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PORTRAIT  OF  HENRY  ALKEN  AS  "BEN  TALLY  O' 


ANIMAL    PAINTERS 

OF    ENGLAND 

From   the  Year    1650 

A  brief  history   of  their   lives  and  works 


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


COMPILED    BY 

SIR  WALTER   GILBEY,   BART. 
Vol.   I. 

Xon&on 

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

1900 


Limited- 


t^^e^i^o 


Cr55 

\Jo\.  \ 


INTRODUCTION. 

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

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


vi.  Introduction 

and  secure  more  perfect  adaptability  to  our  present 
requirements. 

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

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

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

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

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


Introduction  vii. 

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

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

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

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


viii.  Introduction 

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

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

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

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


Introduction  ix. 

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

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

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


X.  Introdtution 

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

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

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

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

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


Introdtution  xi. 

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

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

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


ElsenJiam,  June,  1900. 


CONTEXTS. 


Introduction- 

ALKEX,  HENRY 

ALKEX,  HENRY  GORDON. 

ALKEN,  SAMUEL 

BARENGER,  JAMES    ... 

BARLOW,  FRANCIS    ... 

BARRAUD,  \VILLL\M 

BARRAUD.  HENRY     ... 

BEST,  J 

BLAKE,  BENJAMIN    ... 

BOULTBEE,  JOHN      ... 

BRISTOWE,  EDMUND 

CHALON,  HENRY  BERNARD 

CLENNELL,  LUKE     ... 

COLLINS,  CHARLES... 

COOPER,  ABRAHAM,  R.A. 

COOPER,  A.  D 

CRADOCK,  LUKE 

DALBY,  DAVID 

DAVIS,  RICHARD  BARRETT 

ELMER.  STEPHEN,  A.R.A. . 

FERNELEY,  JOHN  E. 

FERNELEY,  JOHN   ... 

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

GILPIN,  SAWREY,  R.A. 

GOOCH,  THOMAS 

APPENDIX  : 

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

INDEX  TO  PAINTINGS,  ENGR.WINGS 

-THE     SPORTING     MAG.AZINE  -    AND 
ILLUSTRATED    CONTEMPORARIES 


Thornton 

1-c. 


ITS 
25+. 


3 
29 

30 

34 
40 
45 

55 

60 

63 

6S 

75 
Si 
92 
102 
104 
127 
129 
131 

137 
152 

159 
174 
176 
100 
204 

210 

211 
215 

^55 


ILLUSTRATIONS. 


ALKEN,  HENRY. 

Portrait  of  the  Artist  as  "  Ben  Tally  O" 

Frontispiece. 
The  Leicestershire  Steeplechase,  No.  V. — 

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

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


BARENGER,  JAMES. 

Doll,  a  pointer  ...         

BARLOW,  FRANCIS. 

Turkeys     

BARRAUD,  WILLIAM. 

Portrait  of  John  Warde,  Esq.,  on 
Ruin"  

BARRAUD,  HENRY. 

Portrait  of  the   Artist 

BEST,  J. 

Gamecocks  

BLAKE,  BENJAMIN. 
Dead  Game 

BOULTBEE,  JOHN. 

The  Death 

BRISTOWE,  EDMUND. 

The  Shoeing  Forge 


Blue 


37 
40 

48 
56 
62 

65 
72 

80 


xvi.  Illustrations 

PAGK 

CHALON,  HENRY  BERNARD. 

Pointers  and  Gamekeeper      87 

CLENNELL,  LUKE 

Riding  in  a  Storm         97 

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

COLLINS,  CHARLES. 

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

COOPER,  ABRAHAM,  R.A. 

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

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

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

DALBY,  DAVID. 

Lord     Harewood's     Hunt,     No.     hi — the 

Death  134 

DAVIS,  RICHARD  BARRETT. 

Portrait  of  Tom  Grant         141 

"Luxury"  ...         144 

ELMER,  STEPHEN,  A. R.A. 

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

Trojan        155 

FERNELEY,  JOHN  E. 

Captain  Ross  on  "Clinker" 172 

GARRARD,  GEORGE,  A. R.A. 

The  Ninth  Duke  of  Hamilton  and   Bran- 
don           181 

GILPIN,  SAWREY,  R.A. 

Portrait  of  John  Parkhurst,  Esq ig6 

Portrait  of  the  Artist  202 

GOOCH,  THOMAS. 

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


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ANIMAL    PAINTERS. 


THE  ALKEN   FAMILY. 

Henry  ALKEN.     (Born  1784.     Died  1851.) 

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

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

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

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


2  ANIMAL    PAINTERS 

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

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


HENRY    ALKEN  3 

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

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


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

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


T^ 


4  ANIMAL    PAINTERS 

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

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

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


HENRY    ALKEN  5 

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

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


6  ANIMAL    PAINTERS 

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

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

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

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


HENRY     ALKEN  7 

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

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

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


8  ANIMAL    PAINTERS 

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

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

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

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

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


& 


HENRY     ALKEN  9 

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

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


lO  ANIMAL    PAINTERS 

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

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

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


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


HENRY    ALKEN  11 

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

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

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

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

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

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


12  ANIMAL    PAINTERS 

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

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

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

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


HENRV    ALKEX  I  3 

engraved    by  the    artist  himself  and   published  by 

Ackermann  in  1837. 

"Fox    Hunting"    was  a  series    of   four    pictures 

painted  in  1844,  engraved  by  Harris  and  published 

by  Rudolph  Ackermann  in    the    same   year.     The 

scenes    illustrate    well-known    verses    from    Somer- 

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

of  the  incident  represented  in  each  picture. 

(i)  The  Meet. 

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

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

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

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

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


14  ANIMAL    PAINTERS 

(3)  A  Shift  of  the  Scene. 

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

(4)  Whohoop! 

In  bolder  notes 
Each  sounUing  horn  proclaims  the  felon  dead. 

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

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

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


HENRY    ALKEN  I 5 

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

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

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

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

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


l6  ANIMAL    PAINTERS 

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

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

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

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

These  are  entitled  : — 

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


HENRY   ALKEN  I 7 

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

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

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

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

The    mag-azines    contain    numerous    engravings 


& 


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

2 


1 8  ANIMAL   PAINTERS 

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

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

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


HENRY    ALKEN  IQ 

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

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

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


20  ANIMAL    PAINTERS 

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

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

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

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


^Jc  '•  f      'V. 


HENRV    ALKEN  21 

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

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

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


2  2  ANIMAL    PAINTERS 

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

April  2nd,  1839. 

Dear  and  Respected  Aunt, 

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

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

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

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

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

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

Childr'y,  Your  neppew, 

Berks.  H.  Alken. 


WORKS  OF  HENRY  ALKEN  23 

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

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

WORKS    OF    HENRY    ALKEN. 

IN    THE    BRITISH    MUSEUM. 

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

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

IN    THE    SOUTH    KENSINGTON    MUSEUM. 

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


24  AXIVAL    PATS^TEilS 

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


r;:2Ls  .-rjTD,  zStL  i^i. 


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THZ   ATEJr  SPORTISG   MAGAZINE     15    ic 


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


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— li.T.'TE  TO  CCrSJl. 


26  ANIMAL    PAINTERS 

Lent  by  Leicester  Hibbert,  Esq. 

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

Lent  by   Sir   Walter   Gilbey,   Bart. 

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

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

the  hounds  in  a  wall  country. 

Lent  by  Theo.  Lumley,  Esq. 

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


WORKS  OF  HENKY  ALKEN 


27 


Lent  by  J.  Granville,  Esq. 

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

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

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

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

Lent  by  Arthur  W.  Gilbev,  Esq. 

A    DAY  IN  LEICESTERSHIRE  (four  suhjegts  in  frame). 


The  more  noteworthy  piihlished  worl-s  of  Henry  Allien. 


Title  of  Work 

No.  of 
Plates 

Publisher 

Date 

The  Beauties  and  Defects  of  the  Figure 

of  the  Horse     

IS 

S.  and  J.  Fuller    ... 

1816 

Sporting  Discoveries  : — 

'The  Miseries  of  .Shooting 

7 

>»                            >5 

1817 

'The  Miseries  of  Hunting 

7 

»l                            »» 

1817 

*The  Miseries  of  Driving     

7 

)»                           »J 

1817 

An  hour  with  Unqualified  Riders 

Sketches  of  Cattle,  six  monthly  numbers, 

each  containing             ..         

6 

S.  and  J.  Fuller     ... 

Cockney  Shooting  Season  in  Suffolk     ... 

6 

Country  and  Town  Sports  : — 

Steeplechasing            ...         

6 

A  Steeplechase           

6 

Sporting  Notions ...         ...         

36 

*How  to  Qualify  for  a  Meltonian 

6 

S.  and  J.  Fuller    ... 

1S19 

'Military  Discoveries,  or  the  Miseries  of 

Campaigning     ...         

7 

)j            >} 

1819 

Humorous  Specimens  of  Riding 

1821 

Qualified  Horses  and  Unqualified  Riders 

7 

S.  and  J.  Fuller    ... 

1821 

Landscape  Scenery          

26 

J)            »> 

1821 

Sporting    Sketches,    in    eight    numbers, 

each  containing 

6 

1}            If 

1821 

Scraps  from  the  Sketch  Book     

42 

Thos.  M'Lean 

1822 

Moments  of  Fancy           

13 

)i          »» 

1822 

Sketches;   Horses  and  Dogs       

23 

Rowney  and  F'oster 

1S22 

Symptoms  of  Being  Amazed      

1S22 

•  Signed  "  Ben  Tally  O.  ' 


28 


ANIMAL    PAIKTER? 


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30  ANIMAL    PAINTERS 

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


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

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


SAMUEL   ALKEN  3  I 

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

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

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


32  ANIMAL   PAINTERS 

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

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

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


WORKS    OF    SAMUEL    ALKEN  33 

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

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


WORKS    OF    SAMUEL    ALKEN. 

EXHIBITED     IN    THE    ROYAL    ACADEMY. 

YEAR 

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

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

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

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

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

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


34 


JAMES    BARENGER. 
(Born  1780.     Died  1831.) 

TAMES    BARENGER   born   1780.    was,   there 

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

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

eighteenth     century,    exhibited    a    few    pictures    of 

entomological  interest,   butterfly  and  insect  studies, 

at    the    Royal    Academy.       We    do    not    anywhere 

find   it   definitely   stated  that  James  Barenger,   the 

painter    of    insect    life,    was    the    father   of    James 

Barenger,    the    painter    of    sporting    subjects ;     but 

inasmuch  as   the   Royal   Academy   catalogues   give 

the     address     of    each     as     Kentish     Town,     the 

similarity  of  name  and   sequence  of  dates  justifies 

the  assumption  that  the  two  were  father  and  son. 

In  Graves'  valuable  Dictionary  they  appear  as  : — 

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

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

Landscapes,    more   especially   park  scenes  which 


JAMES    BARENGER  35 

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

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


36  ANIMAL    PAINTERS 

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

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


i 


JAMES    BAREXGER  ^y 

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

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


38  ANIMAL    PAINTERS 

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

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

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


WORKS    OF    JAMES    BARENGER. 

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

YEAR 

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

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

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

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

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

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

jSi6— WARRIOR,  the  property  of  Mr.  Tattersall. 

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

—SHORTHORN  BULL. 


WORKS    OF    JAMES    BARENGER  39 

VEAR 

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

i8j2— (2)  DOG  FROM  NATURE— ALADDIN. 

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

xi^a.— POINTER. 

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

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

PLATES  IN  THE  SPORTING  MAGAZINE  (26  in  number). 

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

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

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

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

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

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

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

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

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

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

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

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

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

PLATES    IN  THE   N£IV  SPORTING  MAGAZINE  (3  in 

number). 

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

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

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

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

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


40 


FRANCIS   BARLOW. 

(Born   circa    1626.     Died    1702.) 

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


FRANXIS    BARLOW  4 1 

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

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


42  ANIMAL    PAINTERS 

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


FRANCIS    BARLOW  43 

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

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

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


44  ANIMAL    PAINTERS 

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

Francis  Barlow  died  in  1702. 


WORKS  OF  FRANCIS  BARLOW. 

IN   THE   BRITISH   MUSEUM. 


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

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

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

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

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

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

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

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


WORKS    OF    FRANCIS    BARLOW  45 

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

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

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

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

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

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

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

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

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

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

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

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


IN    THE   SOUTH   KENSINGTON   MUSEUM. 

PARTRIDGES  AND  SNIPE  (water-colour). 

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

FARAtrARD  WITH  FIGURES  (Landscape  background  (Indian  ink). 


46 


THE  BARRAUDS. 

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

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

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


WILLIAM    RARRAUD  47 

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

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


48  ANIMAL    TAIXTERS 

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

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


Ul 

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WILLIAM    EARRAUD  49 

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

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

4 


50  ANIMAL    PAINTERS 

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

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


WILLIAM    BARRAUD  5  I 

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

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


52  ANIMAL    PAINTERS 

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


WILLIAM    BARRAUD  53 

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

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

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

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


54  ANIMAL    PAINTERS 

WORKS    OF    WILLIAM    BARRAUD. 

IN    THE   SOUTH    KENSINGTON    MUSEUM. 

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

EXHIBITED    IN    THE    ROYAL   ACADEMY. 

YEAR 

iSif-STUDy  OF  AN  ASS. 

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

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

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

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

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

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

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

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

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

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

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

PLATES    IN   THE   SPORTING  MAGAZINE  (17  in  number). 

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

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

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

WINCH  ELSE  A,  a  famous  deer,  vol    104. 

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


HENRY    BARRAUD  55 

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

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

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

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

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

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

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

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

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

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


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


56  ANIMAL    PAINTERS 

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

"  FiTzjAMES  Lamenting  over  his  Steed." 

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

Lady  of  the  Lake,  Canto  I. 

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

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


\  ^^ 


^■^  \ 


^ 


..  / 


HENRY  BARRAUD 


HENRY    BARRAUD  57 

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

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

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


58 


ANIMAL    PAINTERS 


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


WORKS   OF   HENRY   BARRAUD. 

EXHIBITED   IN    THE   ROYAL   ACADEMY. 

YEAR 

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

1834— y«   PORTRAIT. 

1835— /4  .MOTHER  AND  CHILD. 

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

jS37— SCENE  FROM  THE  OPERA  OF  LA  GAZZA  LADRA. 

i%if,— MINSTRELS  OF  THE  FIFTEENTH  CENTURY. 

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

JS42— ROBERT  BRUCE  AND  THE  SPIDER. 

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

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

DOGS. 
liii-THE   TEN  VIRGINS. 

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

PONY  AND  DOGS. 


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

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

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

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

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

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

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


WORKS    OF    HENRY    BARRAUD  59 

PICTURES  PAINTED   IN  COLLABORATION   BY  WILLIAM 

AND    HENRY    BARRAUD,    EXHIBITED    AT 

THE    ROYAL   ACADEMY. 

YEAR 

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

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

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

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

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

OF  COVENTRY  AND    HIS  SISTER— WAITING    FOR     THE  LAIRD. 

1S4B— THE  STABLE  YARD. 

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


6o 


J.   BEST. 

(Born   circa    1750.) 

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


J.     BEST  6l 

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

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

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


62  ANIMAL    PAINTERS 

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

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

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


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63 


BENJAMIN  BLAKE. 

(Boru  circii  1780.) 

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

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


64  ANIMAL    PAINTERS 

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

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


,4 


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BENJAMIN    BLAKE  65 

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

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

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


66  ANIMAL    PAINTERS 

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

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

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


WORKS    OF    BENJAMIN    BLAKE  67 

WORKS  OF  BENJAMIN  BLAKE. 

EXHIBITED    IN    THE    ROYAL   ACADEMY  (13  in  number). 

VEAR 

iZoj— PORTRAIT  OF  AN  ART/ST. 

iSoS—F/£ty  AT  DURFORD,  NEAR  AMESBURY. 

iSii—y/Eir  AT  GREAT  DURNFORD,  WILTSHIRE. 

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

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


68 


JOHN    BOULTBEE. 

(Born    1747.     Died    1812.) 

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


JOHN    BOULTBEE  69 

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

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

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


JO  ANIMAL    PAINTERS 

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

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

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

turned     his     attention     to    the    hunting    field    for 

subjects;    not     unnaturally,    inasmuch    as    in    1787 

he  was  living  at   Loughborough,  in   Leicestershire. 


JOHN    BOULTBEE  J I 

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

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

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


72  ANIMAL    PAINTERS 

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

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

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


I 

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JOHN    BOULTBEE  73 

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

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

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

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


74  ANIMAL    PAINTERS 

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


WORKS    OF    JOHN    BOULTBEE. 

EXHIBITED    AT    THE    ROYAL   ACADEMY  (6  in  number). 

VEAR 

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

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

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

PLATE  IX  THE  SPORTJNG  MAGAZINE. 

HIGHFLYER,  in  Volume  s3  of  i32i. 


75 


EDMUND    BRISTOWE. 

(Born  1787.     Died  1S76.) 

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


76  ANIMAL    PAINTERS 

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

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


EDMUND    BRISTOWE  ']'] 

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

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

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

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


8o  ANIMAL    PAINTERS 

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

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

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

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


WORKS  OF  EDMUND  BRISTOWE. 

EXHIBITED    AT   THE    ROYAL   ACADEMY. 
Year 

iSog—S.lf/TH  SHOEIXG  HORSE. 

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

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

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


wrir\ 


8i 


HENRY  BERNARD  CHALON. 

(Born  1770.      Died  1849.) 

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

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


82  AMMAL    PAINTERS 

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

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

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


HENRY  BERNARD  CHALON  83 

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

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


84  ANIMAL    PAINTERS 

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

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

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


HENRY  BERNARD  CHALOX  85 

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

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


S6  ANIMAL    PAINTERS 

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

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


HENRY    BERNARD    CHAI.OX  87 

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

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

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

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


S8  AXDIAL    PAIXTERS 

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

{E^pSkT  CB    i£rS.    &2ZOSCT. 

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

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


WORKS  OF  HENRY  BERNARD  CHALON      89 

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

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

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

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

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

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

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

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

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

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

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

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


90  ANIMAL    PAINTERS 


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

RAGE  H'VTH  AGO.TY,  Arabian  Scenery. 

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

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

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

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

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

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

il^i-SP.-iXIEL  OF  KIXG  CHARLL 

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


WORKS    OF    HENRY    BERNARD    CilALON  9 1 


PLATES  IN  THE  SPORTING  MAGAZINE  (19  in  number). 

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

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

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

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

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

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

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

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

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

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

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

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

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


92 


LUKE    CLENNELL. 

(Born  1781.     Died  1840.) 

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

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


LUKE   CLENNELL  93 

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

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

His  contributions    to    the    latter   work   were   the 


94  ANIMAL    PAINTERS 

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

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


LUKE   CLENNELL  95 

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

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


96  ANIMAL    PAINTERS 

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

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


LUKE    CLENNKLL  97 

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


•^  '■  "- T.^ 


Riding  in  a  Storm. 


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

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


98  ANIMAL    PAINTERS 

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

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


LUKE   CLENNELL  99 

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

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


lOO  ANIMAL   PAINTERS 

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

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

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


WORKS    OF    LUKE   CLENNELL  lOI 

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


WORKS  OF  LUKE  CLENNELL. 

IN    THE    BRITISH    MUSEUM. 

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

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

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

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

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

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

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

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

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

IN  THE  SOUTH  KENSINGTON  MUSEUM. 

THE  PRESS  GANG  (sketch  in  sepia). 

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

A  RIVER  SCENE  (water  colour). 

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

YEAR 

iii2— FOX-HUNTERS    REGALING    AFTER     THE    PLEASURES     OF     THE 

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


I02 


CHARLES   COLLINS. 

(Born  1680.     Died  1744.) 

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

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

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

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


Q 


I 


03 


Q. 
D 

o 

a: 


CHARLES    COLLINS  IO3 

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

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

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

Charles  Collins  died  in  1 744. 


I04 


ABRAHAM   COOPER,  R.A. 

(Born  17S7.     Died  1S68.) 

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


ABRAHAM    COOPER  I 05 

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

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

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


I06  ANIMAL    PAINTERS 

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

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

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

For  a  few  vears  he  seems  to  have  devoted  his 


ABRAHAM    COOPER  IO7 

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

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


I08  ANIMAL   PAINTERS 

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

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


O 

Q 

D 
I- 

UJ 

I 


*      ? 


ABRAHAM    COOrER  IO9 

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

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

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

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


no  ANIMAL    PAINTERS 

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

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

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


ABRAHAM    COOPER  1 1  T 

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

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


112  ANIMAL    PAINTERS 

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

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

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


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ABRAHAM    COOPER  II3 

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

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

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

Cooper  numbered  among  his  friends  and  patrons 
8 


114  ANIMAL    PAINTERS 

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

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

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


zssa! 


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ABRAHAM    COOPER  I  I  5 

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

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

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

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


no  ANIMAL    PAINTERS 

WORKS  OF  ABRAHAM  COOPER. 
IN   THE  BRITISH   MUSEUM. 

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

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

IN  THE  SOUTH  KENSINGTON  MUSEUM. 

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

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

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

YEAR 

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

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

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

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

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

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

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

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

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

RETURN. 

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


WORKS    OF    ABRAHAM    COOPER  II7 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


Il8  ANIMAL    PAINTERS 

YEAR 

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

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

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

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

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

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

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

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

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

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

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


WORKS    BY    ABRAHAM    COOPER  II9 

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


I20  ANIMAL    PAINTERS 

YEAR 

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

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

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

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

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

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

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

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

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

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

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


PLATES    IN   THE  ANNALS  OF  SPORTING. 

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

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


PLATES  IN    THE   SPORTING  MAGAZINE  (189  in  number). 

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

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

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

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

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


WORKS    BV    ABRAHAM   COOPER  121 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


122  ANIMAL    PAINTERS 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

J.  Webb. 

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

J.  Webb. 

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

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

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

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

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

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

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

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

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


WORKS    BY    ABRAHAM    COOPER  I  23 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


124  AXIMAL    PAINTERS 

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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


WORKS    BV    ABRAHAM    COOPER  1 25 

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

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

engraved  by  R.  Golding. 

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

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

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

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

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

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

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

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

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

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

T.  E.  XidioIscHi. 

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

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

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

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

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

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

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

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

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


126  ANIMAL    PAINTERS 

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

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

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

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


127 


ALEXANDER  DAVIS  COOPER. 

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


128  ANIMAL    PAINTERS 

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


WORKS  OF  A.  D.  COOPER. 

SPORTING  AND   AXIMAL   PICTURES   IN  THE   ROYAL 

ACADExMY  (II   in  number.) 

iiyjSPANIEL  AND  GAME. 

iSyf-CAVALIERS. 

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

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

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

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

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

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

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


129 


LUKE   CRADOCK. 

(Born  circa  1657.     Died  1717.) 

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

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


130  ANIMAL    PAINTERS 

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

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

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

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

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


131 


DAVID   DAL  BY. 

(Born  cin-a  lygo.) 

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

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


132  ANIMAL    PAINTERS 

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

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

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


DAVID    DALBY  133 

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

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

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

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


134  ANIMAL    PAINTERS 

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

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

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


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DAVID    DALBV  I  35 

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

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

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


[36  ANIMAL    PAINTERS 

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

134- 

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

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


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


137 


RICHARD  BARRETT  DAVIS. 

(Born  1782.     Died  1854.) 

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

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


'^ 


8  ANIMAL    PAINTERS 


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

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


RICHARD    BARRETT    DAVIS  I  39 

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

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

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


140  ANIMAL    PAINTERS 

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

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


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

TOM    GRANT,     Huntsman    at    Goodwood 


RICHARD    BARRETT    DAVIS  I4I 

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

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


142  ANIMAL    PAINTERS 

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

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

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

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

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

In     1837,    by    command   of    the    Queen     Davis 


RICHARD    BARRETT    DAVIS  T43 

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

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


144  ANIMAL    PATNTERS 

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

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

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


to 


>- 
D 

X 


RICHARD    lURRETT    DAVIS  I45 

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

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

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


146  ANIMAL    PAINTERS 

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

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

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


RICHARD    I5ARRETT    DAVIS  I47 

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

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

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

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


148 


ANIMAL    PAINTERS 


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


WORKS  OF  RICHARD  BARRETT  DAYIS. 

IN   THE    SOUTH    KENSINGTON    MUSEUM. 

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

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

YEAR 

i3o2— ^  LANDSCAPE. 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HUNTER— PORTRAIT  OF  A  HUNTER, 


WORKS    OF    RICHARD    BARRETT    DAVIS  1 49 

VEAK 

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

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

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

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

1S29— /4  FAVOURITE  OLD  POXY. 

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

1S31— TRAVELLERS  ATTACKED  BY  IVOLVES,  a  Sketch. 

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

1S33— .4   SKETCH. 

iSsi—lVAITIXG  FOR  A  TURX. 

iS3<)— PORTRAIT  OF  A  FAVOURITE. 

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

tc^i—A  SCENE  IX  IVIXDSOR  GREAT  P.4RK,  containing  portraits  of  Her  Majesty 
Queen  Victoria,  the  King  and  Queen  of  the  Belgians,  the  Hon.  Colonel  Cavendish,  the 
Earl  of  Bclf.LSt,  Lord  Lilford,  Colonel  Buckley,  Lord  Tonington,  Sir  George 
Quintin,  Miss  Quintin,  Sir  Frederick  Stovin,  the  Earl  of  U.\bridge,  Colonel 
Wymes,  Lord  .\lfred  Paget,  —  Fozard,  Esq.,  &c.     Painted  1837. 

1842— .V.ff.  DAVIS,  HER  .MAJESTY'S  HUNTS.VAN,  ON  HER.VIT. 

■il.\i—SIR  ROGER   DE  COVERLEV  AND    THE  SPECTATOR   GO  HUNTING. 

1844— y//£  HAIVKING  PARTY,  vide  Bracebridge  Hall. 

I S46—  TA  KING  THE  S  TA  G. 

l^^^~THE  ROYAL  HUNT,  AT  THEIR  MEET  ON  ASCOT  HEATH. 

1048 — "  Hark  1  What  loud  Shouts 

Re-echo  through  the  Groves  !     He  Ijreaks  away. 
Shrill  Horns  proclaim  hii  Flight." — Somekville. 

i&^g— OLD  FRIENDS. 

iSsi— FA  VOU  RITES. 

iS32— THE  CAVERLEY  HUNT. 

1853— (2)  TRESPASSERS— THE  WILD  HUNTSMAN,  from  the  German. 

PLATES    IN    THE    SPORTING    MAGAZINE  (30  in  number). 

(2)  THE  LADY  AT  EGHA.1I  RACES,  1812  ;  an  <tiCbmg— GO H ANNA,  a  bay  horse, 
foaled  in  1790,  bred  by  the  Earl  of  Egremont,  1013;  erigraved  by  Scott. 

MOSES,  a  celebrated  race-horse,  the  property  of  His  Royal  Highness  the  Duke  of  York, 
1822 ;  engraved  by  J.  Scott. 

MINOS,  a  favourite  hound  in  His  Majesty's  Pack,  1824  ;  ergra\ed  by  J.  Webb. 

TOM  GR.4NT,  huntsman  to  His  Grace  the  late  Duke  of  Richmond,  at  Goodwood,  1S27  ; 
engraved  by  Mr.  Fiy. 

(2)  .1/^.  G.  SHARPE,  many  years  huntsman  to  His  Majestj-,  1027;  engia^ed  by  Mr. 
Yxy— MAMELUKE,  1827;  engraved  by  J.  R.  Scott. 

SOUTH  AMERICAN  MULE,  sent  to  His  Majesty  from  Valparaiso,  by  Mr.  Nugent, 
appears  from  its  make,  as  well  as  the  beauty  of  its  colour,  to  be  a  mixture  of 
the  Spanish  horse  and  the  ^ebra  or  the  ijuagga,  1827  ;  ciigra\ed  by  J.  R.  Scott. 


150  ANIMAL    PAINTERS 

LOPy  a  celebrated  hunter,  1828 ;  engraved  l;y  J.  R.  Scott. 

SWIXLEV,  a  Hanoverian  Sta^,  presented  to  His  Majesty  by  the  DuVce  of  Cambridge 
1829;  engraved  by  J.  R.  Scott. 

TURQUOISE,  a  brown  mare,  foaled  in  1S35,  bred  by,  and  the  property  of,  the  Duke  of 
Grafton,  1829  ;  engraved  by  J.  R.  Scott. 

CRITIC^  a  red  dog,  property  of  Mr.  F.  Clarke,  three  times  winner  of  the  Cup  at  Nether- 
haven,  1835 ;  engraved  by  H.  Setchel. 

FORWARD  ALL!    FORWARD!    1837;    engraved  by  H.  Setchel. 

ALP  AND  GLORY,  a  dog  and  bitch  of  the  true  Mont  St.  Bernard  breed,  the  pro- 
perty of  Her  Majesty  and  Prince  .\lbert,  184-; ;  engraved  by  H.  Beckwith. 

THE  NEWMARKET  TOUT,  1844;  engraved  by  J.  H.  Kernot. 

(i)  A  DILEMMA,  1845,  vol.  105;  engraved  by  J.  H.  Engleheart— r.-J  A'AVc;  THE 
STAG,  1845,  engraved  by  G.  Paterson— /iVC/Z)£:.Vr  OF  THE  CHASE,  1845; 
engraved  by  G.  Paterson. 

VIGNETTE,  1S46  ;   engraved  by  J.  H.  Engleheart. 

PORTRAITS  OF  HER  MAJESTY S  STAGHOUNDS,  1846  ;  engraved  by  J. 
Scott. 

(2)  WHO'S  UP  FOR  THE  RESCUE?  1S47,  vol.  109;  engraved  by  E.  Hacker— 
HAVE  A  CARE  FOR   THE  VIXEN!    1847;    engraved  by  J.  Scott. 

PORTRAITS  OF  HER  MAJESTYS  STAGHOUNDS,  1849;  engraved  by  E. 
Hacker. 

FUTURE  HOPES  1848 ;    engraved  by  J.  Scott. 

A  CASE  OF  REAL  DISTRESS,  1850;   engraved  by  J.  Scott. 

VIGNETTE,  1852;  engraved  by  W.  Backshell. 

VIGNETTE,  A  Fresh  Fox,  1852 ;   engraved  by  E.  Hacker. 

OVER  THE  OPEN,  1854;   engraved  by  E.  Hacker. 

THE  DEER  PADDOCK,  1855;   engraved  by  W.  Backshell. 

THE  GLOOMY  WOODS,  1869;   engraved  by  J.  Scott. 


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

GADFLY,  a  fo.\hound,  the  property  of  His  Majesty,  1831 ;    engraved  by  Webb. 

THE  ILLUSTRIOUS  SPORTSMAN,  a  portrait  of  His  Grace  the  Duke  of  Welling- 
ton, with  the  Vine  Hounds,  1841 ;  engraved  by  E.  Radclyffe. 

ORNAMENTS  OF  THE  BENCH,  Foxhounds,  184J  ;   engraved  by  J.  Bull. 

THE  EARTHSTOPPER  ON  HORSEBACK  (in  a  wood,  on  a  stormy  night),  1843; 
engraved  by  J.  Godden. 

YOICKS!  GONE  AU'AY,  horseman  and  hounds,  1843;   engraved  by  J.  H.  Engleheart. 

THE  DEER  PADDOCKS,  ASCOT,  1S43  ;   engraved  by  J.  Godden. 

RIGGING  HIM  OUT  or  MAKE  YOUR  GAME,  1S45  ;   engraved  by  J.  R.  Scott. 

PLATES  IN  THE  SPORTING  REVIEW  {12  in  number). 

THE  BADMINTON  SWEEP,  Wot  Hunts  with  the  Duke,  1840;  etched  by 
Landells. 

THE  HERMIT,  a  hunter  belonging  to  the  Royal  Hunt.  1S40;  engraved  by  H.  B. 
Hall, 


WORKS    OF    RICHARD    BARRETT    DxUTS  151 

MEET  OF  HER  MAJESTY S  STAGHOUKDS,  1S40;  engraved  by  T.  A.  Prior. 
FOX-HUNTJNG:     pi.    i,    THE  DNAIf:     pi.    2,   COiVE    AH'-AV;     pi.    3,    FULL 

CRY;  pi.  4,  THE  DEATH;  1841;   engraved  by  T.  A.  Prior. 
COirES  HARBOUR,  rS4i;   etched  by  E.  Landells. 

LUXURY,  one  of  the  Royal  Stag  Hounds,  1S41 ;  engraved  by  A.  W.  Warren. 
ILLUSTRATIONS  OF  THE  EQUESTRIAN  ORDER,  1841  ;  etched  by  Landells. 
PHEASANT   SHOOTING   IN    SIVINLEY    PARK,    His    Royal    Highness    Prince 

Albert  shooting,  1841;  engraved  by  A.  W.  Warren. 
ILLUSTRATIONS  OF   THE  EQUESTRIAN  ORDER,  No.  2,  A  Patrician,  1841, 

etched  by  Landells. 


152 


STEPHEN   ELMER,   A.R.A. 

(Born  1717.     Died  1796.) 

STEPHEN  ELMER  was  born  at  Farnham, 
Surrey,  in  1717.  The  son  of  a  maltster, 
he  was  brought  up  to  his  father's  business ; 
but  while  following  that  occupation  he  found 
ample  time  to  devote  to  artistic  pursuits  and  won 
success  as  a  painter  of  animals  and  birds,  rural 
scenes  and  still  life.  In  the  last  department  of 
art,  in  the  portrayal  of  dead  game,  fish,  flowers, 
and  fruit  he  particularly  excelled  ;  but  his  pictures 
of  birds,  more  especially  of  game  birds,  combine 
with  high  artistic  merit,  great  accuracy  of  draw- 
ing and  fidelity  to  life  ;  he  possessed  in  a  degree 
that  has  been  rarely  exceeded  the  gift  of  seizing 
the  characteristic  pose  or  attitude  of  birds,  and 
betrays  a  knowledge  of  their  ways  of  life  and 
habits  that  only  a  careful  student  of  nature  can 
acquire.  Notwithstanding  the  nicety  of  touch  re- 
quired for  the  accurate  presentation  of  the  plumage 
of  birds,  Elmer  was  master  of  a  bold  and  free  style 
of  draughtsmanship  which  lends  individuality  to  his 
pictures.     Character    studies    occur    occasionally   in 


STEPHEN    ELMER.    A.R.A.  I  53 

the  list  of  his  contributions  to  the  Royal  Academy  ; 
thus,  in  1777  he  exhibited  "The  Politician"  (after- 
wards engraved  by  T.  Ryder),  and  in  1785 
"Avarice."  "The  Miser,"  engraved  by  B.  Granger, 
was  another  of  the  same  class  ;  but  studies  of  birds, 
noticeably  pheasants,  partridges  and  woodcock,  of 
trout  and  of  fruit  seem  to  have  possessed  most 
attraction  for  him. 

In  the  vestry  of  Farnham  Church  is  a  picture  of 
"The  Last  Supper,"  which  formerly  hung  over  the 
altar.  This,  so  far  as  can  be  ascertained,  is  the 
only  work  ot  sacred  character  painted  by  Elmer  : 
and  we  may  suppose  that  it  was  executed  for 
the  express  purpose  of  presentation  to  the  church 
of  his  native  place. 

Elmer,  in  1763,  was  a  member  of  the  Free 
Society  of  Artists,  at  whose  annual  exhibitions  he 
showed  numerous  works.  The  fifth  exhibition  of 
the  Royal  Academy,  held  in  1772,  included  nine 
pictures  by  Elmer,  then  in  his  fifty-fifth  year  ;  and 
for  the  ensuing  twenty-three  years,  until  1795,  with 
the  e.xception  of  the  1792  exhibition,  he  was 
unfailingly  represented  upon  its  walls.  The  nine 
works  contributed  by  him  to  the  exhibition  of  1772 
were  very  fairly  representative  of  his  range  of  art, 
including  as  they  did  pictures  of  a  fox,  hare, 
pheasant,  small  birds  and  trout,  flower  and  fruit 
pieces,  all  of  which  were  marked  "  For  Sale."     In 


154  ANIMAL    PAINTERS 

regard  to  this  it  is  worth  noting  that  as  time  passed 
by  Elmer  appears  to  have  made  no  attempt  to  sell 
his  pictures ;  at  all  events  he  possessed  a  large 
collection  of  his  own  paintings  at  the  time  of  his 
death.  His  reputation  had  been  well  established 
long  ere  this  date,  and  the  Royal  Academy  evidently 
only  waited  until  he  should  send  pictures  to  their 
exhibition  to  elect  him  an  Associate  ;  for  this  honour 
was  conferred  upon  him  in  1772,  the  first  year  in 
which  he  exhibited.  Between  that  year  and  1795 
he  sent  altogether  1 1 7  works  to  the  Royal  Academy 
exhibitions. 

Elmer's  addresses  in  the  catalogues  are  given  as 
Farnham,  Surrey,  and  44,  Watling  Street,  London  ; 
the  latter  perhaps  being  an  occasionally  visited  place 
of  business,  for  he  seems  to  have  made  the  pretty 
little  Surrey  town  where  he  was  born  his  place  of 
residence. 

Foxhounds  and  other  sporting  dogs  furnished 
subjects  for  some  of  Elmer's  best  pictures.  Two  of 
his  pictures  were  engraved  by  W.  Smith  for  repro- 
duction in  the  Sporting  Magazine.  One  occurs  in 
the  issue  for  April,  1805,  entitled  "Mallard  and 
French  Spaniel ; "  it  shows  a  dog  whose  closely 
shaven  legs,  shaven  tail,  with  tip-tuft  and  fierce 
moustaches  suggest  the  poodle  rather  than  spaniel. 
The  letterpress  describing  the  original  as  the  work 
of  "the   ingenious  Mr.   Elmer,   of  Farnham,"  says 


< 

o 
cc 

H 


STETHFS    ELMER,    A.B.>_  Iff 

"  The  rough  French  spaniel  has  been  tVa-Ki  the 
best  companion  on  these  occasions  .^duck  shoodn^^  : 
he  watches  the  conduct  of  the  sportSinan.  and  with 
a  velocity-  uneqaalled.  darts  on  the  wo'onded  bird, 
and  ha\Tng  fastened  on  his  prey,  presents  it  wiih  all 
possible  speed  at  the  feet  of  his  master."'  The 
second  plate  is  from  Elmers  portrait  of  Trojan,  a 
famous  foxhound  belonging:  u3  Mr.  Corbet,  when  he 
hunted  the  Warwickshire  ODuntr\-.  "  Ximrod's  ~ 
a : : .  _  - :  :  f  this  hound,  whose  portrait  faces  this  oage, 
:  i;  :':.:nd  in  the  Apcendix.  page  210- 

Traitor.  TyranL  Tormentor,  Turpin  and  Tarquin. 

all  as  fine  hounds  as  ever  went  into  a  field,  were 

among'  Trojan's  get.     When  the  pack  was  sold  in 

1790,    Mr.    Corbet    reserved    the    cid    hc-und   for 

himself 

Daniel's  Rural  Srcrzs  contains  ten  engravings  bv 
by  John  Scott,  from  ELmer's  paintings,  namely. 
"Terrier  and  Fox".  •■Hare  Sitting."  ""Snared 
Hare, "  "  Groups  of  Fish.  "  "•  Pheasants."  "  Wotmied 
Pheasantj"  "Black  Grouse."^  "  Red  Gnxisc,"  "  Covev- 
01  Partridges ""  and  "  Woodcocks."  The  last  named 
is  here  reproduced.  The  A^^^ils  of  Spcrfiis^  i-os 
iS:;5  contains  a  plate  engraved  by  Joim  Scoa  frcsn 
*•  Partridges  Basking  in  the  Sun.""  a  picture  which 
had  been  exhibited  by  Eimer  at  the  Rcyal  .Aca- 
demy :  it  depicts  a  covey  alarmed  while  d-.3ting 
by  the  sudden  liight  overhead  of  a  couple  of  duck. 
and  is  beaudfullv  executed. 


156  ANIMAL    PAINTERS 

Among  many  important  engravings  from  his 
pictures  mention  may  be  made  of  three  fine  plates 
on  a  large  scale  engraved  by  Charles  Turner  and 
published  by  W.  D.  Jones,  of  Oxford,  in  1807  ;  these 
are  "Dead  Game,"  "Black  Game"  and  "Red 
Game." 

