666.

60 Cabinet Picture International Ex London 1862 no 261 owner R Rothwell this may be the picture of

" Ass, foal, &c " exhibited by same owner B I Loan ex 1860. 171.

61 Can, Study of a. RA Old .Master Ex no 28 6x8 M.P.Jackson.

62 Carting Seaweed. RA. 1853. 317. £25.

63 Castle and 64 Cottage a pair of early pictures bought by D' Daw

38

LIST OF PICTURES— continued.

PICTURES OF CATTLE

65 Alderney Bull. RA 1828. 33. 17J x 14. probably the work described as Highly finished picture of bull of the

Alderney breed in a landscape. Xies 1829. 84. Sold for £27. 6

66 do Cow RA 1798. 172. Probably the one painted for the Boydell Work, stolen 1819

67 do do RA 1828. 223. 17Jxl4. probably the work described as Highly finished portrait of Alderney

cow, the property of J AUnutt Esq and interior of barn. Xies 1829. 90 Sold £43-1-0

68 do fat cow painted for Boydell Work

69 do heifer do

70 do Two fine Alderney cows, in fat and lean state, owner J AUnutt Esq BI 1827 2"-6'x3"-4'
see also No. 75

Anglesey battle

71 Bull painted for Boydell work

72 Cow do

73 Ox do

74 Yerling Heifer do

75 Ayrshire and Alderney breed. Cows of BI. 1828. 147 3"-rx3".9'

76 „ Cow Newman Street 1841

77 Buffalo. An Italian stolen,
see Zebu

78 Bull and Cow RA Old .Master Ex 1871 no 18. 25x52 owner R.A.R. Jorcs

79 Calf in two positions. Study from nature Xies 1829. 21. Sold £6 100

80 Calves The Two. RA Winter Ex. 1872 no 28 10 x 17 owner G. R. Ward ; sold Xies 1905 owner L Huth

81 Calves heads. Study of four. Xties 1829. 70 Sold £7-0-0
Calf see No 167.

82 Cardigan Wild Stock. Ox of Bovdell Work.

83 Cattle. RA. 1798. 117

84 do RA 1803. 698.

85 do BI 1807. 260. 2"-rx2"6'

86 do RA 1808. 221

87 do RA 1810. 178

88 do painted 1827 .Manchester Art Treasures Ex 1857 no 493 owner W"" Wells

89 do going to fair important work bought by .Mr. Swan about 1847-8. this is probably the one painted

1840 27Jx35 which was in Sir Cuthbert Quilters collection

90 do in a Storm RA 1798. 55 bought by D' Daw

91 do do RA. 1810. 11

92 do Group of BI. 1823. 12"8^xl8'*0' originally called " Protection Ex as " Bull, Cow, and Calf "

no 196 Art Treasures Ex .Manchester 1857. and as "An Alderney Bull, Cow, and Calf no 287 at the
International Ex 1862, G R Ward owner. The picture is now in the National Gallery of British Art.
It was considered by Ward his masterpiece. It was sold by him to his son George Raphael Ward,
and after being exhibited in America purchased from the latter by the British Government for £1200.

93 Cow Lady Hertford's commenced for Lord Clive Nov 23. 1817. This was probably a picture of A Cow

and Calf as Ward records in his diary for 1817 that he was painting one for Lord Clive, the works
however may be distinct.

94 Cow painted 1837

95 do do do

96 do owner R Dyott Esq RA 1800. 42

97 Cow and Calf early picture bought by D' Daw. a small picture with similar title is in the South Kensington

Museum no 684.

98 do do painted 1818

99 Cows. R.4 Old -Master Ex 1890 no 29 18x28} owner Lord Brassey

100 Cows. Two, on river 18x14.

101 Devonshire Bull Boydell work. Engraved by T Tagg 1807

102 Devonshire Cow do do do 1807

103 Lean Devonshire Bull do do do 1807

104 Devonshire Ox. RA. 1801. 200

105 Durham Ox. Boydell Work. Stolen from Newman Street 1819

106 Dutch Breed Cow of BI 1834. 34. 1".5' X 1".8' this is probably the one mentioned by Ward as being in

W" Theobalds possession 1840

107 Dutch Cow Boydell Work.

108 do yerling bull do.

109 do Cow. The Old. RA 1853.93. £70.

110 French Bull Boydell Work, engraved

111 do Cow do do

112 Galloway heifer Boydell Work.

113 Glamorgan Bull. Boydell Work.

114 do Cow do

115 do Ox do

116 do Working ox do

39

LIST OF PICTURES— continued.

117 Hereford bull. Boydell Work.

118 do cow do

119 do ox do

120 do fat cow do

121 do fat prize ox BI 1808. 411. 1". 10' x 2'. 5" probably the work at Xies 1829. 88. bt in for £9. 19. 6

Ward valued it at £25.

120 Long-horned cow. RA. 1801. 201 probably the one painted for Boydell Work and engraved.

121 do bull. Boydell Work.

122 do ox do

123 do cows. Study of four heads Xies 1829. 71. Sold at 4 gs

124 Merionethshire cow. Boydell work.

125 Montgomery bull do

126 do cow do

127 do ox do

128 Norman bull. RA 1803. 281.

129 North Highland Ox Boydell Work.

130 Old Glos'ter Red cow. Boydell Work.

181 Oxen, Two extraordinary owner Earl of Powis RA. 1815. 300.

132 Pembroke Bull Boydell work

133 do Cow do
184 do ox do

135 Staffordshire bull RA. 1797. 183. Probably " Bright," a long horned Staffordshire bull belonging to Thomas

Princep and engraved.

136 do cow RA. 1797. 172. Probably " Bright " a cow belonging to same owner

137 do fat ox owner R. Dyott RA 1811. 76.

138 Shropshire bull. Boydell work.

139 do cow do

140 do ox do

141 Sussex yerling bull do

142 Virgils Bulls. RA 1843. 9. Bull and Cow of Chillingham breed, and Alderney bull

143 White bull of Lord Ribblesdale of the original wild English breed (now known as Chillingham cattle) Xties

1829. 11 bought in £12-1-6 Ward valued this at £60. (study for the bull in the picture of Gorsdale Scar)
143a ditto. Xies 1829 52 sold. 7-17 6.

144 Yorks heifer Boydell Work.

145 Zebu, or Indian buffalo red bull do. Stolen from Newman Street 1819

146 ,, white cow 1 yard in height do

147 „ bull in interior of cowhouse. Xies 1829. 98. Sold 13 gs

148 ,, in interior of hovel painted for Lord Clive 1818

149 ,, a small grey. Stolen from Newman Street 1819

For other pictures relating to Cattle see Nos. 58, 59, 150, 193, 193a, 193b, 199, 530, 531, 589.

150 Change of Pasture RA 1837. 202 (Savage looking bull being driven through gate) bought by the Duke of

Northumberland. The Hon John Ward has a water colour drawing of the same subject.
181 Chaplin F. picture commissioned for 1803.
Charcoal Burners see No 678
Charles see 359
Charles II see No 38.
Chesterfleld Earl of see Nos 668 and 669

152 Children with an ass, at a farm house door Xies 1829. 75 Sold 7^ gs

153 Childsrout BI. 1808. 9 2.1x2.6.

154 Chir (a dog) at Ellens Tomb 1813. given to Peter Coxe and engraved, see No 263.

155 Christ. The Infant, embracing the cross. RA. 1807. 463 Xies 1829 28. 12gs valued by Ward at 50 gs.

156 do. Intercession (Head of Christ) RA. 1837. 446.

The following Criticism of the above appeared in the New Sporting Magazine for 1837 " Mr Ward can
paint a bull's head admirably ; but for the sake of other's feelings, if not from a regard to his
own reputation, he ought not to have exhibited so horrible thing as No. 446, which he intends for the
head of Christ ; and we are suprised that the council should have admitted it. If Mr Ward be not a
Unitarian in principle he is so in this painting, for he has deprived Christ of his divinity. " Ward
retaliated the next year by painting "Tickling the Ear " in which he represented the Critic as a monkey
perched on the head of a huge bull, tickling its ear with a peacock's feather, and guiding it against trees
and other obstacles by means of a cord through the animal's nose. Ward was requested to withdraw
the latter picture from exhibition, but declined.

Christ, see also No 34

157 Christmas Carrol. RA. 1792. 123

158 Chudleigh View of RA 1800. 11

159 Citizens Retreat engraved by William Ward.

160 Clean face rewarded, engraved by James Ward.

161 Clearing off of Storm BI Old Master Ex 1860 no 120 J Allnutt owner this is possibly the same picture as

" Landscape with Fish " No 555 was sold in Mr AUnut's collection at Xies 1863 entitled "A Coast
Scene with Man on Horseback " from the de Tabley collection and fetched £35/14.

162 Clergyman Bshing early picture bought by Dr. Daw
Clyde Falls of see No 290.

40

LIST OF PlCTVRES—co>itimied.

163 Coal works, owner Ralph Lambton Esq RA 1845. 218.

164 Coast Scene Suffolk Street Winter Ex 1845. 357

165 Cock. A. with trees and cliffs in background, engraved.
Combermere Lord, see No 667

166 Compassionate Children, engraved by William Ward, also called The Pound

167 Condemned Calf The. RA 1796. 40.

168 Contention. RA. 1833. 86.

169 Contrast The. RA. 1843. 448

170 Conversation RA. 1801. 29.

171 Conway Castle and Town, before bridge was built RA 1847. 158.
Copenhagen see Nos 380 and 381

COPIES.

173 Cromwell, Oliver, Head of (probably after Cooper) stolen, a second copy of same was in Newman Street 1841

174 Diana, Bath of. from Titian picture in the gallery of the Marquess of Stafford. Xies 1829. 108. Bt in

for £220. 10. 0

175 Diana returning with nymphs from the Chase, after Rubens Xies 1829. 55 bought in for £19. 8. 6 Ward

engraved the original for Mr Bryan, he valued the copy at £60.

176 Giorgione picture by in Louvre made in 1825

177 Guido Virgin after, in pastel 52 X 38 and two smaller copies, some of these were drawn in 1818 from

picture exhibited in B I.

178 Stubbs picture by. 1819 said to have surpassed original

179 Travellers The after George Morland (stolen in 18191 see page XXll

180 Venus after Titian, made for Mr Bryan about 1798 the same size as original. The copy was thought to

be destroyed but this is apparently doubtful as at the time of Ward's death it was suggested in the
newspapers that it was still in existence and being passed off as an original work.
180a Scene from King Lear reproduced in Boydells Shakespeare after West. Xies 1829. 61. sold 4gs

It was Wards practice to copy any picture which specially struck his fancy and keep the copy to refer to.

181 Corn Stack. The. R A. 1849. 170. £35
Cottage see Nos 63 and 64.

182 Cottage in Wales. A. R A 1817. 257.

183 Cottager B 1 1807. 33. 2. 2. x 1. 7.

184 Cottager going to market (engraved James Ward) bought by Dr Daw

185 Cottager returning from market (engraved James Ward) do do

186 Cottagers favourite. The. (engraved S W Reynolds)

187 Council of horses. The. R A 1848. 352. 5 feet 6^ x 3 feet llj 300gs bought by Mr Robert Vernon for

£250 and bequeathed by him to the National Gallery see page 54. A small version of this 7^ — 9 on
panel was sold in the Huth collection at Xies 1905

188 Country butchers shop, (engraved by S W Reynolds) see illustration page 7.

189 Coursing. R A. 1796. 193.

190 do B I. 1808. 64. 1.0 x 1.3
Coursing in Sussex see No 674
Coursing see No 288.

191 Cow-herd B 1. 1807. 30. 2.2 x 1.7

192 Cow-house. Inside of a. R A 1793. 218. (engraved by James Ward).

193 Cow layer. A. Evening after rain. R A. 1808. 354.

193a Cowshed. Interior of. bought in at Xies 1894 for £120- 15 owner Hamilton This might be the same

picture as No 811.
193b Cowshed. A B I Loan ex 1860. 148 owner J AUnutt.

Cribb see No 472

Cromwell see Nos 86. 37. 173.

Crook George see No 671.

194 Crossing Sweeper The. engraved by James Ward.

195 Cruelty painted 1834

196 Cunning Gipsy, engraved by William Annis.

197 Curiosity R A 1840. 88.

198 Cuttlefish Newman Street 1822

199 Dairy farm. The. engraved by James Ward.

200 Dairy-maid The R A 1808. 29.

201 do B I. 1809. 75. 1.6 x 1.8.

202 do milking cow painted for Mr Morrison 1831. R A Old Masters Ex 1882 No 11 A Woman
Milking 18J x 26 owner Mrs .Morrison

203 Daniel in the den of lions Newman Street 1841.

204 do R A. 1852. 303.

205 Day A. R A Old Master Ex. 1879 No 249 57-84 owner Uvedale Corbet

206 Days Sport. The. R A. 1827. 204.
Dead Hare see No 339.

207 Death of the Wolf, engraved. W Annis.

do of Goldfinch see No 329

41

LIST OF PlCTVRES—cotitiHued.
PICTURES OF DEER.

208 Buck in a landscape, A dying, painted 1826 Xies 1829. 23 sold 7 7 0

209 Menil deer in a landscape. Xies 1829. 54 bought in 5 gs Ward valued it at 20 gs exhibited Newman

Street 1841

210 Stag browsing. Head of a. Newman Street 1841

211 do The hunted RA 1852 364

212 do The Listening Newman Street 184L Suffolk Street Winter Exhibition 1845 623. Sold for 35 gs

Birmingham Exhibition

213 Whappite Deer Suffolk Street Ex 1830. 152.

214 Wapeti or North American Deer B I. 1817. 187. 5.0 X 6.0 possibly the same picture Xies 1829. 89

Sold 25. 4. 0 original price 150 gs another picture of the same subject was painted 1820.
See also No. 220

215 Deer Stealer The RA 1823. 293 12.6 x 7.6 commissioned by Mr T Levett for 500 gs. lie was so

pleased with it that he increased the price to 600 gs and subsequently refused an offer of 1000 gs from
a nobleman The figure of the deer Stealer was painted from a noted poacher.

216 Deer Stealer The finished sketch for large picture BI 1827. 215. 1.1 x 1.6 Xies 1829. 10 Sold

for 10 gs.

217 Derbyshire Miner at Castleton Xies 1829. 12 Sold. 4.12.0 See No 584

218 Destroying the hornets nest. RA 1851. 22
Descent of the Swan see No 821

219 Devils Bridge RA. 1846. 190.

220 Dewy Morning A. The duel of the Stags. RA. 1849. 503. £250 ; painted as a companion to the

Council of horses

221 Diana at her bath, disturbed by Actjeon RA 1830. 326 put up at Xies 1867 owners the Munro Executors

222 ,, Head of. In imitation of Titian 1814.
Diana see also Nos 174, 175.

223 Disagreeable company, (mare broken out of paddock) Newman Street 1841 Suffolk Street Winter

Exhibition 1845. no 427

224 Disobedience in danger engraved by W Barnard.
224a. do detected do do

225 Disobedient Prophet The. RA 1833. 463 Newman Street 1841 see No 286 the design for this was

made 1817

226 Disputing the Prize (Dogs fighting over sheeps head) In the possession of Wm Theobald before 1840

engraved J Scott Jun.
Or Syntax see Nos 383, 384, and 385

PICTURES OF DOGS.

227 Baffins Bay. Dog from, painted 1819 Five studies of the same animal with female Newman Street

1822 Xies 1829. 83. Sold 25 gs. and p. 100 gs.

228 Bloodhound. RA 1817. 174 probably the one bought by Lord Ducie for 30 gs. May 17. 1818

229 do female Xies 1829. No. 7. bought in 4 gs original price 60 gs

230 do upon the Scent BI. 1818. 141

231 Dalmatian dogs. BI 1806. This was probably the picture bought by Sir John Leicester afterwards

LorddeTabley. It is No. 60 in the deTabley catalogue, in which it is illustrated by an outline engraving;
the size is there given as 40 x 50. Lord de Tabley exhibited a work under this title and probably
the same at the R.A. Old Masters Ex 1884 No 3 the size was then given as 35x47 Lithographed
by Ward in 1824

232 do do design for large picture BI 1808. 62. 6x8 inches.

233 Dog owner Mr Ludgate finished July 19 1817

234 Dog belonging to Lord Darnley 1816 lOOgs see page 40

235 Dog owner Mr Lyon painted July 1818

236 do do do do March 1819

Ward appears to have been occupied about 6 full days with each picture.

237 do (Vic) taken when a puppy from French baggage at Vittoria RA 1820. 594

238 do stealing at a butchers shop RA 1793. 272

239 do Donald, owner Philip Cell Esq RA 1825. 195. 2-8 x 38 lOOgs.

240 Dog. Jerry engraved by W. Raddon.

241 do Taff owner Arthur Stanhope Esq RA 1820. 255.

242 Dogs owner T. L. Parker Esq RA 1813. 192.

243 Dogs fighting RA Old Masters Ex 1885. no 13 9 x llj owner M P Jackson

244 Dogs fighting for a Sheeps head see no 226. There we"re apparently one or two versions of the subject

245 Greyhound owner. T. F. Heathcote Esq RA. 1814. 117

246 Greyhounds owner Lord Grenville 1818 see also Nos 189, 190, 288.

247 Italian greyhound owner Lady Agnes BuUcr RA 1827. 195 painted for Duke of Northumberland

248 Mastiff owner Mr Tunnely Newman Street 1822

249 Mastiff much resembling a lioness Xies 1829. 66 9gs original price 25gs

250 Newfoundland dog RA. 1817. 251

251 do do highly finished portrait Xies 1829. 9 sold 20gs original price 30gs

252 do dogs B I. 1816. 203. 2-7 x 2 9.

42

LIST OF PICTURES— coniinued.

253 Newfoundland crossed with setter Newman Street 1822

254 Persian greyhound, engraved by H R. Cook

255 Persian greyhounds. B I. 1807. 300 43 X 50

256 Pointer engraved by John Scott

257 do bitch and puppies engraved, by S W. Reynolds

258 do do owner Captain J Daintree 1819

259 Retriever R A 1828. 179

260 do Setting dog with pheasant in landscape painted 1826 Xies 1829. 49 sold 16gs. original price
30gs. lithographed by Ward.

261 Shepherds dog in a landscape Xies 1829. 67. sold £4. 8. 0 original price 20gs probably the one lithographed

a stud}' for the dog in the picture of the Shepherds boy.

262 Spaniel begging, engraved by J. E Coombes

263 Spaniel watching tomb of disceased mistress R A. 1817. 138 ; a second version of " Chir" see No 154

264 do Dash owner the artist R A 1837. 319 17i x 20* see page 54

265 do Rover owner the Earl of Powis R A 1821. 330"

266 do do do do do 443.

268 do belonging to Lord Stewart, afterwards Marquis of Londondery 1819.

269 Spanish dog 1826.

270 Terrier Vixen owner James St Aubyn Esq R A 1807. 607 engraved by J Scott. Ward cleaned the

picture 1819

271 do do Sir A Hume R A 1811. 40.

272 do do Charles Sturt Esq Newman Street 1822. This may be the same as No. 275.

273 do at rabbit hole in a wood scene Xies 1829 63 sold 7gs

274 do disturbing a .stoat whicli is devouring a rabbit. Another version of No 272

275 do the property of C Sturt. standing over dead rabbit while stoat is escaping over some
rocks, engraved Aug" 31. 1822 Xies 1829. 59 bought in 27Jgs original price lOOgs Newman Street 1841
see No 580.

276 Wolf dog Newman Street 1841

277 Woodman's dog in landscape Xies 1829. 104 sold 15gs original price 40gs
See also Nos 226, 333.

Donald see No 239.

Donkeys. See Nos 4. 7 to 28. 291. 301. 423a. 555.

Double Triumph over Sin Death and Hell.

278 Drake. Study from Nature R A 1793. 41

279 Drunkard A. B I. 1808. 58. 9 x 8 inches

280 Drying the legs. R A 1840. 240 60gs.

281 Duck weeds R A. 1845. 1.53.

282 Dulverton early picture bouglit by Dr Daw.

283 Duncans Horses R A 1834. 34. Newman St. 1841

284 Dunster Castle Newman Street 1841
Eagle see No 386.

285 Eagle The Struck. R A 1836. 370. 30gs. Newman Street 1841

A picture of an Eagle on the Wing was sold at Xies 1905 owner L. Huth.

