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JOHN A. SEAVERNS

TUFTS UNIVERSITY l-IBRAHIES_^

3 9090 6'l4 534 073

i«4

Webster Family Librany of Veterinary/ Medicine
Cummings School of Veterinary Medicine at
Tuits University

200 Westboro Road ^^

Nortli Grafton, MA 01536

[

ANIMAL PAINTERS

C. Hancock. Piu.xt.

r.n^raied on Wood by F. Bablm^e.

DEER-STALKING

ANIMAL PAINTERS

OF ENGLAND

From the Year 1650.

A brief history of their lives and works

Illustratid with thirty -one specimens of their paintings^ and portraits ;
chiefly from wood engravings by F. Babbage

COMPILED BV

SIR WALTER GILBEY, BART.

Vol. II.

10116011

VINTOX & CO.
9, NEW BRIDGE STREET, LUDGATE CIRCUS, E.C.

I goo

Limiiei'

CONTENTS.

PAGE

HANCOCK, CHARLES i

HENDERSON, COOPER

•• 15

HERRING, JOHN F

HOWITT, SAMUEL

.. 36

LANDSEER, SIR EDWIN, R.A.

•• 47

MARSHALL, BENJAMIN

.. 85

MARSHALL, LAMBERT

•• 97

POLLARD, JAMES

REINAGLE, PHILIP, R.A. ...

.. no

THE SARTORIUS FAMILY ...

.. 124

SARTORIUS, JOHN

.. 125

SARTORIUS, FRANCIS

.. 126

SARTORIUS, JOHN N.

.. 131

SARTORIUS, JOHN F

.. 141

SCOTT, JOHN

.. 148

SEYMOUR, JAMES

.. 164

SPENCER, THOMAS

.. i7«

STOTHARD, THOMAS, R.A....

.. 181

STUBBS, GEORGE, R.A.

.. 192

TILLEMAN, PETER

.. 207

TURNER, F. C

.. 212

TURNER, G. A

.. 224

WARD, JAMES, R.A

• • 225

WOLSTENHOLME, DEAN ...

.. 244

WOLSTENHOLME, DEAN, Jnr.

• • 251

WOOTTON, JOHN

.. 261

ILLUSTRATIONS.

HANCOCK, CHARLES.

Deer-Stalking ... ... ... ... ... lo

HENDERSON, CHARLES COOPER.

Portrait of the Artist ... ... ... i8

HERRING, J. F.

Elis ... 26

Portrait of the Artist ... ... ... 32

HOWITT, SAMUEL.

The Chase ... ... ... ... ... 38

Taking Wild Horses on the Plains of

Moldavia ... ... ... ... ... 42

LANDSEER, SIR EDWIN, R.A.

"Toho! " 54

Brutus 70

MARSHALL, BENJAMIN.

Portrait of the Artist

POLLARD, JAMES.
Fly Fishing

SARTORIUS, JOHN.

Looby at full Stretch

REINAGLE, PHILIP, R.A.

Portrait of Colonel Thornton ... ... ii6

Breaking Cover 120

124

SARTORIUS, FRANCIS.

Mr. Bishop's Celebrated Trotting Mare ... 128

V i i i. Illustrations

PACE

SARTORIUS, JOHN F.

Coursing at Hatfield Park ... 144

SCOTT, JOHN.

Portrait of the Artist ... ... ... 152

Death of the Dove ... ... ... ... 160

SEYMOUR, JAMES.

Brushing into Cover ... 168

Sketch for Hunting Picture ... ... 176

STOTHARD, THOMAS, R.A.

Portrait of the Artist 190

STUBBS, GEORGE, R.A.

Portrait of the Duke of Portland,

Welbeck Abbey 200

TILLEMAN, PETER.

View of a Horse Match over the Long

Course, Newmarket ... ... ... 208

TURNER, F. C.

The Find — "Hark to Rallywood " 218

WARD, JAMES.

Monitor 234

Portrait of the Artist ... .. ... 240

WOLSTENHOLME, DEAN, Senr.

Lord's Wood, Leaden Roding ... ... 248

Portrait of the Artist ... ... ... 250

WOLSTENHOLME, DEAN, Junr.

Burial of Tom Moody 256

Portrait of the Artist ... ... ... 258

WOOTTON, JOHN.

Waiting for the Master ... ... 266

The Chase is Over 270

ANIMAL PAINTERS,

CHARLES HANCOCK.

(Born circa 1795. Died circa 1855.)

CHARLES HANCOCK was born about the
year 1795; the exact date cannot now be
ascertained, nor are there available any particulars
concerning his antecedents, belongings and place of
birth.

The exhibition of a picture at the Royal
Academy in 18 19 gives us our first clue ; that
year discovers Hancock, then a young man of
about 24 years, residing at 55, St. James's Street.
He won this first success with a portrait of " Mr.
J. Hancock," a near relation, no doubt, of his own.
His name does not occur in the Royal Academy
catalogue of the following year ; but at the exhibi-
tion of 1 82 1 we find him represented by "The
Broken Teapot," a title which suggests that his
artistic tastes took first a direction domestic rather

I VOL. U.

2 ANIMAL PAINTERS

than sporting. At this latter date he was residing
at Marlborough, in Wiltshire, and thenceforward
until the year 1830 he would seem to have had no
fixed abode : he dwelt sometimes at Marlborough,
sometimes at Reading, and sometimes at High
Wycombe, his London address being given as
" Messrs. Tattersall's, Grosvenor Place," through
which firm his dwelling-place was always to be
discovered.

Nine or ten years' residence in country localities
where sport, fox-hunting particularly, might be
enjoyed, naturally imbued Hancock with sporting
tastes ; and he has left evidence of his proclivities
in numerous pictures. Between the years 18 19 and
1847 he exhibited at the Royal Academy twenty-
three works ; and though these no doubt include
many of his best efforts, it is noteworthy that the
portraits of racehorses (a class of work which
formed one of his specialities) are not represented
among them. He did not confine his exhibits to
the Royal Academy ; fifty-five paintings from his
easel were shown at the British Institution, and
forty-seven at the Suffolk Street exhibitions ; he
also contributed occasionally to other London
galleries.

Though we find Hancock residing at Marl-
borough in 1 82 1, it was not until 1825 that he
turned his attention to animal subjects and sporting

CHARLES HANCOCK 3

scenes. The first of such to call for notice was his
portrait of the celebrated racehorse Sir Hercules,
bred by, and the property of, Lord Longford, for
whom the picture was painted. This horse, bred in
Ireland in 1826, was sold in 1833 to go to
America. For Lord Berners, Hancock executed
a portrait of his racehorse Recovery, foaled in
1827. Both of these works were engraved by
Richard Parr.

At one period of his career, indeed, it would
seem that Charles Hancock shared with J. H.
Herring the distinction of being the fashionable
painter of winning horses on the turf; between the
years 1835 and 1843 he painted portraits of the
following : —

Mundig, winner of the Derby, 1835, for John
Bowes, Esq. Scott is the jockey in the saddle.
This portrait was engraved in large size, printed in
colours, and published by Rudolph Ackermann, of
Regent Street, in September, 1835. Richard Parr
also engraved a small plate from this portrait.

Queen of Trumps, winner of the Oaks and St.
Leger, 1835, and one of the celebrated winning
mares. This picture was engraved and published
in colours by Rudolph Ackermann : the plate is
a large size, the same as that from the portrait of
Mundig.

Glencoe, bred by the Earl of Jersey in 1831 :

4 ANIMAL PAINTERS

winner of the Royal Cup at Ascot in 1835.
Painted in 1836, and engraved by E. Duncan; size
of plate, 16^ inches by 12 inches; published in
colours by Rudolph Ackermann in 1836.

Bay Middleton, winner of the Two Thousand
and Derby, 1836. Engraved by E. Duncan; size
of plate, 16. J inches by 12 inches; published in
colours by Rudolph Ackermann in 1836.

Don John, bred in 1835 by Lord Chesterfield ;
winner of the St. Leger, 1838. This portrait was
engraved by E. Duncan; size of plate, 162^ by 12
inches, and published in colours by Rudolph Acker-
mann in 1838.

Coronation, bred by Mr. Rawlinson ; winner of
the Derby, 1841. This picture was engraved in
small size by E. Paterson.

Satirist, bred by Lord Westminster ; winner of
the St. Leger, 1841.

Attila, bred by Colonel Hancox ; winner of the
Derby, 1842.

Our Nell, bred by Mr. Dawson ; winner of the
Oaks, 1842.

Blue Bonnet, winner of the St. Leger, 1842.

Cotherstone, bred by John Bowes, Esq. ; winner
of the Two Thousand and Derby, 1843,

Nutwith, bred by Captain Wrather ; winner of
the St. Leger, 1843.

Faugh-a-Ballagh, bred in Ireland, and purchased

CHARLES HANCOCK 5

in 1842 by E. J. Irwin, Esq. ; winner of the St.
Leger and Cesarewitch, 1844.

The portraits of Satirist, Attila, Our Nell, Blue
Bonnet, Cotherstone, Nutwith, and Faugh-a-Ballagh
were all engraved in small size by E. Hacker.

In addition to the works mentioned as having
been engraved, several other prints from his pictures
are in existence.

Hancock's abilities were recognised by the editor
of the New Sporting Magazine before he painted
any of the equine portraits mentioned above. The
first plate from a picture by his brush appears in the
volume for 1833, and among the more noteworthy
paintings reproduced in the Magazine may be
mentioned the following : — In vol. 5, " The Fox,"
painted in 1833 and engraved by Richard Parr. In
vol. 20, Marmion, an Old English bloodhound
belonging to Lord William Beresford ; the plate
engraved by E. Paterson. In vol. 22, " New
Year's Morn," gamekeepers of the olden time going
out on their rounds ; engraved by E. Paterson. In
vol. 29, " How Happy could I be with Either," a
fox watching a couple of rabbits in the distance ;
engraved by J. R. Scott.

Examination of the Sporting Magazine of the
time reveals five engravings from the artist's
paintings. In vol. 87 of December, 1835, for
example, we find the picture " Scotch Terrier

6 ANIMAL PAINTERS

Chasing a Rabbit," which was exhibited at the
Royal Academy in 1832 ; it was very beautifully
engraved by H. Beckwith as "The Warrener's
Enemy." The rabbit, it may be remarked, is a
white one ; the keenness characteristic of the
terrier in close pursuit is admirably portrayed.
Three of the five plates represented foxes under
varying conditions. Hancock never showed to
better advantage than when painting a fox, and
he was evidently fond of drawing wild animals whose
beauty and character afford such infinite possibilities
to the clever artist.

The following are a few of his numerous pictures
which appeal to lovers of horse and hound and of
the gun : —

" Dos-a-dos," sleeping hounds huddled together;
painted in 1833 and exhibited at the Gallery of the
Society of British Artists, Suffolk Street, Pall Mall.
Also a "White Horse chased by Black Spaniels."
These pictures are described by a contemporary
critic as " very clever."

"A Series of Heads of Sporting Dogs," the joint
work of Abraham Cooper, R.A., and Charles
Hancock, were engraved, bound, and published
together in book form (royal folio) by Harding and
King, London, in 1833.

" The Widow " represents a young widow seated
in her late husband's arm-chair with a large hound

CHARLES HANCOCK 7

by her side. This picture was engraved, and
published by Harding and King in 1833.

In 1832 Charles Hancock exhibited two pictures
at the British Institution : one, "The Keeper going
his Rounds," was described as "a very spirited and
talented production ; the eagerness of the terriers
as they watch their master's movements is admir-
ably depicted." Of the other, "A Fox on the
Watch," the critic says, "It has been purchased by
Sir M. W. Ridley, and an old master of hounds
told us he thought it was the best likeness of a fox
he had ever seen," Sir M. White Ridley was
himself Master of the Morpeth Hounds at this time.
The opinion of the old M.F.H. was therefore borne
out in the most practical form possible by Sir M.
W. Ridley's purchase of the picture.

Lord Middleton has in his collection at Birdsall
the following works by Charles Hancock : —

(i) A brown shooting pony in a landscape.
Size 2i|- inches by 33|- inches.

(2) A picture of Henry, sixth Lord Middleton,
with his brother-in-law, Bielby Lawley {afterwards
Lord Wenlock), and Sir Francis Lawley. Lord
Middleton sits on his grey pony " Don " : the
others stand near, evidently discussing which of
them killed the woodcock, held in the hand of one
of the brothers. Two other ponies, a bay and
a grey (the latter afterwards presented to Mrs.

8 ANIMAL PAINTERS

Grimston- Keswick) stand feeding on the other side
of the picture; and a black retriever "Tip" is
near his lordship. Many Clumber spaniels and a
keeper are in the wood beyond. The picture has
suffered much cracking from the use of asphaltum.
Signed, "Charles Hancock, 1833." Size, 64 inches
by 79 inches.

(3) Another smaller picture, said to be the work
of Hancock, but without signature, is a lesser and
different edition of Henry sixth Lord Middleton
and his spaniels. The old lord (painted full figure,
unlike the picture at Escrick, described below),
sits under a tree near a stream in a wooded land-
scape ; a keeper comes towards him through trees
in the distance. A cream-coloured pony and eight
Clumber spaniels are in the foreground ; beside
Lord Middleton lie a dead woodcock, and a black
greyhound.

The picture is a clever one, and is evidently
Hancock's work. Size 36I inches by 46I inches.

In 1834 he painted " Lord Middleton, his
Spaniels and Pony," — the picture referred to in the
description of the work numbered (3) at Birdsall.
Lord Middleton and his brother-in-law. Sir Francis
Lawley, are seated on the spectator's right ; on the
left stands a pony, and a small pack of spaniels
occupy the centre of the canvas, which measures
2 ft. lO^- inches by i ft. 10 inches. This picture

CHARLES HANCOCK 9

is now in the collection of Lord Wenlock at
The Villa, Escrick, York. It was engraved by
W. Giller, and "sold by C. Hancock, at Messrs.
Tattersall's, Grosvenor Place ; Hodgson, Boys and
Graves, Pall Mall ; and Rudolph Ackermann,
Regent Street."

The New Sporting Magazine for June, 1835
(vol. 9), contains the following remarks on the
above work, which was engraved for reproduction
in the pages of that serial :

" It is with feelings of regret that we prefix the word
' late ' to the name of the principal subject in this picture,
who is admirably represented in the bloom of health, seated
beneath an ancient tree in his park, surrounded by his
beautiful red and white spaniels (allowed to be the finest
breed in England) to the number of seven couple, with his
gun, keeper, and shooting pony in the background. Lord
Middleton, as our readers have been informed by the daily
prints, expired at his seat, Wollaton House, Notts, on the
19th ult., in the 75th year of his age. He was one of the
oldest, keenest, and best sportsmen this country ever saw,
following with unabated ardour to the last whatever sport the
revolving year brought round. The painting from which
this engraving is taken was done last year, and we spoke of
it at the time we saw it in Mr. Hancock's studio in terms of
high panegyric. The likeness of his lordship is admirable,
and in looking upon it we cannot but regret that so many
noble spirits depart from us without leaving any such
memento. The picture is highly creditable to the talents of
the very rising artist by whom it was painted ; nor must we
withhold our meed of praise from Mr. Giller for the able
manner in which the plate is executed."

lO ANIMAL PAINTERS

The expression " very rising artist " was never
more happily used, as that year saw the beginning
of Hancock's vogue as a painter of the best race-
horses of the time.

In 1835 the artist painted "Tally-ho!" the
picture of a fox breaking covert. This was
engraved by Beckwith and Duncan, the plate
measuring io| inches by 5 J inches, and was pub-
lished by Rudolph Ackermann.

In 1836 he painted a portrait of "George Baker,
Esq., on his Favourite old Mare." This was
engraved by W. Giller, size of plate 2 1 inches by
18^ inches. It was published by Ackermann.
" Mr. Baker, of Elenore Hall, in the County of
Durham " — vide the New Sporting Magazine — " has
been a gentleman jockey, an owner of racehorses,
a master of foxhounds, a member of Parliament, an
amateur in the fine arts — in short, he is a thorough-
bred British sportsman."

Hancock's services were also in request as an
illustrator of books. The Sportsmans Annual
(royal folio), published in 1836 by A. H. Baily and
Co., of Cornhill, and R. B. King, of Monument
Yard, London, contains plates from pictures by Sir
Edwin Landseer, Abraham Cooper, R.A., and
Charles Hancock. If a man's work may be known,
as we are told the man himself may be known, " by
the company he keeps," nothing is wanting to prove

CHARLES HANCOCK II

the merit of this artist, whose paintings we thus find
with those of the first masters of the day. Hancock
is represented in this boolv by his pictures of a
Foxhound and a Bloodhound, drawn on stone
and engraved by Thomas Fairland.

Sporting, illustrative of British field sports,
edited by Nimrod, also a royal folio, and published
by A. H. Baily and Co., contains plates from
pictures by T. Gainsborough, R.A., Sir Edwin
Landseer, R.A., Abraham Cooper, R.A., J. F.
Lewis and William Barraud. Hancock's five
pictures in this work are " The Warrener," en-
graved by R. Parr; "The Gamekeeper," engraved
by W. A. Scott ; " Rat Hunting," engraved by
T. S. Engleheart ; Thorngrove and Sir Hercules,
two racehorses, engraved by H. Beckwith ; and
" Deer-stalking," engraved by W. Greatbach. The
literary contributors, in criticising the plates in
this book, speak highly of Hancock's skill in
delineating animal life and of his general ability in
grouping his subject pictures.

In 1838 he painted "The Young Falconers," an
engraving from which picture, executed by H.
Beckwith, was reproduced in vol. 9 of The Sports-
man.

The plate from "Deer-stalking" which accom-
panies the present brief account of the artist's work,
shows Hancock's talent for judicious and artistic

12 ANIMAL PAINTERS

grouping. As a painter of animals he possessed
rare abilities : the examples of his work to which
reference has been made indicate the breadth of his
scope, but his greatest successes were undoubtedly
achieved in portraying animals which are connected
with or provide sport.

No record exists to show the exact date of
Charles Hancock's death. His active career as
a painter can be traced from 1819 to 1847, the
period during which he contributed to the Royal
Academy, but there is reason to believe that he
attained the age of sixty, in which case it would
seem that his brush lay idle in his later years.

WORKS OF CHARLES HANCOCK.

PICTURES EXHIBITED IN THE ROYAL ACADEMY

(23 in number).

YEAR

1S19— ilM. /. HANCOCK.

ji.7i—THE BROKEN TEAPOT.

■ii:^^— LANDSCAPE AND CATTLE.

1828— (2) HORSE AND DOGS, the property of the Marquis of A.y\ts,huri— HORSES,

the property of the Marquis of Aylesbury.
1830— HORSES IN A THUNDERSTOR.tr, the property of D. Duncombe, Esq.
1B31-SCOTCH TERRIER CHASING A RABBIT.
1833— CAS H.MERE, the property of P. Dauncey, Esq.
1834— <2) A FOX'S HEAD—CHLOE, the property of Miss Webster.
iZ3i—THE LAST STRUGGLE.

1836— rJFO GENTLEMEN DEER-STALKING IN FALAH FOREST.
1838— (2)/.^ C A' CATON AND BARRA, the property of the Earl of Hillsborough—

BLENHEIM SPANIELS, the property of Captain Watson.
iS^o— ROBERT BURNS.

"And stood with his hand on the plough and his heart with the Muse.

yidg Allan Cunningham's " Life of Burns," vol. i., p. ig.

WORKS OF CHARLES HANCOCK I 3

YEAR

1841— (3) SETTER AND SPANIELS, the property of Captain •^i.ts.oa— THREE
HORSES, the property of Viscount Casl\etes.sii — EQUESTRIAN POR-
TRAITS OF MISS BEVAN AND RICHARD LEE SEVAN, ESQ., by
R. W. Buss and Charles Hancock.

iS^2— THE HOUNDS ARE LATE THIS MORNING.

1843 — ANIMALS, the property of Thomas Hancock, Esq.

1846— (2) THE GREY DAM— COMMON AND SUNDAY AT THEIR EVERY-
DA Y IVORK.

iS^y— SCENE IN THE FORESTER'S HOME.

PLATES IN THE SPORTING MAGAZINE (5 in number).

THE WARRENEWS ENEMY, vol. 87 ; engraved by H. Beckwith.

FOX AND CUBS, vol. 88 ; engraved by H. Beckwith.

COMPLIMENTS OF THE SEASON, a brace of grouse, vol. io3 ; engraved by E.

Hacker.
TM LOOKING A T YOU, vol. io3 ; engraved by John Scott.
THE STALKER'S HOME, vol. 109 ; engraved by E. Hacker.

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

THE FOX, vol. 5, 1833 ; engraved by R. Parr.

MUNDIG, a chestnut colt, winner of the Derby r835, vol. 9, r835 ; engraved by R. Parr.

SIR HERCULES, a celebrated stallion, vol. 10, 1835 ; engraved by Parr.

LORD MIDDLETON, with his spaniels and pony ; engraved by Giller.

GLENCOE, a celebrated stallion, vol. 11, 1836 ; engraved by R. Parr.

RECOVERY, a chestnut horse, vol. 12, 1837 ; engraved by R. Parr.

LION AND LIONESS, vol. 19, 1840 ; engraved by Beckwith.

MARMION, an Old English bloodhound, vol. 20, i84r ; engraved by G. Paterson.

CORONA TION, a winner of the Derby, vol. 21, 1841 ; engraved by G. Paterson—
SA TIRIST, winner of the St. Leger Stakes, 1841, vol. 21 ; engraved by E.
Hacker.

NEiV YEAR'S MORN, gamekeepers of the olden time going out, vol 22, 1842; en-
graved by G. Paterson.

ATTILA, winner of the Derby at Epsom 1842, vol. 23, 1842; engraved by E. Hacker—
OUR NELL, winner of the Oaks 1842, vol. 23'; engraved by Hacker — BLUE
BONNET, winner of the St. Leger 1842, vol. 23 ; engraved by E. Hacker.

COTHERSTONE, winner of the Derby 1843, vol. 25, 1843 ; engraved by E. Hacker —
NUTWITH, winner of the St. Leger 1843, vol. 25, 1843 ; engraved by E. Hacker.

HOW HAPPY COULD I BE WITH EITHER ! a fox, vol. 29, 1845 ; engraved by
J. R. Scott.

PLATES IN THE SPORTING REVIEW {j in number).

REYNARD'S LAST SHIFT, vol. i, 1839 ; engraved by R. Parr.

(3) BLOOMSBURY, winner of the Derby 1839, vol. 2, 1839; engraved by J. W. Cook—
DECEPTION, winner of the Oaks t339, vol. 2, 1839 ; engraved by T. A. Prior—
CHARLES THE TWELFTH, winner of the St. Leger 1839, vol. 2, 1839;
engraved by J. H. Engleheart.

14 ANIMAL PAINTERS

THE LAST LEAP, vol. 3, 1840 ; engraved by Geo. Paterson.

j) LITTLE WONDER, winner of the Derby, 1840, vol. 4, r840 ; engraved by T. A.

Prior— Z^ UiXCELOT AND MAROON, first and second for the St. Lcger 1S40,

vol. 4, 1840 ; engraved by T. A Prior.

PLATE IN THE SPORTSMAN.

THE YOUNG FALCONER, vol. 9, 1838 ; engraved by H. Beckwith.

CHARLES COOPER HENDERSON.

(Born 1803. Died 1877.)

CHARLES COOPER HENDERSON was
born on 14th June, 1803, at the Abbey
House, Chertsey, in Surrey. He was the younger
son of John Henderson by Georgiana Jane, only
child of George Keate, F.R.S., the well-known
man of letters and correspondent of Voltaire. Mr.
John Henderson was himself an amateur artist of
more than ordinary merit, and he engaged the
celebrated painter Samuel Prout to give Charles
and his brothers and sisters instruction in drawing.

From the first Charles Cooper Henderson dis-
played considerable artistic talent ; when still at
school at Brighton, he made, among numerous
drawings, a sketch of a famous character of the
Brighton streets, "The Mouse-trap Man," which
possessed such merit that it was published. From
Brighton Henderson went to Winchester ; and on
leaving, read for the Bar with Basevi the special
pleader, who at the time had another pupil who was
destined to make a name for himself in Connop
Thirlwall, afterwards Bishop of St. David's. Basevi,

1 6 ANIMAL PAINTERS

it may be mentioned, was a brother of George
Basevi, the architect.

Henderson did not practise as a barrister.
Having " eaten his dinners " he set out with his
father on a prolonged tour through France and
Spain. We recognise the fruit of his continental
travels in some of his pictures ; it was thus that he
obtained the knowledge of French horses, their
harness, trappings and accessories of coaching,
which he turned to such good account at a later
date.

In 1829, being then twenty-six years of age, he
married Charlotte, daughter of Charles William By,
cousin of Lieut.-Col. John By, of the Royal En-
gineers. Colonel By is remembered as the con-
structor of the Rideau Canal and the founder of
Ottawa, which city was known after him as Bytown
until 1858, when it was made the capital of the
Dominion. A considerable portion of the land on
which Ottawa stands was Colonel By's property,
and on the death of Mrs. By it went to their
children.

Charles Cooper Henderson's marriage with Miss
By was contracted against the wishes of his
father, who forthwith disinherited him. Being thus
thrown upon his own resources, he ignored the
profession for which he had qualified, preferring
to depend for a livelihood on his brush. For

CHARLES COOPER HENDERSON I 7

some few years he lived at Bracknell in Berkshire,
afterwards taking up his quarters in London at
Lamb's Conduit Street. From the date of his
marriage until 1850 he was chiefly dependent for
his income on the pictures he sold. In the year
mentioned his mother died, and from her he
inherited a fortune which relieved him of the
necessity of earning his own living.

The poverty courted by Charles Cooper Hen-
derson was the gain of later generations. He made
coaching scenes and incidents of the road his
speciality, and to him we owe many truthful pictures
of coaches and road travel in England and France
in the earlier part of the century. Many of his
works were engraved. Among these may be men-
tioned " English Post-boys," " French Postillions,"
and "The Turnpike Gate," which were published
by Rudolph Ackermann in 1834. " Road Scrapings "
was the humorous title of a series of twelve plates
which Henderson himself etched for publication by
Calvert in 1840. These pictures consist of scenes
of coach travelling in England and diligence travel
in France ; they are full of national character and
have all the value of contributions to social histor)\

On only two occasions was Henderson represented
in the Royal Academy exhibitions ; in 1840 he sent
in "The Edinburgh and Glasgow Mails parting
Company," and in 1848 a French road scene, "The

2 VOL. II.

l8 ANIMAL PAINTERS

Diligence of 1830." Several engravings from his
pictures are to be found in the old sporting publica-
tions, and the majority of these are coaching or
kindred subjects. Vol. 151, 1868, of the Sporting
Alagazine contains a plate engraved by E. Hacker,
from "Over the Downs," a pair of post-horses in
a storm. It is a clever drawing and full of the life
and spirit which distinguished Henderson's work ;
the post-boy's horse is fairly frightened, and the
grey off-horse, dragging as a hand-horse will, at his
bridle. The N'etv Sporting Magazine for 1841,
vol. 20, contains an engraving by G. Paterson from
" A Smash in Piccadilly," an incident which fur-
nished Henderson with the subject of a spirited
picture. The horses of the Bristol mail having
started without driver or guard, ran into a coach
standing at the park side, working havoc with their
own vehicle and that with which they collided.
Bailys Magazine for May, 1S92, contains an
engraving by Mr. F. Babbage from Henderson's
" Coaching in the Olden Days."

The artist did not confine his brush entirely to
the portrayal of road incidents. The Sporting
Review, vol. i, for 1839, contains a plate by
Richard Parr from his painting " The Berkeley
Hunt ; " and vol. 2 for the same year, a plate
engraved by T. A. Prior, from " The Earth
Stopper."

CHARLES COOPER HENDERSON

CHARLES COOPER HENDERSON I9

" The Temple of Fancy " was engraved and
published by Fullers ; other pictures particularly
deserving of notice are, " Going to the Fight,"
"Travelling in France," "The Old Six-horse
Diligence."

Mr. George Henderson, of 3, Bloomsbury Place,
possesses three interesting specimens of his father's
later works. One, described in the artist's hand-
writing on the back as " A London Particular," i8
inches by ii^- inches, painted about the year 1873,
is a difficult subject very cleverly treated. It repre-
sents market-gardeners, men and women, making
their way through a dense fog on the road near
Brentford. Two of the figures, carrying large
baskets over their heads and wearing men's coats
and gaiters, might be mistaken for men. This was,
however, the working dress of the women of the
period. Mr. Henderson says, " I often remember
meeting gangs of these people when driving with
my father years ago." A water-colour of " Horses
in a Stable," 8|- inches by 12 inches, shows the
painter's mastery of equine anatomy ; and " Pair of
Horses in a Mail Phaeton," 12 inches by 17 inches
wide, is full of spirit ; a man on horseback rides
by the carriage, but only the pair in harness are
finished, the phaeton, its occupant and the rider
with his horse being sketched in.

It would seem that necessity alone kept Hender-

20 ANIMAL I'AIXTF.KS

son at work in London, for in 1850, on inheriting
his fortune, he went to reside at Lower Halliford on
the Thames and gave up painting for several years.
Many will remember the yellow mail-phaeton in
which he used to drive a well-matched, old-fashioned
pair of roans in the Park during the London season.
In his later years he again took up the palette and
brush, but only as means of amusement and occu-
pation.

Charles Cooper Henderson died on 21st August,
1877 ■ he was buried in the catacombs of Kensal
Green, and a brass tablet to his memory was placed
in the church at Shepperton. By his wife, who
died in 1858, he had seven sons and two daughters ;
his eldest surviving son is Major-General Kennett
Greg Henderson, C. B., who recently commanded
the garrison at Alexandria.

Bailys Magazine for September, 1877, contains
the following appreciative tribute to Henderson's
works : —

" We saw reported in the Times, lately, the death of Charles
Cooper Henderson, the well-known painter of coaching and
road scenes, whose pictures at the late exhibition in Bond
Street were the gems of the collection. His loss is to be
much regretted. It is not too much to say that what Mr.
Apperley's (' Nimrod's ') pen did for the road was equally
well done by Mr. Henderson's brush. For spirit and truth of
detail he was unrivalled, and his pictures now will liave a
double value, and be counted as treasures in every sportsman's
house."

WORKS 01- CHARLES COOPER HENDERSON 2 1

John Henderson, elder brother of the artist, was
the great collector of works of art who bequeathed
the most valuable part of his treasures to the
nation. None of his brother's works found their
way into the national collections ; Mr. John Hen-
derson doubtless, felt that his relatives had the
prior claim.

WORKS OF .CHARLES COOPER HENDERSON.

PICTURES EXHIBITED IN THE ROYAL ACADEMY
(2 in number).

YEAR

1840— r//A EDINBURGH AND CLASGOIV MAILS PARrjNC COMPANY.
!S4S—7'//£ DILIGENCE OF 1830.

PLATE IN THE SPORTING MAGAZINE.

Ol'ER THE DOWNS, i368, vol. 151 ; engraved by E. Hacker.

PLATES IN THE NEIV SPORTING MAGAZINE (s in number).

A SMASH IN PICCADILLY, 1841, vol. 20; engraved by G. Paterson.

A SCENE ON THE ROADSIDE, 1841, vol. 2: ; engraved by H. Guesl.

U)— FRENCH HORSES, 1842, vol. 23 ; engraved by W. B. Scott— .'I SCENE ON THE

GREAT NORTH ROAD, 1842, vol. 23 ; engraved by Perren.
THE ROAD TO COVER, 1843, vol. 23 J engraved by McCabe.

PLATES IN THE SPORTING REVIEW (3 in number).

THE BERKELEY HUNT, 1S39, vol. : ; engraved by R. Parr.

THE EARTH STOPPER, 1839, vol. 2 ; engraved by T. A. Prior.

THE If'AV IVE SHOULD CO, 1840, vol. 4 ; engraved by J. H. Engleheatt.

JOHN F. HERRING.

(Born 1795. Died 1865.)

JOHN F. HERRING was born in Surrey in
^ 1795- He was the son of a London merchant
or tradesman who was born in America and came
of a Dutch family. The artist, therefore, though
British born and essentially British in his tastes,
can hardly be considered a pure Englishman.

Herring's earlier career was somewhat chequered.
At school he was usually to be found with either a
whip or pencil in hand, both of them tools which
indicated his proclivities. His fondness of drawing-
seems to have manifested itself at an early age, but
his genius — for genius it deserves to be called — did
not develope until later. Until about eighteen
years of age he remained at home, where he must
have enjoyed opportunity to acquire proficiency in
handling a four-in-hand, and also have studied
painting. Herring at this age appears to have been
inspired with ambition to "seek his fortune," for
happening one day in the summer of 18 14 to see
"Doncaster" on the door of the Royal Leeds
Union coach which ran between London and

Leeds, he determined to go to Doncaster.

JOHN F. HERRING 23

His movements when he reached the famous
northern racincj centre seem to show that he had
no very definite idea as to the manner in which
he proposed to earn a HveHhood. He saw the
Duke of Hamilton's WilHam win the St. Leger,
and, impressed with the winner of the first race he
had ever seen in his Hfe, endeavoured to paint a
picture of the horse. In this he failed : it can be
imagined the work was a feeble attempt, as he
had yet to learn the anatomy of the horse and to
master subjects necessary for a picture.

His next essay in art was of more modest descrip-
tion. Wandering through the town one day, he
saw in a coach-builder's shop a young man en-
deavouring to paint upon the door of a new coach
an equestrian portrait of the Duke of Wellington,
emblematical of the name of the vehicle — " Com-
mander-in-Chief." The young coach-painter was
trying to follow one of Aiken's sketches, but his
talents were unequal to the task of correctly
drawing a horse, and Herring observing it prof-
fered his services. His aid was accepted, and
he executed the commission so much to the satis-
faction of the young coach-painter that he was
employed to paint its insignia, a white lion and
a reindeer respectively, on the doors of the
" Royal Forester," another coach.

Herring at this juncture would appear to

24 ANIMAL I'AINTERS

have abandoned any intention he may have
cherished of earning his bread by means of his
brush, for he used the introduction to Mr. Wood,
a coach proprietor, which his coach-door painting-
procured him, to apply for the vacant seat on the
box of the Wakefield coach, on the strength of
his amateur experience gained when living at
home with his parents. Mr. Wood, not unnatu-
rally, had his doubts concerning the ability of an
artist to act as coachman, but Herring evidently
possessed the valuable gift of making people believe
in him, for it was arranged that he should be
Lriven a trial. He was allowed to drive the
"Highflyer" a day's journey on the London and
York road, and his employment was made con-
tingent on the good opinion of the up and down
coachmen of the day. The fact that the report
of these judges of the road was favourable points
to Herring's previous experience on the box, and
their verdict secured for him the desired seat
on the Wakefield and Lincoln coach " Nelson."
It is evident that whilst in his teens at home he
had been well tutored by some good coachman
who drove the road from his father's country house
into London.

For nearly two years he continued to drive this
coach, afterwards taking his seat on the box of the
Doncaster and Halifax mail, which he drove for a

JOHN V. HERRING 25

short time:. According to the " Druid " {Scoii &
Stbn'gkt), he " had thrown aside the reins in Jack
Spigot's year, and fairly cast in his lot with the
mahl-stick." As Jack Spigot won the St. Leger
in 1 82 1, we may conclude that Herring spent at
least five or six years as coachman. He did not
neglect the brush during this period ; all along the
road he could point to inn sign-boards and coach
panels he had painted, and also to portraits of
horses in inn parlours, the work of his spare hours.
These works of art brought him into notice, and
he became known as the "artist coachman." He
made considerable progress during this time, for
we find that in the year 1818, two years before he
is said to have finally abandoned the box, he ex-
hibited the " Portrait of a Dog " at the Royal
Academy. In the same year he began to con-
tribute to the Loudon Gentleman.

While driving" the Doncaster and Halifax coach
Herring married, and when he gave up " the
ribbons " settled for a time at Doncaster. He
spent eleven years here altogether, and afterwards
betook himself to Fulbourn, near Newmarket,
where he remained for three years. After leaving
Fulbourn he took up his abode in Camberwell to
study under Abraham Cooper, R.A., a circumstance
worth mention as reflecting the character of the
man. Bv this lime he had achieved success as a

26 ANIMAL PAINTERS

painter of horse portraits, but, conscious that he
had something to learn which he could not teach
himself, sought out one of the most able animal
painters of the day, from whom to gain instruc-
tion. He had to some extent studied equine
anatomy in his coaching days, as witness his
drawing of Spartan's fractured leg, which was
reproduced in the volume of the Sporting Maga-
zine for 1 8 19. Spartan was a bay horse belonging
to Lord Derby ; one of the small bones near the
pastern was " completely pulverised," says the
" Druid," by his break-down.

We can trace Herring's career as an artist from
the year 18 18, the date of his first contribution to
the Royal Academy exhibition and the beginning
of his connection with the London Gcntlonan. The
first of his horse portraits to be engraved for
publication in the Sporting Magazine was that of
Sultan, a hunter belonging to the Hon. E. Petre,
which appears in the volume for 1820. His success
was immediate, for examination of the list of his
pictures shows that he became the painter of win-
nine race-horses at Doncaster from that date. He
executed portraits of the following winners of the
St. Leger : — Jack Spigot, 1821; Theodore, 1822;
Barefoot, 1823 ; Jerry, 1824, and Memnon, 1825,
all of which were engraved for reproduction.

These five pictures prove that Herring found

JOHN F. HERRING 27

his artistic abilities in request as soon as he
renounced his seat on the coach- box. He painted
portraits of nearly all the celebrated horses running
on the turf for thirty-three years. A complete
collection of his race horses would form prac-
tically a pictorial history of the English turf during
that period.