Elmer  died  at  the  age  of  seventy-nine,  in  1796, 
having  exhibited  for  the  last  time  three  years  pre- 
viously ;  he  was  buried  at  Farnham.  Dying  as  he 
had  lived,  unmarried,  he  bequeathed  his  property 
(which  included,  as  already  remarked,  a  large  number 
of  his  own  works),  to  his  nephew.  These  were  ex- 
hibited at  the  Large  Room  in  the  Haymarket  in  the 
spring  of  1799,  under  the  title  of  "  Elmer's  Sports- 
man's Exhibition."  Many  of  them  were  disposed 
of  at  good  prices,  and  the  remainder  were  removed 
to  Gerrard  Street,  Soho,  where  they  were  acciden- 
tally destroyed  by  fire  on  6th  February,  1801.  The 
catalogue  of  these  pictures  consisted  of  148  lots, 
and  the  Introduction  describes  it  as  a  collection  of 
pictures  of  dead  pheasants,  partridges,  hares,  "and 
the  numerous  etceterae  of  what  painters  call  still 
life."  It  proceeds  : — "To  blazon  the  merit  of  Mr. 
Elmer  is  quite  unnecessary,  as  for  more  than  half-a- 
century  his  talents  have  been  universally  admitted 
and  universally  admired.  1  le  took  Nature,  English 
Nature,  for  his  model,  and  in  his  works  she  herself 
appears  as  in  a  mirror.  '      I'he  story  of  the  ancient 


WORKS    OF    STEPHEN    ELMEK,    A.K.A.  1 57 

painter  whose  grapes  were  so  natural  that  the  birds 
flew  and  pecked  at  them  is  quoted,  and  it  is  added 
that  Elmer's  painting  went  further,  for  on  one 
occasion,  a  lady  of  rank,  calling  at  his  studio  at 
Farnham,  found  him  painting  a  brace  of  partridges 
hangingf  before  him,  and  exclaimed, 

"  No  wonder,  Mr.  Elmer,  you  succeed  so  well, 
for  I  see  you  paint  from  Nature." 

"  Not  now,  madam,  not  now  ;  for  I  am  copying 
a  picture  I  painted  last  year,"  replied  the  artist ; 
and  he  lifted  from  his  easel  the  picture  which  his 
visitor  had  mistaken  fir  two  real  birds. 


WORKS  OF  STEPHEN  ELMER,  A.R.A. 

IX  THE  SOUTH   KEXSIXGTON   MUSEUM. 

GROUP  OF  FISH  LVIXG  O.V  THE  GROUND,  on  canvas,  24!  inches  by  29!  im-he., 
oblong.     Signed. 

PICTURES    EXHIBITED    IX   THE    ROYAL   ACADEMY 
(117  in  number). 

YEAR 

i772-<9)  A    FOX,    &'c. A   HARE— A  PHEASANT— Ttuc  FLOWER   PIECES— 

Two  FRUIT  PIECES— Three  DEAD  BIRD  PIECES— A  BRACE  OF 
PHEASA NTS— BRACE  OF  TROUT— Two  pieces  of  SMALL  BIRDS. 

i-,-,^— (10)  FOIVLS  —  LURCHER  AND  DEAD  FOX  —  SPORTSMEN,  with  dead 
game,  &c.— CANARY  IN  A  CAGE— FRUIT  PIECE— Two  small  FRUIT 
PIECES— BRACE  OF  PARTRIDGES  —  WOODPECKER,  JAY,  &'c.— 
BASKET  OF  STRA  WBERRIES—GAME. 

,7-^— (9)  HERON  AND  SPANIEL  —  POINTER— PHEASANTS— PARTRIDGES 
—  TROUT— FRUITS— FRUITS— GAME— HARE  AND  PHEASANTS. 

177s— (4)  A  BRACE  OF  TROUT— WOODCOCK.'i-PARTRIDGES-A  BASKET 
OF  STRA  WBERRIF.S. 

r„(r~{^)  DEAD  CAME  —  DEATH  OF  A  FOX— FISH  AND  CAT— FRUIT- 
FRUIT. 


158 


ANIMAL    PAINTERS 


YEAR 

^m~(l)  FOX  AND  PHEASANT  —  FOWLS,  &-c.  —  BASKET  OF  STRAIV- 
BEKKIES  —  PARTRIDGES  —  FK  UIT  ~  A  POLITICIAN—  r/Eir  OF 
FARNHAM  CASTLE. 

l^^Z-^6)  A  BRACE  OF  TROUT— BASKET  OF  S TRAIl'BERRIES—FR UIT— 
FR  UIT— FLOWERS— FLOWERS. 

1779— (6)  A  BRACE  OF  PHEASANTS— CARP— WOODCOCKS— WILD  DUCKS, 
TEAL,  &'c.— TROUT,  CARP,  b'c.—HEN  AND  CHICKENS. 

i7So-(6)  FRUIT  —  WOODCOCKS  —  HARE  AND  PARTRIDGES  —  PERCH- 
BRACE  OF  PARTRIDGES— PHEASANT  AND  WOODCOCKS. 

1781— <6)  WOODCOCKS— BR. ACE  OF  PARTRIDGES— BRACE  OF  PHEASANTS 
—FRUIT— FRUIT— COVEV  OF  PARTRIDGES. 

1782— <s)  WOODCOCKS— DEAD  G.iME—FISH  AND  CAT— FRUIT— FRUIT. 

^■jS3-(7)  FISH— NEWFOUNDLAND  DOG  — SPANIELS  AND  WOODCOCKS- 
BLACK  GAME— PAR  TRIDGES— WOODCOCKS— FR  UIT. 

17S4— (5)  PHEASANTS— FRUIT— WOODCOCKS— AN  ALAR.MED  PO.ICHER— 
PARTRIDGES. 

1785— (5)  GOLD  PHE.4S ANTS  —  FRUIT— .MANDARIN  DR.! KE— AVARICE- 
PHEASANTS. 

tji6—(.$)  BRACE    OF  PIIE.4SANTS—HAWK  AND   PAR  TRIDGF— FIGHTING 

COCKS— WOODCOCK.';— GR  A  PES,  &=€. 
7S7— (4)  Cr);'£ J-  OF  PARTRIDGE.';— BR.-ICE  OF  PHE.4SANTS—HARE  AND 
WOODCOCKS— FOX  .AND  PHEASANT. 

\nZi-(S)  BR.-iCE  OF  PARTRIDGES— COUPLE  OF  WOODCOCKS— A  HARE 
SITTING. 

1 7S9— (  5)  PEA  COCK— FISH— FR  UI T—PA  R  TR  IDGF.S—PHEA  SA  NTS. 

1790— (3)  FISH— PHEASANTS— FRUIT,  &=€. 

^ni— COVEV  OF  PARTRIDGES. 

1793— (2)  COUPLE  OF  WOODCOCKS— FRUIT. 

,jg4_(2)  TEAL— PARTRIDGES. 

tn'^—BR.'ICE  OF  TROUT. 

PLATES    IN    THE    SPORTING    MAGAZINE  (2   in  number.) 

MALLARD  AND  FRENCH  SPANIEL,  1805,  vol.  26. 
TROJAN,  1825,  vol.  65;  engraved  by  W.  .Sniich. 

PLATE  IN  THE  ANNALS  OF  SPORTING. 

COVEY  OF  P.l  R  TRIDGES,  1823,  vol.  7  ;  engra\'ed  by  J.  Scott. 


159 


JOHN   E.   FERNELEY. 

(Born  1782.     Died  i85o.) 

JOHN  E.  FERNELEY  was  born  on  i8th 
^  May,  1782,  at  Thrussington,  in  Leicester- 
shire, a  place  well  known  to  followers  of  the 
Quorn.  The  son  of  the  village  wheelwright,  he 
followed  his  father's  craft  and  worked  in  his 
yard  until  he  attained  the  age  of  twenty-one. 
A  wheelwright's  business  is  not  one  that  at  first 
sight  appears  to  offer  scope  for  the  exercise  of 
artistic  talents.  But  the  born  artist  makes  oppor- 
tunities for  himself,  and  in  his  teens  young 
Ferneley  betrayed  his  real  bent  by  adorning  the 
foreboards  of  waggons  sent  for  repair  with  devices 
in  colours  which  he  prepared  for  himself  Further 
proof  of  his  proclivities  was  forthcoming  in  his 
method  of  employing  his  leisure  hours,  which  he 
spent  copying  pictures  borrowed  for  the  purpose. 

His  success  in  these  early  efforts  evidently 
impressed  Ferneley  senior,  who  must  have  been 
a  man  of  less  narrow  views  than  some  of  the 
parents  who  have  claimed  incidental  notice  in 
these    biographical  sketches,   for   in   1803,  John   E. 


l6o  ANIMAL    PAINTERS 

Ferneley,  being  then  of  age,  migrated  with  his 
father's  consent  to  London  in  order  to  study  under 
Benjamin  Marshall.  He  spent  a  year  in  Marshall's 
studio  in  Beaumont  Street,  Marylebone,  varying 
his  work  there  with  occasional  visits  to  Dover, 
where  he  painted  pictures  of  horses  for  the  officers 
of  the  Leicestershire  Militia  then  stationed  at 
Dover  Castle.  That  gentlemen  from  his  native 
county  should  have  requisitioned  his  services  so  soon 
after  he  had  embraced  the  artist's  career,  seems 
to  indicate  that  the  work  which  engaged  his  spare 
time  while  in  his  father's  yard  had  attracted  atten- 
tion   beyond    the    limits    of  his    own    village. 

He  appears  to  have  been  of  rather  restless  disposi- 
tion. When  he  had  spent  about  twelve  months 
with  Marshall,  he  started  to  seek  his  fortune  in 
Ireland,  thinking  no  doubt  that  a  country  in  which 
sport  ranked  so  highly  in  the  esteem  of  all  classes 
offered  a  promising  field  to  one  of  his  profession. 
His  residence   on   the    other  side  of  St.    George's 

o 

Channel  was  not  continuous,  as  he  found  time  to 
pay  occasional  visits  to  Thrussington.  Travel  in 
those  days  was  neither  cheap  nor  expeditious,  so  it 
may  be  fairly  concluded  that  Ferneley  was  doing 
well  in  a  pecuniary  sense.  At  all  events,  he  found 
patrons  among  the  most  prominent  Irish  sportsmen 
of  the  time;  between  the  years  i8og  and  1813  he 
executed  commissions  for  the  Earl  of  Belmore, 
Lord  Lismore,  Lord  Rossmore,  and  many  others. 


JOHN    E.    FERNELEY  l6l 

As  was  most  natural  in  view  of  the  place  of 
his  birth  and  upbringing,  fox-hunting  pictures  were 
Ferneley's  speciality.  Mr.  Thomas  Assheton  Smith 
was  one  of  his  first  patrons.  That  gentleman  left 
Northamptonshire  to  succeed  Lord  Foley  as  Master 
of  the  Ouorn  in  1806,  collecting  a  first-rate  pack 
from  various  kennels,  his  best  draft  being  purchased 
for  1,000  guineas  from  Mr.  Musters,  of  Colwick 
Hall.  For  Mr.  Assheton  Smith,  in  the  first  year 
of  his  mastership  of  the  Quorn,  Ferneley  painted 
some  large  hunting  pictures.  Afterwards  he  under- 
took commissions  for  Lord  Tamworth,  at  Stanton 
Harold,  near  Ashby-de-la-Zouch.  Having  these 
successes  to  remind  him  that  there  was  no  better 
field  for  a  painter  of  fox-hunting  scenes  than  his 
own  county,  it  is  not  surprising  that  Ferneley,  when 
weary  of  vacillating  between  Ireland  and  England, 
should  have  selected  as  his  home  the  metropolis  of 
the  sporting  world,  Melton  Mowbray,  not  half  a 
dozen  miles  from  Thrussington.  Here  he  married 
and  settled  down. 

Once  established  at  Melton  work  flowed  in  upon 
him  ;  his  reputation  grew  apace,  and  soon  was 
almost  unrivalled  by  that  of  any  man  in  his  own 
line.  His  talent  as  a  portrait-painter,  combined 
with  his  remarkable  ability  in  catching  the  likeness 
of  horse  and  hound,  rendered  his  position  excep- 
tionally strong  ;  and  he  numbered  among  his 
II 


l62  ANIMAL    PAINTERS 

patrons  such  men  as  the  Duke  of  Rutland,  the 
Marquis  of  Westminster,  the  Earls  of  Cadogan 
and  Kintore,  Lords  Jersey,  Middleton,  Forester, 
Gardner,  and  Tyrone,  the  Hon.  Augustus  Craven, 
Sir  Bellingham  Graham,  Sir  Harry  Goodricke,  Sir 
J.  Crewe,  Mr.  F.  H.  Standish,  and  many  of  the 
other  celebrated  hard  riders  of  the  time. 

Among  Ferneley's  best  known  pictures  may  be 
noted  one  painted  in  the  year  1815  for  the  Earl 
of  Plymouth,  "  The  Quorn  Hunt,  Mr.  Thomas 
Assheton  Smith  and  his  hounds";  a  group  of  fifteen 
sportsmen.  Mr.  Assheton  Smith  stands  by  his 
horse  Gift,  a  light  chestnut,  whose  rein  is  held  by 
Dick  Burton.  He  is  talking  to  Mr.  Mills,  who  is 
mounted  on  an  iron-grey.  Lord  Plymouth  stands 
near,  leaning  over  his  horse  Fancy  ;  Tom  Edge  is 
on  Cayman  ;  and  Jack  Shirley  from  the  back  of 
Young  Jack  o'Lantern  looks  down  on  his  favourite 
hounds.  Young  Will  Burton  lingers  on  the  out- 
skirts of  the  group  waiting  to  see  hounds  thrown 
into  covert  before  he  takes  home  his  master's  hack. 
(Young  Burton  was  only  fourteen  years  old  at  the 
time  this  picture  was  painted,  and  he  died  a  few 
months  afterwards).  The  meet  is  at  Barkby  Holt, 
and  the  eye,  passing  the  church  tower  of  Hunger- 
ton  and  Quenby  Hall,  rests  on  the  fir-clad  eminence 
of  Billesdon  Coplow. 

For   Sir    Bellingham    Graham,  who  was  Master 


TOHN    E.    FERNELEY  1 6 


J> 


of  the  Ouorn  from  1821  to  1823,  Ferneley  painted  a 
picture  which  Sir  Reginald  Graham  has  now  in  his 
possession  ;  he  says  "  it  is  perhaps  the  largest  and 
probably  the  best  work  of  that  excellent  artist." 
This  was  "The  Ouorn  at  Ouenby  in  1823";  it 
contains  more  than  forty  portraits  of  men  well 
known  in  Leicestershire ;  among  them  are  Lord 
Darlington  (Master  of  the  Raby),  Lord  Cardigan, 
Mr.  Maxse,  on  Cognac,  Mr.  Valentine  Maher, 
Captain  the  Hon.  F.  Berkeley,  R.N.  (afterwards 
Lord  Fitzhardinge),  Colonel  Coke,  on  Advance, 
Lord  Rancliffe  (of  Bunney  Park),  Sir  Bellingham 
Graham,  Lord  Sefton,  Sir  Francis  Burdett,  M.P., 
Colonel  George  Anson,  Lord  Elcho,  Sir  James 
Musgrave,  Captain  Whyte  Melville,  Sir  Roderick 
Murchison,  Mr.  Greene  (of  Rolleston),  Mr.  Frank 
Forester,  Sir  George  Wombwell,  Mr.  John  Bushe, 
Mr.  "  Jack  "  White  (afterwards  Master  of  the 
Cheshire,  1841-1855),  Will  Staples,  first  whipper-in, 
and  Jack  Wrigglesworth,  second  whipper-in. 

"  The  Meet  at  Kirby  Gate  "  was  also  painted  for 
Sir  Bellingham  Graham. 

Mr.  Osbaldeston's  first  commission  to  F"erneley 
was  for  a  portrait  of  Assheton,  a  hunter  for  which 
Lord  Plymouth  gave  400  guineas.  It  shows  Mr. 
Osbaldeston  on  this  horse  topping  a  flight  of 
rails ;  he  is  in  the  act  of  checking  the  hounds. 
Mr.    Holyoake    on    Crossbar    is    at   his    side,    and 


164  ANIMAL    PAINTERS 

some  of  the  other  leading  Meltonians  are    equally 
well  up. 

"  Scurry,"  painted  for  Mr.  Crawfurd,  of  Langton 
Hall,  is  a  large  canvas  which  has  special  interest 
as  containing  the  portraits  of  three  famous  sports- 
men, .Sir  Harry  Goodricke,  Squire  Osbaldeston 
and  Mr.  Francis  Holyoake  (afterwards  Sir  F. 
Holyoake  Goodricke).  In  reference  to  the  last- 
named,  a  quotation  from  Sir  John  Eardley  Wilmot's 
Reminiscences  of  Thomas  Assheton  Smith,  Esq., 
published  by  John  Murray,  is  not  out  of  place 
here  : 

"  He  was  first  man  at  one  time  for  a  twenty  minutes'  thing, 
was  Mr.  Holyoake.  To  see  him  ride  Brilliant,  shoving  the 
fox  along  1  This  horse  was  a  rich  dark  chestnut ;  such  a 
countenance,  such  an  eye  ;  he  had  him  from  Newmarket.  Sir 
Harry  Goodricke,  Sir  St.  Vincent  Cotton,  and  Mr.  Holyoake 
lived  together  at  Quorn,  and  were  called  '  The  Sporting 
Triumvirate.'  Mr.  Holyoake  succeeded  by  will  to  the  entire 
property  of  his  brother-sportsman.  Sir  H.  Goodricke,  whose 
name  he  took,  and  was  afterwards  created  a  baronet.  He 
himself  rode  Young  Sheriff  for  several  seasons.  Clinker 
originally  belonged  to  him,  but  was  subsequently  bought  by 
Captain  Ross.  Sir  Francis  Goodricke  has  long  since  left  the 
hunting-field  under  the  influence  of  deep  and  very  sincere 
religious  impressions ;  the  zeal  which  unilormly  displayed 
itself  with  such  ardour  in  his  case  in  the  pursuit  of  a 
favourite  diversion,  is  now  directed  with  even  greater 
strength  and  intensity  into  a  far  higher  and  nobler  channel." 

Among    J.    E.    Ferneley's     other    pictures    may 
be   mentioned   a   smaller   work,    termed    "  Modern 


JOHN    E.    FERNELEY  1 65 

Scarlets,"  which  was  won  by  the  Earl  oi  Milton 
in  a  raffle,  by  whom  organised  and  under  what  cir- 
cumstances does  not  appear. 

"A  Favourite  Hunter,"  the  property  of  H.  De 
Burgh,  Esq.,  of  Drayton  Hall,  near  U.vbridge, 
dated  1823  ;  size,  41  inches  by  33  inches.  This 
picture  is  in  the  Elsenham  collection. 

An  equestrian  portrait  of  Sir  Harry  Goodricke, 
with  that  of  Mountford,  the  huntsman,  who  holds 
aloft  the  fox  ;  Will  Derry  and  Beers,  the  whippers- 
in,  appear  in  the  background.  This  picture  was 
left  unfinished. 

For  Mr.  Foljambe,  of  Osberton  Hall,  near  East 
Retford,  he  painted  a  portrait  of  a  famous  mare 
named  Lark,  the  property  of  Sir  Vincent  Cotton. 
So  admirably  did  the  artist  catch  her  likeness  that 
"  Nimrod  "  said  when  he  saw  the  mare  herself  he 
recognised  her  from  her  portrait  at  the  first  glance. 

"  Silver  Firs "  :  a  shooting  picture  painted  for 
Mr.  Foljambe. 

"  The  Quorn  Hunt  "  :  a  caricature  sketch  in  oils. 
The  scene  is  the  district  of  Stapleford,  in  Leicester- 
shire, and  the  figures  are  portraits  of  well  known 
followers  of  the  Hunt.  Sir  F.  Holyoake  Goodricke 
leads  the  first  flight  on  Brilliant,  and  the  other 
riders  are  the  Marquis  of  Worcester,  Lord  Belgrave, 
Lord  Milton,  Lord  Forester,  Lord  Alvanley,  Lord 
Brudenell,    .Sir    Belling-ham     Graham,    .Sir    Francis 


1 66  ANIMAL   PAINTERS 

Burdett,  Sir  Edward  Mostyn,  Sir  Francis  Mackenzie, 
Col.  the  Hon.  Arden,  the  Hon.  Robert  Grosvenor, 
Captain  Frederick  Berkeley,  Captain  C.  Berkeley, 
Captain  Garth,  Captain  Ross,  Count  Sandois, 
Messrs.  George  Anson,  Blount,  "Billy"  Coke,* 
Maxse,  Maher,  White,  Kent,  Patrick,  T.  Heycock. 
Gilmore,  Nicholson,  Lyne  Stephens,  Wharton,  John 
Wormald,  Henry  Wormald,  and  Dick  Christian. 
The  riders  are  represented  in  very  various  attitudes  : 
Sir  F.  Holyoake  Goodricke,  who  was  said  to 
try  and  catch  the  fox  himself,  is  leading,  while 
others  are  riding:  hard,  fallino-  off — in  short,  in  everv' 
position  in  which  the  fortune  of  the  chase  may  find 
a  keen  rider.  On  the  left  of  the  picture  we  see  a 
group,  eager  and  angry,  having  been  stopped  at  a 
gate  in  a  lane  by  a  brood  mare  and  her  foal,  which 
block  their  way.  This  canvas  is  in  the  Elsenham 
collection;  it  is  dated  1S28;  size,  83  inches  by  25 
inches. 

"  Sir  Francis  Burdett,  Bart."  :  an  equestrian  por- 
trait. Ferneley  received  from  Miss  Burdett  Coutts 
(now  the  Baroness  Burdett  Coutts)  the  commission 
to  paint  this  picture  of  her  father,  who  then  resided 
at  Foremark,  Derbyshire.  Sir  Francis  Burdett 
died  in   1844. 

*  This  gentleman,  nephew  of  Mr.  Coke,  who  was  afterwards  created  Earl 
of  Leicester,  is  portrayed  in  the  foreground  on  his  famous  chestnut  Advance. 
Mr.  William  Coke  introduced  the  low-crowned  hat  in  which  Ferneley  has 
represented  him  ;  this  style  of  head  gear  was  afterwards  known  by  his  name 
in  the  slightly  corrupted  form  of  "  Billycock.  " 


JOHN    E.    FERNELEY  1 67 

"  The  Lambton  Hounds  at  Feedino-  Time,"  was 
painted  in  1832  and  exhibited  at  the  gallery  of  the 
Society  of  British  Artists.  The  figure  by  the 
kennel  door  is  Fenwick  Hunnum,  the  feeder.  This 
picture  was  engraved  in  1833. 

"Breaking  Cover"  was  painted  in  1833.  This 
work  contained  portraits  of  members  of  the  Sedge- 
field  Hunt  ;  it  was  presented  to  Mr.  Ralph  Lamb- 
ton  at  a  dinner  given  in  March,  1S33,  by  Mr. 
Fawcett,  on  behalf  of  the  subscribers. 

Filagree  and  Cobweb  :  two  race-horses  with 
foals  ;  painted  for  Lord  Jersey. 

Velocipede  and  The  Cur :  two  race-horses  ; 
painted  for  Mr.  Crawford. 

"  Waiting  for  a  Shot  at  Roedeer  "  :  a  portrait  of 
John  Henry  Bouclitch,  for  forty-five  years  head 
keeper  to  the  Earl  of  Kintore. 

"The  Horse  Fair"  and  "The  Cattle  Market." 
These  were  two  of  Ferneley's  latest  works  ;  their 
interest  is  largely  due  to  the  artist's  introduction 
therein  of  equine  portraits,  and  of  "  horsey  "  char- 
acters of  note  at  the  time. 

He  painted  the  portrait  of  Samuel  Dumbleton, 
for  twenty-three  years  whipper-in  to  the  Earl  of 
Spencer's  hounds  under  the  two  Richard  Knights. 
This  picture  was  drawn  on  stone  by  Miss 
Ferneley,  the  artist's  daughter,  and  published  by 
Ferneley    himself  at    Melton     Mowbray    in    1834. 


1 68  ANIMAL    PAINTERS 

The    Nevj     Sporting     Magazine,    vol.     viii.,     for 
Januar)-,  1835,  gives  a  description  of  the  work. 

"  Here  is  the  f>ortrait  of  a  veteran  sportsman — a  man  in  his 
eighty-fifth  year,  who  is  yet  able  to  get  to  hounds  !  beautifully 
drawn  on  stone  by  the  hand  of  a  fair  lady.  Why,  it  is 
enough  to  rejuvenate  the  old  fellow  !  This  picture  of  one  of 
the  men  of  olden  times — who  flourished  in  the  palmy  days 
of  the  Pytchley  and  "  Dick  Knight  " — is  published  for  the 
benefit  of  the  venerable  subject  of  it,  both  Mr.  Femeley  and 
his  daughter  ha^-ing,  with  a  Hberality  of  feeling  that  reflects 
the  highest  credit  on  their  character,  given  their  time  and 
talents  to  its  execution.  The  likeness  is  admirable,  and  we 
feel  assured  that  Mr.  and  Miss  Ferneley's  charitable  exer- 
tions only  require  to  be  known  to  receive  the  generous 
suppon  of  the  hunting  world,  particularly  of  the  gentlemen 
who  are  acquainted  with  the  original.  We  have  elsewhere 
in  this  number  said  a  few  words  on  behalf  of  the  ser\-ants  of 
hunting  establishments,  and  have  often  regretted  the  non- 
existence of  a  benevolent  fund  among  them,  from  which  aged 
and  infirm  members  might  draw  a  little  relief  in  sickness  and 
the  decline  of  life ;  for  as  things  now  stand  we  hold  it  to  be  no 
discredit  to  them  not  to  have  saved  a  competency  during 
their  ser\-itude,  and  such,  we  fear,  is  the  case  with  honest 
Samuel  Dumbleton." 

Ferneley's  contributions  to  the  Royal  Academy 
were  less  numerous  than  his  large  output  might 
justify  us  in  expecting  ;  the  probability  is  that  in 
his  day  the  practice,  now  so  usual  among  painters, 
of  stipulating  for  permission  to  exhibit  a  work  before 
delivery  to  the  person  who  had  commissioned  it, 
was  not  in  vogue.  During  the  period  1806- 1853 
he  sent  only  nineteen  pictures.  In  the  issues  of 
the  Sporting  Magazine,  between  the  years  18 12  and 


JOHN    E.    FERNELEY  1 69 

1859.  we  find  seven  engravings  from  his  works, 
and  the  New  Sporting  Magazine,  for  the  years 
I  S3  2,  1S34,  and  1S38,  contains  three  plates,  en- 
graved from  pictures  by  Ferneley. 

During  the  artist's  lonsf  residence  at  J^Ielton 
Mowbray,  extending  over  fifty-four  years,  he 
necessarily  witnessed  many  changes  ;  his  experience 
is  eloquently  reflected  in  his  works,  which  give  us 
portraits  of  three  generations  of  the  hard-riding 
sportsmen  of  Leicestershire.  It  is  impossible  to 
leave  this  phase  of  the  subject  without  more  specific 
reference  to  the  man  who  was  so  prominent  a 
figure  with  the  Ouorn  hounds  in  Ferneley "s  day  ; 
and  again,  we  cannot  do  better  than  quote  from 
the  book  already  mentioned — Sir  John  Eardley 
W'^ilmot's  Reminiscences  of  Thomas  Assheton  Srnith. 
It  is  peculiarly  apposite,  as  the  writer's  remarks  are 
inspired  by  a  picture  painted  by  Ferneley  : — 

"  Speaking  on  the  subject  of  hounds,  we  are  naturally  drawn 
to  contemplate  the  splendid  picture  of  the  hunt  at  Tedworth, 
painted  at  Penton  in  1829  by  Mr.  Ferneley,  who  came  ex- 
pressly from  Leicestershire  into  Hants,  and  was  the  Squire's 
guest  for  a  fortnight  for  this  purpose.  Mr.  Smith,  as  has  been 
elsewhere  already  mentioned,  is  on  Ayrton,  with  Dick  Burton, 
his  huntsman,  standing  at  the  side  of  the  Big  Grey ;  Tom 
Day,  the  first  whip,  on  Reformer ;  and  Bob  Edwards,  the 
second  whip,  holding  Anderson,  Mr.  Smith's  second  horse. 
The  numerous  hounds  in  the  picture  are  all  portraits.  Amcng 
those  most  famous  are  Rifleman,  standing  close  to  Dick 
Burton,  who  has  a  pair  of  couples  in  his  hand,  Watchman, 


170  ANIMAL    PAINTERS 

Dimity,  Chorister,  Dabchick,  Trimbush,  Tomboy,  Traffic, 
Reginald,  Rubicon,  Roundley,  Rosy,  Commodore,  and 
Clinlver.  Trimbush  is  looking  up  at  Mr.  Smith,  while 
Chorister  stands  under  his  horse's  head,  and  Rifleman  with 
the  huntsman  is  at  his  side.  In  front  of  the  picture  are 
Commodore  and  Watchman,  while  Rarity  is  gambolling 
towards  her  master.  Under  the  tree,  in  the  background,  sits 
Remus,  a  well-known  hound.  On  the  left  is  Tedworth  House. 
The  sportsman  in  the  green  coat  just  about  to  mount  his  horse 
in  the  distance  is  Mr.  Northeast,  the  agent  of  the  Tedworth 
estates,  famous  for  his  judgment  and  experience  in  the  breed- 
ing of  Southdown  sheep."  Speaking  of  this  picture  and  of 
the  principal  figure  in  it,  Mr.  Ferneley  says  in  a  letter  written 
on  the  23rd  of  October  last :  "  It  gives  me  much  pleasure  to 
hear  of  the  publication  of  a  memoir  of  so  excellent  a  sports- 
man and  so  good  a  man.  It  is  now  fifty-three  years  since  I 
first  saw  him ;  he  was  riding  his  horse  Jack-o'-Lantern.  I 
saw  him  near  Frisby  Gorse,  trying  to  get  his  horse  over  a 
flight  of  rails  six  or  seven  times,  but  he  refused,  and  Mr. 
Smith  had  to  take  him  to  another  place  before  he  could  suc- 
ceed." Mr.  Ferneley  adds :  "  He  was  the  first  red-coat  I 
painted,  and  on  Jack-o'-Lantern.  The  picture  was  bought  by 
Mr.  Valentine  Maher,  and  at  his  death  it  was  sold,  and  I  do 
not  know  what  became  of  it.  This  was  in  1S06,  the  year  Mr. 
Smith  first  took  the  Quorn  hounds.  I  also  painted  his  portrait 
with  his  hounds  for  the  Earl  of  Plymouth.  In  the  same 
picture  were  portraits  of  Lords  Plymouth,  Aylesford  and 
Dartmouth,  Messrs.  P.  Mills,  J.  Bradshaw,  Paris,  J.  W. 
Edge,  Hinton,  &c.  This  was  in  1819 ;  and  I  fear  never  again 
will  Leicestershire  boast  the  assembling  together  of  such 
thorough  sportsmen,  as  well  as  kind,  noble-hearted  men." 

Ferneley's  unwearying  energy  and  industry  and 
dauntless  perseverance  continued  until  the  last, 
though  during  the  two  closing  years  of  his  life 
he   was  a   great   invalid.     To  the  end  he   was   an 


JOHN    E.    FERNELEY  171 

early  riser;  no  matter  how  sleepless  or  full  of  pain 
the  night,  he  was  in  his  studio  with  the  morning 
light.  He  was  a  man  whose  interests  were  not 
confined  to  his  own  department  of  art ;  to  the  end 
of  his  life  it  was  his  custom  to  come  up  to  London 
every  year  to  keep  himself  abreast  of  the  artistic 
life  of  the  time  by  visiting  the  exhibitions. 

Many  of  the  equine  portraits  and  hunting  pieces 
which  came  from  his  prolific  brush  adorn  the  walls 
of  English  country  houses  ;  these,  as  we  have  said, 
were  his  specialities,  but  he  occasionally  painted 
scenes  of  Turf  and  Coaching  life  and  other  sporting 
subjects.  Many  of  Ferneley's  works  will  live  to 
perpetuate  his  name  in  the  world  of  sport  ;  for  if 
his  achievements  were  not  of  an  order  which  would 
entitle  him  to  rank  with  the  first  animal  painters 
of  his  time,  it  must  be  admitted  that  he  possessed 
gifts,  the  exercise  of  which  assured  him  the  patron- 
age of  the  best  sportsmen  of  his  day,  and  also  won 
him,  despite  his  humble  origin,  the  personal  friend- 
ship of  all  with  whom  he  came  in  contact. 

He  married,  first  Miss  Sally  Kettle,  by  whom 
he  had  seven  children,  and  who  died  in  1836. 
His  second  wife.  Miss  Ann  Allan,  by  whom  he 
had  one  son,  died  in  1853.  Two  of  his  sons 
followed  in  his  footsteps,  John,  of  whom  some 
notice  follows,  and  Claude  Lorraine,  landscape  and 
animal  painter. 


172  ANIMAL    PAINTERS 

An  engraving  of  the  picture  of  Captain  Ross 
on  Clinker,  which  appeared  in  the  Sporting  Maga- 
zine oi  1827,  faces  this  page. 

John  E.  Ferneley  died  in  the  seventy-ninth  year 
of  his  age,  on  the  3rd  June,  i860,  and  was  buried  in 
the  churchyard  of  his  native  village,  Thrussington. 


WORKS  OF  JOHN  E.  FERNELEY. 

PICTURES    EXHIBITED  IN  THE  ROYAL  ACADEMY 

(20  in  number). 

YEAR 

1806— (2)  MR.  FREER— L.  SMITH, /UN.,  ESQ. 

iSo7-i^)  P0RrR.4ir    OF  A     HUNTER     AND     CROO.M— PORTRAIT    OF    .4 

GENTLEMAN  AND  HIS  HORSE— SETTERS,  the  properly  of  Mr.  Lambert 

—A  F.4.M0US  SETTER. 
1819— /.  MILLS,  ESQ.,  on  horseback. 
1821 — A    GROUP,   containing    portraits   of    horses,    grooms,  and    barriers,    belonging   to 

J.  Morant,  Esq. 
1^2:1— PORTRAIT  OF  A  HORSE. 
1828 — (2)  GLENARTNEY,  and   his   jockey,    George  Edwards,  painted  for  the  Earl  of 

Jersey— /J  GROUP  OF  CHILDREN,  PONY  AND  ASS. 
1S31— SIR  RICH.4RD  SUTTON,    BART.,  his  hounds,  and  portraits  of  gentlemen  of 

the  Lincoln  Hunt. 
iSsg— PORTRAITS  OF  THREE  HUNTERS. 
liii-PORTRAIT  OF  MELTONIAN. 
li^-j-M'ILLIAM  RUSSELL,  ESQ.,  with  his  horses,  dogs,  &c.     Presented  to  him  by 

the  members  of  the  Brancepeth  Hunt  Club. 
1849— (2)  PORTRAIT  OF  A  HUNTER— THE  CUR,  winner  of  the  Caesarewitch  Stakes 

at  Newmarket,  1848. 
i85c^2)  HUNTERS,  Sambo  and  Pilot,  property  of  Lord  Gardner— i^.  GRANT,  ESQ., 

A.R.A.,  on  a  favourite  hunter. 
iSs}— GROUP  OF  DOGS. 

PLATES  IN  THE  SPORTING  MAGAZINE  {y  in  number). 

JUPITER,  bred  by  Col.  Thornton,  1812,  vol.  40  ;  engraved  by  Scott. 

COGNAC,  a  celebrated  hunter,  property  of  James  Maxse,  Esq.,  1S26,  vol.  67  ;  engraved  by 

H.  R.  Cook. 
CAPTAIN  ROSS  ON  CLINKER,  1S27,  vol.  70;  engraved  by  J.  Webb. 
LORD  KINTORE'S  KEEPER  SHOOTING  ROEDEER,  1831,  vol.  78;  engraved  by 

H.  Woodman. 


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.liaiia;::i;ffiiJii:M3ijiLi, 


WORKS    OF    JOHN    E.    FERNELEY  I  73 

LEATHERHEAD,  property  of  Mr.   Callinan  ;  this  horse  was  reputed  the  best  hunter  in 

Ireland,  1831,  vol.  79 ;  engraved  by  H.  R.  Cook. 
ORELIO,  a  celebrated  Arabian,  1833,  vol.  83  ;  engraved  by  J.  Greig. 
RALLVIVOOD,  a  celebrated  foxhound,  the  property  of  the  Duke  of  Rutland,  1859,  vol. 

134 ;  engraved  by  E.  Hacker. 

PLATES  IN  THE  NEW  SPORTING  MAGAZINE 
(3  in  number). 

JOHN  U'lXTER,  huntsman  to  Ralph  John  Lambton,    Esq.,   1832,  vol.   4;   engraved  by 

J.  R.  Scott. 
THE   LAMBTON   HOUNDS    AT   FEEDING    TIME,    1834,   vol.    7;    engraved   by 

R.  Parr. 
EXTRAORDINARY  LEAP  TAKEN  BVCOL.  STANDEN,  1838,  vol.  14  ;  engraved 

by  T.  E.  Nicholson. 


174 


JOHN    FERNELEY. 

(Born   1815.) 

JOHN  FERNELEY,  eldest  son  of  John  E. 
^  Ferneley,  was  born  in  1S15.  His  pictures 
have  merit,  whether  we  consider  them  from  the 
artistic  or  sporting  stand-point  ;  but  they  cannot  be 
compared  with  those  of  his  father's.  John  Ferneley's 
work  is  first  mentioned  in  the  Sporting  Magazine : 
vol.  ci.  of  1843,  contains  a  plate  engraved  by  J.  H. 
Engleheart,  from  the  artist's  portrait  of  Theon, 
a  dark  brown  horse  by  Emilius  out  of  Maria,  by 
Whisker.  The  picture  was  painted  for  Mr.  R. 
Blacker,  of  Ripon,  1843. 

Two  plates  also  appear  in  the  Neiv  Sporiitig 
Magazine,  in  vol.  v.,  1833,  viz.: — a  portrait  of 
Robert  Hunnum,  Mr.  Ralph  John  Lambton's  first 
whipper-in.  This  was  painted  by  John  Ferneley 
from  a  large  work  by  his  father  ;  it  was  engraved 
by  W.  Raddon.  In  vol.  vii.,  1834,  we  find  a 
portrait  of  Eglinton,  a  celebrated  hunter  belonging 
to  Mr.  Ralph  John  Lambton,  of  Durham ;  this 
plate  was  engraved  by  Engleheart. 

Vol.  ii.  of  the  Sporting  Review,  1839,  also  contains 


JOHN    FERNELEY  1 75 

an  engraving  from  a  picture  by  John  E.  Ferneley, 
"The  First  Step,"  engraved  by  J.  W.  Coolc. 

The  Htmting  Exploits  of  Count  Sandois,  pub- 
lished by  Rudolph  Ackermann,  London,  1841,  con- 
tains ten  coloured  plates,  13^  inches  by  \oh  inches, 
engraved  by  E.  Duncan  from  paintings  by  J. 
Ferneley.  Deer  Stalking  also  published  by 
Rudolph  Ackermann,  1841,  contains  two  coloured 
plates,  namely  "The  Stag  Soiling"  and  "The 
Death,"  after  J.  Ferneley,  engraved  by  E.  Duncan, 
24  inches  by  18;^  inches. 

For  Mr.  R.  Goddard  he  painted  an  equestrian 
group  representing  Messrs.  Robert  Darling  and 
John  Browne,  two  well-known  characters  in  the  East 
Riding  of  Yorkshire.  This  work  was  engraved  and 
was  published  by  Maclean,  of  the  Haymarket,  in 
1840. 

Little  is  known  concerning  John  Ferneley's 
career  beyond  the  fact  that  he  resided  chiefly  in 
Yorkshire  ;  as  an  artist  we  know  him  chiefly  from 
the  engravings  of  his  paintings,  which  may  be  found 
in  the  sporting  publications  of  his  time. 


176 


GEORGE  GARRARD,  A.R.A. 

(Born  1760.     Died  1S26.) 

r^  EORGE  GARRARD  was  born  on  31st  May, 
^-^  1 760.  He  came  of  a  family  of  artists,  tracing 
his  descent  to  Marcus  Garrard  who  came  from 
Bruges  to  England  in  1580,  and  became  painter 
to  Queen  Elizabeth.  Among  other  important 
works  executed  by  him  was  a  picture  of  the  pro- 
cession on  the  occasion  of  the  Queen's  visit  to 
Hunsdon  House,  near  Ware,  Hertfordshire,  in  1584. 
Marcus  Garrard  died  in  1635.  The  name  in  con- 
nection with  art  next  occurs  in  the  Stafford  Papers, 
among  which  we  find  two  letters  dated  respectively 
9th  November  and  13th  December,  1637,  from  "Mr. 
Garrard,"  who  writes  of  Charles  I.  as  a  great  patron 
of  the  Arts  :  "  In  evidence  of  the  King's  affection  for 
his  pictures,"  he  says,  "a  great  room  is  being  erected 
in  the  first  court  at  Whitehall,  betwixt  the  guard- 
chamber  and  the  banqueting-house,  which  will  cost 
the  King  ^2,500,  because  he  will  not  have  his 
pictures  in  the  banqueting-house  hurt."  The  new 
room  was  only  a  temporary  structure,  built  of 
weather-boarding;  and  it  was  intended  to  house  the 


GEORGE    GARRARD,    A.R.A.  177 

King's  pictures  while  the  banqueting-hall  was  given 
up  to  rehearsals  of  two  masks,  one  of  which  was  to 
be  held  at  Twelfth-tide  and  the  other  at  Shrove-tide. 