286 Effect of disobedience (the disobedient prophet) B 1 1834. 167 3.0 x 4.1 See No 225.

287 Enjoying the breeze R A 1843. 236

288 Escape of hare into a park from two greyhounds (companion to Retriever, Setting dog &c) Xies 1829. 50.

sold 27gs original price 30gs lithographed by Ward See illustration. An oil sketch of this 9i x 12
is in the possession of M" E M Ward

289 Evening lithographed by Harraden.

290 Evening blush. The R A 1843. 482.

291 Evening of Life lljin x 14giii In South Kensington Museum No 683 under title of " Horse and Donkey "

engraved by J. W. Cook 1838 for New Sporting Magazine in which it was described as one of Ward's
earlier works

292 Expectation B 1 1846 199 llin x 1.1

294 do B 1 do 350 9in x 11

295 Fair Crop The R A 1838 241.

296 Fair Show The R A 1838. 263. Newman Street 1841
Fall of Phaeton See Nos 612 to 616

297 Falls of the Clyde R A 1852 1125.

298 Family Compact. B 1. 1834 155. 3. 3 x 3. 8. portraits of the artist's mother and his second wife

see illustration page 8.

299 Faith painted 1817

300 Farm Yard. (A scene near Wicknor) B I 1821. 47. 2.2x2.9. Newman Street 1822

301 do and donkeys early picture bought by Dr Daw

302 Farm Yard, Grey Horse, Donkeys and Pigs sold at Xies 1883 for .£78. 15 owner Hoare purchaser Agnew.

303 do with various animals, beautifully composed, and very highly finished &c. Xies 1829. 93 50g3

original price lOOgs. See also "The Young Bloomfield."

304 Farriers Shop R A. 1796. 477 probably the picture engraved by W. Say.

305 Fern burners; a scene in Wales, bought by Dr Daw engraved by J Ward, see illustration of the sketch

for it belonging to the Hon John Ward. This picture is often attributed to Morland but this
is obviously incorrect.

306 Ferrets in a rabbit warren sold to Sir John Leicester afterwards Lord de Tabley. 1824.

43

322

Goat.

323

Goat.

324

Goat.

325

Goats

326

do

327

do

LIST OF PICTURES— continued.

307 Fish. A. 1824 R A Old Master Exhibition No 387 owner A Smith Barry.

308 Fitzhead in Somerset, seat of Lord Somerville, View from B I 1806. 31.

309 do do do 40
(two of the four large landscapes commissioned by Lord Somerville)

310 Flocks coming from mountains to a sheep fair at Luss. Loch Lomond B I 1846. 414 11 x 1. 4.

311 Foddering Mares Newman Street 1841

312 Food for the fair do

313 Friend in need R A 1846 233 bought by Art Union for £25.
Fritche George See No 672

314 Gathering Cowslips R A 1792. 141.

315 A Gentleman R A Old Master Ex 1885 No 8. 8 x 7 Owner D. C. Bell. See also Nos 673. 674 and 675
George III See No 676.

316 Gethsemane R A 1850 260
Giorgione copy of See No. 176.

317 Gipsies 35-27 sold at Xies 1885 for £84. See No 877.

318 Gleam. The Newman Street 1841.

319 do in the Storm R A. 1843. 503.

320 Gleaner A. BI. 1808. 59 10' x 9"

321 Gleaners The. RA 1801. 9. probably the same as The Gleaners Return. bought by D' Daw.

engraved by William Ward see illustration.

PICTURES OP GOATS.

A BI loan ex 1867 no 137
Black and white stolen
foreshortened Xies 1829. 48 £3'5-0
early picture painted for D' Daw.

small picture painted for Mr Chantrey, commenced April 27 1818. See No 25
in a rock landscape. Xies 1829. 86 bought in for 20gs subsequently sold to Mr Wigram for 50gs
original price 60gs

328 Going out RA. 1847. 469.

329 Goldfinch. Death of the. BI 1814 51. 1-8x21

330 Gordale. in the Manor of East Malham in Craven Yorks RA. 1815 225 10ft 11 X 13ft 10 " Gordale Scar

was painted in 1812. for the father (Lord Ribblesdale) who took me to see the place, telling me that Sir
George Beaumont had seen it, and pronounced it an impossibility to paint it, and which lead to his
giving me the commission " extract from letter of James Ward Jan 25. 1857 Lord Ribblesdale gave
£600 for the work. On his death it was presented by his son to the British Museum to be banded over
to the National Gallery when the latter was built, it was returned in 1847 to his successor on the plea
that there was no room for it, and ultimately purchased in 1878 by the National Gallery authorities for
£1200. see page XXXVIII

331 finished sketch for above. BI 1814 207. 3-6 X 4 3.

This was probably the one shown in the BI Old Masters 1865 no 117 owner Louis Huth. though the latter

may be a third version.
Grandillo see No 390.

332 Grandmother The RA 1847. 443.

333 Grousing on Ruabon Hills with portraits of dogs, owner Sir W W Wynne Bart. RA. 1805.8
Guido Copy of see No 177

334 Guinea Pig RA. 1793. 42

335 Guinea Pigs engraved by James Ward RA

336 do belonging to his grand daughter M" E M Ward. 11 x 15.
Guy Mannering see No 391

Haphazard see Nos 395, 396 and 397

337 Happy Cottagers The engraved by William Ward.

338 do Father The do do

339 Hare A Dead RA Old Master Ex 1881 no 3. 9x 11 owner M" E. M. Ward

340 Harlech Castle RA. 1808. 210. probably the picture 4f'-3'nx7" now in the National Gallery

341 do BI 1809. 245 5-9 x 8-6

A picture with above title owner Major Corbett was put up at Christies in 1872 and bought in for £294
another or the same picture was sold 1881 for £115-10 owner Ward, purchaser Waters.

342 Harrowing RA 1795 267

343 Harvest field early picture bought by Dr Daw probably the one engraved under the title of the Reapers

by William Ward.

344 Hawks (water-colour) no 355 RA Old Masters Ex 1879 no 355 owner G R Ward

345 Haymakers painted 1834

346 Haymakers with sleeping child early picture bought by D' Daw

347 do at rest RA 1792. 354 engraved by William Ward

348 Heading the Fox hunting scene 1856 described by Ward as his last picture

349 Hearts-ease RA 1853. 484 £35

350 Heron RA 1813. 663

351 High Wind Newman Street 1841

352 Hope in the troubled ocean of life RA 1851. 536.

44

LIST OF PICTURES— continued.

HORSES.

353 Adonis favourite charger of George III BI. 1826 178 3'2 x 3-5 lithographed by Ward bought by the Duke

of Northumberland and subsequently changed for No 354

354 do RA 1842. 440.

Adonis was also painted by Ward in the picture of George III reviewing the 3"^ and 10* light dragoons by
Sir William Beechey RA, in the copy of the portrait of George 111 made from this by Ward, also in the
pictures Boa serpent seizing a horse and " Boa serpent seizing his prey "

355 Anglesey stallion for Boydell Work.

Arabians

356 Arabian RA 1834. 34

357 do bay with two left fetlocks white property of Sir Chas Forbes Xies 1829. 60 sold 5Jgs.

358 do Lord Londonderry's, sketch stolen from Newman St 1819

359 do called Charles, before 1827. 43 x 5-6

360 do owner Earl of Powis when Viscount Clive RA 1811. 21

361 do do Earl of Powis RA 1818.292. Ward made studies of a grey horse and a bay charger
belonging to Lord Powis in 1817 and was working on the backgrounds of the two pictures in Feb. 1818.
In August 1819 he was still working on the grey horse.

362 do owner Sir W W Wynne Bt Xies 1829. 68 sold 9 gs

363 do bay. in a landscape do 36 bought in £3-18 original price lOgs.

364 Arabian Horse (water-colour) RA Old Master Ex 1879. 384 owner G. R Ward

365 do mare and foal. Bl 1831. 320 3-3 x 3 9

366 Augusta a race horse 1823.

367 do do owner Marquis of Exeter RA 1829- 21

368 Banker favourite hunter 25 years old, and Victory a foxhound of Lord Vernons pack owner T. Levett

Esq RA 1812. 100

369 Blackthorne a brood mare, with old Jack a pony, owner E Mundy Esq. RA 1812. 117. BI Loan Ex 1825

no 16, owner L M. Mundy

370 Beauty and Sprite owner Miss Latham RA 1843. 154.

371 Bob. owner J P Baxter Esq RA 1823. 456.

372 Cart horse sorrel colour, foreshortened front view stolen about 1820

373 Charger owner General Stewart afterwards Lord Londonderry RA 1813. 165. ordered home July 1817

374 do do do copy made 1831

375 do do Sir W W Wynne Bt RA 1805 12.

376 do do do do do 40

377 do and 4 Cossacks owner Prince Platoff RA 1815. 148. painted for Duke of Northumberland
Ward also painted this charger in the equestrian portrait of Prince Platoff by T. Phillips.

378 Charger and favourite poney owner Lord Stewart afterwards Marquess of Londonderry RA 1815. 168

379 Colt. B I. 1822. 177. 1-3 x 1-4.

380 Copenhagen. Duke of Wellington's charger RA. 1824 357 bought by Duke of Northumberland for £105

lithographed by Ward

381 do do Xies 1829 79 34gs Mrs E M Ward also possesses a small oil painting of the head
of this horse

382 Cossack horse owner Duke of Northumberland RA 1820. 197 3-8 x 3 0. lithographed by James Ward

383 Dr Syntax celebrated race horse owner R. Riddell Esq RA 1820. 30

384 do do do

385 do do do Xies 1829. 105. sold SOgs original price lOOgs
Of the above 3 pictures no 1 was bought by Mr Witham for 90gs no 2 by Mr Riddell for lOOgs, no 3 was a

copy of the horse in no 1 and of the background of no 2, Ward probably made his lithograph from this.

386 Eagle celebrated stallion RA 1810. 211.

387 English stallion for Boydell Work

388 Exmoor pony do.

389 Foal in landscape with dam seen behind it Xies 1829. 43 sold lOgs original price 30gs

390 GrandiUo, brood mare, and Skyscraper colt owner T. Crooks Esq RA 1809 10. The first picture of blood

horses that Ward painted

391 Guy Mannering, racehorse painted 1822 Xies 1829. 44. 5gs original price 30gs

392 Hackney owner Lord Brooke RA 1812. 87.

393 Hackney. Blood, owner Earl of Powis Xies 1829. 76 sold 18 gs

394 do owner John Wells Esq RA 1828. 133.

395 Haphazard celebrated race horse RA. 1822. 280 probably the picture painted 1819 and sold to Mr Garle

396 do do exterior of stable with landscape background Xies 1829. 91 Bought
in 27 gs original price 100 gs

397 do do in rich landscape river scene Xies 1829. 99. Sold 26 gs original
price 80gs

398 Horse A Grey painted 1828 RA Old Master Ex 1879. 229. Owner G. R. Ward. This is the fine

picture of "A Flea-bitten Arab," 13ft. X 8ft. 8 painted for Sir Hesketh Fleetwood and bought by
G. R. Ward from his widow. It is now in the collection of Mrs. E. M. Ward. See illustration page 35.

399 Horse. Grey taking shelter in a storm Xies 1829. 62 sold £4.8.0

This was a favourite subject of Wards and there are several cabinet pictures of it with only slight variations,

the first of which was painted about 1791.
Horse, Series of 20 cabinet pictures illustrating the actions &c Newman St 1841

400 1 Eating, from a race-horse in Wiltshire (probably Hapazard) fed to the full.

401 2 Drinking Suffolk Punch cart horse.

45

LIST OF PICTURES— co)i/(Hi(frf.

402 3 Sleeping man and horse as'.ecp amid delapidated surroundings

403 4 Fasting. Winter scene

404 5 Action

405 6 Reaction

406 7 Energy. General dismounting from spirited charger 21 x 17

407 8 Fatigue waggoner's horse in Stable

408 9 Elevation horse just after clearing a rail.

409 10 Depression horse and rider thrown horse in background

410 11 Confidence grey, golden dun, bay and dark horses starting on a race

411 12 Disappointment same four horses coming in

412 13 Affection

413 14 Discord old war Iiorses of Flemish breed in battle

414 15 Fear horse fore shortened fleeing from lion

415 16 Self possession

416 17 Youth Spring-time Scene

417 18 Age. white cart horse, now in the collection of the Hon John Ward

418 19 Labour horse in clay mill

419 20 Rest dead horse.

420 Horse owner Mr. Harrison 1817. Kitcat commenced July 7. 1817 finished Aug 3.

421 do owner Marquis of Huntly RA 1812. 144

422 do owner Robert Ludgatc Esq Ward was at work on this July 1817

423 do and dog owner Rt Hon C Arbuthnot MP. RA 1823. 534.

423a do donkeys and pigs 29-35* 27in-35Jin date 1809 sold at Xies £283-10 owner L Huth purchaser
Houghton

424 do and pony owner Lord Londonderry. The British Institution offered £80 more than the commission

price for this picture

425 do and pony owner Duke of Newcastle RA 1826. 134.

426 do owner Earl of Powis RA 1822 194.

427 do owner Lord Rolle 1822 40 gs.

428 do in a mill early picture bought by D' Daw

429 do Old 1837

430 Horses. BI loan exhibition 1861 no 152 owner J. H Anderson

431 Horses RA. Old .Master Ex 1890 no 31. 17J x 28 owner Lord Brassey.

432 Horses in a Landscape owner J Allnutt RA 1823. 164. Bl loan exhibition 1860 no 171 owner J Allnutt.

Shown by Ward to George IV as one of his best works and much admired by the King

433 Horses fighting (one of them a white horse) RA 1808. 236. 30 gs.

434 Hunter owner Hon J Coventry RA 1813. 152.
do Peter Hesketh Esq RA 1828. 298.
do Lord Maynard RA 1813. 60.
do Edm Yates Esq RA 1821. 173

RA. 1826. 276.

Bl. 1826 16. 1.8 X 2.0

aged Xies 1829. 73 Sold 16J gs

Old. owner Unwin Heathcote Esq RA 1824. 4.

442 Judgement late owner Viscount Deerhurst RA 1813. 93.

443 Leicester stallion Boydell Work,

444 Leopold celebrated race horse, owner John George Lambton Esq MP. RA 1820 lOOgs lithographed by

James Ward.

445 Lichfield owner Lord Lowther RA 1811. 148.

446 Little Peggy only 33 inches high from mountains of Thibet Newman St 1822 Xies 1829. 29 bought by

George Raphael Ward. 25gs lithographed by James Ward.

447 Mameluke owner Jn Theobald Esq RA 1833. 304.

448 Mare owner J Harrison Esq RA 1822. 11. Kit cat. commenced July 7. 1817

449 do Brood, owner T. Crooks Esq Newman Street 1822

450 do Grey brood property of J .Allnutt Esq in woody landscape Xies 1829. 22. sold 11 gs

451 Mare and foal RA Old Master Ex 1871. no 8 27 x 55J owner George Smith
for Mares see also Nos. 223, 311, 469, 470, 471

452 Marengo charger of Napoleon RA 1826. 219. bought by the Duke of Northumberland for £105

lithographed by Ward.

453 do Sold Xies 1829. 78. 32 gs.

454 Merionethshire pony Boydell work.

455 Monitor owner George IV RA 1825. 22 lithographed by Ward.

456 Moses racehorse owner Duke of York. RA 1825. 349 lithographed by James Ward.

457 Nonpareil charger of George IV. RA 1825. 10 bought by the Duke of Northumberland lithographed by

James Ward.

458 do do RA 1842. 426.

459 Norfolk Phenomenen RA 1827. 61

460 do in trotting action at 20 miles an hour BI 1828. 259 2,3x2.11 Xies 1829. 41 Sold
25 gs original price 50 gs.

461 Old Coelebs aged race horse. 18 x 13 Xies 1829. 102 bt in 13J gs original price 40gs. Newman

Street 1841
4R2 Oswald, owner Lady R Deerhurst RA 1813. 272.
463 Persian horse, owner Duke of Northumberland RA 1820. 216. 3.8x3.0 lithographed by Ward.

46

435

do

436

do

437

do

438

do

439

do

440

do

441

do

484

do

485

do

486

do

487

do

488

do

489

Sultan

500

Walton

501

do

502

do

103

LIST OF PICTURES— continued.

464 Phantom owner Sir J Shelley RA 1813. 305. lithographed by Ward.

465 Pony owner John Maurice 1826

466 Pony belonging to Mr Tyson back view head down Stolen from Newman Street, 1819

467 do 40 years old. small study Xies 1829. 69 lOgs. original price 30gs

468 do R A Winter Ex. 1879. 31 x 43 owner G. R. Ward, this may be Little Peggy see no 446
for Poneys see also Nos 388, 446, 454, 474 to 478, 506 to 508, 695.

469 Primrose (a grey mare) and foal in fodder yard owner the Duke of Grafton Newman Street 1822 Xies 1829.

96 sold 39 gs. original price 70 gs lithographed by Ward.

470 Princess Royal celebrated racing mare, owner Sir Thos Mostyn Bt RA 1824. 237 100 gs. lithographed

by James Ward.

471 Queen of Diamonds and Lupino brood mares owner Sir Thos Mostyn RA 1825 91 6ft X 4ft

472 Reformer, Blucher, Tory and Crib owner Rowland Alston Esq MP. RA 1836. 37.

473 Rothomancus, an old Arabian Newman Street 1841

474 Shetland pony Boydell Work. Newman Street 1841

475 do RA 1809.142.

476 do owner Sir J Coventry. RA 1814. 132.

477 do do Sir W W Wynne Bt Newman Street 1822 Xies 1829. 65 sld 16 gs

478 Shooting pony, retriever (Sailor) and Spaniel (Rover) owner Lord Southampton RA 1827 305

479 Smolensko racehorse RA 1827. 318 Xies 1829. 33. 39 gs. original price 60gs.

480 Soothsayer do owner R Westenra Esq MP. Newman Street 1822. RA 1824. 23 lithographed

by Ward

481 Spanish charger and pony B I. 1817. 183. 5.0 X 6.0
Stallion loose. B I. 1818 see No 502

483 Suffolk horse 18 x 13 Newman St. 1841 probably the one painted for Boydell Work
of the old breed Newman St 1841
mare do

do RA 1809, 111

do owner late Duke of Bedford Xies 1829. 64 7.12.0
cart mare Boydell work,
race horse 1823.

do owner Sir J Shelley RA 1813. 292 lithographed by Ward,

do do do RA 1817. 207

racehorse broken loose and neighing at door of stable B I 1818. 269 4.3 X 5.6 Xies 1829.
Sold 48gs original price 120gs engraved hy J. Scott.

503 Wasp owner Robert Ludgate Esq RA 1817. 167 36 X 28

504 Welsh bay horse Stolen from Newman Street 1819

505 do cart horse do

506 do pony belonging to Sir R Vaughan Boydell work, stolen from Newman Street 1819

507 do pony. An old. engraved by H. R. Cook in the Sporting Magazine 1807.

508 White sand pony RA Old Masters Ex 1873 19|xl5 owner W. J. Richards
For horses see also Nos 5. 187. 223, 280. 283, 291.

509 House in which Smollet was born. RA 1851. 648

510 do and Mill early picture bought by Dr Daw
Hunted Stag see No 211

511 Hunting BI 1808. 57. 1.2 x 1.3

512 Huntsman and Hounds, sold at Xies 1883 for £109.4 owner W. Angerstein purchaser Graves.

513 Idle Boys. RA. 1796. 180 engraved by John Murphy

514 Ignorance, envy and jealousy RA 1838. 281

515 Industrious Cottagers engraved by William Ward. A picture with this title was sold at Christies 1807 for

1212-0 owner Ward bought by Allnut
Intercession see No 156

516 Interior effect Newman Street 1841

517 Interior of Shed, Cow, Calf, Sheep and Goats sold at Xies 1883 owner Hoare purchaser Agnew

517a Interior of a Stable 24 x 29 bought in at Xies 1893 for £115-10 ; owner the Earl of Essex, for interiors of
Stables see also Nos 810 to 812.

518 Intruder The (Interior of a barn, with a cow calf, donkey dog and poultry) Bl. 1830. 331 4a by 59.

Sold Xies 1877 for £76-13, re-sold in Huth Sale 1905. A sketch for this is mentioned by Ward
as being in the possession of Wra Theobald 1840

519 Intrusion Newman Street 1841

520 Iron works near Swansea. BI 1846 340 9x1.4

521 The J 's Nest RA 1840. 277 (little child in basket &c} 15J x 13J

Jack see No 369

Jesus see Nos 34, 155, 156.
Judgment see No 442.