We cannot attempt to give a list of Herring's
race-horse portraits, but a few of those represent-
ing the more famous animals may be mentioned :
Touchstone, who started twenty-one times, won
nine races, including the St. Leger, 1834; walked
over for seven and lost five ; Queen of Trumps,
winner of the Oaks and St. Leger, 1835 ; Elis,
winner of numerous races, ending with the St.
Leger, 1836 ; Bay Middleton, winner of the Two
Thousand and Derby, 1836 ; Cyprian, winner
of the Oaks, 1836 ; Phosphorus, winner of the
Derby, 1837 ; Miss Letty, winner of the Oaks,
1837; Don John, winner of the St. Leger, 1838;
Crucifix, winner of the One Thousand, Two
Thousand, and Oaks, 1840 ; Coronation, winner
of the Derby, 1841 ; Ghuznee, winner of the
Oaks, 1841 ; Nutwith, winner of the St. Leger
1843 ; Orlando, winner of the Derby, 1844 ;
Faugh-a-Ballagh, winner of the Two Thousand
and Cesarewitch, 1844; Merry Monarch, winner
of the Derby, 1845 ; The Baron, winner of the St.

28 ANIMAL I'AINTERS

Leger and Cesarewitch, 1845 ; Pyrrhus ist, winner
of the Derby, 1846 ; Mendicant, winner of the
One Thousand and Oaks, 1846 ; Sir Tatton
Sykes, winner of the St. Leger and Cesarewitch,
1846. Camarine, whose portrait Herring painted,
was a remarkable mare. Foaled in 1828 she
ran in neither the Derby nor the Oaks of her
year but had a highly successful turf career,
beating among others in 1831, Spaniel, winner
of that year's Derby ; Oxygen, winner of the Oaks
of that year; and in 1832 she beat Rowton,
winner of the St. Leger of 1829.

Smolensko, winner of the Two Thousand and
Derby of 1813, and Comus are said by " Druid"
to have been the first race horses on whose portraits
Herring tried his 'prentice hand. The same writer,
who visited the artist at Meopham Park, near
Tunbridge Wells, in the early sixties, says : "His
great racing pictures were generally got by the aid
of a sketch-book, with ideal horses and jockeys,
which a few strokes from life at the post con-
verted into portraits." The "Druid" was able at
Meopham Park to trace " in a pictured line the
Cotherstone pedigree on both sides till the Whale-
bone and Whisker strains united."

Among his many portraits of hunters those of
Everton, a bay belonging to Mr. J. Maunsell
Richardson ; Sultan, a favourite of the Hon. E.

JOHN F. HERRING 29

Petre, and Pantomime, by Grimaldi, may be men-
tioned as particularly good examples of Herring's
art.

Herring was fond of the Arab, and the horse that
figures most frequently in his pictures (other than
portraits) is the white stallion Imaum, one of the
four first horses sent by the Imaum of Muscat to
Her Majesty. He was presented to the Clerk of
the Royal stables, who sold him at Tattersall's.
Imaum was an invaluable " property horse." When
Herring required a model for the dead horses to be
portrayed in a picture of the Battle of Waterloo,
he sent for a black trainer, named Pedro, from
Batty's Circus, who taught the Arab to lie down.
A few lessons made him so complete a trick horse
that Pedro declared he wanted only youth to beat
out of the field all the accepted favourites of the
circus ring. He was a stout one, too, as we are
told that Herring drove him, with an English horse,
about seventy-five miles in one day from Camber-
well to Stevenage and back, when he was paint-
ing his picture " Steeplechase Cracks " for Lord
Strathmore.

It is worth drawing attention to the fact that, as
in the case of Thomas Gooch, few horse portraits —
and of these only one of a classic winner, namely,
Rockingham shown in 1838 — occur in Herring's
list of twenty-two works sent to the Royal

30 ANIMAL PAINTERS

Academy. Mindful perhaps of the tastes of the
wider public for whom that exhibition caters, he
most frequently sent scenes of country life in
which horses figure as more or less conspicuous
accessories. The Sporting Magazine s Academy
critic remarks of the portrait of Slane, winner
of the Waterloo Shield at Goodwood, shown in
1838, that it "seems to add point to a remark
that has been made, and that not unfrequently,
that Herring's portraits are always in a quiet
position, with the head either one way or the
other; it may be incorrect, but it is certainly borne
out by the two in the exhibition and of many
within memory ; nevertheless it is in the painter's
best style and must be prized as a finished
portrait."

Herring's rural scenes are remarkable for the
wonderful delicacy and finish of the minor details ;
the poultry and other fowls introduced in his
numerous farmyard pictures are always wonder-
fully painted. So much of his attention was
bestowed upon pictures of this class in his later
years that we find a critic complaining that
" Herrinof grows more and more of an as^ri-
culturist," " The Timber Carriage," " Going to
the Fair," " The Frugal Meal," " Members of the
Temperance Society," and "The Ferry " are good
examples of Herring's achievements in this school
of painting.

JOHN F. HERRING 3 I

Rarely has an animal painter been more suc-
cessful than this artist coachman, who first made
a name by painting coach panels and signs for inns.
He received commissions from King George IV.,
William IV. and Her Majesty. The Queen indeed
paid Herring more than ordinary attention ; in his
later years he suffered much from asthma, and
Her Majesty, learning that the malady confined
him to the house, sent down three of her horses
for him to paint. It may have been mere accident,
but it is quite likely that the Sovereign knew the
artist's love of the Arab, and therefore sent three
Easterns to stand for their portraits ; these were
Bagdad, a charger of the late Prince Consort's,
Korsaid, and Said the horse on which the Royal
children had been taught to ride. The portrait
of the last named, painted in an Eastern landscape,
is in the Royal collection at Osborne. For the
Due d'Orleans Herring went over to Paris to paint
portraits of five racehorses.

Portraits of greyhounds, hunting and shooting
pieces, occur among Herring's pictures but, some-
what curiously, works inspired by his early ac-
quaintance with practical coachmanship are few.
We find works of this character wholly wanting
in the long lists of pictures which were reproduced
in the sporting publications of the time. It is by
his portraits of horses, and more especially portraits

32 ANIMAL PAINTERS

of great racehorses, that Herring's name will be held
in remembrance.

Herring passed his later years at Meopham Park
near Tunbridge Wells ; and there he died on 23rd
September, 1865, at the age of seventy years.

The works of this artist fetch high prices when
they come into the market, as witness the following-
instances of sales : —

At Christie's, in 1884, "An English Homestead,"
with a grey horse, painted in 1852, realised 350
guineas. In 1887, a joint work by J. F. Herring
and H. Bright, entitled "The Return from Deer-
Stalking," painted in 1852, realised 530 guineas;
and in 1892, " Market Day at St. Albans," painted
in 1858, realised 265 guineas

WORKS OF J. F. HERRING.

EXHIBITED IN THE ROYAL ACADEMY (22 in number).

YEAR

i^ii— PORTRAIT OF A DOG.

liid—THVRSIS, a favourite hunter, the propertj- of Sir George Sitwell, Bart.

iSio-ia) /.VT£R /OR OF A STABLE — VELOCIPEDE, the property of W.

Armitage, Esq.
\ii,i—(i) ROCKINGHAM, the property of John Theob.-iltl, ^^.—SLANE, the

property of Colonel Peel, and winner of the Waterloo Shield at Goodwood, in 1837.
1840— (2) THE FARM-YARD— GOING TO PLOUGH.
iZk—FA VOURITES.

i%^b— GENERAL SHUBRWS T\VO-Y EAR-OLD COLT BROCARDO.
i863-<2) THE FARM, AUTU.MN— WATERING THE TEAM.
1864— (3) FARM-YARD— HORSES AND POULTRY— HORSES, PIGS &'c.
1865— (2) THE OLD LODGE— HORSES FEEDING.
ii66— WATERING THE TEAM.

i867-(2) THE FARMER'S FRIEND-HORSES FEEDING.
i368— (2) HORSES AND POULTRY— DANGEROUS PLAY

^ :^

J F. HERRING

WORKS OF JOHN F. HERRING 33

IN THE NATIONAL GALLERY OF BRITISH ART.
Vernon Collection.

A SCANTY MEAL, the heads of three horses, two white and one dark brown ; they
are eating hay on which two pigeons rest.

PLATES IN THE SPORTING MAGAZINE (49 in number).

THE FRACTURED LEG OF SPARTAN, a bay horse, the property of Lord Derby.

1819, vol. 53.
SULTAN, a celebrated hunter, the property of the Hon. E. Petre, 1820, vol. 57;

engraved by J. Scott,
MULATTO, a bay horse, foaled in 1823, bred by, and the property of, the Rt. Hon.

Earl FitzwilUam, 1S2S, vol. 72 ; engraved by J. Webb.
MATILDA, a bay mare, foaled in 1824, bred by the Hon. E. Petre, 1829, vol. 73;

engraved by R. Woodman.
FAIR HELEN^z. grey mare, foaled in 1817, bred by, and the property of, the Marquis

of Queensbury, 1831, vol. 77 ", engraved by J. R. Scott.
A FAVOURITE COB, the property of Lieut.-Gen. Sir John Heron Maxwell, Bart., 1831,

vol. 78 ; engraved by H. R. Cook.
QUEEN OF TRUMPS, 1835, vol. 87 ; engraved by J. R. Scott.
(3) DOVER, son of Patron, a bright bay, foaled 1832, and for his extraordinary beauty

and symmetry, bone and substance, was selected for exportation as a stallion to

New South Wales, for the purpose of improving the breed of horses there, 1836, vol.

88; engraved by"^ J. R. Szoit— BAY MIDDLETON, property of the Earl

of Jersey in 1836. 1836, vol. 88; engraved by J. R. ^coW — CYPRIAN, 1836,

vol. 88 ; engraved by J. Engleheart.
(5) ELIS, property of The Earl of Lichfield, 1836, vol. 89 ; engraved by J. R. Scott —

PANTOMIME, a favourite hunter, 1836, vol. 89; engraved by J. R. Scott—

OCTOBER SHOOTING, 1836, vol. 89; engraved by T. S. Engleheart —

CAMARINE, bred by Lord Berners, 1836, vol. 89; engraved by H. Beckwith

— LUCETTA, foaled in 1826. 1837, vol. 89 ; engraved by J. R. Scott.
is) PHOSPHOR US, bred by Lord Berners, 1837, vol. 90; engraved by J. H. Engleheart

—MISS LETTY, winner of the Oaks, 1837, vol. 90 ; engraved by T. S. ¥.Ti^^-

h^ait— TOUCHSTONE, bred by the Marquis of Westminster, 1837, vol. 90;

engraved by T. S. Engleheart — A MOOR SCENE, 1837, vol. 90; engraved by J.

H. Engleheart — HORNSEA, a celebrated racehorse, 1837, vol. 90; engraved

by J. H. EnglehearL
GAZELLE, an Arabian, brought to England by — Sawj'er, Esq., for breeding pur-
poses, 1842, vol. 100 ; engraved by J. H. Engleheart.
(5) PYRRHUS THE FIRST, bred by Mr. John Day in 1843, property of John Gully,

Esq., 1846,, vol. 108: engraved by E. 'ilsiQ\i.&r— MENDICANT, 1846, vol. 108;

engraved by E. Hacker— r/j^^ HIGH-METTLED RACER, 1846, vol. io8 ;

engraved by E. Hacker— 5/j? TATTON SYKES, 1846, vol. 108; engraved by

E. Hacker— r//^ HIGH-METTLED RACER, 1S46, vol. 108, engraved by E.

Hacker.
(4) THE HIGH-METTLED RACER, plate 8, 1S47 vol. log ; engraved by E. Hacker

— THE HIGH-METTLED RACER, plate 9, 1847, vol. 109; engraved by E.

Hacker — THE SWITCHER, property of the Earl of Strathmore, 1847, vol.

109; engraved by E. Hacker— /■//£ HIGH-METTLED RACER, plate lo

1847, vol* 109 ; engraved by E. Hacker.

a VOL. II.

34 ANIMAL PAINTERS

(2) THE HIGH-METTLED RACER, plate 11, 1847, vol. no; engraved by E. Hacker

— THE HIGH-METTLED RACER, plate 12, 1847, vol. no; engraved by
E. Hacker.

(3) THE STEEPLECHASE, plate i, 1848, vol. in; engraved by E. Hacker—

ALARM, 1848, vol. Ill ; engraved by E. Hacker — THE STEEPLE-
CHASE, plate 2, 1848, vol. 3 ; engraved by E. Hacker.

(2) THE STEEPLE-CHASE, plate 3, 1848, vol. 112 ; engraved by E. H^keY—THE
STEEPLE-CHASE, plate 4, 1848, vol. 112 ; engraved by E. Hacker.

(2) THE STEEPLECHASE, plate s, 1849, vol. 113; engraved by E. Hacker— r/Zj?
STEEPLE-CHASE, plate 6, 1849, vol. 113; engraved by E. Hacker.

THE PASSIONS OF THE HORSE, plate i, 1853, voL 121 ; engraved by E. Hacker.

THE PASSIONS OF THE HORSE, plate 2, 1853, vol. 122 ; engraved by E. Hacker.

THE PASSIONS OF THE HORSE, plate 3, 1854, vol. 123 ; engraved by E. Hacker.

THE PASSIONS OF THE HORSE, plate 4, 1854, vol. 124 ; engraved by E. Hacker.

(2) NOT EXACTLY, 1855, vol. 125; engraved by E. Hacker— r//£ PASSIONS OF
THE HORSE, plate 5, 1855, vol. 125, engraved by E. Hacker.

THE PASSIONS OF THE HORSE, plate 6, 1855, vol. 126 ; engraved by E. Hacker.

" DONE HANDSOME," 1856, vol. 127 ; engraved by E. Hacker.

"HAS BEEN RIDDEN WITH HOUNDS" (after a fashion), 1857, vol. 129;
engraved by E. Hacker.

THE WARREN HILL, 1859, vol. 133; engraved by E. Hacker.

PLATES IN THE NEW SPORTING MAGAZINE (14 in

number).

(2) ORLANDO, vol. 27 ; engraved by HxkeT—FA L/GH-A-BALLAGH, 1844, vol. 27;
engraved by E. Hacker.

(4) LEVITV. the property of J. C. Cockerill, Esq., and her foal, QUEEN ELIZA-

BETH, the latter being one of the last of the stock of Mr. Theobald's celebrated
camel, purchased by Lord Dorchester, vol. 28 ; engraved by E. Hacker —
HETMAN PLATOFF, a bay horse, bred by John Bowes, Esq., in 1836.
1845, vol. zS ; engraved by J. Scott — EMMA, a chestnut mare, property of
John Bowes, Esq., 1845, vol. 28; engraved by E. Hacker— .-I.ff/.S7'/Z)£'i', a bay
horse, bred and owned by the Earl of Eglinton, 1845, vol. 28 ; engraved by E.
Hacker.

(2) THE MERRY MONARCH, winner of the Derby, 1845. 1845, vol. 29, engraved
by E. Hacker — THE BARON, a dark chestnut horse, 1845, vol. 29 ; engraved by
E. Hacker.

(6) THE HIGH-METTLED RACER, plate i, THE FOAL, 1846, vol. 30; engraved by
E. B.^ket—SlVEET.'ilEAT, property of Arthur W. Hill, Esq., 1846, vol. 30;
engraved by E. Hacker— r//j5: HIGH-METTLED RACER, plate 11, BREAK-
ING, 1846, vol. 30 ; engraved byE. Hacker— 7'//£' HIGH-METTLED RACER,
plate 3, THE SIVEA T, 1846, vol. 30 ; engraved by E. Hacker— 7"//£ HIGH-
METTLED RACER, plate 4, THE START, 1846, vol. 30; engraved byE.
Hacker — THE HIGH-METTLED RACER, plate 5, THE RACE, 1846,
vol. 30 ; engraved by E. Hacker.

PLATES IN THE SPORTING REVIEW {ii in number).

DON JOHN, 1839, vol. I ; engraved by J. R. Scott.

CRUCIFIX, a mare bred by Lord Chesterfield in 1837. 1840, vol. 4; engraved by T.
R. Prior.

WORKS OF JOHN F. HERRING 35

(a) CORONA TION, bred and owned by Mr. Rawlinson, 1841, vol. 6 ; engraved by E.

Hacker— CNl/ZN£-E, a filly, bred by the Marquis of Westminster, r84i, vol.

6 ; engraved by E. Hacker.
(3) THE FIND, 1842, vol. 7 ; engraved by H. B. MM— THE FINISH, 1842, vol. 7 ;

engraved by H. B. HM-THE WATERING PLACE, 1842, vol. 7; engraved

by H. B. Hall.
NUTU'ITH, 1843, vol. 10 ; engraved by E. Hacker.
(3) TOUCHSTONE, property of the Marquis of Westminster, 1844, vol. 11 ; engraved

by E. Kackcr—GIBSIDE F'AIRi', property of John Bowes, Esq., r844, vol.

II ; engraved by E. UacVtr—FILHO DA PUTA, winner of the St. Leger.

1815. 1844, vol. II ; engraved by E. Hacker.

PLATES IN THE ANNALS OF SPORTING (19 in number).

(2) JACK SPIGOT, 1822, vol. i: engraved by Sutherland— /YX/ZO DA PUTA, 1S22,

vol. 1 ; engraved by Sutherland.
THEODORE, 1822, vol. 2 ; engraved by J. Webb.

MAGISTRA TE, bred by Major Bower, 1S23, vol. 3 ; engraved by Sutherland.
BLACKLOCK, a celebrated racehorse, 1823, vol. 4 ; engraved by Sutherland.
BAREFOOT, 1824, vol. 5 ; engraved by H. R. Cook.
JERRY, property of, and bred by, R. G. Gascoigne, Esq., 1S24, vol. 6; engraved by W.

R. Smith.

(2) WANTON, THEODORE, AND MA V-DA V, running for the Gold Tureen at Leeds,

June 24th, 1824. 1825, vol. 7 ; engraved by Smith — FLY,z. celebrated geryhound,
1824, vol. 7 ; engraved by Scott.
{■2) FIGARO, property of A. Farquharson, Esq., 1825, vol. 8; engraved by Scott —
MEMNON, 1825, vol. 8 ; engraved by Scott.

(3) WHISKER, a bay horse, bred by the Duke of Grafton, 1826, vol. 9 ; engraved by

Scoit—FIGHTING HORSES, 1826, vol. g; engraved by ?>co\.t— LOTTERY
(first called Tinker), bred by R. Watt, Esq. 1826, vol. g ; engraved by Scott.

MANDANE, a good brood mare, 1826, vol. 10 ; engraved by P. Roberts.

BEDLAMITE, bred by Lord Kennedy, 1827, vol. 11 ; engraved by Scott.

(2) FLEUR-DE-LIS, a bay filly, bred by Sir M. W. Ridley, 1827, vol. 12 ; engraved by
Westley — SAM, a celebrated pointer, 1S27, vol. 12, engraved by T. Landseer.

MAMELUKE, winner of the Derby, 1827. 1828, vol. 13 ; engraved by J. Westley.

SAMUEL HOWITT.

(Born 1750. Died 1824.)

OAMUEL HOWITT, bom in the year 1750,
^ was the scion of a Nottinghamshire Quaker
family of independent means and good social posi-
tion. The artist was one of the multitudinous
grandchildren of Thomas Howitt and his wife
Elizabeth Gosforth. Mary Strong, the mother
of the latter, was a lady who was held in great
respect in her circle.

Samuel Howitt took up his residence at Chigwell,
near Epping Forest, where, if we may judge by his
subsequent work, the study of natural history and
pursuit of field sports chiefly occupied him. At this
time, it would seem, he enjoyed a competence that
rendered it unnecessary for him to work for his live-
lihood, and dabbled in art only as an amusement.
Before long, however, he lost his fortune and found
himself obliged to turn his talents to practical
account ; he was either in immediate need, or being
entirely self-taught, lacked confidence in his own
ability, for instead of attempting independent work
as an artist, he came to London and took a situation

SAMUEL HOWITT 37

as drawing-master in Dr. Goodenough's Academy
at Ealing.

We have no means of ascertaining how long he
continued to hold this position. The next discover-
able point in his career is the exhibition of three
coloured drawings entitled " Hunting Subjects," at
the gallery of the Society of British Artists in the
year 1783, when he was thirty -three years of age.
The Royal Academy catalogue of the following
year, when he sent his first picture — a " Hunting
Piece" — to that exhibition, gives his address there
as 8, Coventry Street, Haymarket. We may fairly
conclude, therefore, that in 1784, if not in the pre-
vious year, Howitt had "found his feet" as an
artist, and had severed his connection with the
school at Ealing.

In 1785, Howitt, then resident at Richmond in
Yorkshire, sent two landscape pictures to the Royal
Academy Exhibition, and eight years later, in 1793,
we find him again in London at 4, Old Compton
Street, Soho, and once more an exhibitor. His
pictures in that year's exhibition were " Jacques and
the Deer," and "A Fox Hunt." From the Old
Compton Street address, in 1794, he sent in his
picture of " Smugglers Alarmed."

Howitt painted much in water colour, and some
of his best work was done in this medium. Four
water-colour drawings of " Fox Hunting," dated

38 ANIMAL PAINTERS

1 798, deserve mention both as works of art and as
accurate presentments of the sport of the period :
these are entitled respectively " Putting Hounds in
Cover," "Away," "Full Cry," and "The Death."
The collection at South Kensington includes six
representative examples of Howitt's water-colour
drawings : " In Full Cry," and " River with
Anglers," we have him as the sportsman ; in "A
Council of Animals " and " Lion and Lioness," the
naturalist ; in " Netley Abbey," the landscape
painter ; and in the " Country Horse Fair," the
painter of rural scenes. It will be observed from
the list of eno-ravinos which follows that Howitt
excelled also as an engraver and etcher, executing
the plates from many of his own pictures.

Amonsf the best-known books for which the
artist did plates must be mentioned the famous
Thotights on Hunting, by Peter Beckford, an
illustrated edition of which was published in 1 798,
by D. Bremner, London. This contained six
engravings illustrative of Hare Hunting, five of
Fox Hunting, and others.

" British Sportsmen " was the title of a work by
the artist ; it contained seventy-two plates and was
published by S. Gosnell in 1800. A second edition
of this work containing seventy plates was published
in 181 2 by Edward Orme.

In the year 1800, after an interval of six years,

SAMUEL HOWITT 39

Howitt again exhibited at tlie Royal Academy,
sending in two pictures, each described as " Deer."
He was now living at 40, Charing Cross. His con-
tributions were altogether few and fitful ; after the
year 1800, his name is missing from the catalogues
for thirteen years ; in 18 14, his address being then
given as Bullock's Museum, Piccadilly, he sent in a
painting of "Dead Game"; and in the following
year was exhibited his last Royal Academy picture,
a work entitled " Bella, Horrida Bella."

It may have been that Howitt's knowledge of
sport, and acquaintance with the habits of animals
wild and domestic brought him so much work as an
illustrator and engraver that he could spare little
time for the execution of pictures for exhibition.
From the beginning of his artistic career until he
died he was a most diligent workman ; the number
of pictures, almost exclusively sporting scenes and
natural history subjects, which he left behind him,
sufficiently prove his industry ; the number of his
engravings and etchings, too, must be remembered
in estimating his output. A free and animated style
characterises his drawings and engravings ; many
of his works show distinct similarity of touch to
those of his brother-in-law Thomas Rowlandson, the
famous caricaturist and designer. It may well be
that Rowlandson's style influenced that of the man
who married his sister, and with whom in con-
sequence, he was for long closely associated.

40 ANIMAL PAINTERS

Sporting Anecdotes, published in 1804, contains
some plates by Samuel Howitt. Captain Thomas
Williamson's Oi'iental Field Sports in two volumes,
for long the standard work on the subject, was
illustrated with sixty plates by Howitt. This book
was published in 1808, and contains "a complete
description of the wild sports of the East, exhibiting
the natural history of the elephant, tiger, &c."
Hewitt's drawings were made from Captain
Williamson's own designs, made during his twenty
years' residence in Bengal.

A New Work of Animals, which was issued in
parts, commencing January, 1 809, by Edward Orme,
contained one hundred etchings from drawings
taken from life. The plan of the book is set out in
the following advertisement, which occurs between
title page and frontispiece : —

The publisher respectfully informs the admirers of Mr.
Hewitt's performances, the lovers of natural history and the
public at large, that this work is intended to form a most
unique collection of animals which, strange as it may appear,
has never before been done by any British artist. Mr. Howitt
has preferred representing most of the animals in fables, as
allowing more scope for delineating the expression, the
character and the passions ; it also affords an opportunity
to give a portraiture of many different species of quadrupeds
and birds. The artist, studious to attain correctness, hopes
he may deserve the approbation of the natural historian, and
assist the pencil of the designer who has not had an oppor-
tunity to pay the same attention to this branch of the art.

SAMUEL HOWITT 4 1

Copies of A New Work of Animals with the
plates coloured by hand were also published.

Foreign Field Sports, by T. Heaviside Clark,
which was published in 1814, contained 1 10
coloured plates, including a supplement representing
the sports of New South Wales, many of which
were executed by Howitt.

British Preserves, published in 1823, by Sher-
wood, Gilbert and Piper, of London, contained
forty-three plates from Howitt's drawings of wild
animals and birds.

Many of his pictures were engraved after his
death. In the Aimals of Sporting for the years
1826, 1827, and 1828, we find three plates, "Phea-
sants Basking," " Partridges " and " Bloodhounds,"
engraved from Howitt's works.

The volumes of the New Sporting Magazine for
1832, 1837, and 1840, contain plates "from his
pictures, "Owls," "Leopard seizing an Antelope,"
and " Elk pursued by Wolves." The Sporting
Review of 1843 contains "Deer in Windsor
Forest."

There are many examples of his works in the
Print Room of the British Museum. The National
Dictionary of Biography states that Mrs. Samuel
Hastings, great granddaughter of the artist, pos-
sesses a large number of his works.

As examples of Samuel Howitt's skill in animal

42 ANIMAL PAINTERS

drawing and of his sporting works we reproduce
two pictures. " Taking Wild Horses on the Plains
of Moldavia " appeared in the Sportmg Magazine of
1 80 1, in illustration of an article on the subject of
catching the horse, which run, or then ran wild on
the plains of Moldavia, Wallachia and new Servia.
This work was etched for reproduction by Howitt
himself. " The Chase " (p. 38) was suggested by a
passage from William Somerville's famous poem :

Then to the copse,

Thick with entangling grass, or prickly furze,

With silence led thy many-colour'd hounds,

In all their beauty's pride. See ! how they range

Dispersed ; how busily, this way and that,

They cross, examining, with curious nose,

Each likely haunt. Hark ! on the drag I hear

Their doubtful notes, preluding to a cry

More nobly full, and swell'd with every mouth.

As straggling armies, at the trumpet's voice,

Press to their standard ; hither all repair,

And hurry through the woods with hasty step,

Rustling and full of hope ; now, driven in heaps.

They push, they strive, while from his kennel sneaks

The conscious villain. See ! he skulks along,

Sleek, at the shepherd's cost, and plump, with meals

Purloin'd : so thrive the wicked here below.

Though high his brush he bear, though, tipped with white,

It gaily shine, yet ere the sun, declined.

Recall the shades of night, the pamper'd rogue

Shall rue his fate, reversed ; and at his heels,

Behold the just avenger, swift to seize

His forfeit head, and thirsting for his blood.

Howitt's connection with the Sporting Magazine
began in the year 1793, and continued, with the

5 <
c >

i' <
o

SAMUEL IIOWITT 43

intermission of a period of the five years between
1804 and 1 8 10, until his death. The 157 plates
engraved from his pictures for the Magazine dealt
with a wide variety of subjects ; some possess the
peculiar interest attaching to extinct sports, as that
of " Coursing the Bustard," which appeared in 1799.
"Cherubim Shooting," which appears in vol. 17
for 1 80 1, illustrated a popular anecdote of two
cockneys who, having made a " sporting trip " into
the country, shot an owl in the dusk of the evening.
The large bright eyes, round face and snowy wings
were new to the successful sportsman, who fainted
on the spot, while his companion fled to the inn,
calling on heaven to forgive the unfortunate man
who had unintentionally shot one of the band of
Cherubim.

His knowledge of wild animals, obtained from
imported captive specimens, is shown by the number
of species whose names occur in this list.

Samuel Hovvitt died in 1823, and was buried in
St. Pancras Church-yard on 21st February.

WORKS OF SAMUEL HOWITT.

EXHIBITED IN THE ROY.-\L ACADEMY (lo in number).

YEAR

1784—^ HUNTING PIECE.

178s— (2) VIEIV OF THE RUINS OF AN ABBEY, dedicated to St. Agatha, at
Ayesby, near Richmond, Yorkshire — FAIRLOP OAK, on Hamault Forest, Essex.
J793— (2) JACQUES AND THE DEER, a sketch from Shakspeare— ^ FOX HUNT.
ijg^i—S.'UUCGLEKS ALAR.UED.
1809-K2) DEER— DEER.
lin—DEAD GA.ME.
liii— BELLA, HORRIDA BELLA.

44 ANIMAL PAINTERS

IN THE SOUTH KENSINGTON MUSEUM.

AV FULL C^K— water colour (No. 665).

A COUNCIL OF AN/.1fALS—K^Mco\oax(No. ii)-

L/OJV AND L/ONFSS—ws.tercohmi.'So. 3019). Signed.

A^ETi^K W^fi^F— water colour (No. 11). Signed.

RIVER WITH ANGLERS— iiaxer colour (No. 162). Signed.

COUNTRY HORSE FAIR—viztei colour (No. 509). Signed 1793.

PLATES IN THE SPORTING MAGAZINE (157 in number).

(TV avoid repetition t/wse plates which luere etched by the artist himself are distinguished^

by aste risks\

WOODCOCK SHOOTING, 1753, vol. 3 ; engraved by Cook.

(4) THE SPORTSMANS RETURN, 1796, vol. 8; engraved by J. 5cott— BULL

BAITING, J796, vol. i— TOILING THE BUCK, 1796, vol. Z— HORSE AND
LION, 1796, vol. 8.

(5) FOXES, 1796, vol. g—DEER AND OUNCE, 1796, vol. g—COCK PIT ROVAL

1796, vol. g— SNIPE SHOOTING, 1797, vol. g— ANGLING FOR SALMON

1797, vol. 9.

(4) DEER FIGHTING, ijgj, vol. 10; an etching— WOLF HUNTING, 1797, vol. 10;

an etching- .5.E,i;f HUNTING, 1797, vol. 10; an etching ; HARRIERS, 1797,
vol. 10 ; an etching.

(5) A FOX-HUNTING BREAKFAST, 1797, vol. n; engraved by J. Scott— THE

STAG HOUND, 1797, vol. 11 ; an etching-THE FOX HOUND, 1797, vol. 11
—HORNPIPE LEAFING Ol-'ER PEPPERPOT, HIS RIDER AND THE
FARMER'S SON, AT LINCOLN RACES ON FRIDAY, Sth SEPTEM-
BER, 1797, vol. 11; engraved by J. Scott— CART-HORSES, 1797, vol. 11—
THE CHARGER, 1798, vol. ji— THE PONY, 1798, vol. 11— RACE HORSES,
1797, vol. II.

(6) SPORTSMENS EMULATION, 1798, vol. 12; engraved by J. Scott— CO^IM/O-

DORE TRUNNION, 1798, vol. 12— THE BULL-DOG,* 179S, vol. ii— PUG-
DOG,'' 179S, vol. 1:2— ELEPHANT HUNTING,* 1798, vol. ii-PANTHER
AND ANTELOPE,* 1798, vol. u.

(6) ANTELOPE HUNTING, 1798, vol. 13— LIONESS, 1798, vol. 13— RHINOCEROS
HUNTING, 1798, vol. 13— THE HIPPOPOTAMUS, 1799, vol. 13— BUFFALO
HUNTING, 1799, vol. 13— KAINSI, OR ROCK-LEAPING ANTELOPE,
1799, vol. 13.

(9) SQUIRREL-HUNTING, 1799, vol. 14— HUNTERS, 1799, vol. 14— SWORD
EXERCISE, Cut I, 1799, vol. 14; engraved by J. Scott— BATTLE OF THE
BULL-DOG AND MONKEY, 1799, vol. 14— SWORD EXERCISE, Cut 2,
1799, vol. 14; engraved by J. Scolt— COURSING THE BUSTARD, 1799, vol.
14— Sll ORD EXERCISE, Cut 3, 1799, vol. 14; engraved by J. Scott— RURAL
SPOR TS, MEN R UNNING IN SACKS,* 1799, vol. -^4— SWORD EXERCISE,
Cut 4, 1799, vol. 14 ; engraved by J. Scott.

((,) SWORD EXERCISE, Cut 5, 1799, vol. 15; engraved by J. Scott— CUDGEL
PLA YING,* 1799, vol. IS— SWORD EXERCISE, Cut 6, 1799, vol. is— THE

ASS RACE, 1799, vol. IS— BADGER HUNTING, 1800, vol. 15 CRUEL

PUNISHMENT, 1800, vol. 15.

WORKS OF SAMUEL HOWITT 45

(5) PIKE FISHING," 1800, vol. i6—FATE OF A SHEEP-KILLING POINTER,-

1800, vol. IS— GREYHOUNDS IN PURSUIT* 1800, vol. 16—REVNARD

IN THE PIGSTY,' iSoo, vol. ib— FEMALE RUNNING MATCH,' 1800,
vol. 15.

(6) FOX AND HIS PREY," 1800, vol. ly— BATTLE BETWEEN THE HERONS

AND ROOKS,' 1800, vol. XI— WILD CAT AND SPANIELS," iSoo, vol. 17—
THE HARE IN ITS FORM, 1801, vol. ij— CHERUBIM SHOOTING,'
j8oi, vol. ij-HOG WINNING A RACE AGAINST A MAN' (trained by
being fed at the winning post) 1801, vol. 17.
(6) THE PROLIFIC HARE,* 1801, vol. A— TWO HOGS,* one weighing 75 the other
76 stone, 1801, vol. jS— SKITTLES,* 1801, vol. iS— TAKING WILD HORSES
IN THE PLAINS OF MOLDAVIA,' 1801, vol. li—LION AND BUF-
FALO,' 1801, vol. tZ—THE CA T AND THE RA T,* 1601, vol. i3.

(5) RETURNING FROM THE INTENDED FIGHT, OCTOBER x-zth,* 1801,

vol. 19— "jSV4G," A POINTER,* 1801, vol. ig— COURSING ADVENTURE,"
1802, vol. i^)— EXTRAORDINARY ESCAPE,* iSoj, vol. ig—DEAD GAME,
plate I,* 1S02, vol. 19.

(6) DEAD GAME, plate 11, 1802, vol. zo—DEAD GAME, plate 3,» 1802, vol. za—DEAD

CAME, plate 4,* 1802, vol. -zo—FISH,* 1802, vol. 10— RABBITS AND
TERRIER,* 1S02, vol. la-POINTER AND PARTRIDGE,* 1802, vol. 20—
DEER, 1804, vol. 23.

(3) SPANIEL FLUSHING A WOODCOCK,* 1810, vol. 2,6— SPANIEL STARTING

A HARE,* 1810, vol. 3&-F0.\' UNKENNELED,* 1810, vol. 36.

(4) HARRIERS RUNNING IN VIEW,* i8io, vol. yj— HOUND, BITCH AND

PUPPIES,* 1810, vol. 37— /I BUCK FRAYING,* 1810, vol. yj— SETTER
HOWLING' (Left at Home), 1811, vol. 37.
(s) TERRIER AND RABBIT,* iSn, vol. ^i— GREYHOUND KILLING A HARE,
1811, vol. 38— POINTER AND SETTER,* 1811, vol. ^t— GREYHOUNDS
AND DEAD HARE,* 1811, vol. 38— HOUNDS STARTING A HARE,
1811, vol. 38.

(3) FOX AND WILD DUCK,* iBii, vol. 39-DEA TH OF THE FOX,* 1812, vol. 39

—WATER DOG AND MALLARD,* 1812, vol. 39.

(5) HARE KILLED BY A WEASEL,* 1812, vol. 1,0— GREYHOUND AND

HARE,* 1812, vol. io— GREYHOUND TURNING A HARE,' 1812, vol. 40

—HOUNDS MAKING A CAST,* 1812, vol. ^a— BRINGING UP TAIL

HOUNDS,* 1812, vol. 40.
(j) FLYING LEAP,* 1812, vol. 41—^ DROP LEAP,* 1812, vol. ^i— RISING AT

A LEAP,* 1813, vol. 41.
(s) STOPPING HOUNDS, RUNNING RIOT, OR CHANGING,* 1813, vol. 42—

DEATH OF THE FOX,' 1813, vol. ^1l—F0X AND PHEASANTS,* 1813,

vol. a,^—THE FOX, THE HERON, AND THE EEL,* 1813, vol. 42—

DEATH OF THE HARE,* 1813, vol. 42.
THE SAGACIOUS HARE, 1814, vol. 43; an etching.
OUT-LYING DEER GOING THROUGH A SWING PALE IN A PARK FENCE,*

1814, vol. 44.

(4) BITTERN AND SPANIEL, 1814. vol. 43— TAME DEER PURSUING

CATTLE, :Bi5, vol. 4S-DEAD RUN HARE AND BEAGLES IN A

DITCH,* 1815, vol. is-DEATHOF THE OTTER,* 1815, vol. 45.
(3) DOG AND BADGER,* 1813, vol. 46— FOREST KEEPER SHOOTING A

BUCK,* 181S, vol. 46—DEA TH OF THE FOX, 1815, vol. 46.
(2) MR. CORSELLTS GREYHOUND GOING DOWN DOVER CLIFF, 1815, vol.

4j— TERRIER KILLING A FOX, 1816, vol. 47.

ANIMAL PAINTERS

EAGLE AND DEER,- 1816, vol. 4S.

(3) THE HUMOROUS REVENGE* 1816, vol. ^^—ANGL/NC; plate i,* 1817,

vol. ^g— ANGLING ; plate 2,* 1817, vol. 49.
ANGLING: plate 3,* 1817. vol. 50.
ANGLING; plate 4,* 1817, vol. 51.

(2) FOX AND PARTRIDGES* 1818, vol. si-THE BUCK'S DEATH WOUND

1818, vol. 52.