Of  George  Garrard's  early  life  very  little  is  known. 
He  studied  under  Joseph  Simpson,  a  famous  draw- 
ing-master and  was  afterwards  a  pupil  of  Sawrey 
Gilpin;  in  1778  he  studied  at  the  Royal  Academy. 
His  first  contribution  to  the  Royal  Academy  exhibi- 
tion was  a  picture  entitled  "  Two  Horses,"  which 
was  shown  in  17S1,  when  his  address  is  given  as 
"At  IVIr.  Gilpin's,  Knightsbridge."  It  was  not 
long  before  he  received  a  convincing  proof  of  the 
opinion  entertained  of  his  work  by  the  first  artists  of 
the  day.  This  was  a  commission  from  Sir  Joshua 
Reynolds,  who  was  so  pleased  with  his  "  View  of  a 
Brewhouse  Yard,"  exhibited  in  1784,  that  he  gave 
the  young  artist  an  order  for  a  picture  of  similar 
character.  Though  portraits  of  horses  and  dogs 
occupied  much  of  Garrard's  attention  at  this  period, 
as  they  did  for  the  best  part  of  his  career,  he  also 
enjoyed  some  reputation  as  a  landscape  painter. 

Hence  when  Colonel  Thornton,*  in  preparing  for 
his  famous  sporting  tour  in  Scotland  about  1786, 
addressed  "the  ingenious  Mr.  Gilpin,  in  whose 
taste  as  an  artist,  and  good  sense  as  a  man  I  could 
confide  ;  particularly  lamenting  the  want  of  a  proper 


*  See  Appendix,  p.  211. 
12 


178  ANIMAL    PAINTERS 

person  with  me  last  year  to  do  justice  to  the  views 
I  had  been  so  enchanted  with,"  Gilpin  promised 
"  to  exert  himself  to  find  some  young  man  of  good 
family  whose  abilities  were  equal  to  the  task,"  and 
suggested  among  others,  George  Garrard.  For 
excellent  reasons  Colonel  Thornton  chose  Gilpin's 
old  pupil — "  The  scenes  which  I  wished  to  have 
painted  were  to  illustrate  not  only  the  views  as  mere 
views,  but  as  scenes  adapted  to  sport  ;  and  his  forte 
in  animals  was  very  manifest  ;  his  age,  constitution 
and  acknowledged  rising  genius  would  admit  of  no 
comparison  ;  added  to  which  he  was  an  excellent 
walker." 

During  his  patron's  six  months'  tour  about  the 
northern  counties  of  England  and  the  Highlands  of 
Scotland,  Garrard's  brush  was  steadily  employed  ; 
and  when  the  Sporting  Tour  was  published  in  1804, 
the  work  was  illustrated  with  engravings  from  these 
pictures. 

Garrard,  after  his  tour  in  the  wilds  of  Scotland 
with  his  patron,  appears  to  have  settled  down  in 
London  to  work  at  his  profession.  The  Royal 
Academy  exhibition  of  1786,  contained  evidence  of 
his  travels  in  a  "  View  of  Hamilton  Palace,"  and 
a  "View  of  Inverary,  in  Argyllshire,"  another  view 
of  the  same  mansion  being  shown  in  the  following 
year.  Portraits  of  horses  and  dogs  and  landscapes 
make   up   the   majority   of  his   contributions  during 


GEORGE    GARRARD,    A.R.A.  1 79 

the  next  few  years.  In  1796,  he  exhibited  a  picture 
entitled  "A  Wharf  near  London  Bridge."  "Anthony 
Pasquin  "  (John  Williams),  in  his  Critical  Guide 
to  the  Exhibition,  "  notices  this  performance  with 
satisfaction  as  it  affords  us  an  opportunity  of  ad- 
ministering   praise    in    consonance    with    our   duty. 

.  .  .  In  the  material  parts  of  the  outline  the 
artist  has  soared  above  his  competitors  and  has 
given  us  something  very  near  the  truth  of  cha- 
racter." The  critic,  however,  is  weighed  down 
with  a  sense  of  his  self-set  task  to  "Ascertain  the 
Truth  and  Improve  the  Taste  of  the  Realm,"  as 
declared  on  the  title-page  of  his  guide  ;  and  he 
complains  that  "  the  objects  are  too  much  crowded 
for  any  choice  of  nature  unconnected  with  a  mob." 

In  1795,  we  find  the  first  indication  of  his  taste 
for  modelling  in  the  "  Model  of  a  Cow,"  exhibited 
at  the  Royal  Academy  of  that  year.  From  this 
date  he  devoted  an  increasing  proportion  of  his 
time  to  modelling  and  sculpture,  if  we  may  judge 
by  the  preponderance  of  models,  busts  and  kindred 
works  which  represented  his  art  in  the  Royal 
Academy  exhibitions. 

The  idea  that  models  of  cattle  might  be  of  utility 
to  landscape  painters  seems  to  have  inspired  his 
efforts  in  this  direction,  but  he  found  himself  con- 
fronted at  the  outset  with  the  difficulty  that  there 
was  no  copyright  in  works  of  plastic  art.     To  secure 


l8o  ANIMAL    painters' 

therefore  the  fruits  of  their  work  to  sculptors  and 
modellers  he  obtained  the  support  of  the  Council 
of  the  Royal  Academy  and  some  of  the  leading 
sculptors  of  the  day,  and  petitioned  Parliament  for 
the  legal  protection  of  such  works.  In  179S,  his 
exertions  were  rewarded  by  seeing  38  Geo.  III., 
c.  71,  placed  on  the  Statute  Book.  This  is  an 
Act  "  for  encouraging  the  art  of  models  and  casts 
of  beasts,  and  other  things  therein  mentioned." 

In  1792  were  published  engravings  from  two 
good  examples  of  his  work,  "  A  View  from  the 
East  End  of  the  Brewery,  Chiswell  Street,"  the  plate, 
measuring  21  inches  by  i6|  inches,  being  engraved 
in  mezzotint  by  W.  Ward,  and  "A  Brewhouse 
Yard,"  plate  22  inches  by  17  inches,  engraved  also 
in  mezzotint,  by  R.  Earlom.  The  artist's  choice  of 
scene  was  doubtless  due  to  the  fact  that  on  a 
brewer's  premises  he  found  the  massive  old  English 
horse  which  at  an  earlier  date  was  known  as  the 
War  horse.  The  animals  in  these  pictures  are 
typical  specimens  of  the  heavy  Shire  horse  of  the 
present  time  ;  the  gelding  in  the  Chiswell  Street 
brewery  picture  is  a  model  which  breeders  of  Shire 
horses  will  find  instructive.  Garrard's  knowledge  of 
anatomy  is  made  apparent  in  the  drawing  of  these 
horses.  One  of  his  best  subject  pieces  is  to  be 
seen  in  the  Duke  of  Bedford's  collection  at  Woburn 
Abbey.     This  is  "An  Agricultural  Show,"  which  is 


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GEORGE    GARRARI1.    A.R.A.  l8l 

described  by  a  modern  authority  as  luminous  and 
powerful  in  colour  ;  the  canvas  possesses  additional 
interest  in  that  the  figures  are  portraits  of  men 
prominent  in  the  agricultural  world  of  the  day. 

The  portrait  of  a  horse  named  Soldier  was 
engraved  by  S.  Aiken— size  of  plate  i8f  inches  by 
1 4-J- inches — and  published  in  January,  1793,  "by 
G.  Garrard  and  Mr.  Gilpin  Knightsbridge,  No.  43, 
Little  Britain." 

Archibald,  ninth  Duke  of  Hamilton  and  Bran- 
don, was  one  of  the  patrons  for  whom  Garrard 
executed  many  pictures,  among  them  a  portrait  of 
"The  Duke  on  a  Cover  Hack"  with  a  foxhound 
in  front.  This  canvas  shows  admirably  the  dress 
of  the  period  ;  the  action  of  the  horse  is  exceedingly 
well  presented  ;  the  work  was  engraved  in  mezzo 
tint,  the  plate  measuring  23  inches  by  174  inches, 
the  artist  himself  being  the  publisher  in  1797. 

Two  of  his  pictures,  "  Coach  Horses "  and 
"  Chaise  Horses  "  were  engraved  in  mezzotint  by 
J.  Young,  size  of  plates  23  inches  by  16  inches; 
these,  dedicated  to  Sir  John  Leicester,  Bart.,  were 
published  by  John  Jeffreys,  London,  1798.  Plate 
I  shows  a  grand  pair  of  horses,  fully  seventeen 
hands  high,  with  cropped  ears  and  short,  nicked 
tails  ;  they  are  harnessed  and  two  men  quaintly 
attired  in  knee  breeches,  buckled  shoes,  wigs  and 
turned  up  hats  are  preparing  to  attach  them  to  a 


1 82  ANIMAL    PAINTERS 

heav)-  state  carriage  which  stands  in  the  back- 
ground. Plate  2  shows  four  grey  post-horses  with 
two  postboys  in  attendance ;  one  boy  stands  by 
the  near  leader  while  the  second  is  drawing  out 
from  the  coach-house  the  travelling  chaise ;  the 
wheelers  stand  about  sixteen  hands,  the  leaders 
about  two  inches  less.  In  both  these  pictures  the 
excellent  drawing  of  the  horses  arrests  attention. 

"  A  Holderness  Cow,"  or  as  we  should  now  call  it, 
a  Shorthorn,  is  an  admirably  drawn  picture,  a  plate 
from  which,  by  W.  Ward,  dedicated  by  the  artist 
to  Lord  Somerville,  President  of  the  Board  of 
Agriculture,  was  published  in  1798.  This  plate 
measures  22  inches  by  17  inches. 

The  year  1800  saw  Garrard's  election  as  an 
Associate  of  the  Royal  Academy  ;  it  was  in  1800, 
too,  that  he  completed  the  designs  for  that  most 
valuable  and  instructive  work,  Garrard's  Prints  of 
Improved  British  Cattle.  The  introduction  to 
this  work  shows  that  the  artist  had  obtained  the 
support  of  the  Board  of  Agriculture  in  making  the 
drawings.  The  volume,  a  folio  published  by  J. 
Smeeton,  of  St.  Martin's  Lane,  Charing  Cross, 
contains  coloured  plates  representative  of  all  breeds 
of  cattle  ;  a  table  of  the  dimensions  of  the  animals 
portrayed  and  a  history  of  the  breed  accompany 
each  plate.  Not  the  least  remarkable  part  of  the 
undertaking  was  a  set  of  models  from  Nature  made 


GEORGE   GARRARD,    A.R.A.  183 

to  show  the  exact  proportions  of  every  part  of 
the  animal.  The  Royal  Academy  recognised  the 
importance  of  the  work,  and  the  skill  with  which 
it  had  been  executed,  by  awarding  Garrard  a  formal 
vote  of  thanks  and  congratulation. 

Daniels  Rural  Sports,  published  in  four  volumes 
in  1 80 1,  contains  two  engravings  from  pictures  by 
Garrard  :  ''  Hounds  in  Full  Chase  "  and  "A  Vixen 
and  Cubs."  A  glance  through  the  list  of  the 
painter's  contributions  to  the  Royal  Academy 
exhibitions  shows  that  he  did  not  confine  himself 
to  the  delineation  of  British  animals.  Indian  cattle, 
nvlghai,  camels,  reindeer,  lions,  timers  and  other 
beasts  formed  the  subject  of  many  pictures  and 
models.  In  1802  one  of  his  exhibits  was  "A 
Peasant  attacked  by  Wolves  in  the  Snow";  "A 
Norway  Elk  pursued  by  Wolves "  having  been 
one  of  his  pictures  in  the  exhibition  of  1800. 

From  1802  until  1824  Garrard  devoted  himself 
almost  entirely  to  the  plastic  art,  an  occasional 
portrait  of  man  or  horse  and,  more  seldom,  a 
landscape,  varying  the  long  record  of  modelled 
and  sculptured  works  ;  but  during  the  last  three 
years  of  his  life  he  turned  again  to  palette  and 
brush,  as  if  to  show  the  world  that  in  animal  por- 
traiture and  landscape  his  hand  had  lost  none  of 
its  cunning.  Between  1803  and  1S23,  the  most 
notable     picture     from     his     easel    was,     perhaps. 


I  84  ANIMAL    PAINTERS 

"  Woburn  Sheep  Shearing,"  painted  in  1804; 
this  work  vies  with  "  An  Agricultural  Show  "  in 
historical  interest,  containing  no  fewer  than  eighty- 
eight  portraits  of  celebrated  agriculturists.  The 
work  which  is  in  the  Woburn  Abbey  collection  was 
engraved  in  aquatint  by  the  artist  himself. 

Garrard's  pictures,  though  very  frequently  en- 
graved, rarely  found  their  way  into  the  serial 
publications  which  were  the  means  of  making  so 
many  paintings  of  sport  and  allied  matters  known 
to  the  world  at  large.  One  picture  in  the  Sporting 
Magazine  and  one  in  the  New  Sporting  Magazine 
complete  the  list  of  these.  The  former  was  a  por- 
trait of  "  Betty  Bloss,"  a  mare,  which  at  six  years 
old  went  totally  blind,  but  was  ultimately  cured. 
In  her  prime  she  was  capable  of  trotting  17  miles 
in  the  hour  carrying  ten  stone;  of  galloping  22  miles 
an  hour,  under  eight  stone  ;  and  of  travelling  120 
miles  in  twelve  hours  on  the  road.  The  artist 
sent  altogether  fourteen  works  to  the  exhibitions 
of  the  British  Institution  and  nine  to  the  Suffolk 
Street  galleries. 

We  must  revert  for  a  moment  to  Garrard's 
achievements  in  sculpture.  In  18 19  in  the 
Sculpture  Room  at  the  British  Institution,  Garrard 
exhibited  models  of  equestrian  statues  of  the  Duke 
of  Wellington  and  Sir  John  Moore,  and  at  the 
Royal  Academy  in  the  same  year  he  showed  four 


GEORGE  GARRARn,  A.R.A.  (85 

models,  all  of  which  received  the  warm  approval 
of  critics.  At  the  Royal  Academy  in  1829  he 
showed  a  bronze  equestrian  statue  of  the  Duke  of 
York,  which  the  Sporting  Magazine  eulogises  in 
these  terms  : — "  An  inimitable  performance.  The 
attitude  and  spirited  character  of  the  horse  are  in 
accordance  with  the  noble  and  commanding  figure 
of  the  equestrian,  whose  likeness  to  the  lamented 
original  is  as  faithful  as  anything  can  be  con- 
ceived." An  excellent  example  of  his  work  as  a 
sculptor,  is  a  bas  relief  in  marble,  1 5  inches  by  9 
inches,  representing  a  group  of  four  horses,  which 
is  in  the  Elsenham  Collection. 

It  is  hardly  necessary,  after  what  has  been  said, 
to  lay  stress  on  the  remarkable  range  of  George 
Garrard's  abilities.  He  was  a  painter  in  both  oil 
and  water  colour,  equally  capable  whether  he 
elected  to  portray  domestic  animals  or  wild,  por- 
traits of  men,  sporting  subjects  or  landscapes.  He 
executed  busts,  statues  and  groups  in  clay,  marble 
and  bronze,  and  was  equally  clever  in  handling  so 
large  a  subject  as  a  public  monument,  or  one 
requiring  such  fineness  of  touch  as  a  medallion ; 
and  finally  he  engraved,  with  no  mean  skill,  plates 
from  his  own  pictures. 

George  Garrard  died  in  his  sixty-sixth  year  on 
8th  October.  1826,  at  Queen's  Buildings,  Brompton, 
London, 


1 86  ANIMAL    PAINTERS 

WORKS    OF    GEORGE    GARRARD. 

IN   THE  POSSESSION   OF   Mr.   J.  M.  GARRARD,  PINNER 
PLACE,    PINNER    (13  in  number). 

I.  PARK  SCENE,  WITH  HUNTERS ;  a  bright  bay  and  a  golden  bay      Between  the 
two  stands  a  hunt  servant  with  three  more  hunters. 

I.  CREAM-COLOURED    HORSE,   having    a   snalce    twined    round   his  n^ar  fore-leg. 

Colouring  rich  and  harmonious. 

3.  WINTER  FARMYARD  SCENE.     In  the  foreground,  sheep  in  the  snow.     Evening 

effect. 

4.  MARES  AND  FOALS.     To  the  left  a  white  mare  standing  in  repose ;  to  the  right,  a 

bay  mare  suckling  her  foal.     This  picture  was  engraved  by  Thos.  Morris. 

5.  A  SUSSEX  COW. 

6.  AFRICAN  CAMEL,  and  in  middle  distance  a  second  camel  reposiog. 

7.  BLACK-AND-WHITE  GREYHOUND. 

8.  FOXHOUND. 

9.  GROUP;    THREE  MAR.MOZET  .MONKEYS. 

10.  A  RED  DEER. 

II.  HANOVERIAN  HORSE. 

12.  SKEWBALD  MARE  AND  FOAL  in  field. 

13.  BA  Y  HORSE  grazing. 

EXHIBITED  IN  THE  ROYAL  ACADEMY  (215  in  number). 

YEAR 

17S1— r/CCl  HORSES. 

J783— (3)  PORTRAIT  OF  FRIEZLAND  MARE  and  NEWFOUNDLAND  DOG— 

PORTRAIT  o^&  Gentleman  and  his  HoKe— PORTRAIT  of  ^  dog. 
1784— (4)  VIEW   OF   A    BREWHOUSE-YARD—PONY  AND  DOG— PORTRAIT 

of  a  Miie— SKETCH  FOR  HUNTING  PICTURE. 
1786— (5)  PORTRAIT  of  a  nobleman  on   a  trotting  horse— VIEW  OF  HAMILTON 
PAL.4CE— HORSES  AT  A  FARRIER'S  SHOP— VIEW  OF  INVERARY 
IN  ARGYLESHIRE— PORTRAIT  of  a  race-horse,  property  of  the  Duke  of 
Hamilton. 
iyiy-<,2)  PORTRAITS  of  horse  and  dog— VIEW  OF  INVERARY  CASTLE. 
,jW—(p)  GOING  OUT   IN  THE    MORNING  — PORTRAITS    OF   DOGS  —  POR. 
TRAITS  OF  HORSES— PORTRAIT  of  an  old  Suffolk  hone— PORTRAIT 
OF  .4   HORSE  in  miniature— /"Oj^r/e^/T"  OF  A  HORSE  in  miniature. 
,^8g_(^)  I'/EW  IN  A    BREWHOUSE-YARD  —  HOUND    RETURNING  FROM 
CHASE— PORTRAIT oi  a  gentleman  and  pony— PORTRAITS  OF  HORSES, 
with  view  of  Burley  near  Otley,  Yorkshire,  the  seat  of  P.  Mosley,  Esq. 
,^qo_(4)  PORTRAIT  OF  A    HORSE— PORTRAIT  of  a  gentleman  and  grey  horse— 

COACH-HORSES— PORTRAITS  OF  HORSES. 
,^,3_(,,)  y!  .S'NOIV  PIECE— VIEW  OF  A  GENTLE.MANS  SEAT  IN  HERT- 
FORDSHIRE —  VIEIV  IN  TRING  PARK,  HERTS.  —  MARES  AND 
FOALS  FRO.M  THE  PRINCE  OF  WALES'  STUD— VIEW  OF  A 
GENTLEMANS  SEAT  IN  HERTFORDSHIRE  —  A  YARMOUTH 
CART,  WITH  VIEW  OF  YARMOUTH— PORTRAIT  OF  A  HORSE— 
"SALTRAM"  —  SHEEP-SHEARING  AT  ASTON  CLINTON,  IN 
BUCKINGHA.MSH/RE  —  PORTRAIT  OF  BULL  DOG  — SIM!  A  J  AC. 
CHUS. 


WORKS  OF  GEORGE  GARRARD,  A.R.A.      1 87 

VBAR 

■  79-(— (5)  MARES  AND  FOALS— .If A  RES  AND  FOALS— THE  ZEBU— POR- 
TRAIT OF  A  PONY-MARE,  property  of  Sir  John  Dashwood. 

J79S— (5)  PORTRAITS  OF  HORSES— PARK  SCENE  at  Witham,  V-,iif:x— CAMELS 
—MODEL  OF  BULL— MODEL  OF  COir. 

ijgS-iio)  THE  LIME  UVEA'S  AT  PURFLEET —" HAMBLETONIAN" — 
"  CAVENDISH"  — "BENNINGBROUGH"  — A  IVHARF  NEAR  LON- 
DON BRIDGE— MODELS  :  NIL  GAIV  iNVLGHAP)  ANTELOPE— REIN- 
DEER —  SHEEP  —  HEAVV  DRAUGHT  HORSE— TABLET  FOR  A 
CHIMNEY  PIECE. 

•797— (ii)  PORTRAITS  OF  HORSES— BULL-BITCH  AND  PUPPIES— STABLE 
YARD—YIEirOF  IVOOL.MER  PARK,  HERTS.— VIEW  IN  BEDWELL 
PARK,  HERTS.—  MODEL  OF  COIV  AND  CALF— GROUP  OF 
PUGILISTS  —  MODEL  FOR  EQUESTRIAN  STATUE— GROUP  OF 
LA.MBS— MODEL  OF  STAG— BUST  OF  INFANT. 

179S— (3)  MODEL  OF  .4  POINTER,  property  of  Sir  Charles  Hunter— 5,)^  RELIEF: 
DUNCANS  HORSES  (from  a  sketch  by  Mr.  G[\fm)—BAS  RELIEF:  LION, 
LIONESS,  AND  WHELPS. 

^l^—(i)  PORTRAIT  OF  A  CO.iCH-HORSE  —  "  IVHISKV,"  property  of  J.  H. 
Durand,  Esq. —STABLE  YARD  —  MODEL  OF  BISON  AND  ZEBU — 
IRISH  PIG,  4  ft.  2  in.  high,  and  BERKSHIRE  HOG,  j  ft.  10  in.  high— 
NESS  US  AND  DE/ANIR  A— ALEXANDER  AND  BUCEPHALUS. 

iS^-(s)  PORTRAITS  OF  TWO  HORSES— PORTRAIT  OF  A  HORSE— POR- 
TRAIT OF  A  HORSE— SCULPTURE,  FIGHTING  BULLS— NORWAY, 
ELK  PURSUED  BY  WOLVES. 

1801— (3)  BUST  OF  A  YOUNG  LADY— GROUP  OF  HOLDERNESS  CATTLE, 
from  the  King's  stock  at  Windsor— .5" 7"- -J  TUE  OF  AN  INFANT  recumbent  (sod 
of  Sir  J.  Mildmay). 

1802— (3)  VIEW  IN  THE  HIGHLANDS  OF  SCOTLAND— TIGER,  from  nature— 
PEASANT  ATTACKED  BY  WOLVES. 

>8o3-{5)  BUSTS:  A.  YOUNG,  ESQ.— P.  COX,  ESQ.—B.  WEST,  ESQ.,  P.R.A.— 
HOLLAND,  ESQ.— THE  EARL  OF  FA  UCONBERG. 

1804— (10)  SOUTH  DEVON  RAM,  from  the  Duke  of  Bedford's  flock  at  Woburn  Abbey— 
TWO  PRIZE  HEREFORD  OXON— DURHAM  OX,  AND  MR.  COATES' 
SHORT-  HORNED  COW— VIEW  FRO.VI  THE  EAST  END  OF  THE 
INNER  COUR  T  OF  BURGHLEY  HOUSE,  the  seat  of  the  Marquis  of  Exeter 
—BUSTS:  W.  STEVENSON,  ESQ.— LORD  SOMERVI LLE—S.  WHIT- 
BREAD,  ESQ.— J.  HEAVISIDE,  ESQ.— SIR  J.  BANKS,  K.B.  (in  marble) 
— A.  i'OUNG,  ESQ.,  Secretary  to  Board  of  Agriculture. 

1805— (7)  ALTO  RELIEF— ALTO  RELIEF— BUSTS :  REV.  MR.  GILPIN,  Vica 
of  Boldre  — J/A'.  A.  NEWLAND,  chief  cashier  of  the  Bank  of  England  — 
MR.  FULLAR— MAJOR  BATTEN— T.   IV.  COKE,  ESQ. 

1806— (2)  BUST:  S.  GILPIN,  ESQ.,  R.A.—A  LADY. 

iSoj— it)  BUST:  THE  LATE  RT.  HON.  W.  PITX,—A  YOUNG  LADY— EARL 
ST.  VINCENT— THE  LATE  RT.  HON.  C.  J.  FO.\'—THE  RT.  HON. 
J.  FOSTER—/.  C.  CUR  WEN,  ESQ. 

1808— (6)  MODEL  for  bust  of  a  \:xdy— SKETCH  IN  CLAY:  The  death  of  Adonis— 
MODEL  for  bust  of  V.  Green,  A.E.— BUST  IN  MARBLE  OF  THE  LATE 
RT.  HON.  WM.  PITT— BUST  IN  MARBLE  OF  J.  C.  CURWKN,  ESQ., 
M. P.— MODEL  for  bust  of  Mr.  Pugett. 

1809— (6)  MODEL  for  statue  of  the  Rt.  Hon.  William  P'M—BUST  OF  A  L.-IDY— 
MODELS  for  bu.'its :  the  Rt.  Hon.  W.  Pitt,  in  the  robes  of  the  Chancellor  of 
the  Exchequer^Capt.  Thompson — H.  Ashby,  Esq.^The  Rev.  T.  Fry,  A.M. 

iBitt— (s)  MODELS  for  busts:  H.  Repton,  Esq.— Dr.  S.  Jackson— T.  Tomkins,  Esq.— W. 
Wilberforce,  Esq.,  M.P. 


l88  ANIMAL    PAINTERS 

VEAR 

1811— (8)  MODELS  for  busts:  W.  Adam,  E'iq.— A  lady— The  Rt.  Hon.  Sir  J.  Sinclair, 
Bart. — A  youth — MODEL  for  equestrian  statue  of  Sir  John  Moore — STUDY  for 
equestrian  study  of  His  Majesty,  proposed  as  design  to  commemorate  the  Jubilee 
—MODEL  for  a  Xmn— MODEL  for  statue  of  His  Majesty. 

1812— {7)  MODEL  for  bust  of  a  gznlX^Tn^n— MEDALLION  of  the  Duke  and  Duchess 
of  Bedford — Case  containing  THREE  BRONZES  to  press  letters  :  a  favourite 
terrier,  the  property  of  Lady  E.  Whitbread  ;  bull-dog,  the  property  of  the  Hon.  R, 
P.  D.  Burrell ;  and  greyhound,  the  crest  of  the  Duke  of  Newcastle— .1/0 i?^'^  t 
life  size,  of  a  true  bred  bull  bitch,  property  of  the  Hon.  R.  P.  D.  Burrell — MODEL 
for  bust  of  General  T^\aan— BRONZE,  Sir  J.  Uoar^— MEDALLION  of  Tom 
Cribb,  the  British  champion. 

1B13— (6)  COLONEL  BEAUMONT,  M.P.—REV.  MR.  HUTTON,  with  view  of 
Houghton  Hall,  Durham — Glass  case  containing  THREE  MODELS :  favourite 
dogs,  properly  of  Mrs.  Baker,  of  Elemore  Hall,  Diu-ham ;  and  of  Miss  Foljambe, 
of  Osberton ;  and  of  a  horse— Z?0^  SERPENT  CR  USHING  A  TIGER  : 
STUDY  for  has-rfAxi— MODELS  for  busts  of  a  young  lady,  and  R.  B.  Sheridan, 
Esq. 

iSh— (3)  BUSTS:  A  YOUNG  LADY— AN  INFANT— BONERS :  a  late  celebrated 
combat  between  the  Champion  and  the  Black. 

i8i5-<9)  PERSIAN  HORSES  AND  SPANISH  SHEEP  DOG,  the  property  of  Earl 
Percy— THE  FALL  OF  PHAETON:  model  for  a  %A\>:x— MODELS  for 
busts:  LORD, LASCELLES— PRINCE  HOARE,  ESQ.,  Secretary  for  Foreign 
Correspondence  to  the  Royal  Academy— 5'/yf  T.  FRANKLAND,  BART.— 
HON.  .MISS  LASCELLES— SIR  J.  GILPIN,  M.D.,  Inspector  General  of  the 
fortress  of  Gibraltar— T'/i'.fi'  Z'i/A'.ff  OF  WELLINGTON  \n  Marshal's  uniform, 
executed  at  the  instance  of  subscribers  to  a  proposed  equestrian  statue ;  cast  pre- 
pared for  Her  Majesty's  apartments  at  Windsor — .-i  GENTLEMAN. 

1816— (5)  MODELS:  for  BUST  OF  A  GENTLEMAN— DESIGN  FOR  A  STATUE 
—for  BUST  OF  IV.  IVILSHIRE,  ESQ.— for  MONUMENTAL  BUST  OF  S. 
WHITBREAD,  ESQ.— BUST  OF  THE  DUNE  OF  WELLINGTON. 

■  817— (7)  H.  HOLLAND,  ESQ.,  architect,  with  a  view  of  Hans  Place— SIR  A.  COR- 
BET. BART.— MEDALLION  of  a  lady— .MODEL  for  bust  of  an  artist— 
MODEL  of  "Comet,"  a  celebrated  improved  short-horned  bull,  which  sold  for 
r,ooo  gs. — STUDY  for  a  monumental  bust  of  young  lady — MODEL  of  a  bull  calf 
of  the  improved  short-horned  breed. 

1818— (4)  riEW  OF  ALNWICK'  CASTLE,  with  Indian  cow  and  group  of  half- 
bred  Highland  cattle — THE  WAPITI,  in  possession  of  Lord  James  Murray — 
MODELS:  for  EQUESTRIAN  STATUE  OF  THE  DUKE  OF  WEL- 
LINGTON—ior  BUST  OF  H.R.H.  PRINCESS  CHARLOTTE. 

1819— (5)  MODEL  (or  BUST  OF  THE  REV.  W.  CONE,  M.A.,  F.R.S.,  F.S.A.,  Arch- 
deacon of  Wills. — BAS  RELIEF  of  a  bull,  from  an  antique  gem — .MODEL  in 
clay  of  design  for  public  monnrrxeM- MODEL  in  clay  :  VICTOR  Y  AND  FAME, 
design  for  public  mox\amem— MODEL  lor  BUST  OF  MR.  CLIFT. 

1820— (3)  MODEL  for  EQUESTRIAN  STATUE,  to  commemorate  the  downfall  of 
usurpation— .Si/JT.?  in  bronze  :  DUKE  OF  WELLINGTON— SAM  WHIT- 
BREAD, ESQ. 

1834— (7)  HORSE  AND  DOGS,  the  property  of  R.  Westenra,  Esq.,  M.P.— ^  CELE- 
BRATED GREYHOUND,  j>ropeny  o!  Edviaid  Ellice,  Esq.,  U.V.—VIEW  IN 
THE  PLEASURE  GROUNDS  OF  CRAVEN  LODGE— A  FAVOURITE 
PONY,  property  of  Lady  Hannah  Ellice— INTERIOR  OF  CRAVEN  COT- 
TAGE—MODELS  (in  clay)  for  BUST  OF  JOSEPH  BARRETT,  ESQ.— 
MODEL  for  bust  for  General  Mina. 


WORKS    OF    GEORGE    GARRARD,    A.R.A.  1 89 

YEAR 

1825— (S)  STABLE  YARD— SUNSET  VIEW  OF  THE  LIME  WORKS  AT  PUR- 
FLEET — "ECLIPSE"  p:iinled  at  Colonel  O'Kelly's  stables,  Epsom,  in  1787,  and 
finished  in  1824— iY£(r  l.V  OSTERLEV  PARK— DESIGN  (ar  Gothic  truss, 
busts  of  a  lady  and  her  seven  daughters— .l/t'Z)£Zi'  for  busts  :  MASTER  LANE 
FOX— MISS  LANE  FOX. 

1826— <8)  SHEEP  SHEARING— VIEir  IN  SANDWELL  PARK,  seat  of  the  Earl  of 
D^nmonih-POR  TR AIT  OF  A  HORSE— Yarn  STUDIES  of  the  Marquis  of 
Exeter's  mare,  "  A.i\g,\i%ta."— MODELS  for  busls :  A  LADY— MRS.  LANE 
FOX— BRONZE  BUSTS:  A  GENTLEMAN— A  LADY. 


PLATE  IN   THE   .'^PORTING  MAGAZINE. 

BETTY  BLOSS,    a  famous  trotting  mare,  bred  by  a   smuggler  in  K^nt,  and  ultimately 
belonging  to  Mr.  LawTence,  1834,  vol.  24  ;  engraved  by  Scolt. 

PLATE    IN    THE   NEW  SPORTING  MAGAZINE. 

ECLIPSE,  a  celebrated  race  horse,  bred  by  the  Duke  of  Cumberland,  1S43,  vol.  24 ;  en- 
graved by  v..  Hacrke. 


IQO 


SAWREY  GILPIN,   R.A. 

(Born  1733.     Died  1807.) 

OAWREY  GILPIN,  son  of  Captain  John  Ber- 
^  nard  Gilpin  by  his  wife  Matilda,  daughter  of 
George  Longstaffe,  was  born  at  Carlisle  in  1733. 
The  Gilpins  come  of  a  very  old  Cumberland  family, 
the  famous  "  Apostle  of  the  North,"  Bernard 
Gilpin,  a  collateral  ancestor,  being  recognised  as  a 
man  of  ancient  lineage  even  in  his  day  (15 17-1600). 
Captain  Gilpin  possessed  some  artistic  talent  him- 
self and  was  able  to  direct  his  son's  first  efforts 
with  the  pencil  ;  but  the  boy's  exceptional  ability 
soon  became  evident  to  his  father,  and  at  the 
age  of  fourteen  Sawrey  Gilpin  was  sent  up  to 
London  to  study  under  Samuel  Scott,  the  emi- 
nent painter  of  river  pieces  and  sea-scapes. 

From  the  circumstance  that  his  father  sent 
Sawrey  Gilpin  to  study  under  Scott,  we  may  hazard 
the  conjecture  that  at  this  early  period  the  special 
bent  of  his  genius  had  not  declared  itself ;  but  if 
this  were  so  it  was  not  long  before  his  peculiar  skill 
in  portraying  animals  was  recognised.  Scott  lived 
in  the  near  neighbourhood  of  Covent  Garden,  and 


SAWREY    GILPIN,    R.A.  I9I 

in  the  great  market  his  pupil  is  said  to  have  found 
his  first  models  among  the  horses  and  carts  which 
thronged  it  daily.  The  Duke  of  Cumberland  was 
shown  some  of  his  sketches,  and  so  greatly  did  their 
merit  impress  him  that  he  extended  his  patronage 
to  the  young  man.  and  employed  him  to  paint 
portraits  of  his  favourite  race  horses  at  Newmarket 
and  Windsor.  One  of  the  pictures  he  exhibited 
at  the  gallery  of  the  Society  of  Artists  in  1771, 
reflects  this  connection  ;  it  shows  "  The  Duke  of 
Cumberland  visiting  the  Stud  at  Windsor "  ;  this 
work  was  painted  in  collaboration  with  another 
pupil  of  Samuel  Scott,  namely  W.  Marlow  who 
executed  the  background,  a  view  of  the  Castle. 

After  leaving  Samuel  Scott,  Gilpin  went,  in  1758 
to  Newmarket  to  study  the  horse  ;  and  afterward 
returned  to  London  and  settled  in  Knightsbridge. 
He  first  appears  as  an  exhibitor  in  the  year  1762, 
when  he  was  represented  in  the  gallery  of  the 
Society  of  Artists  ;  for  a  period  of  twenty  years 
he  was  a  frequent  contributor  to  this  exhibition, 
sending  altogether  eighty-three  works.  Among  these 
may  be  noticed  a  drawing  "  Darius  gaining  the 
Persian  Empire,"  illustrative  of  the  familiar  legend  : 
"  Gulliver's  Visit  to  the  Houyhnynms,"  and 
"Gulliver  taking  leave  ot  the  Houyhnynms,"  two 
large  paintmgs  of  incidents  selected  from  Dean 
Swift's  classic ;    the  picture   of    "  Gulliver's    Visit 


192  ANIMAL    PAINTERS 

was  engraved  in  mezzotint  by  Valentine  Green, 
the  celebrated  mezzotint  engraver.  The  latter 
works  are  in  the  Cambridge  House  collection, 
and  the  former  of  the  two,  it  may  be  added 
parenthetically,  was  selected  for  mutilation  by 
burglars  who  broke  into  the  house  in  1892,  the 
head  of  the  dapple-grey  horse  having  been  cut  out, 
"  Pegasus  at  the  Fountain  of  Hippocrene,  being 
haltered  by  Perseus,"  is  another  of  the  pictures 
which  displays  Gilpin's  talent  for  the  presentment 
of  scenes  mythological  and  fanciful.  This  work  is 
said  to  have  been  painted  for  a  wager.  At  a  party 
of  artists,  the  possibility  of  painting  a  horse  with 
wino^s  and  without  obvious  and  flagrant  violation 
of  anatomical  laws  was  discussed.  Sawrey  Gilpin 
declared  his  ability  to  do  it,  his  brother  artists 
defying  him  to  perform  a  feat  they  deemed  im- 
possible ;  Colonel  Mitford,  Professor  of  Ancient 
History  at  the  Royal  Academy,  who  was  of  the 
party,  laughingly  offered  to  bet  him  a  hundred 
guineas  he  failed  to  paint  the  winged  horse  of 
mythologists,  and  Gilpin  took  the  wager.  By  a 
clever  but  simple  artifice  the  artist  won  his  bet : 
he  drew  Pegasus  in  the  act  of  alighting,  his  wings 
being  so  disposed  that  the  spectator  does  not  see 
whence  they  spring,  and  anatomical  laws  are  kept 
inviolate.  This  picture  is  now  in  the  collection  of 
Mr.    A.    B.    Freeman- Mitford,    C.B.,    at     Batsford 


SAWREV    GILPIN,     R.A.  1 93 

Park  ;    the  colours   are  as  fresh   and   bright  as  on 
the  day  they  were  laid  on. 

The  Rev.  William  Gilpin,  the  artist's  brother,  is 
known  by  his  book  Forcsf  Scenery,  published  in 
1 79 1,  and  other  works  for  the  illustration  of  which 
Sawrey  Gilpin  executed  several  cattle  pieces.  The 
Sporting  ivlagazine  for  April,  1807,  contains  refer- 
ence to  "  the  Rev.  William  Gilpin,  the  tourist  "  ; 
Mr.  Giljiin  no  doubt  travelled  like  other  men  of 
culture  and  taste,  but  his  famous  Forest  Scenery 
owes  its  inception  to  the  fact  that  he  counted 
among  his  pupils  at  the  school  he  kept  near 
Cheam,  the  first  Lord  Redesdale  and  his  brother, 
Colonel  Mitford,  the  historian  of  Greece,  of  whom 
passing  mention  was  made  above.  Colonel 
Mitford  (who  was  the  great-grandfather  of  Mr. 
Freeman-Mitford,  of  Batsford,  lately  M.P.  for  the 
Stratford-on-Avon  division  of  Warwickshire)  in 
later  years  presented  his  old  master  to  the  living 
of  Boldre,  in  Hampshire  ;  here  Mr.  Gilpin  wrote 
his  books  and  passed  the  remainder  of  his  life. 
It  may  be  added  that  at  the  time  of  the  artist's 
death,  1807,  his  only  surviving  brother,  Joseph 
Dacre  Gilpin,  filled  the  mayoral  chair  of  Carlisle. 

In    1773  Sawrey  Gilpin  was  made  a  Director  of 

the   Society  of  Artists,   and  in  the   following  year 

was  elected  President  of  that  body.     The    earlier 

exhibitions    of    the    Royal    Academy    included    no 

13 


194  ANIMAL    PAINTERS 

works  from  his  easel  ;  he  contributed  his  first 
pictures  in  1786,  sending  then  the  "Portrait  of  a 
Horse  belonging  to  His  Majesty,"  and  the  portrait 
of  "A  Foxhound  in  the  Possession  of  Colonel 
Thornton."  His  contributions  to  the  Royal 
Academy  were  not  numerous  by  comparison  with 
the  number  of  his  works,  nor  did  he  exhibit  with 
any  great  regularity  ;  between  1 786  and  1 807,  when 
he  died,  he  sent  in  thirty-six  pictures.  He  was 
elected  an  Associate  in  1795,  and  an  Academician 
two  years  later  :  he  deposited  as  his  Diploma 
work  "  Horses  in  a  Storm "  ;  horses  in  various 
attitudes  of  terror  grouped  round  a  leafless  tree 
as  if  seeking  shelter  from  the  heavy  storm  and 
lightning  approaching  from  the  right  distance. 