522 Justice transparency painted for " The State Chronicle " 1810 30gs.

523 Kenilworth Castle Newman Street 1841
Kenny Luke see Nos 677 and 678

524 Labourer. The tired BI 1808 50. 2.4x1.9.
Lady. A, see Nos 679, 680 and 681.

Lady and Children see No 682

525 Lambton Ralph John his horse Undertaker and hounds (calling hounds out of cover) RA 1820. 337.

7 feet — 5 feet, engraved by Charles Turner.

47

LIST OF PICTURES— co«<i»»(;(f.

527 Landscape. RA 1807 512 This was probably the picture of Regents Park 1807 2ft. 5 x 3.10 now in the

National Gallery

528 Landscape RA Old Master Ex 1890. 32J x 50 owner Lord Brassey

529 do and cattle BI Loan Exhibition 1834 216 owner Oakley Esq

530 do with cows, early picture bought by Dr Daw

531 do do. do

532 do and figures RA. 1807 243

553 do do do 1810 108

554 do do BI 1822. 140 2,3 x 1.11

555 do with fish, probably painted 1809 representing a coast scene with asses sheltering under the
lea of a little hillock with fish lying to the right in the foreground, and man on horseback some
distance away 33 x 51. bought by Sir John Leicester afterwards Lord de Tabley, No 49 in the de
Tabley catalogue in which it is illustrated by an outline engraving. Sold in the de Tabley collection at
Christies in 1827 for £106.5 and bought by Mr Vernon being then entitled "A View on the Coast "
see No 161. M" E. M. Ward has a small water colour of same subject.

555a Landscape with Mill BI Loan Ex 1864 no 143 Louis Huth. This may be the same as No. 6
555b do pool with trees (water colour) RA Old Master Ex. 1879. No 379 owner G R Ward.

555c do and Sheep washing Sold at Christies 1811 for £120-15 owner Fitzherbert purchaser Jones.

556 Land Storm RA. 1794. 144.
Lawley Charles see No 683.
Lazarus see No 40.

Lear King see No. 180a

557 Leicester Sir John. Design of a picture painted for. BI 1810. 294. 1.2x1.7

do. see No 684.

Leopold See No 444.
Levett family See Nos 685. 686 & 687
Liboya Serpent See Nos 45. 46. 47, 48. 49.
Lichfield See No 445

558 Lion early picture bought by Dr Daw.

559 Lion in the Tower. R A 1800 511

560 do sharpening his claws against cork tree B I. 1808. 344 3. 10 x 2. 10

561 do and Tiger fighting R A 1798. 209 engraved by James Ward.

562 Lions head. Stolen from Newman Street about 1819.

563 Lioness Newman Street 1822

564 Lioness R A Old Master Ex 1885 No 58. 44J-58 owner H R Hughes

565 Lioness disturbed B I. 1817. 176. 5.0x6.0

566 do and heron. A picture bought by Mr Earle. " The world knows nothing of what i can do in that

way but from Mr Earles picture" from letter from Ward April 11. 1848. This may be the same picture
as no 565. See illustration page 10.

567 do pierced with hunting spear. Xies 1829. 45 sold £10. 5. 0 original price 25gs

568 do reposing. do 47 do 7g3

569 do sleeping ; very spirited. do 38 do 19gs. original price SOgs
Listening deer. The See No 212.

570 Listening to advice R A 1852. 493.

571 Littleton Tower on the Tweed &c. R A 1807. 323 one of the four landscapes commissioned by

Lord Somerville
Little Peggy See No 446

572 Livery Stable engraved by James Ward See illustration page XXIV

573 Lomond. Foot of Ben. B I 1846. 333 9 X 10 See also No 310.
Look to Peter. The See No 679.

574 Love flying from Sensuality and Dissipation R A 1840. 270

575 Ludlow Castle Leeds Loan Ex 1868 owner Thos Fairbarn

576 Lumley Castle B I 1846 290. 9'" X 1.8.
Lupino See No 471

Lynn Wra See No 688.

577 Magdalene The Newman St 1841. This may be a water colour drawing now in the collection of

Mrs E M. Ward
Man Mr See No 689
Man Miss See No 690 and 691.
Mameluke See No 447

578 Man fishing under a tree bought by Dr Daw.
Marengo See Nos 452 and 453.

579 Matchgirl, The Newman Street. 1822

580 Measure for Measure (Terrier destroying a Stoat which has killed a hare) R A 1851. 688 See Nos 272 & 274.

581 Melrose Abbey on River Tweed &c R A 1807. 266 one of four large landscapes commissioned by

Lord Somerville

582 Meeting the Sun upon the upland lawn Newman St 1841 R A 1843 110 30gs

583 Mill in Wales R A. 1847 283.
Mill See also Nos 6.

584 Miner The Suffolk Street Winter Exhibition 1833. probably picture shown in Newman Street 1822

See No 217

585 Moment The R A. 1833. 150.
Monitor See No 455

LIST OF PICTURES— continiud.

586 Moonlight B I 1808. 61. 7 x 10
Morland copy of See No 179.

587 Morland Subject painted for Mr Jarvis 1844.

588 Morning lithographed by Harraden.

589 Morning Grey with cattle of different breeds R A 1855. 238. R A Old Masters Ex 18S5 No 46 19^ x 25J

owner W H Oliver
Moses See No 456.

590 Mother The R A 1802. 131

Mothers Bribe The See " Temptation to be washed " No. 831.

591 Mother and Child early picture painted for Dr Daw retouched 1826

592 Mouses Petition RA 1811. 56 bought by Dr Daw, retouched 1826, engraved by William Ward, see

illustration page 24
Musgrave Miss See No 692.

593 Myrza. The Vision of R A. 1847. 145

594 Natures sweet restorer, balmy sleep. R A 1846. 232

595 Negro's head B I 1828 312 2.4 X 3.1

596 Night lithographed by Harraden
Nonpariel See Nos 457 and 458.

597 Noon, lithographed by Harraden
Norfolli Phenomenen. see Nos 459 and 460

598 Numps returning to Market (little girl) R A 1836. 231. 25gs
Obstinate Ass See Nos 13, 14, and 15

599 Old Careful. R A 1852. 269.
Old Coelebs See No 461
Old Woman See No694.

600 do man and jug bought by Dr Daw

601 do Robin Gray Newman Street 1841
Oswald See No 462

602 Out of hearing (man holding up his hat by side of face to aid his voice) R A 1843. 43. bought by Robert

Vernon for 30gs.

603 Outside a country ale house, bought by Dr Daw, engraved by Wm Ward See illustration page 20

604 Owen Glendower's parliament house R A. 1849 558 £70.

605 Oxford from Rose Hill R A. 1887. 192

606 Peace 1846. 146.

607 Peak Cavern looking out Newman St 1841

608 do do in do do

609 Peasant's Sunday dinner engraved by S. W Reynolds. See illustration page 32

610 Peebles Castle R A 1853. 1092. £50.
Persian Horse See No 463

611 Peter. The look to R A 1850. 679

612 Phaeton, The fall of B I. 1807. 3. 411 x 3 7

613 do RA 1808 161.

614 do B I. 1809. 301. 28 x 2-5.

615 do B I. 1818. 71.2 8 X 23

616 do finished sketch for larger picture, owner the late Lord de Tabley Xies 1829. 92 sold
20gs original price 40gs R A. 1830. 53.

Lord de Tabley saw a sketch for this subject with which he was so pleased that he secured it and the
artist seems to imply that His Lordship also gave him a commission for a larger picture. In the
Tabley Hall catalogue issued 1821 there is the entry No 40 The fall of Phaeton, a finished sketch.
This however was of sufficience importance to be illustrated. A picture of the Fall of Phaeton by
Ward was sold with the de Tabley collection at Xies in 1827 for £105. 0 purchaser. Russell. In the
R A Old Master Ex 1884 is the entry. No 17 Fall of Phaeton 45x29 owner Lord de Tabley. This would
probably be the finished sketch, another version is mentioned by Ward in 1852 as being formerly in
the possession of Wm Theobald and sold in Mr AUnutts sale, a third version is now in the collection
of M" E. M. Ward.

Phantom See No 464.

Phipps Hon C B see No 695.

PICTURES OF PIGS

617 Anglesey Sow Boydell Work

618 Barrow Pig RA. 1845. 187 £50 revarnished by Ward 1852

619 Boar A. International Loan Ex London 1862 no 315 owner T. D. Edwards.

620 Berkshire Boar Boydell Work

621 do Hog do

622 do pig stolen about 1820

623 do Sow Boydell Work

624 Chinese boar brought from China by Sir A Hume Newman St 1841

625 do do Boydell Work

626 do sow do do A small picture of the same title is in the South Kensington Museum No 218.

627 Devonshire Hog do do

628 Essex boar do do

629 do sow do do

630 Glamorgan boar do do

49

LIST OF PlCTVRBS-conttnued.

631 Glamorgan sow Boydell Work

632 Glos'ter hog do do

633 do sow do do

634 Hereford boar do do

635 do hog do do

636 do sow do do

638 Lop Eared Sow Boydell Work

639 North Wales do do

640 Old Wilts Large sow do

641 Pigs RA 1807 163

642 do 81 1807 195. 1-3 X IS.

643 do Bl 1808. 444 2-1 x 2-6.

644 do RA 1809 46.

645 do BI. 1813 171. 110 x 2-4. Probably the work of same title and date now in the South Kensington

Museum No 217

646 do Feeding RA 1793. 145

Ward gave a picture of Pigs to his daughter JMatilda (Mrs John Jackson) for a wedding present 1819

647 Shropshire boar do

648 do hog do

649 do sow do

650 Sow and Young Pigs engraved by Ward about 1794

651 Wild boar dead, bought by E. H Bailey Esq engraved.

652 Wild boar stolen about 1819

653 do sow Boydell Work

654 Wiltshire Sow and pigs BI 1809 336 2.0 x 2.6

655 White Sow and litter of sucking pigs with trunk of tree in back ground painted previous to 1809 and

mentioned by Ward as being one of his best pictures
for pigs see also Nos 423a.

656 Pig-stye bought by Dr Daw an early work retouched 1826

657 Pigeon A fancy RA 1795. 44

658 Playfulness Newman Street 1841.

659 Plenty study of head in Waterloo Allegory RA 1837. 215

660 Ploughman and boy at rest with white horse, picture bought by Mr. Musgrave. Ward also mentions a

large sketch of this
Poneys see Nos 338, 446, 465 to 468, 474 to 478, 506 to 508, 695.

PORTRAITS.

661 Bean Master RA 1819. 501 commenced 1818.

662 Bean Miss RA 1816. 421

663 Boy in crayons Society of Artists 1790. 333. Newman Street 1822

664 Briggs Mr 1817. 18 Mr Briggs was a pupil of Wards this is probably a portrait of his father

665 Bryan Michael and family life size painted about 1797

666 Busficid The Rev. JA. UD. RA. 1819. 185 engraved.

667 Combermere Lord on charger with view of Salamanca in the background 22in x 22in commissioned 1814.

668 Chesterfield Earl of when a eleven years old on favourite Shetland pony RA 1816. 307 whole length 375gs.

669 do The two daughters of fondling a pet fawn. RA 1SI6. 195 whole length SOOgs. These
ladies were sisters of the above

671 Crook Thomas, Esq. Newman street 1822

672 Fritche George Jun Esq Wards brother in law Stolen about 1820

673 Gentleman RA 1817. 475.

674 do and his Keeper, with his favourite horses and dogs RA 1809. 10. This may be the picture,
41 — 59, dated 1809, of a gentleman on a white horse with greyhounds &c which was engraved by J. B.
Pratt and published by Messrs Agnews in 1907 under the title of "Coursing in Sussex." A picture
entitled " Portrait of a Gentleman horse and dog" was sold at Xies 1894 for £315. owner Briggs
purchaser Agnew.

675 do his Keeper, Shooting pony and dogs RA 1812. 160 (probably Mr. Levett)

676 George III on horseback, painted for Lord Somerville and engraved by James Ward. This figure of the

King is described on the engraving as being painted by W Hopkins, but Ward always spoke of it as
his own work. He mentions that it was valued by Bryan the picture dealer at £500

677 Kenny Luke aged 96 and Kate his wife aged 88 charcoal burners R A 1814. 57 (painted for Mr Hurt)

R A Old Masters Ex 1877. No 264 Charcoal Burners 33 X 43^ Albert Hurt

678 do study for above R A 1817. 151

679 Lady (in crayons) Society of Artists 1790. 332.

680 do R A 1817. 485

681 do R A 1833 234

682 do and Children R A 1797. 231
Lambton Ralph See No. 525

683 Lawley Charles Esq 1826

684 Leicester Col Sir John Bt afterwards Lord de Tabley exercising his troop of Yeomandry R A 1824

127. 2.9i X 3.8.
Extract of letter from Sir J Leicester to Mr Lister Parker "Ward has painted a portrait of myself on
horseback, in which he has united the finish of Wilkie with the spirit of Bassano "

5°

LIST OF PICTURES— continued.

685 Levett. T. Esq and favourite hunter R A. 1818. 154.

686 do Rev. T. and favourite dogs, cock shooting R A 1811. 489.

687 do Ann and John children of T Levett Esq. R A 1812. 118

688 Lynn W" Esq R A 1820 249 lOOgs (A surgeon who attended Mrs Ward) commenced April 22. 1S19 Ward

was still working on it on April 20 of the following year.

689 Man Mr. Extract from Ward's Diary May 10. 1820 Begin Mr Mans portrait finished on May 20

690 Man Miss R A. 1816. 276

691 Man Julia painted between March 1 and 8. 1820

692 Musgrave Miss Georgina when a child. Probably the daughter of Mrs Musgrave (No 702) 31 x 27 sold at

Xies 1905 tor £1680 purchaser Wylde

693 Nicholl J Esq R A 1812 396.

694 Old Woman Servant to Sir W W Wynn halt length stolen about 1820

695 Phipps Hon C B and his favourite pony R A ISIO. 84.

696 Platoff. The Hetman on his Charger. R A Old Master E.x 1906. No 67 55x43J Duke of Northumberland

owner. Possibly this work may be the same as No 377.

697 Pratt. S J. Esq R A 1809 132.

698 Preston Rev M M. Vicar of Cheshunt. Newman St 1841

699 Rudall Mr R A 1854. 449

700 Russell. Avaiella Oliveria Cromwell, last descendant of Oliver Cromwell R A 1833 254.

701 Walker Miss R A 1798. 104

702 do afterwards Mrs Musgrave. R A 1799. 594.
Ward James (the artist)

703 do when eighteen Newman Street 1841

704 do do do do do

705 do when a young man Newman Street 1841

706 do do do do do

707 do R A 1831. 292

708 do R A 1846 511

709 do R A Old Master Exhibition 1S81 No 48 21 X 16^

See Reflection

710 Ward Mrs James Senior (the artists mother)

711 do when 81 years old. R A 1830. 250. Newman Street 1841 RA Old Master Ex 1880 No 3. 29x24

owner Howard W M Jackson see illustration page 2

712 do when 97 do Newman Street 1841
See also Nos I and 298.

713 Wellington Duke of, an oval Xies 1829. 80 bought in 7Jgs. lithographed see illustration page 25

714 do do with Hydra Xies 1829 81 sold 26gs original price 200gs. Ward commenced a pr.rtrait
of Wellington July 13 1819 which was probably one of these.

715 Woodd Basil engraved by James Ward and published 1800

Pool of Bethesda See Nos 41 and 42.

716 Poultry Market. A. engraved by James Ward.
Pound The See No 167.

Pratt S J See No 697

717 Preparation B 1 1846 334 11 x 12
Preston Rev M. W. See 698
Primrose See No 469
Princess Royal See No 470

718.9.20.1 Progress of a leg of mutton, series of four pictures painted about 1796, Possibly Nos 59a and 609
may form part of this series

722 Pulling off an old coat. Newman Street 1841

723 Purity cherishing love. R A. 1850. 934
Queen of Diamonds See No 471.

724 Quietude disturbed R A. 1846 216 bought by R. E. Payne for £150.

725 Radstoek Lord, picture painted for 1818.

726 Rabbits, engraved by James Ward 1794.

727 do R A 1808 558.
Rabbit Warren See No 306

Reapers engraved See Harvest field, No. 343
Reculver Church Kent See No 859

728 Red Riding Hood in conversation with the wolf B I 1820 296 4.3 X 3.11 Xies 1829. 29 15gs original price

80gs. The sketch for subject was made 1819
Reformer See No 472.
729.30.31 Reflection three portraits of the artist with different expressions Newman St 1841

732 Renton, Scotland RA. 1849 429 £80

733 Repast The. RA 1837 296. Newman Street 1841

734 do BI 1843 342 2.10 X 3.6

735 Repose Newman Street 1841

736 Rocking-horse. RA 1792 356 engraved by James Ward See illustration page .\lviii.
Rothomancus see No 473.

737 Roundcroft Cottage, the artist's residence RA 1838. 124 16J x 36 See illustration page 12

738 Rubbing off unfavourable impressions Newman St 1841
Rudall Mr see Ko 699.

51

LIST OF PICTVRES— continued.

739 Rustic Conversation engraved by S. W. Reynolds
Russell A. O. C see No 700

740 Rustic felicity painted 1791-2 engraved

741 Sand Pit 1811. 107.

This probably may be identified with the " White horse in a sand-pit" 25 x 19 commissioned by Mr.
Jarae Barnes for lOOgs he was so pleased with the work that he spontaneously added another £25. Sir
Thomas Lawrence offered Ward 150gs for it. see also No 508

742 Sandpit A. BI. 1816. 101. 2.0x2.6

743 ditto BI 1817 100 3.3 X 3.8

744 Sandpit The BI loan ex 1825 No 75, owner Sir Chas Blunt.

745 Saint Donat's Castle. Bulls fighting 1803. 51J X 89J Art Treasures Ex. Manchester 1857 no 37 owner

Mr C T Maud
This picture now in the South Kensington Museum No 220 was considered by Ward as one of his two master-
pieces, the other being the large cattle piece now in the Tate Gallery. It was bought by Dr Daw while
in Ward's studio for lOOgs. A few day's later Ward received an offer of 200gs for it, but Daw declined
to part with it for less than SOOgs, and ultimately had it sent down to his place in Gloucestershire by
waggon. It was so roughly handled during the journey that the panel was split, and the Doctor had to
spend £10 in getting it repaired. After the latters death it was sold by auction in Cricklade for 120gs
to Mr Maud. It was presented by Mr C. T Maud to the South Kensington Museum. See illustration
page 18.

746 Sea View 1844 painted for Mr Elliot

747 do companion to above do do do

748 Seal A black and white stolen from Newman St about 1819

749 Selling Rabbits RA 1795. 122. bought by Dr Daw retouched 1826 engraved by William Ward.

750 Separation RA 1851. 153.
Serpent see Nos 45, 46, 47, 48, 49

PICTURES OF SHEEP.

751 Cannock Heath, ewe for Boydell Work

752 do ram do

753 do wether do

754 Durham ewe do

755 do ram do

756 do wether do

757 Ewes in high and low condition 1841

758 Glamorgan ewe

759 do ram

760 do wether

761 Heath ewe and lambs RA 1810. 75

762 High and low conditioned ewes RA 1835. 212

763 Isle of Portland Ewe. Boydell work.

764 Lambsof the first year RA 1852. 67

765 Lamb The Torn RA 1845 247 Small picture sold to Mr. Soloman

766 Merino ewe Boydell Work.

767 do ram do

768 do wether do

769 Merionethshire ewe do

770 do ram do

771 do wether do

772 New Leicester ewe do probably the picture engraved by James Ward 1799. and painted for the Duke

of Bedford.

773 do ram do

774 do wether do

775 Original South Devon wether do

776 Persian Sheep RA 1827. 359

777 do BI 1828 362. 3.4 X 4.0

778 do Xies 1829. 100 sold 19 gs. original price 60gs

779 Romney Marsh wether for Boydell Work

780 Sheep early picture bought by Dr Daw retouched 1826

781 do small picture mentioned by Ward as being in the possession of Wm Theobald 1840

782 Sheep. Head of a (water-colour) RA Old Masters Ex 1879 no 392 owner G R Ward.

783 Sheep's Head, (water-colour) RA Old Masters Ex 1879 no 386 owner G. R Ward.

784 Sheep preserving from the fly mentioned by Ward as being in the possession of Wm Theobald 1840

785 Sheep shearing RA 1846. 354

786 Sheep Studies of (water-colour) RA Old Master Ex no 391 owner G R Ward.

787 Sheep washing a scene in Wales RA 1805. 294. large picture bought by a gentleman on the Stock

exchange

788 Sheep-washing BI 1842. 207. 4.7 x 6.5.

789 Shropshire ewe Boydell Work

790 do ram do

791 do wether do

792 Welsh ewe do

52

LIST OF PICIVRES— continued.