(4) ELEPHANT AND TIGER* iBiB, vol. ^^— NEWFOUNDLAND DOGS

SAGACITY* 1818, vol. Si— POND NETTERS, 1819, vol. 53— THE WILD
CAT* 1816, vol. 53.

(6) FALLOW DEER, BITING THEIR WAY THROUGH A QUICK FENCE IN

THE SNOW,* 1819, vol. It,— THE CANINE LANDING NET, 1819, vol. 54—
WILD CAT AND MOOR CAME, 1819, vol. 54; an etching— r//£ PEACE-
FUL ANGLER, iSiq, vol. 54 ; engraved by J. Scott-SO^ CONSTRICTOR
AND ANTELOPE,' 1S19, vol. n— SHOOTING PECCARIES,* 1819, vol. 54.

(7) BENGAL PITFALL, 1819, vol. 55 ; an etching— K'/Z/r^ GROUSE, 1819, vol. 55 ;

engraved by Scott— MASTIFF AND LAMB, 1819, vol. 55 ; an etching— i^
MANCHE BRIDGE, 1819, vol. ss— TROUT ANGLERS, 1820, vol.55; en-
graved by Scon— MODE OF DESTROYING THE WOLF IN BENGAL,*
1820, vol. SI— PEREGRINE FALCON AND PHEASANT,* 1820, vol. 55.

(i) SHOOTING A RHINOCEROS, 1820, vol. 56; an etching— .S.'lZ'Gi.ff AND
TERRIERS, 1820, vol. 56 ; an etching.

(4) WOOD GROUSE, 1820, vol. 57; engraved by J. Scott— AMERICAN BEAR AT
BAY,* 1820, vol. SI— PERCH FISHING, 1821, vol. 57; engraved by Scott—
HUNTING CHEETA AND AXIS DEER, 1821, vol. 57; an etching—
AMERICAN WOLVES, 1821, vol. 58 ; an etching.

(3) FATAL ACCIDENT IN HOG HUNTING, 1821, vol. 59; an etching— ANGLING,

PREPARING FOR SPORT, 1822, vol. 59; engraved by J. Scott— MARTIN

AND RABBIT, 1822, vol. 59 ; an etching.
(,2) SHOOTING ANTELOPES IN INDIA, 1822, vol. 60; an etching— /"^y?-

TRIDGES,* 1822, vol. 60.
(2) RED-LEGGED PARTRIDGE,* 1822, vol. 6t— BLACK COCK, 1822, vol. 61; an

etching.
RED GROUSE,* :825, vol. 66.

PLATES IN THE NEU^ SPORThXC MAGAZINE (3 in

number).

OWLS, 1832, vol. 3; engraved by J. Webb.

LEOPARD SEIZING AN ANTELOPE, 1837, vol. 12; engraved by E. Hacker.

ELK PURSUED B)' WOLVES, 1840, vol. ig : engraved by W. B. Scott.

PLATE IN THE SPORTING REVIEW.

DEER IN WINDSOR FOREST, 1843, vol. ro ; engraved by Westley.

PLATES IN THE ANNALS OF SPORTING (3 in number).

PHEASANTS BASKING, 1826, vol. 10; engraved by J. Westley.
PARTRIDGES, 1827, vol. 11 ; engraved by J. Westley.
BLOOD HOUNDS, 1828, vol. 13 ; engraved by Westley.

SIR EDWIN LANDSEER, R.A.

(Born 1802. Died 1873.)

PDWIN HENRY, third and youngest son of
-'-' John Landseer, was born at ^^, Foley Street,
then known as 71, Queen Anne Street East, on
7th March, 1802. The gifts which made him the
most popular animal painter of his own or any
other time were to some extent hereditary, and
were shared by some of his brothers and sisters.
His father attained to eminence in his department
of art, and was engraver to William IV. Thomas
Landseer, A. R.A., the eldest brother, born in 1795,
made a great reputation for himself as an engraver,
and contributed in no small measure to the fame
of Edwin. Charles, the second son, born 1799,
devoted himself to landscape painting, and became
a Royal Academician ; and Jessica, " born accord-
ing to her own statement on 29th January, 18 10"
{Dictionary of National Biography), inherited such
share of artistic talent as enabled her to exhibit
at the Royal Academy (10 pictures), the British
Institution (7), and at Suffolk Street (6). She
also etched two plates from works by her brother

48 ANIMAL PAINTERS

Edwin, — a portrait of Vixen, a Scotch terrier,
and a picture of Lady Louisa Russell feeding a
donkey. With reference to the date of this lady's
birth, it must be observed that acceptance of "her
own statement " involves the assumption that her
first exhibit in the Royal Academy was painted
when she was six years of age. The catalogue
of the exhibition of 1816 contains mention of a
picture, by Jessica Landseer, "The Frugal Meal,"
a number of dogs feeding. She died at Folkestone
in 1880.

The life and works of Sir Edwin Landseer have
received such ample justice at other hands that it
is not proposed to consider them in this series at
the length their importance deserves. The excel-
lent article in vol. xxii. of the Dictionary of
National Biography leaves little to be said, but it
may be of interest to supplement that record with
a few hitherto unpublished details which have come
within the knowledge of the writer and his friends.
Landseer's artistic genius, as is well known, de-
clared itself at a very early age : before he was six
years old he made pencil drawings whose extra-
ordinary precocity were clearly indicative of the
future. A few of these early efforts, forming part of
the Sheepshanks Gift, are preserved in the South
Kensington Museum. In a frame on one of the
screens are nine drawings, eight in pencil and one

SIR EDWIN LANDSEER, R.A. 49

in water-colour, all of which were done before the
young artist was ten years of age.

One drawing" of a foxhound was made when he
was five : that of a bull calf lying on straw bears a
note stating that this was done " when he was
first breeched." The water-colour drawing of a
liver and white pointer — head and shoulders —
bears no inscription unless "lo" in pencil indi-
cates the youthful artist's age. The head of a
horse eating- from a nosebag was drawn when he
was six or seven years old : a bull's head, a donkey's
head, and a sow drowsing- with her well-grown
litter grouped about her, when he was eight. Mar-
vellously clean and firm in line is the parrot on
its perch drawn at the age of nine. A cat's head
drawn at the age of ten completes a collection,
small, but of rare interest. It is difficult to realise
that such sketches as the foxhound, the bull calf
parrot and donkey's head were drawn by a child.

John Landseer held the opinion that an ordinary
course of education, if not harmful to an artist, was
at least unnecessary ; and as Edwin's profession
was plainly indicated at the age of five years, he
suffered little from the books for which he had no
taste. He was encouraged to follow his own bent,
and his early school-rooms were the fields which
then lay between London and Hampstead, and
Exeter 'Change where the famous menagerie pro-
4 VOL. 11.

50 ANIMAL PAINTERS

vided subjects for his pencil. His first known
essay in the art of etching was made upon a draw-
ing of his own, executed in 1809, the " Heads of
a Lion and Tiger." The plate was the joint work
of himself and his brother Thomas ; Edwin under-
taking the lion's head and Thomas that of the
tiger.

Among the more noteworthy of his early works
mention must be made of " The Brown Mastiff,"
painted at the age of ten and sold for 70 guineas
at Sir John Swinburne's sale in 1861 ; another
drawing, that of the head and tail of a very
large and handsome male Persian cat belonging to
Miss Finch of Maiden, in Essex, must have been
made about the same time, as a beautiful engraving
from it appears in the second edition of Daniel's
Rural Sports, which was published in 181 2.

This latter was drawn by the boy when staying
at Beleigh Grange, the residence of Mr. W. H.
Simpson, near Maiden. Edwin Landseer's pleasant
disposition made him numerous friends, and in Mr.
Simpson's house he found a second home : it will
be remarked that the first three pictures exhibited
at the Royal Academy by Edwin Landseer were
portraits of animals belonging to this kind friend
of his boyhood. In 18 15, when thirteen years of
age, he showed the " Portrait of a Mule, the pro-
perty of W. H. Simpson, Esq., of Beleigh Grange,

SIR EDWIN LANDSEER, R.A. 5I

Essex," and " Heads of a pointer bitch and puppy,
the property of W. H. Simpson, Esq., of Beleigh
Grange, Essex": and in 1817 the "Portrait of
Brutus," a rough-haired white bull terrier belong-
ing to the same gentleman.

The first of these three works was described in
the catalogue as the " Portrait of a Mute" and the
critic of the Sporting Magazine remarks that he
sought out the work so entitled with great curiosity
to see how the artist had conveyed the idea of
inability to speak ! He found the picture of a mule
" neatly drawn, well foreshortened and staring us
in the face." No reference is made to the youth
of the painter of the work ; indeed the absence of
remark in contemporary literature invites the sup-
position that until Edwin Landseer reached the age
of twenty-two or twenty-three the singularly early
development of his genius remained unrealised save
by his own friends and in artistic circles.

It was impossible that artists could long continue
unenlightened concerning Edwin Landseer's gifts.
In 1 8 13, when eleven years of age, he won the
Silver Palette of the Society of Arts with drawings
of animals ; and in 18 14, 1815 and 18 16 he took the
I sis medals given by the same body. In 18 16 he
became a student at the Royal Academy Schools :
C. R. Leslie describes him at this time as " a
curly-headed youngster dividing his time between

52 ANIMAL PAINTERS

Polito's wild beasts at Exeter Change and the
Royal Academy Schools." In this connection we
note that the Academy Exhibition of 1815 included
his portrait as " A Cricketer," painted by Master
George Hayter, who ultimately became a celebrated
portrait painter and was knighted in 1842.

Until he joined the schools of the Royal Academy
his studies had been made from nature and, as a
child, from other pictures under his father's guid-
ance. In 1 81 7 he was introduced to Benjamin
Haydon, an artist who stood high in his profession
and who, had he not quarrelled with the Royal
Academy, would have received the highest distinc-
tion that body is able to bestow. Haydon super-
intended Edwin Landseer's work, though the youth
did not become his pupil. It was upon Haydon's
advice that he turned his attention to dissection and
anatomy : in pursuance of his mentor's suggestions
he procured the carcase of a lion which had died
in one of the menageries, and made studies of the
bones and muscular tissues. The care with which
he pursued his investigations becomes evident in
his subsequent drawings of lions. In 1817 his
picture of " A Sleeping Dog," at the exhibition of the
Society of Painters in Oil and Water Colours (now
the Royal Society of Painters in Water Colours),
attracted notice. Between the years 18 16 and
1820 inclusive he sent nine pictures in oils, all
canine studies, to the exhibitions of this Society.

SIR EDWIN LANDSEER, R.A. 53

His first contributions to the galleries of the
British Institution were sent to the exhibition of
18 1 8, in which he was represented by two paintings,
the " Alpine Mastiffs," 5 feet 3 inches by 4 feet 3
inches, upright, and the " Study of a Dog," 1 1 feet
3 inches by i foot 2 inches. The former work,
which showed St. Bernards, as the breed is
alternatively called, reanimating a traveller who
has fallen exhausted in the snow, was engraved
by his father and brother In 182 1 a quarto
entitled " Ttventy Engravings of Lions, Tigers,
Panthers and Leopards," was published. The
plates were executed by Thomas Landseer " from
originals by Rubens, Rembrandt, Reydinger,
Stubbs, Spilsbury, and Edwin Landseer."

It is strange to us to see Edwin Landseer's
name modestly following that of the forgotten
Spilsbury in this brief list: but in 1821, although
he had made his mark in artistic circles, his name
was not yet one with which a publisher might
conjure.

In 1822 the artist, now twenty years of age,
won a prize of ^150 offered by the directors
of the British Institution, with his picture, "The
Larder Invaded," in which figured the portrait of
his own dog Brutus, a son of Mr. Simpson's Brutus
whose picture had been exhibited five years before
in the Royal Academy. In the following year we

54 ANIMAL PAINTERS

find in A^inals of Sporting engravings by Thomas
Landseer from three shooting subjects, " Toho ! " a
brace of setters, " Down Charge," and " Pheasant
Shooting with Springers." The first of these is
here reproduced as an example of his early sporting
pictures.

Landseer's contributions to the sporting publica-
tions of the time were comparatively few ; the
Annals of Sporting contains thirteen plates from
his pictures and the Netv Sporfiyig Magazine only
four ; while the volumes of the Sporting Magazine
do not contain a single engraving from a work
by him. Volume v. of the Annals of Sporting
(1824) contains the engraving by Thomas Land-
seer, from a portrait of Brutus, which is repro-
duced facing page 70 : it may be remarked that
the letter-press which accompanies the plate dwells
entirely upon the merits of the dog, and makes no
reference whatever to the status of his master as
an artist, at a period when he was rapidly making
a name for himself. It was in this year that he
exhibited at the British Institution his picture,
" The Catspaw " (a cat struggling in the clutches
of an ape who uses her paw to pull chestnuts from
the stove), which fairly established the reputation
for humour maintained by so many subsequent
pictures. This work, like others by Landseer, has
been made the basis of political caricature.

I
o

I-

SIR EDWIN LANDSEER, R.A. 55

The appreciation of the artist for Scottish
scenery, sports, and distinctively Scottish animals,
dates from the year 1824, when Landseer accom-
panied Leslie on a journey to the North. We have
memorials of a visit paid to Sir Walter Scott at
Abbotsford in the portraits of the great novelist-
poet and his deer hound, Maida, which figured a
few years later in the pictures "A Scene at Abbots-
ford " and " Sir Walter Scott in Rhymer's Glen."
From this time Scotland cast her spell over him,
as the number of pictures he painted of Highland
scenery and characters, of deer and deer-stalking
incidents, of deer-hounds and Scotch terriers, bear
witness.

In 1826, Landseer, having attained the prescribed
age of twenty-four years, was elected an Associate
of the Royal Academy. "The Hunting of Chevy
Chase " was his sole contribution to the Academy
Exhibition of 1826: this picture is now in the
possession of the Duke of Bedford. His first
important Highland work, " Highlanders returning
from Deer Stalking," was shown in the Exhibition
1827.

It was In the autumn of the year 1829 that
Landseer became acquainted with the Earl of
Tankerville, and laid the foundations of an intimacy
which only terminated with the artist's death.
Lord Tankerville, in an interesting pamphlet, Remi-

56 ANIMAL PAINTERS

m'scences of Life in the Hio^h lands, thus records
the incident of their meeting in Glenfishie Forest : —

We soon ensconced ourselves behind a heathery knoll
within a few yards of our poacher, to watch his proceedings
before we finally pounced upon him. He was a little,
strongly-built man, very like a pocket Hercules, or " Puck "
in the " Midsummer Night's Dream." He was busily em-
ployed gralloching his deer. This he did with great quickness
and dexterity, not omitting to wash the tallow and other
treasures carefully in the burn and deposit them on the stone
beside the deer. He next let the head hang over so as to
display the horns, and then squatting down on a stone
opposite took out of his pocket what I thought would be
his pipe or whisky flask : but it was a sketch book !

Seeing that we had mistaken our man, I came out into
the open and then found myself face to face with my friend
of many years to come — Landseer.

From this time forward Landseer was a con-
stant visitor to Chillingham Castle, where he found
congenial subjects for his brush in the famous wild
white cattle. As soon as he arrived there on his
first visit he devoted himself to the study of the
cattle as keenly as he had done a few weeks before
to that of the deer, " observing them with his
glass for days from some hiding place and noting
minutely their ways and characteristics."

It was decided to kill a bull for his closer in-
spection, and the means adopted to "cutout" the
selected beast from the herd resulted in a serious
mishap. A keeper was posted in ambush to shut
the bull into the lower park when the herd returned

SIR EDWIN LANDSEER, R.A. 57

from feeding there at dawn. The beast charged the
man and tossed him, but fortunately the attack was
witnessed by the park-keeper ; and the deerhound
Bran, under the direction of Lord Tankerville —
then Lord Ossulston — speedily diverted the bull's
attention from the prostrate keeper.

The beast was shot, and with Lord Tankerville
and others (including Bran) concerned formed the
group for the " Dead Bull " which hangs at
Chillingham with two other works, a " Portrait
Group of Wild Cattle " and " Red Deer." It
may be added that the keeper though he sustained
fracture of four ribs and had his chest penetrated
by the bull's horn recovered from his injuries and
lived to the age of eighty years.

A glance at the list of Landseer's Royal
Academy pictures shows that he did not by any
means confine himself to animal painting : portraits
of ladies and gentlemen occur frequently, some-
times with favourite dogs and sometimes in an
atmosphere of sport.

The speed with which the artist worked was
remarkable. " The Sleeping Bloodhound " (3 feet
3 inches by 4 feet i inch, oblong), exhibited at the
British Institution in 1835, was painted, as the
anecdote in the Catalogue of Pictures 271 the National
Gallery tells us, between Monday morning and 2
o'clock on the next Thursday afternoon. The late

58 ANIMAL PAINTERS

Mr. Wells* furnishes the writer with a far more
striking example of skilful speed : Landseer was
paying one of his frequent visits to Holme Wood
in August, 1 83 1, and on Sunday, while the family
was absent at church, he remained at home to
paint a portrait of Trim, a favourite spaniel belong-
ing to Mr. Wells. When the church party returned
they were shown the picture of a dog holding a
rabbit in his mouth : it had been begun and finished
in two hours and a half ! This portrait, measuring
28 inches by 34 inches, Landseer presented to his
host ; it was placed in a panel over the fireplace
in Mr. Wells' smoking room at Holme Wood,
where it remained until the great sale at Christie's
in 1890, when it was sold for 750 guineas. An
engraving from this picture by I. Webb appears in
Vol. 2 of the Nciv Sporting Magazine for 1831,
and the accompanying letterpress — for the most
part a dialogue between two gamekeepers— refers
to "the talented artist," which cannot be considered
extravagant praise !

It was in 183 1 that Landseer was elected a Royal
Academician. He presented as his Diploma work
"The Faithful Hound " ; a deerhound with uplifted
muzzle, howling over the corpse of his master, who,

* Mr. Wells, of Holme Wood, near Peterborough, and
Redleaf, whose famous collection of pictures was sold at
Christie's in 1890; vide Sales of Sir Edwin Landseer's Works,
p. 78, seq.

SIR EDWIN LANDSEER, R.A. 59

in full armour, but bareheaded, lies with his head
pillowed upon the body of his grey horse.

The Earl of Tankerville, one of his most
intimate friends, writes* of Landseer's mode of
painting :

It was most interesting to watch his unerring hand and
eye guiding the brush with faultless precision, from the
broadest to the minutest touches ; for though dashed in with
marvellous rapidity they were never retouched. I frequently
had opportunities afterwards of watching his endless resources
in painting. In subsequent years we always took our autumn
tour in the Highlands together, and the many charms of our
life at Ardverikie, on Loch Laggan, made it one of our most
favourite resorts. It was here that I enjoyed perhaps the
greatest treat of all in seeing his masterly mode of handling
his great paintings, and watching the beginning of those
inimitable frescoes with which he decorated the walls of the
lodge in black and red chalk. The dash and decision with
which his touches were put in was really astonishing ; they
seemed quite at haphazard, but it was the faultless hand of
the master. Those frescoes were merely intended to cover
the naked plaster walls, but they became the still greater
originals of some of his most famous pictures. Two of those
lately sold, viz., " The Stag at Bay," and " None but the
Brave deserve the Fair," have fetched fabulous prices.

Landseer would test his work by asking the opinion of
the uninitiated. He would ask a servant as to the likeness
of a portrait of his master in preference to the wife or sister.
As he was sketching in the fresco of " The Stag at Bay," I
was watching him : he first sketched in with a few strokes
the head and antlers, and turning to me said, " Ossulston,
what is this stag doing ? " " Why standing at bay, of
course." " That will do." So he went on.

Reminiscences of Life in the Highlands.

6o ANIMAL PAINTERS

Lord Tankerville was greatly impressed with
the artist's ingenuity in utilising flaws on the wall
and working them into his picture : —

Every irregularity in the rough surface was given its
significance, and in places where the plaster had holes where
nails had been driven in, he transformed the holes into the
eyes of his deer : the dark shadow of the cavity gave such
transparent depth to the eye, and a mere touch of white upon
some prominent edge of it, brought out such brilliancy as no
pigment could have equalled.

" These priceless frescoes " as Lord Tanker-
ville truly calls them, were unfortunately destroyed
in a fire which occurred at Ardverikie some time
afterwards.

Until well on in the present century artists
always mixed their own colours, the convenient
system of preparing pigments in tubes ready for
use not having been discovered. It is said of
Landseer that he was singularly careless about the
colours he used. When a vendor of pigments
brouoht his wares for trial with the view of sale,
he would straightway try the paint on whatever
picture he had on his easel at the moment, irre-
spective of the fact that he knew absolutely
nothing of the visitor and the quality of his goods.
These reckless experiments sometimes produced
bad ultimate results in the shape of unsightly
cracks and fading tints on his canvasses.

Sporting, by " Nimrod," published in 1S38 by

SIR EDWIN LANDSEER, R.A. 6 1

A. H. Baily & Co., Cornhill, contains four en-
gravings from pictures by Landseer, viz., " Glen
Fishie," painted in 1824 and engraved by
Thomas Landseer ; "The Pug," "The Mourner"
(a bull-dog), both engraved by J. T. Hixon ;
and "Browsing" (the head of a goat), engraved
by C. G. Lewis.

The Royal Academy Exhibition of 1838 included
a picture of " Her Majesty's Favourite Dogs and
Parrot." This work may be said to mark the
beginning of the friendship Landseer was privileged
to enjoy with the Queen. In 1839 he exhibited,
among" other works, a portrait of Princess Mary
of Cambridge with a favourite Newfoundland ; the
dog sits by the Princess holding a bit of biscuit
on his nose and awaits the command to snap it
up. The portrait of Van Amburgh, the famous
lion-tamer, was painted under royal command.
Another portrait of Van Amburgh and his animals,
"as he appeared at the London theatres," was ex-
hibited in 1847, having been painted for the Duke
of Wellington ; this work is in the Apsley House
collection. Other exhibited pictures, painted for
the Queen or by special permission, are " Macaw,
Love Birds, Terrier and Spaniel Puppies," belong-
ing to Her Majesty (1840); "A Pair of Brazilian
Monkeys," the property of Her Majesty, and
"Eos, a Favourite Greyhound of H.R.H. the

62 ANIMAL PAINTERS

Prince Consort" (1842); "Royal Sports on Hill
and Loch " — the Queen, Prince Consort and the
Prince of Wales ; and " Dandie Dinmont, the
Favourite Old Skye Terrier of Her Majesty"
{1854); "Her Majesty at Osborne in 1866"
(1867); and "Queen Victoria meeting the Prince
Consort on his return from Deerstalking," in 1850
(1870). As if to emphasise the intimacy to which
he was admitted at Court, the last picture exhibited
by him at the Royal Academy was an unfinished
sketch of the Queen shown in 1873. the year of
his death.

Among Landseer's most valuable friends were
Mr. Jacob Bell and Mr. Thomas Hyde Hills; so
large a part did these two gentlemen play in the
artist's affairs that their names should in justice
have received earlier mention, Mr. Jacob Bell was
the son of Mr. John Bell, founder of the well-known
firm of chemists in Oxford Street, J. Bell and Co.,
a man of considerable artistic talent, peculiarly
genial disposition and great hospitality. His house,
at the corner of Langham Place and Cavendish
Place, was the haunt of artists, men of letters and
others with whom their host had tastes in common.

When or how Landseer became acquainted with
Mr. Bell cannot now be ascertained, but probably
he was introduced to the house by some brother
artist. However that may be, the acquaintance

SIR EDWIN LANDSEER, R.A. 63

soon ripened into intimacy, and Landseer gradually
acquired the habit of consulting Mr. Bell on matters
of business. "He was always very delicate and
shy," Lord Tankerville writes me, "as to the ques-
tion of money for his pictures, and got very, very
insufificient prices for his earlier works. His friend
Bell took it in hand and got him better prices —
thousands instead of fifties and hundreds." Mr.
Frederick Stephens in his Sir Edivin Landseer
(Great Artists Series, 1880) says that ten guineas
was the sum he was accustomed to receive for a-
picture in 18 18. Mr. Stephens also tells us that
" John Landseer managed his son's affairs, settled
the prices of his pictures, received the money, and
treated Edwin in his twenty-second year as he had
done when he was twelve years old."

Pictures, now the property of the nation, represent
Landseer's gratitude to Mr. Jacob Bell for his ser-
vices. It was this gentleman who took him for
a tour on the Continent in 1840 when his health
failed under distressing circumstances, and it be-
came necessary for him to seek change of scene
for a few months. When, in the year 1859, Mr.
Bell died at the early age of 49, his mantle as
business adviser to Landseer fell upon his friend
and partner Mr. Thomas Hyde Hills. Mr. Hills,
when a boy just out of his apprenticeship, came
as a junior assistant to Mr. John Bell ; his

64 ANIMAL PAINTERS

employer's son, who was about the same age,
took a great liking to him, and when the founder
of the firm died, Mr. Jacob Bell took Mr. Hills
into partnership.

Mr. Walter Hills, nephew and successor of the
latter gentleman, possesses numerous letters written
by Sir Edwin Landseer to his uncle, and many
of these are of interest as showing how com-
pletely the great painter depended on Mr. Hills
to take every difficulty, small or great, as it arose,
off his hands. Thus he writes begging " My

dear Hills" to come and explain to Mr. ,

the art publisher, what he, Landseer, wishes and
does not wish done in respect of a certain plate
which is about to be engraved ; again, to put a
stop to the doings of a firm of photographers who
have taken negatives of a picture and, Landseer
suspects, intend to sell prints contrary to the under-
standing ; again, to implore Mr. Hills' good offices
to " smooth the feathers " of a friend Landseer
thinks he has offended, "so that he may fly back
again ; " and yet again, inviting Mr. Hills to lunch
to talk over " those bank and investment matters."

Some of the letters, written in the 'sixties, betray
depression of spirits, concern about health, and
betray the nervousness which commonly charac-
terises the artistic temperament. More buoyant
and cheery are those penned from some Highland

SIR EDWIN LANDSEER, R.A. 65

shooting lodge or from Chillingham, for Landseer
was a keen sportsman and was happiest on the
heather, though he often paid heavily for his day's
stalkingf. He writes to Mr. Hills from Kinrara
House, Aviemore, on October 7th, 1866 : —

" I returned here last Wednesday, October 3rd, and have
been out every day since in the Forest. Some very good
stags have fallen to my rifle— as yet have only missed one
shot when it was nearly dark ! I have unintentionally
taken too much out of my already weak condition. I can't
keep my hand steady. This is Sunday, and perhaps to-day's
rest may restore me."

He proceeds to describe the wreck of the Duke
of Sutherland's yacht, in which, with other guests,
he had left Dunrobin. Fortunately the weather
remained calm after the vessel ran on the rocks,
and all were taken off in safety ; but Landseer's
nervous system was, he says, somewhat shaken.
In regard to this we must remember that the years
1862-3 had seen a return of the acute mental de-
pression which clouded his reason and unfitted him
for work or society for a long period. It is evident
that in his later years he habitually overtaxed his
strength during the stalking season. He writes to
Mr. Hills on October i6th, 1866—

" Yesterday I was at it (after riding nine miles to the
ground) from 6 o'clock — the hour I was called — till 7 in the
evening, having the same distance to ride home. The whole
day passed in rocky ground, long heather and unceasing rain.
I killed my stag at 150 yards towards the gloaming and have
5 VOL. a.

66 ANIMAL PAINTERS

the bill to pay to-day — tired and very shaky. I have not got
over the great shock sustained by the awful shoot out of the
dogcart downhill — this style of accident." ("Here follows a
rough sketch of a bolting horse, a smashed vehicle and a
figure heels in air labelled, E. L.]

Landseer at this date was sixty-four years of age ;

the fatigue which followed such exertion seems to

have made him realise that he attempted more than

his age warranted. He concludes this letter: —

" Reaction [after exhaustion] may give me boldness. My
Hart is in my art. I long for meditation in my painting-room
and for the quiet and repose necessary to an old gentleman's
revival. Some things make age older, as in youth some
things make youth younger."

Another letter to Mr. Hills shows Landseer as a

taxidermist :

" With regard to the stags' heads, you ought to have
received four harts and two roebucks. I don't want anything
done to either of them till I come, simply to have them pre-
served to prevent the hair coming off. No one can stuff them
but myself. The shilh are left in, bones of neck taken out.
If you can employ your art to keep them in stuffing order till
my return I shall be most grateful."

To say that Landseer owed his financial success
to Messrs. Jacob Bell and Thomas Hyde Hills is to
state the truth in the barest fashion. The demand
for engravings from his works gave an exceptionally
high value to their copyright, and sales of copyright
to art publishers were always arranged first by the
one and afterwards by the other of these invaluable
advisers.

SIR EDWIN LANDSEER, R.A. 67

It is impossible to mention the engravings
of his pictures without referring to his brother
Thomas,* who executed so large a number of them.
Never had artist more skilful and sympathetic
interpreter than Sir Edwin Landseer possessed in
his elder brother ; there is no doubt but that he was
indebted for much of his wide popularity to the
admirable handiwork of Thomas. He seems to
have been in the habit of doing- something- to the
plates himself, for in a letter to Mr. Hills he remarks
of the plate of " Man Proposes God Disposes " (the
picture of polar bears, illustrative of the loss of the
Franklin Expedition), " I think it will be a good
picture when I have touched it up."

Among the artists' early friends was J. F. Lewis,
A.R.A., of whom Mr. J. L. Roget says, in his
History of the Old Water Coloicr Society :\

" More than one point of connection may be found in the
early life of Lewis with that of his great contemporary.
They are said to have been born in the same house in Queen
Anne Street, Landseer being two or three years the senior.
However that may be, an intimacy existed between the
families of the engravers, John Landseer and Frederick C.
Lewis, the respective fathers of the two young men who could
not fail to find a bond of sympathy in their common taste for
drawing animals."

* It is hoped that a future volume will include some notice
of Thomas Landseer's works.

t Afterwards " The Oil and Water Colour Society."

68 ANIMAL PAINTERS

Mr. Arthur N. Gilbey, of Cookham, possesses
a painting by J. F. Lewes, executed in 1833. '^
is a portrait in profile of Landseer playing a salmon
under the direction of an old gillie ; pine-clad hill
and glen forming the near background. This
picture is the more interesting as the dog sitting
a pace or two behind the angler is said to have
been added by Landseer himself.

The portraits he painted showed the breadth of
his acquaintance among the upper classes of society.
The Russells were among his most intimate friends;
Georgina Duchess of Bedford was his pupil when
he was twenty-four years of age, and some of his
works were etched by her. In subsequent years, he
painted portraits of the Duchess and her children.

Among the pictures of Landseer's mature and
later years the following are considered to show
his art at its best: — -"Suspense," a bloodhound
waiting at a door, exhibited in 1834 and now in
the South Kensington Museum. "The Shepherd's
Chief Mourner," exhibited in 1837, also in the
South Kensington Museum, is perhaps as well
known as any picture ever painted by any artist,
and deservedly so for its simplicity and genuine
pathos. " A Distinguished Member of the Royal
Humane Society," exhibited in 1838, is not less
widely known. This portrait of the dog, a New-
foundland, was painted for the late Mr. Newman

SIR EDWIN LANDSEER, R.A. 69

Smith, of Croydon Lodge, a near connection of the
Gilbey family. Mr. Newman Smith by his will
left the work to the Nation : it now hangs in the
National Gallery. " Roebuck and Rough Hounds,"
exhibited in 1840 at the British Institution, appeals
more directly to sportsmen than to the general
public. The art critic of the New Sporting Maga-
zine thus eulogises the painting :

" O ! what skins ! the picture would charm a furrier ! The
hounds licking the wound in the neck — the wound itself — the
quiet shaggy dogs in front — the death ful roebuck — and the
solemn terrier forming the black and back ground — are some-
thing more like an oil improvement upon the art of trans-
ferring Nature to canvas, as it had been done through light
to paper, than the common working of the imagination, the
hand and the brush ! "

This picture also is at South Kensington.

Inept or hostile criticism, Landseer could not
tolerate in his later years, when indifferent health
rendered him more than normally sensitive.
Writing in 1866 to Mr. Hills, he refers, doubtless
with some individual critic in his mind, to men
" who through fearful ignorance perpetrate most
disgraceful cruelty to deserving and patient origi-
nality of mind." From this we may fairly infer
that depreciation of his work was a source of real
mental suffering to him.

"The Sanctuary," a grand stag emerging from
the water on a reedy shore, exhibited in 1S42,

70 ANIMAL PAINTERS

belongs to Her Majesty. " War," in the National
Gallery, exhibited in 1846, and "The Monarch of
the Glen," exhibited in 1851, are familiar to all
through the art of the engraver. " The Flood in
the Highlands," exhibited in i860, is described by
Mr. Stephens as " probably the strongest of all his
paintings " in its powerful expression of the emo-
tions of both man and beast.

In 1850 the artist had received the honour of
knighthood from the Queen.

The only race horse of note whose portrait
Landseer painted was Lord Zetland's Voltigeur,
winner of the Derby and St. Leger in 1850. " The
Druid " {Scott and Sebright^ says that this picture
owed its creation to the artist's delight at the
friendship that existed between Voltigeur and a
tortoise-shell cat. He wished to paint the horse
with the cat sitting on his bare back, but was
dissuaded by the groom, who showed him that she
would not stay there unless the horse had his
sheets on. Accordingly Landseer painted Vol-
tigeur " with his head down, whispering soft things
to his furry friend." This picture, which is life
size, was exhibited in 1870 at the Royal Academy.

During the early sixties, as already said, Land-
seer became again the prey of the extreme depres-
sion which had attacked him in 1840. It will be
observed that the Royal Academy exhibitions of

SIR EDWIN LANDSEER, R.A. 7 1

1862 and 1863 included no works from his easel.
Happily he recovered — as letters quoted on pre-
vious pages indicate — and in 1865, on Sir Charles
Eastlake's death, he was offered the president's
chair of the Royal Academy. This well deserved
distinction, however, Landseer declined, feeling
doubtless that his health was unequal to the duties
of the office. In 1868, a railway accident, in which
he sustained some slight physical injury, shook his
delicately organised nervous system, and though
he recovered and gave the world a few more pic-
tures worthy of his reputation, a relapse followed,
and during the closing years of his life he practically
withdrew from society. He died on ist October,
1873, and was buried with public honours in St.
Paul's ten days later.

Lord Tankerville has been kind enough to give
me the following personal sketch of Sir Edwin
Landseer :

" Some of the happiest days of my deer-stalking times
were spent with him in Glenfishie and the Blackmount, and
we knew pretty nearly every bunch of heather in Perthshire
and Argyllshire. He was a delightful companion ; so full of
enthusiasm for scenery and sport, and with his natural
humour and power of description we enjoyed over again all
the events of the day. As an actor, with his powers of
mimicry of voice and even of face, he was unsurpassed ; even
Charles Mathews, who was one of our party at Glenfishie,
was sometimes in the background. In his description of his
day's stalking, or at another time of some debate in Parlia-

72 ANIMAL PAINTERS

ment, you would see the wild Highlander or the Duke of
Wellington before you in face and language. He usually
returned with me to Chillingham after our trip to the High-
lands, where, with his love for all wild animals, he devoted
himself to the wild cattle and studied their habits and
peculiarities all day in the park. The result was those fine
pictures of them now at the Castle."

The sale of Landseer's works \vhit:h took place
after his death made up a catalogue of 141 1 lots:
the sale occupied seven days, beginning Friday, 8th
May, 1874, and realised ^^69,709 9s. It may be
added that this was the last great sale, if not the
very last sale, conducted by Mr. Christie, of the
famous firm. The appended list of pictures
sold at various periods shows the high and
increasing value attached to the works of this great
artist.

WORKS OF SIR EDWIN LANDSEER, R.A.

IN THE NATIONAL GALLERY.
(From the Vernon Collection.)

SPANIELS OF KING CHARLES'S BREED: on canvas, 2 feet 3} inches high by :

feet iii inches wide ; engraved by J. Watts, and again by J. Outrim.
LOiy LIFE — HIGH LIFE, hull-dog and staghound with accessories characteristic of

their classes: on wood, each picture 18 inches high by 13J inches wide ; engraved

by R. Lane, A.R.A., and again by H. S. Beckwitb.
HIGHLAND MUSIC, an old piper disturbs with a sudden blast on his pipes five hungry

dogs at their food : on wood, i foot 61 inches high by i foot iii inches wide ; engraved

by H. S. Beckwitb.
THE HUNTED STAG, a stag held by two hounds, falling with them down a torrent :

on wood, 2 feet 3^ inches high by 2 feet 11 J inches wide; engraved by Thomas

Landseer and again by J . Cousen.
PEACE, a coast scene — Dover Harbour in distance, goat and sheep browsing in the sun-
shine on the cliflfs, a lamb lying with its head in the muzzle of a dismounted gun ;

three bare-headed children : on canvas, 2 feet 10 inches high by 4 feet 4 inches wide ;

engraved by J. Atkinson and again by L. Stocks, A. R.A.

WORKS OF SIR KDWIN LANDSEER, R.A. T^

WAR., two horses— one dead and one dying ; the fallen riders lie amid the burning ruins of
a cotuge ; companion work to PEACE and also engraved by Atkinson and Stocks.

Bequeathed by Mr. Jacob Bell in 1859.

THE SLEEPING BLOODHOUND^ portrait of ** Countess," who, while sleeping on
a balustrade, fell over and died from injuries sustained ; on canvas, 3 feet 3 inches
high by 4 feet i inch wide ; engraved by T. Landseer.

DIGNITY AND IMPUDENCE; "Grafton," an old bloodhound of the Duke of
Grafton's breed, and a small Scotch terrier, looking out of the same kennel ; on
canvas, 2 feet i\\ inches high by 2 feet 3I inches wide ; engraved by T. Landseer.

THE DEFEAT OF COMUS, scene from Milton's Comus \ painted for Her Majesty
in 1843 for the summer house in Buckingham Palace grounds : on canvas, 2 feet 10
inches high by 5 feet 6 inches wide.

SHOEING, farrier fitting a shoe on near hind foot of " Old Betty," a bay mare belonging
to Mr. Bell; the farrier, the donkey and bloodhound "Laura" are portraits; on
canvas, 4 feet 8 inches high by 3 feet 8 inches wide ; engraved by C. Lewis.