Colonel  Thornton,  whose  name  occurs  in  con- 
nection with  one  of  the  artist's  first  Royal  Academy 
works,  was  his  friend  and  patron,  and  it  was  for 
Colonel  Thornton  that  Sawrey  Gilpin  painted  one 
of  his  best  sporting  pictures,  "The  Death  of  the 
Fox,"  exhibited  at  the  Academy  in  1793.  The 
incident  portrayed  occurred  one  day  when  Gilpin 
was  hunting  with  the  Colonel's  pack ;  and  the 
picture  received  perhaps  more  general  approbation 
than  any  from  his  brush.  The  art  critic  of  the 
Sporting  Magazine  (vol.  11)  writes  as  follows: — 
"The  public  has  long  been  indebted  to  Mr.  Gilpin 
for  his  valuable  exertions  which  have  greatly  con- 


SAWREV    GILriN.    R.A.  1 95 

tributed  towards  the  enrichment  of  our  equestrian 
collections.  In  the  particular  scene  before  us — 
'  The  Death  of  the  Fox  ' — he  has  displayed  much 
judgement  and  knowledge  of  his  art :  the  hounds 
are  equal  to  anything  we  have  seen  of  the  kind  in 
our  school."  This  picture  is  one  of  the  three  which 
we  find  reproduced  in  the  Sporting  Magazme,  an 
engraving  by  T,  Cook  accompanying  the  notice 
quoted.  Eighteen  years  afterwards,  in  1811,  John 
Scott  completed  a  large  plate  from  this  work,  and 
another  to  serve  as  a  companion  from  Philip 
Reinagle's  beautiful  picture  of  "  The  Fox  Breaking 
Cover  "  ;  these  engravings,  which  are  among  Scott's 
happiest  efforts,  will  receive  their  meed  of  attention 
under  the  name  of  that  famous  artist  and  en- 
graver. 

"The  Death  of  the  Fox"  was  sold  at  Hick- 
man's gallery,  St.  James's  Street,  in  June,  1819, 
with  other  sporting  pictures  belonging  to  Colonel 
Thornton,  when  recklessness  and  extravagance 
brought  that  celebrated  sportsman's  property  into 
the  market  ;  it  passed  into  the  possession  of  Baron 
de  Tessier,  and  when  his  pictures  were  sold  at 
Brighton  in  1864,  it  was  purchased  by  Mr.  William 
Hine-Haycock,  of  Belmont,  Sidmouth,  in  Devon- 
shire, in  whose  collection  it  may  now  be  seen. 

In  1785  Gilpin  painted  the  portrait  of  a  boon 
companion    of    Colonel    Thornton,    namely,    John 


196  ANIMAL    PAINTERS 

Parkhurst,  Esq.,  of  Catesby  Abbey,  Northampton- 
shire. The  canvas  is  a  large  one,  measuring  6  feet 
square :  Mr.  Parkhurst  is  on  a  grey  horse,  and 
capping  his  hounds  on  to  the  Hne  of  a  fox.  An 
engraving  by  Mr.  Babbage  from  this  picture  faces 
this  page:  the  easy  and  workmanHke  seat  of  the  rider 
arrests  attention  in  the  reproduction  ;  indeed  the 
whole  pose  is  admirable,  recalling  the  touch  of 
Snyders,  the  Dutch  artist.  Mr.  Parkhurst  was  a 
remarkably  good-looking  man,  and  appears  at  his 
best  in  pink  with  the  powdered  hair  usual  at  that 
period  ;  he  was  known  as  "  Handsome  Jack,"  and 
after  accession  to  his  estates  joined  many  of  Colonel 
Thornton's  wild  and  extravagant  exploits,  until  he 
ran  through  his  fortune,  which  did  not  take  long  to 
accomplish.  About  the  year  1800  he  married  the 
widow  of  Sir  Griffith  Boynton,  Bart.,  who  had  died 
leaving  her  with  three  sons  ;  Mr.  Parkhurst  brought 
up  his  stepsons,  Francis,  Griffith  and  Henry,  in 
every  sort  of  vice,  and  it  is  probable  that  the  succes- 
sion of  each  in  turn  to  the  baronetcy  was  due  to 
the  ill-health  caused  by  excesses. 

On  1st  January,  1783,  Geo.  Garrard,  from 
Sawrey  Gilpin's  address,  published  an  engraving  by 
Wm.  Ward  of  Gilpin's  portrait  of  Lord  Derby's  Sir 
Peter  Teazle;  size  of  plate,  iS^-  inches  by  14 
inches.  Sawrey  Gilpin  painted  a  portrait  of  the 
famous  racehorse,  PotSos,  which  was  engraved  by 


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SAWREY    GILPIN,    R.A.  19/ 

H.  Hodges,  plate  i8f  inches  by  14^  inches,  and 
published  on  25th  March,  1790,  by  Jas.  J.  Boydell, 
of  Cheapside  and  the  Shakespeare  Gallery,  Pall 
Mall.  His  portrait  of  Colonel  Thornton's  Jupiter, 
exhibited  in  1792  at  the  Royal  Academy,  was 
engraved  by  Wm.  Ward,  plate  igj  inches  by  14 
inches,  and  was  published  by  George  Garrard,  "at 
Mr.  Gilpin's,  Knightsbridge."  His  portrait  of 
Highflyer,  which  was  etched  by  himself  and  also 
engraved  by  F.  Jukes,  plate  19  inches  by  14;^ 
inches,  was  likewise  published  by  Garrard  "at  Mr. 
Gilpin's,  Knightsbridge." 

In  the  Royal  Academy  Exhibition  of  1794, 
Sawrey  Gilpin  showed  "  A  Gentleman  on  Horse- 
back bringing  up  lag  Hounds,"  the  portrait  being 
by  the  hand  of  Philip  Reinaglc.  Of  this  work 
Anthony  Pasquin  (John  Williams)  says  in  his 
Liberal  Critique  on  the  Exhibition  for  that  year  : 
"  This  is  the  prime  picture  in  the  exhibition  of 
its  kind.  Mr.  Gilpin  is  inferior  to  Mr.  Stubbs 
in  anatomical  knowledge,  but  is  superior  to  him 
in  grace  and  genius.  The  human  portrait  is 
not  disreputably  finished."  The  critic,  it  should 
be  observed,  is  by  no  means  lavish  of  his  praise 
whatever  the  work  under  notice.  Very  many 
of  Gilpin's  pictures  were  painted  in  collaboration 
with  other  artists  ;  Reinagle  and  he  together  exe- 
cuted a  portrait  of  Colonel  Thornton  shooting  with 


198  ANIMAL    TAIN'TERS 

a  twelve-barrelled  rifle  (the  only  weapon  ol  the  kind 
ever  made)  in  Glenmore  Forest :  "  A  Litter  ot 
Foxes,"  shown  in  the  Royal  Academy  Exhibition 
of  1796,  owed  its  background  to  P.  Reinagle. 
Anthony  Pasquin  remarks  of  this  picture  that 
"  these  are  as  faithful  portraits  of  foxes  as  any  we 
have  beheld  from  the  graver  of  Ridinger,  and  the 
subtle  character  of  this  prowling  savage  is  so  well 
depicted  that  we  think  a  hen  and  her  brood  might 
tremble  at  the  terrific  effigies."  He  complains, 
however,  that  "  the  force  of  the  background  over- 
powers those  objects  in  colour  and  effect "  in  such 
degree  that  the  picture  were  better  described  as 
"a  background  with  a  litter  of  foxes." 

George  Barrett,  R.A.,  the  landscape  painter,  was 
frequently  indebted  to  Gilpin  for  the  animals  which 
lent  animation  to  his  scenes,  as  also  was  William 
jNIarlow.  Among  the  collection  of  Richard  Hulse. 
Esq.,  of  Blackheath,  whose  pictures  were  sold  at 
Christie's  on  21st  and  22nd  March,  1806,  was  "a 
chef-d'(£iivre  that  does  infinite  honour  to  the  British 
School,"  to  quote  from  the  description  in  the 
catalogue.  This  was  a  view  of  Lake  Windermere 
with  a  man  driving  sheep  and  cattle,  the  joint  work 
of  George  Barrett,  R.A.,  and  Sawrey  Gilpin,  R.A. 
It  brought  the  sum  of  eighty  guineas. 

Perhaps  some  of  the  most  noteworthy  examples 
of  joint  work  in  art  known  are  three  large  pictures 


SAWREV    GILPIN,    R.A.  1 99 

illustrative  of  incidents  in  Colonel  Thornton's  famous 
Sporting  Tour  through  the  Highlands  of  Scotland. 
These  were  painted  conjointly  by  Sawrey  Gilpin, 
who  did  the  animals,  Philip  Reinagle,  who  drew  the 
portraits,  and  George  Barrett,  who  was  responsible 
for  the  landscape  and  the  work  as  a  whole.  As 
might  fairly  be  expected  of  the  combined  efforts 
of  three  Royal  Academicians,  the  pictures  display 
peculiar  merit  as  well  as  interest.  "  Czarina  and 
Maria,"  a  brace  of  greyhounds  coursing  a  hare,  was 
engraved  by  John  Scott,  and  was  used  to  illustrate 
Daniels'  Rural  Sports,  published  in  iSoi.  These 
dogs  were  no  doubt  two  of  Colonel  Thornton's  ; 
in  the  Sporting  Magazine  for  INIay,  1805,  we  read 
that  "The  produce  of  [Colonel  Thornton's]  Major 
and  Fawn-coloured  Czarina,  Lvdia  and  Czarina,  are 
in  London,  and  may  be  seen  by  applying  to  Mr. 
Tattersall.  They  are  matched  for  2,000  guineas  to 
kill  a  box  hare  within  500  yards,  and  the  hare  to 
have  20  yards  law."  The  three  works  mentioned 
above  as  having  been  painted  for  Thornton's  tour 
in  Scotland  are  in  the  Elsenham  Hall  collection. 

Mr.  Freeman-Mitford,  C.B.,  has  at  Batsford  Park 
very  fine  samples  of  Sawrey  Gilpin's  work  in  the 
large  painting  of  "  Cattle  going  down  to  Water  at 
Sunset  " ;  in  the  finished  sketches  from  which  the 
two  pictures  of  Gulliver's  Travels  were  made  ;  in 
a  study  in  sepia  entitled  "The  War  Horse,  "  and  in 


2CO  ANIMAL    PAINTERS 

"  Horses,"  the  landscape  in  which  was  painted  by 
William  ]\IarIow. 

In  the  Duke  of  Portland's  collection  at  Welbeck 
Abbey  there  is  a  picture  by  Sawrey  Gilpin  of  a 
"  Hound  in  Chase";  the  scene  is  an  open  landscape, 
with  tall  trees  and  a  wood  in  the  distance  ;  it  bears 
date  1773,  and  the  canvas  is  61  inches  high  by  71^ 
inches  long. 

The  Right  Hon.  F.  J.  S.  Foljambe  has  in  his 
collection  at  Osberton  Hall,  Worksop,  Notts.,  a 
painting  of  the  celebrated  racehorse  and  stallion, 
Jupiter,  a  son  of  Eclipse,  which  was  executed  by 
Gilpin  for  Colonel  Thornton.  This  picture,  which 
is  6  feet  8  inches  wide  by  5  feet  5  inches  high,  was 
engraved  by  Scott  for  the  Spo]'ts)iians  Repository, 
published  in  1845  by  Henry  C.  Bohn. 

The  four  volumes  of  Rural  Sports,  in  addition 
to  the  picture  of  greyhounds  already  mentioned, 
contain  ten  e.xquisitely  fine  engravings  by  Scott 
from  Gilpin's  pictures  of  renowned  pointers,  fox- 
hounds, harriers,  and  beagles  ;  also  a  plate  from 
a  clever  picture  entitled  "  Terrier  worrying  a 
Fox." 

The  Sporting  Magazine  for  1795,  vol.  vii., 
contained  an  engraving  from  Gilpin's  portrait  of 
Colonel  Thornton's  famous  pointer  Dash  ;  and  the 
vol.  54,  for  18 19,  contains  a  plate  from  the  portrait 
of  the  Earl  of  Derby's  racehorse,  Sir  Peter  Teazle, 


SAWREY    GILPIN,    R.A.  20I 

a  turf  giant  of  his  day  ;  both  of  these  plates  were 
executed  by  John  Scott. 

In  the  South  Kensington  Museum  there  are 
examples  of  Gilpin's  work  in  oil  and  water  colour, 
some  sketches  and  a  few  spirited  etchings. 

The  Sporting  Magazine  of  April,  1807,  in  course 
of  an  obituary  notice  of  the  artist,  says  of  his  paint- 
ings that  they  "are  justly  admired  for  the  great 
truth    and    spirit    of  the  composition  and    extreme 

chasteness  of  colouring- The  Prince  oi 

Wales'  and  the  Duke  of  Hamilton's  collections  are 
both  enriched  with  the  productions  of  his  pencil, 
but  we  believe  his  chef-cTceuvrc  is  in  the  possession 
of  S.  Whitbread,  Esq.,  M.P.  It  consists  of  a  group 
of  tigers,  and  is  a  noble  and  spirited  composition. 
He  excelled  much  in  giving  an  expression  of 
terrible  but  majestic  fierceness  to  that  noblest  of 
animals,  the  lion."  Without  in  any  way  impugning 
Gilpin's  skill  in  portraying  wild  animals,  it  is  safe 
to  assert  that  his  reputation  is  most  surely  based 
upon  the  insight,  knowledge  and  truth  to  life  with 
which  he  painted  the  horse,  the  dog  and  the  fox. 

Sawrey  Gilpin  was  a  man  of  culture  and  refine- 
ment, who  in  a  licentious  age  was  held  in  deserved 
respect  by  his  contemporaries  for  his  high  moral 
character  and  extreme  simplicity  of  manner. 

An  industrious  and  prolific  workman,  he  pro- 
duced a   very  large  number  of  pictures  during  his 


202  ANIMAL    PAINTERS 

life.  His  hand  retained  its  cunning  to  the  last  ; 
the  Royal  Academy  Exhibition  of  1807  contained 
three  pictures  from  his  easel,  the  artist  having  died 
on  the  8th  of  March  in  that  year,  at  Brompton. 

He  left  one  son,  William  Sawrey  Gilpin,  who  for 
a  time  pursued  the  study  of  art  and  painted  in 
water  colours.  William  Gilpin,  however,  possessed 
little  talent  ;  he  became  the  first  President  of  the 
Water  Colour  Society,  and  was  a  frequent  con- 
tributor to  its  exhibitions  ;  but  so  indifferent  were 
his  performances,  says  Redgrave,  that  he  injured 
his  practice  as  a  drawing  master  by  showing  his 
pictures.  He  eventually  laid  aside  the  palette  and 
brush  to  adopt  landscape  gardening  as  a  profession. 

The  accompanying  portrait  of  Sawrey  Gilpin  has 
been  engraved  from  a  picture  kindly  lent  by 
Captain  Norclifte  Gilpin,  of  Brighton,  a  descendant 
of  the  painter. 


WORKS   OF    SAWREY   GILPIN,   R.A. 

IN    THE   SOUTH    KENSINGTON    MUSEUM. 

coil's  IN  A  LANDSCAPE ;  three  red  cows  in  the  foreground  of  a  suniij-  landscape  ;  on 

canvas  24J  inches  by  18  inches,  oblong.     Water  colours. 
SKETCH  OF  A  LION  AND  LIONESSES. 
A  MAAS/ON  IN  I'KOCESS  OF  CONSTKUCTION  (Fonthill  Abbey?),  signed  and 

dated,  1797. 
MOUATAIN  LANDSCAPE  WITH  CATTLE  AND  FIGURES,  signed  and   dated 

1787- 
TREES  AND  HORSES  (painted  with  (ieorgc  Bauelt,  sen.,  R.A.)  dated  17S2. 


SAWREY    GILPIN,     R.A. 

From  a  Fainliiig  in  the  f-ossesiioii  of  Caplniii  Norciiffc  (-ji//>iii, 
y,  Katon  Gardens,  Wesl  Brii;hlon. 


"WORKS    OF    5A\\*REV   GILPIX.    R.A.  203 

PICTUfiES    E:XH:3;TED    in    the     royal   ACADE^rY 
36  in  number  . 

17M— ;3)  A  ffJSSE  SEI^DSVISO  TO  h'fS  3rA/£S7~!'—A  EJXrfCCXD  IX  THE 

POSSESSION  OF  COL.  THCKi—JX. 
ijSS— (j)  LA2rDSCA.PE      AST)      CATTLE  —  m'H'PCOS--    —  DTSCAXXOX  — 

Hocyns  SEizfSu  a  rox—SA  a-x  ajtd  ha-RE. 

1755 -(3)  .4    DOG    FROJf    SA3LE    CAPE— A     STAG-SJ Z'-TJ  —  SSSC    FETES. 

TELiZLE.' 
1792 — A  Rp-^p^-rsg.  JTPITER.  fcKuybs.-_.  oc'Cci-  Trcczcnc- 
i-m—THE  DEATH  OF  THE  FOX. 
:7H— (s)  XAEE  A.J>'D  COLT—AJT  OLD  HTXTES—CEXTLE-VAX  O.V  HTESE- 

S.iCX  BS/SUfXG  UP  LAG  HOVyDS  TO  COyEKT. 
IT?;— (5)  COCSSIXG—irAKES  AXD  FOALS— FORTSAIT  OF  A  HOF.SE. 
i-r^-LITTES  OF  FO.TES  Csa^graEsd  bv  Jlr.  P.  g--^-''-) 
1797— Cs)  HOSSES— POSTS ASTS  OF  HOSSES—.i  .F.iS-V-iASjy. 
»79»— t)  -4JfES/CAX  SE.iSS—DEi'OXSH:SE  CA  TTLE,  iz  tix  pcssesin:  of  5r- 

Hacry  \PV-'-";=t.  Est:.— Hc'JJ'£S',  prroerrv  at  is  H;c.  G==r5=  Pici— ,^  ISX 

PL'CS. 
1790— (2)  .^u^ASij    IX  -i    THTXLES-STLS.V  —  LAXSEL    iX    THE   LLOys 

DEX. 
I  So; —  TICESS. 

1*35 — HOSSESf  uct.\jtgt>  oc  the  PiIjLja  :t  WsJ-s^ 
;3o7 — (s)  HOSSE,     property    a     Lccz.     Gwrck — 3'OSSES — JJITAC^-i-VS    ^JJC-F-S^ 


PLATES    IN   THE    SPJRT/XG   MAGAZIXE    3  in  namber^. 

DE.A  TH  OF  THE  .^J-V,  :tc;^  va^  11 :  Kgia-red  "st  X.  Cock. 

D.-iSH,  a  pobmr,  t»^;«lj  of  Coi.  Tbg-.:3r.  iTgc,  t^  7  ;  c%^»-el  or  Scoci. 

SIS  PETES  TEAZLE,  iSri  toL  j^  ;  c  j>gi  br  Scxt. 


204 


THOMAS   GOOCH. 

(Born  circa  1750.) 

nnHOMAS  GOOCH,  who  was  born  about  the 
•■■  year  1 750,  is  another  of  the  artists  whose  frag- 
mentary history  is  written  only  in  the  catalogues 
of  exhibitions.  His  pictures  are  occasionally  seen 
in  collections  in  the  old  country  mansions  of  Eng- 
land, but  it  would  appear  that  he  had  a  tolerably 
extensive  connection.  His  specialities  were  eques- 
trian portraits  and  portraits  of  horses  and  dogs,  in 
the  execution  of  which  he  displayed  considerable 
artistic  talent.  He  exhibited  largely  ;  his  name 
first  appears  in  1772,  when  he  contributed  a 
picture  to  the  exhibition  of  the  "  Free  Society  of 
Artists;"  between  that  date  and  1781,  when  his 
name  figures  for  the  first  time  in  the  catalogue  of 
the  Royal  Academy,  he  does  not  appear  to  have 
exhibited ;  but  we  find  a  connecting  link  in  his 
portrait  of  the  racehorse  Goldfinder^size  of  canvas 
2  feet  7  inches  by  2  feet  2  inches — which  he 
executed  in  1777  for  Mr.  Cook.  This  picture  is 
in  the  Elsenham  collection,  and  an  engraving  from 
it  is  here  given. 


cr 

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o 
o 


THOMAS    GOOCH  205 

In  1 78 1,  the  year  of  his  first  contribution  to  the 
Royal  Academy,  Gooch's  address  is  given  as  "  7, 
facing  the  Chapel,  Knightsbridge  "  :  he  was  repre- 
sented by  three  works  in  that  year's  exhibition, 
and  thenceforward  until  1S02  was  a  tolerably 
regular  and  often  large  contributor,  sending  no 
fewer  than  seventy-six  pictures  in  eighteen  years. 
The  large  proportion  of  portraits  in  the  list  which 
follows  indicates  the  extent  of  his  connection,  and 
testifies  to  the  esteem  in  which  his  work  was  held 
by  contemporary  sportsmen  and  other  patrons  of 
art.  His  predilection  for  painting  horses  and  dogs 
on  the  same  canvas  compels  notice  ;  but  no  doubt 
this  was  usually  done  in  compliance  with  the  wish 
of  his  patron.  His  pictures  from  time  to  time 
received  flattering  notice  in  the  pages  of  the 
Sporting  Magazine.  Thus  in  the  issue  for  May, 
1 793,  the  critic  remarks  of  Gooch's  exhibits  in  the 
Royal  Academy  :  "  '  The  portrait  of  a  horse  '  will 
be  no  disgrace  to  the  Dormitory  stud  of  the  first 
sportsman  in  the  kingdom.'  Again — "'Breaking 
in  the  Young  Coach-horse '  with  its  companion 
picture  '  The  Latter  State  of  the  Coach-horse ' 
does  the  artist  credit ;  they  are  a  pretty  pair  of 
pictures,  and  worthy  a  place  in  any  sportsman's 
collection."  Modern  art  critics  may  perhaps  con- 
sider these  remarks  lacking  in  discrimination  and 
analytical  spirit,  but  they  at  least  go  to  prove  that 


THOMAS   GOOCH  205 

In  1 78 1,  the  year  of  his  first  contribution  to  the 
Royal  Academy,  Gooch's  address  is  given  as  "  7, 
facing  the  Chapel,  Knightsbridge  "  :  he  was  repre- 
sented by  three  works  in  that  year's  exhibition, 
and  thenceforward  until  1802  was  a  tolerably 
regular  and  often  large  contributor,  sending  no 
fewer  than  seventy-six  pictures  in  eighteen  years. 
The  large  proportion  of  portraits  in  the  list  which 
follows  indicates  the  extent  of  his  connection,  and 
testifies  to  the  esteem  in  which  his  work  was  held 
by  contemporary  sportsmen  and  other  patrons  of 
art.  His  predilection  for  painting  horses  and  dogs 
on  the  same  canvas  compels  notice  ;  but  no  doubt 
this  was  usually  done  in  compliance  with  the  wish 
of  his  patron.  His  pictures  from  time  to  time 
received  flattering  notice  in  the  pages  of  the 
Sporting  Magazine.  Thus  in  the  issue  for  May, 
1793,  the  critic  remarks  of  Gooch's  exhibits  in  the 
Royal  Academy  :  "  '  The  portrait  of  a  horse  '  will 
be  no  disgrace  to  the  Dormitory  stud  of  the  first 
sportsman  in  the  kingdom.  "  .A.gain — "  '  Breaking 
in  the  Young  Coach-horse '  with  its  companion 
picture  '  The  Latter  State  of  the  Coach-horse ' 
does  the  artist  credit ;  they  are  a  pretty  pair  of 
pictures,  and  worthy  a  place  in  any  sportsman's 
collection."  Modern  art  critics  may  perhaps  con- 
sider these  remarks  lacking  in  discrimination  and 
analytical  spirit,  but  they  at  least  go  to  prove  that 


206  ANIMAL    PAINTERS 

Gooch's  work  attracted  notice  when  the  art  critic's 
survey  of  the  exhibitions  was  much  less  exhaustive 
than  it  is  nowadays. 

In  1794,  the  year  in  which  the  artist  had  no 
fewer  than  thirteen  paintings  on  the  Royal  Aca- 
demy walls,  the  critic  is  at  greater  pains  to  express 
his  appreciation.  "The  smaller  sized  pictures  of 
Mr.  Gooch's  are  meant  as  different  characters, 
and  the  set  (of  which  he  is  now  finishing  the 
remainder)  comprises  twelve,  with  the  like  number 
of  dogs  to  correspond ;  these,  together  with  six 
stages  of  the  racehorse,  are  designed  for  the 
furnishing  of  any  gentleman's  room  entirely  with 
portraits  of  those  useful  and  entertaining  animals, 
and  which  from  the  specimens  here  given  certainly 
will  form  a  very  pleasing  assemblage."  That  the 
pictures  were  well  worth  buying  was  the  highest 
praise  the  writer  could  bestow  ;  we  have  not  gone 
much  beyond  that  at  the  present  day,  but  the  idea 
is  less  frankly  expressed. 

In  the  exhibition  of  1800  he  exhibited  a  portrait 
of  an  ox  which  had  distinguished  himself  by  the 
unbovine  achievement  of  winning  a  race.  The 
animal  is  said  to  have  run  this  race,  which  was 
nearly  two  miles,  in  eight  minutes. 

Gooch  appears  to  have  painted  either  one,  two 
or  three  sets  of  pictures  representing  the  career 
of  a    racehorse.      The    Royal   Academy  exhibition 


THOMAS    r.OOCH  207 

of  1 783  included  among  other  works  from  his 
brush  "The  Life  of  a  Racehorse "  in  six  scenes, 
viz.,  (i)  The  Foal  with  the  Mare  ;  (2)  The  Colt 
Breaking ;  (3)  The  Time  of  Running  ;  (4)  As  a 
Hunter;  (5)  As  a  Post- Horse  and  (6)  His  Death. 
This  horse  in  his  time  played  many  parts  !  In  1790 
a  series  of  six  engravings  from  the  "  Life  of  a 
Racehorse "  was  published  ;  but  in  the  absence  of 
particulars  it  is  impossible  to  know  whether  these 
plates  were  executed  from  the  pictures  exhibited 
seven  years  earlier  or  from  another  set.  In  1792, 
Edward  Jeffery,  of  Pall  Mall,  published  a  book, 
in  folio  size,  from  whose  title  page  the  following 
quaint  description  is  taken  :  — 

"  The  Life  and  Death  of  a  Racehorse  exemplified  in  his  various 
stages  of  existence  till  his  dissolution.  The  whole  drawn  and 
engraved  in  Aquatinta  by  Thomas  Gooch,  Esq.,  with  an 
Essay  tending  to  excite  a  benevolent  conduct  towards  the 
Brute  Creation  by  Dr.  Hawksworth,  to  which  is  added  '  The 
Song  of  a  Racehorse,'  "  &c. 

The  plates  are  six  in  number,  and  their  titles  at 
once  challenore  comparison  with  the  set  exhibited 
in  1783  :— 

(i)  When  a  Foal  with  his  Dam;  (2)  When  a 
Colt  Breaking ;  (3)  After  running  a  Race  and 
Winning ;  (4)  As  a  Hunter  going  out  to  the 
Chase  ;  (5)  As  a  Postchaise- Horse,  on  the  Road  ; 
and  (6)  His  Dissolution. 


208  ANIMAL    PAINTERS 

It  will  be  noted  that  this  publication  shows  the 
artist  in  the  role  of  engraver  of  his  own  works. 

Though  Gooch  did  much  and  excellent  work, 
few  of  his  paintings  seem  to  have  been  engraved, 
and  the  fact  that  his  brush  was  so  frequently  em- 
ployed upon  portraits  of  animals  more  interesting 
to  their  owners  than  to  the  general  public,  may  in 
a  measure  account  for  this.  One  of  his  works, 
"  Foxhounds,"  was  engraved  by  Godby  and  Merke 
and  published  by  Orme  in  1808. 

We  find  no  record  of  the  date  or  circumstances 
of  Thomas  Gooch's  death.  His  last  contributions 
to  the  Royal  Academy  appeared  in  the  exhibition 
1802,  after  which  date  we  lose  sight  of  him,  the 
engraving  of  a  painting  at  a  later  date  being  of 
course  no  proof  that  he  was  at  the  time  alive. 


WORKS  OF  THOMAS  GOOCH. 

EXHIBITED  AT  THE  ROY.\L  ACADEMY  (76  in  number). 

YEAR 

■781— (3)  A  GIG-MARE,  the  property  of  a  ^enA^m^n— PORTRAIT  OF  A  GENTLE- 
MA  I'f  WITH  HIS  HOR.'^E  AND  DOGS— A  HORSE,  for  Colonel  Gallatine. 

1782— (6)  PORTRAIT  OF  A  HUNTER— PORTRAIT  OF  AN  OLD  HORSE- 
HORSES  AND  DOGS  belonging  to  the  Hon.  Mr.  Vm— PORTRAIT  OF  A 
HORSE  WITH  DOGS— PORTRAIT  OF  A  HORSE  AND  DOG— POR- 
TRAIT OF  A  NOBLEMAN  ON  A  MANAGED  HORSE. 

ijSj— (4)  PORTRAIT  OF  A  GENTLEMAN  ON  HORSEBACK— PORTRAITS 
OF  A  YOUNG  NOBLEMAN  AND  HIS  SISTER  ON  HORSEBACK- 
PORTRAITS  OF  Tiro  HORSES— "The  Life  of  a  Raceh.rse,"  in  a  series  of 
six  different  stages,  viz.  :— ist,  THE  FOAL  IITTH  THE  MARE.  2nd, 
THE  COLT  BREAKING.  3rd,  THE  Tl.VE  OF  RUNNING.  4th,  AS  A 
HUNTER,     sth,  AS  A  POST  HORSE.     6th,  HIS  DEATH. 

ijii—P0R7-RAIT  OF  A  HORSE. 


WORKS    OF    THOMAS    GOOCH.  2O9 


YEAR 

ij^—{j)  PORTRAIT  OF  A  HORSE  AND  DOG  -  PORTRAITS  OF  TWO 
HORSES— PORTRAIT  OF  A  HORSE  If/TH  A  GREYHOUND— POR- 
TRAIT OF  A  HORSE  WITH  FIGURE  AND  DOGS— A  GENTLEMAN 
ON  HORSEBACK,  WITH  HIS  GAMEKEEPER  AND  POINTERS  — 
TWO  HORSES  IN  A  CURRICLE— AN  OLD  HORSE. 

11%!— (it  PORTRAIT  OF  A  BROOD  MARE— A  POINTER— A  GENTLEMAN 
WITH  HIS  SPANIELS 

■789-K3)  Three  studies  of  horses—^  SHOOTING  HORSE,  WITH  POINTERS- 
HOUNDS  KILLING  A  FOX. 

ijgo— {12)  LA DVS  LAP-DOGS— PORTRAIT  OF  A  CAT— A  STAGHOUND—A 
SETTING  DOG  —  A  GREYHOUND  —  SPANIELS  —  FOXHOUNDS  — 
POMERANIAN  DOG— COACH  DOGS— A  NEWFOUNDLAND  DOG- 
PORTRAIT  OF  A  HORSE— AN  OLD  POINTER. 

1792— (3)  PORTRAIT  OF  A  HORSE— PORTRAIT  OF  A  DOG— PORTRAIT  OF 
A  HORSE. 

\ia-i—(i))  PORTRAIT  with  horse  and  dogs— THE  LATTER  STATE  OF  THE 
COACH-HORSE  —  PORTRAIT  OF  A  LADY  ON  A  REMARKABLE 
TROTTING  MARE  — A  DOG  FROM  MILAN  —  PORTRAIT  OF  AN 
ITALIAN  GREYHOUND— "  STARING  TOM" —  "  SATELLITE,"  by 
Eclipse,  a  favourite  nM\on  — BREAKING  IN  THE  YOUNG  COACH- 
HORSE— PORTRAIT  OF  A  HORSE. 

■794— (13)  PORTRAIT  OF  AN  OLD  PACK-HORSE— A  CURRICLE  HORSE,  the 
property  of  a  noUemRn— THE  RACEHORSE— POR TRAIT  OF  A  HORSE 
AND  DOG— THE  DEATH  OF  A  MARE— Equine  Characters:  (i)  THE 
CART-HORSE— (2)  THE  POST-HORSE— (,3)  THE  DR AY-HORSE —U) 
THE  GALLOWAY— ii)  THE  C0ACH-H0RSE  —  (6)  THE  HUNTER 
(7)  THE  STALLION— PORTRAIT  OF  A  GENTLEMAN  ON  HORSE- 
BACK. 

i795-<2)  PORTRAIT  OF  A  HUNTER— A  FAVOURITE  HACKNEY. 

i-jge-THE  PROGRESS  OF  THE  RIDING  SCHOOL. 

1797— A  GENTLEMAN  ON  A  FAVOURITE  TROTTING  MARE. 

i7gS— (3)  PORTRAIT  OF  A  HUNTER— PORTRAIT  OF  A  DOG— PORTRAIT 
OF  A  BLOOD  MARE. 

lioo— THE  OX  THAT  WON  THE  PLATE  AT  LYNDHURST  RACES. 

iSoi— <2)  PORTRAIT  OF  A  HUNTER— PORTRAIT  OF  A  HORSE. 

i8oii-(3)  PORTRAIT  OP  A  HUNTER— PORTRAIT  OF  A  HUNTER. 


H 


APPENDIX. 


I.     Trojan. 

From  Nimrod's  account  in  the  Sporting  Magazine  of  January, 
1825. 

"Whoever  has  hunted  in  Warwickshire  has  heard  of  'the 
blood  of  the  Trojans,'  which  was  a  standing  toast  in  that 
country  when  Mr.  Corbet  hunted  it,  and  was  always  drunk 
after  '  the  King '  in  the  club-room  at  Stratford-on-Avon. 
The  hero  from  whom  these  modern  sons  of  Ilion  were 
descended  was  one  of  the  best  foxhounds  that  ever  challenged 
on  a  fox,  and  whose  blood  has  circulated  through  most  of  the 
first  kennels  in  the  United  Kingdom.  Various  have  been 
the  reports  respecting  this  celebrated  hound,  some  of  which 
gained  credit  enough  to  be  believed.  One  was  that  he  came 
astray  to  Mr.  Corbet's  kennel,  and  distinguished  himself  by 
carrying  the  scent  for  a  considerable  distance  along  the  top 
of  a  park  wall,  thereby  recovering  his  fox  when  lost  to  the 
rest  of  the  pack.  Whether  he  ever  performed  this  exploit 
(as  he  was  before  my  time)  it  is  not  in  my  power  to  determine  ; 
but  certain  it  is  that  old  Trojan  was  bred  by  Mr.  Corbet,  and 
got  by  Lord  Spencer's  True-boy  out  of  a  bitch  called  Tidings 
(of  unknown  pedigree)  purchased  by  Mr.  Corbet  at  Tatter- 
sail's. 

"  Trojan  was  entered  in  1782  and  hunted  nine  seasons.  He 
would  never  look  at  a  hare,  and  would  speak  only  to  a  fox, 
a  marten  cat,  or  a  pheasant.  In  his  day,  however,  pheasants 
in  Warwickshire  were  not  much  thicker  than  foxes,  so  that 
this  propensity,  if  I  may  so  call  it,  was  of  little  consequence, 
for  in  chase  he  was  as  perfect  as  his  nature  could  make  him. 


APPENDIX  2  I  I 

With  the  nose  of  a  bloodhound,  his  pace  was  a  killing  one ; 
and  as  a  proof  of  his  powers  in  chase,  Mr.  Corbet  has  often 
been  heard  to  say  that  he  was  the  only  hound  he  ever  had 
who  could  leap  Chillington  Park  wall  after  a  fox.  This 
circumstance,  perhaps,  may  have  given  birth  to  the  other 
story  of  the  park  wall  exploit.  It  appears  that  Mr.  Corbet's 
hounds  found  a  very  dark-coloured  fox  in  Chillington  Park, 
in  Staffordshire,  the  seat  of  Mr.  Gifford,  which  had  beaten 
them  twice.  The  third  time  they  found  him  Trojan  leaped 
the  park  wall  after  him,  but,  in  consequence  of  the  rest  of  the 
pack  not  being  able  to  follow  him,  old  Cjesar,  as  the  gallant 
fox  was  called,  beat  them  again.  The  following  season  Trojan 
found  this  fox  again,  nearly  in  the  same  place,  and  leaped  the 
wall  close  at  his  brush,  but  from  the  cause  before  mentioned, 
although  he  afforded  a  good  run  after  the  other  hounds  got 
around  to  him,  he  beat  them  once  more  !  In  short,  in  spite  of  old 
Trojan,  '  Caesar's  fortune '  attended  him  to  the  last,  as  he  was 
never  killed  by  hounds,  neither  was  it  ever  known  in  what 
way  he  ended  his  life." 

II.     Colonel  Thornton. 

Colonel  Thomas  Thornton  was  so  conspicuous  a  figure  in 
the  sporting  world  during  the  later  decades  of  the  eighteenth 
century  and  the  earlier  years  of  the  nineteenth,  and  was  also 
so  liberal  a  patron  of  art  in  its  sporting  aspects,  that  more 
than  passing  notice  of  him  seems  desirable.  He  was  born  in 
the  neighbourhood  of  St.  James's  about  the  year  1755,  his 
father  being  Colonel  Wm.  Thornton,  who  raised  a  troop  of 
yeomanry  one  hundred  strong,  and  maintained  it  at  his  own 
cost  while  serving  with  distinction  under  the  Duke  of  Cum- 
berland in  the  Scottish  Rebellion.  Young  Thornton  was  sent 
to  Charterhouse  where  he  remained  till  he  was  fourteen ; 
when  having  made  rapid  progress,  he  was  removed  and  sent 
to  Glasgow  University.  When  about  sixteen  years  of  age 
his  father,  then  M.P.  for  York,  died  somewhat  suddenly,  and 
Thomas  Thornton,  at  the  age  of  two-and-twenty,  came  into 
possession   of  an   immense    fortune.     Sport,    and   above   all 


2  I  2  APPENDIX 

things  hawking,  was  a  passion  with  him  ;  in  more  than  one  of 
his  portraits  he  is  represented  as  a  falconer  or  engaged  in 
hawking ;  hence  on  leaving  Glasgow  he  soon  took  up  his 
quarters  at  the  family  place  in  Yorkshire,  Old  Thornville,  and 
busied  himself  about  the  congenial  task  of  laying  the  founda- 
tions of  the  sporting  establishment  with  which  his  name  is 
associated.  He  joined  the  West  York  Militia  of  which  he 
ultimately  became  Colonel  and,  in  pursuance  of  his  favourite 
scheme  to  bring  hawking  to  perfection,  formed  a  Falconers' 
Club.  He  kept  a  pack  of  foxhounds,  hunting  them  himself, 
and  was  a  familiar  figure  on  the  turf  both  as  an  owner  and 
rider.  His  bodily  activity  was  remarkable  and  he  delighted 
in  athletic  feats ;  he  was  an  excellent  shot  with  gun  and 
rifle,  and  a  good  fisherman.  About  1785  he  appeared  to 
have  made  a  sporting  tour  in  the  Scottish  Highlands  ;  and  so 
pleased  was  he  with  the  experience,  that  in  the  following 
year  he  organised  the  formidable  expedition  whose  events  are 
recorded  with  minuteness  and  detail  in  A  Sporting  Tour,  a 
work  which  has  recently  been  republished  by  Mr.  Edward 
Arnold.  It  was  on  this  expedition  that  George  Garrard 
accompanied  him  as  his  "  special  artist."  It  is  to  be  observed 
that  the  Colonel  gave  his  voluminous  diaries  to  an  old  school- 
fellow who  was  in  distress,  and  whose  necessities,  it  appears, 
the  proceeds  of  the  work  went  to  relieve.  In  1789  Colonel 
Thornton  purchased  from  the  Duke  of  York,  Allerton  Maul- 
evrer,  which  he  afterwards  renamed  Thornville  Royal,  paying 
for  the  estate  £"i  10,000  which  it  is  said  he  had  won  from  the 
Duke  and  others  in  gambling  transactions.  As  the  standing 
crops  hindered  hawking  from  Thornville  Royal,  he  built  a 
house  on  the  Wolds  near  Baythorpe,  about  twelve  miles 
from  Scarborough,  and  when  he  was  in  residence  here,  the 
place  became  the  scene  of  sport  on  a  scale  of  mediaeval 
magnificence ;  the  revels,  for  the  word  is  not  misused,  were 
sometimes  continued  for  three  or  four  weeks  in  succession, 
the  guests  being  entertained  with  hunting,  hawking,  and 
coursing  every  day,  and  with  the  most  sumptuous  banquets 
at  night.     Early  in  1803,  for  example,  the  programme  for  a 


APPENDIX  213 

week's  sport  was  made  public.  It  ran  thus :  "  On  Monday, 
stag-hunting,  followed  by  coursing  ;  Tuesday,  wolf,  stag  and 
fox-hunting  and  beagling ;  Wednesday,  stag-hunting  and 
coursing ;  Thursday,  wolf,  stag  and  fox-hunting,  beagling 
and  coursing ;  to  meet  every  day  at  Falconer's  Hall  where 
there  will  be  a  sportsman's  breakfast  provided  for  all  the 
company."  This  particular  entertainment  may  have  been 
organised  to  celebrate  the  Colonel's  return  from  France, 
whither  he  had  gone  on  a  sporting  tour  equipped  on  his 
customary  lavish  scale. 