793 Welsh ram. Boydell Work

794 do wether do

795 Wittington Heath ewe do

796 do ram do
for Sheep see also 310, 799.

797 Shepherd and dog also two rams owner Rowland Alston Esq MP. RA 1837. 100

798 do and bird Keeper RA. 1853. 1066. £60.

799 do annointing sheep to preserve them from the fly. Xies 1829. 77 Bt in £35-14-0

800 do boy and dog 18 x 15 lithographed by Ward.

801 do do Xies 1829 24 Sold 7 gs probably study for above

802 do An old RA 1807. 65.

803 Showery weather near Midsummer RA 1849. 134. £50.

804 Sin Death and Hell. Last struggle of RA. 1838 96.
804a do Triumph over RA. 1838. 87

804b do Double Triumph over RA 1851. 677

805 Sides alt (dray horses drawing a butt of beer from a cellar of a country inn) RA 1827. 64. commissioned

by the Duke of Bedford. SOOgs.

806 Sleeping Child. Head of a. RA Old Master Ex 1883. 275. 11 x 11 owner M. Phipps-Jackson
Smolensko see No. 479.

Smollett, House in which he was born see 509

807 Snarlers The. RA 1847. 87

808 Snowdon. BI. 1846 351. 9x9
Soothsayer see No 480

809 Sportsman and Game Keepers return from day's sport, evening, frost scene. Xies 1829. 95 48gs

original price SOOgs.
Sprite see 370

810 Stable, Donkey, and Goat sold at Xies 1877 for £97-13 owner G. Fox

811 Stable interior with cows bought by W" Wells, of Redleaf, sold at Christies 1860 for £72-9 purchaser

Agnew

812 do do study Xies 1829. 37 sold £6-10-0
Stable interiors see also Nos 517 and 517a

813 Star of Bethlehem R A 1850 423

814 Straw-yard R A 1809 173

815 do (a sketch) R A 1814. 489.

816 Stray'd Child engraved by B Pym See illustration (frontispiece)

817 do restored do do
Stubbs, Copy from See No 178.

818 Studies from Nature (series of heads and feet of various animals) B I 1808 454 2.8 x 3.2 engraved, probably

the same was sold in the Huth collection at Xies 1905
Study of a Can See No 61
Sultan See No 489

819 Summer figure of girl with landscape background, engraved by William Ward

820 Sunset R A 1799. 630 bought by Dr Daw retouched 1826

821 Swan seeking own element. Descent of. R A 1817 122 same as Ex at R A Old Masters Ex 1885 No 32

entitled "Swans" 13J X 12 owner Briton Revire R A painted to illustrate the Social Day by Peter
Coxe, engraved See illustration. In the collections of the Hon John Ward and Mrs E M Ward are
several small versions of the same subject in oil and water colour

822 Swine-herd R A 1810. 306

823 Sympathy R A 1837. 418. Newman Street 1841

824 do B I. 1843 342 2.10 x 3.6

825 do R A 1849 56.

826 Tabley Park. 4 feet 4J x 3 feet OJ inch painted about 1826 now in the Vernon collection National Gallery

engraved by T Prior.

827 Tabley Hall commissioned by Lord de Tabley 1826

828 do study for above
Taff. See No 241

829 Team frightened. Sold at Xies 1827 for £94. 10 owner J Webb purchaser Prosser

830 Teetotal beer and beef. R A 1853. 1019 £100

831 Temptation to be washed. B 1. 1808. 8. 2.0 X 2.6 engraved under the title of The Mothers bribe

832 Thatching a Mill B I 1807. 179. 1.7 X 2.1

833 Thunder Storm R A 1796. 151.

834 Tickling the ear R A 1838. 483. See No 156 for description of this work.

835 Tiger snarling over his prey R A 1793. 587. probably the same as " Tiger disturbed by a Lion B I loan

Ex 1865 No 171 owner Alfred Morrison engraved by James Ward

836 Tigers R A 1808. 523.

837 do B I 1809 330 4.2 x 3.11.

838 do Newman Street 1822

839 do reposing B 1 1815 214 2.3 X 3.4. probably the one sold. Xies 1829. 8. £7.10.0 original price 50gs.

841 do Two. in fine landscape painted before 1807.

842 Tintern Abbey B 1 1838. 471 3.0 x 4.0 in Newman Street 1841

843 do Wire Mill at B I do 446 2.11 X 3.11 do do

844 Tired model B I 1819. 190. 3.9 x 3.1.
Tory See No 472

53

LIST OF PICTURES— continued.

845 Trampers Newman Street 1841

846 Traveller A. B I 1814 67. 4.10 X 3.4.
Travellers The See No 179.

847 Tree Study of an old. stolen about 1819

848 Tree with cottage and figures, the first picture that Ward painted See page xxii.

849 Trees R A 1851. 587

Triumph over Sin Death and Hell See No 804a
Trudging Home Suffolk Street Winter Ex 1845. 495

850 TurUey A. Newman Street 1841

851 Twins The strong and weak B I 1833. 473. 2.3 X 3.9

852 do do R A 1832. 94

853 Union R A. 1846. 172.

854 Uncle Toms Cabin Allegory of
Undertaker See No 525

855 Vegetable Market. A. engraved by William Ward.

856 Venus rising from her couch. R A. 1830. 135.
Venus See No 180.

Vic See No 237

857 Village Church. Newman Street 1841. B I Winter E.xhibition 1845. No 28 sold to Mr Nixon lOgs

857a Village Green Red Lion Paddington. at the corner of Harrow Road as it was in 1790, said to have been
painted about 1792 17J X 23J Sold at Xies 1905 for .€168 owner L Huth. purchaser Agnew

858 Village Scene R A Winter Ex 1885 No 33 28J— 44* owner C. W. M. Lewis.

859 View of the Sisters, old church at Reculver Ke"nt B I 1819 181. 3.0 x 3.9. Newman Street 1822 Xies

1829 sold lOgs
Virgin See No 177.

860 Waggon horses frightened at lightening R A 1807. 7.

861 Waiting a Supply Newman Street 1841

862 ,, the Weather R A 1846 443.
Walker Miss See Nos 701 and 702
Walton See Nos 500 to 502.
Wapeti See Nos 213. 214.

Ward James See Nos 703 to 709 and 729 to 731 .

Ward Mrs James. Sen See Nos. 1. 298. 710. 711. and 712

Wasp See No 503.

863 Waterfall A. stolen from Newman Street about 1819

864 Watering-place Newman Street 1841

865 Waterloo Battle of an allegory B 1 1816. 161. 4.0 X 5.8 Xies No 82 bought in for 40gs original price

200gs. the work which gained Ward the lOOOgs commission from the British Institution

866 do design for with additional emblems and groups Newman Street 1841 See also "Plenty"

867 Waterloo Allegory. The large work 35 feet by 21 feet which Ward painted for the British Institution, see

pages xliii. to xlvii. Ward partly painted a canvas of the same subject 20 feet by 14 feet which he pro-
posed to finish after his eightieth year but found it was beyond his strength.

868 Weird Sisters R A 1838. 86 Probably a picture of the Three Witches in Macbeth now in the collection

of Miss Edith Jackson
Wellington Duke of See Nos 713 and 714.
West copy of See 180a.

869 What a beauty, background the residence of Charles Westcar Esq (picture of a turkey) R A. 1845. 172

870 What is it ? R A 1845 163

871 Whisking off the Ry Newman Street 1841 Suffolk Street Winter Ex 1845. 474

872 Wiltshire hind (water colour) Newman Street 1841 See illustration page 17

873 Wind R A Old Master Ex 1882 No 1. llj x 13 M Phipps Jackson

874 Windmill stolen from Newman St 1819

875 do in Staffordshire in the manner of Rembrandt. Xies 1829. 56 sold 37-15.6 original price 70 s

876 Winter figure of a girl engraved by William Ward
Woodd Basil See No 715

877 Woodman and gypsies R A 1798. 216

878 Woodmans Companion R A 1828. 134.
Worcester Battle of See No 38

879 Wounded Soldier The. engraved by J R Smith Jun

880 Yarmouth Cart The Newman St 1841

881 Yeldham Oak at Great Yeldham R A. 1834 290

882 Young Bloomfield meditating (farm yard scene) painted 1834 bought by Mr Theobald.

883 Zodiac. Twelve Signs of. important picture painted for Mr Beckford about 1807

MODELS

884 Calumny Study for a head

885 Christ before Herod

886 Crucifixion

887 Group A

888 Jealousy Head of

889 Hope clinging to the rock above the waters of the Deluge 1818. ,^

890 Michael Angelo

891 Youth and Time modelled 1817-18 See illustration page 35

5+

II, — List of Works Engraved by James Ward, R.A.

In the following list I have departed from the practice of J. Chaloner Smith and other cataloguers who
classify finished engraver's proofs, before any inscription, as forming the first state of a plate. Though
such nomenclature may be technically correct, it is most misleading to anyone who is not an expert.
What ninety-nine people out of a hundred regard as first state proofs are the earliest series of copies
issued by the publisher to the general public. These inevitably bear a printed inscription, the writing of
which on the plate may be taken as the first tangible evidence that the publisher considered the plate
to be complete. I venture to think that the ninety-nine people are in the right ; therefore in all cases
where plates have been published, I have regarded impressions bearing the earliest printed inscriptions
as forming the first state of such plates.

It may perhaps be well to describe the origin of the proofs printed before any writing is engraved
on the plate. An engraver, when engaged upon a plate has proofs struck off from time to time to see
how the work is progressing, which from that reason are called progressive proofs. As the work nears
completion, and the alterations effected become of more material import, such proofs are taken at
more frequent intervals, until one is printed which meets with the approval of the artist. The plate is
then considered complete and put into the hands of the plate writer, who engraves on it such inscription
as he may be instructed. I have been told by Mr. McKaye, than whom there is no greater authority,
that these impressions taken from the finished plate before the inscription is added should be
styled artist's proofs; but as this term is now in general use for series of impressions in some cases
running into hundreds, I am afraid that it may be misunderstood, and I therefore describe these copies
as finished engravers proofs, a description 1 believe which cannot be misinterpreted. While the early
progressive proofs are of little intrinsic value the finished impressions before any inscription, taken from
the plate before its virgin bloom was in any way worn, are eagerly sought after, and from their extreme
rarity command very high prices.

All the plates unless otherwise stated are engraved in mezzotint.

Adonis See under Celebrated Horses No 17

1 Alpine Traveller ... ... ... ... ... ... ... ... ... Northcote

Sub H 22 W nj
Under J. Northcote, RA pinx' J Ward Sculpt. London Published Aug' 1, 1804 by John Jeffryes

Clapham Road. Imperfect.
I As described. Also printed in colours.
The copies I have seen have unfortunately been cut. Enough of the title was left in two cases to show

that it was in Script, apparently "Alpine Traveller" in capital letters. The picture was painted

in 1801 ; the lady represented is Miss St Clair.

2 The Angry Father ... ... ... ... ... ... ... ... ... Opie

H 29 Sub 26| W 21| Sub 19J
Finished Engraver's Proof.

3 Mr. Arbuthnot's Emperor (lithograph) ... ... ... ... ... ... ... J. Ward.

A prize bull held by a man
Sub 5i X Sj
Under in facsimile writing : Mr Arbuthnot's Emperor J Ward RA 1822

4 Mr Arbuthnot's Maria (lithograph) ... ... ... ... ... ... ... J.Ward.

A prize cow facing right
Sub 5J X 8|
Under in facsimile writing ; J Ward RA 1822. Mr Arbuthnot's Maria.

5 Mr Arbuthnot's Miranda (lithograph) ... ... ... ... ... ... ... J. Ward.

A prize cow facing left.
Sub 5i X 8J
Under

I In facsimile writing J. Ward RA 1822. Mr Arbuthnot's Miranda

II In print Mr Arbuthnot's Miranda T (sic) Ward RA Printed by C. Hullmandel

6 Lord Ashburton, Lord Shelburne and Colonel Barrd ... ... ... ... ... Reynolds.

H 22 Sub 18 W 25| (companion to no 7)
Lord Ashburton to left, Colonel Barre in centre and Lord Shelburne to right of work.
Under

Painted by T Lawrence Esq RA Principal Painter in Ordinary to His Majesty Engraved by J. Ward
A.R.A. Painter Engraver in Mezzotints to HRH the Prince of Wales. From a Picture in the
Possession of Sir Francis Baring Bart (With arms in centre with rootto " Probitate et Lahore")
Fmished Engravers Proof.

I As above at bottom to right Proof.

II Proof omitted.

III Re-published. Instead of T. Lawrence &c read Sir Josh^" Reynolds. Proof re-inserted.

IV As III Proof omitted, described by J. Chaloner Smith.

55

LIST OF WORKS ENGRAVED— continued.

Sir Francis and Charles Baring and Charles Wall. ... ... ... ... ... Lawrence.

H 20 Sub 18 W 255 (companion to 6)

The personages represented taken from left to right are in same order as their names

Under

Painted by T Lawrence Esq' RA Principal Painter in Ordinary to His Majesty ; Engraved by J Ward ARA
Painter & Engraver to HRH the Prince of Wales. From a picture in the Possession of Sir Francis
Baring Bart. To right Proof in centre, coat of arms with motto Probitate et Lahore

Finished Engravers Proof

I As described

II Proof omitted

A copy of the 2nd state sold at Sotheby's 17.2.09 had on it in James Ward's hand writing " After 102

impressions to be cleared up "
Barre Colonel see no 6.

Master Betty ... ... ... ... ... ... ... ... ... ... Burch

H 15. Sub 12| in square border. W 11 Inside border H 8J W 6f
Under Painted by H Burch. Engraved by J. Ward. Painter & Engraver to HRH the Prince of Wales

William Henry West Betty ^ctatis Sua; 13. London Published July 1. 1805, by M' Betty at Messrs

Colnaghi & Co Printscllers Cockspur Street.
Finished Engravers Proof
I As described ; title in closed letters
On a copy in British Museum James Ward has written " Done for the Father and I believe never published

on account of his death
Master Betty ... ... ... ... ... ... ... ... ... ... Northcote

H 14| Sub 13 W lOJ.
Under, Painted by J Northcote Esqr R.A. Engraved by J Ward Painter & Engraver to HRH the Prmce

of Wales. W"" Henry West Betty, /Etatis Su;e 13 From the first and only original Portrait in the

possession of Thos Lister Parker Esq. Published March 16. 1805, by Mr Betty, at Messrs Colnaghi and

Co. Printsellcrs, Cockspur Street.
Finished Engraver's Proof

I As described. Inscription in open letters

II Letters closed.

M" Billington as Saint Cecilia (see illustration page 5) ... ... ... ... ... Reynolds

Under

Painted by Sir Joshua Reynolds. Engraved by Jas Ward Painter & Engraver to H.R.H. the Prince of
Wales. Mrs Billington, as St Cecilia. From the Original Picture by S' Joshua Reynolds in the
Possession of M Bryan Esqr. London: Vnh'^- Janv- 10. 1803. by Mess" Wards & Co No 6. Newman
Street.

Hark ! the numbers soft and clear
gently steal upon the ear ;

—Pope's Ode on SI Cecilia's Day
Finished Engraver's Proot.

I As described title in open letters

II Letters filled in

III Modern

The prints were retailed by James Ward at 1/1/- each. In a letter to his son he complains that the dealers
never sold a copy of the work.

Bird Keeper's Repast. ... ... ... ... ... ... ... ... ... J. Ward.

H 23| Sub 22| W 19.
Finished Engraver's Proof.

The plate was probably never published. The original picture was exhibited in the Royal Academy of 1801
A boy employed in burning the weeds, or Sunset. A View in Leicestershire ... ... Morland

(see illustration page 16) H 191 Sub 18J -W 23J

Under
Sun Set. A View in Leicestershire London Pub"" April 1. 1793 by B Tabart No 13 Great Newport Street.

G. Morland Pinxt Jas Ward Sculp'

I Before title

II As above

III inscription altered to

G Morland Pinx' Ja' Ward. Sculp' A boy employed in burning the weeds — Gargon mettant le feu ati.x
maiivaises lierbes. London Publish'd as the Act Directs March 27 1799, by, Colnaghi, Sala & Co Pall
Mall. Also printed in colour

In Hassells catalogue the retail price (3rd state) is given at 15/-

Bright (cattle) see Nos 69. and 70

Browwer, Adriaen see No 68

Edmund Burke. ... ... ... ... ... ... ... ... ... J. Hickev

H 19| Sub 17f W 13J

Under

From a Bust by I. Hickcy Sculptor to His Royal Highness the Prince of Wales. Engraved by 1. Ward
Painter & Engraver in Mezzotinto to His Royal Highness the Prince of Wales. The Right Hon*".'"
Edmund Burke. From the Bust in the collection at Wentworth Dedicated (with permission) to The
Right Honb.'e Earl Fit'william. Wok sibi sed toto genitum s- credere Mundo. jfuvenal, (Publish'd by
I. Hickey No 128 Oxford Street)

56

LIST OF WORKS ENGRAVED— continued.

Finished Engravers proof

I Title in open letters Omit " From the bust & " to publication line

II As above

III With publication line altered to London Sold by Josh Read, No 133 Pall Mall.

14. Richard Burke ... ... ... ... ... ... ... ... ... Reynolds

H 15 Sub 13 W 10|
Under

Joshua Reynolds Eq (sic) Pinx'. . James Ward Sculp' Painter & Engraver in .Mezzotinto to his Royal
Highness the Prince of Wales. Richard Burke Obiit Aug. 2. 1794. At. (sic) 36

As precious Gums are not for common fire,
They but perfume the Temple and expire ;
So was he soon exhaled and vanish'd hence
A short sweet Odour at a Vast expence.

0 Doler (sic) Atque Decus, London Pub"* March I. 1795 by J Ward No 15 Southampton Row Paddington
Finished Engravers Proof.

1 As described title in open letters.

II Letters closed Doler spelt Dolor.

III Publication line reads Pub. July 5. 1800, by Messrs Wards & Co No 6 Newman Street, London.

On a copy in B M is written by James Ward " Engraved for Edmund Burke, as a private plate, who was so
much pleased with the execution that he gave me the copy right after taking a few impressions."

15. The Rev Johnson Atkinson Busfield D D. ... ... ... ... ... ... J. Ward.

H 19J; Sub 17f : W 14.
Under The Rev'^ Johnson Atkinson Busfield D.D. Painted & Engraved by James Ward, R.A. Painter and

Engraver in Mezzotinto to HRH the Prince Regent. Published Jan 28th 1820 by James Ward No 6

Newman Street, London,
Finished Engravers Proof

I Date &c of Publication line omitted, which reads Published at 6, Newman Street.

II As described

III Letters thickened.

The original picture was commenced Nov 13. 1818 and finished Dec 12 of the same year. The plate was
started two days later. The first trial proof was taken on July 16, 1819, the second on August 4, and
the plate finally completed January 6. 1820. The lettering which was executed by Mr Farrington a plate
writer was not done to Ward's liking and he complains that his name was put in the wrong place.

Cecilia. Mrs Billington as see No. 10

CELEBRATED HORSES

A series of 14 Lithographic Drawings Dedicated by permission to His Most Gracious

Majesty King George IV (lithographs) for states see note to No 29 ... ... ... J. Ward.

16 Nonpariel, The Favourite Charger of His Most Gracious Majesty King George the Fourth. Sub H 13 —

Pub<i Aug Is' 1824. The original picture ex. RA 1826.