HIGHLAND DOGS, a group of five— sughound, terrier and others ; on copper, i6i inches
high by 21 inches wide.

Bequeathed by Mr. Newman Smith.

A DISTINGUISHED MEMBER OF THE HUMANE SOCIETY, life-si/e por-
trait of large white-and-black Newfoundland dog, *' Paul Pry," l>^ng at the end of
a stone jetty, with forepaws overhanging the water; on canvas, 3 feet 6\ inches
high by 4 feet 7 inches wide ; engraved by T Landseer, also on small scale by C. G.
Lewis, etched by F. P. Becker, head engraved by H. T. Ryall as a separate plate,
" My Dog. "

Bequeathed by Mr. Thomas Hills in 1892.

STUDY OF A LION, life size, seen to middle of the legs, facing spectator, body slightly

foreshortened, background of grey clouds.
STUDY OF A LION, life size, seen to middle of the legs and nearly full length of body,

head in profile, background of grey clouds.
These pictures were painted as studies for the lions at the base of the Nelson Column in

Trafalgar Square, on canvas, each 2 feet ii* inches high by 4 feet 5J inches wide.

IN THE SOUTH KENSINGTON MUSEUM.
Sheepshanks Gift.

A HIGHLAND BREAKFAST, cottage interior— mother feeding child just taken from
cradle ; in the foreground, sheep dogs and terriers eating from a bowl ; one of
them, lank and thin, suckles three puppies ; panel 2 feet 2 inches by i foot 8 inches
oblong.

THE DROVER'S DEPARTURE, a scene in the Grampians; in foreground a large
family group, of which an old man and old woman form the centre ; sheep, bulls and
goats are assembled on the path ; an old dog suckling puppies ; double canvas, 6 feet
3! inches long by 4 feet i\ inches wide, oblong.

THE DOG AND HIS SHADOIY, a dog carrying a piece of meat across a brook bridged
by a fallen tree, stops to gaze at him^elf and his prize reflected in the stream ; panel,
1 foot 6 inches high by i foot 10 inches wide, oblong, signed " E. L., 1822."

74 ANIMAL PAINTERS

A FIRESIDE PARTY', several terriers in couples in various attitudes before the bothy

fire; these are portraits of Mr. Malcolm Clarke's dogs, said to be the original

Peppers and Mustards of *' Guy Mannering " : panel i foot 6 inches by i foot la

inches, oblong.
THERE'S NO PLACE LIKE HOME, a Scotch terrier sitting outside his barrel : on

canvas, 2 feet 55 inches by 2 feet i inch, oblong.
THE " TIVA DOGS," the do^s of Burns' poem ; " Caesar," a Newfoundland, and

" Luath," the tyke : on canvas, 1 foot 9 inches by i foot 4I inches, oblong, signed and

dated *' E. L., 1S22."
THE SHEPHERD'S CHIEF MOURNER, cottage interior— the coffin partly covered

by plaid and blanket rests near the floor ; the shepherd's dog sitting upright rests

his head upon the cofEn ; panel 2 feet by 2 foot 6 inches, oblong.
A JACK IN OFFICE, a surly-looking, over-fed cur mounting guard over a dog's-meat

barrow ; on the left a thin, hungry dog sniflfs at a skewer of meat ; an old retriever

sits upright tr>nng to propitiate the guardian cur ; In front, a puppy gnawing a

skewer, in the background a well-fed and disdainful terrier ; panel 2 feet 2 inches

by ig3 inches, oblong.
TETHERED RAMS, two rams tethered to a fallen tree, watched by two dogs; in the

middle distance the flock, with shepherd conversing with a woman ; loch and

mountain background ; panel, 2 feet by i3 inches, oblong.
SANCHO PANZA AND DAPPLE, Sancho leaning on a rock watches his donkey eat a

crust : panel 7J inches by 61 inches, upright, signed and dated, " E. L., 1S24."
THE ANGLER'S GUARD, brown Newfoundland and white lulian greyhound watching

the basket and property of an angler ; panel 54 inches by 5 inches, oblong.
A NAUGHTY CHILD, a little boy " in the sulks" squeezing up against a door post;

millboard, 15 inches by 11 inches, upright.
SUSPENSE, a bloodhound watching at a closed door ; gauntlets, a torn plume and blood

tracks suggest that a wounded knight has been carried within : panel, 2 feet iij inches

by 2 feet 3} inches, oblong.
COMICAL DOGS, two wire-haired terriers, life size, seated side by side; one wears a

Scotch bonnet and the other, wearing a woman's cap, has a short pipe in his mouth :

panel, 2 feet 6 inches by 2 feet 3! inches, oblong.
YOUNG ROEBUCK AND ROUGH HOUNDS, four hounds gathered at a carcass of a

roebuck, which has fallen over some rocks : panel, i foot 9 inches by 17 inches, oblong.
THE EAGLES' NEST, female eagle perched on ashelf of rock over her eaglets screams

to her returning mate ; on millboard, 14 inches by 10 inches, oblong.

Jones Bequest.

THE STONEBREAKER AND HIS DA UGHTER ; the man sits under the shelter of
a bank ; he has paused in his work to speak to the little girl, at whobe basket a
rough white terrier is sniffing ; panel, 18 inches by r foot 11 inches, oblong.

LADY BLESSINGTONS DOG; the dog lies at the foot of red carpeted stairs ; before
him sunds a black-and-white cat arching her back in anger ; on the stairs is the
kitten she cannot reach without passing the dog.

FoRSTER Bequest.

SKETCH IN THE HIGHLANDS, a shepherd with his flock; panel, 9] inches by
i3i inches, oblong.

WORKS OF SIR EDWIN LANDSEER, R.A. 75

IN THE NATIONAL GALLERY OF BRITISH ART.
Bequeathed by Mr. Jacob Bell.

ALEXANDER AND DIOGENES, z.^oyx'p of eight dogs; on canvas, 3 feet 7* inches
high by 4 feet 3 inches wide. Exhibited in the Royal Academy, 1848.

THE MAID AND 1 HE MAGPIE, a milkmaid milking a cow in a shed; on canvas,
5 feet 8J inches by 4 feet 11 inches wide. Exhibited in the Royal Academy, 1858.

Tate Gift.

A SCENE AT ABBOTSFORD, two deerhounds (Sir Walter Scott's black-and-white
" Maida" and another) resting on the hide of a stag ; hawks perching on a chair ;
hog spears, antlers and other accessories ; engraved and published in " The Keep-
sake" for 1829; panel, i foot 5! inches high by i foot ii^ inches wide.

UNCLE TOM AND HIS WIFE FOR SALE, two pugs coupled sitting on a doorstep
against a brick wall ; 2 feet 3I inches high by 2 feet ii\ inches wide. Exhibited at
the Royal Academy in 1857 ; engraved by Thomas Landseer and by Charles
Mottram.

Anonymous Donor.

EQUESTRIAN PORTRAIT, a young lady in dress of Charles IL's time on grey Arab
pony ; on canvas, 10 feet sh inches high by 7 feet 7 inches wide. (The pony by
Landseer, the lady by Sir J. E. Millais.)

EXHIBITED AT THE ROYAL ACADEMY (179 in number).

YKAR

1815— <2) PORTRAIT OF A MULE, the property of W. H. Simpson. Esq., of Belcigh

Grange, 'Essex.— HEAD OF A POIXTER BITCH AND /'L'/'/'l', the property

of W. H. Simpson, Esq., of Beleigh Grange, Esse.v.
1B17— BRUTUS, the property of W. H. Simpson, Esq.

1818— f2) PORTRAIT OF AA'OLD HORSE— PORTRAIT OF A DOXKEV.
1819— (2 MERINO SHEEP AND DOG— A DOG OF THE MARLBOROUGH

BREED, the property of Mr. Plumer, of Gilston Park, Herts.
i820-(=) THE THISTLE AND THE ASS, laden with provisions. From /Esop's Fables.

—POINTERS.
iSii— in) RATCATCHERS — IMPERTINENT PUPPIES DISMISSED BV A

MONKEY.
■ 822— (4) A PROWLING LION— RAT-CATCHERS— A HIGHLAND TERRIER—

DEVONSHIRE COiVS.
1S23— (,2) PORTRAITS OF HUNTERS — PORTRAIT OF A FAVOURITE

SPANIEL, the property of S. Streatfield, Esq.
1825— (3) PORTRAIT OF LORD COSMO RUSSELL, son of His Grace the Duke of

Bedford— r^AVA'G/) BUCK— THE HTDOIV.
1S26— THE HUNTING OF CHEW CHASE.
1827— (4) HIGHLANDERS RETURNING FROM DEER STALKING, with dead

deer, &c — THE MONKEY IVHO HAD SEEN THE IVORLD —

HONOURABLE JA.IfES .MURRAY, second son to Lord Glenlyon ; with a

gamekeeper, and favourite fawn — DEAD GA.^IE, swan and peacock, &c.

ANIMAL PAINTERS

VEAK

i8i8— {2) SCEA'E /.V THE HIGHLANDS, with portraits of the Duchess of Bedford, the
Dukeot Gordon, and Lord Alexander RusscU— /'O A' r^-^/rO^ ^ TERRIER,
the property of Owen Williams, Esq., M.P.
1829— (4) ^ A' ILLICIT WHISKEY STILL IN THE HIGHLANDS — HON.
RICHARD CAVENDISH, with a favourite greyhound, &c., the property of His
Grace the Duke of Devonshire— Z)£/IZ3 ROE DEER—BASHA IV, the properly of
the Right Honourable the Earl of Dudley.
i83o-<2) THE DUKE OF A THOL AND MR. GEORGE MURRA Y, attended by hU

head forester, John Cierar, keepers, &c. — A TTACHMENT,
ziii—ii) INTERIOR OF A HIGHLANDER'S HOUSE — POACHERS DEER-
STALKING—LITTLE RED RIDING HOOD— THE POACHERS' BOTHY
—POACHER AND RED DEER.
1832— (3) PETS— THE DUKE OF DEVONSHIRE, K.G., &>€.— HAWKING.
i833-<4) A JACK-IN-OFFICE-DEER AND DEER HOUNDS IN A MOUNTAIN
TORRENT— HUNTERS, the property of VV. Wigram, Esq.— 5/^ WALTER
SCOTT SEATED AT THE BOTTOM OF THE RHYMER'S GLEN, so
called, having been the scene of meetings between Thomas of Erceldoune, the Rhymer,
and the Faiiy Queen. Maida, the stag-hound, was the gift of the late Glengarrj' ;
the yellow terrier, Ginger, and the black Spice, were of Dandie Dinmont's family of
Pepper and Mustard.
^^3A-<.^) SCENE OF THE OLDEN TIMES AT BOLTON ABBEY— A HIGH-
LAND BREAKFAST— COLLIE DOG RESCUING A SHEEP FROM A
SNOW-DRIFT— MARK HALL, the property of W. Wigram, Esq.
^i3i—{.i) FAIRY, the property of Mrs. E. Lytton Bulwer— .4 SCENE IN THE
GRA.::PIANS, the drovers' departure— y^^ VOURITES, the property of H.R.H.
Prince George of Cambridge.
1836— <4) SCENE IN CHILLINGHAM PARK, portrait of Lord Ossulston, &c.—
TWELFTH NIGHT, OR WHAT YOU WILL— LADIES HARRIET
AND BEA TRICE HAMIL TON, children of the Marquess and Marchioness of
.Khercoin— MUSTARD, the son of Pepper ; given by the late Sir Walter Scott to
Sir Francis Chantry, R.A., &c.
■ 837— (8) FALCON — HOODED FALCON — THE SHEPHERD'S CHIEF
MOURNER— THE HIGHLANDS — RETURN FROM HAWKING —
SPANIELS ; the property of the Earl of h\hemax\e— FRIENDS— SPANIELS,
the property of Lady Scott Douglas.
1838— (6) "THE LIFE'S IN THE OLD DOG YET "— PORTRAITS OF THE
MARQUESS OF STAFFORD AND THE LADY EVELYN GOWER,
Dunrobin Castle in the &st^nce-HER MAJESTYS FAVOUITE DOGS AND
PARROT — LADY FITZH ARRIS —" NONE BUT THE BRAVE
DESERVE THE FAIR "— DISTINGUISHED MEMBER OF THE
HUMANE SOCIETY.
,839— <7) PRINCESS MARY OF CAMBRIDGE, and a favourite Newfoundland
dog, the property of Prince George of Cambridge — TETHERED RAMS,
scene in ^zo\.\mi-CORSICAN, RUSSIAN AND FALLOW DEER-MISS
ELIZA PEEL, with Fiiio— FA VOURITE PONY AND DOGS, the property
of Charles William Packe, Esq., M.P., &c., kc.—VAN AMBURGH AND HIS
ANIMALS — THE CHILDREN OF THE HON. COL. SEYMOUR
BA THURST.
1840— (5) HORSES TAKEN IN TO BAIT, the properly of J. Marshall, 'Eiq,.— MACAW,
LOVE-BIRDS, TERRIER AAD SPANIEL PUPPIES BELONGING TO
HER .M.-iJESTY—LION DOG FROM MALTA (the last of the tribe), the
property of H.R.H. the Duchess of Kent— /,/CA' .AND DASH, the property of
His Grace the Duke of Beaufort— X/1 l-'/iV'G DOWN THE LAW.

WORKS OF SIR EDWIN LANDSEER, R.A. 7/

VEAR

1842— (7) OTTERS AND SALMON— THE HIGHLAND SHEPHERD'S HOME—
ZIVAt a badger dog belonging to the hereditary Prince Saxe Coburg-Gotha — A
PAIR OF BRAZILIAN MONKEYS, tbe property of Her Unisay—BREEZE,
a favourite retriever, the property of tbe Accountant-General — EOS, a favourite
greyhound, the property of H.R.H. Prince A\hert— THE SANCTUARY.

1843— (2) HON. ASHLEY PONSONBY— HORSES, the property of William Wigram,

Esq.
1844— (4) THE OTTER SPEARED, portraits of the Earl of Aberdeen's otter hounds—

DISAPPOINT.MENT-COMING EVENTS CAST THEIR SHADOll'S

BEFORE THEM— SHOEING.
1845— ?■//£■ SHEPHERDS PRAYER.

1846— (4) TI.ME OF PE.iCE-TIME OF WAR-STAG AT BAY— REFRESH-
MENT.
1847 — (2) THE DRIVE, shooting deer on the pass ; scene in the Black Mount, Glen-

Urchy Forest — MR. VAN AMBURGH, as he appeared with his animals at the

London Theatres, painted for F.M. the Duke of Wellington.
1848— (5) PINCHER, the property of Montague Gore, Esq. —SKETCH OF MY

FATHER— ALEXANDER AND DIOGENES— AN OLD COVER HACK,

the property of R. Heathcote, Esq.— /I RANDOM SHOT.
i849-(5) THE DESERT— THE FORESTER'S FAMILY— THE FREE CHURCH

—COLLIE DOGS— EVENING SCENE IN THE HIGHLANDS.
1850— (3) A DIALOGUE AT lV.4TERL00—"'Whal man of you, h.iving an hundred

sheep, if he lose one of them, doth not leave the ninety and nine in the wilderness,

and go after that which is lost until he find it?" (St. Luke xv., ^)—G0OD

DOGGIE, the property of Lady Murchison.

r85t-(6)

" When first the day-star's clear cool light.
Chasing night's shadows grey.
With silver touched each^rocky height
That girded wild Glen-strae,
Uprose the monarch of the glen,
Majestic from his lair,
Surveyed the scene with piercing ken.
And snuffed the fragrant air."

(Lc^efuis o/Glenoychay, a Poem).

-GROUP, GENEVA— SCENE FRO.M THE MIDSUM.VIER NIGHTS
DREAM, Titania and Bottom ; Fairies attending Peas Blossom, Cob-web, Mustard-
seed, Moth, &Q.— HIGHLANDER— LASSIE— THE LAST RUN OF THE
SEASON.

1853— (4) NIGHT— MORNING— CHILDREN OF THE MIST— TWINS.

1854— (3) ROYAL SPORTS ON HILL AND LOCH, the Queen, the Prince Consort,
and the Prince of Wales, the Viscountess Jocelyn— Z^.^j^^i^/ii DINMONT, the
favourite old Skye terrier of Her Majesty the Queen.

1856— <2) SA VED ! Dedicated to the Humane Society — HIGHLAND NURSES,
dedicated to Miss Nightingale.

1857— (3) SCENE IN BRAE MAR, Highland deer, &c.— ROUGH AND READY-
UNCLE TOM AND HIS WIFE FOR SALE.

i85S-(2) THE MAID AND MAGPIE— DEERSTALKING.

1859— (4) DOUBTFUL CR U.WBS -" BRAN viM never put another stag to bay; and
OSCAR will no make out by himself. The deer will do fine yel\"—THE
PRIZE CALF— A KIND STAR.

itia— FLOOD IN THE HIGHLANDS.

ANIMAL PAINTERS

i86i-{4) THE SHREW TAMED-FA TAL DUEL-SCENES IN THE MARQUIS
OF BREADALBANE'S HIGHLAND DEER FOREST.

1864— (4) PIPER AND PAIR OF NUTCRACKERS— WINDSOR PARK— MAN
PROPOSES, COD DISPOSES— PENSIONERS.

j86s-(4) DEJEUNER A LA FOURCHETTE-PROSPERITV-ADVERSITY-
THE CONNOISSEURS.

lidd-ii) MARE AND FOAL, Indian tent, (ic.- LADY CODIYA'S PRAYER-
ODDS AND ENDS, trophy for a \xM—THE CHASE— STAG AT BA Y.

i86;-(3) HER MAJESTY A T OSBORNE IN 1Z6&-DEER OF CHILLINCHAM
PARK, NORTHUMBF.RLAND—WILD CATTLE OF CHILLINGHAM,
the property of the Earl of Tankcrville.

1S68— <2) RENT DA Y IN THE WILDERNESS—" VVeel, sir, if the deer got the ball,
sure's death CHEYYv;\\\ no leave him."

1869— (4) STUDY OF A LION— STUDY OF A LION—SWANNERY INVADED
BY SEA-EAGLES— THE PTARMIGAN HILL.

1870 — (5) VOL TIGEUR : winner of the Derby and St. Leger, 1850, the property of the
Earl of ZeU^nd— QUEEN I -IC TOR I A MEETING THE PRINCE CONSORT
ON THE RETURN FROM DEER STALKING IN THE YEAR 1850—
DOCTOR'S VISIT TO POOR RELATIONS AT THE ZOOLOGICAL
GARDENS-DEER— LASSIE, a sketch.

1872— <3) THE LADY EMILY PEEL, with her favourite dogs— 7"iY£ BAPTISMAL
FONT— THE LION A ND 7 HE LA MB.

1873— (0 TRACKER — SKETCH OF HER MAJESTY THE QUEEN ianfmUhe A)
(Her Majesty has not sat for the likeness).

SALES OF SIR EDWIN LANDSEER'S PICTURES.

Sold

Picture

Collection

Guineas

1849 ..

FALLOW DEER

\Vm. Wells, of Red-
leaf, Kent

700

RED DEER

„ ..

650

June 9th,

PORTRAIT OF SIR W. SCOTT IN

3i050

1877

THE RHYMER'S GLEN, painted for
Mr. Wells

PORTRAIT OF SIR WALTER SCOTT,

Baron Grant's Gallery

Sio

32i in. by 19J in., purchased by Mr. Grant

for 160 guineas at the artist's sale in 1874

April 25th,

THE PRIZE CALF, 26 in. by 20 in.

Bicknell sale . .

1,800

1863

April 25th,

TWO DOGS LOOKING FOR CRU.WBS,

>t II

8,300

1863

25 in. by 30 in.

April 25th,

HIGHLAND SHEPHERD, 57 in. by 31 in.

» ••

2|230

May, 1870

THE HIGHLAND SHEPHERD'S

HOME
LANDSCAPE, WITH CATTLE..

The Bullock sale . .

1,000

May 8th,

Sir Edwin Laiidseer's

315

1874

sale

May 8th,

PORTRAITS OF DUKE OF DEVON-

1,050

1874

SHIRE, LORD AND LADY CAVEN-
DISH, deer and dogs in park, unfinished..

May 8th,

LADY GODIVA'S PRAYER, exhibited

It II

3,200

1874

r868

May 8th,

HORSES AND DOGS

1,000

1874

WORKS OF SIR EDWIN LANDSEER, R.A.
Sales of Sir Edwin Landseer's Pictures. —C(7«/rf.

Sold

Picture

Collection Guineas

May 8lh,

1874
May 8th,

1874

May 8th,

1S74
May 8th,

.874

May 8th,
1874

July 3rd,
1875

May, 1886

April 21st,
1877

April 27th
& 23th,
1S77

April 27th
& 28th,
1877

May 19th,
1877

Mar.,1880

May 4th,
1878

.879

DIGCmG OUT THE OTTER ..

PORTRAITS OF THE EARL AND
COUNTESS OF SEFTON AND
DA UGHTER

PORTRAITS OF TIVO YOUNG LADIES

PORTRAIT OF SIR WALTER SCOTT,
with a book

PORTRAIT OF HER MAJESTY THE
QUEEN ON A WHITE HORSE, un-
finished

PORTRAITS OF THE DUKE OF
BEAUFORT AND SISTERS when
young, with dogs

"OLD BRUTUS," rough white-haired dog

NEWFOUNDLAND DOG AND TER-
RIER AT A STREAM

ST. BERNARD DOGS, 96 in. by 72 in. . .

ST. BERNARD DOGS, from the Gillott

sale, 1872
LADY CATHERINE DOUGLAS,

HA WKING

A HIGHLAND LASSIE, 35 in. by 27 in.

THE OTTER HUNT, engraved by C. G.
Lewis, 76 in. by 60 in. (Mr. Grant is said to
have given ;£ ro,ooo for this celebrated master-
piece, which was painted for Lord Aberdeen)

THE LADYS HORSE (Prosperit>-),
27 in. by 35 in.

AND

\THE CABMANS horse (Adversity)

ARREST OF THE FALSE HERALD,
the engraved vignette to Quentin Durward,
3 in. by 7 in.

HINDS ALARMED (painted at Novar) . .

HIGHLAND NURSES (deer and ptar-
migan), 27 in. by 35 in., engraved by T.
Landseer

SPORT IN THE HIGHLANDS ..

THE KING OF THE FOREST, 24 in.
by 24 in.

Sir Edwin Landseer's
sale.

CANINE FRIENDS

Jesse Watts Russell,
of Ham Hall, Staf-
fordshire

Mr. Robert Vernon's
collection from Har-
ley Park, Cam-
bridgeshire

Baron Albert Grant,of
Kensington House
Gallery

Baron Albert Grant, of
Kensington House
Gallery

Mr. John Knowles, of

Manchester

The Munro Collection

F. T. Turner, of The
Cedars, Clapham
Common

J. Nield, of Dunster
House, Rochdale

W. Fenton, of Button
Manor, Rochester

610
570

610
800

600

r,050

2,150

440
355

5,650

1,430
190

250
1,600

1,450
1,000

8o ANIMAL PAINTERS

Sales of Sir Edwin Landseer's Pictures.— Ci»»/(/.

Sold

Picture

Collection Glineas

1879 ..

Feb. 26th-

2Sth,
18S0
May 28 tb,
1881

May 28ih,

May 28th,

May t3th,
1882

May 13th,

1882

Mar. 28 th'
2gth,i884

May 24tb,
1884

Mar. 2 7th,

1886

Mar.27tb,

1886

June 25th,

1892

April 3oth|
1887

GIPSY ENCAMPMENT, witb donkej-s ..

LION PREYING ON A FAWN, 16 in.
by 12 in.

" WELL-BRED SITTERS WHO NEVER
SAY THEY ARE BORED," upright,
36 in. by 28 in.

*'MAN PROPOSES, GOD DISPOSES."
Polar bears and the Franklin relics, 96 in.
by 36 in. ; from the Albert Grant sale

DIGGING OUT THE OTTER in the Valley
of the Tay ; figures finished by Sir J. E.
M illais, 60 in. by 98 in. This picture
realised in its unfinished state 630 guineas,
and at the artist's sale in 1874, 2,950 guineas

STAG PURSUED BY GREYHOUND,
chalk cartoon, life size in colours, 72 in. by
96 in

POACHERS DEER STALKING, 20 in.
by 26 in.

"OLD BRUTUS," a white, wire-haired, bull-
terrier dog, 43 in. by 55 in. from the artist's
sale

MONARCH OF THE GLEN, 65 in. by
66 in., purchased by Lord Londesborough of
the artist for 350 guineas, and now secured
by Mr. Eaton, M.P.

PENSIONERS, two fine old hunters, a dark
bay and a grey, 15 in. by 23 in., from the
Hargreave's sale of 1873(1,600 guineas)

HAWKING IN THE OLDEN TIME,
72 in. by 60 in., engraved by Lewis

FREE TRADE AND PROTECTION ..

^' A DEER FAMILY," painted forW. Wells,
of Redleaf, and subsequently in the collec-
tion of Mr. Bashall, of Bristol, whence it
passed privately into the Manley Hall gal-
lery of a. Mendel

THE SHEPHERD'S BIBLE, the engraved
picture exhibited at the Royal Academy,
1849, sold for 1,020 guineas, at the Farn-
worth sale, in 1874

INTRUDING PUPPIES, 28 in. by 35 in.,
engraved by Thomas Landseer, 1821

BRAEMAR, 107 in. by 99 in., Royal Aca-
demy, 1857 ; at the E. L. Belts sale in 1868
this work realised 4,000 guineas

W. Fenton of Button
Manor, Rochester

James Fenton, Norton
Hall, Gloucester-
shire

Mr. E. J. Coleman ..

Edward Hermon,

M.P. for Preston,
and of WyfoldCourt,
Henley-on-Thames

Mrs. Morrison, of
Mountblairy House,
Mr. Edward Sibeth
and other properties

Charles Skipper, of
Russell Square

Henry M'Connel, of
Cressbrook, Derby-
shire

Lord Dudley's collec-
tion

John Graham, of Skel-
raorlie Castle, Ayr-
shire

The Bolckow sale

290
"75

6,300

2,950

800

6,200

200

3.050

1,000
4.950

WORKS OF SIR EDWIN LANDSEER, R.A. 8l

Sales of Sir Edwin Landseer's Pictures. — Contd.

Sold

June

April

i8go

2nd,
8

Picture

TAKING A BUCK, from the Manley Hall
collection

THE HUNTED STAG, 1859, 42 '"■ ^y
112 in.

ALPINE MASTIFFS, 1820, from the Jesse
Watts Russel Collection

UNCLE TOM AND HIS WIFE FOR
SALE

DEAD PHEASANT, 19 in. by 26 in.,
painted in 1S23

DEATH OF THE WOODCOCK, 19 in.
by 26 in.

HEADS OF SHEEP AND CATTLE,
19 in. by 23 in.

FOE'S HEAD AND PTARMIGAN, 9 in.
by 12 in., exhibited at the British Institu-
tion, 1830, as " Ptarmigan and Roebuck"

TRIM: "The old dog looks like a picture,"
18 in. by 24 in., engraved by J. Webb for
the New Sportiyig Magazine

A HIGHLAND INTERIOR, 28 in. by
34 in., Royal Academy, 1831 ; engraved by
Finden and Ryall

GROUSE, 19 in. by 26 in., exhibited at the
Royal Institution, 1833

POINTER, 17 in. by 24 in., 1833 ; engraved
by T. Landseer

BLACK COCK AND GREY HEN, 19 in.
by 26 in., exhibited at British Institution,
1833-

SNIPE AND WOODCOCK, 19 in. by 26 in.,
1803

PARTRIDGES, 19 in. by 26 in. (1833)

DEAD WILD DUCK, 2oin. by 26 in., 1833

BLACK HIGHLAND OK (" Sketch
painted in one morning at Dunrobin Castle,
byE. L., 1834")

THE REAPER, 24 in. by 18 in., exhibited
at British Institution, 1836, as the *' High-
land Harvest Girl"; engraved by H. T.
Ryall in 1834, and again by him on a large
scale, 1846

THE SHEPHERD'S GRAFE, 12 in. by
14 in., 1837 ; engraved by B. P. Gibbon

Collection , Guineas

The Bolckow Sale

Thos. Walker, of
Berkswell Hall,
Warwick

Felix Vigne, of Pern-
bridge Place, Hyde
Park

2,850
1,850

Wm. Wells, of Red-
leaf, Kent

350

•'

640

n 1) • •

570

Wm. Wells, of Red-
leaf, Kent

I) 130

„ ..

1,400

550

M >>

330

850

VOL. II.

82 ANIMAL PAINTERS

Sales of Sir Edwin Landsf.f.r's Picturks.— C^?;///.

Sold

1890

Picture

THE WOODCUTTER, 1837, 19 in. by 24 in,

THE HAWK and THE PEREGRINE
FALCON^ 24 ID. by 16 in., exhibited at
Royal Academy, 1837, together

THE HONEYMOON, 24 in. by 30 in., ex-
hibited at British Institution, 1838, as " Roe-
bucks "

DEERHOUND AND MASTIFF, 45 in.
by 48 in., exhibited at British Institution,
1838, as "The Two Dogs"

'* NONE BUT THE BRA VE DESERVE
THE FAIR," 27 in. by 35 in., Royal Aca-
demy, 1838 ; engraved by T. Landseer

HARE AND STOAT, 21 in. by 27 in.,
British Institution, 1838, exhibited at the
Manchester Art Treasures Exhibition, 1857,
as " A Hare and Weasel"

DAIRYMAID AND ALDERNEY COW,
24 in. by 18 in., British Institution, 1839;
engraved by Ryall

OTTER AND SALMON, 22 in. by 34 in.,
Royal Academy, 1842 ; engraved by Jackson

NOT CAUGHT YET, 22 in. by 34 in., ex-
hibited at the British Institution, 1843, as
" Not so Easily Caught " ; engraved by T.
Landseer

TERRIER AND DEAD WILD DUCKS,
18 in. by 32 in., painted about 1845

SPANIEL AND PHEASANT, 26 in. by
18 in., exhibited at British Institution, 1845

RETRIEVER AND WOODCOCK, 26 in.
by 18 in., exhibited at British Institution,
1845

BROWSING: stag and hinds feeding: with
portraits of Sir E. Landseer and W. Wells,
Esq., M.P. ; a crayon drawing executed in
1857, 91 in. by 108 in.

RETURN FROM DEERSTALKING,
1827, 24 in. by 30 in., engraved by Finden
and Ryall, and the fine picture catalogued
as '* Breeze"

THE DRIVE, GLEN ORCHA Y, crayon. .

THREE DOGS

STAG BELLOWING

Collection

Guineas

Wm. Wells, of Red-
leaf, Kent

The Bolckow sale

2, zoo
1,000

3,850

63a

135
215

130

WORKS OF SIR EDWIN LANDSEER, R.A.
Sales of Sir Edwin Landseer's Pictures.— C(7«^^.

Sold

JuneiSth,
i8q2

Mar.22nd,
1892

1892

May 7th,

1892

May 7th,

1892

May 7th,

1892

May 7th,

May 7th,
iSq2

May 7th,

1892

1893

Picture

TAKING A BUCK, 67 in. by 84 in.; en-
graved by T. Landseer ; from the Manley
Hall collection

ALPINE MASTIFFS, 74 in. by 93 in., ex-
hibited at British Institution, 1820, and
Manchester, 1857 ; engraved by J. Landseer

THE FIRST LEAP, 18 in. by 23 in., 1829,
from the collection of Lord J. Butler, 1870 ;
engraved by Lewis

WAITING FOR THE FERRY, 71 in. by
112 in.

LADY GODIVA'S PRAYER, 55 in. by
44 in., Royal Academy, 1866

THE HIGHLAND CABIN, 17 in. by 23 in.,
from the Duchess of Bedford's collection,
^Ss3 (150 guineas)

THE LION AND THE LAMB, yi in. by
J07 in., Royal Academy, 1872, bought from
the artist and engraved by T. Landseer

ON TRUST, portrait of H.R.H. Princess
Mary of Cambridge, with Nelson, a favourite
Newfoundland dog, 55 in. by 44 in., Royal
Academy, 1839, engraved by Simmons, 1875

NO MORE HUNTING TILL THE
IVEA THER BREAKS, 27 in. by 36 in.,
bought from the artist, 1863

THE SIN OFFERING, Leviticus x. 16.
48 in. by 53 in., exhibited at British Institu-
tion, 1S61

STUDY OF A DEAD GROUSE, oval,
16 in. by 22 in.

HER MAJESTY THE QUEEN, un-
finished, begun 1841, bought from the artist,
1S72, Royal Academy, 1873 ; engraved by T.
Landseer

ALL THAT REMAINS OF THE
GLORY OF WILLIAM SMITH, 1827,
ir in. by 9 in. ; engraved by John Pye

TAMING THE SHREW, 32 in. by 50 in.,
Royal Academy, i85i; engraved by James
Stephenson

FLOOD IN THE HIGHLANDS, a scene
on the Spey, 78 in. by 122 in.. Royal Aca-
demy, i860 ; engraved by Atkinson

OTTER HOUNDS IN WA TER, exhibited
at Burlington House, 1874

Collection

The Bolckow sale

Arthur C. Burnand, of
Hyde Park Gate

The David Price

Lord Cheylesmore's

Guineas

850

84 ANIMAL PAINTERS

Sales of Sir Edwin Landsef.r's Pictures.— rn«/rf.

Sold

Collection

Guineas

May 6tb

July 22nd,
X893

1894

1896

TOO HOT, a Breakfast Party, 13 in. by 17 in.,
exhibited at British Institution, 1831

THE CATS PAiV, 29 in. by 27 in., 1824;
engraved by C. G. Lewis

CHEW, a deerhound

CHEVY, Royal Academy, i863; engraved
by T. Land seer

THE SENTINEL, portraits of Lion and
Dash, the Duke of Beaufort's dogs

THE PENSIONERS, 1864; engraved by
Stackpoole

Viscount Clifton

Rt. Hon. George, 5th
Ear] of Essex

Richard Hemming, of
Grosvenor Place

The- Hargreaves

880
890

3i75o

5.700

1,850
760

PL.A.TES IN THE NEW SPORTING MAGAZINE (4 in
number).

DEAD RED DEER, vol. i, 1831 ; engraved by Scott.
TRIM, a celebrated spaniel, vol. 2, 1831 ; engraved by J. Webb.
DEER-STALKING, a portrait of Captain Ross deer-stalking, accompanied by

keeper, vol. 7, 1834; engraved by Duncan.
DEER-STALKING, vol. 20, 1841 ; engraved by Finden.

PLATES IN ANNALS OF SPORTING (13 in number).

TOHO ! Two setters with sportsman in the background, vol. 4, 1823.

DOWN CHARGE, vol. 4, 1833.

PHEASANT SHOOTING WITH SPRINGERS, vol. 4, 1823.

BRUTUS, a bull terrier, vol. s, 1824 ; engraved by T. Landseer.

FOXES, vol. 5, 1824.

NEPTUNE, a Newfoundland dog, property of W. E. Gosling, Esq., vol. 5, 1824.

FOXHOUNDS OF THE HATFIELD HUNT, portraits of Eleanor, Cottager, Stridrr,

Adamant, and Rachel, \ol. 5, 1824: engraved by T. Landseer.
PORTRAIT OF A CROSS OF THE DOG AND FOX, vol. 6, 1824.
VIXEN, a thorough-bred Scottish terrier, vol. 6, 1824.
ALPINE MASTIFF, vol. 7, 1825.
PROCTER, study of a bloodhound's head, vol. 7, 1825.
THE POACHER, a fo.\, vol. 7, 1825.
BOB, a favourite terrier, tlie prt.perty of W. E. Gosling, Esq., vol. 8, 1825.

BENJAMIN MARSHALL.

(Born 1767. Died 1835.)

O ENJAMIN MARSHALL was born in Leices-
*^ tershire in the year 1 767. Like many other
artists who made their names as painters of animals,
he began as a portrait painter, and until twenty-six
years of age confined himself to this department
of art under the tuition of F, L. Abbott. As might
be expected of a Leicestershire man, he had a taste
for sport, but does not appear to have weighed the
propriety of lending his brush to animal portraiture
until in 1793 he saw at the Royal Academy exhibi-
tion Saurey Gilpin's exquisite painting " The Death
of the Fox." This picture made a great impression
upon him, and though he did not renounce portrai-
ture altogether, he thenceforward devoted by far
the greater portion of his time to the study of animal
life, and more especially to horses and dogs in their
relation to sport.

Marshall was at this time residing in Beaumont
Street, Marylebone ; and in turning his attention
to the school of Art, in which he had so many
brilliant contemporaries, he was no doubt influenced

86 ANIMAL PAINTERS

by the fashion of the time. Patrons of the turf
and other wealthy sportsmen were eager purchasers
of pictures which appealed to their sporting tastes,
and there was a rage for possession of portraits of
celebrated race-horses and hunters. As an indica-
tion of the demand for good horse pictures, it is
worth noticing that when George Stubbs was re-
ceiving a hundred guineas for the portrait of a
famous horse. Sir Joshua Reynolds could only
obtain fifty guineas for a lady's portrait painted on
a canvas of equal size.

In spite of his undoubted ability Benjamin
Marshall seems to have made little progress
towards recognition until the year 1795, when he
met John Scott, the famous engraver, then a young
man of twenty-one, but already rising into notice,
and at the beginning of his long connection with
the Sporting Magazine. Common love of sport
and art formed a bond between the two, and ac-
quaintance soon ripened into intimacy. It is more
than probable that Scott was instrumental in bring-
ing the talents of his friend under the notice of
Mr. Wheble, for in volume vii. of the Sporting
Magazine for 1796 we find the first engraving from
a painting by Marshall. This plate is engraved
by John Scott from a portrait of Mr. Taplin, author
of a work on Farriery. With the exception of
three etchings from portrait sketches, Scott's name

BENJAMIN MARSHALL 87

appears on every plate from Marshall's pictures
which appeared in the Magazine until 1822, in
which year Scott's health broke down, and he laid
aside his graver. Of Scott's rare abilities nothing
need be said here, as his life will appear in this
series of Animal Painters ; he was an artist as well
as an eminent engraver. Marshall had great good
fortune in making a friend so sympathetic in taste
and so exceptionally competent to interpret his
paintings for a wider public.