In  1805,  Thorn ville  Royal  was  sold  to  Lord  Stourton, 
and  three  years  later  Colonel  Thornton  left  Yorkshire  for 
Spye  Park,  Wiltshire,  which  he  had  taken  on  lease ;  the 
increase  of  cultivation  on  the  wolds  which  formed  an  obstacle 
to  hawking  is  the  reason  assigned  for  his  leaving.  The  order 
of  his  going  was  regal  in  its  magnificence  ;  to  give  full  details 
here  of  the  procession  which  wound  its  way  from  Yorkshire 
southward,  would  be  impossible.  The  king  of  sport  was 
followed  by  a  retinue  of  huntsmen,  falconers,  grooms,  keepers, 
kennelmen,  and  other  servants ;  by  his  horses  and  hounds, 
and  by  a  train  of  waggons  containing  a  menagerie  of  beasts 
of  chase.  Among  great  variety  of  animals  there  were  red- 
deer,  roebuck,  fallow-deer  and  Eastern  species ;  Russian  wild 
boar  and  French,  received  from  the  First  Napoleon  in 
exchange  for  seventy  couples  of  foxhounds,  having  the  blood 
of  the  famous  Old  Conqueror  to  prove  their  breeding ;  and 
cormorants,  wearing  silver  rings  about  their  necks,  for  fishing 
after  the  Chinese  fashion.  Dog-carts  conveyed  milk-white 
terriers  and  greyhounds  whose  sheets  were  embroidered  with 
records  of  the  various  matches  they  had  won.  A  feature  of 
the  cavalcade  was  a  boat  waggon  which  had  once  done 
yeoman  service  in  conveying  voters  to  the  poll,  filled  for 
the  occasion  with  the  materiel  of  sport — guns,  rifles,  fishing 
rods  and  nets,  otter  spears  and  the  like ;  the  conveyance 
being  decorated  with  deer  skins,  and  drawn  by  Arab  mares 
from  the  King's  stud.  Waggon  loads  of  wine  brought  up  the 
rear.      The  cellars  at  Thornviile  Royal  v.ere  famous,  and  the 


214  APPENDIX 

Duke  of  York  pronounced  some  possessed  by  the  Colonel  to 
be  the  finest  in  the  kingdom.  It  must  be  added  that  with 
all  this  parade  and  display,  the  business  of  transporting  these 
many  varied  matters  was  so  perfectly  organised  and  carried 
out  that  everything  reached  Spye  Park  in  safety.  We  can 
only  regret  that  Colonel  Thornton  did  not,  on  this  occasion, 
include  among  his  retinue  George  Garrard,  to  immortalise  a 
scene  of  such  curious  ostentation  ! 

About  the  year  1815,  the  Colonel  gave  up  hawking  and 
retired  to  France.  In  1817,  he  bought  the  Chateau  of  Pon- 
le  Roi,  in  the  Dept.  d'Aube,  reselling  it  in  1821.  He  died  in 
Paris  in  the  spring  of  1823,  in  his  seventy-fifth  year. 


INDEX    TO    PAINTINGS,    ENGRAVINGS,    SCULPTURES,    .Vc. 


PAGE 

"  A  Change  and  we're  Away  "         

Henry  Aiken 

...         13 

"A  Chosen  few  alone  the  Scene  Survey'    ... 

Henry  Aiken 

...        26 

Adieu,  The 

A.  Cooper,  R.A. 

...      117 

Adjutants          ... 

H.  B.  Chalon       ... 

...        91 

Advantages  of  the  Martingp.l 

A.  Cooper,  R.A 

...      121 

Adventure   of    the   Capture   of    Mambrino's 

Helmet      

A.  Cooper,  R.A 

116,    120 

African  Camel 

George  Garraid,  A. R.A. 

..       IS6 

"After"            

A.  Cooper,  R.A.  ... 

...       124 

After  a  good  Run        ...         

Henry  Aiken 

26 

After  running  a  Race  and  winning    ... 

Thomas  Gooch     ... 

207 

"  After  the  Fair "         

A.  D.  Cooper 

,,.       I2S 

Agricultural  Show       

George  Garrard,  A. R.A. 

180,   1S4 

"  Airy,"  winner  of  the  Brighton  Stakes 

A.  Cooper,  R.A 

no,  iiS 

"  Alacrity,"  a  mare      ...         

A.  Cooper,  R.A.  ... 

117 

"Aladdin"      

James  Barenger    ... 

■      39 

Alarmed  Poacher,  An... 

Stephen  Elmer,  A.R..\.. 

158 

Alderney  Bull  and  Cows 

A.  Cooper,  R.A. ... 

.       116 

"  Alexander  and  Bucephalus  " 

Geo.  Garrard,  A.R..-\. 

..     1S7 

"  Aliwal,"  an  Arab  Charger  ... 

A.  Cooper,  R.A 

119,  122 

"  All  the  World's  a  Stage  " 

Henry  Aiken 

...      17 

"Alp  and  Glory"        

R.B.Davis 

...     150 

Alto  Relief       

Geo.  Ganard,  A. R.A 

187 

"  Amato,"  a  Colt         

A.  Cooper,  R.A 

"S 

American  Bears           

Sawrey  Gilpin,  R.A. 

..    203 

"  An  under  current  " 

A.  Cooper,  R.A 

124 

Analysis  of  the  Hunting  Field           

Henry  Aiken 

25 

"  Androcles  and  the  Lion  " 

William  and  Henry  Barr 

nud          5°>59 

Animals            

A.  Cooper,  R.A 

n6 

"  Annette  and  Polyxena,"  brood  mares 

Henry  Barraud    ... 

S8 

Annual  Benediction  of  the  Animals  of  Romt 

on  the  Feast  of  St.  Anthony,  by  the  Pope 

W.  and  H.  Barraud 

56.59 

"Anxiety"       

A.  Cooper,  R.A 

..     119 

Arab  and  his  Steed      

A.  Cooper,  R.A 

120 

Arab  Cavalry 

Henry  Aiken 

26 

Arab  Chief        

Henry  Alkcn 

...      26 

Arab  Chief  and  Horse            

A.  Cooper,  R.A.  ... 

120 

Arab  Soldiers 

Henry  Alkcn 

...      26 

2l6 


INDEX 


Arabian,  An     

Arabian,  An      

Arabian,  Borack,  The... 
Arabian  broke  loose,  An 

Arabian  Knights  

Arabs     ...        A.  Cooper,  R.A.,  1850,  1852, 
"  Araby  and  a  Ponv  " 

"Arbutus"       ...    '      

Arcades  Ambo 

Arcadians 

"  Archer,"  a  foxhound  ...         

Arctic  Dog  and  Fo.\ 

"  Ariadne  after  her  desertion  by  Theseus"  . 

Arrival  of  the  Mackerel  Boat 

Arthur,  Lord  Capel,  defending  Colchester.. 

"  Assheton,"  portrait  of  

Astonished  Village,  The        ...        ^^ 

At  Bay 

At  Bay 

At  Exercise      ...         

At  Fault  

At  Fault  

At  High  Pressure         

"At  his  head  a  grass  turf  and  at  his  heels 

stone"       

August  ... 

"  Augusta,"  studies  of 

Autumn  Evening 
Autumn  Gleanings 

"Avarice"        

Awkward  Pass,  An 

Awkward  Place,  An 

Ayrshire  Cows 


r.\GE 

.  H.  B.  Chalon,  1798, 1803, 1820 

...88,89 

.  A.  Cooper,  R.A.,  1824,  1846.. 

.117,119 

.  A.  Cooper,  R.A 

.  .     122 

.  H.  B.  Chalon       

...      89 

.  A.  Cooper,  R.A. 

...     124 

,  1857,  1858,  1862,  1865,  1867.. 

.119,  120 

.  A.  Cooper,  R.A 

...     118 

.  A.  Cooper,  R.A.  ... 

...     122 

.  A.  D.  Cooper       

...     128 

.  A.  Cooper,  R..\ 

...     119 

.  A  Cooper,  R.A. ... 

...     122 

..  A.  Cooper,  R.A 

...     121 

..  A.  Cooper,  R.A 

...     119 

.   Luke  Clennell      

...      97 

.  A.  Cooper,  R.A 

108,  117 

.  John  E.  Femeley 

...     163 

.  A.  Cooper,  R.A 

...     121 

.   H.  Aiken 

...         2S 

.  A.  D.  Cooper 

.  .       128 

,.  Henry  Aiken 

...         25 

.  John  Boultbee      

...    72 

.  A.  Cooper,  R.A.  ... 

125 

.  Henry  Aiken        

24. 25 

a 

. .  Henrj-  Aiken 

17 

..  A.  Cooper,  R.A. 

...   126 

..   Geo.  Garrard,  A.R..\.    .  . 

...  189 

.A..  Cooper,  R.A 

...   123 

. .  A.  Cooper,  R.A. 

. .   123 

..  Stephen  Elmer,  A. R..-\.... 

153. 158 

..  A.  Cooper,  R.A 

...     120 

..   Henry  Aiken        

...    26 

..  A.Cooper,  R.A 

117 

B 


Badger  and  Dog  hght  

Badger  and  Dogs         

Badminton  Sweep 
Baggage  Waggon 
Baggage  Waggons  in  a  Thunderstonn 

"Barbarossa" 

Barbary  Sheep 

"Bard"  

Barge  Horses    ... 

Baron  of  Beef  ...         

Barraud,  Martin,  portrait  of  ... 

Barrett,  J.,  model  for  bust  of. 

Bartlett,  Robert  

Bas-relief  of  a  Bull       

Basketof  Strawberries...    Stephen  Elmer, 

"  Basto,' a  Dog 

Batten,  Major,  bual  of  


...  Henry  Aiken       

...       25 

...  Luke  Clennell      

...     100 

...   R.  B.  Davis          

...     150 

.  .  A.  Cooper,  R.A. 

117 

...   Luke  Clennell      

..       lOI 

...  H.  B.  Chalon       

86,88 

...  Sawrey  Gilpin,  R.A. 

.     203 

..     Henry  Barraud     

...      58 

...  Edmund  Bristowc 

...      76 

...   Henry  Aiken        

...      25 

...  \V.  Barraud          

...      51 

..  Geo.  Garrard,  AR.A.    ... 

...     18S 

...  W.  Barraud          

54 

...  Geo.  Garrard,  A. R.A.    ... 

188 

A.R.A.,  1773,  1775.  '777.  '778.. 

157,  IS8 

..  A.  Cooper,  R.A.  ... 

...     120 

...  Geo.  Garrard,  AR.A.    ... 

...     187 

INDEX 


217 


Battle  of  Assaye  

Battle  of  Edge  Hill 

Battle  of  Lewes 

Battle  of  Ligny 

Battle  of  Marston  Moor  

Battle  of  Naseby 

Battle  of  Shrewsbury  ... 

Battle  of  Strigoniuoi   ... 

Battle  of  Zutphea 

Bay  horse 

"  Bay  Middleton  "      

Bears 

Beaumont,  M.P.,  Colonel      

Beauties  and  Defects  of  the  Figure  of  the 
I  lorse  comparatively  del  ineated 

"Beauty"        

"  Beauty,"  a  favourite  hound  belonging  to 
George  III. 

"  Beauty  and  the  Beast "       

Bedaween's  Home,  The 

"  Ben  Tally  O,"  portrait  of 

Benningburgh  ... 

Berkeley,  The  Hon.  Grantley  F 

Berkshire  Hog 

"  Berlin,"' a  favourite  Pomeranian    ... 

"  Bess,"  Mastiff  

"  Betsy,"  portrait  of  a  foxhound  bitch 

"Betty"  

"  Betty  Blois,"  a  mare 

Bibury  Welter  Stakes,  The 

"Bijou"  

Birds  and  Beasts 

"  Birds  of  a  feather  " 

Bison  and  Zebu,  model  of     

Black  and  WTiite  Greyhound 

Black  Game 

Black  Game 

Black  Grouse    ... 

Blackberry  Gatherers  ... 

Blackcock  and  Mountain  Hare 

Blackcock  Shooting     ... 

Blackcock,  The  

"  Blacklock,"  portrait  of        

Blood  Horse     ... 

Blood  Mare,  portrait  of  a      

Blood  Mare,  portrait  of  a       

Blood,  Thomas 

Bloomsbury      

"  Blowhard,"  the  Hoghunter  

"  Blucher,"  a  racehorse 

"  Blunder,"  a  staghound 

Boa  Serpent  crushing  a  Tiger  :  Study  for  bas- 
relief         

Boat  Hounds 


PAGB 

A.  Cooper,  R.A 

...       119 

A.  Cooper,  R.A 

...       120 

A.  Cooper,  R.A 

...       IlS 

A.  Cooper,  R.A 

...       107 

A.  Cooper,  R.  A 

107,   116 

A.  Cooper,  R.A 

. .       1 20 

A.  Cooper,  R.A 

117 

A.  Cooper,  R.A. 

107,   117 

A.  Cooper,  R.A 

..       117 

Geo.  Garrard,  .VR.A.    .. 

...       186 

A.  Cooper,  R.A 

..       IlS 

F.  Barlow 

44 

Geo.  Garrard,  A. R.A.    .. 

...     iSS 

H.  .Aiken 

...  7,  19 

H.  B.  Chalon       

...       S8 

Edmund  Bristowe 

75 

\V.  Barraud 

55 

A.  Cooper,  R..\ 

...     iig 

M.  Gauci  ... 

6 

Geo.  Garrard,  A.R.A.      . 

...     1S7 

A.  Cooper,  R.A 

...     117 

Geo.  Garrard,  A.R.A.    .. 

...     1S7 

H.  B.  Chalon       

...      S9 

H.  B.  Chalon       

90 

William  Barraud 

4S,  54 

H.B.  Chalon       

83,90 

Geo.  Garrard,  A.R.A.    .. 

184,  189 

H.  B.  Chalon      

...       88 

W.  Barraud          

...       54 

Francis  Barlow 

41 

H.  Barraud           

...       58 

Geo.  Garrard,  .\.R..A.    .. 

..     187 

Geo.  Garrard,  A. R.A.    .. 

..     1S6 

A.  Cooper,  R..\. 

..     124 

Stephen  Elmer,  A.R.A. 

J  56,  1 58 

Stephen  Elmer,  A.R.A.  . 

...     15s 

A.  Cooper,  R.A. 

...     119 

A.  D.  Cooper       

...     12S 

A.  Cooper,  R.A 

119 

A.  Cooper,  R. A 

123.  '25 

David  Dalby         

...     132 

H.  B.  Chalon       

...      90 

R.  B.  Davis          

...     148 

T.  Gooch 

...     209 

A.  Cooper,  R.A 

...     117 

A.  Cooper,  R.A... 

...     125 

Henry  Aiken        

...      24 

J.  Barenger           

-      39 

A.  Cooper,  R.A 

...     122 

Geo.  Garrard,  A.K..\.     .. 

..     18S 

H.  B.  Chalon       

...      91 

2l8 


INDEX 


Boar  Hunt        

Bock  Agen       

"Bolted!"      

"BonnvLass" 
"Border  Law" 
Bosworth  Field 
Bonnds  of  the  Beat,  The 
"  Boxer,"  a  water  spaniel 
Boxers,  bust  of... 
"  Boy,  The,"  a  cat      ... 
Brace  of  Partridges     ... 
Brace  of  Partridges 
Brace  of  Pheasants 
Brace  of  Pheasants 
Brace  of  Trout... 

Brace  of  Trout 

"Bracer"         

"  Brainwonn,"  a  racehorse 

"Bran"  

Brand,  Thomas,  and  his  huntsman  ... 
Breaking  Cover 

Breaking  Cover  ...  

Breaking  Cover 

Breaking  in  the  Young  Coach-horse 

Brett,  Charles 

Brewhouse  Yard,  A     ... 

"  Brian  deBois"        

"  Brighton,"  a  hunter... 
British  Feathered  Game 
"  British  Yeoman,"  a  bay  horse 
Bronze  busts  of: — 

Gentleman 

Lady  

Moore,  Sir  J 

Wellington,  Duke  of       

Whitbread,  S 

Bronzes,  case  containing  3  bronzes  to  press 

letters 

Brood  Cock  and  Hen 

Brood  Mare  and  her  Foal,  A  

Brood  Mare,  portrait  of  a 
Brood  Mare,  portrait  of  a 
Brood  Mare  with  Foal 
Brood  Mares  and  Foals 

Brook,  The      

"Bruno"  

"  Brush,"  a  retriever 

" Brush,"  a  Spaniel     ...  ...         

"  Buckfoot,"  a  racehorse        

Buffalo  Shooting         

BuU       

Bull-bitch  and  Puppies  

Bull-dogs  

Bull  Trout        


R.  B.  Davis         

A.  Cooper,  R.A 

Henry  Aiken        

H.  B.  Chalon       

...  W.  and  H.  Barraud 
A.  Cooper,  R.A. 

...  A.  Cooper,  R.A.  .. 

A.  Cooper,  R.A 

Geo.  Garrard,  A.R.A.    .. 

H.  B.  Chalon       

.  .         ...  Stephen  Elmer,  A.R..\., 
Stephen  Elmer,  A.R.A.,  17S0,  17S1, 

Stephen  Elmer,  A.R.A., 

Stephen  Elmer,  A.  R.A. ,   1780,  1781,1786, 

Stephen  Elmer,  A.R.A. ,  1772, 

Stephen  Elmer,  A-R.A.,  1778, 

H.  B.  Chalon       

H.  B.  Chalon       

David  Dolby        

...  W.  and  H.  Barraud 

...  H.  Aiken 

...  S.  Aiken 

..  J.  E.  Femeley     

...  Thomas  Gooch     ... 

...  A.  Cooper,  R.A.  .  . 

...  George  Garrard,  A.R.A. 

...  A.  Cooper,  R.A. 

...  H.  B.  Chalon       

...  J.  Barenger  

...  \V.  Barraud 


1773 

I -88 
1772 

1787. 

I-75. 

1795 


PAGE 
..  148 
..       123 

..         25 

••  9» 
SOi  59 
.  117 
.  123 
122 
.  188 
90 

•  157 
158 

■  157 
158 
157 
158 


Geo.  Garrard,  A.R.A. 


Geo.  Garrard,  A.  R.A. 

J.  Barenger 

A.  Cooper,  R.A.  ... 

R.  B.  Davis 

T.  Gooch 

H.  B.  Chalon       ... 

J.  Barer.ger 

H.  Aiken 

A.  Cooper,  R.A 

A.  Cooper,  R.A.... 

A.  Cooper,  R.A 

J.  Barenger 

Henry  Aiken 

R.  B.  Davis 

Geo.  Garrard,  A. R.A. 

H.  B.  Chalon 

A.  Cooper,  R.A. ... 


87,  90,  91 

...  85 

•  •  134 

50.  59 

25,  27 

■•  33 

...  167 

205,  209 

...  118 

...  180 

...  117 

...  88 

-■  37 

...  55 

...  189 

...  189 

...  188 

...  188 

...  188 

...  188 

...  38 

...  118 

...  148 

...  209 

...  90 

...  38 

...  24 

...  118 

...  118 

...  126 

•  •  39 

...  25 

...  148 

...  187 
85,  88,  91 

...  125 


INDEX 


2IQ 


Bnrdett,  Sir  Frandi    ., 
Burn,  The 
Burning  Scent,  A 
Bumside,  The 
Butcher  Boy,  The 
"  By  Habeas  Corpus  " 
"  Byron,"  a.  spaniel    .. 


PAGE 

...  T.  E.  Femeley 

...  A.  Cooper,  R.A 

...  Henry  Aiken        

...  A.  D.  Cooper       

.     i66 

;  '% 

.  12S 

...  A.  Cooper,'  R.A 

...  A.  Cooper,  R.A 

...  A.  D.  Cooper      

■     "9 

124 

•     127 

"Cadland,"  a  brown  cok      

"Call  for  the  Clippers"         

"Call  to  Vigilance" 

Camel,  A  

"  Camel,"  a  brown  horse       

"  Camillus,"  famous  race  horse         

Canary  in  a  Cage 

"  Candidates  for  Brooks  " 

Captain  Dalgetty  and  his  horse  Gustavus    . . . 

Captain  Ross  on  Clinker        ...         

"Carlo  and  Shandy"... 

"  Carousal,  The  "        

Carp      

Carp      

Cart  Cob,  A 

Cart-horse        

Cart-horses       

"Cartouche"  ... 

"Case  of  Real  Distress,  A" 

Cat,  portrait  of  a, 

"Catching  a  Tartar"  by  "  Wildrake "  and 

etched  by  ... 

"Catsup"        

Cattle 

Cattle  going  down  to  Water  at  Sunset 

Cattle  Market,  The     

Cavalier,  The  ... 

CavaJiers 

Cavaliers   and    Roundheads,  a  Struggle  for 

the  Standard        

Cavendish         

Caverley  Hunt,  The 

Celebrated  Fly-fisher,  A         

Celebrated  Greyhound,  A     

Chaise  Horses 

Chambermaid,  The     

Champion  of  England,  The   ... 

Change,  and  We're  Away,  A... 

Charger,  A 

Charger,  A 

Charger,  A 

Chariot  Race,  The 

Chase,  The 


A.  Cooper,  R.A. 

122 

Henrv  Alkea       

24 

Luke'ClenneU 

93 

Henry  Aiken       

25 

A.  Cooper,  R.A. 

124 

H.  B.  Chalon       

■      S9 

S.  Elmer,  .\.R..\ 

•     «57 

Henry  .\lken           

17 

W.  Barraad          

5+ 

J.  E.  Femeley      

-     172 

A.  Cooper,  R.A. 

■     "3 

Lake  Clennell      

lOI 

A.  Cooper,  R..\ 

•     125 

Stephen  Elmer,  A.R..\ 

•     158 

A.  Cooper,  R.A. 

.     121 

T.  Gooch             

.    209 

Edmund  Bristowe 

.      76 

H.B.  Chalon       

88 

R.  B.  Davis         

•     150 

T.  Gooch             

.     209 

Henry  AJken       

14.  24 

W.  Barraud          

•      5+ 

A.  Cooper,  R..A 

.     "7 

Sawrey  Gilpin,  R.A. 

■     199 

].  E.  Femeley 

.     107 

.\.  Cooper,  R_V 

.     iiS 

A.  D.  Cooper      

.     12S 

A.  Cooper,  R.A 

120 

Geo.  Garrard,  A. R.A. 

■     1S7 

R.  B.  Davis          

•     149 

A.  Cooper,  R.A 

.     116 

Geo.  Garrard,  A.R.A 

.     iSS 

Geo.  Garrard,  .\.R..\ 

.     iSi 

Henry  Aiken        

.     26 

Henr)-  .-Vlken        

•    25 

Henry  .\lken        

13 

H.  B.  Chalon      

-   89 

.\.  Cooper,  R.A. 

119 

R.  B.  Davis          

..    148 

.A.  Cooper,  R..\ 

.    120 

Henry  .\lkea        

26 

220 


INDEX 


Chase  and  the  Road,  The 

Check,  A  

Chestnut  Hunter         ...         ...         

Children  of  Thomas  Keen,  Esq.,  with  pony 
Claims  of  St.  Francis,  The     ... 
"  Claret,"  a  Hunter    ... 

"Clavileno" 

Clever  at  Plounds 
Climax  of  Disaster,  The 

Close  Finish,  A  ...         

Coach-dogs 

Coach-horse 

Coach-horses    ... 

"Coast-guard,"  a  Newfoundland  Dog 

Cock-Fighting ...         

Cock-Fighting 

Cock  Robin 

Cock  Shooting  ...         

"Cocoa" 

"  Cognac,"  celebrated  hunter 

Coke,  T.  W.,  bust  of 

Collecting  the  Wounded  after  a  Skirmish    ... 

"  Colonel,  The,"  a  racehorse... 

"  Colonel,  The,"  a  racehorse 

Combat    between     Sergeant    Bothwell  and 

Balfour  of  Burley 
Combat    between    Smugglers    and  Revenue 

Officers 
Coming  Man,  The 
Coming  Slorm,  The     ... 
Common  and  the  Brandling  Trout    ... 
Complete  Angler,  The 
"  Comus,"  one  of  Her  Majesty's  favourite 

horses 
Conference,  A  .  . 
"  Conrach" 

"  Conrad,"  Shorthorn  Bull    ...         

Contrast,  or  the  Off  Shore     ...         

Cooper,  A.,  R.A.,  portrait    of 

Cooper,  A.,  R.A. ,  portrait  of  

Corbet,  Sir  A.  ... 

"Costive,"  a  hound     .. 

"  Colherslone,"  winner  of  the  Derby,  1S43 

Cottage,  A        

Council  of  Horses,  The 
Counting  the  Day's  Sport 
Count  out.  The 
Country  Market  Place,  A 

Couple  of  Woodcocks 

Coursers' Companion,  The     

Coursing  ...  

Coursing 
Coursing 
Coursing 


Henry  Aiken        

Henry  Aiken        

H.  B.  Chalon       

H.  Barraud  

H.  Barraud 
J.  Barenger 

R.  B.  Davis         

Henry  Aiken 
Henry  Aiken 

Henry  Aiken        

T.  Gooch  

T.  Gooch  

Geo.  Garrard,  A.I\.A.    ... 
Edmund  Bristowe 
Samuel  Aiken 

J.  Barenger  

A.  Cooper,  R.A 

Henry  Aiken 

A.  Cooper,  R.A.  ... 

J.  E.  Ferneley 

George  Garrard,  A. R.A. 

A.  Cooper,  R.A 

L.  Barenger  

H.  B.  Chalon      

A.  Cooper,  R.A 

Henry  Aiken        

A.  Cooper,  R.A. ... 

A.  Cooper,  R.A 

A.  Cooper,  R.A 

A.  Cooper,  R.A 

A.  Cooper,  R.A.... 

A.  Cooper,  R.A 

W.  Barraud 

W.  Barraud  

A.  Cooper,  R.A 

A.  D.  Cooper      

John  Jackson,  R.A. 
George  Garrard,  A.R.A. 

H.  B.  Chalon       

Henry  Aiken        

B.  Blake 

W.  Barraud  

A.  Cooper,  R.A 

A.  Cooper,  R.A 

Luke  Clennell 

S.  Elmer,  A.R.A. 

W.  Barraud 

Samuel  Aiken 

Barraud,  W.,  1832,  1833 

Edmund  Bristowe 

H.  B.  Chalon      


PAGE 

...  24 

...  17 

...  89 

•  •  59 
.  .  59 
...  36 
...  148 
...  26 

9 

...  25 

. . .  209 

. . .  209 

181,  186 

...  75 

•  33 
...  36 
...  122 
...  IS 
...  118 
...  172 
...  187 

119 

•■•  39 
...82,  90 

107,117 

...  25 

...  123 

...  124 

...  I2S 

...  122 

...  118 

...  119 

•  ••  54 
...  54 
...  120 
...  128 
...  IIS 
...  188 

85,  89,  91 

...  25 

...  67 

...  54 

...  120 

...  123 

...  lOI 

...  158 

.  .  55 

•  3'. 33 
•■  55 

...  79 

...  84 


INDEX 


221 


Coursing  

Coutts,  Edward  

Co%'ey  of  Partridges     ... 

Cowes  Harbour  

Cows 

Cows  in  a  Landscape  .  . 

Cox,  P.,  bust  of 

Coxe,  Rev.  W.,  M.A.,  bust  of 

"  Crab  and  Pickle,"  Scotch  terriers... 

Craven  Hounds 

Cream-coloured  Charger 

Cream-coloured  horse 

Creek,  The 

Cricket,  Extraordinary  

Cricket  Match,  A        

"  Critic,"  a  red  dog    ... 

Critical  .Situations        

Cromwell  at  Marston  Moor    ...         ...     A. 

Cross  Shot,  A  ... 
Crossing  the  Line 
"Crucifix" 

Cup  of  \Vhi.skey,  A      

"  Cupid  and  Nymphs  " 

"Cur,  The" 

"  Curl,"  a  pug  dog 
Curricle  horse,  A 

Curwen,  J.  C,  bust  of  

Cu.st,  Lieut. -Gen.  the  Hon.  Sir  Edward 

"Cuthullin" 

"  Czarina  and  Maria"  


..  Sawrey  Gilpin,  R. A. 

...     203 

...  A.  Cooper,  R..-\ 

..     119 

...  St.  Elmer,  A.R.A. 

'55.158 

...   R.  B.  Davis          

...     151 

..   H.  B.  Chalon       

...       89 

..   Sawrey  Gilpin,  R. A. 

.     202 

. .  George  Garrard,  A.R.A. 

,.     187 

...  George  Garrard,  .\.R. A. 

...     188 

..   A.  Cooper,  R..\. 

...     118 

...  ].  Barenger           

...       38 

..   H.  B.  Chalon       

ql 

...  George  Garrard,  A.R.A. 

.      186 

...  A.  Cooper,  R.A... 

...      124 

...   Henry  Aiken        

...        25 

...   Henry  Aiken        

...        26 

...   R.  B.  Davis          

...      150 

...  Henry  Aiken        

...        26 

Cooper.'R.A.,  1821,  1863. ..107,  117,  120 

. .   A.  Cooper,  R.-\. 

•      123 

...   Henry  Aiken        

...        24 

...  A.  Cooper,  R.A. ... 

...      125 

...  A.  Cooper,  R..\ 

...      120 

...  A.  Cooper,  R..\ 

...      119 

...  J.  E.  Ferneley      

...      172 

. ..  A.  Cooper,  R.A. 

...      116 

...  Thomas  Gooch     

. , .      209 

...  George  G.irrard,  A.R.A. 

...      1S7 

...  A.  Cooper,  R.A... 

...      120 

...  A.  Cooper,  R.A 

...      116 

...  Sawrey  Gilpin,  R.A. 

...      199 

"  Dahlia,"  a  greyhound         

Dalmatian  dog,  A. 

"  Dalpine,"  celebrated  Racer 

"  Danceaway,"  a  hunter 

Dancer,  Thomas,  with  friends,  horse  and  dogs 

Daniel  in  the  Lion's  Den 

Darius  gaining  the  Persian  Empire  ... 

"  Darley  Arabian,  The  "        

"  Darling,"  a  Staghound 

"  Dash,"  a  Pointer      

"  Dash,"  a  Setter         

Davis,  Charles,  on  "  Hermit  " 

Davis    as    the     Georgian    Chief  in    Timour 

the  Tartar  

Day  after  the  Fair,  The  

Day  Family,  The 

Day  in  Leicestershire,  A 

Day's  .Sport  in  the  Highlands  

Dead  Beat        

Dead  Fallow  Deer 


H.  B.  Ch.ilon      

90 

T.  Barenger           

3S 

H.  B.  Chalon       

90 

H.  B.  Chalun       

88 

H.  B.  Chalon       

90 

S.iwrey  Gilpin,  R.A. 

203 

Sawrey  Gilpin,  R.A. 

191 

H.  B.  Chalon       

91 

J.  Barenger          

38 

Sawrey  Gilpin,  R.A. 

200, 

203 

A.  Cooper,  R.A. 

113 

R.  B.  Davis         ...   141, 

143.  '45. 

149 

A.  Cooper,  R.A 

120 

Luke  Clennell 

98 

A.  Cooper,  R.A 

HI, 

,  118 

Henry  Aiken 

27 

A.  Cooper,  R.A 

118 

A.  Cooper,  R.A 

126 

W.  Barnard 

54 

222 


INDEX 


Dead  Game 
Dead  Game 
Dead  Game  and  Codfish 

Dead  Hart,  The  

Dead  Kid,  The  

Dead  Trooper,  The 

Dealh,  The       

Death,  The       

Death,  The       

Death,  The       

Death,  The       

"  Dealh  and  the  Doctors  " 

Death  of  a  Cavalier  at  Marston  Moor 

Death  of  a  Mare  ...         

Death  of  Harold,  The 

Death  of  Sir  Francis  Russel   ... 

Death  of  the  Fox  

Dealh  of  the  Fox         

Death  of  the  Fox 

Death  of  the  Hare  at  Stoneheiige,  The 

Death  of  the  Slag 

Death  Struggle,  The 

"  Deception"  ...  

Decisive  Charge  of   the   Life   Guards  at 

Waterloo 
Declining  Day  ... 

Deer  Paddock,  The     ...         

Deer  Paddocks,  Ascot,  The  ... 

Deerstalkers 

"  Delia  and  Lucy" 

"  Delpini,"  a  charger 

Deserted  Child  found.  The    ... 

Design  for  a  Monument 

Design  for  Gothic  Truss,  busts  of  a  lady  and 

her  seven  daughters 
Design  for  Hunting  Appointment  Card 
Despatch,  The... 
Devonshire  Cattle 
Dick   Christian's   last   fall,  commonly  called 

a  He.ader 

Dick  the  Huntsman    ... 

"  Dido,"  portrait  of  a  Setter  ... 

Digging  out 

Dilemma,  A     ... 

Dilemmas 

"  Doctor,  The,"  a  hunter      

Dog  and  Cat    ... 

Dog  from  Botany  Bay 

Dog  from  Milan,  A     ... 

Dog  from  Nature 

Dog  from  Sable  Cape... 

Dog  in  the  Manger,  The 

Dog  Painting  ... 

Dog,  portrait  of  a        ...         


Benjamin  Blake,  1821,  1828, 

Stephen  Elmer,  A.K.A.,  1776,  17S2,  1807 
..   Benjamin  Blake   ... 

..   A.  Cooper,  R.A 

.,   A.  Cooper,  R.A 

,.  A.  Cooper,  R.A. ... 

.  H.  Aiken 

.  J.  Barenger 

.  John  Boultbee      

.   T-  E.  Ferneley 

.  R.  B.  Davis  

,  Henry  Aiken        

.  A.  Cooper,  R. A.... 
.  Thomas  Gooch     ... 

.  A.  Co'iper,  K.A 

.  A.  Coopc-r,  R.A 

.   Stephen  Elmer,  A. R.A. 

.  H.  B.  Chalon       

.  S.  Gilpin,  R.A.    ... 
.  W.  and  H.  Barraud 

.   "Wildrake"        

.  A.  Cooper,  R.A.  ... 

.  A.  Cooper,  R.A 

.  Luke  Clennell     

.  A.  Cooper,  R.A 

.  R.  B.  Davis        

.  R.  B.  Davis         

.  A.  Cooper,  R.A 

.  A.  Cooper,  R.A. ... 

.  A.  Cooper,  R.A 

.  A.  Cooper,  R.A 

.  Samuel  Aiken      

George  Garrard,  A. R.A. 

Henry  Aiken        

A.  Cooper,  R.A.... 
Sawrey  Gilpin,  R.A. 

Henry  .Mken        

H.  B.  Chalon       

E.  Biistowe 

A.  Cooper,  R.A.... 

R.  B.  D.ivis        

Henry  Aiken 
A.  Cooper,  R.A. 
A.  Cooper,  R.A.  ... 

S.  Gilpin,  R.A 

T.  Gooch 
J.  Barenger 

S.  Gilpin,  R.A 

A.  Cooper,  R.A 

Luke  Clennell      

T.  Gooch  


i94i 


PAGE 
1S23...65,  67 
■157,  158,  156 

.         ...       65 

...  123 
...  119 
...    119 

12,  26,  27 

.     ...  38 

...  72 

...  175 

...  151 

...  17 

...  117 

...  209 

loS,  118 
...  117 
...  157 
...   90 

195.  203 
...  50 
...  14 
...  124 

...   I2S 

98,  99 

•  •  123 

...  150 

...  150 

...  119 

...   125 

...  116 
...  116 

30,  33 

...  189 

...  25 

...  120 

...  203 

9 

...  91 

...  79 

...  125 

...  150 

...  25 

...  118 

...  122 

...  203 

...  209 

••■  39 

...  203 

...  123 

...  100 

...  209 


indSx 


Dogs     

Dogs      

Dogs  and  bitches  v.  Police  and  others 

Dogs  and  bitches  z;.  Pups       

Dogs  fighting 

Doing  a  bit  of  City 
"  Doll,"  a  pointer 
Domville,  Sir  W.,  portrait  of 
"Don,"  a  pointer 
"  Done  up,"  a  Chestnut  hunter 
Donkey  and  Spaniel   ... 
Donkey  Race  ... 

Doorway  in  the  Church  of  the  Spirito  Santo, 
P'lorence    ... 

Down  HiU       

Drafts  from  the  Badminton    ... 
"  Drake,"  a  water  spaniel 
Draught-horses 
Draw,  The 

Drawing  a  Badger 

Dray-horse 

Dray-horses      

Dray-horse 

Dressing  a  fly  ... 

Duck  Hunting... 

Duck  Shooting... 

Duck  Shooting 

Duck  Shooting... 

Duke  of  Cumberland  visiting  the  Stud  at 
Windsor    ... 

"  Duke  of  Grafton's  Woful'' 

Duke  of  Wellington,  Bust  of 

Duke  of  Wellington,  Statue  of 

Duke  of  York,  Eque.^trian  Statue  of... 

Duke  on  a  Cover  Hack,  The... 

"  Dulcinea,"  a  hunter  mare 

"  Duncannon" 

"  Duncan's  Horses"   ... 

"  Duncan's  Horses" 

"  Duncan's  Horses" 

Durham  Landscape     ... 

Durham  Ox  and  Mr.   Coates'  Short-horned 
Cow  

Dutch  Pups 

Dwarf  Beagles,  The 

Dying  Woodcock,  The 

Dymoke,  The  Hon.  Henry 


223 


PAGE 

H.  B.  Chalon      ... 

88 

A.  Cooper,  R.A. ... 

119 

H.  Aiken  

25 

H.  Aiken 

25 

A.  Cooper,  R.A. ... 

120 

H.  Aiken 

17 

T.  Barenger 

37,  39 

Luke  Clennell      ... 

lOI 

A.  Cooper,   R.A. ... 

121 

David  Dalby 

131 

A.  Cooper,  R.A. ... 

116 

Edmund  Bristowe 

77 

PL  Barraud 

S8 

David  Dalby 

133 

W.  Barr.aud 

55 

A.  Cooper,  R.A.... 

I2t 

A.  Cooper,  R.  A.... 

117 

R.  B.  Davis 

151 

S.  Aiken 

33 

Th.  Gooch 

209 

H.  B.  Chalon       ... 

88 

A.  Cooper,  R.A.... 

iiS,  121 

A.  Cooper,  R.A. ... 

120 

S.  Aiken   

33 

S.  Aiken  

33 

J.  Barenger 

36 

A.  Cooper,  R.A.,  1 

S29. 

1S61  122,  120 

S.  Gilpin,  R.A.   ... 

191 

A.  Cooper,  R.A.... 

121 

Geo.  Garrard,  A.R 

.A. 

188 

Geo.  Garrard,  A, R.A. 

184 

Geo.  Garrard,  A.R. 

A. 

185 

Geo.  Garrard,  A.R, 

.A. 

181 

A.  Cooper,  R.A. ... 

121 

S.Gilpin,  R.A.    ... 

20? 

R.  B.  Davis 

148 

Geo.  Garrard,  A.R 

.A. 

187 

S.  Gilpin,  R.A.    ... 

203 

H.  B.  Chalon       ... 

90 

i 

.  Geo.  Garrard,  A.R 

.A. 

187 

S.  Gilpin,  R.A.    ... 

203 

H.  B.  Chalon       ... 

87,91 

A.  Cooper,  R.A.... 

i-^S 

.  A.  Cooper,  R.A. ... 

121 

E 

Eagle  and  Newfoundland  Dog         A.  Cooper,  R.A.  . 

Eagle  carrying  olT a  Duckling  F.  Barlow... 

Earl  of  Arundel  and  Surrey,  with  favourite 

Pony  .and  Dogs H.  Barraud 


121 

45 
58 


224 


INDEX 


Earl  of  Coventry  and  his  Sister 

Earl    of    Darlington's     Kennel,    with     his 

Huntsman,  &c 

Earl  of  Derby's  Staghounds 

Earl  of  Fauconberg,  Bust  of  ... 

Earl  St.  Vincent,  Bust  of 

Earth  Stopping 

Earthstopper  on  Horseback,  The 

Easter  iMonday,  a  View  near  Windsor 

"  Eaton,"  a  racehorse... 

"  Eaton,"  a  racehorse... 

"  Eclipse,"  celebrated  racehorse 

Edwards,  Miss 

"  Eglinton,"  celebrated  hunter 

Elephant  

';  Elis,"  Winner  of  the  St.  Leger      

Elite  of  the  Field  on  their  Second  Horses   . . . 

"Emilius"        ...         

"  Emily,"  the  Dam  of  Emilius 
Encounter,  The 

"  Ennui"  ...         

Epsom  Races  :  the  Derby  Stakes    ... 
Equestrian  Figures  from  the  Elgin  Marbles 
Equestrian  Portrait  of  Miss  Hoare   ... 
Equestrian     Statue     to     commemorate     tlie 

Downfall  of  Usurpation 

"  Essex,"  a  hunter 

Evening  of  1st  October 

"Excelsior"    ... 