17 Adonis, The favourite Charger of his late Most Gracious Majesty King George the Third. His Majesty rode

this horse upon his Birth Day in the year 1799, when he reviewed the whole of the London Volunteers
in Hyde Park. Sub H 13J— W 17i
Pub'' May 1^' 1824. re-issued 1825. The original picture ex BI. 1826

18 Soothsayer, A celebrated Race-Horse, late in the possession of His Majesty King George the Fourth.

Sub H I3|— W 18
Pub" April 20, 1823. The original picture ex RA 1825

19 Monitor, A Blood-Horse of remarkable strength and activity, the Property of His Majesty King George the

Fourth. Sub H 13J W 18
Pubd April 1823. The original picture ex. RA. 1825

20 Copenhagen, The Horse rode by the Duke of Wellington at the Battle of Waterloo, was bred by General

Grosvenor. Copenhagen was by Eclipse from a Mare called Lady Catherine, which Mare was the
Charger of General Grosvenor at the siege of Copenhagen, when in foal of the Colt which afterwards
became the distinguished War-Horse of the illustrious Wellington at the Battle of Waterloo. Sub-13i
W 18
Pub<i- May 1^' 1824. re-issued 1825. The original picture ex RA. 1824

21 Marengo Napoleon Buonaparte's Barb Charger at the Battle of Waterloo. The property of Captain

Howard. Sub H 13J W 17J
Pub'i May 1. 1824. re-issued Aug' 1" 1824 Original picture ex RA 1826

22 A Persian Horse. The Property of his Grace the Duke of Northumberland Sub H 13^ W 17| Pub""

Augs' 1823 Original picture ex RA. 1820

23 A Cossack Horse. The Property of his Grace the Duke of Northumberland Sub H 13J W 17| Pub's

May 1, 1824. Original picture ex RA 1820

24 Primrose and foal. A Brood-Mare, late the Property of his Grace the Duke of Grafton. Sub H 131 W 173

Pub"! April 1823

25 Walton A celebrated Race-Horse, the Property of Sir John Shelley, Bart, MP. Sub H 13J W 17J

Pub-i April 1823. Original picture ex BI. 1818

57

LIST OF WORKS ENGRAVED— continued.

26 Phantom, A celebrated Race-Horse, the Property of Sir John Shelley, Bart. M.P. Sub H 13J W. 17J

Pubd April 1823. The original picture ex RA 1813.

27 Leopold, A celebrated Race-Horse, the Property of John George Lambton, Esq. M.P. Sub H 13J W 17J

Pub^" April 1823. The original picture ex RA 1820

28 Dr Syntax, A celebrated Race-Horse, the Property of Ralph Riddle, Esq Sub H 13J W 18J Pub"* April

1823. The original picture ex RA 1820

29 Little Peggy. A Horse brought from the Thibet Mountains, East Indies, and shown in London as a

curiosity. Height 33 inches. Nine years old. Sub H 13| W 17| Pub^ April 1823
There are so many small variations in the States of the above that it would require too much space to

describe them in seriatim The proofs are on India paper with titles &c in facsimile and the descriptions

omitted, the prints are on plain paper with titles and descriptions printed, the following will serve

as an example
Proof. Under in facsimile

James Ward RA Pinx' et Del' Select Proof touched by J W Adonis London Pub^" May 1. 1824. No 6

Newman Street and R Ackerman Strand.
Print. Under in type

James Ward RA Pinx' et Del' Adonis Printed by C HuUmandel. Then follows description for which

see no 17, followed by London Pub's by R Ackerman Strand. T Clay Ludgate Hill and J Dickenson

New Bond St'. 1825
There are artist's proofs of several of the subjects before any inscription, and the publishers names vary

considerably Ackermans appear on all, but the others are frequently omitted and occasionally are

added in pencil. Other publishers names which appear on some are " Rodwell," and "Martin

Colnaghi and Co."
The lithographs are given in the same order as in the list issued by Ward with the plates ; this arrange-
ment however appears to have been purely arbitary and does not correspond with the order of

publication.
Ward himself published the lithographs at Newman Street, and sold the bulk of the impressions to his own

private clients, the print sellers whose names appear as co-publishers acting merely as agents.
The following were the terms of issue.
Sets of proofs on India Paper selected and retouched by Mr Ward £10-100. (This was adranced first to

£12-12-0 and afterwards to £14-14-0)
Sets of Prints £5/5/-
Single Prints 8/- each, or handcoloured 15/-.

30 Madame Chevalier ... ... ... ... ... ... ... ... — Henard.

H 20 Sub 17| W 16 Sub 14J

Under. Charles Henard delineavit. James Ward sculpsit. Mdme Chevalier in the Character of Virginia
giving water to the Negro. Opera of Paul and Virginia. Mdme Chevalier donnant a boire au Negre dans
le Role de Virginie. Dans I'Opera de Paul and Virginia. London. Published Augt, 1799 and Sold by
the Author No 14 Hanover Street. Hanover Square.

Finished Engraver's Proof.

I As described

31 Children bathing (The Hoppner Children) ... ... ... ... ... ... Hoppner

H21J Sub21i. W18.
Under, Painted by I Hoppner. RA Portrait Painter to His RH. the Prince of Wales. Engraved by James

Ward, Painter and Engraver to His RH the Prince of Wales. Children Bathing. Publif h'd April 1ft

1799 by Ward & Co at Mr Say's No 78. Charlotte Street. Portland Chapel.
Finished Engraver's Proof

I As described inscription in open letters

II Letters filled. Publication altered to. Pub July U, 1800 by Messrs Wards & Co No 6 Newman Street

London. Also printed in colour

32 Christ taken down from the Cross. ... ... ... ... ... ... ... Dietricy

H 28| Sub 23J W 21J
Finished Engraver's Proof.
The original picture belonged to Mr M Bryan. The plate was probably not published.

33 Duke of Clarence (afterwards William IV) ... ... ... ... ... ... Shee

H 25| Sub 24J W 17f

Under

His Royal Highness the Duke of Clarence. Engraved from the Original Picture Painted for the town of
Liverpool by M„ A',, Shee, Esq. RA. & Dedicated to the Mayor Corporation & Merchants of the said
Town By their most Obed' Servant Ja^ Ward. Engraved by Ja' Ward Painter & Engraver to His RH
the Prince of Wales and Published April 2 1801 by Messrs Wards & Co No 6 Newman Street London.

Finished Engraver's Proof.

I As above title in open letters

II do letters closed.

58

LIST OF WORKS EUGRAV ED— continued.

34 The Clean Face Rewarded. (Companion to The Mothers Bribe) see illustration page 28 ... James Ward.

H 18i S 17i W 23J
Under
Painted & Engraved by Ja^ Ward Painter & Engraver to HRH the Prince of Wales. The Clean Face

Rewarded. L'enfant recompense London Published Oct' 10. 1818 by T. Griffiths Printseller 230

Oxford Street.
Finished Engraver's Proof.
I As above

The plate was engraved much earlier than the date given, and probably there may be an earlier state.
The lady seated in a chair is a portrait of Mrs George Morland.
Children with a Donkey by and after James Ward. An engraving in colours under the above title was sold

at Christies Jan 15. 1902. It was probably an impression of Rustic Felecity.

35 William Cleaver (Bishop of Bangor) ... ... ... ... ... ... ... Hoppner

H 191 Sub 18|. W 13|
Under
Del J. Hoppner. RA. Sculpsit J. Ward Viro admodum Reverendo. Gulielmo Cleaver, S. T. P. Episcopo

Bangoriensi, nee non CoUegii Onei Nasi apud Oxonienses Principal!. Ejusdem Collegii Pietas.
Finished Engravers proof

I As above letters filled in

II Onei altered to .^nei, and. Published as the Act directs, added

On a copy in South Kensington Museum are the words " Private Plate" in pencil

36 George Frederick Cooke (in the character of lago) ... ... ... ... ... Green.

H 20 Sub 18J W. 13|
Under, G. F. Cooke, Esq^ in the character of lago. Oh, beware, my Lord of jealousy. Painted by

James Green. Engraved by Jas Ward Painter & Engraver to H.R.H. the Prince of Wales. Published

April 21, 1801, by Messrs Wards & Co. No 6 Newman Street London.
Finished Engraver's Proof

I Inscription in open letters

II Letters closed.

Copenhagen See under Celebrated Horses No 20

37 The Centurion Cornelius (same subject as in Wallis Collection under the title of The

Unmerciful Servant) ... ... ... ... ... ... ... ... Rembrandt.

H 23 Sub 20J W 26 Sub 23J

Under. Painted by Rembrant (sic) Engraved by Ja* Ward Painter and Engraver to his RH Prince of
Wales. The Centurion Cornelius From an Original Picture brought to the Country by M Bryan Esq
London ; Pub"! April 10 1800 by Messrs Wards & Co. No 6 Newman Street, (followed by quotation
from Acts, Chap'^ 10 Verses 7. 8 printed to left and right of title with the word "household"
spelt " houshold."

Finished Engravers Proof

I As described title in open letters

II Letters filled in. Also printed in colours

III Modern As II but printed on modern paper

IV Top arched, inscription removed printed on modern paper.
The Proofs were sold retail at 2/2/- Prints at 10/-

Mrs E M. Ward tells me that James Ward always regarded this as his finest plate. The following extract
occurs in a letter to his son George Raphael Ward " Of all my prints my best works never sold ! of
the Rembrandt. I believe I never sold halt a dozen "

38 Charles Marquis Cornwallis ... ... ... ... ... ... ... ... Beechey.

H 251 Sub 24J W 18J

Under.

Painted by Sir William Beechey RA Engraved by J. Ward Painter & Engraver to HRH the Prince of
Wales. Marquis Cornwallis, Lord Lieutenant and Commander in Chief of His Majesty's Forces in the
Kingdom of Ireland ; Knight of the Most Noble Order of the Garter, Master General of the Ordnance,
&c &c &c. London Published Marcli 10. 1799. by A C. de Poggi, No 91, New Bond Street.

Finished Engraver's Proof.

I Inscription in open letters, omitting description after Engravers name and with date Jan 1. 1799.

II As described.

Cossack Horse see under Celebrated Horses No 23

39 A Cottager Going to Market ... ... ... ... ... .„ ... ... J. Ward.

H 18. Sub 17 W 21J
Under.
Painted & Engraved by Ja^ Ward Painter and Engraver to HRH the Prince of Wales. A Cottager going

to market. Published April 1. 1800 by James Ward & Co No 6 Newman Street London.
As described, title in thick script. Also printed in colours

40 A Cottager Return'd from Market ... ... ... ... ... ... ... J. Ward.

H 18. Sub 17. W. 21S
Under.
Painted and Engraved by James Ward Painter & Engraver to HRH the Prince of Wales. A Cottager

return'd from Market. Published April 1 ; 1800 by James Ward & Co No 6 Newman Street. London.
As described, title in thick script. Also printed in colours.

59

LIST OF WORKS ENGRAVED— continued.

41 The Cottagers ... ... ... ... ... ... ... ... ... ... Morland

H 17| Sub 17| W 21|
Under.

Painted by G Morland Engrav'd by W. Ward. Cottagers. London Publish'd Febr 1791 by T. Simpson
St Pauls Church Yard

I As described, title in open letters

II Letters filled in. Also printed in colours.

My reason for giving the ' ' Cottagers " and " Travellers " to James instead of William Ward are contained
in page xxi of this work, and also in an article printed in "The Connoisseur" for December 1909,
Other plates after Morland, probably almost wholly the work of James Ward though inscribed with
the name of his brother, are "The Kite Entangled" published 1790 and "Children Bird-nesting" and
"Juvenile Navigators " both published 1789.

The Country Butcher's Shop after J Ward is included by Mrs Frankau (No 27 in her list) but was the
work of S. W Reynolds.
42. The Cowhouse (see illustration page II) ... ... ... ... ... ... J.Ward.

Under. Ja^ Ward delt. Jas Ward Sculp' The Cow-House. London Pub^i June 3. 1793 by T Simpson
St Paul's Church Yard

1 Ja! Ward delt et sulpt. Publication line as above. No title.

2 As described. Also printed in colours.
The original picture was ex RA. 1793.

43 The Crossing Sweeper ... ... ... ... ... ... ... ... ... J. Ward

SubH2IfW14f
Only four impressions known all of which are cut close to work. Three belonging respectively to Lord

Cheylesmere, the Hon John Ward and Mr Ernest Leggatt are printed in black and white, and I have

been told of a fourth impression which is printed in colour.
Modern. Under The London Sweeper. London Published I8I0. Also printed in colours.

44 The Dairy Farm ... ... ... ... ... ... ... ... ... J. VVard.

Under.

Painted & Engraved by J. Ward. Pub JanV I, 1801 by R Ackermann, at his Repository of the Arts,

101 Strand. The Dairy-Farm
Finished Engraver's Proof

As above. Letters of title filled in. Also printed in colour
Descent from the Cross See No 32

45 Diana and her Nymphs... ... ... ... ... ... ... ... ... Rubens

H 26| Sub 25| W 21J

Under.

Painted by Sir P. P. Rubens. Engraved by Ja* Ward Painter & Engraver to his RH the Prince of Wales.
Diana and her Nymphs From an Original Picture brought to this Country by M Bryan Esq and now
in his Possession. London Pub April 10. 1800 by James Ward & Co No 6 Newman Street.

Finished Engraver's Proof.

I As described

In Ward's Catalogue of his works exhibited in Newman Street 1822 there is the following note " The first
proof impression of the plate hangs in the passage ; it is very rare the plate having been injured by the
printer" In a letter to his son George, Ward states " My large Rubens also never sold one." The
engraver considered the plate as one of his best works.

Dr Syntax See under " Celebrated Horses " No 28,

46 Dogs of the Dalmatian Breed (lithograph) ... ... ... ... ... ... J. Ward

H. I5i Sub 14} W 20J Sub 20J

Under in facsimile James Ward RA Pinxt et Del. London Pubii May U' 1824 (added in pencil) by " P Clay
Ludgate Hill and Dickinson Bond Street." Dogs of the Dalmatian breed — from an original picture in
the possession of Sir John Fleming Leicester Baronet &c &c. In ink Proof J W.

There is also a second state which I have been unable to verify

Proofs 10/6 Prints 8/-

The stone was lithographed by Ward at de Tabley Park for Sir John Leicester, afterwards Lord de
Tabley, from a picture by Ward which was in his collection. Ward was anxious to get home at the
time and records that he worked at the stone " like a tiger " making such rapid progress with it that
he astonished his host.

Dogs fighting See No 55

Douglas Children See No 84

47 Adam Lord Duncan ... ... ... ... ... ... ... ... ... Hoppner

H 25| Sub 24| W 17?

Under

Painted by I Hoppner RA. Engraved by Jas Ward, Painter & Engraver in Mezzotinto to HRH the P of
Wales. The Right Hon**'" Adam Duncan Viscount Duncan of Camperdown, and Baron Duncan of
Lundie, in the Shire of Forfar; Admiral of the Blue Squadron and Knight of the Russian Imperial
Order of St Alexander Newsky. Pub'' April 16. 1798 by J. & J Boydell at the Shakespeare Gallery,
Pall Mall ; & No 90 Cheapsidc.

Finished Engraver's Proof

I As described, inscription in open letters

II Letters filled in. Also printed in colour.

A copy in the British Museum, 2"'^ state, has on it, in Ward's hand writing "retouched after

200 impressions
The prints are priced in Boydell's Catalogue at £1-1-0 each

6o

LIST OF WORKS ENGRAVED— continuid.

48 The Victory of Lord Duncan ... ... ... ... ... ... ... ... Copley

H 25| Sub 22f W 31| Sub 30J

Under

Painted by J. S. Copley Esq RA. F.A.S Engraved by James Ward Painter & Engraver in Mezzotinto to
HRH the P of Wales. The Victory of Lord Duncan. To the Right Honourable John Spencer, Earl
Spencer, Viscount Althorp, First Commissioner of the Admiralty, Knight of the Most Noble Order of
the Garter LLD &c &c &c. This Work is by his Lordship's permission respectfully Dedicated by his
Lordship's most obliged and most humble Servl J. S. Copley. London Published Aug. 1. 1800 by
J S Copley, George Street Hanover Square

Finished Engravers Proof

I As described, inscription in open letters

II Letters closed

Extract from Agreement for engraving the plate made Sep. 30. 1799 between Copley and Ward. "Mr
Ward is to execute in his best and most finished manner a mezzotinto engraving 30J inches long and
22J inches high exclusive of margin and writing from Mr Copleys picture of the surrender of De Winter
to Lord Duncan on board the Venerable. He is to complete the above engraving in the course
of next April, to finish the copper and ground, and keep the plate in repair free of expense to Mr
Copley, tile {sic) it has produced 400 good impressions. Mr Copley to pay 125 guineas when the first
proof has been taken and a second 125 guineas when the plate is delivered to Mr C completely finished"

Ward received the first payment Jan 29, 1800. The plate was retouched at least once.

Edward Robert See No 62

Emperor See No 3

49 The Hon'^>= Henry Erskine ... ... ... ... ... ... ... ... Raeburn.

H \9l Sub 17J W 13i
Under
Painted by H Raeburn Engraved by James Ward Painter and Mezzotinto Engraver to His Royal Highness

the Prince of Wales The Honourable Henry Erskine (open letter) Published as the Act directs . . .

Laurie Black (Imperfect)
Finished Engravers Proof
I As described.

50 The Escape (lithograph) see illustration page 8 ... ... ... ... ... ... J. Ward.

Sub H 3J W 55 On India paper H8J WIOJ
The subject enclosed in a border of two lines
Under
The Escape. Painted and Drawn on Stone by James Ward. RA. Published by R Ackerman 101, Strand

& J Dickinson 14 New Bond Street. Printed by C Hillmandel (sic)
Finished Engravers Proof

I As described, with addition in pencil " Proof. J.W. RA "

II do without addition.
Prints sold by Ward at 5/- each.

Etchings.

As the bulk of these were issued in serial form, with the individual plates un-named, and many of them are of

little importance, I have judged it best to catalogue them together, giving cross references under their

discriptive titles in the places where the latter wot^ld otherwise have appeared.

SERIES I.

Seven soft ground etchings as below.

51 Title page with vignette of A peasant driving a pig. Wind swept landscape in background ... J. Ward

H llj— W 14 J Work H 44— W 6|
Under. Original Sketches from Nature. Drawn and Engraved by James Ward Painter & Engraver in
Mezzotinto to His Royal Higness the Prince of Wales. London Published JanT 1. 1794 by James
Ward, No 10 Bow Street Covent Garden, and sold by Hookham & Carpenter corner Bruton Street
Bond Street.

I As foregoing

II Publication line altered to Pub. June 17. 1800. by Messrs Wards & Co No 6 Newman Street. London.

52 Heads of two horses, facing right. ... ... ... ... ... ... ... J.Ward

H 114. W 14 J.

I Same as no 51 for Bruton Street Bond Street read Bruton Str' Bond Str'

II Same as No 51 state II.

53 Dead hare and two dead birds with gun ... ... ... ... ... ... ... J. Ward.

H llf W 14J Sub H 9f— 12J
I Same as in no 51 for Bond Street read Bond St"

54 Rabbits

H 12 W 14J Sub H 9J— W 12J

I Same as in no 51

II The plate grounded over and finished in mezzotint, publication line same as in No 61 state II. The

publication line was apparently altered in the etching state of the plate as all the progressive proofs in
mezzotint in the British Museum are dated June 17. 1800

61

LIST OF WORKS ENGRAVED— continued.

55 Dogs Fighting

H 12 W 14J Sub H 10 W 12J

I Same as in no 51

II Same as in no 51 state II.

56 Guinea Pigs

H 111 W 14i Sub H 10 W 12S

I Same as in no 51

II The plate grounded over and finished in mezzotint publication line same as in no 51 state II. see note to no 54

57 Terrier under a tree.

H llf W 14| Sub H lOJ W 13J
I Same as No 51
The following two plates were probably intended to form part of the above work but not issued with it

58 Young man with dead hare on table. Signed T Ward. ... ... ... ... ... J.Ward.

Sub H 9J W 12J
Under in Wards handwriting. " Drawn and Etched in soft ground by James Ward never published "

59 Sow and young pigs ... ... ... ... ... ... ... ... ••. J.Ward.

Sub H 9| W 12i
Under in Ward's handwriting "Drawn and Etched in Soft ground by James Ward. The only one
preserved, the plate being grounded over and finished on Mezzotint.

SERIES II.

Mary Thomas the Welsh fasting woman and Ann Moore the fasting woman of Tutbury a series of 7 etchings
bound with letter press and dedicated to Sir Joseph Banks. As below.