Benjamin Marshall was neither constant nor
liberal in his contributions to the exhibitions of the
Royal Academy. Between 1801 and 18 19 he
showed only eleven works. His first picture was
a " Portrait of J. G. Shaddick, Esq.," and after an
interval of five years he was again represented by
a likeness of the same gentleman described as " The
Celebrated Sportsman." His exhibits in the year
1 81 2 were two pictures entitled "A Game Cock"
and " A Trimmed Cock."

Marshall in after years made several paintings
of game cocks ; two which, companion pictures,
were engraved by C. Turner; one entitled "The
Cock in Feather," the other " The Streaky-breasted
Red Dunn," and they were printed in colour. He
also painted two other companion pictures en-
titled " Black-breasted Dark Red " and " Streaky-
breasted Red Dunn," which were printed in colours,
each plate measuring 1 7 inches by 1 3f inches.

88 ANIMAL PAINTERS

During his residence in London he painted the
portraits of two celebrated pugiHsts, viz., " Mr.
John Jackson," for Sir Henry Smith, Bart., which
was engraved by C. Turner, size of plate, 2 2f inches
by i7|- inches — and portrait of Thomas Belcher,
which was also engraved by C. Turner, plate 21^
inches by 18 inches, from the original picture in
possession of John Harrison, Esq.

After twenty years' residence in London Mar-
shall moved to Newmarket ; not, it would appear,
without qualms as to the wisdom of the step, and
not without an eye to the vogue in art to which
reference was made on a previous page. He is
said to have remarked to Abraham Cooper, who as
a young man was constantly in his studio, that it
was folly to leave London, where he was esteemed
as portrait painter, to " bury himself at New-
market" and paint horse pictures, adding, "Stop,
stop, though ! I have a good reason for so doing.
I discover many a man who will give me fifty
guineas for painting his horse who thinks ten
guineas too much to pay for painting his wife."

That his decision to make a new home at the
headquarters of the turf was fully justified is proved
by his subsequent success. Ere long he counted
among his patrons George HL and George IV.,
Earl St. Vincent, Lords Darlington, Scarborough
and Sondes, Messrs. Hy. Villebois, Thornhill and
Fulmar Craven.

BENJAMIN MARSHALL 89

For Lord Darlington, afterwards Duke of Cleve-
land and Baron Raby, famous both on the turf and
in the hunting field, Marshall painted portraits of
Hap-hazard and Muley Moloch, paying a visit to
Raby Castle, near Durham, to execute the commis-
sion. Hap-hazard is depicted ready for the
match for 500 guineas against Lord Strathmore's
Walnut at York. Samuel Wheatley, his training
groom, holds the horse while Wm. Price, the
jockey, is in the act of stripping off his coat
to mount. Muley Moloch is represented under-
going the operation of scraping and wiping down
after winning a 20-guinea sweepstakes, to which
there were ten subscribers. Tod, a stable lad, is
at his head, and behind the horse stand Hardy,
his training groom. Trotter, a farmer, and Thomp-
son, the head gardener at Raby Castle ; the back-
ground being filled with stands, booths, carriages
&c. These pictures were engraved in 1805 by
Cook, the plates measuring 24 inches by 18 inches.

Middleton, Zinganee and Priam, among other
famous race-horses, stood to Marshall for portraits,
which were engraved and reproduced in the Sport-
ing Magazine. A portrait of Lop was engraved by
Whessell, size of plate 19 inches by 14, and was
published on ist January, 1815, by J. Harris, of
Sweetings Alley, east end of the Royal Exchange,
and 8, Old Broad Street. Marshall painted

go ANIMAL PAINTERS

portraits of Filho da Puta and Sir Joshua on the
same canvas ; this work was engraved by Wm.
Ward, size of plate 23 inches by 18^, and pubHshed
by S. Knight, of 3, Sweetings Alley, Cornhill, on
1st January, 181 8.

Other works more particularly deserving of
notice are : a portrait of Spangles, a hunter owned
by the Prince of Wales, which was engraved by
John Scott ; " Water Dogs," two dogs contending
for a stick just retrieved from a lake, engraved
by W. Ward ; Francis Dukinfield Astley, Esq.,
and his Harriers, a hunting piece of which
R. Woodman made an exquisitely fine engraving
of large size, plate 24 inches by 19 inches, a few
impressions of which were published in colour ;
The Earl of Darlington and his Foxhounds, an
engraving of which by J. Dean was published
1st March, 1810, by W. D. Jones, of Cambridge,
and Hunters at Grass, the property of Mr. John
Micklethwaite, engraved by W. Ward.

The Sportsman s Repository, published in 1820,
by Sherwood, Neely and Jones, comprising a series
of highly finished engravings, representing the horse
and the dog in all their varieties, contains eight
plates engraved by Scott from pictures by
Marshall, namely. The Wellesley Arabian, owned
by the Hon. Henry Wellesley ; Sir Charles
Bunbury's race- horse Eleanor ; Mr. George

BENJAMIN MARSHALL 9 1

Treacher's hunter Duncombe ; Roan Billy, a
hackney, the property of a gentleman ; The
Charger, a horse belonging to General Warde ;
Mr. Henry Villebois' coach-horse David, and a
cart-horse Dumpling, owned by Messrs. Home and
Devey.

The volumes of the SportingMagazine from 1 796
to 1826 contain no fewer than sixty engravings
from pictures by Benjamin Marshall. Those oc-
curring in the volumes prior to the year 1822 were,
as we have already seen, almost without exception
the work of John Scott. Subsequently J. Webb,
R. Woodman, J. Romney, and other capable
engravers executed the plates. The reservation
applies to three etchings from sketches of the
Newmarket turf officials, namely, Mr. John Hilton,
Judge of the Course ; Mr. Samuel Betts,
Starter of the Horses, and Mr. John Fuller
(on horseback), the official known then, as now,
as Clerk of the Course. The name of the etcher
is not given on these plates.

Two of Benjamin Marshall's portraits claim

attention not less by reason of the fame of the

setters than their artistic merits. One of these is

The Sportsman, standing gun in hand by a stile

with a pointer and setter beside him. A tablet

attached informs us that

" The portrait is that of Thomas Gosden, the celebrated
sporting bookbinder of St. Martin's Lane, and afterwards of

92 ANIMAL PAINTERS

1 8, Bedford Street, Co vent Garden. Benjamin Marshall,
1 814. The Landbcape in the picture is by Luke Clennell."

This picture has been twice engraved ; in small
size by Maile, and on a larger scale by Giller.
Gosden, who was an intimate friend of Marshall
and of John Scott, published Maile's engraving, a
very beautiful piece of work, in 1824 : a few of the
engravings from this plate were printed in colour.
The other picture is A First Rate Shot, a com-
panion work to The Sportsman. The tablet
attached o-ives the followincj information : —

" The portrait is that of George Osbaldeston, Esq. No
man is better known on the turf, and few better calculated
to shine in his bit of scarlet by the dark woodside, nor in the
tented field with bat in hand. At the ' board of green cloth '
too, where the billiard balls fly true and swiftly, he rarely or
ever meets his match, and at the round table will he take his
seat occasionally, and cry, ' seven's the main.' Our hero
gives similar reasons for being drawn in trousers to the hero
Wellington against the Reform Bill, ' they work well, at
least for me.' Nell, the pointer, is one of the handsomest
ever seen, her bringing up perfect, as is her symmetry, and
in finding her game is truly astonishing. Peg, the retriever,
has her excellences also. If a bird is brought to the ground
by depriving it of the power of flying it must come to bag.
The picture is signed Benjamin Marshall, and bears the date
1831."

The Sporting Magazine for October, 1831, con-
tains an engraving of this work, with a descriptive
note compiled from the tablet.

After the first few years of his artistic career,

BENJAMIN MARSHALL 93

when likenesses of men occupied Marshall's brush,
portraits of race-horses, hunters and sporting dogs
were the works to which he devoted his talents for
the most part ; and though hunting and shooting
subjects also came from his studio, he is best known
by the equine portraits, which display sound know-
ledge of anatomy and close study of the horse
under all conditions.

After thirteen years' residence at Newmarket
Marshall returned in 1825 to London, where he
purchased a house in London Terrace, Hackney
Road. His choice of locality was influenced by the
fact that his eldest son had received an appoint-
ment in the Customs, and also by the desire that
the younger, Lambert, should be able to profit by
attendance at the Schools of Art in the Metropolis.
Here the artist passed the last ten years of his
life, dying on 24th July, 1835, in his sixty-seventh
year. He was buried at Bethnal Green. A writer
in the Sporting Magazine pays tribute to his
memory with the mourning lines so much in vogue
in past days : —

" The remains of this eminent artist were followed to the
grave by his sorrowing relations and a few attached friends,
and his body was deposited in a vault at Bethnal Green by
the side of his wife and daughter.

" The hero falls and roars the funeral fire.
The prelate dies and peals the cloister'd choir,
To each appropriate ; yet the lowly name
Shall not in vain prefer its humble claim.

94 ANIMAL PAINTERS

Marshall ! To thee the tribute that we give
Is here, where proudly tliy memorials live,
That such as hang in sorrow o'er thy bier
Maj' turn and find thee still surviving here."

WORKS OF BENJAMIN MARSHALL.

PICTURES EXHIBITED IN THE ROYAL ACADEMY (ii in

number).

YEAR

1801— /. G. SHADD/CK, £SQ.

1806—/. G. SHADDICK, ESQ., the celebrated sportsman.

1807— jW/e. D. LAMBERT.

zZcA— PORTRAITS OF A FOREIGN NOBLEMAN AND HIS HORSES.

iSio— <2) .1 FAVOURITE HORSE, the property of Lord Viscount Deerhurst— .-J WELL-
KNOWN HORSE, the property of T. C. Hunter, Esq.

1812— (2) THE TRIMMED COCK— A GAME COCK.

,Sii— CATTLE OF THE IMPROVED SHORT-HORNED BREED, propertr of J.
Wilkinson, Esq., of Lenton, near Nottingham.

i3i9-(2) PORTRAITS OF A FAMILY AT LITTLE THURLOIV, SUFFOLK-
FANNY, by Poulton, property of R. Jones, Esq., with the portrait of Chiffney.

PLATES IN THE SPORTING MAGAZINE (60 in number).

lifR. T.-iPLIN, author of The Gentleman s .^tabte Directory, 1796, vol. 7 ; engraved by

Scott.
-■I SON OF ER.4SMUS, property of E. Boehm, Esq., 1796, vol. 8; engraved by J. Scott,
(2) AN ARABIAN, ijge, vol. 9; engraved by Scott— SPANIEL AND HARE, r797,

vol. 9 ; engraved by J. Scott.
(2) MR. ROBERT JONES, practical .farrier, 1797, vol. 10; engraved by J. Scott—

D.4B.'iTER, a celebrated fo.xhound belonging to the Berkeley Hunt, 1797, vol.

10 ; engraved by J. Scott.
(2) COPPERBOTTO.M, an extraordinary mare, 12J hands high, winner of many races,

1798, vol. II ; engraved by J. Scolt—PHOSPHORUS, by Eclipse, 1798, vol. 11 ;

engraved by J. Scott.
(2) RICHARD KNIGHT, huntsman to Earl Spencer, 1802, vol. 21 ; engraved by W. Bond

—R0.-iNH.4CK', 1802, vol. 21 ; engraved by J. Scott.
J.4SPER, a hound, bred by the Earl of Egremont, 1803, vol. 22 ; engraved by Scott.
PRECIPITATE, bred by the E.irl of Egremont, and foaled in 1787. 1804, vol. 23; en-
graved by Scott.
(2) MR. JOHN HILTON, judge of the course, \ewmarket, 1804, vol. 24; an etching—

MR. SAMUEL BETTS, starter of the horses at Newmarket, 1804, vol. 24 ; an

etching.
MR. JOHN FULLER, clerk of the course at Newmarket, 1805, vol. 15; an etching.

-7 o-^tl-Sfllp^icMi^

-^. ,>oi,//tli

''(i'n^.^2/^?7^/?Z/

WORKS OF BENJAMIN MARSHALL 95

BADGER, property of Lord Jersey, 1805, vol. 27 ; engraved by Scott.

SPANIELS, property of John Carr, Esq., 1807, vol. 30; engraved by Scott.

(2) HORSE, property of J. B. Trevanion, Esq., 1809, vol. 35; engraved by S. Mitan—

MISCHIEF, a terrier, property of Mr. T. Farley, 1810, vol. 35; engraved by
Scott.
{2) NOBLE, a hunter, 1810, vol. 36; engraved by Scoa—SP A NIELS-SPRINGERS,

property of General Leigh, i8io, vol. 36 ; engraved by Scott.
HUNTERS, property of the Earl of Scarborough, 1810, vol. 37 ; engraved by Scott.
BLACKLEG, property of Lord C. Bentinck, iBii, vol. 39; engraved by Scott.
DUSTMAN, a celebrated dog, property of Wm. Disney, Esq., 1812, vol. 40 ; engraved by

Scott.
SATAN, Newfoundland dog, and CIIESNUT PONY, 1S14, vol. 44 ; engraved by Scott.
JUNIPER AND JANETTE, greyhounds, property of Captain Wyatt, M.P., 1815, vol.

45 ; engraved by ScOtt.
{■2) BROOD MARES AND FOALS, i8ig, vol. 55; engraved by Scott—ANTICIPA.

TION, a chesnut horse, foaled i8i8. 1819, vol. 55; engraved by Mitan.
(2) COLONEL MELLISH, 1S20, vol. 56 ; engraved by Scott.
HOUNDS, contending for the lead, 1820, vol. 56 ; etched by Scott.
(2) CANNON BALL, a bay horse, property of the Earl of Jersey, 1821, vol. 59 ; engraved

by J. Scott.
CANNON BALL, by Sancho, 1S21, vol. 59; engraved by J. Scott.
THOMAS HILTON, ESQ., the father of fox-hunters in Kent, 1822, vol. 60; engraved by

Wm. Smith.
I AGO, a greyhound, 1822, vol. 61 ; engraved by J. Scott.
(2) BANKER, a celebrated racer, 1823, vol. 62— TOT INCH LEV, 1823, vol. 62 ; engraved

by W. T. Fry.
EMILIUS, a bay colt, bred by, and the property of, Col. Udny, 1824, vol. 64; engraved

by J. Webb.
MIRANDOLA, a chesnut mare, bred by, and the property of, Lord Clarendon, 1824, vol.

65 ; engraved by J. Webb.
(2) LONGJi'AIST, a bay horse, property of Fulmar Craven, Esq., 1825, vol. 66 ; engraved

by J. Wehh— DOG'S HEAD AND PARTRIDGE, 1825, vol. 66; engraved by J.

Webb.
(2) MIDDLETON, a chesnut colt, bred by, and property of, the Earl of Jersey, 1825, vol.

67 ; engraved by J. 'Wehh— BRA FUR A, a dark grey mare, property of Sir Robert

Keith Dick, Bart., 1S26, vol. 67 ; engraved by J. Webb.
(2) PHANTOM, a bay horse, bred by, and the property of, Sir John Shelley, Bart., 1826,

vol. 68; engraved by J. 'Wehh—RALLy, a hound in the Earl of Derby's pack,

1826, vol. 68 ; engraved by J. Webb.
(2) TIGER, a. hack, 1827, vol. 20; engraved by Wainwr'ight— BABEL, late Lilias. a bay

mare, 1827, vol. 20.

(2) SAMUEL CHIFNEY, 1828, vol. 71 ; engraved by R. Woodman— /v4i1/£'5'

ROBINSON, 1828, vol. 71 ; engraved by R. Woodman.

(3) ZINGANEE, a bay horse, foaled in 1S25, bred by the Marquis of Exeter, 1830,

vol. 77 ; engraved by R. "^Qodrnzxi— LAMPLIGHTER, a bay horse, bred by
and the property of Colonel Wilson, 1831, vol. 77; engraved by Romney —
SKIFF, a bay horse, bred by the Duke of Grafton, 1831, vol. 77 ; engraved by
R. Woodman.
(3) SOUVENIR, a bay mare, 1831, vol. 78; engraved by J. R. Scott— ERVMUS^ a
racehorse, 1831, vol.78; engraved by H. R. Cook— ^ FIRST-RATE SHOT
1831, vol. 78 ; engraved by J. R. Scott.

96 ANIMAL PAINTERS

(2) PRIAMf the property of the Ear! of Chesterfield, a bay colt bred by Sir J. Shelley,

Bart., 1831, vol. 79 ; engraved by Romney— Ci^iJ^/CZ-f", a brown horse, bred by

the Duke of Richmond, 1831, vol. 29 ; engraved by Romney.
GALATEA, a brown mare, bred by the Earl of Fitzwilliam, 1832, vol. 80; engraved by R.

Woodman.
{2) PARTRIDGE SHOOTING, 1832, vol. 81; engraved by Woodman—MEETING

THE STAG-HOUNDS, portrait of Peter Pope Frith, Esq., on his mare, 1833, vol.

81 ; engraved by T. Romney.

PLATES IN THE SPORTING REVIEW {2 in number).

STUDIES OFCELEBRATED JOCKIES, by Chifney, Wbeatley and Robinson, 1S43,

vol. 7 ; engraved by J. W. Cook.
STUDIES OF CELEBRATED JOCKIES, by Aniull and Goodison, 1842, vol. 8;

engraved by J. W. Cook.

LAMBERT MARSHALL,

(Born 1810.)

LAMBERT, son of Benjamin Marshall, was
born at Newmarket in 18 10. At an early-
age he betrayed possession of artistic talents of
high order, and when only sixteen years of age
executed a portrait of his father, which was
engraved by Fry, and reproduced in the Sporting
Magazine for September, 1826. This Hkeness,
given on p. 94, is the only one by the younger
Marshall it has been possible to trace. The
Editor, in referring to it, remarks of the painter
that " some of his animals are really surprising
for the pencil of so young an artist." In the
Sporting Magazine, between 1826 and 1836, we
find twenty-nine engravings from his pictures, and
all of these are either portraits of race horses or
sporting subjects. A good example of his work
engraved by J. Greig, and published in vol. Ixxxv.
for 1835, is "Coursing," which is here reproduced.
Lambert Marshall's contributions to public exhibi-
tions were but two ; one picture shown at the
Suffolk Street Gallery and the other at the British
7 VOL. 11.

98 ANIMAL PAINTERS

Institution in 1828 and 1829, After 1836, the last
year in which a plate from a work by his brush
appears in the Sporting Magazine, we lose all trace
of him.

WORKS OF LAMBERT MARSHALL.

PLATES IN THE SPORTING MAGAZINE (29 in number).

MR. BENJAMIN MARSHALL, the artist's father ; engraved by Fry, vol. 68, 1826.

PRANKS AND LAZARUS, brood mare and foal; engraved by J. Webb, vol. 71, 1828
—BADGER HUNTING: engraved by R. Woodman, vol. 71, 1S28.

THE TURF PONY, property of Christopher Nelson, Esq. ; engraved by W. Hixon, vol.
72, ^iii—SYLl'IA, a lady's pony; engraved by T. C. Zeitter, vol. 72, 1828—
C05 ;('££, a mare ; engraved by J. Webb, vol. 75, 1829— .1//.S'5' CRAVEN, race-
horse, A. Pavis in the s.iddle, also boy and fast-trotting pony ; engraved by R.
Woodman, vol. 76, 1830.

BRITISH GAME FOWLS: engraved by J. Romney, vol. 77, i%-io— ALBERT, with
Connolly the jockey in racing colours; engraved by H. R. Cook, vol. 78, 1831.

GAME COCKS : engraved by J. Romney, vol. 7g,'iB3i—SMARAGDINE, a bay mare :
engraved by J. Romney, vol. 79, 1831 — MUSCAT, an Arab ; engraved by J.
Romney, vol. 79, 1S31—VOUNG FOA'HUNTERS : engraved by J. Romney, vol.
79. 1831.

A CELEBRATED CABHORSE : engraved by J. Romney, vol. 80, xiyz—MAZEPPA,
a race horse; engraved by J. Romney, vol. 80, 1832 — CRUTCH, a race horse;
engraved by J. Romney, vol. So, liyi— SULTAN, a racehorse; engraved by J.
Romney, vol. 82, i%2>'^— DRIVER, a trotter; engraved by J. Romney, vol. 80, 1832.

COURSING : engraved by J. Romney, vol. 81, 1S32— ARCHIBALD, a race-horse ; en-
graved by J. Romney, vol. 81, 1S31— HECTOR, a hen-cock; engraved by J.
Romney, vol. 81, 1832.

BROOD MARES : engraved by J. Romney, vol. 82, 1^33— GROUSE SHOOTING: en-
graved by J. Romney, vol. 82, 1^33— TURNED OUT FOR LIFE (old horses);
engraved by J. Romney, vol. 82, i833~PRIAM, a setter ; engraved by R. Golding,
vol. 82, 1833.

DRAIVING COVERT : engraved by J . Romney, vol. 83, 1834.

DOG BREAKING: engraved by J. Engleheart, vol. 84, 1834.

COURSING : engraved by J. C.reig, vol. 85, 1835.

REAL YORKSHIRE (half-bred sire and dam, bred byDuke of Portland) ; engraved by
J. Romney, vol. 86, 1835.

JAMES POLLARD.

(Born 1797.)

JAMES POLLARD was born at Braynes Row,
Spa Fields, now known as Exmouth Street.
His father, Robert Pollard, was a Newcastle man,
who at the age of twenty-seven, in 1782, came
south to establish himself in London as an
engraver, and achieved a considerable reputation
both for his designs, some of which were of a
sporting character, and for his works as an engraver.
John Scott, the first engraver of animal and
sporting subjects of the time, owed his first start
in the metropolis to Robert Pollard, who took him
as a pupil.

James Pollard's artistic talents were perhaps not
equal to those of many of his contemporaries, but
his skill in portraying sporting incidents lends his
works a value to which those by artists of higher
reputation can lay no claim. His pictures excite
eager competition when they come into the market
nowadays, and engravings therefrom are sought
with even greater avidity. For example, a lot
comprising six coloured impressions of the coaching

TOO ANIMAL PAINTERS

scenes which were a speciality of Pollard's were, in
1897, knocked down to a bid of 49 gs. at Messrs.
Christie, Manson and Woods, while two coloured
engravings, Ascot Heath Races and Epsom Races,
brought 32 gs.

Two engraved plates, executed by M. Dobourg
and published January ist, 1820, by Edward Orme,
London, furnish the first clue to Pollard's name in
connection with art. Plate i is entitled " Royal
Hunt in Windsor Park ; " it shows the hounds in
full cry. His Majesty, George HI., with huntsman
and attendants following, while Windsor Castle
forms the remote background. Plate 2 is H.M.
King George Returning from Hunting, and forms
a companion to the former, each plate measuring
18 by 125^ inches. A few of the above engravings
were published in colour.

The following year provides evidence of James
Pollard's whereabouts, for it was in 1821 that a
picture from his easel was exhibited at the Royal
Academy; he was then living at 11, Holloway
Place, Holloway, and had not gone far from his
own door to find his subject, which was North
Country Mails at the Peacock, Islington. In the
same year he painted A Steeple-chase ; this
depicts a field of seven horsemen, six correctly
attired in racing jackets, breeches and boots, the
seventh duly sporting colours but clad as to his

JAMES POLLARD lOI

nether man in white nankeen trousers strapped
under the boots in accord with the fashion of the
day for ordinary walking dress. The size of this
canvas is i6|- by 1 1|- inches.

In 1824 we find Pollard represented at the Royal
Academy by two works entitled Incidents in Mail
Coach Travelling. One of these shows a coach
crossing a stream. Pollard did not confine himself
to exhibiting at the Academy ; his name appears in
the records as painter of three pictures shown at the
British Institute, and four sent to the Suffolk Street
Gallery.

In 1830 he painted Smithfield Market, a busy
scene, full of life and animation, with its throngs of
buyers and sellers of horses, cattle and pens of
sheep ; in the background old St. Bartholomew's
Hospital and the houses and streets surrounding
the market (size of canvas 26 inches by 17 inches).

Pollard was an artist of considerable versatility.
The next pictures which claim notice in chrono-
losfical order are of a different character. His
Fly-fishing and Trolling for Pike are scenes on
the river Lea (size of each canvas 17 by i2i'k
inches), and were painted in 1831. His signature
is affixed to each of these works, which were
engraved by P. Himely. In 1836 he painted
another picture of interest to fishermen : this was
The Pike and Anchor, Ponders End, in which he

I02 ANIMAL PAINTERS

shows US the Inn — no doubt a famous resort of
Waltonians of that day — with a group of anglers in
the foreground. This canvas measures i7|- by ii^-
inches.

An interesting work, and one which arrests
the eye by its somewhat unusual shape, is George
IV. going to Ascot Races. This is a long, narrow
canvas, measuring 39 by 10 inches. The King
occupies a carriage drawn by four post-horses ;
twelve out-riders in the livery of the Royal Hunt
precede His Majesty ; and three open carriages,
each drawn by four horses with post-boys, bring up
the rear ; behind these again we see the ordinary
traffic of the high road on a race-day. On the
heath numerous figures stand to salute the
Sovereign, and the landscape rolls away into the
background.

H.R. H. the Prince of Wales has in his collection
at Sandringham two hunting pictures by James
Pollard, each canvas measuring" 35 inches by 24
inches.

Pollard is better known by the engravings from
his works than by the pictures themselves. This is
natural enough in view of the great popularity of
the subjects upon which his brush was employed.
Several of these engravings were published in
connection with his father and brother, who carried
on their business in Hollo way, the style of the firm
being " R. Pollard & Son."

JAMES POLLARD IO3

Besides the engravings already referred to the
following deserve mention : —

Pike Fishing and The Mill Ford. The latter
shows anglers at the tail of a mill-race, one in
the act of landing a fish. These engravings were
executed by H. Beckwith, and impressions appear
in the Sporting Magazine for 1849 and 1859
respectively.

Four engravings printed in colours: (i) Fly-
fishing, (2) Bottom Fishing, (3) Trolling for Pike,
and (4) Anglers Packing up. These engravings
were published by T. Helme, " at his picture-frame
manufactory, 15, Tabernacle Square, Old Street
Road, London," and bear date November 17th,
1831.

A View on the Highgate Road, the Birmingham
mail-coach, with passengers, passing a road-side
inn called The Woodman. Engraved by George
Hunt and published in colours by J. Moore, i.
West Street, St. Martin's Lane. Size of plate, 19
inches by 15 inches.

Highgate Tunnel, a coach, with passengers,
coming under the tunnel, the horses and coach well
foreshortened. A companion picture to that last
mentioned, similar in size and printed in colours.

West Country Mail-Coach at the Gloucester-
shire Coffee House, Piccadilly. This engraving is
by Rosenberg ; plate, 32 inches by 25 inches.

I04 ANIMAL PAINTERS

The Royal Mail, a coach passing a sportsman
who carries a gun and is accompanied by a setter
and a pointer. E. Roviskere engraved this plate,
which was published March 30th, 1829, by J.
Wilson, of 7, Vere Street, Cavendish Square.

Stage Coach Passengers Seated at Breakfast,
and The Coach in the Snow, cottagers showing
the delayed passengers hospitality. (Interiors.)
Both these engravings were published by R.
Pollard & Son.

Easter Monday ; Turning Out the Stag at
Buckitt's Hill, Epping Forest. This plate is
printed in colours, and its dimensions are 24^ inches
by 12 inches.

Easter Monday, a View of Fairmead Bottom,
Epping Forest. Also printed in colours, a com-
panion to that last mentioned and similar in size.

Stage Coach, with Opposition Coach in Sight,
published in colours, plate ly^ inches by 12 inches.

The Cambridge Telegraph starting from the
White Horse, Fetter Lane. This plate was en-
graved by G. Hunt, and was published by J.
Moore, of London. Printed in colours ; size, 2of
inches by 15I inches.

The Oxford and Opposition Coaches. Printed
in colours ; size of plate, 13I inches by S^- inches.

The Cheshire Pile, a celebrated gamecock, bred
by the Earl of Derby ; size of plate, 8j inches
by 6^ inches.

JAMES POLLARD 105

Coursing at Hatfield Park ; size of plate, 18
inches by lo inches ; published February 6th, 1824,
by R. Pollard & Son.

Evening, First September.

The St. Alban's Tally-ho Stakes. Two com-
panion pictures of a great hurdle race run at St.
Albans on May 22nd, 1834. A sweepstakes of
five sovereigns each with twenty added from the
fund ; each horse to carry eleven stone ; gentlemen
riders only. Run in two heats, each heat once
round the course and a distance ; two leaps to be
taken in each heat over hurdles. Won by Mr.
Coleman's Latitat. Plate No. i shows the first
leap of first heat. Mr. R. Oldaker with extended
crop is galloping forward to cheer on Latitat, ridden
by Mr. John Palmer, who is well into his stride
again after taking a hurdle. Norman (Mr. F. P.
Delme Ratcliffe up), Pompey (Mr. Mason),
Splinter Bar (Mr. Richard Bevan), and Deceiver
(Mr. T. Nestley) are taking the hurdle in a cluster.
Thesis (Mr. Simmons) and Figurante (Captain
Beecher) are coming up. Plate 2 shows the second
leap in the second heat, which was a very close
race. Mr. Bevan was thrown, and Splinter Bar
running up came in third without his rider. Latitat
is again leading, Norman and Splinter Bar are over
the hurdle, Deceiver and Figurante are clearing it
and Pompey and Thesis are coming up. These

I06 ANIMAL PAINTERS

plates were engraved by G. and C. Hunt ; size of
plates, 17 inches by 12 inches ; published by J.
Moore, "at the Corner of West Street, Upper St
Martin's Lane."

Scenes on the Road, or A Trip to Epsom
and Back, is the title of a set of four plates, each
19! inches by i2-g inches; engraved by J. Harris,
printed in colours, and published May 30th, 1836,
by R. Ackermann.

Plate I is Hyde Park Corner ; No. 2, The
Lord Nelson Inn, Cheam ; No. 3, The Cock at
Sutton ; and No. 4, Kennington Gate. Each
picture bears a verse from a song in the musical
farce, " Hit or Miss." The lines from plate 3 will
serve as an example : —

" Where Belles as well as Beaux to get the whip hand strive,
And Mrs. Snip the tailor's wife can teach her spouse to drive,
So Jacky Snip, his wife and all, to Dobbin's back are strapped

on
In one-horse chay to spend the day with neighbour Stitch at

Clapton."

The Grand Stand at Doncaster Races con-
tains portraits of the winning horses ; size of plate,
24j inches by 21 inches.

Doncaster, Ascot, Goodwood, and Epsom
Races. This is a set of four plates engraved by
Pyall, each 245- inches by 14 inches.

The Aylesbury Steeplechase. A series of four

JAMES POLLARD IO7

coloured plates showing incidents of the great
steeplechase which came off in the Vale of
Aylesbury on February nth, 1836. This was a
sweepstakes of fifteen sovereigns each, and 100
sovereigns added ; eleven stone each ; fifteen
started. These contain portraits of the horses and
riders, and, according to the publisher's advertise-
ment, were engraved from paintings made on the
spot by the artist ; strict accuracy would doubtless
read " from paintings, the sketches for which were
made on the spot." Plate i shows The Start.
No. 2, The Brook, Mr. Galloway's The Amazon
clearing it, and Jerry fairly in, Yellow Dwarf down
on the landing side, and Cannon Ball scrambling
out. No. 3, the horses coming over a big bank
through underwood : Yellow Dwarf and Sailor are
down and The Pony leads. No. 4 shows The
Finish : Captain Lamb's Vivian ridden by Captain
Becker wins : Mr. Elmore's Grimaldi ridden by Mr.
Sefifert comes in second under the whip, and Mr. D.
Baring's The Pony, Mr. Cooper up, is a good third.
These plates measure each 24 inches by i2|- inches.
They were engraved by J. Harris and published in
1836 by Ackermann and Co., 96, Strand.

The Royal Mail Leaving the G.P.O., St.
Martin's-le-Grand, was engraved by R. G. Reeve,
printed in colours and published in 1836 by W.
Soffe, 288, Strand ; size of plate, 24^ inches by i6f
inches.

Io8 ANIMAL PAINTERS

The London Fire Engines : the Noble Pro-
tectors of Life and Property, is a good example
of Pollard's most spirited work. This picture was
engraved, size of plate 29! inches by 20J inches,
and printed in colours. The engraving is "dedi-
cated to the Insurance Offices by their obedient
servant, Thomas McLean, 26, Haymarket " (the
publisher).

A Prospective View of Epsom Races is the
title of a series of six plates, printed in colours and
published by R. Ackermann.

These represent: (i) Saddling in the Warren:
Jem Bland occupies a prominent place in the fore-
ground of this picture ; (2) The Betting Post ;
(3) Preparing to Start ; (4) The Grand Stand, the
Race ; (5) The Race Over ; and (6) Settling at
Tattersall's. The last plate is admirable ; not only
is it highly characteristic but it has all the interest
of a page of Turf history, containing many sketches
of well-known racing men taken from life.

Wings is the portrait of a race horse, bred in
1822 by .Lord Grosvenor; Sam Chifney in yellow
jacket and black cap is in the saddle. On the right
of the picture is the weighing room with jockeys
going to scale. Engraved and published by R.
Pollard and Son, in June, 1825, printed in colours ;
size, i8f inches by 13 inches.

Fox Hunt, a print engraved by R. Pollard.

JAMES POLLARD 1 09

His Majesty George IV. Travelling, coloured
print by R. Pollard, engraved by W. Dubourg.

Fox Chase: View Halloa, engraved by R. Pollard

The Merry Monarch, painted by J. Pollard :
published and lithographed by Dean and Co.

The Mail Coach in a Snow Storm, painted by
J. Pollard, engraved by F. Rosenbourg.

A White Horse standing against a large rock,
man in scarlet leaning against him, group of hounds
and dead fox. Coloured, size 12 inches by 10
inches : published by R. Pollard.

Though subjects pertaining to the road pre-
dominate in this tale of Pollard's works, coaching
by no means exhausted his sporting interests. As
may have been conjectured from the frequent
occurrence of fishing pictures, he was a keen angler
and well-known habitud of all angling haunts round
London until he was well advanced in years. The
date of his death is not known, but in the year
1859, then being about sixty-five years of age, he
was still able to enjoy a day with his rod.

WORKS OF JAMES POLLARD.

PICTURES EXHIBITED IN THE ROYAL ACADEMY
(5 in number).

YEAR

i%^\— NORTH-COUNTRY MAILS AT THE PEACOCK, ISLINGTON.
i824-<2) INCIDENT IN MAIL-COACH TRAVELLING— INCIDENT IN MAIL-
COACH TRAVELLING.
1839— (2) MOTHERLY PROTECTION— MATERNAL ANXIETY.

PLATES IN THE SPORTING MAGAZINE (2 in number).

PIKE FISHING, 1849, vol. in ; engraved by H. Beckwilh.
THE MILL FORD, 1859, voL 134 ; engraved by James \Vestley.

PHILIP REINAGLE, R.A.

(Born 1749. Died 1833.)

pHILIP REINAGLE was born in 1749. From
■*■ the fact that Allan Ramsay, the famous Court
painter, accepted him as one of his pupils we may
infer that he gave promise at an early age; and that
such promise was fulfilled is proved by Ramsay's
subsequent appointment of this pupil to be his
assistant. The portraits of George III. and Queen
Charlotte are especially mentioned in connection
with this appointment. It would appear that the
Court portrait painter's official work was sufficiently
onerous to oblige the employment of able assistance ;
for it is recorded that Ramsay, having occasion to
leave England for some months, deputed Reinagle to
execute portraits o{ fifty pairs of Kings and Queens
during his absence. Reinagle duly painted the
pictures, receiving payment for them at ten guineas
apiece.

It might well be supposed that the gift for
portraiture on which Ramsay was able to place so
much reliance indicated the true bent of Reinagle's
artistic talent ; and after leaving the Court painter's

PHILIP REINAGLE, R.A, III

Studio he was engaged for some years in painting
portraits exclusively. When about thirty-four years
of age, however, an innate love of sport and nature
tempted his brush in a new direction, and from that
time forward, though he continued to paint portraits,
he devoted far more of his time to general sporting
subjects, pictures of animals and birds and to
landscape painting, in all of which he attained to a
high degree of excellence.

Accuracy of drawing is a very prominent feature
of his animal pictures and one which betrays close
and sympathetic study. The expression in the eye,
the life-like attitude, anatomical truth of form, and
nice attention to minute detail give his work a stamp
of their own. Nowhere are these cardinal merits
more apparent than in his pictures of dogs ;
admirable examples appear in the twenty-four plates
engraved by John Scott for The Spoi'tman s
Repository, published in 1820, by Sherwood, Neely
and Jones ; but good as these are, the twenty-four
plates which adorned The Sportsman s Cabinet, pub-
lished in 1803, by J. Cunder, are probably those which
show Reinagle at his best. The minutely descrip-
tive title-page so much in vogue at the time shows
the scope of this work : " The Sportsman's Cabinet ;
or Correct Delineations of the Various Dogs Used
in the Sports of the Field, including the Canine
Race in general ; consisting of a Series of rich and

I 1 2 ANIMAL PAINTERS

masterly Engravings of Every Distinct Breed, from
Original Paintings taken from life, purposely for the
work ; engra-ved in the Line Manner by Mr. John
Scott, by whom the plates to Mr. Daniels' Rural
Sports were executed ; and interspersed with
beautiful Vignettes, Engraved on Wood. Forming
a Collection of Superb Sporting Subjects, worthy
the attention of Amateurs of Field Sports and
Admirers of the Arts in general."