Explanation  of  the   Anatomical  Table  o( 

the  Horse's  Muscles 
Extraordinary     Leap      taken     by      Col. 

Standen     ...         


PACE 

H.  Barraud           

...       59 

H.  B.  Chalon       

..      89 

J.  Barenger          

-.-      .37 

Geo.  Garrard,  A.R.A.    .. 

..     187 

Geo.  Garrard,  A.R.A.    ... 

...     187 

].  Barenger 

...      36 

R.  B.  Davis          

...     150 

Henry  Aiken 

6 

H.  B.  Chalon      

..       89 

R.  B.  Davis         

...      148 

Geo.  Garrard,  A.R.A.    ... 

...      189 

A.  Cooper,  R.A.... 

.  .      117 

John  Ferneley 

174 

A.  Cooper,  R.A.... 

...      116 

A.  Cooper,  R.A.... 

109,  118 

Henry  Aiken 

II 

R.  B.  Davis          

...      149 

R.  B.  Davis         

...      149 

H.  Aiken 

...       24 

A.  Cooper,  R.A 

...      119 

H.  Aiken 

15 

A.  Cooper,  R.A 

...      121 

A.  Cooper,  R.A 

...     iiS 

Geo.  Garrard,  A.R.A.     ... 

,.      iSS 

H.B.  Chalon       

...    89 

A.  Cooper,  R.A. ... 

...       121 

A.  Cooper,  R.A 

...   123 

H.  B.  Chalon       

...    S4 

J.  E.  Ferneley      

■  ■   173 

"  Fairy,"  a  terrier       

Falconer,  The  ... 

"  Fall  of  Phaeton,"  The 

Fall  over  a  Flight  of  Rails     ., 

Fallow  Deer 

Famous  Hack  of  Mr.  West's. 
Famous  Hunter 

Famous  Pony 

Famous  Racer 
Famous  Setter 

Famous  Setter...  

"  Fancy,"  a  spaniel     ... 

"  Fang,"  a  hunter 

"Fanny" 

"  Fanny  and  Muff"    ... 

Farmyard,  A    ... 

Farmyard  with  Figures 


...  H.  B.  Chalon       

...       89 

...  A.  Cooper,  R.A 

...     U9 

...  Geo.  Garrard,  A.R.A.    ... 

...     188 

...   H.  Aiken              

II 

...  A.  Cooper,  R.A.  ... 

...     113 

...   T-  Barenger 

...      38 

...  H.  B.  Chalon       

...      89 

...  H.  B.  Chalon       

...       88 

...   H.  B.  Chalon       

...       88 

...J.  Barenger           

35.38 

...  J.  E.  Ferneley 

...     172 

...   H.  B.  Chalon       

...       89 

...   H.  B.  Chalon       

...       90 

...   A.  Cooper,  R. A.... 

...     118 

...  A.  Cooper,  f^.A 

...     116 

...  S.  Gilpin,  R.A 

...     203 

...   F.  Barlow              

...      45 

INDEX 


225 


PAGE 

Farrier's  Shop,  The 

...  A.Cooper,  R.A.  ... 

106,  116 

Fashioning  a  Fly         ...         

...  A.  Cooper,  R.A. ... 

124 

Father  of  Foxhunting,  The    ... 

...   W.  Barraud 

49 

Fathers  of  the  Pack,  The       

...  W.  &  H.  Barraud 

SI 

Favourite  Cat   ...          ...         

...  A.  Cooper,  R.A. ... 

il6 

Favoufile  Cub 

...   W.  Barraud 

S4 

Favourite  Dog...         ...         

...  A.  Cooper,  R.A.  ... 

117 

Favourite  Galloway,  A 

...  A.  Cooper,  R.A. ... 

n6 

Favourite  Hackney,  A            

...  Thomas  Gooch     ... 

209 

Favourite  Horse,  A 

...  W.  Barraud 

S4 

Favourite  Horse,  A     

...  John  Boultbee 

74 

Favourite  Horse,  A     ... 

...  A.  Cooper,  R.A. ... 

117 

Favourite  Horses         ...         

...   W.  Barraud 

54 

Favourite  Horses  of  the  Marquis  of  Wor 

cester  \V.  Barraud 

54 

Favourite  Hunter        ...          

...  A.  Cooper,  R.A.  ... 

117 

Favourite  Hunter        

...  J.  E.  Ferneley 

I6S 

Favourite  Mare 

...  A.  Cooper,  R.A.  ... 

119 

Favourite  old  Horse    ...         

...  R.  B.  Davis 

...     148 

Favourite  old  Hunter 

...  A.  Cooper,  R.A. ... 

118 

Favourite  old  Pony      .,           

...   R.  B.  Davis 

149 

Favourite  Pony            ...         

...  George  Garrard,  A. R.A 

..     1S8 

Favourite  Pony  and  Dogs      

...  W.  Barraud 

54 

Favourile,  portrait  of  a          

...  R.  B.  Davis 

149 

Favourite  Spaniel        

...  W.  Barraud 

54 

Favourites 

...  W.  Barraud 

54 

Favourites         ...         

...   R.  B.  Davis 

149 

Ferreting  Rabbits        

...  S.  Aiken 

33 

Ferry  Boat,  The          

...   LukeClennell      ... 

97 

Fete  Dieu          

...   H.   Barraud 

S8 

"Fidele"        

...   H.   B.  Chalon      ... 

89 

"Fidele"         

...   A.  Cooper,  R.A.... 

"3 

"Fidelia"        

...  A.  Cooper,  R.A. ... 

117 

"  Fidget,"  a  blood  horse 

...   H.  B.  Chalon       ... 

89 

Fight  at  Cropedy  Bridge,  The 

...  A.  Cooper,  R.A. 

108,118 

Fight  at  Gladsnioor,  The 

...  A.  Cooper,  K.A — 

120 

Fighting  Bulls,  Sculpture 

...  Geo.  Garrard,  A.R.  A. 

187 

Fighting  Cocks 

...  Stephen  Elmer,  A. R.A. 

158 

Fighting  Dogs  ...         

...    ].  Barenger 

.39 

Fighting  Dogs  ... 

...  "H.  B.  Chalon 

9' 

"  Filngree  and  Cobweb"        

...  J.  E.  Ferneley 

167 

Find,  The          

...   H.  Aiken 

II 

First  Barrel,  The          

...  A.  Cooper,  R.A.  ... 

123 

First  Brace,  The          

...  A.  Cooper,  R.A. ... 

J24 

First  Earl  of  Portland 

...  A.  Cooper,  R.A.... 

117 

First  Flight,  The         

..    A.  Cooper,  R.A.... 

'23 

First  of  October          

..    A.  Cooper,  R.A. ... 

i>9 

First  of  September       

...  A.  Cooper,  R.A.  ... 

116,  121 

First  Step,  The            

...  J.  E.  Ferneley 

175 

First  Whip,  The          

...   Henry  Aiken 

26 

Fish        

...   Elmer,  A.R.A.     ... 

..     158 

Fish  and  Cat    ... 

..   S.Elmer,  A.R. A.,  1776,1 

782.. .157,  158 

Fisherman's  boy  and  his  dog... 

...  A.  Cooper,  R.A.  ... 

i"9 

Fisherman's  Family,  The 

...  A.  Cooper,  R.A.  ... 

123 

Fishermen         

...  A.  Cooper,  R.A.  ... 

116 

IS 


226 


INDEX 


Fitz-Gibbon,  Master,  on  his  pony     ... 
"  Fitzjames  lamenting  over  his  Steed  " 
Five-barred  Gate 
Flemish  Fishermen 

"Fleur-de-lis" 

"Flora"  

"Flora"  

Flower,  Sir  James,  and  his  Family    ... 
Flowers  of  the  Hunt    ... 

"Flowers"        

"  Flush,"  a  spaniel      ...         ...         

"  Fly,"  a  greyhound    ... 

Fly-fishing 

Fly-fishing 

Flying  Leap,  The        

Foot  of  the  Hill  

Foray,  The       ...         

Ford,  The         

Forest  Mare  and  Foal  

Forester's  Freight,  The 

"  Forward  All  !  Forward"     ...         

Foster,  The  Rt.  Hon.  J.,  bust  of      

Four  Pointers  standing  to  Game 

Fowls     ...         ...  ...         ...         ...  S 

Fox,  The  

Fox,  &c.,  A       ...  

Fox  and  Pheasant        ...         ...         

Fox  and  the  Engle's  Nest,  The         

Fox  breaking  Cover    ...         ...         

"  Fox  he  breaks  away.  The  "  

Foxhound    in    the    possession    of   Colonel 

Thornton ...         

Fox  Hunt,  A 

Fox-hunters  Regaling 

Fox-hunters'  Return 

Fox  Hunting    ...  ...         ...         

Fox  Hunting     ... 
Fox  Hunting    ... 

Fox  Hunting    ...         

Fox  Hunting    ...         ...         

Fox  of  Spitzbergen      

Fox,  the  late  Rt.  Hon.  C.  J.,  bust  of 

Foxes  pursuing  a  Hare  ...         

Fo.xhound         

Foxhound 

Foxhounds 

Foxhounds 

Foxhounds  and  Whelps 

Foxhounds  in  Full  Cry 

Foxhounds  in  their  Kennel    ... 

Foxhounds  running  in  Covert 

Fox's  Head 

Francis  Buckle... 

Frankland,  Sir  T.,  Bust  of 


A.  Cooper,  R.A 

118 

Henry  Barraud     

58 

Henry  Aiken        

26 

A.  Cooper,  R.A.... 

122 

A.  Cooper,  R.A.  1827,  1829.. 

.117. 

122 

H.  B.  Chalon       

86 

.  91 

A.  Cooper,  R.A. ... 

118 

A.  Cooper,  R.A 

III, 

iiS 

Henry  Aiken        

25 

Stephen  Elmer,  A. R.A. ... 

158 

H.  B.  Chalon       

89 

A.  Cooper,  R.A.... 

120 

J.  Barenger           

36 

A.  Cooper,  R.A... 

124 

A.  Cooper,  R.A 

121 

A.  Cooper,  R.A 

124 

A.  Cooper,  R.A.  ... 

119 

A.  Cooper,  R.A.  1844,  1S51.. 

.iiS, 

119 

H.  B.  Chalon      

90 

A.  Cooper,  R.A. ... 

123 

R.  B.  Davis         

150 

Geo.  Garrard,  A. R.A.     ... 

1S7 

H.  B.  Chalon       

87 

.  Elmer,  A.R.A.,  1773,  I777-- 

•  157. 

158 

Luke  Clennell 

100 

Stephen  Elmer,  A. R.A. ... 

157 

Stephen  Elmer,  A. R.A. ... 

158 

F.  Barton 

45 

Philip  Reinagle    ... 

195 

Henry  Aiken 

19 

Sawrey  Gilpin,  R.A, 

194, 

203 

A.  Cooper,  R.A 

113 

Luke  Clennell      96, 

,  100, 

lOI 

A.  Cooper,  R.A 

116, 

121 

Henry  Aiken 

i; 

5.23 

S.  Aiken 

31 

Luke  Clennell     ... 

100 

A.  Cooper,  R.A 

125 

R.  B.  Davis          

151 

A.  Cooper,  R.A. ... 

120 

Geo.  Garrard,  A. R.A.    ... 

187 

J.  Barenger 

39 

H.  B.  Chalon       

89 

Geo.  Garrard,  A. R.A.     ... 

186 

J.  Barenger 

38 

T.  Gooch             

208, 

209 

R.  B.  Davis         

146 

Henry  Aiken 

19 

R.  B.  Davis          

146 

R.  B.  Davis          

146 

A.  Cooper,  R.A.... 

121 

A.  Cooper,  R.A.  ... 

121 

Geo.  Garrard,  A. R.A.    ... 

1 88 

INDEX 


"  Frederick,"  a  racehorse 
Freer,  Mr.,  Portrait  of 
Fresh  Near  Leader,  A 
Fresh  Team,"'  A 
"  Friend,"  a  greyhound 
Frightened  Horse,  A  ... 
Frogs  and  Cranes 
"  Frolic,"  a  horse 
From  Chester  Races   ... 
Fruits 

Full  Cry  

Full  Cry  

Full  Cry  

Fuller,  Mr.,  Bust  of    ... 

Fusee,  The       

Future  Hopes 


J.  Barenger 
,  J.  E.  Ferneley 

Henry  Aiken 
,   Henry  Aiken 

A.  Cooper,  R.A. . 
,   Henry  Aiken 

Henry  Aiken 

A.  Cooper,  R.A. 

Henry  Aiken 


227 

PAGE 

39 
172 

26 

25 

121 

26 

17 
104 

25 

-57,  15S 
24,  25,  27 


...   Henry  Aiken 
S.  Elmer,  A.R.A.,  1774,  1776,  1777,  177S, 
1780-1785,  1789,  1790,  1793     ...         15 
...   Henry  Aiken        ...         ...      24, 

...  J.  Boultbee  ...         ...         ...       72 

...   R.  B.  Davis  ...         ...         ...      151 

Geo.  Garrard,  A.R.A 1S7 

A.  Cooper,  R.A....         120 

R.  B.  Davis         150 


G 

"  Gadfly,"  a  fo.xhound 

"  Galaia,"  a  brown  filly         

Galloway  Shetland  Pony 

Galloway,  The... 

Game   ... 

Game  Cock,  A... 

Gamecocks 

Game  Fowls     ... 

Gamekeeper,  The 

Gamekeeper  and  Pony,  with  Pointers 

Gamekeepers  and  Dogs  belonging  to  the 
Duke  of  York 

"  Garry  Owen,"  Portrait  of  ... 

General  Mina,  Model  for  Bust  of 

Gentleman  on  a  Trotting  Mare 

Gentleman  on  Horseback  bringing  up  lag 
Hounds     ... 

Gentleman  on  Horseback,  Portrait  of  a 

Gentleman  on  Horseback,  with  Game- 
keeper, &c. 

Gentleman  with  his  Horse  and  Dog, 
Portrait  of... 

Gentleman  with  his  Spaniels,  A 

George  Montford  and  Will  Derry     

George  Nelson... 

George  Sharpe,  Portrait  of 

Getting  Home — doing  their  best  with 
difficulty     ... 

Getting  into  a  Difficulty 

Getting  out  of  a  Difficulty      

The  Giaour 

"  Gig,"  a  greyhound    ... 

Gig  Florse        ...         ...         


R.  B.  Davis          

..     150 

A.  Cooper,  R.A 

...     124 

H.  B.  Chalon       

...      89 

T.  Gooch             

...     209 

S.  Elmer,  A.R.A. 

...     157 

J.  Barenger          

•■■       39 

J.  Best       

...       62 

I.  Barenger           

...       36 

Luke  Clennell      

...        lOI 

H.  B.  Chalon      

...       89 

H.  B.  Chalon      

87,  88 

A.  Cooper,  R.A 

...     118 

Geo.  Garrard,  A.R.A.     ... 

...     18S 

T.  Gooch              

...     209 

S.  Gilpin,  R.A 

197,  203 

T.  Gooch,  1783,  1794     ... 

208,  209 

T.  Gooch             

...     209 

T.  Gooch             

...     20S 

T.  Gooch             

. . .     209 

R.  B.  Davis          

•  ■■     143 

A.  Cooper,  R.A.,.. 

...     122 

R.  B.  Davis            

...     141 

Henry  Aiken        

...       iS 

Henry  Aiken        

18 

Henry  Aiken        

18 

A.  Cooper,  R.A 

...     120 

A.  Cooper,  R.A 

116,  121 

H.  B.  Chalon       

...      90 

228 


INDEX 


Gig  Horse  and  Newfoundland  Bitch 

Gig  Horse,  Norwegian  Rabbit,  Cat  and  Two 

Terriers     ...         ...         

Gig-Mare  

Gig-Mare 

"Giles"  

Gillie,  The        

Gillie's  Courtship,  The 

Gillie's  Departure  for  the  Moors,  The 

Gilpin  : — 

Rev.,  bust  of 

Sawrey,  R.  A.,  bust  of 

Sir  J.  M.  D.,  bust  of      

"  Gladsome,"  a  staghound  bitch 
Glenartney  and  his  Jockey     ... 

Gloomy  VVoods,  The  ...         

"Go!  I  fancy  he  can  !  "        ...         

Goats  and  Sheep 

Goats  from  Punjab,  with  their  Sikh  Shepherd 

"  Godolphin,"  a  racehorse 

"Gohanna" 

Going  Home    ... 

Going  Out 

Going  Out  in  the  Morning     ... 

Going  the  Pace 

Going  to  Cover 

Going  to  Cover 

Going  to  Covert  to  meet  the  Difficulty 

Going  to  Market  

Going   to   the    Derby:    on   the    road 

Going  to  the  Meet 

Going   to  the    Post:    the    Race 

Going  to  the  Starting  Post     ...         

Gold  Pheasants 

"  Goldfinch,"  a  hunter  

"  Goldfinder,"  a  racehorse     

Gone  Away 

Gone  Away 

Gone  Away 

Goodisson,  J.,  portrait  of 

Goodricke,  Sir  Harry,  portrait  of     ... 

Goosey,  T.,  a  huntsman         

Gosden,  Thomas,  portrait  of  ...         

"  Goshawk  " 

Got  into  a  Difficulty 

Got  out  of  a  Difficulty  

Grant,  F.,  portrait  of  ...         ...         

Grapes  ... 

"  Grayling,  The,"  a  hunter 

Greeks  ...         

Greeks  with  Arab  horses 

Green  Sandpiper         ...         

"  Greenshank" 

Grey  Horse       ...         ...         


H.  B.  Chalon       

...       89 

H.  B.  Chalon       

...       90 

J.  Barenger           

.■■       39 

T.  Gooch             

...     20S 

H.  B.  Chalon       

...       88 

A.  Cooper,  R.A.,i855,  1862.. 

.119,120 

A.  Cooper,  R. A. ... 

...     119 

A.  Cooper,  R.A 

...     u8 

George  Garrard,  A.  R.  A. 

...     187 

George  Garrard,  A. R.A. 

...     187 

George  Garrard,  A. R.A. 

...     188 

A.  Cooper,  R.A 

...     121 

J.  E.  Ferneley      

...     172 

"R.  B.  Davis         

...     150 

Henry  Aiken        

...       16 

F.  Barlow 

...      44 

H.  B.  Chalon      

...      90 

J.  Barenger 

39 

R.  B.  Davis          

..     149 

Henry  Aiken 

...       15 

A.  Cooper,  R.A 

...     119 

George  Garrard,  A. R.A. 

...     186 

Henry  Aiken 

9 

H.  Aiken             

25 

A.  Cooper,  R.A. 

124 

H.  Aiken 

.  .       18 

R.  B.  Davis          

...     148 

H.  Aiken 

...       26 

H.  Aiken 

...       26 

H.  Aiken 

...       26 

H.  Aiken 

...       26 

St.  Elmer,  A. R.A. 

...     158 

A.  Cooper,  R.A.  ... 

...     116 

.  T.  Gooch             

. . .     204 

H.  Aiken 

25,  26 

,   A.  Cooper,  R.A. 

120,  125 

R.  B.  Davis         

...     151 

A.  Cooper,  R.A. 

..     121 

,   [.  E.  Ferneley     ... 

...      I6S 

R.  B.  Davis         

■■■      143 

Luke  Clennell      

...      gH 

.  J.  Barenger 

...      39 

H.  Aiken 

...       18 

H.  Aiken 

...       18 

,  J.  E.  Ferneley      

...     172 

S.  Elmer,  A.  R.A. 

...     158 

W.  Barraud          

51 

A.  Cooper,  R.A.  ... 

...     118 

A.  Cooper,  R.A.  ... 

...     117 

A.  Cooper,  R.A.  .. 

...     122 

A.  Cooper,  R.A 

.  .     122 

.  A.  Cooper,  R.A.  . 

...     119 

INDEX 

Grey  Horse  at  a  Stable  door 

"  Grey  Jem  ''    ... 
"GreyMomus" 
Greyhound 
Greyhound 

Greyhound       ...         

Greyhound 

Greyhound  and  Fox    ... 
Greyhounds 

Greyhounds  and  Whelps        ,  .         

Greyhounds,  The  Last  Act     ... 
Greyhounds  with  Dead  Hare 
Greyhounds  with  Sportsmen  finding  a  Hare... 
Groom  and  horses,  A  ... 
Groom  and  Hunter 

Group  of  Arab  Cavalry  

Group  of  Children,  pony  and  ass      

Group  of  Dogs... 

Group  of  Dogs... 

Group  of  Fish  lying  on  the  Ground  ... 

Group  of  four  Horses, a  has  relief  in  marble... 

Group  of  Holderness  Cattle  ... 

Group  of  Horses,  grooms  and  harriers 

Group  of  Lambs 

Group  of  Pugilists 

Group  representing  Messrs.  Robert  Darling 

and  John  Browne...         ...         

Groups  of  Fish... 
Grouse  Shooting 

Grouse  Shooting  A.  Cooper, 

Grouse  Shooting 

"Guard,  The" 

Gubbins,  Miss,  portrait  of     ... 

Guibert's escape  from  Totquilstone Castle   ... 

Gulliver  among  the  Honyhnhnms   ... 

Gulliver  meeting  the  Honyhnhnms 

Gulliver  taking  leave  of  the  Honyhnhnms    .  . 

Gulliver's  visit ...         

Gulliver's  Visit  to  the  Honyhnhnms 

Gully,  John      

"  Gulnare,"  a  racehorse         


229 


PAGE 

A.  Cooper,  R.A 

116 

A.  Cooper,  R.A 

117,  122 

A.  Cooper,  R.A 

118,  125 

J.  Barenger 

39 

"H.  B.  Chalon       ... 

88,91 

A.  Cooper,  R.A 

116 

T.  Gooch 

209 

A.  Cooper,  R.A — 

121 

Edmund  Btistowe 

78 

W.  Barraud 

55 

H.  Aiken 

19 

J.  Barenger 

36 

J.  Barenger 

36 

H.  Aiken 

23 

H.  B.  Chalon      ... 

89 

H.  Aiken  

27 

J.  E.  Ferneley 

172 

H.  B.  Chalon      ... 

89 

T.  E.  Ferneley     ... 

172 

S.  Elmer,  A.  R.A. 

157 

Geo.  Garrard,  A. R.A.    . 

185 

Geo.  Garrard,  A.R.A.    . 

187 

J.  E.  Ferneley     ... 

172 

Geo.  Garrard,  A. R.A.     . 

-87 

Geo.  Garrard,  A.R.A.    . 

187 

J.  E.  Ferneley      ... 

175 

S.  Elmer,  A.  R.  A. 

15s 

S.  Aiken 

32,  33 

,  R.A.,  1836,  1858,  i860.. 

.125,  119,  120 

Davis,  R.B 

142 

A.  Cooper,  R.A. .. 

120 

H.  Aiken 

5.  24 

A.  Cooper,  R.A.  ... 

117 

John  Boultbee      ... 

72 

W.  Barraud 

54 

S.  Gilpin,  R.A 

191 

S.  Gilpin,  R.A.    ... 

19' 

S.  Gilpin,  R.  A.  ... 

191 

A.  Cooper,  R.A. ... 

123 

J.  Barenger 

39 

"Habet"         

Hack     

Hack     

Hackney 

Hackney  Mare 

Hack  Stable,  The 

Hall,  Henry      

"  Hambletonian" 
Hannibal  and  Princess 


A.  Cooper,  R.A: 

...     124 

H.  B.  Chalon,  1818,  1831 

...89,90 

R.  B.  Davis          

...     148 

A.  Cooper,  R.A 

...     116 

J.  Barenger           

...       39 

H.  Aiken 

...       24 

H.  B.  Chalon       

...      88 

Geo.  Garrard,  A.R.A.    . 

...     187 

H.  B.  Chalon      

88 

230 


INDEX 


Hanoverian  Horse       

Happy  Foxhunter,  The         

Hard  Hit  

Hard  Time3 

Hare,  A  

Hare  and  Partridges 

Hare  and  Pheasants    ...         ...         

Hare  and  Woodcocks 

Hare  Hunting  ... 
Hare  Hunting  ... 

Hare  Shooting 

Hare  Sitting 

Hares  Fighting  

"  Harmony,"  a  foxhound  bitch         

Harvest  in  the  Highlands 

"  Hassan,"  an  Arabian  

Haifield  Hunt,  The 

"  Have  a  Care  for  the  Vixen  "  

Hawk,  A  

Hawk  and  Hare 

Hawk  and  Partridge  ... 

Hawk  carrying  off  a  Chicken 

Hawk  swooping  down  on  Fowls 

Hawking  Party 

Hawking  Party 

"  He  was  a  mighty  Hunter  before  the  Lord  " 

Head  of  "  Fickle, "  a  terrier 

Head  of  Pony  ...         

Heads  up.  Sterns  Down 

Heaviside,  J.,  bust  of 

Heavy  Draught  Horses  ...         

Hen  and  Chickens 

Henry  Morton  rescuing  Lord  Evandale,  &c 

Her  Majesty's  Beagles  

Her  Majesty's  Staghounds,  portrait  of 

"  Here  come  the  Hounds  " 

"Here  he  is!"  

Herefordshire  Ox 

"Hermit"        

Heron  and  Geese  near  a  Mill  Wheel 

Heron  and  Spaniel      

Highflyer  

Highflyer  ...         

Highland  Courtship 

Highland  Dairy,  A      

Highland  Game  

Highland  Gillie,  The 

Highland  Lassie  getting  up  the  Kye 

Highland  Vulpecide,  The      

Highmettled  Racer,  The 
Hill,  A.,  portrait  of    ... 

"Hippolytus" 

His  ilajesty  in  his  travelling  Chariot  re- 
turning to  Town  from  Windsor,    &.C.... 


PAGE 

Geo.  Garrard,  A.R.A.    .. 

...      186 

A-  Cooper,  R.A 

...      116 

H.  Aiken 

...         24 

A.  Cooper,  R.A 

...       124 

S.  Elmer,  A. R.A. 

...      157 

S.  Elmer,  A.  R.A. 

...      158 

S.  Elmer,  A. R.A. 

...      157 

S.  Elmer,  A.R.A. 

...      158 

H.  Aiken, 

...         26 

S.  Aiken,  1833,  1S41      .. 

-33.31 

H.  Aiken  

...         27 

S.  Elmer,  A.R.A.,  1788 

iSS.  158 

A.  Cooper,  R.A 

...       121 

A.  Cooper,  R..\ 

117,122 

A.  Cooper,  R.A 

...    119 

A.  Cooper,  R.A 

no,  118 

Samuel  Aiken 

-      33 

R.  B.  Davis          

...     ISO 

J.  Barenger 

...      36 

S.  Gilpin,  R.A 

...    203 

S.  Elmer,  A.R..A.. 

...     158 

Luke  Cradock      

...     130 

Luke  Cradock      

...     130 

A.  Cooper,  R.A 

...     117 

R.  B.  Davis          

...     149 

A.  Cooper  R.A 

...     119 

H.  B.  Chalon      

...      89 

H.  B.  Chalon      

...      90 

A.  Cooper,  R.A 

...       125 

Geo.  Garrard,  A.R.A.    .. 

...  187 

Geo.  Garrard,  A.R.A.    .. 

...  187 

S.  Elmer,  A. R.A. 

...  158 

A.  Cooper,  R.A. ... 

...   119 

H.  Barraud           

...      59 

R.  B.  Davis         

...    150 

W.  Barraud          

•  ■■      55 

A.  Cooper,  R.A 

...     IZ3 

J.  Barenger 

...      36 

R.  B.  Davis         ...    144, 

145,  149,  150 

Luke  Cradock 

...     130 

S.  Elmer,  .A  R.A. 

...     157 

John  Boultbee      

...69,  74 

S.  Gilpin,  R.A. 

...     197 

A.  Cooper,  R.A 

...     118 

A.  Cooper,  R.A 

...     119 

A.  Cooper,  KA 

...     119 

A.  Cooper,  R.A 

...     118 

A.  Cooper,  R.-i^. 

...     119 

A.  Cooper,  R.A 

...     120 

A.  Cooper,  R.A.... 

...     121 

W.  and  H.  Barraud 

...      51 

A.  Cooper,  R.A — 

...     izo 

R.  B.  Davis         

138.  148 

His  Majesty's  Hunt 

"  Hit  him  again  !  "     ... 

Hobby  Hawk,  The 

"Hoik  in,  There!" 

"  Hold  hard,  gentlemen!  "    ... 
"  Hold  hard,  There  1  " 

Holderness  Cow,  A 

Holiday  Time 

Holland,  Mr.,  bust  of 

Holland,  Mr.  H.,  portrait  of... 

"Home!"       

Home  at  Nazareth,  The 

Home  from  the  Hill 

Hope,  Johnstone,  Master,  on  Pony  . 

Hors  de  Combat  

Horse    ... 
Horse    ... 

Horse 

Horse 


Horse 

Horse  and  Dogs 
Horse  and  Dogs 
Horse  and  Dogs 

Horse  and  Terrier       

Horse  Fair,  A 

Horse  Fair,  The  

Horse  Ferry 

Horse  Racing  in  Florence 

Horse  Summering 

Horse  with  a  Greyhound,  portrait  of 

Horse  with  Figure  and  Dogs,  portrait  of 

Horses 

Horses 

Horses 

Horses  ... 

Horses  ... 

Horses  at  a  Farriers  Shop 

Horse's  Head  from  the  Elgin  Marbles 

Horses'  Heads,  Study  of        

Horses  in  a  Storm      ...  A.  Cooper,  R.A. 

Horses  in  a  Storm 

Horse's  Skeleton  on  a  New  System,  The 

"  Hotspur  and  Languish  "     

Hound  in  Chase 

Hound  returning  from  Chase 

Hounds... 

Hounds  in  Full  Chase 

Hounds  Killing  a  Fox  

Hounds  Seizing  a  Fox 

"  Hounds  will  meet,  The  "     

Horse-keeper,  The       

How  to  appear  at  Covet 

How  to  go  to  Cover 

How  to  go  through  an  Overflow 


INDEX 

...   R.  B.  Davis  

...  A.  Cooper,  R.A.... 

...  A.  Cooper,  R.A. 

...  n.  Aiken 

...   H.  Aiken 

...  H.  Aiken 

...  George  Garrard,  A.R.A. 

...  A.  Cooper,  R.A. 

...  Geo.  Garrard,  A.R.A.    ... 
...  Geo.  Garrard,  A.R.A.    ... 

...  H.  Aiken 

...   H.  Barraud 

...  A.  Cooper,  R.A. ... 

...  H.  B.  Chalon       

...  A.  Cooper,  R.A 

...  J.  Barenger 
.H.  B.  Chalon,  1798,  1799,  1817,  1S21 

...  A.  Cooper,  R.A 

...  S.  Gilpin,  R.A 


T.  Gooch,  17S1,  1784,  1790,  1792,  1801.. 

H.  B.  Chalon       

Geo.  Garrard,  A.R.A.    ... 

T.  Gooch,  1782,  1786,  1794... 

John  Bouitbee      

K.  B.  Da\-i3         

...  J.  E.  Femeley 

...  A.  Cooper,  R.A. ... 
H.  Aiken 

...  Edmund  Bristowe 

T.  Gooch  

T.  Gooch  

W.  Barraud 

H.  B.  Chalon      

A.  D.  Cooper      

R.  B.  Davis         

S.  Gilpin,  R.A.,  1797,  1798,  1805,  1807.. 

...  Geo.  Garrard,  A. R. A.    ... 

...  A.  Cooper,  R.A... 

...  H.  Aiken 

1S12,  1S27,  1828,  1S62...120,  117, 

..  S.  Gilpin,  R.A.,  1797,  1799- 

...  H.  B.  Chalon      

...  H.  Barraud  

...  S.  Gilpin,  R.A.    ... 

...  George  Garrard,  A.R.A. 

...  F.  Barlow 

..  George  Garrard,  A.R.A. 

..  T.  Gooch  

...  S.  Gilpin,  R.A. 

...  H.  Aiken 

...  A.  Cooper,  R.A 

...  H.  Aiken 

,..  H.  Aiken 

...  H.  Aiken 


231 

PAGE 
...  141 
...  124 
...  125 
24 
...  26 
...  24 
...  182 
...  122 
...   187 

...  iSS 

...     17 

...   sS 

...  123 
...  90 

loS,  119 

...    3S 

...SS,  Sg 
..  117 
...  203 

.208,  209 
...  88 
...  1S8 

20S,  209 
71.74 
...  14S 
...  167 
...  117 
...  iS 
...  76 
...  209 
...  209 
...  54 
...  8S 
...  128 
...  148 

200,  203 
...  1S6 
...  121 
...  26 
122, 120 

194.  203 

...   84 

57,58 

...  200 

...  1S6 

...   45 

...  1S3 

...  209 

...  203 

...   27 

...  124 

8 

8 

8 


232 


INDEX 


PAGE 

How  to  ride  down  Hill          

H.  Aiken 

8 

How  to  take  a  Leap    ... 

H.  Aiken 

8 

How  to  take  the  Lead 

H.  Aiken 

8 

How  to  qualify  for  a  Meltonian 

H.  Aiken 

7 

Hunnum,  Robert,  portrait  of... 

John  Ferneley 

..     174 

Hunt  Dinner,  The       

H.  Aiken 

2<i 

Hunier...ChaIon,  H.  B., 1797, 1799,1803, 1806 

,1810,1819,1812,1825,  iSji...S8,89,  90 

Hunter  ... 

A.  Cooper,  K.A.,  1814,  1850  i 

16,  119 

Hunter  ...         

R.  B.  Davis         

..     148 

Hunter  and  a  Shooting  Horse 

T.  Boultbee         

74 

Hunter  and  Foxhound 

H.  B.  Chalon       

..       89 

Hunter  and  Hack  Mare         

H.  B.  Chalon       

••       90 

Hunter  and  Newfoundland  Dog       

H.  B.  Chaion       

..       89 

Hunter  and  Spaniel     ...         ...         

H.  B.  Chalon       

..       90 

Hunter  and  Spaniel     ... 

A.  Cooper,  R.A. 

..     116 

Hunter  and  Terrier     ... 

H.  B.  Chalon       

90 

Hunter,  portrait  of      ...       T.  Gooch,  17S2, 

1794.  1795.  1798.  iSoi,  1S02...: 

08,  209 

Hunters...         

H.  B.  Chalon       

..       88 

Hunters 

A.  Cooper,  R.A. 

120 

Hunters ...         

J.  G.  Ferneley     

..     172 

Hunters  at  Covertside 

Samuel  Aiken      

•■      3> 

Hunter's  Head  and  Foxhound           

H.  B.  Chalon       

90 

Hunters,  portraits  of 

R.  B.  D-ivis         

..     148 

Hunting             ...         

A.  Cooper,  R.A 

..       I2S 

Hunting:  Going  into  Cover  ... 

T.  Barenger           

..    36 

Hunting  Incidents 

H.  Aiken 

25 

Hunting  Mare  ... 

A.  Cooper,  R.A.  ... 

..    116 

Hunting  Mare  and  Foal 

A.  Cooper,  R.A 

..    116 

Hunting  No.  1 

A.  Cooper,  R.A. ... 

..    124 

Hunting  Sweep,  The  ...          

H.  Aiken 

12 

Hunting,  the  Chase     ... 

J.  Barenger 

..         36 

Hunting,  the  Death 

J.  Barenger 

..         36 

Huntsman's  Holloa,  The        

A.  Cooper,  R.A. ... 

..       124 

Huntsmen  and  Hounds 

A.  Cooper,  R.A 

..       116 

Hutton,  Rev.  Mr.,  with  View  of  Houghton 

Hall          

Geo.  Garrard,  A. R.A. 

..       188 

"  I  shall  begin  to  think,"  &c.  

Illustration  to  Edward  Benlowe's  "Theophila, 

or  Love's  Sacrifice "       ...         

Illustrations  of  the  Equestrian  Order 
Illustrations  to  ^sop's  Fable  of -the  Young 

Man  and  his  Cat  ... 

Illustrious  Sportsmen,  The    ...         

In  Cover  

In  his  box         ...         ...         ...         

In  the  Belvoir  Country 
"  In  the  Morning  Early  " 
In  the  Right  Place 
Incident  of  the  Chase  ... 
Indian  Red  Deer 


II.  Aiken 

25 

F.  Barlow...         

45 

R.  B.  Davis         

..     151 

F.  Barlow 

44 

R.  B.  Davis          

..     ISO 

H.  Aiken 

24 

H.  Aiken 

26 

H.  Aiken 

25 

A.  Cooper,  R.A. 

..    123 

A.  Cooper,  R.A.... 

..    123 

R.  B.  Davis         

..     ISO 

H.  B.  Chalon       

91 

INDEX 


233 


PAGE 

"  Industry,"  a  brown  filly       

.  A.  Cooper,  R.A 

...   125 

Infant,  bust  of 

Geo. 

Garrard,  A.R.A.,  1797,  iSl 

[4. ..187,  iSS 

Interior  of  a  Costermonger's  Stable  ... 

A.  Cooper,  R.A.  ... 

...     121 

Interior  of  a  Highland  Inn     ... 

A.  Cooper,  R.A.  ... 

..      119 

Interior  of  a  Stable      ...         

.  A.  Cooper,  R.A.    . 

...     117 

Interior  of  Craven  Cottage     ... 

Geo.  Garrard,  A.R.A.    ... 

...     18S 

Irish  Pig            

,  Geo.  Garrard,  A. R.A.    ... 

...     1S7 

"  Is  that  really  a 'are?''         

,  H.  Aiken 

...       26 

"  It  thaws — we  must  be  off  to  Melton  ' 

H.  Aiken 

...       16 

Italian  Greyhound 

H.  B.  Chalon       

...      88 

Italian  Greyhound 

T.  Gooch              

...    209 

Italian  Sheep  Dog 

A.  Cooper,  R.A.  ... 

...     118 

"  It's  an  ill  wind  that  blows  nobody  good  "... 

H.  Aiken 

...      62 

"Jack,"  a  hunter         

Jack-fishing 

Jack-in-the-box 

"Jack  Spigot,"  winner  of  the  Doncaster     ... 

"Jane,"  a  lady's  donkey 

Jefferies,    Earth    stopper    to    the    Berkeley 

Hounds 
"Jim  Crow,"  a  spaniel 

Jockey  and  his  Hack 

"JohnComyn"  

John  Shirley,  a  huntsman 

John  Winter,  a  huntsman       

"  Joy  "  (Passions  of  the  Horse)         

"Joy" 

Julian  Peveril  compels  Chiffinch   to   restore 

the  Stolen  Papers 

"Juno"  

"Jupiter"         

"Jupiter"         


A.  Cooper,  R.A.,lSi9,  1837. 
H.  Aiken 

..116,  118 
...       2O 

A.  Cooper,  R.A 

David  Dalby        

A.  Cooper,  R.A 

...     U7 

••.     133 
...     117 

E.  Bristowe 

...       So 

H.  B.  Chalon       

...       90 

W.  B.irraud           

...       55 

A.  Cooper,  R.A. ... 

R.  B.  Davis          

...     119 
...     143 

J.  E.  Ferneley     

H.  B.  Chalon       

...     173 
83,90 

A.  Cooper,  R.A. 

...     119 

W.  Barraud           

...       54 

A.  Cooper,  R.A.,  1S35  ... 
J.  E.  Ferneley      

iiS,  113 

...     172 

S.  Gilpin,  R.A 

197,  200 

Keep  at  Arundel,  The 
"  Keeper's  come.  Sir  " 
Kew,  Mr.,  and  his  Horse 

Kjlligrew,  Thumas      

Killing  Fly,  A  ... 
King's  Harriers,  The  ... 
King  WiUi.am  III.,  Lord  Conini 
Knight  in  Armour,  A... 


;sby 


II.  Barraud 

58 

W.  Barraud 

58 

A.  Cooper,  R.A. ... 

116 

VVilliana  Shepard 

40 

A.  Cooper,  R.A.  ... 

'^3 

R.  B.  Davis 

139,  146 

A.  Cooper,  R.A. ... 

"7 

H.  Aiken  

25 

'  LaPucelle"  ... 
'  La  Vivandi^re ' 


A.  Cooper,  R.A. 
A.  Cooptr,  R.A. 


119 
119 


234 


INDEX 


Lady  at  Egham  Races 

Lady,  bust  of ...George  G 

Lady  on  a  trotting  Mare,  portrait  of... 

Lady's  Horse,  ponies,  spaniel 

Lady's  Lap-dog 

Lambton  Hounds  at  Feeding  Time,  The 

Landscape,  A  ... 

Landscape,  A  ... 

Landscape,  A  ... 

Landscape,  A  ... 

Landscape  with  Cattle  

Landscape  with  Cattle  

Landscape  wiih  Cattle 

Landscape  with  Figures         

Landscape  with  Horses 

Landscapes       ...         ...         

Laplanders  and  Reindeer       

Large  Ox  ...         

"  Lark,"  a  famous  mare 
Lascelles,  Miss,  bust  of 
Last  Resource,  The    ... 