60 Mary Thomas (upright)... ... ... ... ... ... ... ... ... J. Ward.

Sub H 7. W 5.
Under on work J. Ward ARA 1810 Mary Thomas

61 Mary Thomas (oblong)

H 13 W 15
Under on work J Ward ARA 1810. No 2 Mary Thomas

62 Robert Edward ... ... ... ... •. ... ... ••. — J- Ward

H 14. W 14.
Under. J. Ward RA 1811 Robert Edward

63 Mary Thomas's Dwelling place ... ... ... ... ... — ■•• ••• J.Ward

H 11 W 15 Sub H 7J W lOJ
Under. Mary Thomas's Dwelling place J Ward ARA 1810

64 Ellis Thomas J.Ward

H 15 w n
Under. J Ward A.R.A. 1810 No 5 Ellis Thomas.

65 Ann Moor J- Ward

H 12 W. 15
Under J. Ward RA. 1812. Ann Moor

66 Ann Moor (No 2) J.Ward

H 12. W 15
Under Ann Moor J. Ward RA 1812. No 7

The publication line under the above 7 plates numbers 60—66 is identical viz London Pub June 1. 1813 by
J Ward 6 Newman Street.

67 Kingsgate (outline etching) ... ... ... •.• — ••• •■• ••• J.Ward.

^ ^ H 11 Sub lOJ W 22J

Over the Work. View of Kingsgate in the Isle of Thanet.

Under. Painted by George Walker Esq' Etch'd by Ja! Ward. Painter & Engraver in Mezzotinto to His
Royal Highness the Prince of Wales. Publish'd May 1st 1799 by Ja^ Ward. Southampton Row, Lisson
Green.

68 Adriaen Browwer Vandyck.

Oval, head and shoulders.
H 10 W 8J Sub (Oval) H 7J W 6
A private plate etched for Michael Bryan

69 " Bright " Lonshorned Staffordshire Bull the property of Thomas Princep Esq. (facing left) J. Ward

^ ^ H 8 W lOJ Sub H 7| W 10.

Under in Ward's hand writing " For the Board of Agriculture Painted & Etched by James Ward "
Ward also etched two outlines of the same animals on plates divided into squares drawn to scale.

70 Mr Princep's Cow, Bright. Staffordshire Breed (facing right) ... ... ... ... J. Ward

^ H 8. W lOJ Sub H 7| W 10

Ward also etched three outlines of the same animal on plates divided into squares according to scale.

There are also several etchings by Ward of hardly sufficient importance to catalogue viz A Castle entrance
H 24— W 5 etched for the Earl of Carlisle. An Almond Tumbler (pigeon) H 4^— 8| a smaller version of
a bird of the same breed H 3^— W 5 both etched for the Columbarian Society, and a Portrait of " Rees
Daniel of Glastonberry " sic H 8 W 6 with an illustration of some ingenious toys he had made H 8. W 6

62

LIST OF WORKS ENGRAVED— continued.

71 Ewe of the New Leicestershire Stock ... ... ... ... ... ... — J.Ward

H llj Sub lOJ W13J
Under Painted & Engraved by James Ward on a Scale of 2 inches & J to the Foot.

Portrait of a Shorn Ewe of the New Leicestershire Stock. Fed by His Grace the Duke of Bedford & pro-
duced at the Grand Show of Cattle in Smithfield on Saturday 14 Dec' 1799. Published Feb. S'.!" 1800.
by J. Coles N" 87 West Smithfield
Finished Engraver's Proof.

I As described, title in open letters

II Letters filled in

This together with nos 69 and 70 may be looked upon in the light of experimental plates for the series of
engravings, from pictures of live stock by James Ward which Messrs Boydell arranged to publish.
Eventually only a few of the plates were issued most of which were engraved in line by Thomas Tagg.

72 Sir William Fawcett ... ... Reynolds.

H 19J Sub 17J W 14.
Under ,,r.ij

Painted by Sir Joshua Reynolds Engraved by by (sic) James Ward Painter & Engraver to HRH. the
Prince of Wales. The Right Hon^ie General Sir Will"". Fawcett, K.B. One of His Majesty's Most
Hon"* Privy Council ; Colonel of the Third, or Prince of Wales's Reg« of Dragoon Guards ; And
Governor of Chelsea Hospital London ; Pub. Sep. 3. 1801 by Ja! Ward. No. 6. Newman Street.
Finished Engraver's Proof

I As above, open letters

II Letters closed.

Prints sold by Ward at 10/- each.

73 Fern Burners ... J Ward.

H 19. Sub 18 W 23|
Finished Engraver's Proof with inscription in Ward's handwriting stating that it was painted and

engraved by him and that the scene of the subject is in Wales.
The plate was probably never published, and sold with other of James Ward's plates on the death of his son

George Raphael Ward
Modern reprint , ,,. ,

Under. Painted by G. Morland. Engraved by J. R. Smith Mezzotinto Engraver to His Royal Highness the

Prince of Wales. London Published May 1 1799 by I. R Smith. King Street. Covent Garden The

Fern Gatherers.
I As above. Also printed in colours. . ■ . .

This inscription is an obvious forger}-, Morland had nothing to do with the picture, a sketch for which, by

James Ward, is in the collection of the Hon^"<' John Ward. The original picture was bought by Dr

Daw. The officials of the British Museum tell me that on an average, they have two of these spurious

reprints brought to them every week. I trust that this somewhat lengthy explanation will, in future,

serve to spare them some part of the infliction.

74 Fishermen Morland.

H 17| Sub 17J W 21J
Under Painted by G. Morland. Engrav'd by J Ward Painter & Engraver in Mezzitinto (sic) to the Prince

of Wales No 2 Fishermen London Published Nov' 1 1793 by I. R Smith King Street, Covent Garden.
Finished Engraver's Proof a, .

I As described ; title in open letters ; three birds over the rock projecting above the clift near the centre of

the picture

II As I " Mezzotinto " spelt correctly. Also printed in colour.

III Title thickened, "Mezzotinto" spelt correctly, left hand upper bird taken out. Also printed in colour.
Plain impressions are priced in Hassell's catalogue at 15/- each

75. Sir William Forbes Reynolds

in square border H 20 Sub 16| W 14. Within border H 135 W 11 J

Under, in centre arms with motto Ncc Timide Nee Temere Painted by Sir Joshua Reynolds. Engraved by

James Ward Painter & Engraver to HRH the Prince of Wales. Sir William Forbes Bart of Pitsligo,

Edinburgh. Published as the Act directs, 1800
Finished Engraver's Proof

I As described Inscription in open letters

II Letters closed

76 George III ... •■. •■• ••• ... Beechey Hopkins and Ward

H 25f W 22

Under

The King Painted by W Hopkins from the original Picture of the Review by Sir W Beechey and the Horse
Painted from the life by J Ward Painter &c to His Royal Highness the Prince of Wales. Engraved
by J Ward. His M.ijesty George the Third King of the United Kingdom of Great Britain and Ireland
&c &c &c on his favourite charger Adonis. From a Picture in the Possession of the Right Hon"" Lord
Soraerville, To the Queens Most E.scellent Majesty. This Print is by her most gracious permission
dedicated by her grateful and devoted Servant William Hopkins. London Published Feb 1" 1804 by
J Ward and Co No 6 Newman Street

Finished Engravers Proof

I As described

63

LIST OF WORKS ENGRAWED— continued.

II A re-issue. Under.

Painted by Sir William Beechey RA. Engraved by Ja^ Ward Painter and Engraver to HRH the Prince
of Wales, His Most Gracious Majesty George the Third on his favourite Charger Adonis Dedicated to
the Queens most excellent Majesty By Her faithful and devoted Servant, John P Thompson London
R" Published Febv S* 1811 by J. P. Thompson G' Newport Street Prinlseller to His Majesty and the
Duke & Duchess of York.

(The " Re " of the word " Re Published " is printed in very minute letters inside the loop of the capital P)

The inscription is engraved on a seperate plate and I have seen copies, presumably late impressions,
printed without this

A copy in the British Museum has on it in Wards handwriting " His Majesty The Horse painted from
Adonis the Kings Charger by James Ward. The figure copied out of the Review picture by Hopkins —
The whole painted over and finished by M' Ward & now in the Possession of Lord Sonierville The
Plate worn out "

Though the picture from which the plate was taken is described as being the work of Hopkins, it is elsewhere
stated to be painted almost wholly by Ward, and the evidence appears to support the latter contention.
Ward often speaks about it as being his own work, it was submitted by him to King George III, and
the letter instructing him to make arrangements for its return is couched in terms as though he was
the artist. Northcote and S W Reynolds issued a very colourable imitation of it to which Ward
alludes in the following terms " Sam Reynolds employed Northcote to pirate it by taking the portrait
out of mine and made a composition so like mine, and the same size, that I heard that people had
bought his print, and thought that they had bought mine."

77 George III reviewing the Third Regiment of Dragoon Guards and the Tenth Regiment of Light

Dragoons ... ... ... ... ... ... ... ... ... Beechey and Ward

H 22| Sub 21§ W 26
Finished Engraver's Proof

I Under Painted by Sir William Beechey RA Portrait Painter to Her Majesty Engraved by James Ward

Painter and Engraver in Mezzotinto to His Royal Highness the Prince of Wales. Published June 1,
1799 by J Ward & Co No 6 Newman Street, London. On the British Museum copy there is written in
pencil by Ward " No such proof now to be got. This plate retouched by a very bad engraver for the
present possessor"

II Under. Painted by Sir Wm Beechy {sic) RA. Portrait Painter to Her Majesty. Engraved by James

Ward Painter & Engraver in Mezzotinto to His Royal Highness the Prince of Wales. His Majesty
Reviewing The Third or Prince of Wales's Regiment of Dragoon Guards & the Tenth or Prince of
Waless (sic) Regiment of Light Dragoons attended by His Royal Highness the Prince of Wales, His
Royal Highness the Duke of York, Sir W'" Fawcit General and Adjutant General & Knight of the Bath,
Lieut Gen'. Dundas Quar' Master General & Maj^ Gen' Goldsworthy His Majestys (sicj First Equerry
To the Queens {sic) Most Excellent Majesty This Print is (by her most gracious permission) dedicated
by her most grateful & devoted Servant J Ward Published June 1 1799 by J Ward & Co No 6. Newman
Street. London. Also printed in colours.
HI Same as above, reading Beechey for Beechy. HRH for the first "His Royal Highness" apostrophes
inserted in Waless Majestys and Queens, and publication altered to Pub April 10. 1800 by Messrs Wards
& Co 6 Newman Street London.

78 George III &o (2°'' plate) ... ... ... ... ... ... ... Beechey and Ward

H 225 Sub 21|— W 25|

Under

Painted by Sir William Beechy R.A. Portrait Painter to Her Majesty. Engraved by Jas Ward Painter
& Engraver in Mezzotinto to His RH the Prince of Wales. His Majesty Reviewing the Third or
Prince of Wales's Regiment of Dragoon Guards & the Tenth or Prince of Wales Regiment of Light
Dragoons attended by His Royal Highness the Prince of Wales, His Royal Highness the Duke of York,
Sir W? Fawcit General & Adjutant General Knight of the Bath, Lieu' Gen'. Dundas, Quarter Master
Gen' & Major Gen' Goldsworthy, His Majesty's First Equerry. 'To the Queen's most Excellent Majesty
this Print is by her most gracious permission dedicated by her most gracious and devoted servant
J. Ward. Pub April 10. 1800 by Messrs Wards & Co 6 Newman Street, London. Also printed in colours

The subject commanded a very large sale, which is probably the reason why a second plate was needed

Guinea Pigs See No 56.

Hare. Dead See No 53

79 Lady Heathcote as Hebe. (See illustration page 34) ... ... ... ... ... Hoppner.

H 25J Sub 25— W IBf
Under Painted by J Hoppner Esq' RA. Engraved by J Ward Painter & Engraver to HRH the Prince of

Wales. Lady Heathcote Pub"! Janv 2"'^ 1804 by J Ward No 6 Newman Street.
Finished Engraver's Proof

I As described title in open letters

II do letters filled in. Also printed in colour.

After this engraving was finished Hoppner considerably strengthened the picture to make it correspond

with the plate.
Hebe see No 79.

80 William Heberdeen ... ... ... ... ... ... ... ... ... Beechey

H 14f Sub 13— W lOJ Sub 10|
Finished Engraver's Proof
Under. William Heberdeen, MD. age 86. Painted by Sir W" Beechy RA.— and Engraved by Ja! Ward

Painter & Engraver to H.RH. the Prince of Wales.
A copy in the British Museum has on it in Ward's handwriting " Private Plate, engraved for the son "

64

LIST OF WORKS ENGRAVED— continued.

81 George Hibbert ... ... ... ... ... ... ... ... ... Hoppnbr

H 15J Sub 13| W lOJ
Under

Finished Engraver's Proof

Painted by Jn" Hoppner Esq^ RA. Engraved by Ja? Ward Painter & Engraver to HRH the Prince of Wales.
Finished Engraver's Proof.
I As above
On proof in B M in Wards handwriting Private Plate

82 Mrs Hibbert (see illustration page 16) ... ... ... ... ... ... ... Hoppner

H 15i Sub 14J— W 11
Under.

Painted by J Hoppner Esq' RA. Engraved by J Ward Painter & Engraver to HRH the Prince of Wales
Finished Engraver's Proof
I As above
On a copy in British .Museum there is the note in Wards handwriting "bad ground, soft copper." Private

Plate
Hoppner Children see No 31
Horses Celebrated see Nos 16 to 29
Horses Heads see No 52

83 George Isaac Huntingford. (Bishop of Gloucester) ... ... ... ... ... Lawrence

H 20 Sub 18J W 13J
Under. Painted by T. Lawrence Esq' RA Principal Painter in Ordinary to His Majesty. Engraved by

James Ward Painter and Engraver to His Royal Highness the Prince of Wales. The Right Rev?

George Isaac Huntingford D.D. Lord Bishop of Gloucester and Warden of Winchester College. To the

gentlemen of Winchester College ; This Print is by permission dedicated by their respectful & obeJ'

Servt Rob' Cribb, London Published I" Aug« 1807 by R Cribb 288 Holborn.
Finished Engraver's Proof
I As described,
lago see No 36

84 Juvenile Retirement (Douglas Children or Repose) see illustration page 24 ... ... Hoppner

H 21J Sub 21 W 17J

Under Painted by I. Hoppner. RA. Painter to His Royal Highness the Prince of Wales. Engrav'd by
Ja'Ward. Painter & Engraver in Mezzotinto to His Royal Highness the Prince of Wales. Juvenile
Retirement. Pub<i March. 1 1799 by. I. Ward near the Turnpike Paddington.

Finished Engraver's Proof before any inscription

I In scratch letters Painted by I Hoppner Portrait Painter to the Prince of Wales Engraved by Jas Ward

Painter & Engraver in Mezzotinto to His Royal Highness the Prince of Wales Repose Pub'' March 1,
1796. by J. Ward near the Turnpike Paddington. This state is extremely rare

II As described

III Publication line altered to Pub July 11, 1800 by Messrs Wards and Co No 6 Newman Street London.
Also printed in colour.

Kingsgate see No 67

85 Sir Robert Laurie ... ... ... ... ... ... ... ... ... Owbn

H 14| Sub 13J W lOJ

Under

Painted by W'" Owen Engraved by Ja' Ward Painter & Engraver to HRH to {sic) Prince of Wales.
Lieu' Gen' Sir Robert Laurie, Bar' Member of Parliament for Dumfrieshirc, Knight Marshal of
Scotland, And Col' of the S"} or Kings Royal Irish Regiment of Light Dragoons,

Finished Engraver's Proof.

I As above letters filled in.

Leicestershire. Sun Set a View in see No 12.

Leopold see under " Celebrated Horses" No 27.

86 Lion and Tiger Fighting ... ... ... ... ... ... ... ... J Ward.

H 19 Sub 18 W 23| (companion to No 108)
Under
A Lion and Tiger Fighting Painted & Engraved by James Ward Painter and Engraver in Mezzotinto to His

Royal Highness the Prince of Wales. London Published June 1*' 1799 by James Ward & Co No 6

Newman Street.
Finished Engraver's Proof.
I As above title in open letters
The original picture exhibited R A 1798
Little Peggy see under "Celebrated Horses" No. 29
London Sweeper see No 43.

87 Livery Stable (see illustration page xxiv.) ... ... ... ... ... ... J Ward.

Under Ja' Ward del et sculp London, Pub. Janv 1. 1796. by T Simpson, St. Paul's Churchyard, and

Darling & Thompson, Gt Newport Street. The Livery Stable
Finished Engraver's Proof
As above. Also printed in colour.

65

LIST OF WORKS ENGRAVED— continued.

87 Louis XVIII ... ... ...

Under Engraved by James Ward Painter and Engraver in Mezzotinto to His Royal Highness tlie Prince
of Wales Louis XVIII Roi de France. London Pub? SepV 20. 1795 by James Ward No 13 Southampton
Row Paddington

Finished Engraver's Proof

I As above title in open letters

II Letters filled in

Chaloner Smith and M'^ Frankau both give the date of publication as being 1796. the rest of the inscription

being identical
Marengo, see under Celebrated Horses No 21
iWilking Cows see No 44
Maria see No 4.

88 William Markham (Archbishop of York)... ... ... ... ... ... ... Romney

H 19| Sub 16|— W 15 Sub 13
Under Painted by George Romney Engraved by James Ward. William Markham Archbii-hop of Y( rk
Pub? May 1. 1800 by J & J Boydell, No 90 Cheapside ; & at the Shakspeare Gallery, Pall Mall, London.
Finished Engraver's Proof
I As above

The Price of impressions is given in Boydell's catalogue as 10/6 each.
Miranda see No 5.
Miranda Mrs Taylor as see No 106

89 The Misers ... ... ... ... ... ... ... ... ... ... Matsys

H 17 Sub 16 W 13J
Finished Engraver's Proof.
In the British Museum there is an impression on which Ward has written " The Misers. 5 finished.

Engraved from a Copy by Hopkins after the original picture by Quintin Matses — by James Ward"
Monitor see under Celebrated Horses No 19.
Moore Ann see Nos 65 and 66.
Morland Mrs George see Nos 34. and 91.

90 Moses (a race horse) lithograph ... ... ... ... ... ••. ... J- Ward.

Sub H 13 W 18
Published October 1825 proofs 12/- prints 8/-

The original picture was painted for the Duke of York, the owner of the horse, and ex RA 1825
Nonpariel See under Celebrated Horses No 16
Peasant driving a pig see No 51

Persian Horse See under Celebrated Horses No 22.
Phantom do No 26

91 The Mothers Bribe (See illustration page 26) ... ... ... ... ... ... J Ward

H 1S| Sub 17|— 23f

Under

Painted & Engraved by Ja^ Ward Painter and Engraver to HRH the Prince of Wales. The Mother's
Bribe. L'enfant Temple London Published Oct' 10. 1818 by T. Griffiths Printseller 230 Oxford Street.

Finished Engravers Proof

As above title filled in.

In the British Museum there is a copy on which Ward has written the title in pencil as "The Temptation
to be washed." The plate was commenced by William Say the pupil of James Ward and carried by
him to a fairly advanced state. The lady represented is Mrs George Morland.

The original picture was exhibited B I 1808.

92 A Poultry Market ... ... ... ... ... ... ... ... ... J Ward.

H 19J Sub 18i W 24
Under. Painted and Engraved by Ja^ Ward Painter & Engraver to HRH the Prince of Wales A Poultry

Market. London Pub. May 1. 1803. by Messrs Ward & Co No 6 Newman Street.
Finished Engraver's Proof.

I As described in open letters

II Title filled in. Also in colour.

In the British Museum are several progressive proofs, from the two earliest of which the two ducks
hanging up in the booth in the booth on the extreme right are omitted. These however appear in the
more advanced copies, and in all the impressions from the completed plate.

Primrose and foal See under Celebrated Horses No 24

93 Princess Royal (A racing mare) lithograph ... ... ... ... ... ... J Ward

Published on or before 1824 proofs 12/- prints 8/- first entry in Ward's day book Nov 8. 1824

The original picture was ex R A. 1824
Prize Ewe see No 71

94 The Red breast (companion to The Mouses' Petition by W Ward) ... ... ... ... Thomson

H 19 Sub 18 W 23i
Under. Painted by H Thomson. Engraved by J Ward Painter & Engraver to H R H the Prince of Wales.
The Red Breast.

Le Rouge Gorge

Eyes all the smiling Family askance

And pecks, and starts, and wonders where he is. — Thompson's Seasons

66

LIST OF WORKS ENGRAVED— <;on;(»!(«<i.

London Published May 12. 1805 by Messrs Wards & Co No. 6 Newman Street.