It will be noted that while stress is laid upon the
well deserved fame of the engraver, the name of the
artist from whose paintings the plates were taken
is not even mentioned ! The painter is dependent
upon the engraver for just interpretation of his
works, but a measure of credit for the results
produced by the latter was apparently not con-
sidered the due of the former by Mr. John Cunder.

Reinagle made a special study of the spaniels
now known as clumbers, but in his day as " cock-
.springers " or " springing spaniels." The circum-
stances that these dogs were introduced into Eng-
land about the time he was beginning to exhibit and
were doubtless exciting the interest of sportsmen as
canine novelties may account for the attention
accorded them by the artist. About the year 1775,
Henry Clinton, Duke of Newcastle, during a visit to
France, received from the Duke of Noailles several
couples of " cock-springers " as a gift. These his

PHILIP REINAGLE, R.A. II 3

Grace brought home to Clumber and placed under
the management of his keeper, William Mansel.
He evidently prized these dogs highly, for Francis
Wheatley, R.A., F.S.A., painted a picture showing
the Duke on a pony with Mansel standing by his
side and several clumbers in various attitudes
grouped about him ; this picture, it may be added,
was afterwards engraved.

Reinagle's hunting and hawking scenes, bird
pictures and studies of dead game were among
the best of his day ; and though it is with such
works that his name is particularly associated, his
purely landscape pieces were of great merit.
English, Italian and Spanish scenery furnished the
subject of many of his Royal Academy pictures.
Thomas Barker sought his aid in painting his
panoramic views of Rome, the Bay of Naples,
Florence, Gibraltar, Algeciras Bay, and Paris.
The old Dutch Masters furnished the models upon
which he formed his style ; during his earlier
years of study he made numerous copies, and so
faithful were these that unscrupulous dealers were
able to sell them as original works by Paul Potter,
A. Van de Velde, Berchem, Karel du Jardin and
others.

Reinagle's first contributions to the Royal
Academy were two portraits of gentlemen, shown
in the Exhibition of 1774. For nine years he was

8 VOL. II.

114 ANIMAL PAINTERS

represented at the Royal Academy exhibitions by
portraits, with the single exception of the study of
" Dead Game" which was his sole contribution in
1783. This year marks the turning point in his
art ; for though portraits occur occasionally against
his name in the catalogues of subsequent years,
pictures of this class were far exceeded in number
by works of the character which give him claim
to consideration here ; indeed, from 1799 until 1827
his contributions included but one portrait — that of
Dr. Thornton, the botanist, for whom he had done
much work — to betray his earlier bent.

In this connection we must note that Reinaole was
elected an Associate in 1787 ; and inasmuch as his
exhibits until 1 784 were, with the exception above
specified, portraits (he showed nothing in 1785) we
can hardly doubt but that he owed the distinction
then conferred to the talents he had manifested as a
portrait painter. He was elected an Academician
in 1S12, presenting as his diploma picture "An
Eagle and Vulture disputing with a Hyena."
Altogether Reinagle exhibited iio works at the
Royal Academy, contributing with fair regularity
until his seventy-eighth year. At the British
Institution he showed 138 pictures between the
years 1773- 1832, his last contribution thus being
sent in the year before he died.

Among Reinagle's works we may notice " Part-

PHILIP REINAGLE, R.A. II 5

ridges," painted in 1806. This was engraved by
F. C. Lewis, the print being dedicated to T. W.
Coke, Esq., of Holkham, afterwards Earl of
Leicester. " Springing Spaniels," painted in the
same year and also engraved by Lewis ; the print
was dedicated to Sir John Shelley. These engrav-
ings, which measure 2o|- by 15 inches, formed part
of a series of twenty subjects from pictures by
Reinagle ; they were published at 15s. for plain
impressions and 21s. for coloured prints, to sub-
scribers. There is an excellent example of Reinagle's
work in the collection formed by the late Anthony
Hamond, Esq., of Westacre, Norfolk. This is " A
Dead Fox with Lurcher ; " the dog stands over the
fox — a cub which he has coursed and killed.

The volumes of The Sporting Magazine contain
five plates from pictures by Reinagle : four of
these, engraved by W. Nicholls, are : — " Fisher-
men Displaying the Results of the Day's Sport,"
in vol. 47, for 1815 ; "Partridge Shooting with
Pointers," in vol. 48 for 18 16 ; " Puffin Shooting at
the Back of the Isle of Wight," and " Spearing the
Otter" in vol. 50 for 18 17, and "Grouse Shooting"
in vol. 51 for 181 7.

Volume 1 1 of the New Sporting Magazine for
1836, three years after the artist's death, contained
an engraving by R. Parr, from Reinagle's " Fox
and Partridge." This picture, which shows a fox

Il6 ANIMAL PAINTERS

in the act of running away with a partridge while
the rest of the covey are escaping over the hill, was
also engraved by T. W. Giles and published in
1836 by Ackermann & Co., of the Strand.

The Anna/s of Sport contains two plates, "Grouse
Shooting" and "Terriers and Polecat," the former
engraved by Thomas Landseer, brother of the great
artist, and the latter by John Scott.

A work by General George Hanger, dedicated to
"all sportsmen and farmers," published in 1814,
by Stockdale, contains a plate from a picture by
Reinagle. This shows the General mounted on a
mule, returning from shooting, his servant behind
followed by a setter and pointer.

A portrait of Colonel Thornton, the famous
sportsman of Thornville Royal, the joint work of
Sawrey Gilpin and Reinagle, bears date 1796. This
picture shows the Colonel " Roebuck shooting in
the Forest of Glenmore, with the only twelve-
barrelled rifle ever made." The Colonel holds this
curious weapon at the ready : a keeper with a
dog crouches in the near background. This picture
was engraved by M. W. Bate and published by H.
Mutlow, of Russell Court, London, in 18 10.

Colonel Thornton provided Reinagle with many
commissions. The artist's Royal Academy picture
in 1803 was a " Portrait of the Great Tench " taken
by this patron, with a view of Thornville Royal ;

X V

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,^^f^m ,

"iho-^ne/y^'^u^rn^on/

PHIUP REINAGLE, R.A. II7

one of his contributions to the exhibition of 18 17
was a woodland view on the same estate. The first
volume of Colonel Thornton's Travels in France, in
1804, has for frontispiece a portrait of the author as
a falconer carrying a hawk hooded on his wrist.

The portrait, an oval, is surrounded with a design
emblematic of field sports, and, like the portrait of
the Colonel in the Sporting Magazine, has for
pendant a small picture of the race between Mrs.
Thornton and Mr. Flint. This plate was engraved
by Mackenzie. The race was the outcome of a
ride in Thornville Park, on an occasion when Colonel
and Mrs. Thornton were joined by the lady's
brother-in-law, Mr. Flint. The latter was some-
what chagrined by the prowess of the lady and
her horse in a racing spurt or two in which they
indulged : and the sporting instinct running high
on both sides, a match for ^500 a side was
made between Mrs. Thornton and the gentleman,
the race to be run on the last day of the York
August Meeting, 1804. The match duly came
off, and resulted in the defeat of Mrs. Thornton,
who, however, maintained that Mr. Flint's success
was a matter of accident and due to no inferiority
of her horse or her jockeyship. A writer in the
Sporting Magazine for September adds to his
description of the event the following postscript ; —
" I forgot to add that Mr. Reinagle, the celebrated

itS animal painters

sporting painter, is in our neighbourhood, employ-
ing his talents in finishing a fine picture of the late
race, from which an elegant engraving will speedily
appear. Indeed, much may be expected from the
display of this gentleman's abilities, whose taste
and correctness are so eminently manifest in the
finished paintings lately executed for The Sports-
mans Cabinet y

" The Fox Breaking Cover " was painted by
Reinagle for Colonel Thornton as a companion
picture to "The Death of the Fox," painted by
Sawrey Gilpin. The plate from this work was
engraved by John Scott. As it appears desirable to
give an example of Reinagle's skill in portraiture as
well as his talent for the portrayal of sporting scenes,
the engraving from the likeness of Colonel Thorn-
ton from Travels in France, and that from the
picture last mentioned, have been selected to
represent his works.

An admirable example of Reinagle's work hangs
at The Villa, Escrick, Yorkshire, the seat of Lord
Wenlock ; this is a portrait of the sixth Lord
Middleton, gun in hand, on the moors. He is
represented coming up a bank to his three pointers
which are standingr to grrouse. In the riarht back-
ground are two ponies from one of which Lord
Middleton has evidently just dismounted ; it is held
by a groom who rides the other pony. The canvas

PHILIP REINAOLE, R.A. I I9

measures 4 ft. by 5 ft. 8 inches. This picture was
painted in the year 1792. The artist was then
doubtless at the zenith of his fame, as it is recorded
that he received no less than 500 guineas for it ;
a very large fee in those days.

Lord Middleton has seven pictures by this artist
in the collection at Birdsall House, Yorkshire,
viz. : —

(i) " Chesterton Windmill," Henry 6th.— Lord Middleton
with his hounds (The Warwickshire, of which he was Master
from 1812 to 1822). The body of the pack, in full cry, are
streaming up a slope on the landing side of a wide stream ;
one couple are in the stream and another couple are just
coming up to it. Lord Middleton is driving his white horse
at it, and among the field are Mr. B. Lawley (afterwards
Lord Wenlock), Sir Francis Lawley, Mr. Garforth, Mr.
Willoughby (grandfather of the present Lord Middleton), Lord
Clonmel, in black, who has just cleared the brook. Lord
Aylesford, Sir Charles Mordaunt, dragging his horse out of
the water, and Sir C. Biddulph. Chesterton Windmill is in
the distance.

(2) " Gone to Ground in the Clump near Birdsall." The
famous hound Vanguard and his sister Vanity, with a few
more, are racing with hackles up to an earth among great
boulders. Will Carter the huntsman and Tom Carter the
first whipper-in also figure in this picture ; size 4 feet 3 inches
by 3 feet i inch high.

These two pictures have been reproduced in The
Annals of the Waiivickshire Hunt (the late Sir
Charles Mordaunt and the Hon. W. R. Verney,
London, 1896) : the latter has been engraved for
separate publication.

I20 ANIMAL PAINTERS

{3) " Woodcock Shooting " : a woodland scene. In the
foreground are a large black-and-white retriever and four
spaniels, evidently portraits. A dead woodcock lies by a
small pool close by, and another is falling in the near middle
distance to the gun of a sportsman in the background.

This picture and " Gone to Ground in the Clump
near Birdsall " form a pair ; " Woodcock Shooting "
also has been engraved.

(4, 5, and 6) Three portraits of hunters : two browns and a
bay. Each of these pictures, which are well painted, measures
about 2 feet li inches by i foot 8 inches, oblong.

(7) "General Bandbox," the portrait of a sturdy thorough-
bred, saddled and bridled ; he is held by his groom upon
whom a hound is fawning ; two more hounds are moving
away to the right. A Yorkshire landscape, Birdsall and
Settrington form the background, size 5 feet 6 inches by 3
feet II inches oblong. Signed "P. Reinagle," and dated
1792.

It is fortunate that a few of Reinagle's paintings
should have been made accessible to those in-
terested in art by engravings in old magazines.
These truthfully display all the character and in-
dividuality of the works of this gifted painter. Not
the least charm of his sporting pictures is due to
the landscape setting and scenic accessories which
are invariably composed with true artistic feeling.

Reinagle died at Chelsea, in 1833, at the ripe age
of eighty-four. His son, Richard Ramsay, born
1775, inherited his father's artistic talent. He
probably owed his second name to the fact that
Philip Reinagle had been a pupil of Allan Ramsay

WORKS OF PHILIP REINAGLE, R.A. 121

as Stated on a former page. Richard Ramsay
Reinagle achieved success as a landscape painter
and became a Royal Academician. He was, how-
ever, obliged to resign, having committed the
unique misdemeanour of sending in for exhibition
as his own a picture which was partly the work
of another artist.

THE WORKS OF PHILIP REINAGLE, R.A.

IN THE SOUTH KENSINGTON MUSEUM.

FOX-HUNTING : THE Z'i'W 7"// (water-colour) (William Smith Gift).

PICTURES EXHIBITED IN THE ROYAL ACADEMY (no

in number).

YEAR

,773_(2) PORTRAIT OF A GENTLEMAN— PORTRAIT OF A GENTLEMAN.

1774— (3) PORTRAITS OF TWO YOUNG GENTLEMEN AND THEIR SISTER
FISHING— PORTRAIT OF A LADY— AN OLD HEAD.

Tllff-PORTRAIT OF A LADY.

i7jg—A GENTLEMAN.

j-lio— PORTRAIT OF AN OFFICER.

i782-<2) PORTRAIT OF A GENTLEMAN— PORTRAIT OF A GENTLEMAN.

ijSi— DEAD GAME, a study from Nature.

■t7%t,— PORTRAIT OF A GENTLEMAN.

1786— (3) FARMYARD, with !ow/U—H U.M.MING BIRDS, from Sir Ashton Lever's
collection— .)/.-lC--!/F5' AND PARROTS.

i787-{4) VIEIV FROM BRACKENDALE HILL, NORFOLK— SCENE FROM
NATURE— PORTRAIT OF A YOUNG GENTLEMAN— REPRESENTA-
TION OF .MAJOR MONEYS SITU A TION WHEN HE FELL INTO
THE SEA WITH A BALLOON-

1788— (5) YIEW FROM THE WEST EXTREMITY OF ANGLESEA, WITH
HOLYHEAD MOUNTAIN— PORTRAITS OF THREE CHILDREN-
COUNT BORULAWSKI—A LANDSCAPE— ENCAMPMENT OF THE
WEST NORFOLK MILITIA at Readham in 1787.

1790— (3) PORTRAIT OF A LADY— PORTRAIT OF A GENTLEMAN—
WILLI.AM WARD, the celebrated pugilist, and Wood, with Johnson and Joseph
Ward.

1794.— (2) ESSEX COUNTY HALL, with a view of part of Chelmsford— CO frr/^O.ff/'
OA K, near Harrogate, Yorkshire.

122 ANIMAL TAINTERS

i79*-(5) ^•'V' ICELAND HAWK UPON A BITTERN— A HAWK UPON A
BUZZARD—STUDY OF CATTI.r.—JOHN MITCALF, celebrated for
making roads, who has been blind ever since a hoy— PORTRAIT OF A LAD}'.

'191-ii) VIEW NEAR SHREWSBURY— VIEW FROM NATURE— WATER-
FALL IN COAT LAND, near \y\Mhy,\oxVs\ar^— PEREGRINE FALCON
UPON A WOODCOCK— VIEW OF IIAMMERTON HILLS,YORKSHIRE.
—VIEW OF HAMMERTON HILLS, YORKSHIRE— A SENSITIVE
PLANT.

1798— (6) ENTRANCE INTO A WOOD, from Nature—^ SEA PORT— MR.
/ENKI.VS—TOURNEFORTS SYSTEM, for Dr. Thorntons "Botany"—
MRS. ROWCROFT AND CHILDREN— MRS. REEVES.

■799— (7) VIEW IN WALES— CUPID INSPIRING PLANTS WITH LOVE, for
Dr. Thornton's Botanical work— THE AMERICAN ALOE, for Dr. Thornton's
Botanical work— /J DISTANT VIEW OF THE TOWN OF SUBIACO, and
the Cervara mountains, including the convents of Santa Scolasta and San Francesco
from the mountain road to Tivoli ; mormng—VIElV NEAR THE LAKE OF
B0LZ.4NA, on the road to Rome ; evening — THE BEGONIA, a plant producing
male and female flowers, for Dr. Thornton's Botanical work — VIEW OF THE
NEW PASSAGE ON THE SEVERN, with the Bristol Hills.

1800— (6) VIEW IN THE BAY OF SARZA, near Genoa, mamm%— VIEW OF THE
GRAND CONVENT OF SCOLASTA, near Subiaco, territor>- of the Pope,
and the river Agno, which falls at Tivoli in the celebrated cascade in the Appenines
—VIEW NEAR RICH.VrOND: TWILIGHT— HAMPSTEAD HEATH—
THE BLUE PASSION FLOWER and NIGHT BLOOMING CEREA, for
Dr. Thornton's new Illustration of the Sexual System by Linnaeus.

1801— (2) A LANDSCAPE— VULTURE DISPUTING WITH A HYMNA.

iZo-^—THE GREAT TENCH tskm by Col. Thornton, in the year 1802, with a view of
the house and park of Thornville Royal.

i8o4-<5) THE SETTER— THE SPRINGER— TERRIERS— THE STAG-HOUND
(four of the series for the Sfortsman's Catintey— LANDSCAPE AND CA TTLE :
morning.

180S— (6) PORTRAIT OF A POINTER, standing to game— r//.C FOX BREAKING
COVER— MAJOR, a celebrated greyhound— //M7-^.ff SPANIEL- SPANISH
POINTER— PORTRAIT OF AN EXTRAORDINARY MUSIC AL DOG.

i8o6-<2) LANDSCAPE WITH FIGURES, AND CATTLE FORDING— VIEW IN
THE MOUNTAINS OF SUBIACCO, fifty miles from Rome.

iio^-i^i SUNSET, landscape with figaxe.^- TWILIGHT — A POTTERY—
SNOWDON.

iSog— SPRINGER, bred at Syeton Park, by W. Thorold, Esq.

,8io-(5) LANDSCAPE WITH FIGURES-LANDSCAPE— LANDSCAPE WITH
SPORTING FIGURES— GROUP OF CATTLE— COTTAGE SCENE, from
Nature.

iZix— {2) STUDY OF DEAD GA.1IE—VIEW OF WINDERMERE LAKE, from
Low-wood Inn.

i8i2— (4) VIEW OF LLANGOLLEN, in North Wales— ^ STAG HUNT— VIEW OF
LANGDALE, in Westmoreland— £>£/lZ> GAME.

1813— (5) GROUP OF STAGS— LANDSCAPE WITH PIGS— LANDSCAPE WITH
SHEEP— LANDSCAPE WITH ASSES— DR. HOOPER.

1814— (2) A WANDERING STAG— MONKEY TRICKS.

iSjS— SCENE FROM THE ISLEWORTH MEADOWS, looking towards Mr. Gosling's
bouse.

xixb—GEDRO, IN THE PROVINCE OF BEIRA, in Portugal, a few leagues from
Almeida. In the background, the mountains that divide Spain and I'ortugal.

WORKS OF PHILIP RKINAGLK, R.A. 1 23

VEAR

1817— (2) FARMYARD WITH CATTLE, Sm^a— ENTRANCE INTO A WOOD,

Thorn\-ille Royal, Yorkshire.
lizg— RICHMOND HILL, near Twickenham : Morning.
1823— (3) riEir NEAR SHIPTON, Yorkshire— P'lEW NEAR LONESOME, Dorking

—LANDSCAPE WITH FIGURES : Morning.
iS2i— WOODLAND SCENE WITH CATTLE : Mid-day.
iSnS—RirER SCENE WITH COTTAGE AND BARGE.
i32j— LANDSCAPE WITH CA TTLE, a view near Durham.

PLATES IN THE SPORTING MAGAZINE (6 in number).

FISHERMAN, 1815, vol. 47; engraved by W. Nicholls.

PARTRIDGE SHOOTING, 1816, vol. 48; engraved by W. Nicholls.

PUFFIN SHOOTING AT THE BACK OF THE ISLE OF WIGHT, 18:7, vol.

50; engraved by W. li\c\\o[\i.—S P E A K I NG THE OTTER, rZij, vol. 50.
GROUSE SHOOTING, 1817, vol. 51.

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

HUNTING FOR MOOR GAME, 1823, vol. 4 ; engraved by Thos. Landseer.
TERRIERS AND POLECA T, 1824, vol. 5 ; engraved by J, Scott.

124

THE SARTORIUS FAMILY.

John Sartorius. (Born «Vf a 1700. Died 1780.)
FRANCIS SARTORIUS. (Born 1734. Died 1804.)
John N. SARTORIUS. (Bom «Vca 1755. Bled circa 1828).
John F. sartorius. (Born circa 1775. Died circa 1831).

' I 'HIS family furnishes a stril^ing instance of
-■■ hereditary talent. The artistic gifts which
have made the name of Sartorius famous were
possessed in greater or less degree by five con-
secutive generations of the family ; for John's father,
Jacob Christopher Sartorius, was an engraver of
Nuremberg, whose plates bear dates from the
year 1694 to 1737 inclusive. Jacob Christopher,
so far as we have been able to discover, did
not devote himself to pictures of animal life or
of sporting interest, and he therefore demands
at our hands none of the attention which is the
meed of his descendants.

The published records of the lives of John,
Francis, John N. and John F. Sartorious, are
very meagre ; they seem to have been compiled
from such information as the biographer chanced

I
o

LiJ

1-
<

JOHN SARTORIUS 1 25

to possess, and afford no evidence of attempt to
secure completeness. The particulars now given
have been collected from all the sources ordinarily
available, and also represent the fruit of much
research over a wide field. Close personal examina-
tion of paintings and engravings has been necessary
to render justice to each member of this family
of artists — a task of no small difficulty, as many
pictures are signed by, or described as the handi-
work of Sartorius Senior or Sartorius Junior, the
initials being omitted.

John Sartorius was born in Nuremberg,
about the year 1700. It has not been possible
to trace the date which saw his departure from
Bavaria and settlement in England. The earliest
evidence of his residence in this country occurs
in connection with a picture which he painted for
Mr. Panton about 1722. This is a portrait of a
celebrated mare, named Molly, who had won
upwards of twenty matches, and never sustained
defeat until she started in the race which proved
fatal to her. She had been matched to run at
Newmarket on 2nd November, 1723, against the
Duke of Bolton's famous horse Terror and two
hours afterwards against Badger. While running
the first match she was suddenly taken ill, with what
malady we are not told, and died almost on the
course, between the stand and the rubbing house.

1 26 ANIMAL PAINTERS

^" 1735 John Sartorius painted for the Duke of
Bolton a portrait of the celebrated racer Looby ;
the horse is represented being ridden at full gallop.

In 1741 he painted for William Osbaldeston,
Esq., the portrait of a racehorse, named Old
Traveller, with the jockey Stephen Jefferson in
the saddle; and in 175S, for the Duke of
Kingston he did a portrait of the racehorse
Careless ; he also painted portraits of other horses
famous on the Turf in their day, some few of which
have been engraved.

He contributed one picture to the gallery of the
Society of Artists, a body which was estab-
lished in 1760; to the exhibitions of the Free
Society of Artists, which came into being in 1761
and was broken up in 1783, he sent no fewer
than si.xty-two works. His name occurs only once
in the catalogues of the Royal Academy ; in the
e.xhibition of the year 1780 he was represented
by the " Portrait of a Horse." He was then living
in London at 108, Oxford Street ; and there he
probably died in 1780, having then attained to
about his eightieth year.

Francis Sartorius, born in 1734, was the

son of John, from whom he learned the art of
painting. His portraits of horses and pictures of
sporting subjects gained him great celebrity ; he

FRANCIS SARTORIUS I 27

appears to have been the fashionable horse-painter
of his day, for it is recorded that he produced
more portraits of winners on the Turf during the
latter half of the eighteenth century than any artist
of the time. It is stated that he painted more
pictures of Eclipse during the zenith of that great
horse's fame than did all his contemporaries put
together. Eclipse was foaled 1764 and died 1789.

For the Duke of Grafton he painted the por-
trait of Antinous, foaled in 1758; also that
of Herod, bred in the same year by the Duke
of Cumberland. For Mr. Latham he painted the
portrait of the famous mare Snap, foaled in 1759;
for Mr. Shafto that of Cardinal Ruff, foaled
in 1760, and afterwards the property of Lord
Grosvenor ; and for the Marquis of Rockingham
the portrait of Bay Malton, foaled in 1768.
Some of these pictures of race horses were after-
wards engraved by John June and published
between the years 1760 and 1770. Other works
of his were also engraved or mezzo-tinted.

At Aynhoe Park, Banbury, the residence of
Mr. W. C. Cartwright, late M.P. for Oxfordshire,
Banbury Division, there is a hunting group painted
in 1764. This work, which was formerly in Jus-
more House, Oxfordshire, represents W. and H.
Fermore, with a friend, hunting in Aynhoe Park.
The three gentlemen wear black coats and are

128 ANIMAL PAINTERS

attended by three hunt servants in green Hveries.
A pack of harriers are in full cry after a hare in
the distance ; a view of Aynhoe House with church
and grounds forms the background. The canvas
measures 4 feet 1 1 inches by 2 feet 1 1 inches.

Another picture which deserves mention was
his portrait of a famous trotting mare which
belonged to Mr. Bishop. She stood for her por-
trait after her great performance on the Epsom
Road, when she covered sixteen miles in one hour,
carrying 1 2 stone ; she was afterwards matched to
trot 1 7 miles in the hour under the truly crushing
weight of 16 stone 4 lbs. ; the match was to have
come off on the Hertford Road, but for some
reason was not run, and Mr. Bishop received 150
guineas forfeit. This picture was included in the
catalogue of those belonging to the late Duke of
Hamilton, sold at Christie's in November, 1898:
by an obvious error it was attributed to John F.
Sartorius, the grandson of Francis.

In 1767 the artist painted "A Celebrated Race,"
which was run over the Beacon Course, Newmarket,
on the 20th April, 1767. There were four entries
at 500 guineas each, horses carrying 8 stone 7 lbs.
— featherweights in those days when 10 and 12
stone were the usual penalties. The picture shows
the result, which was as follows: Lord Rockingham's
Malton, I ; Sir J. Moore's King Herod, 2 ; Lord

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FRANCIS SARTORIUS I 29

Bolingbroke's Ting, 3 ; Mr. Shafto's Askam, 4.
The size of this canvas is 6 feet 3 inches by 4 feet
I inch. The picture was for many years in the
possession of the late Mr. Richard Tattersall, and in
1884 it was purchased for the Elsenham Collection.

Francis Sartorius was an occasional contributor
to the Sporting Magazine ; the volumes 2, 4, and 6,
for the years 1793, 1794, and 1795, respectively,
contain four excellent engravings from his works ;
one plate by Thomas Cook of the celebrated race-
horse Waxey by Pot-8-os, the property of Sir
F. Poole, Bart., shows the horse standing with
the groom at his head ; and another in the same
volume engraved by J. Walker from the por-
trait of Dragon, a horse bred by the Duke of
Bedford. The other enorravinofs are from the
artist's " Staa Chase throusfh the Thames" and
the portrait of Mr. Bishop's trotting mare, to
which reference has been made.

To the various London Galleries he contributed
some thirty-eight works altogether : twelve to the
Royal Academy exhibitions between 1775 and
1 790 ; seven to the Society of Artists and twenty
to the Free Society of Artists between 1773 and
1 79 1. His addresses in London during the years
he was exhibiting are given as : 10, Meads Court,
Dean Street, Soho ; i, Macclesfield Street; and

17, Gerrard Street, Soho.

Q VOL. n.

130 ANIMAL PAINTERS

Francis Sartorius died on 5th March, 1804, in his
seventieth year. All that is known of his private
life is contained in the following rather quaint
passage taken from the memoir which was pub-
lished in the Sporting Magazine for April of that
year. Having referred in terms of praise to his
artistic abilities, to the universal respect in which
he was held, and to his conscientious discharge of
all private duties, the writer proceeds : —

" By those who had his acquaintance he was known as an
affectionate father and hospitable friend, and if matrimony
be considered one of the predominant blessings of this life,
he enjoyed much more than most married men would have
considered enough, having been married to and cohabited
successively with five wives, the fourth of whom he lost
about the time of his fiftieth year ; the fifth and last lived
with him in the utmost extent of domestic happiness for
twenty-seven years relinquishing this life for a better only
in January last. The loss so powerfully preyed upon his
spirits that he gradually declined and survived her no more
than six weeks."

The writer obviously errs in stating that the
artist enjoyed the society of his fifth wife for
twenty-seven years ; his fourth wife died when
he was about fifty years of age, and he himself
died twenty years afterwards.

Though hunting scenes do not figure largely
among the paintings of Francis Sartorius, it may
be conjectured that he was fond of the sport,
from the lines, which occur in the same Magazine
three months after his decease (June, 1804) :

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JOHN N. SARTORIUS I31

" No more the bright dewdrops that sparkle in morn
Are swept by his swiftness away,
No more the loved halloo or shrill sounding horn
Awake to the sports of young day."

WORKS OF FRANCIS SARTORIUS.

EXHIBITED IN THE ROYAL ACADEMY (12 in number).

YEAR

1775— W FAVOURITE HORSE.

1782— (2) PORTRAIT OF A HACK— PORTRAIT OF A SPANISH DOG.

\^^^— PORTRAIT of a cart horse.

1785— /4 SPANIEL.

iyi&-PORTRAIT OF A HORSE.

1787— (2) PORTRAIT OF A COACH HORSE— PORTRAIT OF A HUNTER.

ijSS— PORTRAIT OF TIVO HORSES.

178^3) AN OLD DOG AND HORSES — A PAIR OF HIS MA/ESTi^S

COACH-HORSES.
t-jgo—AN OLD DOG AND HORSES.

PLATES IN THE SPORTING MAGAZINE (4 in number).

STAG CHASE THROUGH THE THAMES; engraved by Thomas Cook, 1793, vol. 1.
PORTRAIT OF .MR. BISHOP'S TROTTING MARE: engraved by Thomas Cook,

1794, vol. 4.
WAXEY, the property of Sir F. Poole, Bart. ; engraved by Thomas Cook, vol. 6.
DRAGON^ the property of the Duke of Bedford, got by Woodricker out of June, engraved

by I. Walker, 1795, vol. 6.

John N. SaRTORIUS, born about the year
1755, was the only son of Francis. He began his
artistic career at a period in history which gave
him an advantage over his father and grandfather ;
nothing had been done in their day towards
encouraging study of the Fine Arts in England ;
schools of painting were unknown and individual
ability developed undirected.

132 ANIMAL PAINTERS

In 1769, the Royal Academy was established
to foster promising talent ; such eminent pioneers
as Sir Joshua Reynolds, Sir Henry Raeburn
and John Constable, among others, were creating
and elevating British schools of art at this
period. Animal painters in particular now enjoyed
exceptional opportunities for perfecting themselves
in those branches of knowledge mastery of which
is essential to success. A celebrated anatomist
named Joshua Brookes had established a Museum
and Anatomical School in Blenheim Street, where
he gave lectures to young students on the structure
of quadrupeds, birds and fishes. Painters of horses,
too, could profit by the wonderful results of George
Stubbs' industry, his great work on The Anatomy of
the Horse with its twenty-four engraved plates,
having been published in the year 1766.

John N. Sartorius with his natural artistic
ability, doubtless took advantage of these schools
of painting ; he must also have gained a know-
ledge of sport, as the turf, the hunting field, the
gun, the kennel and the leash furnished subjects
for his prolific brush ; and whether he dealt with
equine portraiture pure and simple, with hunting,
shooting or coursing scenes, he betrayed intimate
knowledge of each sport and invested his pictures
with remarkable spirit and animation.

He counted his patrons among the leading

JOHN N. SARTORIUS 1 33

Sportsmen of his time ; among them, the Prince of
Wales, the Earl of Derby, Lord Foley, Sir Charles
Bunbury, the Right Hon. C. J. Fox and Mr.
Christopher Wilson.

In the year 1780 he painted a pair of pictures,
the portraits of Two Hacks, one with the cropped
ears in vogue at the time. These were among
the collection belonging to the late Duke of
Hamilton, sold at Christie's in November, 1898.

John N. Sartorius first appears as an exhibitor in
the year 1778, and from that time onwards till a few
years before his death he was constantly represented
in the various London galleries. To the Royal
Academy exhibitions he was a frequent contributor :
during the forty-one years, 1 781 to 182 1 inclusive,
only three catalogues do not contain mention of
works from his brush ; he exhibited at the Royal
Academy altogether some 74 pictures, either animal
portraits or sporting subjects.

At Tendring Hall, Suffolk, the seat of Sir Joshua
Rowley, Bart., there is an interesting hunting piece
dated 1797 ; it is a portrait of Sir William Rowley,
Bart., on horseback, with hunt servants and two-
and-a-half couple of his favourite hounds. Sir
William was master of a pack which hunted a
country in Essex and Suffolk from about 1787 to
1797. This canvas measures 2 feet 11 inches by 2
feet I inch.

134 ANIMAL PAINTERS

He was a liberal contributor to the Sporting
Magazine, and the volumes between 1795 and
1827 contain numerous engravings from his works.

In vol. vii. for December, 1 795, are two inte-
resting plates engraved by J. Walker. One is a
portrait of the race horse Escape, with his trainer
and jockey standing at his head. This famous
son of Highflyer, foaled in 1785, was bred by Mr.
Franco and sold by him for 1,500 gs. to the Prince
of Wales, for whom he won many important races
during the three years 1788-91. The second
plate is a portrait of Grey Diomed, with his
trainer, jockey and a stable lad. Grey Diomed,
by Diomed, foaled in 1785, was bred by Sir Charles
Bunbury, who sold him to the Hon. Charles James
Fox in 1787. In October, 1789, however. Sir
Charles bought back the horse, who won numerous
races in 1788 and years following to 1792. The
pictures from which these plates were taken were
also engraved in full size, viz. : 205- by 15I- inches,
by Daniel Dodd, and published by R. Pollard in
1792.

In Vol. 20, for May, 1802, an engraving from his
picture of Phenomena, a famous trotting Hackney
mare which belonged to Mr. Joseph Robson, of
Little Britain ; this plate accompanies an account
of the mare's wonderful performances on the road
between Cambridge and Huntingdon, and after-

JOHN N. SARTORIUS 1 35

wards near Woodford, in Essex. The picture of
Phenomena was also engraved on large scale by
Whessel for separate publication.

In Vol. 66, for June, 1825, an engraving by
J. Webb, from a portrait of Eclipse, with Jack
Oakley up, galloping on the Beacon Course,
Newmarket. Oakley was well known as a jockey,
both in England and France, at this period. The
inscription on this engraving states that the plate
is " from a painting of Sartorius the Elder," and
the name engraved thereon is "J. N. Sartorius:"
but as Eclipse was running on the turf, and in his
zenith about 1770, it must be concluded that the
painting by John N. Sartorius was done from a
sketch taken from life by his father Francis.

Among the many horse-portraits painted by John
N. Sartorius, mention may be made of Sir Thomas,
engraved by J. W. Edye, the plate measuring i6|
by 12 inches ; Champion, the plate from which
measures 1^^ by gj inches ; the copy of the former
engraving before the writer bears no publisher's
inscription, and from the latter, names of both
engraver and publisher are wanting. Rockingham,
engraved by J. W. Edye, size of plate 16J by 12
inches, and published on 25th April, 1789, by J.
Harris, of Sweeting's Alley, New Broad Street,
London. Cormorant was engraved and published
on 1st March, 1795, by J. Aitkin, of Castle Street,
Leicester Square ; size of plate 19} by i6| inches.

I ^6 ANIMAL PAINTERS

Mr. H. \V. Estridge, of Minety House, Minety,
Malmesbury, has in his possession and kindly sends
particulars of a hunting picture which was painted
by John N. Sartorius for his uncle who formerly
lived at Carshalton Park. Surrey. This work is
about 3 feet long by 2 feet 6 inches high ; in the
foreground two couple of hounds are killing their
fox, while another leaps a five-barred gate on the
right to join them ; in the immediate background
the huntsman is giving a " who-oop ! " as he leads
his horse down a steep bank.

The Sportsman s Repository of the Horse and
Dog, by John Scott, published by Bohn, of York
Street, Covent Garden, in 1845, seventeen years
after the death of J. N. Sartorius, contains two
admirable plates by the famous engraver John
Scott, from pictures by this artist, viz., plate i, the
portraits of Eclipse and Shakespear ; plate 2, Flying
Childers and King Herod. On plate i is inscribed
under the portraits of Eclipse and Shakespear the
following : " Painted by J. N. Sartorius, after
drawing from the life of his father, published by
Sherwood, Neely and Jones, Paternoster Row,
January, 1820." Plate 2 has inscribed under the
portraits of King Herod and Flying Childers,
" Painted by J. N. Sartorius, the portrait of Herod
after a drawing from the life by his father and
Flying Childers, from the original picture by

JOHN N. SARTORIUS 1 37

Seymour." And in an article in the publication of
1845 describing the plates and giving particulars of
the achievements of the four horses this passage
occurs : " The name of Sartorius as a horse
painter of distinguished merit has been long
known in this country, and the son has diligently
and ably followed his father's steps. The por-
traits are both copies : that of Eclipse by the
younger (John N. Sartorius), from a painting by
his father (Francis Sartorius), for the truth, both in
form and character, of which we can vouch ; that of
Shakespear by the same, from the original, we
believe, by James Seymour."

In a work (imperial 8vo), entitled " The Chase,
to which is added Field Sports by William
Somerville, Esq.," by Edward Topham, Esq., pub-
lished in 18 1 7, by Sherwood, Neely and Jones,
Paternoster Row, there are six e.xquisitely executed
engravings by John Scott, from paintings by John
N. Sartorius, viz.: "Unkenneling," "The View,"
"Stag at Bay," " Otter Hunting," " Hare," " Otter
in a Tree."

Many of his works were engraved for separate
publication, viz., " Amatch " between Sir Harry
Tempest Vane's Hambletonian and Mr. Joseph
Cookson's Diamond. This race was run in 1799
over the Beacon Course at Newmarket, 4 miles
2 furlongs, the stake being 3,000 gs. a side.

8 AKIMAL J-AINTERS

Hambletonian, ridden by Frank Buckle, 8 stone
3 lbs., beat Diamond, who was ridden by Dennis
Fitzpatrick, 8 stone. The time of the race is
recorded as 8|- minutes only. The engraving from
this picture, executed by A. Lessell, was published
in i8oo by John Harrison, London ; size of plate 2i|^
inches by 14 inches.

A set of four foxhunting pieces published in
1790 and 1795 by John Harris, and dedicated
by him to Charles Boldero, Esq., of Aspenden,
Herts. These plates, which measure 24 inches
by 1 7 inches each, are the joint work of Peltro,
who was responsible for the landscapes, and J.
Neagle, to whom the figures were entrusted.
Lines from Somerville's "Chase" appear beneath
the pictures.