"  Last  Scene  of  all ! " 

Last  Stake,  The  

Last  State  of  the  Coach  Horse,  The 

Last  Supper,  The        

"  Laugh  at  him  if  you  will " 

"  Launcelot "  ... 

Launching  the  Lifeboat         

"  Lavender,"  a  greyhound     ... 

"  Lavinia,"  a  pug 

"  Lear,"  a  celebrated  retriever 

Leatherhead 

Leicestershire  Steeplechase,  The 

"  Leopard,"  a  dray-horse 

Leopards  and  Lynxes 

Lesson  in  Mendicity,  A  

"  Let's  keep  the  Lead  "         

"  Lets  take  the  Lead "  

Lewis,  Master  ... 

"  Lex  Talionis  " 

"  Liberator,  The,"  a  hunter  ... 

Life  Guards,  The 

"  Life  of  a  Racehorse  " 

Life  and  Death  of  a  Racehorse 

(i)  When  a  Foal  with  his  Dam 

(2)  WTien  a  Colt  Breaking 

(3)  After  Running  a  Race  and  Winning 

(4)  As  a  Hunter  going  out  to  the  Chase 

(5)  As  a  Postchaise  Horse,  on  the  Road 

(6)  His  Dissolution 


PAGE 

...  R.  B.  Da\-is         

...      149 

rrard,  A.R.A.,  1806,  1807.  1S26. 

.187,  1S9 

...  T.  Gooch             

...      209 

...  H.  B.  Chalon       

...        89 

...  T.  Gooch             

...      209 

...   John  E.  Femeley 

167,  173 

...  B.  Blake 

...         67 

...  Tohn  Boultbee      

69.  74 

...  C.  Collins            

...     102 

...   R.  B.  Davis         

138,  148 

...  H.  B.  Chalon      

82,  88 

...  R.  B.  Davis         

...     148 

...  S.  Gilpin,  R.A 

...     203 

...  B.Blake 

64,67 

...  H.  B.  Chalon      

82,  88 

...  T.  Boultbee         

•••      73 

...  A.  Cooper,  R.A. 

...     121 

...  J.  Best      

...      61 

...  John  E.  Femeley 

...     165 

...  Geo.  Garrard,  R.A. 

...     188 

...  W.  and  H.  Barraud 

50.  59 

...  H.  Aiken 

24 

...  W.  and  H.  Barraud 

50,  59 

...  T.  Gooch             

205,  209 

...  S.  Elmer,  A.R.A. 

•••     153 

...  H.  Aiken 

...      26 

A.  Cooper,  R.A.,  1840,  1S41  . 

..125,  118 

...  LukeCIennell      

...       lOI 

...J.  Barenger          

••      39 

...   H.  B.  Chalon       

..      89 

...  David  Dalby        

-     13s 

...  J.  E.  Femeley     

■•■     173 

...  H.  Aiken 

9 

...  A.  Cooper,  R.A. 

...     116 

...  F.  Barlow 

...      44 

...  A.  Cooper,  R.A 

...     120 

...   H.  Aiken 

...      26 

...   H.  Aiken 

...      26 

...  A.  Cooper,  R.A 

...     119 

...  A.  Cooper,  R.A 

...     118 

...  A.  Cooper,  R.A 

...     117 

...  A.  Cooper,  R.A. 

...     119 

...  T.  Gooch              

207,  208 

.  T.  Gooch 

...     207 

Lime  Works  at  Purfleet,  The 

Lion,  Lioness  and  Whelps,  bas  relief 

Litter  of  Foxes 

Little  Bill         


Geo.  Garrard,  A. R.A.     ...         ...     187 

Geo.  Garrard,  A.R.A 187 

S.  Gilpin,  R..\, 198,203 

H.  Aiken 26 


INDEX 


235 


PAGE 

Little  Mare  and  Kitty 

...  H.  B.  Chalon       ... 

90 

"Little  Wonder"        

...  A.  Cooper,  R.A 

125 

Lobby  of  the  House  of  Commons  in 

1S72, 

The           

...  H.  Barraud 

57 

Logan  Stone,  The       

...  Luke  Clennell 

lOI 

London  Season,  The 

...  H.  Barraud 

57 

"Loo  Loo" 

...   T-  Bareni;er 

38 

"  Lop,"  a  celebrated  hunter 

...   R.  B.  Davis 

150 

Lord  Frederic  Fitzclarence    

...   R.  B.  Davis 

149 

Lord    flarewood's    Hunt,  The    Meet, 

Full 

Cry,  The  Death 

...  David  Dalby 

135 

Lord  Kintore's  Keeper  Shooting  Roedeer  ...  J.  E.  Ferneley 

172 

Lord  Lascelles,  bust  of           

...  Geo.  Garrard,  A.R.A.     . 

18S 

Lord  Marmion's  Charger 

...  \V.  Barraud 

54 

Lord  Somerville,  bust  of 

...  Geo.  Garrard,  A.R.A,     . 

187 

Lord's  Cricket  Ground            

...   H.  Barraud 

57 

"  Lorilda,"  a  hackney 

...  A.  Cooper,  R.A 

116 

Lost  Shoe,  The           

...  A.  Cooper,  R.A 

123 

Luncheon,  A 

...  B.Blake 

67 

Lurcher  and  Dead  Fox           

...  S.  Elmer,  A.R.A. 

157 

"  Luxury,"  a  hound 

...  R.  B.  Davis 

144.15' 

"  Madcap,"  a  hunter  ...         

H 

...  A.  Cooper,  R.A 

120 

"  Major,"  a  charger    ...         

...  H.  B.  Chalon 

89 

Major-General   Skipper's   Troops  of  Horse 

capturing  the  King's  Guns,  &c. ... 

...  A.  Cooper,  R.A 

I20 

"Make  Ready!"         

...  A.  Cooper,  R.A 

124 

Mallard  and  French  Spame 

...  Stephen  Elmer,  A.R.A.. 

154,15s 

Maltese  Ass      ...         ...         

...  H.  B.  Chalon      ... 

88,91 

Mambrino's  Helmet      ..         

...  A.  Cooper,  R.A 

"9 

Mameluke,  A.  ...         

...   H.  Aiken 

26 

Mameluke,  A.  ...         

...   R.  B.  Davis 

149 

"  Mammoth" 

...  H.  B.  Chalon 

89 

Man  and  Dray-horse 

...   H.  B.  Chalon      ... 

88 

Man  in  Armour            

...  H.  Aiken 

26 

Mandarin  Drake          

...  Stephen  Elmer,  A.R.A.. 

«58 

"  Mango,"  winner  of  the  St.  Leger  ... 

.A..  Cooper,  R.A.,  1S37,  1S3S.. 

.109,  nS,  115 

"  Mango,"  winner  of  the  St.  Leger  ... 

...   D.  Dalby 

134 

Manorial  Rights           

...  A.  Cooper,  R.A 

123 

Mansion  in  process  of  construction   ... 

...  S.  Gilpin,  R.A 

202 

Mare,  A            

...  H.  B.  Chalon       ... 

88 

Mare,  A             

...   R.  B.  Davis 

'49 

Mare,  A            

...  Geo.  Garrard,  A.R.A.     . 

187 

Mare  and  Colt 

...  S.  Gilpin,  R..A 

203 

Mare  and  Dog 

...  H.  B.  Chalon      ... 

88 

Mare  and  Foal...         

...  J.  Barenger 

38.  39 

"  Marengo,"  a  white  charger 

...  J.  Barenger 

39 

Mares  and  Foals          

...   F.  Barlow... 

45 

Mares  and  Foals          

...   \V.  Barraud 

54 

Mares  and  Foals          

...  Geo.  Garrard,  A.R.A.     . 

1S6,  187 

Mares  and  Foals          

...  S.  Gilpin,  R.A.    ... 

..      203 

Mares  and  Foals  at  the  Royal  Stud  ... 

...  R.  B.  Davis         

13S,  148 

236 


INDEX 


Mares  and  Foals  from  the  Prince  of  Wales' 

Stud  

"  Maria,"  a  racehorse... 

"Mark!"        

"Mark  !  Cock  !"       

Market  Day 

Marmozel  Alonkeys,  Group  of 

"  Mary  Owen"  

Mary  Queen  of   Scots  meeting  the  Earl   of 

Eothwell  

Master    Beresford     Lowndes,     with     Pony 

and  Dogs  ...         ...         

"  Mat  o' the  Mint " 

"  Mazeppa  " 
Mealfourvoine  Trout,  A 

Medallion  of  a  Lady 

Medallion    of    the    Duke    and   Duchess  of 

Bedford     

Medallion  of  Tom  Cribb 
Meet  at  Ashby  Pasture,  The... 

Meet  at  Crick,  The  

Meet  of  Her  Majesty's  Staghounds  ... 
Meet  at  Kirby  Gale,  The 
Meet  of  the  Owl  Hounds,  The 

Meet  of  the  Owl  Hounds,  The         

Meet,  The         

Meeting  in  a  Stone  Quarry    ... 

Meeting  of   the   Keepers  of   Sir  Julian   E. 

Swinburne 
"  Mellow,"  a  horse 
Member  of  the  Surrey  Hunt,  on  his  Hackney, 

riding  to  Cover 

Men  in  Armour  ...         

Merino  Sheep  ... 

"Merry"  

"  Middleton  " 

Milking  Time 

Mills,  J.,  portrait  of    ..  

"  Minos,"  abound       

Minstrels  of  the  Fifteenth  Century 

"Minuet"        '     

Mischievous  Boy,  The  

Miser,  The 

"  Miss  Turner,"  a  mare 

Misses  Robarts  on  their  favourite   Horses, 

The  

"  Mocking-bird,"  a  greyhound  

Model  for  a  Lion         

Model  for  Equestrian  Statue  ... 

Model    for  Equestrian    Statue   of  Sir  John 

Moore 
Models  for  busts,  by  George  Garrard,  A.R.A.. 

W.Adam 

Artist        


Geo.  Garrard,  A.R.A.    ... 

...     i86 

J.  Barenger           

•••      39 

H.  Aiken 

24 

A.  Cooper,  R.A 

...     123 

A.  Cooper,  R.A 

...     124 

Geo.  Garrard,  A.R.A.     ... 

...     186 

H.  B.  Chalon       

...      88 

A.  Cooper,  R.A. ... 

...     117 

H.  Barraud           

...      S8 

T.  Barenger 

39 

R.  B.  Davis         

...     148 

A.  Cooper,  R.A. ... 

...     125 

Geo.  Garrard,  A.R.A.    ... 

...     188 

Geo.  Garrard,  A.R.A.     ... 

...     188 

Geo.  Garrard,  A.R.A.     ... 

...     188 

H.  Aiken 

10 

W.  and  H.  Barraud 

...      50 

R.  B.  Davis          

...     151 

|.  E.  Ferneley      

..     163 

"H.  Aiken 

24 

"Wildrake"        

14 

H.  Aiken 

13,  25,  26 

H.  Aiken 

...         25 

A.  Cooper,  R.A 

...     119 

H.  B.  Chalon      

...      89 

S.  Aiken   

■•■      33 

H.  Aiken 

...      26 

J.  Barenger           

...      36 

A.  Cooper.  R.A. ... 

...     120 

R.  B.  Davis          

...     149 

A.  D.  Cooper       

...     128 

J.  E.  Ferneley 

...     172 

R.  B.  Davis         

...     149 

H.  Barraud           

...      58 

A.  Cooper,  R.A 

...     121 

H.  B.  Chalon       

90 

S.  Elmer,  A.R.A. 

•••     153 

A.  Cooper,  R.A 

...     122 

H.  Barraud          

59 

A.  Cooper,  R.A ' 

119,  122 

George  Garrard,  A.R.A. 

...    188 

George  Garrard,  A.R.A. 

...  187 

George  Garrard,  A.R.A. 

...    188 

..  of  :- 

...   188 

...   188 

INDEX 

Models  for  busts,  by  George  Garrard,  A. R.A.,  of :  — 

H.  Ashby 

K.  B.  Banks        

Mr.  Gift 

Rev.  T.  Fry,  M.A 

Gentleman 

V.  Green,  A.  E 

D.  S. Jackson      

Lady,  i8oS,  1809 

Lady,  1811  

Master  Lane  Fox 

Miss  Lane  Fox    ...         ...         

Mrs.  Lane  Fox    

Mr.  Pugett  

H.  Repton  

R.  B.  Sheridan 

Rt.  Hon.  Sir  J.  Sinclair...         ...  

General  Tarleton 

Capt.  Thomson    ... 

T.  Tomkins 

W.  Wilberforce,  M.P 

Lady  Young 
Models  (or  statues,  by  George  Garrard,  A.R.A.,  of:  — 

His  Majesty  ...         ...  ...  

Rt.  Hon.  William  Pitt 

Models  by  George  Garrard,  A.  R.A. ,  of: — 

Bull  

Bull  Bitch 

Bull  Calf 

"Comet" 

Cow 

Cow  and  Calf 

Favourite  Dogs,  property  of  Mrs.  Baker 

Pointer      ...         

Stag  

"  Modern  Scarlets  " J.  E.  Ferneley 

"  Monck,"  portrait  of ...         ...   Francis  Barlow 

Montrose  routed  at  Philiphaugh,  &c.  ...  A.  Cooper,  R.A. 

"  Moorhen,  The  "       A.  Cooper,  R.A. 

Moore,  Sir  John,  statue  of Geo.  Garrard,  A. 

Moors,  The       ...   \V.  Barraud 

"  Morelli,"  a  race-horse  H.  B.  Chalon 

Morning  Meal,  The A.  Cooper,  R.A. 

Morning  of  First  of  September         A.  Cooper,  R.A. 

Morning  Ride,  A         A.  Cooper,  R.A. 

"  Moses,"  a  race-horse  ...         ...         ...  R.  B.Davis 

Mother  and  Child,  A H.  Barraud 

Mountain  Dew,  The A.  Cooper,  R.A. 

Mountain  Landscape  with  Cattle  and  figures  S.  Gilpin,  R.A. 

Mountain  Pass,  The A.  Cooper,  R.A. 

Mule  Pheasant A.  Cooper,  R.A. 

"  Muley,"  a  horse        J.  Barenger 

Mutual  Surprise,  A      A.  D.  Cooper 

My  Arab  Steed  A.  Cooper,  R.A. 


R.A. 


FAGS 

187 

.  187 

.  188 

.  187 

.  188 

.  187 

.  1S7 

.  187 

.  1S8 

.  189 

.  189 

.  189 

.  187 

.  187 

.  188 

.  1S8 

.  188 

.  187 

.  187 

.  187 

.  188 

.  188 

.  187 

.  187 


...  1S8 

179.  1S7 

...  187 

...  188 

...  187 

...  187 

...  16S 

...  43 

...  1 20 

...  125 

...  184 

...  54 

...  85 

...  123 

...  121 

...  116 

140,  149 
58 

...  123 

...  202 

...  123 

...  124 

■•  39 

..  12S 

...  120 


238 


INDEX 


"  My  dear  Sir,"  &c.    ...         

"  My  Father's  favourite  Mare  " 
My  Lady's  Hobby 

"My  own  Grey"        

"  My  soul's  on  fire  and  eager  for  the  field"... 

N 

Native  Dog  in  New  South  Wales     

Nature  displayed  in  the  Animal  and  Feathered 
Species 

"  Ne  exeat  "     ... 

Near  the  Banks  of  Loch  Laggan,  Inverness- 
shire 

Near  Virginia  Water   ... 

Nearly  ready  to  Start 

Neasden  Harriers,  The 

"  Nelson,"  a  greyhound         

"  Nelson,"  Newfoundland  dog  

"  Nessus  and  Dejanira  "         

"  Newbiggin,"  a  greyhound 

Newcastle  Ferry 

Newfoundland  ... 

Newfoundland... 

Newfoundland  ... 

Newfoundland  ... 

Newland,  A.,  bust  of 

Newmarket  Tout,  The 

Nilgaw  Antelope,  model 

Nineteenth  June,  l8i 5,  The 

Nobleman  and  Servant  on  two  fast-trotting 
Hacks        

Nobleinan  on  a  Managed  Horse,  portrait 
of  a 

Non-effectives 

Noontide  Rest ... 

Norman  as  Don  Quixote  in  the  Panto- 
mime, &c.... 

Norway  Elk  pursued  by  Wolves,  A... 

"  Nosegay,"  a  brood  bitch     ... 

O 

Oakley  Hunt,  The      

Oasis,  The        

October 

October's  Own 

Officer's  Charger,  7th  Hussars  

Old  Carriage  Horse,  An         

Old  Carriage  Horses  in  His  Late  Majesty's 

stud  at  Windsor 

Old  Charger,  portrait  of        

Old  Coach  Horse,  An  

Old  English  Setter      


PAGE 

H.  Aiken 

25 

A.  Cooper,  R.A 

...       118 

A.  Cooper,  R.A. ... 

...       124 

A.  Cooper,  R.A 

...      120 

H.  Aiken 

...         17 

A.  Cooper,  R.A 

117,  122 

Francis  Barlow 

...         41 

A.  Cooper,  R.A — 

...       123 

R.  B.  Davis         

...       149 

R.  B.  Davis         

...       148 

H.  Aiken 

...         26 

W.  Barraud 

•■•      55 

A.  Cooper,  R.A.  ... 

...       I2S 

H.  B.  Chalon       

...    89 

Geo.  Garrard,  A.R.A.    .. 

...  187 

A.  Cooper,  R.A 

...    123 

LukeClennell      

...       lOI 

H.B.  Chalon       

...     90 

St.  Elmer,  A.R.A. 

...  158 

Geo.  Garrard,  A.R.A.    .. 

...    186 

T.  Gooch 

. . .    209 

Geo.  Garrard,  A.R.A.     .. 

..    187 

R.  B.  Davis          

...    150 

Geo.  Garrard,  A.R.A.    .. 

...   IS7 

A.  Cooper,  R.A — 

..     118 

H.  B.  Chalon       

...    89 

T.  Gooch 

...    208 

H.  Aiken 

...     17 

H.  Aiken 

...    27 

Edmund  Bristowe 

...     80 

Geo.  Garrard,  A.R.A.    . 

183,  187 

J.  Barenger 

■■      39 

H.  Aiken 

10 

A.  Cooper,  R.A 

...     119 

H.  Aiken 

...      24 

A.  Cooper.  R.A 

...     122 

H.  B.  Chalon       

...      89 

R.  B.  Davis         

...     149 

R.  B.  Davis          

...     148 

T.  Boultbee          

...      74 

R.  B.  Davis          

...     149 

H.  B.  Chalon       

87,88 

INDEX 

Old  English  Springer  

Old  Fisherman,  The 

Old  Friends      

Old  Gig  Horse,  An 

Old  Hackney,  An       

Old  Horse,  An 

Old  Horse,  portrait  of,  An 

Old  Horse,  portrait  of.  An     ... 

Old  Hunter,  portrait  of.  An  ... 

Old  Hunter,  portrait  of,  An 

Old  Hunter      

Old  Hunter      

Old  Hunter      

Old  Pack-horse,  portrait  of  an 

On  the  Bank  of  Loch  Ness    

On  the  Brighton  Line...         

On  the  Moors 

On  the  Rein     ... 

On  the  Ripple  ... 

Once  More  Upon  the  Moors... 

"One  of  These" 

Opening  Day,  The     ... 

Opposition  Coaches  with  and  without  Bear- 
ing Reins  ... 

"  Orelio,"  a  celebrated  Arabian 

Oriental  Horsemen 

Original  Designs  for  Ideas     ... 

Ornaments  on  the  Bench 

"  Orville,"  Prince  of  Wales'  horse  ... 

Ostriches 

Otter-hound 

Otler-hunling  ... 

Olter-hunling  ... 

Over  the  Open 

Overthrow  of  the  French  Army  at  the 
Battle  of  Waterloo,  The  

O.t,  portrait  of  an 

"  Oxygen,"  a  brown  mare     


"  Paddy,"  a  setter       

"  Painter,"  a  retriever 

Painter  and  his  Models 

"  Pandora,"  a  fine  hunter 

"  Parasol,"  a  race  horse 

Parish  Clerk,  The,  Saturday  Evening 

Park  Palings     ... 

Park  Scene,  at  Wilham 

Park  Scene  with  Hunters 

Parkhurst,  John,  Portrait  of  ... 

"  Partisan,"  a  bay  horse 

Partridge  Shooting,  September 

Partridge  Shooting 


239 


PAGE 

H.  B.  Chalon      

91 

Luke  Clennell      

...      lOI 

R.  B.  Davis          

...       149 

R.  B.  Davis          

...       148 

W.   Barraud           

54 

R.  B.  Davis          

...    149 

Thomas  Gooch,  1782      .. 

...    208 

Thomas  Gooch,  1786 

...    209 

W.  Barraud 

54 

R.  B.  Davis,  1S06,  1S21, 

1S22...     148 

T.  Boullbee          

74 

H.  B.  Chalon       

90 

S.  Gilpin,  R.A 

203 

T.  Gooch 

209 

A.  Cooper,  R.A 

120 

A.  Cooper,  R.A.... 

124 

H.  Aiken 

26 

A.  Cooper,  R.A 

124 

A.  Cooper,  R.A 

124 

W.  Barraud           

55 

A.  Cooper,  R.A.  ... 

119 

A.  Cooper,  R.A 

123 

H.  Aiken 

25 

J.  E.  Ferneley 

173 

H.  Aiken 

25 

H.  Alkcn 

26 

R.  B.  Davis 

150 

H.  B.  Chalon       ... 

85,  88 

H.  B.  Chalon 

89 

H.  B.  Chalon       ... 

91 

H.  Aiken 

25 

S.  Aiken   

33 

R.  B.  Davis 

150 

Luke  Clennell      ... 

9S 

T.  Gooch 

206,  209 

A.  Cooper,  R.A 

'2S 

A.  Cooper,  R.A.  ... 

n6,  120 

A.  Cooper,  R.A 

"7 

A.  Cooper,  R.A 

120 

J.  Barenger 

39 

J.  Barenger 

39 

E.  Bristowe 

80 

H.  Aiken 

26 

Geo.  Garrard,  A. R.A. 

187 

Geo.  Garrard,  A. R.A. 

186 

S.  Gilpin,  R.A.    ... 

>96 

A.  Cooper,  R.A.  ... 

...        1.6,121 

R.  B.  Davis 

142 

H.  Aiken  

27 

240 

Partridge  Shooting 
Partridge  Shooting 
Partridge  Shooting 
Partridge  Stalking 
Partridges 
Partridges 


INDEX 


S.  Aiken   .,, 
H.  B.  Chalon 
A.  Cooper,  R.  A. 
F.  Barlow... 
J.  Barenger 
A.  Cooper,  R.A.. 


Partridges        Stephen  Elmer,  A.R.A.,  1774,  1777,  17S3,  1784,  1789.  I 
Partridges  and  Snipe  ...  ...  .,    ^    . 

Partridges  basking  in  the  Sun 
Passions  of  the  Horse,  The  ... 
"  Patch,"  a  pony 
"  Pavilion,"  a  racehorse 

Payne,  Philip,  portrait  of      

Peacock 

Peasant  attacked  by  Wolves,  A 

Peat  Cart,  The  

Pedlars,  The 

Pegasus  at  the  Fountain  of  Hippocrene,  &c, 

"  Penelope,"  a  bay  mare        

Pensioners,  The  ...         

"  Penseroso,"  a  stallion         

Perch     

Perch     

"  Perdrix  Borealis  "    ... 

Persian  Horses  and  Spani.sh  Sheep  Dog 

Persian  Mare   ... 

Pfeil,  A.  L.,  portrait  of  

Pheasant  and  Brace  of  Partridges     ... 

Pheasant  and  Woodcocks 

Pheasant  Shooting 

Pheasant  Shooting 

Pheasant  Shooting 

Pheasant  Shooting 

Pheasant  Shooting 


F.  Barlow 

Stephen  Elmer,  A.R.A. 

H.  B.  Chalon       ... 

H.  B.  Chalon 

H.  B.  Chalon 

R.  B.  Davis 

Stephen  Elmer,  A.R.A. 

Geo.  Garrard,  A.R.A. 

A.  Cooper,  R.A. 

Luke  Clennell 

S.  Gilpin,  R.A. 

A.  Cooper,  R.A. 

E.  Eristowe 

John  Boultbee 

A.  Cooper,  R.A. 

Stephen  Elmer,  A.R.A. 

A.  Cooper,  R.A. 

Geo.  Garrard,  A.R.A. 

H.  B.  Chalon       ... 

A.  Cooper,  R.A.... 

...  J.  Barenger 

Stephen  Elmer,  A.R.A. 

H.  Aiken 

S.  Aiken 

...  E.  Bristowe 
A.  Cooper,  R.A.,  1825,  1832,  1858 
R.  B.  Davis 


Pheasant  Shooting  in  Swinley  Park R.B.Davis 

Pheasants         J.  Barenger 

Pheasants...Stephen  Elmer,  A.R.A.,  1772,  1774,  1784^1785,1789,1790, 


"  Phoebe,"  spaniel 
"  Phosphorus" 

Pig  Slicking     ...         ...  

"  Pigeon,"  an  Arabian 

Pigeon  Shooting  

Pigeon  Shooting  

Pigeons,  Plover  and  Parrot  on  a  bough 

"Pike,  The" 

"  Pilgrim,"  A  hunter  ... 

"  Pilot  and  Midge  " 

"  Pincher,"  a  terrier    ... 

"  Piiicher,"  a  terrier  ...  

"  Pincher  and  Shivers,"  terriers 

"  Piper,"  a  celebrated  greyhound     ... 

Pitt,  The  late  Rt.  Hon.  W.,  bust  of 

"  Pittites,  but  no  Tories  "      

Plato      


H.  B.  Chalon 

A.  Cooper,  R.A.  ... 

H.  Aiken 

PI.  B.  Chalon 

H.  Aiken 

S.  Aiken, 

Luke  Cradock 

A.  Cooper,  R.A.  .. 

A.  Cooper,  R.A 

A.  Cooper,  R.A.... 
H.  B.  Chalon       ... 
A.  Cooper,  R.A. ... 
H.  B.  Chalon 
Samuel  Aiken 
George  Garrard,  A.R.A, 

H.  Aiken 

W.  Barraud 


PAGE 

32,33 

...         90 

...       124 

...       45 

■■       39 

...     125 

794. ..157,  158 

...       45 

■■     155 

...       83 

...       90 

...       84 

...     138 

...     158 

1S3,  187 

119 

...      lOI 

...     192 

.,.     121 

...      75 

69,  74 

125 

...     158 

122 

...     188 

...       89 

...     118 

■         39 

...     15S 

5,  25,  26,  27 

32,  33 

...      78 

[22,  124,  119 
...  142 
...       151 

37,  38,  39 

155.157-  158 

...  89 

...  125 

...  25 

...  89 

...  26 

•■.  33 

...  130 

..  125 

...  116 

..  119 

...  90 
1 20 

...  91 

..  33 

.,.  1S7 

...  24 

...  54 


INDEX 


"Plenipotentiary,"    Winner   of   tiie   DeVby, 

1834  

Poacher,  Tlie 

Poacher  Detected        

Poachers 

Poachers  and  Poached  

Pointer 
Pointer 
Pointer 

Pointers  

Pointers  (2)       

Pointers  (i) 

Pointers  going  out  with  Sportsmen 

Poison  ... 
Politician,  A 


A.  Cooper,  R.A.... 

PI.  Aiken 

A.  Cooper,  R.A. ... 
A.  Cooper,  R.A. ... 

H.  Aiken 

li.  B.  Chalon       ... 
S.  Elmer,  A.R.A. 
Thomas  Gooch    ... 

H.  Aiken 

W.  Barraud 
J.  Barenger 
J.  Barenger 

H.  Aiken 

Stephen  Elmer,  A.R.A. 


'  Polydora,  with  Sister  to  Pandora  at  Foot  "  H.  Barraud 


Pomeranian  Dog 
Pomeranian  Dog 
Pony 
Pony 

Pony      

Pony      

Pony  and  Boy 

Pony  and  Dog  ... 

Pony  and  Dog 

Pony  and  Sporting  Dogs        

Poodle  and  Scotch  Terrier 

Poor  Man  and  his  distressed  Horse  ... 

"  Pop,"  a  pointer         

Pope's  Mules  at  the  Fountain  of  Trevi,  Tlie 

Portraits 

Portraits 

Portraits  

Portraits  of  all  the   horses  and  jockeys  en 

gaged  in  the  Derby  Stakes 

Portraits  of  Artist        

Portrait  of  Bull-dog 

Portraits  of  Coach-horse 

Portraits  of  Curricle  horses    ... 

Portrait  of  Davis,  Mr.,   Huntsman    to    Her 

Majesty,    on   his   favourite  horse,    with 

hounds 


H.  B.  Chalon      ... 

Thomas  Gooch    ... 

T.  Barenger 

"H.  B.  Chalon      ... 

A.  Cooper,  R.A.... 

R.  B.  Davis 

W.  Barraud 

].  Barenger 

George  Garrard,  A.R.. 

H.  B.  Chalon       ... 

H.  B.  Chalon 

A.  Cooper,  R.A. ... 

A.  Cooper,  R.A 

W.  Barraud 
H.  Barraud 
W.  Barraud 
A.  Cooper,  R.A 

A.  Cooper,  R.A.... 

B.  Blake 

George  Garrard,  -V.R.^ 
George  Garrard,  A.  R.^ 
J.  Barenger 


241 
TAGI! 

118 

24 
122 
121 

27 

87 

157 

209 

26 

54 

38.39 

36 

25 

158 
58 
88 

209 

39 

90 

116 

148 
54 
36 

186 
90 


...     117 
ti8,  125 


153 


117 


54 
58 
54 

119 


W.  and  H.  Barraud 


Portraits  of  Dogs  by 


Portraits  of  Famous  Fighting  Dog 
Portraits  of  Fox-hunter  and  his  hounds 
Portrait  of  P'riezeland  Mare   ... 
Portrait  of  a  Gentleman 
Portrait  of  Gentleman  and  Grey  Horse 
Portrait  of  Gentleman  and  his  Horse 
Portrait  of  Gentleman  and  his  Horse 

Portrait  of  Gentleman  and  Pony       

Portrait  of  Gentleman   with  His  Majesty's 

Hunt         

Portrait  of  a  Horse 

i6 


George  Garrard,  A.R.A.,  17S3,  1788 

A 


H.  B.  Chalon 

H.  Aiken  . 

George  Garrard,  A.K.I 

A.  Cooper,  R.A 

Geo.  Garrard,  A.R.A. 
J.  E.  Ferneley 
Geo.  Garrard,  A.R.A. 
Geo.  Garrard,  A.R.A. 

R.  B.  Davis 
J.  Barenger 


,.  iiS 
.64,67 
..  186 
.  187 

.   38 


...50,59 
t86,  186 
...  86 
...18,24 
...  186 
...  117 
...  186 
...  172 
...  186 
...  186 


149 

83 


242 


INDEX 


.Geo.  Garrard,  A.R.A 


Portrait  of  a  Horse 

Portrait  of  a  Horse 

Portrait  of  a  Horse 

Portrait  of  a  Horse 

Portrait  of  Horse  and  Dog     ... 

Portrait  of  Horse  belonging  to  His  Majesty... 

Portrait  of  Horse  in  Miniature  

Portrait  of  Horses 

Portrait  of  Horses        

Portrait  of  Horses 

Portrait  of  Horses 

Portrait  of  Hunter        ..         ...         

Portrait  of  Hunter       

Portrait  of  Hunter      

Portrait  of  Hunter  and  Groom 
Portrait  of  Irish  Water  Spaniel 

Portrait  of  Jockey,  A 

Portrait  of  Lady  in  the  104th  year  of  her  age... 

Portrait  of  Mare,  A 

Portrait  of  Mare,  A 

Portrait  of  Meltonian  ...         

Portraits  of  Men  Employed  in  the  Nursery 

Gardens  .at  Slough 
Portrait  of  Nobleman,  &c. 

Portrait  of  Old  Suffolk  Horse  

Portrait  of  Phenomena 
Portrait  of  Pony,  A     ... 

Portrait  of  Pug  Dog,  A  

Portrait  of  Race-horse,  A 
Portrait  of  Race-horse,    A     ... 

Portrait  of  Three  Hunters      

Portrait  of  Warwick.shire  O.K...         

Post  Boy,  A     

Post-Haste       

Post-horse,  The  

Pot-8-os,  a  famous  race-horse  

Poultry  ...         ...  

Poultry,    a    Stork,    a    Passage-boat     on    a 

Canal,  &c. 
Poultry  attacked  by  a  Hawk 

Preliminary  Canter,  A  

Press  Gang,  The 

Pride  of  the  Desert,  The        

Prince  Hoare,  Esq.,  bust  of  ... 

"  Prince  Leopold,"  a  race-horse 

Prince     Rupert    routing    the    Besiegers    at 

Newark 

Princess  Charlotte,  Il.R.II.,  bust  of 

Private  Box       

Progress  of  the  Riding  School,  The... 
Proportions  of  an  Arabian,  or  quite  a  New 

System      

"  Prosper,"  a  hunter  ...         ...         


"AGE 

J.  E.  Ferneley 

172 

.,  1790,  1793,  1800,  1S26. 

'186,187 

189 

S.  Gilpin,  R.A.   ... 

203 

Thos.  Gooch 

205 

209 

Geo.  Garrard,  A.R.A,    . 

1S6 

S.  Gilpin,  R.A 

194 

203 

Geo.  Garrard,  A.R.A.     . 

1 86 

PI.  Barraud 

58 

John  Boultbee 

74 

Geo.     Garrard,     A.R.A. 

,'    1788; 

1789,  1790,  1795,  !  797,   I 

300...186 

1S7 

S.Gilpin,  R.A 

203 

E.  Bristowe 

80 

R.  B.  Davis 

148 

J.  E.  Ferneley     ... 

172 

J.  E.  Ferneley     ... 

172 

H.  B.  Chalon       ... 

82 

A.  Cooper,  R.A.  ... 

116 

II.  Barraud 

58 

J.  Barenger 

38 

Geo.  Garrard,  A.R.A.    . 

186 

J.  E.  Ferneley      ... 

172 

E.  Bristowe 

80 

Geo.  Garrard,  A.R.A.    . 

186 

Geo.  Garrard,  A.R.A.    . 

186 

J.  Barenger 

38 

Geo.  Garrard,  A.R.A.    . 

187 

].  Barenger 

38 

"R.  B.  Davis 

148 

Geo.  Garrard,  A.R.A.     . 

186 

J.  E.  Ferneley 

172 

J.  Best       

61 

H.  Aiken 

23 

A.  Cooper,  R.A.  ... 

119 

Thomas  Gooch     ... 

209 

S.  Gilpin,  R.A 

197 

Charles  Collins     ... 

102 

Luke  Cradock 

130 

Luke  Cradock 

130 

H.  Aiken 

29 

Luke  Clcnnell      ... 

lOI 

A.  Cooper,  R.A.  ... 

120 

Geo.  Garrard,  A.R.A.    . 

188 

H.  B.  Chalon       

89 

A.  Cooper,  R.A 

loS, 

118 

Geo.  Garrard,  A.R.A.     . 

188 

A.  Cooper,  R.A. ... 

124 

T.  Gooch 

209 

II.  B.  Chalon       ... 

84 

J,  Barenger 

39 

INDEX 


"  Prudence,"  a  brown  mare 
Ptannigan,  a  white  grouse 
"  Pussy,"  a  brown  mare 
Pyramid,  The 


J.  Barenger 
A.  Cooper,  R.A.. 
A.  Cooper,  R.A. , 
A.  Cooper,  R.A. 


PACE 

39 
125 

125 

123 


Q 


Quarrelsome  Companions 
Quarry,  The 

Quiet  Pipe,  A 

"  Quiz,"  a  race  horse  ... 
Quorn  at  Quenby  in  1823,  The 
Quorn  Hunt 
Quorn  Hunt      


A.  D.  Cooper 
A.  Cooper,  R.A., 
A.  Cooper,  R.A.. 
II.  B.  Chalon 
J.  E.  Fcrneley 
II.  Aiken  ... 
J.  E.  Ferneley 


162, 


128 
123 
■23 

84 
163 

10 
165 


R 


Rabbit  Shooting  ...         

Raby  Paclv,  The  

Race  for  the  .St.  Leger  in  1851 
Race-horse,  The 
Race-horse,  The 

Race-horses— exercising         

Race-horses — mounting 

Race-horses — preparing  for  second  heat 

Race-horses — saddling  

Race-horses — winning 

Racer,  portrait  of  a     

Racing 

Racing  ... 

Racing  at  Florence      

Racing,  the  Starting  Post       

Rage  with  Agony  (Passions  of  the  Horse) 
"  Rallywood,"  a  celebrated  foxhound 
"  Rampion,"  a  hunter 

"Rapid"  

Rare  Good  One  at  Timber    

Rat-hunting      

Ratcatcher  with  Favourite  Terriers  ... 

Rat  trap.  The 

"  Rather  too  much  down  "     

"  Rather  too  much  up  "         

Rattle  and  Clinker 

"  Ready,"  a  spaniel 

Real  Thing,  The         

Red  Deer  

Red  Deer         

Red  Game       

Red  Grouse      

Red  Grouse 

Red-headed  Widgeon 

Refraction         


..  A.  Cooper,  R.A 

124,  125 

..   II.  B.  Chalon        

...      85 

..   II.  Aiken 

19,24 

..  H.  B.  Ch.alon      

...       89 

..  T.  Gooch 

...     209 

..  S.  Aiken 

33 

..  S.  Aiken   .,           

-      33 

..   S.  Aiken 

•      33 

..  S.  Aiken 

-      33 

..   S.  Aiken 

••■      33 

..   R.  B.  Davis          

...     148 

..  J.  Barenger           

...      36 

..  A.  Cooper,  R.A 

124,  125 

..   II.  Aiken 

...      24 

..  A.  Cooper,  R.A 

...     124 

...   H.  E.  Chalon       

S3- 90 

,.  J.  E.  Ferneley      

•••     173 

..  A.  Cooper,  R.A 

...     118 

..  A.   Cooper,  R.A 

...     118 

..  H.  Aiken 

...      26 

..  S.  Aiken 

•■•      33 

,.  II.  B.  Chalon       

...      90 

...  A.  Cooper,  R.A 

...     121 

...  H.  Aiken 

...        25 

..   H.  Aiken 

...         25 

,..  S.  Aiken 

•■•      33 

..  A.  Cooper,  R.A 

...     126 

...  II.  Aiken 

...      26 

...  A.  Cooper,  R.A 

...     119 

...  Geo.  Garrard,  A.R.A.    ... 

...     186 

...   Stephen  Elmer,  A.R.A... . 

...     156 

...  A.  Cooper,  R.A 

...     125 

...  S.  Elmer,  A.R.A. 

...     155 

...  A.  Cooper,  R.A 

...     123 

...  A.  Cooper,  R.A 

119,  126 

244 


INDEX 


Refreshing        

Reindeer 

Repulse  of  the  Cossacks  by  the  93ril 
Rest,  and  be  Thankful,  The 
"  Retreat  from  Naseby,  The  " 
"  Retriever,"  a  deer-hound    ... 
Return  from  the  Derby 
Return  Home,  The     ... 
Returned  from  the  Crimea     ... 
Returning  from  Deer-stalking 
Returning  from  Deer-stalking 

"  Rhoda,"  a  race-horse  

Rich  Scene,  and  such  as  no  other  Country 

can  Exhibit,  A 

"  Richard,"  a  brown  horse    ... 

Richard    Cceur    de    Lion,    Reviewing     the 

Crusaders  in  Palestine    ... 
Richard  I.  unhorsing  Saladin 
Richard  III.  at  Bosworth 
Riding  in  a  Storm 
Rigging  Him  Out 

Right  and  Left  ...         

"  Ringwood  "  ... 

River  Scene,  A  

Roadster,  A      ...         

Roadster's  Album,  The 
Robert  Bruce  and  the  Spider... 

Roberts,  A.  W.  

Robertson's  Little  Wonder,  Mr. 
Robin  Hood  and  Zoe... 

Roe  Deer  ...         ...         ...         

Roebuck 

Roebuck  Shooting 
"  Rose,"  a  terrier 
"  Rose  and  Crib  " 
Rough  Customer,  A    ... 

Rough  Lot,  A  

Rounding  on  Spankaway,  Mr.  T 

Rout  at  Marston  Moor,  The 

"  Roxton,"  a  hunter   ... 
Royal  Hunt,  The 

Royal  Hunt,  The        

Royalist  Family  taken  by  the  Puritans,  A  ... 
"  Rubens,"  a  hunter  ... 

"Rufus"  

"Rufus"  

Runaway  Coach,  A 

Running  

Rupert's  Standard  at  Marston  Moor 
Russell,  W.,  portr.iit  of         


"  Saft  an' Shyly  " 

"  Sailor,"  a  retriever  .. 


PACE 

H.  Aiken 

IS 

Geo.  Garrard,  A.R.A.    .. 