Finished Engravers Proof

I As above. Also printed in colour

Repose see No 84

95 The Retriever (lithograph) ... ... ... ... ... ... ... ... J. Ward

H 8J Sub 3J W 10 Sub 5J
Under
The Retriever, Painted and Drawn on Stone by James Ward RA. Published by R Ackerman 101

Strand & J. Dickinson 114 New Bond Street. Printed by C Hullmandel
As above with border of two lines, printed on India paper
Proofs published at 5/-
The original picture was painted in 1826.

96 John Revoult ... ... ... ... ... ... ... ... ... ... Beechev.

H 15. Sub 13J W lOJ

Artist's Proof.

Under Engraved by James Ward. John Revoult. A.M. Master of the Walworth Academy. From an
Original Painting by Sir Will"' Becchey R A. presented to Mr Revoult by the Gentlemen who had been
educated under him as a token of their high respect and affectionate regard towards him.

Finished Engraver's Proof

I As above Title in filled letters.

On Lord Cheylesmore's copy in the British Museum the date 1798 has been written in immediately following
the inscription.

The Robin see No 94

97 The Rocking Horse (see illustration page xlviii) ... ... ... ... ... J. Ward

H 18 Sub 17r\ W21J
Under
J. Ward pinx>. London Pub-^ Feb 8. 1793 by T Simpson S' Pauls Church Yard. J. Ward Sculp'. The

Rocking Horse.
Finished Engravers Proof

I Title in open letters

II Letters filled in. Also printed in colours
The original picture ex RA 1792

Included with the British Museum collection is a slip of paper with the following in James Ward's hand
writing

" Rustic Felicity and the Rocking Horse. The first pair of plates I engraved after leaving my apprentice-
ship with my brother. The first pair of subjects I painted for the purpose of engraving, and as nearly
as I can recollect the sixth attempt at painting in which I made my first effort about six months before
I left him."

98 Rustic Felicity (see illustration page 19) ... ... ... ... ... ... ... J Ward

H 18--Sub 17* W 21J
Under
J Ward pixit et Sculpt London Pub'' April 25. 1792 by T Simpson St Paul's Church Yard. Rustic Felicity

I As above in open letters

II do letters filled in.

St Clair Miss see Tlie Alpine Traveller.

99 The Schoolmistress ... ... ... ... ... ... ... ... ... Wm Owen

H 23|— Sub 22J W 19
Under
Painted by W Owen Engraved by J Ward. Painter & Engraver to HRH the Prince of Wales.

The Schoolmistress La Maitresse d' Ecole

In every village mark'd with little spire
Embovvr'd in trees, and hardly known to fame.
There dwells, in lowly shades and mean attire
A matron old, whom we schoolmistress name.
Who boasts unruly brats with birch to tame

Vide Shenstone

Pres d I'bumble clocher de maint obscur village
Que les arbres voisins cachent sous leur ombrage
Vit dans un r^duit sombre, en niodestes atours
La Dame qui regit I'^cole en ses vieus jours
Et, du bouleau funeste armanl son bias dc'-bile
Gourmande gravement le marnaot indocile

London Pub<i April 2"^ 1804 by Mess's Wards and Co No 6 Newman Street.

Finished Engraver's Proof

I As above

Shelburne Lord see No 6.

100 A Shepherd Boy (lithograph) .,, ... ... ... ... ... ... ... J Ward

Sub H 94— W 111
Under
James Ward RA Pinx' et Del'- A Shepherd Boy. Printed by P Simonau London Published May 1=' 1824

No 6 Newman St & R Ackerman Strand.
The published price of the prints was 4/- each.

67

LIST OF WORKS ENGRAVED— continued.

101 A Shepherd's Dog (lithograph) ... ... ... ... ... ... ... ... J Ward.

Under in Pencil James Ward RA Pinx' et Del'- London Pub'* May 1*' 1824 N {sic) 6 Newman Street and

R Ackerman Strand A Shepherd's Dog.
Published at 3/- plain. Some of the impressions were hand coloured.
The original water-colour drawing from which the lithograph was taken is in the collection of the Hon"''

John Ward.

102 Smugglers, ... ... ... ... ... ... ... ... ... ... Morland.

Under.

Painted by G Morland Engravd {sic) by J Ward London Published Nov' 1. 1793 by I R Smith King Street,
Covent Garden No 2 Smugglers

I As above title in open letters

II Letters filled in. Also printed in colours

In Hassell's catalogue Impressions were priced at 15/- each.

103 John Lord Somerville ... ... ... ... ••• ... ... ... ... Woooforde

H 25| Sub24| W 17J

Under Painted by S Woodforde London Pub March 15, 1800, by A C Poggi, 91 New Bond Street.
Engraved by James Ward Painter & Engraver to HRH the Prince of \Valcs The Rt Hon"" John
Lord Somerville One of the Sixteen Peers for Scotland, President of the Board of Agriculture and
Colonel of the West Somerset Yeomandry

Finished Engravers Proof

1 As above letters of the title filled in

A copy in this state at the British Museum bears on it in Wards writing " retouched after 200 Impressions "

Soothsayer see under " Celebrated Horses " No 18

Sow with Young pigs See No 59.

104 The Spottiswoode Ox ... ... ... ... ... ... ... ... ... A Nasmith

H 19 Sub 17| W 23§
Finished Engravers Proof.
On a copy in the British Museum. Ward has written " Private Plate"

105 Studies from Nature ... ... ... ... ... ... ... ... ... J. Ward.

H 145 Sub 131 W 19J
Under
Studies from Nature. Painted. Engraved, and Published, Jan 1" 1807, by James Ward, Painter& Engraver

to HRH the Prince of Wales, No 6 Newman Street London.
Finished Engraver's Proof

I As above title in open letters

II do letters filled in
The original ex B I. 1808

Sunset, a view in Leicestershire see No 12

106 Mrs Michael Angelo Taylor (Miss Frances Vane) as Miranda (see illustration page 3) ... Hoppner

Work H 25 J W 17|

The account of this plate will be found on page XXVI, It is one of the scarcest of all Ward 'sengravings,
there being probably less than a score of copies in existence. Of these, one belonging to Mr Fritz
Reiss is a finished engraver's proof before any inscription and I have been told of another in a slightly
earlier state, enriched with a few touchings by Ward. All the other copies I have seen are cut
close to the margin, the one in the British Museum showing remnants of an inscription, in very rough
scratch lettering, part of which has been deciphered by Mr Alfred Whitman as reading " Engraved
by James Ward "

Finished Engravers Proof

As described I have heard of one copy, printed in colours

Temptation to be washed. See No 91

Thomas. Ellis see No 64

Thomas. Mary see No 60. 61 and 63

107 Henry Thornton ... ... ... ... ... ... ... ... ... Hoppner.

H 191 Sub 17|-W 14
Under, Painted by J Hoppner R.A. Engraved by J Ward Painter & Engraver to HRH the Prince of Wales.

Henry Thornton Esq^ Elected the 7th July 1802 a fifth time Representative in Parliament for the

Borough of Southwark. Engraved at the request of the Electors
Finished Engraver's Proof
As described

108 A Tiger disturbed while devouring his Prey ... ... ... ... ... ... J Ward.

H 18 Sub 19 W 235 (companion to No 86)

Under.

Painted & Engraved by James Ward. Painter & Engraver in Mezzotinto to His Royal Highness the
Prince of Wales, A Tiger disturbed while devouring his Prey. London Publi&h'd June 1" 1799 by
James Ward & Co. No 6 Newman Street.

Finished Engraver's Proof

I As described title in open letters.

Probably engraved from the picture "Tiger snarling over his prey "ex R A 1793. The plate was com-
menced that year, but docs not appear to have been completed until 1799 when it was brought out as
a companion to the Lion and Tiger fighting No 86.

68

LIST OF WORKS ENGRAVED— co«/)«Mfrf.

109 The Travellers... ... ... ... ... ... ... ... ... ... Morland

H 17J Sub 17|. W21|
Under

Painted by G. Norland. Engrav'd by W. Ward. Travellers. London Publish'd Feb? 1791 by T. Simpson
St Pauls Church Yard.

I As above title in open letters

II Letters filled in. Also printed in colour.

For reasons for attributing this plate to James Ward see No 41

Unmerciful Servant See No 37.

Vane Miss Frances See No 106

Victory of Lord Duncan See No 48

Wall, Charles See No 7

Walton See under Celebrated Horses No 25

110 James Ward RA. (see illustration page 1) ... ... ... ... ... John Jackson

H 15 W Wi Sub H 10 W8.
In frame consisting of four lines immediately around the work, and tv?o outer lines just within the
plate mark.

1 Hair rough with lock showing prominently in the centre of forehead, only three buttons on coat

A copy in this state beloDging to Mrs E M Ward has written on it in pencil by James Ward. London
Published by T MacDonald 7 Tavistock Street. Covent Garden. June 1835

2 Forehead and upper portion of face lightened, lock of hair on forehead only faintly suggested 6ve buttons

showing on coat. A double row of dots inserted between the second and fourth line of inner frame
and a row of dots in outer lines.
Mrs E M Ward and Mr J Phipps Jaokson grandchildren of James Ward have kindly identified the portrait
and given me the name of the artist. It was probably never issued

The Duke of Wellington (lithograph) ... ... ... ... ... ... ... J.Ward

H lOJ Sub 61 W 8J Sub 5J
Oval medalion in square composed of two inner lines close to work and one outer line
Written on it in pencil by James Ward ; Drawn by James Ward RA and a second copy has the addition

stone destroyed.
William IV See No 33

112 Basil Woodd ... ... ... ... ... ... ... ... ... ... J Ward.

H 20 Sub 18 W 13f

Under. Painted & Engrav'd by Ja? Ward, Painter & Engraver to HRH the Prince of Wales. Published
Janv 4. 1800 by James Ward & Co No 6 Newman Street. London. Rev Basil Woodd, MA. Minister of
Bentinck Chapel Lecturer of St Peters Cornhill and Chaplain to the R' Hon''.''' the Earl of Leicester.

Finished Engraver's Proof

I As described with Proof underneath to right

II do Proof omitted

113 Joseph Wright ... ... ... ... ... ... ... ... ... Wright

In oval in square frame H 15 Sub 13|— W lOJ Within frame H llj W 9
Under.
Engraved by Ja^ Ward Painter & Engraver to HRH the Prince of Wales Joseph Wright Esq'^ From a

Picture painted by himself in the possession of James Cade Esq' London Published by Mess" Calnaghi

(sic) & Co Cockspur Street Charing Cross Feby 1. 1807.
Finished engravers proof

I As above, title in open letters, date omitted

II With date

III Letters filled in.

114 Henry Redhead Yorke ... ... ... ... ... ... ... ... ... ... Hay.

H 11 J Sub9| W8| Sub8|
On bottom of v?ork Henry Yorke Esq Born March 7 1772.

Under. Painted by W Hay Engrav^ by J Ward, Engraver in Mezzotinto to the Prince of Wales.
Henry Yorke Esq^

Of High Determin'd Spirit-
By Ancient Learning to th' enlightened Love
Of Ancient Freedom warm'd

London Pub? July 21" 1796 by W Hay No 68 Margaret S'. Cavendish Square (name of painter and

engraver and publication line in rough scratch letters)
Finished Engravers Proof

I Before title and poetry

II As described

III (Name of painter and engraver and publication line in small script) for " Engrav'd " read " Engraved " ;
and for " Pub''," " Published "

Young man with hare see No 58

69

III.— A List of Engravings and Lithographs made from
Works by James Ward

Name of Subject.

1 Almond Tumbler

2 do

(belonging to R Latham)

3 do

4 Bird Keeper's Repast

Size of Subject.

The height in all

cases is given

first.

4 — 5| ...

4 - 5J ...

4i- 8^ ...
221—19 ...

Style

line
line

By whom engraved. Date.

H R Cook
W Raddon

James Ward...

1807

1825

etching

mezzotint.. James Ward.,

Sporting Mag
Sporting Mag

Unpublished?

Cattle Subjects.

5

Mr Arbuthnota Emperor ...

5|-8i

.. Htho

... J. Ward

1822

Private plate

6

do Maria

5J-8i

litho

... J, Ward

1822

do

7

do Miranda ...

5J-8J

litho

... J. Ward

1822

do

7a

Bright, a Staffordshire Bull

7|— 10

etching

... J.Ward

—

—

7b

Bright, a Staffordshire Cow

7f— 10

etching

... J. Ward

—

—

8

BuUocU

14 — lOJ

line

... T. Tagg

1807

Boydell and Co

9

Devon Bull

14 — lOJ

line

... T. Tagg

1807

do

10

Lean Devon Bull

14 — lOJ

line

... T. Tagg

1807

do

11

Devon Cow

14 — lOJ

line

... T.Tagg

1807

do

12

French Bull ...

14 — lOJ

.. line

... T. Tagg

1807

do

13

French Cow

14 — lOJ

line

... T.Tagg

1807

do

14

Longhorn bullock

14 — lOJ

line

... Thomas Tagg

—

do

IS

Shorthorn bull

14 — lOJ

line

... Thomas Tagg

-

do

16

Chere watching at Ellens

Tomb

4J- 3f

line

... James Scott...

1823

Illustration to the
"Social Day" by
Peter Coxe

17

Citizen's Retreat

17J-23J

mezzo

... Wm Ward ...

1796

W. Ward

18

Clean face rewarded

17|— 23f

mezzo

... James Ward,..

1818

T. Griffiths

19

Compassionate Children ...

17 J- 23 J

mezzo

... Wm Ward ...

1793

W. Ward

On the f^rst published state of the ab

ove the title is

given as " The Pound " in

open letters

20

Cottager going to market

17 -21J

mezzo

... James Ward...

1800

J Ward and Co

21

do return'd from

market

17 — 21i

mezzo

... James Ward...

1800

J Ward and Co

22

Cottager's favourite

17Jx22

mezzo

... S.W.Reynolds

1799

Morgan & Co

23

Council of Horses

6I-9J

line

... T A Prior ...

1852

Art Journal

24

Country butcher's shop ...

181—22

mezzo

... S.W.Reynolds

1798

Jeffryes & Co

24a

Coursing in Sussex

14 x20

mezzo

... J. B. Pratt ...

1907

ThosAgnew and Son

25

Cowhouse

19 —23}

mezzo

... James Ward...

1793

T Simpson

26

Crossing Sweeper

21|— 14|

mezzo

... James Ward...

?

—

27

Cunning Gipsy

17i— 21f

mezzo

... William Annis

1802

S Morgan

27a

Dairy Farm

18 —23 J

mezzo

... James Ward...

1801

R Ackermann

28

Death of the Wolf

17J— 21|

mezzo

... William Annis

1802

S Morgan

29

Descent of the Swan

5 — 3J

line

... James Scott...

1823

To illustrate "Social
day" by Peter Coxe

30

De Tabley Park

6|-9?

line

... T A Prior ...

1851

Art Journal

31

Disobedience detected

17|— 23|

mezzo

... W Barnard ...

1799

W Barnard

32

do in danger ...

18J— 23|

mezzo

... W Barnard ...

1799

W Barnard

Doos

33 Bloodhound (belonging to

S Hanbury) 4f— 5f

34 Disputing the Prize (two

puppies quarelling over

sheeps head) 4J — 5|

35 Dog's Head 4J— 3|

line
line

... H R Cook

1814 Sporting Mag

... J Scott Jun,... 1824
... John Webb ... 1824

70

LIST OF ENGRAVINGS AND LITHOGRAPHS— continued.

Name of Subject.

36 Dogs of the Dalmatian

Breed

37 Fubbs (rough haired

terrier)

38 Jerry

39 Persian Greyhound

40 The Pointer

41 Pointer Bitch and Puppies

42 Retriever

43 Rover Spaniel property of

Earl of Powis

44 Shepherd Dog

45 do

46 Terrier (belonging to Chas

Sturt)

47 Viper

48 Vixen

49 Escape The

50 Evening of Life (Horse and

Donkey)

51 Ewe of the New Leicester

Stock

52 Farrier's Shop

53 Fern burners.

54 Game Cock

55 Gleaners returned ...

56 Guinea pigs ...

57 Happy cottagers

58 Happy father

59 Haymakers

The height in al

cases is given

first.

14}-20i

4J-5i
41- 3J
4 — 5i
18 xl6
12 —15
3J-5J

6 — 7|

31- 5J

4J-5I

3J-5f
4§-5|

3J-5I

3|— 5i

10J-13J
18J-24
18 — 23f

4 - 5J
19^24 J

9I-12J

17 — 2If
17J— 21f

18 —233

By whom engraved. Date

litho

line

line

line

line

mezzo

litho

line
line
litho

line
line
line

litho

line

mezzo

mezzo

mezzo

line

mezzo

mezzo

mezzo

mezzo

mezzo

J Ward

H. R Cook ...

W. Raddon ...

H R Cook ...

John Scott ...
S.W.Reynolds
J. Ward

1824

1807
1824
1807
1829
1799

Publisher

P. Clay &c

Sporting Ha

Sporting Mag

Moon Boyesand Graves

S Morgan

R. Ackermann

W. D. Taylor — —

H.R.Cook ... 1808 Sporting Mag
James Ward... 1824 James Ward

Cooke...

H. R. Cook .,

J. Scott

J Ward

J. W. Cook ..

J Ward
Wm Say
James Ward.

H R Cook .

Wm Ward .
J. Ward

Wm Ward .,

Wm Ward .

Wm Ward .,

1821
1808
1818

Sporting Mag
Sporting Mag
Sporting Mag

— R Ackermann

1838 New Spting Mag

1800
1836

1810
1801
1800
1808
1808
1793

J. Coles
Wm Say
Unpublished
Sporting Mag.
Wards & Co
James Ward
Jas Deeley
Jas Deeley
W. Ward

Horses.

60

Adonis

13J— 17| ..

litho

.. J. Ward

1824

R Ackermann

61

Cart - horses (Woodland

background)

5J-3I ..

etching .

.. HRCook ...

1809

Sporting Mag.

62

Copenhagen

13J— 18 ..

litho

.. J. Ward

1825

R Ackermann

63

Cossack Horse

13^17J ..

. litho

.. J.Ward

1824

R Ackermann

64

Dr Syntax

13J— 181 ..

litho

.. J. Ward

1823

R Ackermann

65

Horses Fighting

3i-5S ..

. line

.. H R Cook ...

1808

Sporting Mag

66

Leopold

13^17J ..

litho

.. J. Ward

1823

R Ackermann

67

Little Peggy

13J-17J ..

litho

.. J. Ward.

1823

R Ackermann

68

Marengo

13^17J ..

litho

.. J Ward

1824

R Ackermann

69

Monitor ...

131—18 ..

. litho

.. J. Ward

1823

R Ackermann

70

Moses about

13 —18 ..

litho

.. J. Ward

1826

J

71

Nonpariel

13 —18

litho

.. J. Ward.

1824

R Ackermann

72

Persian horse

131— 17J •■

litho

.. J. Ward

1823

R Ackermann

73

Phantom

131-175 ..

litho

.. J Ward

1823

R Ackermann

74

Primrose and foal

131—171 ..

. litho

.. J Ward

1823

R Ackermann

75

do

4 — 5| ..,

line

.. H R. Cook. ...

1810

Sporting Mag.

76

Princess Royal ... about

13 —18 ..

litho

.. J Ward

1824

?

77

Soothsayer

131—18 ..

litho

.. J. Ward.

1S23

R Ackermann

78

Walton

131-17? ..

litho

.. J. Ward.

1823

R Ackermann

79

do

4J-5J ..

line

.. J. Scott.

1814

Sporting Mag.

80

Welch Poney. An old

3f- 6 ..,

etching .

.. H. R. Cook ...

1807

Sporting Mag.

81

Idle boys

17i-22 ..

mezzo

.. John Murphy

1797

John Murphy

82

do

2J- 81 ..

line

.. R Cooper

1826

—

71

LIST OF ENGRAVINGS AND LITHOGRAPHS— coii^/hh^^

Name of Subject.

Size of Subject.

The height in all

cases is given

first.

17J-23i ...

Style.

By whom engraved. Date.

Wm Ward.

1801 Wards & Co

Industrious Cottagers
Lambton. Ralph John. Esq.

his horse Undertaker and

hounds 29|xl9,^ ... mezzo ... Chas Turner.,

Extract from letter of Ward " I was forced to give up (this plate) to my brother because I could get no

assistance to- engrave it). Chas Turner got it out of my brother's hands by a fraudulent movement. (It

proved) to him a most profitable concern."