Another very able piece of work is a mezzotint
engraving executed by William Ward from the
artist's picture of " Pointers," a brace of dogs
standing to game ; this plate measures 1 6^ inches
by 13I- inches.

Lord Rothschild has at Tring Park two hunting
pieces which give an excellent idea of the style of
dress and character of the sport at this period.

John N. Sartorius married very early in life.
It is recorded that he lived at an inn at Carshalton
and painted most of his pictures there ; little or
nothing is known of his domestic life. Numerous

WORKS OF JOHN N. SARTORIUS 1 39

sporting pictures remain to prove the assiduity
with which he worked at the easel during his long
and industrious career. Many of the works are
of large size. He died about 1828, when he would
have been about ']2, years of age. He left two
sons, John F., who painted sporting subjects, and
Francis, a painter of marine subjects.

WORKS OF JOHN N. SARTORIUS.

EXHIBITED IN THE ROYAL ACADEMY (74 in number).

1781— (2) PORTRAITS OF TWO HORSES— PORTRAIT OF AN OFFICER ON

HORSEBACK.
1782— (3) PORTRAIT OF A COW— AN OLD FAMOUS HUNTER— PORTRAIT

OF TWO HUNTERS.
\lii— PORTRAIT OF A SHOOTING PONY AND DOG.
1784— (2) PORTRAIT OF A HUNTER— A HUNTER.
17SS— HORSES.

17S6— PORTRAITS OF TWO HUNTERS.
1787— GOING OUT IN THE MORNING— THE CHACE.

1788— (2) PORTRAIT OF A HUNTER— LANDSCAPE IN WHICH IS INTRO-
DUCED A NEW INVENTED CARRIAGE.
1791— A HUNTER.

1792— (2) INSIDE OF A STABLE— A STRAW i'ARD.
^793— (.2) PORTRAIT OF A HUNTER — PORTRAITS OF A GENTLEMAN

AND DOGS.
1794— (2) ^ GENTLEMAN SHOOTING— TRUE BLUE, lale the property of the

Prince of Wales.
i795-<2) THE DEATH OF A HARE-GENTLEMAN SHOOTING.
i7<}6— {2) PORTRAIT OF A FAST-TROTTING MARE — PORTRAITS OF A

SHOOTING PONY AND DOGS.
i797-<7) ^4 GENTLEMAN AND DOGS — A FAST-TROTTING HORSE —

GOING A-COURSING— A RABBIT FERRETER — PORTRAIT OF

HORSES— .4 FATTENED FRENCH COW— PORTRAITS OF DOCS.
1798— (6) Portraits of:— /I CHAISE HORSE— A HACKNEY— AN OLD HUNTI.VG

MARE—FASTTROTTING HORSE— .MR. WESTCAR'S FAT HEIFER

—A VERY OLD HORSE.
1799— (2) .MR. WESTCAR'S GREAT OX— PORTRAIT OF COACH HORSES.
■Aa^— PORTRAIT OF A HUNTER.
iSoi—DIA.MOND.

140 ANIMAL PAINTERS

i8o2-(2) Portraits of :—.•! HORSE— A CART HORSE.

■8o3-(3) Portraits of:-/} LADVS HUNTER— A FAST-TROTTING HOBBY— AN
ARABIAN.

lio^-POR TRAITS OF TWO HACKNEYS.

1805— (3) PARTRIDGE SHOOTING— AN IRISH HACKNEY— A HACKNEY.

i8o5-(2) A HUNTER— PORTRAIT OF A HORSE.

1S07— (2) HORSES AT A COVER SIDE— A YOUNG LADY ON HORSEBACK.

iS<a-(i) FLYING LEAP: FOX DYING — PORTRAIT OF A STALLION-
PORTRAIT OF A PUG DOG.

jiog— (3) SPANIELS FLUSHING A IVOODCOCK — MR. BUTLER'S MISS
COINER— LORD FOLEY'S COMRADE BEATING MR GOODISONS
FOXBURY, AND MR. BUTLER'S EPSOM FOR THE PLATE OVER
EPSOM, 1808.

1810— {2) PORTRAIT OF A SPANIEL— PORTRAIT OF A CART HORSE.

\ii-i— PORTRAIT OF FAST-TROTTING HORSE.

1S13— PORTRAIT OF AN ARABIAN.

1814— (2) SMOLENSKO— SHOOTING PONY, AND ROLLA.

liiS—A F.4ST-TR0TTING CART HORSE.

i%\b— REMARKABLE THREE-YEAR-OLD DEER, property of the Karl of Derby.

1817 — TINY, favourite spaniel,

iSiS— SHOOTING PONY AND SETTER.

iSig— BROOD MARE AND FOAL.

1S20— BLOOD HORSE.

1 82 i—GREYHO UNDS.

1824— (2) BROOD MARE AND FOAL-PONY AND DOC.

PLATES IN THE SPORTING MAGAZINE (45 in number).

1795 — ESCAPE, the property of Prince of Wales, purchased of Mr. Franco for 1,500

guineas ; engraved by Walker.
lygS-GREY DIOMED, bred by Sir Charles Bunbury ; engraved by Walker.
1796 — ELIZA, property of Christopher Wilson, Esq. ; engraved by J. Scott.
tTJb—BENNINGBROUGH, property of Christopher Wilson, Esq. ; engraved by J. Scott
1796 — BUZZARD, got by Woodpecker, the properly of Christopher Wilson, Esq. ; engraved

by J. Scott.
i79i— PA TRIOT; engraved by J. Scott.

1798 — WHISKEY, got by Saltram, bred by Prince of Wales ; engraved by J. Scott.
\1<n— DIAMOND, got by Highflyer.
^199—HAMBLETONIAN; engraved by J. Scott.
1799 — SALTRAM, Si son of Eclipse, late the property of Prince of Wales; engraved by

J. Scott.
iigg—BELISSIMA BEATING ll'ARTER AND DIAMOND AT OXFORD

RACES, 1799; engraved by J. Scott.
zygg—DON QUIXOTTE, a son of Eclipse, purcha.sed for Soo gs. by the Prince of Wales,

was a very successful racer ; engraved by J. Scott.
lica—PLAY OR PAY; engraved by J. Scott.
1800— i'/i'}' SCRAPER ; engraved by J. Scott.
ilaa— TRAVELLER ; engraved by J. Scott.

JOHN F. SARTORIUS I4I

1800 — JOHNyV, by King Fergus, property of Mr. Durrant ; engraved by J. Scott.
lioa— DUNG ANNO N BEATING ROCKINGHAM AT NEWMARKET; engraved

by J. Scott.
iSoo— FAR R/ER'S SHOP; engraved by J. Scott.
z2cxf—BRyA.YS O'LYNN, the properly of Mr. Graham.
lioi—TEABOV BEATING HEPHESTION AND GREY FALCON OVER

EPSOM, 2ist May, 1801 ; engraved by J. Scott.
1801 — BLUECAP, a celebrated foxhound, the property of Smith Barry, Esq., of Cheshire ;

engraved by J. Scott.
xZai— FLYING LEAP.
\1ai— PHENOMENA, the property of Mr. Joseph Robson— .47V^ EXTRAOR BINARY

TROTTING MARE.
1S02—STANDING LEAP, hunter about to leap over a five-barred gate.
i8o2— <5) THE IFARRENER ; engraved by J. Chapmm-HORSE FALLING FROM

A PRECIPICE- UNKENNELLING THE HOUNDS ; engraved by John Pye

—THE HYDE PARK DISASTER— THE CURRICLE AND HORSES;

engraved by Englehart.
1803 — ROTTEN ROIV, principal figure supposed to be the Prince; engraved by John Pye.
iZo-i-DRAU'ING COYER ; engraved by J. Scott
1B03— THE CHASE; engraved by J. Scott.
1803— yl T FAULT; engraved by J. Scott.
1803— DIGGING THE FOX; engraved by J. Scott.
zSai— THE DEATH; engraved by J. Scott.
iScn— MOLL TOMSON AND HAREFOOT, with a view of the Well-Gap, Newmarket ;

engraved by J. Scott.
lia^-PHEASANT SHOOTING ; engraved by J. Scott.
lio^— GROUSE SHOOTING; engraved by J. Scott.
iSo^— PARTRIDGE SHOOTING; engraved by J. Scott.
iBos—SN/PE SHOOTING; engraved by J. Scott.
lios-lYOODCOCK SHOOTING; engraved by J. Scott.
iSos— HEAD OF OLD ECLIPSE.

iSio— MISS COINER, got by Don Quixote ; engraved by J. Scott.
i%\i— WHISKER AND RAPH.AEL, the Duke of Grafton's Whisker heating General

Gower's Raphael over Epsom, 25th May, 1815.
■Alb— SEAGULL AND ESCAPE, the Right Hon. C. J. Fox's Seagull beating Prince

of Wales' Escape for Oatlands Stakes.
1817 — X V Z, by Haphazard, bred by R. Riddell, Esq., winner of nine gold cups between

1811 and i8t4.
\ZA— TROTTING CART HORSE, the property o( T. Greaves, Esq.; engraved by J.

Scott.
^iit,—ECLIPSE, WITH J. iCK OAKLEY, UPOVER BEACON COURSE; engraved

by J. Webb.
i827-^/.£'Z'C'.ff.-f.

John F. SarTORIUS, the elder son of John
N., was born about the year 1775. He displays
no inconsiderable share of talent in painting

142 ANIMAL PAINTERS

pictures of the school made their own by his
ancestors, but his abilities as an artist are not
equal to those of his father. His hunting pieces
are spirited, indicating, moreover, knowledge of
country life and pursuits ; some of his works were
done on a large scale ; but his output was small
compared with that of his parent ; in regard to
this it must be borne in mind that he had not
only his famous father to compete against during
the greater part of his life (he seems to have
survived John N. only some three years), but
numerous clever rivals whose talents, while inferior
to those of his father, were superior to his own.

His first works in the Royal Academy were
shown in the exhibition of 1802, when his address
was 17, King Street, Holborn ; these were two
portraits, one of a mare named Isabella, the other
of a colt named Edmund. John N, Sartorius
had a couple of horse portraits in the exhibition
of that year, and the ddbiit of a son following in
his footsteps must have been remarked ; no doubt,
too, the young man's works attracted some notice
on their own merits ; at all events, we have evi-
dence in an autograph letter, possessed by the
author, that John F. Sartorius was at this time
beginning to find patrons. The letter is worth
quoting, as it affords an idea of the prices a young

JOHN F. SARTORIUS I43

painter set upon his pictures at the beginning of
the century. There is nothing showing to whom
this missive was addressed. It is the answer to
an enquiry made, as it would appear, on behalf
of a publisher or dealer in works of art.

No. 18, Warwick Street,

Golden Square,

December i^^tk, 1802.
Sir,

I can furnish you with the Race of Hamhletonian and
Diamond at 3 guineas. A design of the King's Stnghound
at the same price. (The size of the pictures, 16 inches by
13 inches). The Portrait of a Racer will be 2 guineas (the
size 12 inches by 14 inches), provided the pictures are
returned when done with [after being engraved] . But if
the publisher wishes to possess them entirely he may have
them on the addition of 2 guineas each. The pictures
shall be finished in the best manner and expeditiously as
possible.

I'll take the opportunity of calling on you in a day or two
for an answer.

I am,

Yours, &c.,

John Sartorius, Junior.

The artist seems to have painted several pictures
of this race and portraits of the horses. Among
the engravings in the late Duke of Hamilton's
collection, sold at Christie's in November, 1898,
was a pair entitled " Hamhletonian and Diamond
over the Beacon Course ; " one shows the horses
going out, the other the struggle at the winning
post. These plates were engraved by Whessel and

144 ANIMAL PAINTERS

printed in colours. A picture of " Bay Malton
beating King Herod at Newmarket, 1767," in this
collection is attributed to John F. Sartorius ; if
correctly, the work was no doubt a copy of that
painted by Francis Sartorius and referred to on a
previous page as having been long in the posses-
sion of Mr. Richard Tattersall.

There are many engravings in the volumes of
the Sporting Magazine from 1805 to 1827. During
this period, however, John N. Sartorius was also a
constant contributor, and it is not always possible
to distinguish with absolute certainty between
the works of father and son. The similarity of
subjects chosen, the fact that many plates are
signed "Sartorius" without initials, the fact that
John Scott was the engraver of the works of
both father and son, and the extreme probability
that the senior lent frequent aid to the junior
in " touching up " and improving his pictures,
thereby investing them with something of his
own individuality, in some cases combine to render
the task of discriminating between the two prac-
tically hopeless.

John F. was only an occasional exhibitor at
the Royal Academy ; between the years 1 802
and 1829 his contributions numbered sixteen. If
his offerings were not always accepted by the
Hanging Committee he only shared the fate of

I-
<

t-
<

o
o

JOHN F. SARTORIUS 1 45

Other artists of equal or greater competence. A
letter, dated "Queen's Elm, April, 1828," which
lies before the author, reads : —

Sir,

I have sent two pictures: (t) Portrait of a Favourite
Terrier, the property of Mrs. Hill, Spring Gardens Terrace ;
(2) Dead Game and a Jack Snipe.

I am,

Your obedient servant,

J. F. Sartorius.

This refers to the artist's offerings to the
Royal Academy for that year's exhibition. " Dead
Game and a Jack Snipe " was duly shown, but
that portrait of Mrs. Hill's favourite terrier was
less fortunate, the catalogue making no mention
of the work.

An engraving from the picture exhibited in 1806
is here given to illustrate the style of John F.
Sartorius. It is entitled " Coursino- in Hatfield
Park," and the central figure represents one of
the artist's best patrons, the Marchioness of
Salisbury.

This lady was one of the most remarkable
sportswomen of her own or any other day. She
established the Hatfield Hunt, whose affairs she
directed for many years, seldom being absent
from the covert side on hunting days. She is
described as having been an elegant and accom-
plished horsewoman, who rode with equal intre-

10 VOL. II.

146 ANIMAL PAINTERS

pidity and judgment. No day was too long for
her, and she was ever anxious to show the field
which was generally a large one, the best of sport.
She continued to preside over the Hunt until in
her seventieth year.

Even at the great age of eighty-six she was
still fairly hale and vigorous, and up to her last
season in London seldom omitted her daily ride
in the Park, or, when the weather was unfavour-
able, in the King's Riding School at Pimlico,
where she spent an hour in the saddle. Her
painful death in November, 1835, created a great
sensation at the time. The day after her arrival
from London she was alone in her boudoir,
in the west wing of Hatfield House, writing a
letter ; her cap came in contact with the candles
on the table, her clothes took fire and before aid
came she was burned to death.

She was a great patron of both art and sport.
The first volume of the Sporting Magazine for
the year 1792 contains a series of articles descrip-
tive of " Archery, its Origin and Progress in the
Kingdom," from her pen. An engraving by Cook
after Corbould, entitled " Archery at Hatfield,"
accompanies a chapter of the series.

John F. Sartorius died about the year 1831.

WORKS OF JOHN F. SARTORIUS 1 47

WORKS OP JOHN F. SARTORIUS.

EXHIBITED AT THE ROYAL ACADEMY (16 in number).

YEAR

1802(2) A Mare ISABELLA AND FOAL— EDMUND, a colt.

xioi—SPANlELS.

1S06—COURS/NG IN HATFIELD PARK, the Marchioness of Salisbury and others

on horsebacii.
1809(2) A PARTRIDGE— A SNIPE.
i8ii— -4 GROUSE SKETCH FROM NATURE.
1817 (2) A COUPLE OF SNIPES— A BR.4CE OF PTARMIGANS.
1818(2) WOODCOCK-GOLDEN PLOVER AND SNIPES.
\iia-GROUSING, WITH PORTRAITS OF FAVOURITE DOGS.
i%ii-PARTRIDGES AND SNIPES.

iZ2-i— GROUSE SHOOTING, WITH PORTRAITS OF DOGS IN CUMBERLAND.
1S2S—DEAD CAME AND A JACK SNIPE.
ji2g— DEAD GAME.

PLATES IN THE SPORTING MAGAZINE (6 in number).

iSos— COURSING AT HA T FIELD ; engraved by John Scott.

liai-SANCHO BEATING HANNIBAL AT BRIGHTON; engraved by H. R. Cook.

1S06-SHOIVING A HORSE.

iSog— HUNTER'S STABLE.

iSo6—F0UR-INHAND CARRI.4GE; engraved by John Scott, from a design by

Messrs. Savage and Walter, Lincohi's Inn Fields.
jSiS-SMOLENSKO BEATING CATERPILLAR AND THE HAPHAZARD

COLT FOR THE DERBY, 1813.

148

JOHN SCOTT.

(Born 1774. Died 1827.)

JOHN SCOTT was born at Newcastle-on-
^ Tyne, in the year 1774. His parents were
evidently in humble circumstances, for the boy
began life as apprentice to a tallow chandler. A
considerable number of the artists whose works
have been noticed began life under conditions
which might well have stifled the artistic instinct ;
but surely never did parent of future artist make
less happy choice than did Scott, senior, when he
bound his son apprentice to Mr. Greenwell, who
carried on the business named in the old Flesh
Market of Newcastle. It is true there is nothing
to show that the young Scott had evinced any
marked aptitude for the career in which he was
destined to excel ; but the difference between the
vocation into which he was inducted by his parents,
and that for which Nature had so liberally endowed
him, is so wide as to be almost grotesque.

He was probably handicapped with little educa-
tion when he entered Mr. Greenwell's service ; but
the inborn artistic spirit quickly developed, for

JOHN SCOTT 149

during his apprenticeship we find him haunting the
premises of a local engraver from whom he
acquired a knowledge of both line and mezzotint
engraving. Of the man who was thus instrumental
in helping the future artist to learn the rudiments of
his real profession little is known. From the fact
that he was on his way home from Newcastle races
when he was waylaid and cruelly murdered we
may infer that he was a man of sporting tastes ;
and perhaps his proclivities may have influenced
the direction of his pupil's talents.

Though the tallow-chandlery business must have
been at least uncongenial to a youth of artistic
temperament, Scott remained with Mr. Greenwell
until his indentures expired, when he left the shop
and took up the graver's tool in earnest. Suc-
cess was waiting for him, as his first task was to
engrave a series of profile portraits for Angus'
French Revolution. Among his Newcastle friends
Scott numbered a Mr. Fisher, parish clerk of St.
Nicholas Church ; Mr. Fisher was also proprietor
of a circulating library, and thereby came in con-
tact with the educated classes. To a gentleman
who frequented his library Mr. Fisher showed
examples of Scott's work, including his maiden
effort, a plate entitled " Duck Shooting," taken from
a schoolboy's copy book. The gentleman was so
favourably impressed by these engravings that Mr.

150 ANIMAL PAINTERS

Fisher allowed Scott to make use of his name in
addressing to Robert Pollard a request for em-
ployment in London. Pollard, also a native of
Newcastle-upon-Tyne, was then plying his craft
in Spa Fields ; his opinion of the specimens of
engraving submitted by Scott is sufficiendy evi-
denced by his reply to the application. He pro-
mised his young fellow-townsman work, and on
Scott's arrival in London, took him not only
without premium, but at a weekly wage, which he
increased in ratio with the young man's progress.

It was in 1795, when Scott was in his twenty-
first year, that his work attracted the notice of Mr.
John Wheble. Mr. Wheble was the founder of
The Middlesex Joui'tial and The County Chronicle-,
and he achieved no little notoriety by identifying
himself with the movements promoted by Wilkes,
Home Tooke, and other fiery politicians ot the
same class. For aiding Wilkes to avoid the law,
Mr. Wheble was summoned to the Bar of the
House of Commons ; he was acquitted, and as
showing the popular feeling of the time, it is worth
noting that the Constitutional Society voted him
an award of 100 guineas in recognition of his
courage in assisting Wilkes to hide. It is not,
however, with Mr. Wheble the politician that we
are concerned, but with Mr. Wheble the book-
seller and journalist. One of the ventures was The

JOHN SCOTT 151

Sporting Magazine, which he started in 1792, and
it was for The Spoiling Magazine that he sought
the services of John Scott.

The first enpraving- bearing- Scott's name
appeared in the issue of that publication for July,
1795; it was entitled "Sir William Rowley's
Dog-Kennels at Tendring Hall, Suffolk," and
from this time onward till 1822 his connection
with the magazine was continuous. The 56
volumes (286 monthly issues) published between
the dates mentioned contain numerous plates
by Scott, several from designs of his own,
others from paintings by various artists.

During the latter part of this period his contri-
butions are less frequent, owing to failure of health
due to overwork ; and were no other evidence
forthcoming to prove the man's wonderful industry,
the number of plates in different publications, and
the detached pieces, many of them of large size,
show that Scott must have worked both physically
and mentally against time. The extent of his
output should at least have brought in returns
considerable enough to tide him over a period of
rest ; but from the following letter, which appeared
in The Sporting Magazine for November, 1822, it
seems that he had not been able to make, or at all
events had not made, any provision against illness,
and that the breakdown in health, which com-

152 ANIMAL PAINTERS

pelled cessation of work, found him practically
penniless : —

" I cannot refrain from expressing to you the pleasure I
felt on viewing the charming embellishment you gave us in
your last number, in the portrait of the celebrated horse
Moses. I must be permitted to say it is one of the best that
has adorned your interesting Miscellany for some time past,
and that is saying not a little.

" But this admiration, Mr. Editor, was mingled with regret
and sympathy when I heard that the unfortunate artist, who
has produced this and numerous other fine specimens of
animal engraving, should be compelled by affliction to make
a public appeal to the charity of his fellow men. It must be
distressing to all, but particularly some, admirers of art to
behold one of its greatest ornaments thus overtaken by the
storms of adversity in the decline of a brilliant career of fame.
I am happy, however, to find on enquiry that Mr. Scott's
bodily health is so far restored as to enable him to resume
his labours partially ; and that his mind lacks none of its
original vigour, the above work, with various others executed
by his own hand, abundantly prove.

" The generosity and charitable feelings of a British public
have again been displayed by commencing a subscription to
shield this unfortunate gentleman from pecuniary difficulties,
and enable him to pursue his profession unmolested. As an
admirer of art, and a lover of philanthropy, I have added my
humble aid, and sincerely hope this laudable attempt to do
good may be fully accomplished.

" I am yours, &c.

" Philanthropos."

It is the more curious that Scott should have
failed to make pecuniary provision against com-
pulsory idleness, for he was evidently impressed
with a sense of the uncertainty of the artist's means
of livelihood, dependent as it is entirely upon his

J.Jackson^ K,A., Pittxt.

JOHN SCOTT

From Kngravin^ l'}' If. R. Fry.

JOHN SCOTT 153

enjoyment of health. That he realised this and
the disastrous results of improvidence would seem
clear from the fact that he was one of the eight
painters who, in 1809-10, established the Artists'
Benevolent Fund for the benefit of decayed artists,
their widows and children ; and there is something
pathetic in the circumstance that (like Robert
Pollard, his first London master), after a protracted
illness of six years' duration, he himself became a
pensioner of the institution in founding which he
had borne a share.

As an engraver, of course, Scott had eminent
predecessors ; among them may be named G. B.
Cipriani (born 1727), who came from Florence to
England in 1755 ; and Francis Bartolozzi (born
1725), also a Florentine who came to this country
in 1764. Cipriani and Bartolozzi were the first
engravers of real eminence ; to them is due credit
for having created a taste for line engraving.
The first English-born engravers were: James Mac-
Ardell (born 17 10), William Wynne Ryland (born
1732), William Mallet (born 1735), Valentine
Green (born 1739), Richard Earlom (born 1743),
and John Raphael Smith (born 1752). Each one
of these established a high reputation as a line
and mezzotint engraver, and each has reproduced
portraits and subject pictures of our greatest artists,
Sir Joshua Reynolds and others.

154 ANIMAL PAINTERS

In one important respect, however, John Scott
is entitled to a place abov^e his predecessors ; it
was reserved to him to found a school of en-
gravers, whose speciality was the reproduction of
pictures of animal life and incidents of sport. A
place may perhaps be claimed for him above all
save the two Florentines whose genius first opened
the eyes of the world to the artistic quality and
beauties of engraving. His conspicuous success
as an engraver must not allow us to forget that
John Scott was also a clever draughtsman and
designer ; he designed, among other plates, many
exquisite pieces which stand as frontispieces to
volumes of The Sporting Magazine and other
publications. He particularly excelled in impart-
ing a life-like expression to his beasts and birds ;
as an instance of his talents in this direction
maybe cited his plate of "The Lurcher," which
appears in The Sportsman s Cabinet, published by
J. Cundee, London, in 1804. This picture, by the
way, was one of the class which Scott considered
by far the most difficult to reproduce by reason of
the delicate handling required to preserve the moon-
light effect.

In every case attention is arrested by the
marvellous skill with which his burin conveys
the sense of texture in the coats of his animals,
and the animation in the eyes of his dogs. The

JOHN SCOTT 155

same publication contains examples of this in his
"Shepherd's Dog" and "The Water Dog"; the
eyes in each case are liquid with light. In the
possession of Charles Dean, Esq., of Lincoln's
Inn Fields, is a copy of The Sportsman s Cabi-
net, published in folio size by Cundee, in 1803.
This is enriched with proofs and etchings, and is
elegantly bound. It contains the brief but im-
portant inscription, " The only copy taken off,
signed John Scott, " and to this particular book
is prefixed a portrait of Scott published by his
widow. This portrait appears at page 152 ; the
original engraving was done gratuitously by Fry
for Mrs. Scott, investing the picture with addi-
tional interest.

Artists sometimes complain, and sometimes with
reason, that the engravers' interpretation of their
work does them injustice. Happy the painter
whose picture was entrusted to Scott ; such was his
artistic talent and so intimate his knowledge of
animal life that he could improve when copying the
picture on his plate. Thomas Landseer, it is worth
reminding the reader, laid his famous brother under
a similar obligation ; his reproductions of Sir
Edwin's great pictures were made with such ability
and artistic feeling that in some respects the merit
of the original was enhanced in the engraving.

It may be justly claimed for Scott that he pos-

156 ANIMAL PAINTERS

sessed not talent but genius ; the clearness with
which his plates are always cut, whether the subject
be animal, bird or figure, betrays the bold, firm hand
of self-confidence. Close and discriminating study
of Nature, nice appreciation of form, and excep-
tional talent in presenting life-like character, blend
to give Scott's work the accuracy of a photograph.
Its excellence was fully recognised in the most
acceptable form — namely, the great demand for his
engravings ; but we must reproduce from The
Sporting Magazine of April, 1832, a eulogistic
notice which, though published after the death of
Scott, was without question inspired by contempla-
tion of his numerous plates : —

" To remark that the art of engraving has now reached a
degree of perfection which leaves other countries far behind
us is almost superfluous, since every picture-shop in London
proves the fact ; but in no department, we may venture to
say, has its genius been so widely exercised. We may also
add, so liberally appreciated as in, and by, the sporting
world."

It is not too much to say that John Scott's com-
bined talents as a draughtsman and engraver
equipped him for the production of works that
have never been surpassed. Among these atten-
tion may be called to the following: —

The plates in Britton's Cathedral Antiqtdties and
in Westall's Illustrations of the Book of Common
Prayer, published by Tresham and Ottley.

JOHN SCOTT 157

"The Cottagers," after one of a series of paintings
by Thomas Gainsborough. Scott's signal success
as an engraver of landscape, as well as of animal
subjects, is proved by the fact that the proprietors
of the publication in which the plate appeared were
compelled by the demand to republish separately
the part containing it.

" The Benevolent Cottager," from a picture in the
collection of Lord de Tabley ; and " Daughter of
Lord Charles Bentinck," from a miniature by Alfred
Edward Chalon, representing the child seated with
a doll in one hand, the other resting on a Scotch
terrier. Scott engraved and published both these
plates on his own account.

His first great works were the plates from
Sawrey Gilpin's " The Death of the Fo.x" (exhibited
at the Royal Academy of 1793), and Philip Rein-
agle's " The Fox Breaking Cover " (exhibited at
the Royal Academy of 1805). Scott's large en-
gravings from these pictures were not executed
until 181 1, eighteen years after the former was
painted. He had the plates in hand for six years.
They display in marked degree his great abilities ;
and on the day the engravings were published,
28th May, 181 1, the Society of Arts presented
John Scott with their large Gold Medal " for having
completed two such works which do so much honour
to his country and himself."

158 ANIMAL PAINTERS

None of Scott's plates are better known to sports-
men of the present day than those exquisitely fine
pieces which he contributed to Daniel's RhtuI
Sports. These pictures include portraits of re-
nowned fox-hounds, harriers, beagles, pointers, and
greyhounds ; of a terrier worrying a fox, greyhounds
coursing a hare, and other beautiful examples of
engraving. In 1827 a copy of Rural Sports, con-
taining numerous rare specimens of engraving,
many from private plates by Scott, and bound by
Thomas Gosden, the renowned London bookbinder,
publisher, and sporting character, was sold to Mr.
Tayleure, printseller, of Waterloo Place, for 90 gs.

In the early numbers of The Sporting Magazine
we find some fine specimens of Scott's work in
plates from portraits of famous race-horses painted
by George Stubbs, R.A. Among these may
be noted those of Ambrosio, Marske the sire
of Eclipse, Mambrino, Shark, Gimcrack, and
Eclipse. In the same publication at later dates
we find numerous plates from the works of our
greatest animal painters; Henry Aiken, J. F.
Herring, Abraham Cooper, R.A., and Ben Mar-
shall. The last named was a close friend of Scott's,
and by long practice the engraver so thoroughly
caught the spirit of the artist that the engraved
print was really a facsimile of the original painting.
In the Sportsman's Repository, published in 1820

JOHN SCOTT 159

by Sherwood, Neely and Jones, is "a series of
highly finished engravings by Scott, representing
the horse and the dog in all their varieties," from
the works of Benjamin Marshall : — The Wellesley
Arabian, the property of the Hon. Henry Welles-
ley ; the race-horse Eleanor, the property of Sir
Charles Bunbury, Bart. ; the hunter Duncombe,
the property of Mr. George Treacher ; Roan
Billy, the property of a gentleman ; The
Charger, the property of General Ward ; the
coach-horse David, the property of Mr. Henry
Villebois ; the cart-horse Dumbling, the property
of Messrs. Horn and Davey.

The Songs of the Chase, the first and second
editions of which were published by Sherwood,
Neely and Jones, London, in 181 1, owed not a
litde of its attractiveness to the illustrations fur-
nished by Scott. The frontispiece is appropriate :
it is a portrait, by Benjamin Marshall, of Thomas
Gosden, and the title-page bears an emblematical
design suggestive of sports and games. Mr.
Gosden carried on his business at 18, Bedford
Street, Covent Garden. He was an enthusiastic
sportsman, well known in the hunting field and
also as a shot. He was the intimate friend of
Benjamin Marshall, John Scott, and other leading
men in the world of art. In a sense, Thomas
Gosden was himself an artist. His style of

l6o ANIMAI, PAINTERS

binding was unique, and his best work was
reserved for books on sport. The covers and
edges of some such works are embossed in gold,
with figures of birds and animals and incidents of
the chase, designed by the most able artists of the
day. A few of his bindings are real works of art,
to which high value attaches. The preface, dated
from Much Hadham, near Bishop Stortford, Herts,
in 1811, is by Thomas Gosden, who bound many
of the editions of this work, which is a collection
of verses on field sports, and includes nearly one
hundred songs on fox hunting, fifty on hare hunting,
and nearly as many in praise of stag-hunting ;
upwards of ninety on hunting generally, on racing
twenty, on shooting twenty-four, and several on
angling, hawking, archery, &c.

A Hack, the property of Charles Bell, Esq.,
painted by Abraham Cooper, R.A., was engraved
by Scott.

The Social Day, by Peter Coxe, Esq., con-
tains five designs : two by James Ward, R.A.,
Swans on the Thames and A Spaniel at a
Tomb ; one by Abraham Cooper, R.A., A Child
found in a Lane by a Traveller ; one by William
Henry Pyne, A.R.A., A Barouche and Four, and
one by George Garrard, A.R.A., A Park Scene,
all of which were engraved by Scott.

A copy of Waltoiis Angler, which Mr. Sotheby

^=^^fe*iiv;

S),^a//._yr/€^^. Q).

'-cwe^

JOHN SCOTT l6l

sold by auction, about the year 1825, to J. Dent,
Esq., for 120 guineas, contained upwards of 800
drawings, etchings, engravings, &c., many of which
were by Scott.

Another edition of Walton and Cotton's Compleat
Angiei' (Samuel Bagsters, London, 1803, on the
largest paper), is very copiously and beautifully
illustrated, containing 254 plates and drawings.
Several of the plates "proof" are by Scott. The
binding, by Thomas Gosden, is probably the finest
example of his art existing, and a MS. note by
his hand on the fly leaf states that " the bands of
the book are made out of the wood which belonged
to Cotton's Fishing House." This book is now in
the Elsenham Hall Library.

Silver Buttons, published by J. H. Burn, London,
1 82 1, display unique application of the art of the
engraver. Thomas Gosden commissioned Abraham
Cooper, R.A., to draw a series of fourteen designs
illustrative of British field sports ; these were en-
graved by Scott on a silver plate, from which the
buttons were then cut. These Silver Buttons were
sold for shooting coats, and there is in the Elsen-
ham collection a case containing the set of fourteen.

J. H. Burn published the designs on India paper
with a quotation under each small plate from
Bewick or Daniel.

The Chase, by William Somerville, published by

II VOL. II.

1 62 ANIMAL PAINTERS

William Tegg, London, contained nine engravings
by Scott after paintings by J. N. Sartorius.
Another edition of the same famous work, pub-
lished by Sherwood, Neely and Jones, London,
1817, with preface by Edward Topham, Esq.,
contained eight engravings by Scott, after paintings
by J. N. Sartorius.

Essay on Hunting, the third edition, published
by Edward Jeffery and Son, London, 1820, has
for frontispiece a beautiful design of dead game,
fish, &c., drawn and engraved by Scott.

Book-Plates : Scott designed and engraved
two book-plates for his friend Thomas Gosden,
one representing a stag's head, with various
sporting trophies ; the other a rock with fish-
gun, game-bag, fishing-rod, pannier, &c.

Jupiter, a thoroughbred stallion in a field,
challenging a mare in the next pasture, over a
rustic fence. This picture was painted by Sawrey
Gilpin, R.A., for Colonel Thornton ; it was en-
graved in a masterly manner by Scott, and was
published in 1820. He also engraved four other
works for Colonel Thornton — "A White Terrier,"
"Harriers,'" "Spaniels," " Mopsy and Molly," and
" A Pointer " in some sedges standing to a snipe ;
the two former also by Gilpin, the latter two by
Philip Reinagle.

TJie Sport svian's Repository, by John Scott, pub-

TOHN SCOTT 1 6

lished by Henry G. Bohn, London, in 1845,
eighteen years after Scott's death, contains forty-
two engraved plates representing the Horse and
the Dog in all their varieties from paintings by
different artists.

After a long and painful illness John Scott died
on December 24, 1827, in the fifty-third year of
his age, leaving a widow, one son, and several
daughters. His remains were deposited at Chelsea.
James Barenger, the animal painter, and his fellow-
townsman, Thomas Frazer Ranson, also an en-
graver, were the only two mourners, except the
members of his own family, who attended his
funeral. An obituary notice in The Sporting
Magazine of the following February alludes in
feeling terms to the circumstances of his death ;
the illness which terminated fatally was induced
by intense application and study. As the letter
from " Philanthropos," already quoted, shows us,
disease found the unfortunate man unprepared in
a pecuniary sense, and despite the aid of the
charitable, and the pension accorded by the Artists'
Benevolent Fund, it is to be feared that the closing
years of his life were passed in penury.

164

JAMES SEYMOUR.
(Born 1702. Died 1752.)

TAMES SEYMOUR was born in London in the
^ year 1702. His father was a London banker,
himself an amateur artist and a man who took
pleasure in the society of artists. Sir Peter Lely
was an intimate friend of the elder Seymour, and
several foreign painters then resident in England
were among his acquaintance. James Seymour
inherited his father's artistic tastes, and as no Eng-
lish school of art existed at this period, his educa-
tion in art was no more than the information he
acquired in a desultory fashion from his father's
artist friends. It is unlikely that he ever received
any regular training in his youth ; painting was at
first only his amusement ; his father when he died
left him an ample fortune, which would have re-
lieved him of any necessity to earn his own liveli-
hood ; but James Seymour was fond of the turf,
and having dissipated his patrimony over horse-
racing, was obliged to make art his profession.

By many of the patrons of art Seymour was con-
sidered inferior to his contemporary, John Wootton.

JAMES SEYMOUR 1 65

In reoard to this it must be remembered that
Wootton was an artist from the first, while Sey-
mour only adopted the profession when necessity
compelled him to find means of supporting him-
self He accepted commissions to paint pictures
only after his money was gone. One of his earliest
commissions was given him by Mr. Charles Pel-
ham, of Brocklesby Park, Lincolnshire, in 1724,
when he was only twenty-two years of age. For
this gentleman he executed a portrait of Old
Partner, a race-horse, foaled in 1 7 1 8, which picture,
one hundred and one years later, was etched by
John Scott for the Sporting Magazine of 1825.

Seymour had few rivals to contend with in
painting portaits of race-horses at the commence-
ment of his career. Thomas Spencer certainly was
in the field, and John Wootton, being 17 years
his senior, had in early life made the portraits of
horses a speciality. When Seymour took up his
residence at Newmarket as a professional painter
of equine portraits he had the knowledge gained
during his own brief and unfortunate turf career
to supplement his natural ability. Whether he
owed anything of his success to the readiness of
his former racing friends to help one in adversity,
or whether the superiority of his work to the
accepted standards of merit alone brought him to
the front, we need not enquire. It is certain that

1 66 ANIMAL PAINTERS

he had not long adopted art as his profession ere
he was the recipient of commissions from some of
the most prominent turfites of the day, among
them the Dukes of Devonshire, Somerset and
Kingston, and Sir WilHam JolHffe.