.        ...     187 

A.  Cooper,  R.A 

"9 

A.  Cooper,  R.A 

...     124 

A.  Cooper,  R.A 

108,117 

A,  Cooper,  R..'\ 

125 

H.  Aiken 

25 

H.  Aiken 

25 

A.  Cooper,  R.A. ... 

"9 

A.  Cooper,  R.A.,  1S44   ., 

iiS 

A.  Cooper,  R.A.,  1849  . 

"9 

A.  Cooper,  R.A.  ... 

117,  121 

H.  Aiken 

9 

A.  Cooper,  R.A 

122 

A.  Cooper,  R.A 

..      118 

A.  Cooper,  R.A.... 

"7 

John  Boultbee 

73 

Luke  Clennell 

97.  100 

R.  B.  Davis 

ISO 

A.  Cooper,  R.A 

123 

A.  Cooper,  R.A. ... 

113 

Luke  Clennell      ... 

IQI 

H.  Aiken 

26 

11.  Aiken 

2S 

H.  Barraud 

58 

II.  Barraud 

59 

A.  Cooper,  R.A 

118 

A.  Cooper,  R.A — 

120 

A.  Cooper,  R.A 

I2S 

A.  Cooper,  R.A. ... 

113 

A.  Cooper,  R.A 

125 

II.  B.  Chalon       ... 

89 

A.  Cooper,  R.A 

116 

II.  Barraud 

58 

W.  Barraud 

55 

A.  Cooper,  R.A 

117 

A.  Cooper,  R.A 

"9 

A.  Cooper,  R.A 

118 

H.  B.  Chalon       ... 

89 

R.B.Davis 

145,  146,  149 

\V.  &  H.  Barraud 

SO.  S9 

J.  Barenger 

36,  39 

J.  Barenger 

39 

W.  Barraud 

54 

H.  Aiken 

25 

II.  Aiken 

26 

A.  Cooper,  R.A 

107,  117 

J.  E.  Ferneley 

172 

A.  Cooper,  R.A 

123 

A.  Cooper,  R.A 

iiS 

INDEX 


-M5 


"Sally"  a  spaniel       

...   H.  i;.  Chalon       

...      89 

"Salliam"       

...   Geo.  Garrard,  A.K.A.    .. 

...     186 

"  Sam,"  a  .seller          

...  A.  Cooper,  K.A 

...     118 

Samuel    Dumbletun,    purlrait    uf    .. 

...  J.  E.  Ferneley      

...     167 

Sand-Uiggers 

...   A.  Cooper,  K..\ 

...     117 

"Saiali  Bate  and  Seidlitz  " 

...   W.  Barraud          

•••    ss 

39 

"  Sasenagh,"  a  race  horse      

...    ].  Barenger           

"Satellite"      

...  "T.  G.ooch              

...    209 

Saw  Pit,  The 

...   Luke  Clennell      

...      lOI 

Scene   from    ihe   National    Steeplechase 

at 

Liverpool 

...   H.  Aiken 

...      25 

Scene  from  the  Opera  of  La  Gazza  LaJra 

...   IL  Barraud           

...      sS 

Scene  in  Ottershaw  Park,  Surrey     ... 

...   \V.  Barraud          

...       54 

Scene  in  the  Crimea 

...  A.  Cooper,  K.A  ... 

...     119 

Scene  in  Windsor  Great  Park 

...   R.  B.  Davis          

...     143 

"  Scorpion,"  a  blood  horse 

...  H.  B.  Chalon       

...      89 

Scotch  Terriers            

...  W.  Barraud          

54 

Scotch  Teniers            

...   H.  B.  Chalon       

...       90 

Scotland            

...   A.  Cooper,  R.A 

...     120 

"  Scrub,"  a  pony         

...  A.  Cooper,  R.A 

...     116 

"Scurry"         

...  J.  E.  Ferneley      

...     164 

"  Scyrus  and  Til  "       

...  A.  Cooper,  R.A 

...     118 

.Second  Barrel 

...  A.  Cooper,  R.A 

...     120 

Second  Horses             

...   H.  Aiken 

...       25 

"Selim"           

...   IL  B.  Chalon       

...      86 

Sentinel,  The 

...   W.  Barraud          

...      54 

Setters 

...  IL  Aiken 

.    25,  26,  27 

Setters 

...   IL  B.  Chalon       

85,  88 

Setters 

...  A.  Cooper,  R.A. ... 

...     124 

Setters 

...  J.  E.  F'erneley      

...     172 

Setting  Dog,  A            

...  T.  Gooch             

...    209 

Setting  to          

...  Samuel  Aiken 

■■•      33 

Shakespeare      

...  A.  Cooper,  R.A 

...     117 

"  Shakespeare,"  a  lumter       

...   W.  Barraud          

•■•      54 

"  Shakespeare,"  a  stallion 

...  A.  Cooper,  R.A 

...     125 

Shamrock          

...   E.  Bristowe          

...      80 

Sharpe,  G. ,  portrait  of           

...  R.  B.  Davis          

...     149 

Shealing,  The 

...  A.  Cooper,  R.A 

...     123 

Shearers  and  Sportsman        

...  A.  Cooper,  R.A 

...     120 

Sheep 

...  Geo.  Garrard,  A.R.A.    .. 

...     187 

Sheep,  from  Nature     

...  J.  Barenger           

35.  38 

Sheep  Shearing            

..  Geo.  Garrard,  A.R.A.    .. 

...     1S9 

Sheep  Shearing  at  Aston  Clinton 

...  Geo.  Garraid,  A.R.A.    .. 

...     186 

Shetland  Pony 

...   IL  B.  Chalon       

...      88 

She-Goat,  Fvx  and  Ivid 

...   A.  Cooper,  R.A.  .. 

...     121 

Shift  of  the  Scene        

...  IL  Aiken 

...      14 

Shoeing  Forge 

...  E.  Bristowe         

79 

Shooters  Going  Out 

...  A.  Cooper,  R.A 

...     120 

Shooters  on  the  Hills 

...  A.  Cooper,  R.A 

120 

Shooters  on  the  Moors 

...  A.  Cooper,  R.A 

119 

Shooter's  Return,  The            

...  A.  Cooper,  K.A — 

119 

Shooting  Horse,  with  Pointers,  A    ... 

...  T.  Gooch             

...     209 

Shooting  on  the  Moors           

...  A.  Cooper,  R.A 

...     126 

Shooting  Party 

...  A.  Cooper,  R.A 

...     117 

246 


INDEX 


Shooting  Pony...  A.  Cooper,  U.A.,  182S, 

Shooting  Pony,  Gamekeeper  and  Dogs 
Shorthoin  Bull... 
"  Shot,"  a  pointer 

"  Shoveller,"  The        

"  Signal,"  a  high  bred  Arabian         

Silent  Sorrow   ... 

Silver  Fir.s         

Simia  Jacchus  ... 

"Sir  David" 

"  Sir  Malagizi,"  a  racehorse  ...         

"  Sir  Peter  Teazle"     ... 

Sir  Roger  de  Coverley,  &c.    ... 

"  Sir  Rowland "  ...         ...         

Sir  Trevisan  flying  from  Despair         

Sketch,  A  

Sketch  from  a  Hunting  Picture         

Sketch  from  Nature     ... 

Sketch  in  Clay... 

Sketch  of  a  Lion  and  Lionesses 

Skewbald  Mare  and  Foal 

Skirmish 

Skull  of  a  Bear...         

Skull  of  a  Lion 

.Skye  Terrier  and  Whelp 

Skye  Terriers   ... 

Slave  Dealer,  The        ...  

Sleepy  Travellers 

"  SI igo,"  a  racehorse  ... 

Smith,  L.,  portrait  of... 

Smith  shoeing  horse    ... 

"  Smoker,"  a  dog 

Smugglers  on  the  Northumberland  Coast    ... 

Snared  Hare     ... 

Snipe  Shooting  

Snipe  Shooting  

Snipe  Shooting  

Snob's  Figure,  with   his   "  Short  cut  Coat " 
Snow  Piece,  A... 

"  .Snowball,"  a  greyhound      

"  So  far,  so  good  "      

"  Soho,  my  Man  !  '     ... 
"  Soldier,"  a  horse 
•Solitary  Snipe  ... 
Soul  Encaged,  The 
South  American  Mule... 
South  Devon  Ram 
.Sow  and  Pigs  ... 

Spaniel 

Spaniel 

Spaniel PL  B. 

.Spaniel  .. 

.Spaniel  and  dead  game 

Spaniel  and  Woodcock 


PAGE 

1829,  1833,  'S53,  I8G4...II7,  119,  120 

IL  B.  Chalon       

,.         89 

J.  Barenger 

..         38 

A.  Cooper,  R.A. ... 

..       113 

A.  Cooper,  R.A. ... 

..       125 

J.  Barenger 

••      39 

A.  Cooper,  R.A..., 

..     120 

J.  E.  Ferneley 

..     165 

Geo.  Garrard,  A. R.A.    ... 

..     186 

H.  B.  Chalon       

85,88 

H.  B.  Ch.alon       

..      89 

S.  Gilpin,  R.A.    ...            196,  3 

01,  203 

R.  B.  Davis          

•  ■     149 

A.  Cooper,  R.A. ... 

..     119 

A.  Cooper,  R.A 

..     109 

R.  B.  Davis          

..     149 

G.  Garrard,  A.  K.A. 

..     186 

B.  Blake    

64,67 

G.  Garrard,  A.R.A. 

..     187 

S.  Gilpin,  R.A 

..     202 

Geo.  Garrard,  A.R.A.    ... 

..     186 

A.  Cooper,  R.A 

..     117 

PL  B.  Chalon       

88 

H.  B.  Chalon       

..      88 

A.  Cooper,  R.A 

..     125 

W.  B.irraud          

■■      54 

A.  Cooper,  R.A.... 

..     119 

A.  Cooper,  R.A 

121 

J.  Barenger           

..      36 

J.  E.  Ferneley      

..     172 

E.  Bristowe          

..      80 

A.  Cooper,  R.A. ... 

17,  124 

A.  Cooper,  R.A 

..     119 

S.  Elmer,  A.R.A. 

•     15s 

H.  Aiken 

■■         25 

A.  Cooper,  R.A.... 

20,  122 

R.B.Davis          

..     142 

PI.  Aiken 

II 

Geo.  Garrard,  A.R.A.    ... 

..     186 

PL  B.  Chalon       

..      88 

A.  Cooper,  R.A 

•     123 

A.  Cooper,  R.A. ... 

..     117 

G.  Garrard,  A.R.A. 

..     181 

A.  Cooper,  R.A. ... 

122 

Luke  Clenntll 

95 

R.  B.  Davis          

••     149 

Geo.  Garrard,  A.R.A.    ... 

..     187 

H.  B.  Chalon       

go 

H,  B.  Chalon,  1S03,  1805 

..      88 

H.  B.  Chalon,  1818,  1819 

..      89 

Chalon,  1822,  1830,  1838,  1839 

..      90 

A.  Cooper,  R.A 

..     117 

.\.  D.  Cooper       

27,  12S 

A.  Cooper,  R.A 

..     119 

INDEX 


Spaniels  and  WoodcDcks 

Spaniel  of  King  Charles'  Breed 

Spaniels 

Spaniels 

Spaniels 

Spaniels 

Spaniels  flushing  a  woodcock 

Spanish  Bark   ... 

Sparrow  from  Nature  ... 

"  Spice,"  a  terrier 

Sporting  Anecdotes     ... 

Sporting  Bishop,  The   Cleiical   \' 

or  the  hounds  at  Fault    ... 
Sporting  Scraps  and  the  M.iil  Cha: 
Sportsman  and  Gamekeeper  . . . 
Sportsman's  Bothy,  The 
Sportsman's  Picnic,  The 
Sportsman's  .Siesta,  The 
Sportsmen  in  a  Wood... 
Sportsmen  in  the  Highlands  ... 
Sportsmen  Refreshing 
Sportsmen  Refreshing 
Sportsmen  with  dead  game,  &c. 
Sportsmen  with  Spaniels 
"Spot,"  Italian  greyhound    ... 
"  Spring  Tail,"  a  hunter 
"Squib" 

Squirrels  

Stable-yard       

Stable-yard 

Stable-yard       

Stag       

Stag  and  Hind ... 

Stag  at  Bay       ...         

Stag-hound 
Stag-hound 

Stag  hunt  at  Epping 

Stag  hunting 

Stag's  head       ...         

"Stag  must  die!   The" 
Stag  soiling 

Stallion,  A        

Stallion,  A 

"  Staring  Tom  " 

Start,  The         

Start,  The         

Start  for  the  St.  Leger  in  1S51 
Startling  Intelligence  ... 
"  Stately,"  a  hound     ... 
Statue  of  an  Infant 
"  Stavely  " 

Steady 

"  Stedniore,"  a  blood  horse    ... 
Stevenson,  W.,  bust  of 


S.  Elmer,  A.R.A. 

II.  B.  Chalon       

II.  B.  Chalon       

...  A.  Cooper,  R..\.,  1S18  ... 
...  A.  Cooper,  R.A.,  1S19  .  . 
..    T.  Gooch... 

II.  B.  Chalon       

II.  B.  Chalon        

...  J.  Barenger 

A.  Cooper,  K.A 

II.  Aiken 

itwhalloo, 

H.  Aiken 

ngc         ...   II.  Aiken 

...   E.  Bristowe 

A.  Cooper,  K.A 

A.  Cooper,  R.  A 

...  A.  Cooper,  R..\ 

H.  .\lken 

...   .\.  Cooper,  K..\.  ... 

.S.  Aiken 

...   E.  Bristowe 

S.  Elmer,  A.R.A. 

...  J.  Barenger 

H.  B.  Chalon       

...  J.  Barenger 

...  .\.  Cooper,  R.  A. ... 

...   Luke  Clennell 

II.  Barraud  

K.  B.  Davis  

George  Garrard,  A.R.A.,  1797,  1IJ25, 

A.  Cooper,  R. A 

...  A.  Cooper,  R.A — 
...  Samuel  Aiken 

S.  Gilpin,  R.A 

...  Thomas  Gooch    ... 

...  A.  Cooper,  R.A 

Samuel  Aiken      

A.  Cooper,  R.A 

...  A.  Cooper,  R.A 

...  John  Ferneley 

II.  Aiken 

Thomas  Gooch     

...  Thomas  Gooch     ... 

II.  Aiken 

...   T.  Boultbee 

"H.  Aiken 

A.  Cooper,  R.A 

A.  Cooper,  R.A 

G.  Garrard,  A.R.A. 

...  A.  Cooper,  R.A — 

...  A.  Cooper,  R.A 

M.  B.  Chalon       

G.  Garrard,  A.R.A. 


247 

PAGE 

...  158 

...  90 

...  87 

...  116 

.  121 

...  209 

...  88 

...  90 

...  38 

...  iiS 
12,  25 

12 

...  25 

...  78 

...  118 

...  122 

...  123 

...  23 

...  118 

•••  33 

..  78 

...  157 

...  36 

...  90 

...  38 

...  121 

...  100 

...  59 

...  14S 
1S7,  189 

...  113 

...  120 

••  33 

...  203 

...  209 

...  120 

...  31 

...  120 

...  122 

.-.  I7S 

...  26 

...  209 

...  209 
9 

...  72 
...19.24 

...  119 

...  121 

...  187 

...  118 

...  124 

...  89 

...  187 


h8 


INDEX 


Still  life  

Stirring  Cup,  The 

"  Stormy  Petrel "         

"  Streamer,"  red  greyhouml 

Strong  Point,  A  

Struggle  for  a  Start,  A  

Studio,  The      

Study,  A  

Study  of  Equestrian  Study  of  I  lis  Majesty, 

&c 

Study  from  Nature      

Study  of  an  Ass  

Study  of  Cattle  

Study  of  Dead  Jay      

Study  of  Dead  King-fisher 

Study  of  Deer 

Study  of  Dogs  and  Cat 

Study  of  Fo.\hound 

Study  of  Horses  

Summer  

Sunset  View  of  the  Limeworks  at  Purllect  ... 

Sure  Find,  A  ... 

"  Surplice,"  winner  of  the  Derby,  1S4S 

.Sussex  Carp 

.Susse-\  Cow 

Suttler's  Booth,  The 

Sutton,  Sir  Richard     

"  Swap,"  a  hunter       ...         

"  Swinley,"  Hanoverian  stag... 

Swine  and  Donkeys    ... 

Syke  Terrier     ... 

Symptoms  of    Distress  with  the    Cocktail 

Floored 


PAGE 

A.  Cooper,  R.A 

A.  Cooper,  R.A. ... 
A.  Cooper,  R.A.... 

121,   125 
...       I20 
...       122 

II.  B.  Chalon 

...86,91 

A.  Cooper,  R.A 

...       123 

H.  Aiken 

17 

A.  Cooper,  R.A 

A.  Cooper,  R.A.... 

109,  124 
...       119 

G.  Garrard,  A.R.A. 

...     iSS 

A.  Cooper,  R.A.,  1S19,  lb 
W.  Barraud           

21. ..116,  121 

••■      54 

F.  Barlow 

...      45 

A.  Cooper,  R.A 

A.  Cooper,  R.A.  ... 
F.  Barlow 

...     u6 
...     ii5 

44 

F.  Batlow 

...      45 

II.  Aiken 

...      25 

F.  Barlow  .. . 

...      44 

E.  Bristowe 

...      80 

Geo.  Garrard,  A.R.A.    ... 

...     189 

H.  Aiken 

...19,24 

A.  Cooper,  R.A. ... 
A.  Cooper,  R.A.,.. 
Geo.  Garrard,  A.R.A.     ... 

...     119 
...     122 
...     186 

A.  Cooper,  R.A 

J.  E.  Ferneley      

A.  Cooper,  R.A 

R.  B.  Davis         

...     120 
...     172 
...     117 
...     150 

F.  Barlow 

44 

H.  B.  Chalon       

...       90 

II.  Aiken 

9 

Tablet  for  a  Chimney-piece    ... 

...   G.  Garrard,  A.R.A. 

...     1S7 

Taking  it  Cleverly       

...   H.  Aiken 

...       26 

Taking  the  lead  in  spite  of  all 

...   H.  Aiken 

...       26 

Taking  the  Stag           

...   R.  B.  D.avis,  1845,  1S46.. 

150,  149 

"Tally  IIo!" 

...   H.  Aiken 

26,  27 

"  Tally  Ho  and  Away  !  "       ... 

...  H.  Aiken 

II 

"Tam  O'Shanter"     

...  A.  Cooper,  R.A 

...     119 

"Tarn  O'Shanter"     

...  J.  Barenger           

•••       39 

Tandem 

...  H.  Aiken 

...       25 

"  Tar,"  a  retriever       

...  A.  Cooper,  R.A.  ... 

120,  123 

"Tartar"         

...  W.  Barraud          

...       54 

Teal       

...  A.  Cooper,  R.A 

...     124 

Teal       

...  Stephen  Elmer,  A.R.A... 

...     158 

Ten  Virgins,  The 

...   H.  Barraud           

...       58 

Terne,  Henry,  portrait  of 

...  W.  Shepard          

...       41 

Terrier,  A         

...  W.  Barraud           

■••       54 

Terrier,  A         

"ii. 

B.  Chalon,  1S18,  1824,  1832,  1 

846 

...89,90 

INDEX 


249 


I'AGE 

Terrier,  A        

A.  Cooper,  R.A.,  1S32,  Ii>34... 

125,  117 

Terrier  and  Fox           

.  Stephen  Ehncr,  A.R.A.... 

...     155 

Terrier  and  Tame  BaJger 

.  H.  B.  Chalon       

...      Sg 

Terrier  worrying  a  Fox          

S.  Gilpin,  R.A 

...     200 

Terriers  at  a  Rabbit  Hole      

.  H.  B.  Chalon       

90 

Terrier's  Head,  A 

.  A.  Cooper,  R.A 

06,  116 

"  Terror"  (Passions  of  the  Horse) 

H.B.  Chalon       

84,  90 

"That  will  shut   out  Atany  and   make   tlit 

Thing  select"       

H.  Aiken 

..      26 

"The  Baron  he  loves  his  own  good  Steed' 

'  A.  Cooper,  R.A 

..     120 

The  Field  becomes  Select      

H.  Aiken 

9 

The  Kill  wins 

H.  Aiken 

24 

"Theon"         

J.  E.  Ferneley      

••     "74 

Theory  of  Gravitation             

H.  Barraud           

..       58 

"  There's  a  Ring  at  the  Bell  "           

A.  Cooper,  R.A 

..     124 

"These  came  Hopping"        

H.  Aiken  

17 

Thomas  Oldaker,  huntsman  ...         

.\.  Cooper,  K.A 

121 

Thorough-bred    Spaniel    of    King    Charles 

Breed         ' 

H.  B.  Chalon       

..      90 

Three  dead  Bird  Pieces          ...         

Stephen  Elmer,  A.  R.A... 

■  •     157 

Three  Graces 

A.  Cooper,  K.A 

..     124 

Three  Horses 

A.  Cooper,  R.A 

..     117 

Three  Horses  and  Foxhounds           

PI.  B.  Chalon       

..      Sg 

Tiger,  A            

Geo.  Garrard,  A. R.A.    ... 

..     187 

Tiger  Shooting            

H.  Aiken 

26 

Tigers 

S.  Gilpin,  A.R.A. 

..    203 

Tilbury  Fort 

LukeClennell      

101 

"  Time  to  get  up,  Zur  !  "        

H.  .\lken 

..      26 

"  Tiney,"  a  greyhound            

W.  Barraud          

52.  54 

Tired  Camel,  The 

A.  Cooper,  R.A 

..     120 

Tired  Hunter,  The      

A.  Copper,  R.A 

..     119 

To  an  old  tune            

A.  Cooper,  R.A 

..     123 

"  Tobias,"  pony          ...         

li.  B.  Chalon       

..      90 

Tod-hunter,  The         ...         

A.  Cooper,  R.A 

..     123 

"Tom"           

A.  Cooper,  R.A 

..     116 

Tom  Grant,  a  huntsman 

R.  B.  Davis          I 

41,  149 

Tom  Jones        

A.  Cooper,  R..\ 

..     u8 

"  Tom  Thumb  and  Jackie" 

A.  Cooper,  R.A... 

,.     118 

"  Tommy  Binks"        

H.  B.  Chalon       

91 

"  Topsy,  Wasp,  Sailor  and  Master  Turvy".. 

.v.  n.  Cooper       

..     128 

"  Topthorn,"  a  hunter            

J.  Barenger 

■•       39 

"Tony"           

H.  B.  Chalon      

..      90 

"  Towing-horse  "        

A.  Cooper,  R..\ 

..     117 

Travellers  attacked  by  Wolves 

K.  B.  Davis          

■•     149 

Trees  and  Horses         

S.  Gilpin,  R.A 

202 

Trespassers       

R.  B.  Davis          

■     149 

"  Triumph,"  portrait  of  a  dog           

W.  Barraud          47 

,  51.  54 

"  Trojan,"  foxhound 

S.  Elmer,  A.R..\.            ...         I 

55.  158 

"  Trouncer,"  foxhound           

A.  Cooper,  R.j\ I 

17,  122 

Trout 

A.  Cooper,  R.A 

..     124 

Trout     

S.Elmer,  A.R.A. ,1774,  I779-' 

57,  158 

"  Truffle,"  a  bay  horse            

A.  Cooper,  R..\. 

121 

"  Trumpeter,"  The      

A.  Cooper,  R.A 

..     118 

Trysting  Place            

W.  Barraud          

•■      S4 

250 


INDEX 


"  Turk,"  a  retriever    ... 

Turkeys 

Turnpike  Gate  ... 

Turner,  J.,  on  "  MMquis"     ... 

Turner,  Miss    ...         

"  Turpin,"  blind  dog  ... 
"  Turquoise,"  a  mare  ... 

"  Twiliglit  and  Wyandotte  " 

Two  Cats 
Two  Chargers  ... 
Two  Dogs 
Two  Dogs 

Two  Famous  Hunters  and  Harriers 

Two  Favourite  Phaeton  Ponies         

Two  Favourite  Spaniels  of  Lord  Methuen  ... 

Two  Flower  Pieces 

Two  Fruit  Pieces 

Two  Greyhounds 

Two  Horses 

Two  Horses 

Two  Horses      

Two  Horses  in  a  Curricle 

Two  Hunters    ... 

Two  Mares  and  Two  Skye  Terriers  ... 

Two  of  Her  Majesty's  Stale  Horses,  &c.     ... 

Two    Old    Campaigners,     "  Marengo    and 

Copenhagen"       

Two  Phaeton  Ponies  ... 

Two  Pieces  :  Small  Birds       ...         

Two  Ponies      

Two  Prize  Hereford  Oxen 
Two  Spaniels   ... 
Two  Spaniels   ... 

Two  Tame  Leverets 

Two  to  One      


PAGE 

J.  Barenger           

39 

F.  Barlow 

41 

A.  Cooper,  R.A.... 

116 

W.  Barraud          

54 

A.  Cooper,  R.A. ... 

117 

H.  B.  Chalon       

90 

R.  B.  Davis         

150 

W.  Barraud           

55 

H.  B.  Chalon       

90 

H.B.  Chalon       

88 

H.  B.  Chalon       

89 

A.  Cooper,  R.A 

118 

H.  B.  Chalon       

89 

H.  B.  Chalon       

89 

W.  Barraud 

54 

S.  Elmer,  A. R.A. 

157 

S.  Elmer,  A. R.A. 

157 

H.  B.  Chalon       

89 

A.  Cooper,  R.A 

117, 

118 

Geo.  Garrard,  A. R.A.    ... 

177. 

186 

T.  Gooch,  17S3,  1786    .. 

208, 

209 

T.  Gooch             

209 

H.  B.  Chalon,  itioi,  1824 

'.'.'.Si 

1,  90 

A.  Cooper,  R.A 

118 

H.  B.  Chalon       

'si 

!,  90 

A.  Cooper,  R.A 

119 

H.  B.  Chalon       

89 

S.  Elmer,  A.  R.A. 

157 

H.  B.  Chalon       

89 

Geo.  Garrard,  A.K.A.    ... 

187 

H.  B.  Chalon,  1815,  1S26 

.■.■.'89,90 

A.  Cooper,  R.A.,  1S15,  1830. 

..116, 

.117 

J.  Barenger           

39 

H.  Aiken 

25 

Under  Weigh A.  Cooper,  R.A. 

Unkennelers,  The       H.  Aiken  ... 

Unkennelling S.amuel  Aiken 

Unlicensed  Hawker,  An         A.  Cooper,  R.A. 

Up  the  Pass      A.  Cooper,  R.A. 

Used  to  it  and  not  used  to  it  H.  Aiken  ... 

"  Uxbridge,"  Her  Majesty's  saddle  horse   ...  H.  Barraud 


123 
27 

33 

119 

123 

26 

57 


"  Van  Dyke,"  portrait  of 
Vandyke,  a  racehorse ... 

"Vanity"         

Vedette,  The 


R.  B.  Davis 

148 

H.B.  Chalon 

85 

H.  B.  Chalon       ... 

86,91 

A.  Cooper,  R.A.... 

119,123 

INDEX 


251 


PAGE 

"Velocipede" 

David  Dalhy        

•■•      135 

"  Velocipede  and  the  Cur"    ... 

J.  E.  Ferneley      

...      167 

"  Vicare,"  a  hunter      

H.  B.  Chalon       

...       89 

"  VictL'ry,"  a  pointer 

A.  Cooper,  R.A 

...       122 

Victory  and  Fame,  model  of  ... 

George  Garrard,  .\.  R.A. 

...       1S8 

View  at  Great  Durnford,  Wiltshire 

B.  Blake 

...61,67 

View  from  the  East    End    of  the 

Brewery, 

Chiswell  Street    

...  George  Garrard,  A. R.A. 

...     iSo 

View  in  Bedwell  TarU,  Herts 

G.  Garrard,  A.R. A. 

...     1S7 

View  in  Brewhouse  Vard 

...    G.  Garrard,  A.R.A.,  1784,  17S9    .. 

.  177,  186 

View  in  Grounds  in  Craven  Lodge 

G.  Garr.ard,  A.R.A. 

...     1S8 

View  in  Highlands  of  Scotland 

G.  Garrard,  A.R. .A. 

...     187 

View  in  Ostcrley  Park 

G.  (Garrard,  A.R..\. 

...     189 

View  in  .Sandwell  Parl< 

G.  Garrard,  A.R.A. 

...     189 

View  in  Tring  Park     

G.  Garrard,  A.R.A. 

...     1S6 

View  near  Aniesliury  ... 

B.  Blake 

...64,67 

View  of  Alnwick  Castle 

G.  Garrard,  A. R.A. 

...     18S 

View  of  Burghley  House 

G.  Garrard,  A.R.A. 

...     187 

View  of  Farnham  Castle 

Stephen  Elmer,  .A.R.A.... 

...     158 

View  of  Gentleman's  Seat  in  Hettfjrdshire...  G.  Garrard,  A.R.  A. 

...     186 

View  of  Hamilton  Place 

G.  Garrard,  A.R.A. 

178,  186 

View  of  Inverary,  in  Argyllshire 

G.  Garrard,  A.R.A. 

178,  186 

\'iew  of  Lake  Windermere     ... 

...  G.  Barrett,  R.A.,  and  S.  Gil|nn,  R 

A.       198 

View  of  Windsor  Castle 

K.  B.  Davis          

...     148 

View  of  Woolmer  Park,  Herts 

G.  Garrard,  A.R.A. 

...     187 

Vignette            

...A.  Cooper,  K.A.,  1824  1830,  1831  . 

.  122,  124 

Vignette            

R.  B.  Davis         

...     ISO 

"  Vignette,  Languish" 

A.  Cooper,  R.A 

...     123 

"  Vingt-un  and  Jlajor  " 

A.  Cooper,  R.A 

...     119 

"  Violante,"  a  race-horse 

H.  B.  Chalon       

...      84 

"Vive-Ie-Roi  !"          

A.  Cooper,  R.A 

...     119 

Vixen 

H.  B.  Chalon       

...      90 

Vi.xen  and  Cubs,  A     ... 

G,  Garrard,  A.R.A.        ..^ 

...     183 

w 


"  Wag,"  1S09,  a  dog  of  King  Charles 

Breed 

H.  B.  Chalon      

...      91 

Waiting  for  a  shot  at  Roedcer 

J.  E.  Fernelev     

...     167 

Waiting  for  a  turn 

R.  B.  Davis  '      

...     £49 

Waiting  for  the  Ferry ...         

W.  Barraud          

...       54 

Waiting  for  the  Laird 

W.  and  H.  Barraud 

50.59 

Waldegrave  Family,  The       

].  Best       

...      60 

"W.aniba"       

A.  Cooper,  R.A 

...     117 

Wandering  Boy            

H.  B.  thalon       

-  ,  90 

"  Wanton,"  a  greyhound        

H.  H.arraud           

56,58 

Wapiti  deer       

A.  Cooper,  R.A 

116,  121 

Wapiti  deer       ...         

Geo.  Garrard,  A.R.A.    .. 

...     188 

War  Horse,  The          ...         

S.  Giljnn,  R.A.    ... 

...    200 

Warde,  J.,  on  his  favourite  horse   " 

Blue" 

Ruin"        

W.  Barraud          

48,  55 

"  '  Ware'  Horse  !  " 

H.  Aiken 

...      25 

Waring,  Thomas         

A.  Cooper,  R.A 

III,  118 

"Warrior"      

J.  Barenger           

...      38 

252 


INDEX 


Water-fowl  Shooting  ... 

Waterloo 

Wayside  WclcoiiK",  A... 

"  We  praise  Thee,  O  God  ! "  Three  Choristers 

Well  up  with  hounds  in  a  wall  country 

Wellesley  Arabian,  The 

Wellington  at  Waterloo 

Wellington's  First  Great  Victory 

West  Australian  

West,  B.,  portrait  of 

Wharf  near  London  Bridge,  A 

What  became  of  the  Mail  ? 

"What  Sport?"  

"  What  the  Devil  !"  &c 

Where  they  ran  into  him 

"  Which  way  now?"  ... 

Whipcord 

Whipper-in,  The 

"  Whisker,"  a  bay -horse 

"  Whisker  and  Minuet  "        

"Whisky"       

Whissendine  Scene,  The 

Whitbread,  .S. ,  bust  of  ...         ...         G. 

"White  Legs,"  a  celebrated  liunter... 

White  Poodle 

"  Whohoop  !"  ...         ...         

"  Who's  up  for  the  Rescue  !  " 

Wildcat  

Wild  Ducks     

Wild  Fowl  Shooting   ...         

Wild  Huntsman,  The... 
Wild  Huntsman,  The... 
Wiltshire  Coursing  Prize  Pictuie,  The 

Wiltshire,  W.,  bust  of 

"Winchelsea" ...         

Winged  Bird,  A  

Winner  of  the  Brush,  The 

Winning  Post  at  Billesden  Coplow,  The     ... 

Winter  Farmyard  Scene 

With  bright  faces  and  merry  hearts  ... 

''  With  what  sum  will  you  open  the  Biddings 

for  her?"  ... 
"  Within  Range  " 
Woburn  Sheep  Shearing 
Women's  Mission 
Women's  Race  at  a  Village  Fair 
Woodcock  Shooting    ... 
Woodcock  .Shooting    ... 
Woodcock  Shooting    ... 
Woodcock  Shooting    ...         ...       A.  Cooper, 

Woodcock  Shooting    ... 

Woodcocks 

Woodcocks 

Woodcocks       Stephen  Ehiicr,  A. 


PAGR 

R.  B.  Davis         

..       142 

H.  Alkeu 

..         26 

A.  Cooper            

..       124 

n.  Barraud           

57 

H.  Aiken 

..       26 

J.  Barenger          

39 

A.  Cooper,  R.A 

..     iiS 

A.  Cooper,  R. A 

..     119 

A.  Cooper,  R.A 

..     119 

Geo.  Garrard,  A. R.A.    ... 

..     187 

Geo.  Garrard,  A. R.A.    ...         I 

79.  187 

H.  Aiken 

..      24 

A.  Cooper,  R.A 

••     123 

H.  Aiken 

..       26 

H.  Aiken 

24 

A.  Cooper,  R.A 

..     123 

S.  Gilpin,  R.A 

..    203 

A.  Cooper,  R.A 

..     122 

A.  Cooper,  R.A 

..     121 

A.  Cooper,  R.A. ... 

..     116 

Geo.  Garrard,  A.R.A.    ... 

..     187 

H.  Aiken 

12 

Gariard,  A.RA.,  1804,  1S16...1 

87,  188 

David  Dalby        

■     133 

George  Stubbs,  R.A. 

82 

H.  .\lken 

14 

R.  B.Davis          

••     150 

H.  B.  Chalon       

••      91 

S.  Elmer,  A.R.A. 

..     158 

A.  Cooper,  R.A.,  1S30,  1831... 

117,124 

A.  Cooper,  R.A 

..     123 

R.  B.  Davis,  1809,  1S53...        1 

48,  149 

W.  and  H.  Barraud 

50.  52 

G.  Garrard,  A.R.A. 

..     18S 

W.  Barraud 

52.  54 

A.  Cooper,  R.A 

..     124 

H.  Aiken 

..      26 

H.  Aiken 

9 

G.  Garrard,  A. R.A. 

..     186 

H.  Aiken 

..       29 

A.  Cooper,  R.A 

..     119 

A.  Cooper,  R.A.  ... 

122 

G.  Garrard,  A.R.A. 

..     184 

A.  Cooper,  R.A.  ... 

120 

H.  Aiken 

•       23 

H.  Aiken  

■•       27 

S.  Aiken 

•       32 

].  Barrenger 

..       36 

,"R.A.,  1824,  1832,  1859.. .122, 

17,  120 

R.  B.  Davis          

..     142 

T.  Barenger 

■       39 

"H.  B.  Chalun       

90 

R.A.,  I77S.  >779,  I7i>-1.  17S6...1 

57.  158 

Woodhouse,     at      Great      Duiiiford 

Sailslmry  ... 
Woodperker,  Jay,  &c.... 
Worley,  Mr.      ..'. 
Wounded  Greek,  The... 
\Vounded  Mallard 
Wounded  Pheasant     ... 
Wounded  Snipe,  The  ... 
"  Wouvermans,"  a  horse 
Wrynone  Joe,  The  Drayman 


INDEX 

253 

PAGE 

near 

...  B.  Blake 

...        67 

...  Stephen  Elmer,  A. K. A.. 

...      IS7 

...  A.  Cooper,  R.A 

...       119 

...  A.  Cooper,  R.A 

...       119 

...  A.  Cooper,  R.A 

...       124 

...  Stephen  Elmer,  A.R.A.. 

...       155 

...  A.  Cooper,  R.A 

...       125 

...  A.  Cooper,  R..\ 

117,122 

...  H.  B.  Chalon 

...      88 

Yarmouth  Cart,  with  views  of  Yarmouth 

"Yoicks!"       

"  Yoicks  1  Gone  Away  "        

Young,  A.,  bust  of      

Young  nobleman  and  his  sister  on  horseback 
portr.nit  of  a 


G.  Garrard,  A.  R.A. 

H.  Aiken 

R.  B.  Davis 

G.  Garrard,  A.R..-\. 

Thomas  Gooch     ... 


186 

25 

150 
187 

208 


Zebu,  The 

Zebu,  Bull  and  Cow 


...  G.  Garrard,  A.R.A. 
...  A.  Cooper,  R.A. 


.87 
116 


"THE   SPORTING    MAGAZINE"  AND   ITS  ILLUS- 
TRATED CONTEMPORARIES. 

The  very  frequent  mention  of  old  sporting  publications  in  the 
preceding  pages  seems  to  render  desirable  some  little  account 
of  these  and  their  relation  one  to  another. 

The  history  of  the  four  principal  magazines  is  slightly 
involved,  and  thanks  are  due  to  Mr.  Frederick  S.  Banks,  who 
stands  alone  in  his  knowledge  of  these  old  publications,  for 
the  following  outline  of  their  history.  The  Sporting  Magazine, 
born  in  1792,  held  its  own  till  1870,  when  it  ceased  ;  having 
twenty-two  years  previously  absorbed  the  Sporting  Review 
which  at  different  dates  had  absorbed  the  Sportsman  and  New 
Sporting  Magazine.  The  word  "absorbed"  is  not  employed 
in  its  strictly  literal  sense  ;  when  the  Sportsman  was  absorbed 
by  the  Sporting  RevicK'  in  1845  (see  diagram  on  opposite  page), 
publication  of  the  former  continued,  but  its  contents  were 
word  for  word  identical  with  the  contents  of  the  Sporting 
Review.  When  the  New  Sporting  Magazine  was  also  absorbed 
by  the  Sporting  Revietv  in  1846,  publication  of  the  former  was 
continued,  but  its  contents  were  thereafter  word  for  word 
identical  with  the  contents  of  the  Sporting  Review  and  the 
Sportsman.  Finally,  when  the  proprietors  of  the  Sporting 
Magazine  bought  the  Sporting  Review  in  1848,  their  purchase 
included  the  Netc  Sportincj  Magazine  and  the  Sportsman,  and 
thence  forward  four  monthly  magazines  identical  in  contents, 
and  differing  only  in  title,  ran  abreast  of  one  another  till 
1870,  when  they  came  to  a  common  end.  The  diagram 
shows  in  the  simplest  form  the  periods  during  which  each 
magazine  had  an  independent  existence  and  the  dates  at 
which  the  contents  of  each  became  identical  with  those  of  a 
purchasing  rival. 

The  year  i860  had  seen  the  birth  of  Baily's  Magazine  of 
Sports  and  Pastimes  :  the  Sporting  Magazine  group  of  publica- 
tions continued  to  compete  with  this  new  rival  for  ten  years, 
when  as  already  stated  they  came  to  an  end. 

The  Annals  of  Sporting,  which  was  of  small  size,  started  in 
the  year  1823  and  "died"  in  the  following  year  after  three 
volumes  had  been  completed.  The  Sportsman's  Cabinet,  printed 
on  larger  paper  than  any  of  its  contemporaries,  enjoyed  an 
existence  even  shorter;  started  in  1832  it  came  10  an  end  in 
1833,  when  only  two  volumes  had  been  completed.  These 
two  serials  may  be  thus  briefly  dismissed,  their  respective 
careers  having  been  independent. 


The  Sporting 
Magazine. 

Fonnded  1792. 


New  Sporting 
Magazine. 

Founded  1S31. 


Sportsman. 

Founded  1833. 


Sporting 
Bevies. 

Fonnded  1839. 


In  1845  the  Sportsman  was 
immerged  in  the  Sjmrt- 

ing  Review    

In  1846  the  New  Sporting  MagaHm  was  immevged 

in  the  Spmtinq  Bfrim' 

Sim-ling  Magamie  absorbed  the  Sporting  Semew  in  1848. 


The  Sporting 
Magazine. 

Ceased  1S7U. 


Webster  F^.miiv  Ubrary  of  Veterinary  Kledicine 
r,,  "  '        f Veterinary  iVledicine  at 


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