1821 C. Turner

Liboya seizing a Tyger {sic) 4 — 5|

Lion and tiger fighting ... 18 — 23|

do ... 4 — 6

Livery Stable 19J— 23J

Mothers Bribe or Temp-
tation to be washed

Mouses Petition

do

line
tnezzo
line
mezzo

H RCooU ...
James Ward...
H R Cook ...
James Ward...

1809
1799
1807
1796

Sporting Mag
J Ward & Co
Sporting Mag
T. Simpson

17|— 23|
17|— 23|
3-4i

mezzo ... James Ward... 1818 T Griffiths
mezzo ... Wm Ward ... 1805 Wards & Co
line ... F. Romney ... — —

Nursery Maid mezzo mentioned by Chaloner Smith as being engraved by William Ward.
Outside a country alehouse 18 — 23| ... mezzo ... Wm Ward ... 1797 W Ward
Peasant's Sunday dinner... 18| — 22 .„ mezzo ... S.W.Reynolds 1798 Jeffryes & Co

Portraits

95

Busfield, Revd. J. A.

17f— 14 ...

mezzo

James Ward...

1820

J. Ward.

96

George III

25 J— 22 ...

mezzo

do

1804

J Ward & Co

97

King R. Esq. Aged 81

12 -9J ...

mezzo

Henry Meyer

—

Private Plate

98

Wellington Duke of

68- 5i ...

litho

James Ward abt.lS19

J.Ward.

99

Woodd Basil

18 — 13f ...

mezzo

do

1800

J.Ward.

100

Poultry market

Pound The see Compas-
sionate Children

18J— 24 ...

mezzo

J Ward

1803

Wards & Co

101

Rabbits

101—13 ...

mezzo

J. Ward

1800

J. Ward

102

Regents Park

6J-10 ...

etching ...

C. O. Murray

—

—

103

do

10J-15i ...

mezzo

J. Shrimpshire

1904

Macmillan & Ci

104

Reaping

17|— 23J ...

mezzo

Wm Ward ...

—

—

105

Recruit

18J-23J ...

mezzo

J.RSmith Jun.

1803

H Macklin

106

Rocking horse

171-211 ...

mezzo

J. Ward

1793

T. Simpson

106a

Rustic Conversation

17|— 23f ...

mezzo

S.W. Reynolds

1794

T. Philipe

107

Rustic felicity

17J-21 ...

mezzo

J.Ward

1792

T. Simpson

108

Selling Rabbits

171-231 ...

mezzo

Wm Ward. ...

1796

W. Ward

109

Shepherd boy

9i-lli ...

lithograph

James Ward...

1824

R Ackermann

no

Sketches Original, from
Nature, a series of 6

etchings

—

etching ...

1. Whessell ...

1793

T Simpson

111

A Spaniel Begging

—

mezzo

Joseph Epene-
tus Coombes

1832

Colnaghi & Co

112

Stray'd Child

181— 23J ...

mezzo

B Pym.

1799

S. Morgan

113

Stray'd child restored

19 —231 -

mezzo

B Pym

1799

S. Morgan

114

Studies from Nature

13|-19i ...

mezzo

James Ward...

1807

J. Ward

115

Summer

9i-7J ...

mezzo

Wm Ward ...

—

—

116

Tiger disturbed while de-

vouring his Prey

18 — 23J ...

mezzo

James Ward...

1799

J Ward & Co

Times of Day a set of four

117

Morning

12 — 15J ...

lithograph

Harraden

1809

J Deeley

118

Noon

12 —15 ...

do

do

do

do

119

Evening

121—15 ...

do

do

do

do

120

Night

12J-15i ...

do

do

do

do

121

Vegetable Market

18 — 23f ...

mezzo

Wm Ward ...

1803

Wards & Co

122

Wild Boar (head and

shoulders)

6 — 8J ...

etching ...

J. C. Zeitler ...

—

—

123

Winter

about 9J— 7^

mezzo

Wm Ward ...

—

—

124

Wounded Soldier

17J— 23i ...

mezzo

J R Smith ...

1803

H. Macklin

72

IV. — Owners of Pictures, Animals, &c., mentioned in the
foregoing List of Ward's Works.

The numbers following refer to the numbers in the list.

Agnew, Thomas and Sons, 302,

517, 674, 811, 857a.
Allnut, 515.
Allnutt, J., 8, 67, 70, 161, 193b,

432, 450, 616.
Alston, Roland, M.P., 472, 797.
Anderson, J. H., 430.
Angerstein, VV., 512.
Arbuthnot, Rt. Hon. C. , M. P., 423.
Art Union, 313.
Bailey, E. H., 651.
Barnes, James, 741.
Barry, A. Smith, 307.
Baxter, J. P., 371.
Bean, 661. 662.
Becliford, 883.

Bedford, Duke of, 487, 772, 805.
Bell, D. C, 815.
Blunt, Sir Charles, 744.
Brassey, Lord, 99, 431, 528.
Briggs, 664, 674.
British Institution, 867.
Brooke, Lord, 392.
Bryan, Michael, 175, 180, 665.
Buchan, Mrs., 57.
BuUer, Lady Agnes, 247.
Busfleld, Rev. J. A., 666.
Chantrey, 25, 326.
Chesterfield, The Earl of, 55,

668, 669.
Olive, Lord. (See the Earl of

Powis.)
Combermere, Lord, 667.
Corbett, Major, 341.
Corbett, Uvedale, 205.
Coventry, The Hon. J., 434.
Coventry, Sir J., 476.
Coxe, Peter, 154, 821.
Crooks, Thos., 10, 390, 449, 671.
Daintree, Captain J., 258.

Darbeney, 5.

Darnley, The Earl of, 234.

Daw, Dr., 43, 63, 64, 90, 97, 162,
184, 185, 282, 301, 305, 321, 325,
343, 346, 428, 510, 530. 558, 678,
591, 592, 600, 603, 656, 745, 747,
749, 780, 820.

De Tabley. (See Tabley.)

Deerhurst, Viscount, 442.

Deerhurst, Lady R., 462.

Ducie, Lord, 228.

Dyott, R., 96, 137.

Earle, 566.

Edwards, T. D., 619.

Elliot, 746, 747.

Essex, The Earl of, 517a.

Exeter, The Marquis of, 367.

Fairbarn, Thomas, 575.

Fitzherbert, 555c.

Fitzwilliam, Earl, 1.

Fleetwood, Sir Hesketh, 398.

Forbes, Sir Charles, 357.

Fox, G., 810.

Garle, 395.

Cell, Phillip, 239.

George 111, 353.

George IV, 455, 457, 458.

Grafton, Duke of, 469.

Graves, 512.

Grenville, Lord, 246.

Hamilton, 193a.

Harrison, J., 448.

Heathcote, T. F., 245.

Heathcote, Unwin, 441.

Hertford, Marchioness of, 93.

Hesketh, Peter, 435.

Hoare, 302, 517.

Houghton, 423a.

Hoxton Church, 34.

Hume Sir A., 271, 624.

Huntly, The Marquis of, 421.

Hurt, Albert, 677.

Huth, Louis, 5, 80, 285, 331,

423a, 518, 555a, 818, 857a.
Jackson, Miss Edith, 868.
Jackson, Howard, M., 711,
Jackson, Mrs. John, 646.
Jackson, M. Phipps, 61,243,873.
Jarvis, 587.
Jones, 555c.
Jones, R. A., 78.
Knight, John, 41.
Lambton, John George, M.P.,

444.
Lambton, Ralph John, 163, 525,

682.
Lathora, Miss, 370.
Leicester, Sir John. (See Tabley,

Lord de.)
Levett, T. , 21 5, 368, 675, 685, 687.
Levett, Rev. T., 686.
Lewis, C. W. M., 858.
Lichfield, Earl of, 50.
Londonderry, Marquis of, 268,

358, 373, 378, 424.
Lowther, Lord, 445.
Ludgate, Robert, 17, 233, 422, 503,
Lynn, Wm., 688.
Lyon, 235, 236,.
Man, 689, 690, 691.
Maud, C. T., 745.
Maurice, John, 465.
Maynard, Lord, 436.
Morrison, 202.
Morrison, Alfred, 835.
Morrison, Mrs., 202.
Mostyn, Sir Thos. Bart., 470,

471.
Musgrave, 660, 692, 702.
Mundy, E., 369.
Mundy, L. M., 369.
Munro Executors, 221.
Napoleon, 452.
National Gallery, 187, 330, 340,

527,
National Gallery of British Art,

92, 330.
Newcastle, Duke of, 425.
NichoU. J., 693.
Nixon, 857.
Northumberland, Duke of, 150,

247, 353, 354, 377, 380, 382, 452,

457, 463, 696.
Oakley, 529.
Oliver, W. H., 589.
Parker, T. L., 242.
Payne, R. E., 724.
Phipps, Hon. C. B., 695.
Platoff, Prince, 377.
Powis, The Earl of, 93, 131, 148,

265, 266, 360, 361, 393, 426.
Pratt, S. J., 697

73

Preston, Rev. M. M., 698.

Prosser, 829.

Quilter, Sir Cuthbert, 89.

Radstock, Lord, 725.

Ribblesdale, Lord, 143, 330.

Richards, W. J., 508.

Riddell, R., 383, 384, 385.

Riviere, Briton, R.A., 821.

RoUe, Lord, 427.

Rothwell, R., 9, 60.

Royal Academy, 30.

Rudall, 699.

Russell, 616.

Russell, Miss, A. O. C, 700.

St. Aubyn, James, 270.

Shelley, Sir J., Bart. 464, 500,

501, 502.
Smith, George, 451.
Soloman, 765.
Somerville, Lord, 308, 309, 571,

581 , 676.
Southampton, Lord, 478.
South Kensington Museum, 28,

97, 218, 291, 626, 645.
Stafford, Marquis of. (See Duke

of Sutherland.)
Stanhope, Arthur, 241.
State Chronicle, 522.
Stewart, General. (See Marquis

of Londonderry.)
Sturt, Charles, 272, 276.
Sutherland, Duke of, 48, 174.
Swan, 89.
Tabley, Lord de, 161, 231, 806,

555, 557, 616, 684, 826, 827.
Theobald, John, 447.
Theobald, William, 46, 106, 226,

520,616, 781,882.
Tunneley, 248.
Tyson, 446.
Vaughan, Sir R., 506.
Vernon, Robert, 187, 555,602.
Walker, Miss, 701, 702.
Ward, 341, 515.
Ward, Mrs. E. M., 15, 288, 336,

339, 381, 398, 555, 577, 616, 821.
Ward, Geo. Raphael, 13, 80, 92,

344, 364, 398, 446, 468, 555b,

783, 786.
Ward, James, R.A., 703 to 709,

729 to 731, 737.
Ward, Mrs. James, Senr., 710 to

712.
Ward, Honble. John, 150, 305,

417,821.
Waters, 341.
Webb, J., 829.
Wellington, The Duke of, 380,

381,713, 714.
Wells, John, 133.
Wells, William, 88, 811.
Westcar, Charles, 869.
Westenra, R., M.P., 480.
Wigram, 387.
Witham, 385.
Woodd, Basil, 715.
Wynne, Sir W. W., Bart. 333,

362, 375, 376, 477, 694.
Yates, Edmund, 437.
York, The Duke of, 456.

TABLE OF CONTENTS.

Preface .,.,,,,,.,

The Life of James Ward --------

Illustrations ----------

I. List of Pictures --------

IL List of Works Engraved by James Ward - - - - -

in. A List of Engravings and Lithographs made from Works by James

Ward

IV. Owners of Pictures, Animals, etc. ------

List of Illustrations ---------

V. VI.

vii. — Iv.
1-36
37—54
55—69

70 — 72

73

74—75

LIST OF ILLUSTRATIONS.

The Stray'd Child. By J. Ward. From an Engraving by D. Pyvi, in the collection 0/

the Honble. John Ward, M.V.O. Colourplate ..... Frontispiece.

Louisa (Portrait of Mrs. George Morland, nee Anne Ward). Painted and Engraved

by W. Ward. Colourplate ■ - - - - - - - Facing page viii.

Rustic Conversation. By James Ward. From an Engraving by S. W. Reynolds, in

the collection of the Honble. John Ward, M.V.O. Colourplate - - _ - ,> » xii.

Industrious Cottagers. By James Ward. From an Engraving by W. Ward, in the

collection of the Honble. John Ward, M.V.O. Colourplate ■ ■ - ■ mi. xvi.

Outside of a Country Alehouse. By James Ward. From an Engraving by W. Ward,

in the collection of the Hon. John Ward, M.V.O. Colourplate - - _ - n n xx.

A Livery Stable. Painted and Engraved by J. Ward. From an Engraving in the

collection of the Honble. John Ward, M. V.O. Colourplate -■••„„ xxiv.
Ralph John Lambton, Esq., his Horse Undertaker and Hounds (calling Hounds out

of cover). By James Ward. From an Engraving by Charles Turner in the collection

of the Honble. John Ward, M.V.O. Colourplate - ■ ■ • - » » xxxii.

Idle Boys. By James Ward. From an Engraving by John Murphy, in the collection of

tin Honble. John Ward, M. V.O. Colourplate - - - - - „ „ xl.

The Rocking Horse. Painted and Engraved by James Ward. From an Engraving, in

the collection of the Hon. John Ward, M.V.O. Colourplate - - - - » ,. xlviii.

Disobedience in Danger. By James Ward. From an Engraving by W. Barnard, in

the collection of the Honble. John Ward, M.V.O. Colourplate ■ ■ ■ „ „ Ivi.

The Wounded Soldier. By James Ward. From an Engraving by J . R. Smith, Jnnr.,

in the collection of the Honble. John Ward, M.V.O. Colourplate - • _ ■ .> ,. 8

The Gleaners Returned. By James Ward. From an Engraving by W. Ward, in the

collection of the Honble. John Ward, M.V.O. Colourplate ■ ■ - - ,> 1, 12

The Mouse's Petition. By James Ward. From an Engraving by W. Ward, in the

collection of the Hon. John Ward, M.V.O. Colourplate ■ - - - » .■ 24

Fern Burners. By J. Ward. From a Water-colour Drawing, in the colltction of the

Hon. John Ward, M. V.O. Colourplate ■■■■■■„„

Portrait of James Ward. By John Jackson, R.A. From an Engraving by J. Ward, in the

collection of Mrs. E. M. Ward .....--. Page

Portrait of the Artist's Mother. By J. Ward. From a picture belonging to Miss Jackson ■ „

Wood Sawyers. From a Drawing by James Ward, in the collection of the Honble. John

Ward, M.V.O. ......----„

Mrs. Michael Angelo Taylor as " Miranda." Engraved by J. Ward. After the Picture by

John Hoppner .......-■■„

Study of a Barn. By J. Ward. From the Drawing in the collection of Mrs. B. M. Ward - „

Study of a Waggon. By J. Ward. From the Water-colour in the collection of the Honblt. John

Ward, M.V.O. ....--■---„

Mrs. Billington as " St. Cecilia." Engraved by J. Ward. From the Picture by Sir Joshua

Reyiolds (The Print lent by Messrs. Grundy & Robinson) -■•■■„
Study "for Figure in the " Hay-Makers." By James Ward. From collection of Honble. John

Ward, M. V.O. ....-----■„

Study for Figure of " Hope " in the Allegory of the Battle of Waterloo - • - ,.

Study of Hounds. From the collection of the Honble. John Ward, M.V.O. - - - „

32

74

LIST OF ILLUSTRATIONS— <;on(i«Hf(^.

The Country Butcher's Shop. By J. Ward. From an Engraving by S. W. Reynolds, in the

collection of the Honbh. John Ward, M.V.O. ....... Page 7

The Family Compact (Portrait of the Artist's Mother and his Second Wife). From the

Picture in the possession of Leslie Ward, Esq. ■■■•■■„&

The Escape. From a Lithograph by J . Ward ■-■■■-■„&

Gordale Scar By J. Ward. From the Picture in the National Gallery of British Art - • „ 9
Study for Figure in the " Mouse's Petition." By J. Ward, from the collection of the Honble.

John Ward, M.V.O. --...-....„ 10

Lioness and Heron. By J. Ward ■--■-•-■„ 10
The Cow House. Painted and Engraved by J. Ward. From an Engraving in the collection of

the Honble. John Ward, M.V.O. --•-•---„ II

Descent of the Swan. By J. Ward. From the collection of Briton Riviere, Esq., R.A. - „ 12
Roundcroft Cottage (the Artist's Last Residence). By James Ward. From the Picture

belonging to Miss Jackson -■--■-■■■„ 12
" Summer." By J. Ward. From an Engraving by W. Ward, in the collection of the Honble.

John Ward, M.V.O. „ 13

First Sl<etch for Primrose and Foal By James Ward - • - - . - „ 14

Watercolour Study. By J. Ward, in the collection of the Ho>ible. John Ward, M.V.O. - - „ 14
Lord Somerville's Fisherman. From a Water-colour by J. Ward, in the collection of the

Hon. John Ward, M.V.O. .-.--..-.„ 15

Portrait of James Ward when 16. By W. Ward, in the collection of Mrs. E. M. Ward ■ „ 16

Mrs. Hibbert. Engraved by J. Wurd, from the Picture by Hoppner - ■ - • „ 16
Sunset — A View in Leicestershire. From the Mezzotint by J. Ward, after G. Morland. Also

called " A Boy employed in Burning the Weeds " - ■ - ■ - „ 16
A Wiltshire Hind. By J. Ward. From a Water-colour in the collection of the Honble. John

Ward, M. V.O. ........... 17

Bulls Fighting : St. Donat's Castle (Tate Gallery) ....-.„ 18

Rustic Felicity. By and after J. Ward. From an Engraving in the collection of the Honble.

John Ward, M.V.O. - - - „ 19

Study of a Swan. By J. Ward. From the collection of the Honble. John Ward, M.V.O. - „ 20

Study of a Pig. By J. Ward. From the collection of the Honble. John Ward, M.V.O. - „ 20

Bull, Cow, and Calf (Tate Gallery) ......... 21

Study of a Donkey. By J. Ward. From the collection of the Hon. John Ward, M.V.O. • „ 22

Study of Calf. By J. Ward. From the collection of the Honble. John Ward, M.V.O. - „ 22

Portrait of James Ward. From a soft ground Etching • - - - - • „ 23

" Juvenile Retirement " (The Douglas Children). By J. Ward, after Hoppner - - „ 24

The Duke of Wellington. From a Lithograph by and after J. Ward ■ ■ - - „ 25
Portrait of Mrs. George Morland. By James Ward. Study for Figure in " The Mother's

Bribe." From the collection of Mrs. E. M. Ward ------„ 2S

Study for " The Escape." From the collection of the Honble. John Ward, M.V.O. - - „ 27
Portrait of Mrs. George Morland. Study for Figure in " The Clean Face Rewarded."

From the collection of Mrs. E. M. Ward. -.-----„ 28

Studies of Trees. By J. Ward. From the collection of thi Honble. John Ward, M. V.O. - „ 29

The Wounded Lioness. By J. Ward. Prom the collection of Judge Evans - - - „ 30
Study for Figure in " Disobedience in Danger." By J. Ward. From the collection of the

Honble. John Ward, M.V.O. ■ ......... 30

Rustic with Bucket. From the Water-colour in the collection of the Honble. John Ward, M.V.O. „ 31
Study for Figure in The Peasant's Sunday Dinner. From the collection of the Honble. John

Ward, M. V.O. ........... 32

Donkey's Head. By J. Ward. From the Oil Painting in the collection of the Honble. John

Ward, M.V.O. ........... 32

Study for Figure in "The Stray'd Child." By J. Ward. From the collection of the Honble J.

Ward, M.V.O. „ 33

The Father of the Artist. By J. Ward. Study for Figure in " The Citizen's Retreat."

From the collection of Mrs. E. M. Ward ........ 33

Lady Heathcote as " Hebe." Engraved by J. Ward, after John Hoppner. From a Print in

the British Museum .......... ^^ 34

A Flea-bitten Arab. In the possession of Mrs. E. M. Ward ■ ■ - . - „ 35

Youth and Time. In the possession of Mrs. E. M. Ward - ■ ■ - - ,, 35

Portion of an Autograph Letter by James Ward - . - - - - „ 36

Signatures used by James Ward ......... 36

75

®Ij£ dtranfortr ^P^sa,

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Aer Family Library o« Vsterinaty Mectone
gnings School of Vslertnary Medicine at
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