The gentleman last named was Seymour's prin-
cipal patron, and to his appreciation of the artist's
work is due the existence of a representative col-
lection of his paintings, consisting of fifteen pictures
now in the possession of Lord Hylton, of Ammer-
down, Bath. Sir William Jolliffe, Kt., was the
eldest son of John Jolliffe, Alderman of the City
of London in 1658, Member of Parliament for
Heytesbury in 1661, and for Petersfield in 1734,
and also a director of the Bank of England. Sir
William was a prominent figure on the English
turf of his time, and having also a taste for art,
gave Seymour numerous commissions. He died
unmarried, leaving his pictures to a nephew, John
Jolliffe, from whom Lord Hylton is descended.

Among the pictures by Seymour thus preserved
are a few of great interest, not from an artistic
point of view, for it cannot be said that Seymour's
works have ever ranked highly in the esteem of
critics, but as pictorial contributions to turf and
social history. The quaint conventionality of the
drawing cannot conceal the shape and character of
the horses portrayed ; and the dress of hunting men,

JAMES SEYMOUR 1 67

jockeys, attendants, and others, is, of course, faith-
fully reproduced.

There are in this collection two portraits of the
famous Flying Childers which were painted for
Sir William Jolliffe, each measuring about 4 feet
by 3 feet. One shows the horse on Newmarket
Heath ridden by a groom in yellow coat with blue
cuffs, and wearing blue stockings and a black cap ;
many horses at exercise in the background. The
second shows Flying Childers stripped and held
by a boy ; near on a crop-eared white horse is a
man holding a racing saddle across his mount's
withers. Seymour painted in 1739 a third portrait
of Flying Childers for his owner the Duke of
Devonshire. This picture was subsequently en-
graved by John Scott for the Sporting Magazine
of 1813.

Among other pictures in the Ammerdown col-
lection we may note the portrait of the Bloody-
shouldered Arabian ; a portrait of a Chestnut
Barb Stallion, held by an attendant in a flowing
pink robe and white turban, and a portrait of
Sterlin, a plater. Two hunting pieces must also
be mentioned ; one, over 5 feet in length, is a
portrait of Sir William Jolliffe standing beside a
favourite dun hunter, which is held by a groom ;
to the rear a countryman holds the groom's horse,
a chestnut, in the shade of some trees ; the back-

1 68 ANIMAL PAINTERS

ground is a wooded landscape with a church tower.
The other hunting piece is over 4 feet in length ;
it represents " Hounds in Full Cry," and contains
portraits of Sir William Jolliffe on a grey hunter,
and those of four other sportsmen. The whipper-
in and the huntsman, who is blowing a curly horn,
wear scarlet with blue collars and cuffs. Seymour's
picture of Sir Robert Fagge, Bart, has social
rather than sporting interest. Sir Robert was a
well-known Newmarket character, renowned for
his eccentricity and miserly spirit. He is repre-
sented in shabby clothes, mounted on an old grey
stallion with broken knees. The rider has dropped
the reins on his horse's neck, and from a canvas
bag in his right hand is offering a coin to a woman
who stands on the horse's near side with a basket
of cherries. Newmarket Heath, with many figures
and horses, forms the distant background.

"Race at Newmarket," 4th April, 1731 ; on
canvas, 3 feet by 2 feet. A sweepstakes of 100
guineas each for subscribers. It was won by the
Duke of Bridgwater's bay horse. Hazard, the Duke
of Ancaster's grey Crab being second ; each horse
carrying 9 stone. In the background are several
figures on horseback against the stand and the
ditch. This picture of Seymour's is in the Elsenham
collection.

"The old Weighing-house at Newmarket," with

.Mkt

JAMES SEYMOUR I 69

crowds of spectators on horseback and in car-
riages. This is a small work by Seymour in the
same collection.

He painted a picture of the famous Carriage
Match, made by the Earls of March and
Eglinton with Messrs. Theobald Taafe and
Andrew Sproule for 1,000 guineas, which came
off on Newmarket Heath on 29th August,
1750. The articles provided that a carriage
with four running wheels carrying one person
in or upon it should be drawn by four horses
a distance of nineteen miles in one hour.
Lords March and Eglinton were to give two
months' notice of the week in which the race
was to be run, and had libi;rty to choose any one
day in the week appointed. From the Sportsman s
Magazine of 1825 we take an account of this
curious race against time :

The horses were all bred and trained for running ; the
two leaders, including riders, saddles, and harness, carried
about 8 stone each ; the carriage, with a boy on it, weighed
about 24 stone.

Tawney, the near leader, was rode by Mr. William Errat,
who had the conducting the rate to go at ; the off leader,
Roderick Random ; the near wheel-horse, Chance ; the off
wheel-horse, Little Dan.

They all had lobsters to preserve their shoulders ; the traces
(by an ingenious contrivance) run into boxes with springs,
when any of them hung back, to prevent the traces getting
under their legs. A rope went from the further end of the
carriage to the pole, and brought back under it, to keep the

170 ANIMAL PAINTERS

pole steady. By the side of each wheel there were tin cases
with oil dropping on the axle-tree to prevent its firing. The
boy placed on it is only to fulfil the articles. It started about
seven in the morning, near the six-mile house, and run
between the Warren and rubbing houses, came through the
ditch called the Running Gap, then turned to the right, and
run three times round a corded piece of ground of four miles,
and then back to the place it started from.

The match was performed before a great number of spec-
tators, without any person attempting to ride with it, except
Mr. George Tuting, and Lord March's groom, who waited
on them to assist in case of accident.

The time, taken by Dr. Monsey, Mr. Deard, and Mr.
Rowley, was 53 minutes 27 seconds, according to the three
umpires' stop watches, which tallied to a second.

James Seymour was commissioned by the Duke
of Oueensberry to paint a picture representing this
celebrated Carriage Match. The picture, which
bears the names of the horses and riders, remained
in the Queensberry collection till it was sold at
Christies', July, 1897.

An interesting advertisement in the Racing
Calendar for 1788 on page 366 gives an account
by the engraver of the picture : —

" On or before the ist March will be published A Print (in
colours, from nature), executed in Bartolozzi's style of
engraving. Honoured with the patronage of His Royal
Highness the Prince of Wales, Noblemen and Gentlemen,
members of the Jockey Club, &c., /. Bodger (land surveyor,
Stilton, Hunts, and at 53, High Holborn) presents his dutiful
respects to the nobility and gentry, and acquaints them that,
at the request of many of his friends, he promises to publish
by subscription a Print, as a companion to that of Twenty-four

JAMES SEYMOUR 171

Courses, &c., on Newmarket Heath, representing His Grace
the Duke of Queensberry's Carriage Match, with which will be
given a particular account of the match, and the names of
the horses and riders.

" The circumstance of the horses running away with their
riders and carriages will be expressed in the Print, in passing
by the King's Gap, from which place a new and picturesque
landscape of the Heath, Beacon Hills, Upper and Lower
Hare Parks, Four-mile Stables, and Choke Jade will be given ;
and a perspective view of horsemen and carriages coming over
the B.C. Embellished with a section of the carriage ; and, by
particular desire, a representation of two horses going to run
a trial. Also a Morning scene and an Auction Sale of Horses
at the Coffee-house Gates, Newmarket.

" Conditions.

" (i) The size of the Plate will be 27 inches by 18 inches.

" (2) Price to subscribers for Prints of the horses, &c., in
colours from Nature, one guinea ; in black, los. 6d. Sub-
scribers to have the first impressions.

[The print was also sold printed on silk, £1 5s.]

" The size of the horses, riders, and carriages is taken from
the original painting by Mr. Seymour, now in the possession
of the Duke of Queensberry, to whom the Print, by His
Grace's permission, will be dedicated.

" An impression showing the present state of the Plate may
be seen at Mr. Weatherby's, No. 7, Oxendon Street ; also, by
Mr. Bray, at Messrs. Tattersall's, London ; at the Coffee-
house, Newmarket ; Mr. Monk, Chester; Mr. Harrop, Man-
chester ; Mr. S. Hodgson, Newmarket ; Mr. Tesseyman,
York, and Mr. Smith, Oxford, of whom may be had prints,
in colours, of twenty-four Courses, &c., and an emblem of
a Sweepstakes coming in on Newmarket Heath, on which are
given chronological memorandums of many extraordinary
riding performances, as well as an Historical Account of the
Races and the Devil's Ditch.

'=^'- " Elegant Drawings of Estates, &c., on the usual terms."

172 ANIMAL PAINTERS

" Map of Newmarket Heath." James Seymour
executed a picture which was engraved by John
Bodger, and published in 1791, plate measuring
27 inches by 19 inches. He gives a plan of all the
different courses and exercising grounds on the
Heath, with references of their respective lengths,
and the situation of the starting and winning posts,
and the stands. Upon the plate is printed his-
torical accounts of the chief matches which have
been run on the Heath ; and of the annual meetings
and the Royal plates. Also on the bottom of the
plate an oval medallion, 6 inches by 2^, giving a
view of the finish of a race, with numerous horse-
men, &c., &c. The print was pulled upon paper
and upon silk, and sold at the same prices as the
"Carriage Match."

" View of the Noblemen's and Gentlemen's Trains
of running Horses, with the Grooms and Horses in
their full Liveries, taking their Exercise up the
Warren Hill, East of the Town of Newmarket," is
another picture of Seymour's, also engraved by
John Bodger, and published in 1791, the plate
27 inches by 19 inches. It is dedicated to the
Prince of Wales, whose arms are on the plate with
the letterpress. It was pulled upon paper and upon
silk. The picture is full of character. From the
heath there is a distant view of Newmarket, the
country round, and in the extreme distance Ely

JAMES SEYMOUR I 73

Cathedral. In the foreground are royal visitors,
noblemen, ladies, and owners, on horseback and
in carriages. The most conspicuous equipage is a
high four-wheel gig, drawn by six grey horses,
the four first horses being driven from the box-seat,
and the leaders ridden by a post-boy. In a carriage
to the left is the Prince, talking to a gentleman on
horse-back, and by his side the Princess, wearing a
high hat, trimmed with the Prince's Feathers. The
rest of the picture is taken up by horses and jockeys
at exercise, which may be counted by hundreds.

On the subjects of the three pictures last men-
tioned it is important to note that James Seymour
only painted between 1724 and 1751, having died
in 1 752. In looking upon these three engravings, the
"Carriage Match," the "Map of Newmarket," and
the "View of Running Horses," it must be remem-
bered they refer to a period some fifty years prior
to the date when John Bodger published them. It
seems to point to the fact that fashion changed then
as now, and there must have been a demand for
turf events of an earlier period.

Many of the artist's pictures were engraved
during his lifetime. "The Greyhound coursing a
Hare " was engraved by Josephus Sympson, the
plate being 12 inches deep by 17 inches wide.
More of his pictures, however, found their way
into the engraver's hands after his death. He

174 ANIMAL PAINTERS

painted on a small scale on canvas, parchment,
or on stout paper, numerous portraits of race-
horses, which, from the peculiar style followed,
possess exceptional value as items of early turf
history. Each portrait bore the name of the horse,
his pedigree and performances, and particulars
concerning the owner. EnCTravincfs from these
were published by Thomas Butler, in his Por-
traitures of Horses, which appeared in 1754, two
years after Seymour's death.

He painted a portrait of Sudbury, which was
engraved, and published by T. Bradford, of 132,
Fleet Street, size of plate, 17I by 14^ inches. The
engraving bears the following inscription : — " Sud-
bury was for the justness of his shape the most
beautiful and without doubt the best Horse of his
size at that time in the Kingdom."

Another horse-portrait, that of Torrismond, bred
by Mr. John Crofts, was also engraved, and
was published by T. Bradford, size of plate, 18}
by 14 inches. Neither of these works bears the
name of the engraver.

Seymour painted, among other hunting pieces,
a set of four pictures entitled " Fox-hunting."
These were engraved by J. Roberts, the plates
measuring each \o\ inches deep by 14 inches wide.
They are entitled respectively: (i) Going out in
the Morning ; (2) Brushing into Cover ; (3) In

JAMES SEYMOUR I 75

full Chase, and (4) The Death of the Fox. The
second of the series, " Brushing into Cover," re-
produced from an old engraving, faces page 168.

The original painting is in the possession of
Herbert Penning, Esq., of Bedford. Mr. Penning
has personal interest in this old picture, as it is
stated that the huntsman on the grey is a portrait
of his great grandfather, who was a clergyman.
The whips carried by these old-time sportsmen
will be noticed, resembling as they do short-stocked
coach-whips.

The original pen-and-ink sketch by the artist,
which is reproduced overleaf, betrays knowledge
of equine anatomy ; it also shows Seymour's gift
of touching in horses and men with a few lines.
From the memoranda it appears that this was the
drawing from which a painting was to be made.

A work entitled Race and Saddle Horses Past
and Present, which was published by Thomas
Hookham, London, in 1836, contains among its
eighteen plates three from pictures by Seymour :
one of Mr. Charles Pelham's Old Partner, with
his jockey, at exercise ; a portrait of Sudbury,
foaled 1734, also with his jockey at e.\ercise ; and
"A Racehorse being Dressed." Mr. P. H. Taun-
ton's Portraits of Celebrated Race-horses from
1705 contains several reproductions from Sey-
mour's works. Several of his cattle pieces and

176 ANIMAL PAINTERS

horse pictures were engraved by Thomas Burford
and other engravers. "Wood-cock Shooting " and
" Trailing for a Hare " were engraved as companion
plates, 13! inches by g} inches, and published
by Carington Bowie on ist May, 1786.

Seymour was a man of independent spirit, as we
gather from the story told of his intercourse with the
Duke of Somerset, a man of overweening pride.
The artist, while on a visit to the Duke in Sussex
for the purpose of painting portraits of his stud,
dined with his host, who drank to him as " Cousin
Seymour." The artist, a gentleman by birth and
education, ventured the remark that he believed
himself to be distantly related to the ducal family,
a suggestion which gave such deep offence that
the Duke left the table, and directed his steward
to pay and dismiss his " quondam cousin " then
and there. Seymour took his departure forthwith,
leaving the work he had been engaged to do
unfinished. The Duke, finding it impossible to
discover anyone capable ot completing the task,
sent again for Seymour, who promptly returned the
reply : " My lord, I will now prove that I am of
your Grace's family, for I won't come." Anthony
Pasquin (John Williams) gives a somewhat different
account of the circumstances under which Seymour
offended the Duke and refused his advances, but
shows both peer and painter in the same light.

SKETCH FOR HUNTING PICTURE.

By J. SEYMOUR.

WORKS OF JAMES SEYMOUR 1 77

James Seymour died in 1752, in the fiftieth year
of his age.

WORKS OF JAMES SEYMOUR.

PLATES IN THE SPORTING MAGAZINE (3 in number).

CHAISE MATCH AT NEIVMARKET, Ang. 29th, 1750, 1801, vol. 18; engraved by

Scott.
FLYING CHILDERS, painted for the Duke of Devonshire, owner of the horse, in 1739.

1813, vol. 43 ; engraved by Scott.
OLD PARTNER, a race-horse, 1825, vol. 65 ; etched by Scott.

12 VOL. II.

178

THOMAS SPENCER.

(Born circa 1700. Died 1763.)

T^HOMAS SPENCER, born about the year
-'• 1700, must not be confounded with Gervaise
or Jarvis Spencer who lived about the same time
and became a successful portrait-painter. Thomas
Spencer first made for himself a reputation as a
painter of portraits, miniatures, and on enamel,
which possessed a share of artistic merit. Later,
finding perhaps that this branch of the profession
was not lucrative, he devoted his attention to
painting the likenesses of race-horses ; and as a
horse painter he achieved considerable measure of
success.

Like his contemporary, James Seymour, he often
embellished such pictures with the pedigree and
performances of the horse and the name of the
owner. Many of his paintings were engraved, and
the plates reproduce the particulars given on the
original. A set of thirty-three plates of famous
racers, each plate surrounded by engraved text,
executed by H. Roberts, was published by John
Cheney, London, between the years 1 740 and 1 746.

THOMAS SPENCER I 79

Another set, with decorative borders, beautifully
engraved by R. Houston, was published in 1755;
and several similar works were published between
1751 and 1755 by Thomas Butler "at his shop
in Pall Mall, London." Among these, for example,
was a portrait of the horse Sportley, owned by
Lord Massereene. This plate, which was engraved
by H. Roberts, depicts the horse with his jockey
in the saddle ; below appears Lord Massereene's
arms, the names of Sportley's sire and dam and a
list of the important races the horse had won.

The Earl of Rosebery possesses a fine example of
Spencer's work in the portrait of Mr. Churchman's
racing mare Bonatee, painted in 1730. The canvas,
which measures 10 feet by 7 feet, shows a blue
roan mare with brown muzzle, life size ; the owner
stands at her head holding the bridle. The picture
shows admirably the dress characteristic of the
time.

With the view, doubtless, of showing the horse
in the most spirited attitude, Spencer painted the
portraits of some of the great sires of the day
in the company of a mare. Among such were the
following, which were beautifully engraved in mezzo-
tint by R. Houston : —

Dormouse and Mare, one groom holding the
stallion, another the mare. Dormouse was the
property of Lord Clidworth. Published in 1755.

l8o ANIMAL PAINTERS

The Callen Arabian and Mare, with two
grooms ; the horse was the property of Lord
Callen, and stood at Rushton, near Kettering.
Published in 1756.

White Nose and Mare, with two grooms.
White Nose was owned by the Earl of Portmore.
Published in 1756.

Babraham and Mare, with grooms ; at the
Stud, Micklesham, Surrey. Published in 1756.

Other horse portraits by Seymour, which R.
Houston engraved in mezzotint, were those of
the Earl of Portman's Crab held by his groom,
published in 1755 by Thomas Spencer and Robert
Clee in Panton Street near Leicester Fields ; and
The Chestnut Arabian, owned by Mr. Charles
Wilson, of Oran, Richmond, Yorkshire, published
in 1756.

All the foregoing six plates are very beautiful
specimens of mezzotint engraving ; an ornamental
border surrounds each portrait ; the owner's coat
of arms appears above and a description of the
animal is given below.

Thomas Spencer died on 30th October, 1763.

i8i

THOMAS STOTHARD, R.A.

(Born 1755. Died 1834.)

T^HOMAS STOTHARD was born in London
-*■ on 17th August, 1755. His father was a
Yorkshireman by birth, and Mrs. Bray, in her
Life oi the artist, tells us that he was a member
of an old and g-ood family. It would appear, there-
fore, that the branch to which the artist belonged
had sustained reverses, for at the time of his birth
his father kept the " Black Horse" in Long Acre.

A somewhat delicate child, Thomas was sent,
when five years old, to be brought up in the
country by his father's relations ; and three years
later was sent by them to a school at Stutton, near
Tadcaster, his father's birthplace. Here the boy
remained until he was thirteen years of age, when
his father paid a visit to Yorkshire, and on his
return south took his son with him. Stothard
senior had evidently thriven in his business as an
inn-keeper, for he was now able to send his boy
to a boarding school at Ilford, in Essex. Thomas
spent only a year at this establishment, however ;
his father's death, in 1770, obliged his removal,

I 82 ANIMAL PAINTERS

and he went with his mother to Hve at Stepney
Green.

He had ere then displayed such marked fondness
for drawing that his mother wisely determined to
seek for him some calling in which his talent should
be of service ; and accordingly he was apprenticed
to a designer of patterns for the richly brocaded
silks which were then worn by ladies. His master
died before Stothard's indentures expired, and
though he continued to work for the widow, it is
evident that he had no faith in the pattern-design-
ing industry as a means of livelihood. He worked
hard at other branches of art, and having minutely
studied Nature, his clever drawings of animals, birds
and flowers, earned him the patronage of publishers
for whom he executed vast numbers of illustrations
for various books. His first illustrations of im-
portance were those executed for the Town and
Country Magazine, Bell's British Poets and the
Novelists Mao^azine. Among; other famous men
who noted his early talent was John Flaxman, the
sculptor ; and their meeting laid the foundation of
a close and lasting friendship which proved of ad-
vantage to both.

Stothard in the year 1778 became a student at
the Royal Academy ; ceasing to live with his
mother, he shared lodgings in the Strand with
a friend, and contrived to live on the interest of

THOMAS STOTHARD, R.A. 1 83

a sum of ;^i,200 which his father had bequeathed
to him. Always of active habit, physically no
less than mentally, his love of Nature led him
to seek the country every year as soon as the
Academy closed ; his sketch-book and pencil were
ever at hand, and whatever struck his alert fancy
was inevitably committed to paper. To this habit
of continually making sketches from nature,
Stothard's pictures owe not a little of their rich
variety of landscape and background. Mrs. Bray,
referring to his habit of drawing any natural object
with which he desired to make himself acquainted,
says that if his children asked him a question
relating to bird or animal, he took his pencil and
sketched the creature concerning which information
was sought by way of illustrating whatever verbal
description he might give. His appreciation of
the value of anatomical study is shown by his
frequent practice of drawing even the skeleton
of any animal he might have occasion to introduce
into a picture. One such sketch, in the possession
of his son Alfred, is described by Mrs. Bray ; it
is the skeleton of an elephant drawn with pen
and ink, and every bone is most carefully dis-
tinguished.

His sketches of animals are as remarkable for
their grace of form and action as are his studies
of the human figure. One of his animal pictures

184 ANIMAL PAINTERS

which serves to exhibit his masterly handling in
drawing and grouping is that of Orpheus charming
the beasts with his lyre. Another painting which
is entitled to special notice is his " Canterbury Pil-
grims ; " this picture was painted at the suggestion
of Mr. Cromek, an engraver who lived near the
artist in Newman Street. The Knight and his
young Squire are prominent characters in this
piece ; it is remarkable for the skill with which
the artist has grouped the numerous figures, and
varied the attitudes of the horses in a long pro-
cession, an array whose very essence would seem
to compel monotony of treatment. Stothard ex-
celled as a painter of horses ; the following brief
quotation from Mrs. Bray indicates the opinion
the first horse-painter of that or any later day
formed of his talent in this particular :

While it was in progress, Stubbs, the animal-painter,
called on Stothard, and requested to view his " Canterbury
Pilgrims," saying he felt great curiosity to see a picture in
which nearly twenty horses were introduced. On looking
at it, Stubbs exclaimed, " Mr. Stothard, it has been said
that I understand horses pretty well, but I am astonished
at yours. You have well studied those creatures and trans-
ferred them to canvas with a life and animation which, until
this moment, I thought impossible. And you have also such
a variety of them ; pray do tell me, where did you get your
horses ? " " From everyday observation," replied Stothard ;
and Stubbs departed, acknowledging that he could do nothing
in comparison with such a work.

THOMAS STOTHARD, R.A. 1 85

George Stubbs was not addicted to flattery :
was perhaps more remarkable for plain speaking
than for courtly phrase ; but without the hall-mark
of his approval we can see for ourselves, from
the facsimile of the first sketch for the Canterbury
Pilgrims, given in the above work, with what
singular aptitude Stothard in a few pencil strokes
caught the characteristic attitudes and movements
of the horse. The sketch is the more remarkable,
for in no case is an outline horse furnished with
ears : an omission which, as every horseman knows,
means the denial of a wealth of equine expression
and character. This omission perhaps can be ex-
plained. It was the common custom to crop the
ears of horses in Stothard's time, and the artist
depicted what he saw. This work, which is now
in the National Gallery, was engraved by the
brothers Schiavonetti and also by James Heath.

Stothard's first Royal Academy picture ("A
Holy Family ") was shown at the exhibition of
1778, when the artist was in his 23rd year. He
was elected an Associate in 1785, and Academician
in 1 794, depositing as his diploma work a picture
entitled " Charity." His connection with the
Academy, however, was destined to become closer,
for in 18 10 he was appointed Deputy Librarian,
and two years later, Librarian. He exhibited
largely ; between 1778 and 1834, he sent upwards

1 86 ANIMAL PAINTERS

of 92 works to the Royal Academy, and also con-
tributed many paintings to other exhibitions and
galleries. For goldsmiths, he designed subjects
for engraving and embossment on gold and silver
decorative pieces, race cups, trophies and bowls.

His most noteworthy achievement in this depart-
ment of art was his success in the competition for
the Silver Shield presented to the Duke of Welling-
ton by the Merchants and Bankers of London.
The drawings he sent in for this were scarcely
more remarkable for artistic merit than for the
miraculous speed with which they were prepared :
exactly three weeks was the time at his command,
and in three weeks he studied the history of the
Peninsular War, selected the incidents which com-
mended themselves as most proper for representa-
tion, and executed his designs ! Many of our best
known pieces of sculpture (Chantrey's " Sleeping
Children " occurs as a prominent example), eques-
trian groups and others, were chiselled from designs
by Stothard. He was a most industrious and
prolific workman ; it is recorded that he made over
five thousand designs for various objects ; of these
more than 3,000 have been engraved for various
publications.

Of sporting matters Stothard had little know-
edge, or none ; his interest in beast, bird, and.
flower was that of the naturalist, or rather that of

THOMAS STOTHARD, R.A. 1 87

the lover of nature ; nevertheless, many of his
works display rare power in delineating incidents
nearly pertaining to sport. His greatest talent lay
in the historical designs by which his most con-
spicuous successes were won. Drawings of an
historical character were among the first to occupy
his brush when he was yet a lad, and we recognise
his affection for this school of art in his maturer
years. Many of the pictures exhibited by him at
the Royal Academy were historical subjects ; his
gift for handling such topics was undoubtedly far
above that possessed by the majority of painters.

Of his landscape paintings Mrs. Bray remarks
"the backgrounds are generally distinguished by
richness of colour and warm glowing sunsets : they
display execution in pencilling, but are seldom
highly finished. Indeed, very few of his pictures
are so ; yet that he could finish highly and elabo-
rately when leisure or inclination led him on to the
task, witness his beautiful little picture of ' The
Cock and the Fox,' from Chaucer."

Among the more important books illustrated
from designs by Stothard may be mentioned Boy-
dell's Shakespeare, Bunyan's Pilgrims Progress and
Rogers' Poems. His "Canterbury Pilgrims" and
" The Wellington Shield," are works to which refer-
ence has already been made ; and "The Ceremony
of the Dunmow Flitch " must not be forgotten.

I 88 ANIMAL PAINTERS

We find Stothard's few purely sporting pictures
reproduced in a book entitled Cynegetics, or
Essays on Sp07-ting, to which is added The Chase,
by Somerville, published in 1788 by John Stock-
dale, London. This contains two spirited plates,
(i) Tiger Hunting on Elephants, and (2) Hare
Hunting : the Death. The latter represents four
sportsmen on horseback and one on the ground
holding up the dead hare, the hounds surrounding
him. These two plates were engraved by James
Heath.

The first volume of the Sporting Magazine — that
for October, 1792 — contains a frontispiece by Sto-
thard ; this is a picture of His Majesty George
HI. on horseback with huntsmen and hounds on
their way out stag-hunting in Windsor Forest ; the
plate was engraved by Thomas Cook. In many
of the earlier issues we find exquisite plates engraved
from Stothard's historical works ; the figures,
whether human or animal, are always grandly con-
ceived and boldly executed.

Of Stothard's Royal Academy pictures which
display his talent as a painter of animals we may
note the following : — Keppel, Earl of Albemarle,
at the Siege of Lisle, where his horse was shot
under him {vide the Peerage of Great Britain^,
shown at the exhibition of 1794. A Lion
Hunt, exhibited in 1798. His Landscape with

THOMAS STOTHARD, R.A. 1 89

Cattle at a Ford, 1811 ; and "Tarn O'Shanter,"
shown at the exhibition of 18 16, and now in the
South Kensington Museum. The picture of A
Lion Hunt was among the large collection of oil
paintings which remained in the artist's possession,
and which were sold at Christie's in June, 1834,
after his death. The sale occupied three days,
but " from inexperience and other untoward cir-
cumstances," says Mrs. Bray, " was not well
managed by the family." The justice of the remark
finds its proof in the prices realised, many of which
were absurdly small. A Lion Hunt brought
;C9 19s. 6d. only ; the whole sale appears to have
been a glorious opportunity for bargain hunters.

Volume 13 of the JVew Sporting Magazine (for
July, 1837) contains a plate engraved by J. T.
Wilmore from Stothard's picture of "The Cock and
the Fox," to which reference has been made as
proving the artist's ability to bestow a high degree
of finish on his work when it was his pleasure to
do so.

Stothard's activity of mind and body continued
unimpaired until he was advanced in life. In 1825,
being then seventy years of age, he undertook the
execution of many beautiful designs required to
illustrate the works of his friend Rogers ; and also
a large series of illustrations for an edition of
Shakespeare which Mr. Tegg, a bookseller, was

'90 ANIMAL PAINTERS

bringing out. Of more interest to sportsmen,
however, was another commission which the artist
executed in the same year : this was a series of
landscape drawings for a new edition of JValtons
Angler, or, more accurately, of the joint work by
"Good old Izaak" and his friend Charles Cotton,
which originally appeared in 1676. In order to
carry out his task, Stothard repaired to Dovedale,
in Derbyshire, with a few friends ; and while he
was busy with his pencil they employed themselves
with their rods. His life-long habit of sketching
everything that came under his eye appears to
have asserted itself, for on one occasion when the
anglers had made a good basket, Stothard makes
the brief entry in his journal, " Drew the roach
and graylings." The journal kept by the artist
during his Derbyshire trip shows him hale and
energetic, taking long walks daily in search of
views to fill his sketch-book.

His original works are well represented in
the National Collections. There are nine on the
walls of the National Gallery, inclusive of the
"Canterbury Pilgrims." Of these a mythological
subject, entitled " A Battle," showing men and
horses in fierce strife (on canvas, 23 inches by 26
inches wide), calls for special mention as a picture
of animals. In the South Kensington Museum
are ten paintings in oil, six pictures and designs

From an Original Draxvinghy J. Jackson . \ftcr the Engraving by //. Meya

THOMAS STOTHARD, R.A.

THOMAS STOTHARD, R.A. I9I

in water colour or sepia, five pencil drawings
made for Tristram Shandy and The Sentimental
Journey, and six sketches. Of these works only
three fall within our purview, viz., " Tarn O'Shan-
ter" at full gallop on his mare, i2\ inches by
14^ inches, on canvas ; " John Gilpin " riding his
involuntary race with four men spurring after
him, on canvas; a companion picture to " Tam
O'Shanter" ; and " Sir Roger de Coverley and the
Gipsies." Sir Roger, leading his horse, is accosted
by the Fortune teller : panel 6| inches by 8 inches,
upright. These three works form items of the
Sheepshanks Gift. A fine collection of engravings
from his pictures, numbering nearly four thousand,
may be seen in the Print Room at the British
Museum. Numerous engravers of high standing
are responsible for plates from Stothard's designs.
Perhaps James Heath and Luke Clennell have
done the best justice to his works.

Stothard married in 1 784 Rebecca, the daughter
of a Mr. Watkins, by whom he had several
children : his second son, Charles, inherited a
measure of his father's artistic talent and is known
as author of The Monumental Effigies of Gj^eat
Britain. A few years after his marriage Thomas
Stothard took up his residence in Newman Street ;
and there he died on the 27th of April, 1834, in
the seventy-ninth year of his age. He was buried
in Bunhill Fields.

192

GEORGE STUBBS, R.A.
(Born 1724. Died 1806.)

GEORGE STUBBS was born at Liverpool on
August 24, 1724. His father, John Stubbs,
was a currier, whose business of dressing leather
in various colours perhaps afforded the future artist
his first lesson in the manipulation of pigments.
When scarcely eight years old the boy began
the study of anatomy and made drawings from
bones and other subjects lent him for the purpose ;
and as he evinced no special liking for either the
mechanical or clerical sides of his father's business,
and was of somewhat delicate constitution, he was
allowed to follow the natural bent of his tastes,
which were entirely artistic. Before he reached
the age of fifteen he had produced pictures which
arrested the attention of competent judges, and
roused his father to the desirability of giving him
an education in art. John Stubbs died before he
could take any steps in this direction, and the boy
was left to find a master for himself Hamlet
Winstanley, an artist of some standing, was at the
time making copies of the pictures at Knowsley

GEORGE STUBBS, R.A. 1 93

Hall, and to Winstanley George Stubbs applied.
A copy of one of the artist's own pictures furnished
the necessary recommendation, and the young man
was forthwith accepted in the double capacity of
assistant and pupil.

The engagement did not last long. Winstanley
refused to let Stubbs copy certain Old Masters in
the Knowsley collection, averring that he wished
to make the replicas himself Whereupon Stubbs'
independent and rather fiery temper was provoked,
and he summarily ended the connection, declaring
his intention to "look into Nature for himself and
copy her only," a resolution to which he adhered.
He appears to have practised modelling in these
early days, for it is recorded that the members of
the Liverpool Society for the Encouragement of
Arts awarded him a gold medal and compli-
mentary letter in acknowledgment of the model
of a horse which he executed and presented to
the Society. This model is the first evidence of
George Stubbs' wonderful talent for realising the
form of the horse.

About 1744, when nearly twenty years of age,
Stubbs left his mother with whom he had hitherto
dwelt, and after a few months' stay at Wigan went
to Leeds. Here he applied himself to portrait-
painting for a time, and then, having received
some commissions for pictures, betook himself to

13 VOL. II.

194 ANIMAL PAINTERS

York, where he studied anatomy with success,
practised fencing, and learned French while still
working at his easel. At York he made his first
serious essay as an engraver. Dr. John Burton
asked him to furnish illustrations for An Essay
towards a Complete Neiv System of Midivifety.
The illustrations required special technical study,
but Stubbs executed them so much to Dr. Burton's
satisfaction that he was asked to engrave them.
Engraving was an art to which he was an absolute
stranger ; but among his Leeds acquaintance was
a house-painter who practised engraving in a small
way. From this instructor he soon acquired the
little it was possible to learn, and eventually
engraved the series of eighteen drawings on
copper.

In 1754 Stubbs left York, and, after paying his
mother a visit, embarked for Italy. His object
was mainly, according to his own account, to
decide if Nature were superior to art, Greek or
Roman, ancient or modern. He spent some little
time in Rome, and having made up his mind on
the point, lost no time in sailing for home. On
his journey back he made the acquaintance of a
fellow-traveller who invited him to visit Ceuta ;
and while there he witnessed the attack of a lion
on a horse, an incident which furnished him with
subjects for three of his most striking pictures.

GEORGE STUBBS, R.A. 1 95

The first shows the horse with the Hon in the
distance ; the second the horse's terror at the
appearance of the beast from behind a rock ; and
third, the Hon seizing his prey. Returning to
England, Stubbs went to reside with his mother
in Liverpool, to fulfil the commissions which now
poured in upon him and to pursue his anatomical
studies. A picture he painted about this time of
a grey mare, his own property, attracted the notice
of a London picture dealer named Parsons, who
urged him to seek his fortune in the metropolis ;
but Stubbs, when he left Liverpool, which he did
in 1750 soon after his mother's death, went to
Lincolnshire to paint a series of horse portraits
for Lady Nelthorpe.

In 1758 Stubbs took up his quarters at a farm-
house near Horkstow, in Lincolnshire, to carry
out the long and disagreeable series of dissections
whose results are preserved to us in his famous
Anatomy of the Hoj-se. His only companion was
his orphan niece, Miss Mary Spencer, who from
the first had taken keen interest in his work.

It is strange to us now to read that when the
Anatomy of the Horse, with its invaluable drawings
was completed, the artist could not find in London
an engraver willing to undertake the execution
of the necessary plates therefrom. His failure to
secure the services of a suitable man threw him

196 ANIMAL PAINTERS

upon his own resources, and he engraved the
plates himself — -a task which occupied all his spare
time for six or seven years. The book eventually
was published by subscription in 1766. It may
fairly be said that this remarkable piece of work
opened a new era in horse painting. We might
almost divide our British painters of horse pictures
into two periods — those who lived before Stubbs,
and those who followed him and profited by his
monumental labours at the Horkstow farmhouse.

Stubbs had been receiving as much as 100
guineas for the likeness of a horse, while in a
letter to him Sir Joshua Reynolds says : " My
price for a head is 35 guineas ; as far as the knees
70 guineas ; and for a whole length 1 50 guineas.

In 1760 he went to Eaton Hall to paint
several pictures for the then Lord Grosvenor —
"The Grosvenor Hunt" being, perhaps, the most
important work executed. In 1762 he went to
Goodwood House to paint a number of pictures
for the Duke of Richmond — among them a
portrait of the Earl of Albemarle and " Race-
horses Training," which included portraits of the
Duke and Duchess of Richmond and Lady Louisa
Lennox, all on horseback. He went next to
Wentworth House, where, for the Marquis of
Rockingham, he painted several pictures of horses,
including one of the famous Whistlejacket. At

GEORGE STUBBS, R.A. 1 97

this time Stubbs had established his head-quarters
in London, his address being 24, Somerset Street,
Portman Square. He had evidently been resident
in London for some time, as 1760 seems to have
been about the date of his appointment to the
Treasurership of the first (Incorporated) Society
of Artists, which was founded in 1859. He became
President of this Society the year before its
collapse, an event which occurred in 1774, and
which seems to have been due to the change in
its methods which followed the granting of a
Royal charter of incorporation. Stubbs sent fifty
pictures altogether to the Society's annual exhibi-
tions ; some of his finest lion and tiger pictures
were first publicly shown in the Somerset Street
Rooms, where the exhibitions were held in 1764
and afterwards.

In 1 77 1, Cosway, the miniature painter, urged
Stubbs to make some experiments in enamel paint-
ing. Great difficulties had to be surmounted. Two
years were spent in chemical study and experiment
before colours which would retain their brilliance
throughout the process of firing were discovered,
and when the secret of making the colours had
been solved, three years more elapsed before suitable
earthenware plates were produced. These plates
were eventually made by the famous firm of
Wedgewood in 1778; the business of preparing

igS ANIMAL PAINTERS

them seems to have laid the foundation of the
artist's friendship with the Wedgewood family, of
whom he painted one of his most successful portrait
groups and other individu il portraits.

In the year 1780 George Stubbs was elected an
Associate of the Royal Academy, and in 1781 an
Academician. The difficulty which arose between
the artist and the Royal Academy has been
examined at length in the Life of George
Stubbs, R.A.* and the several accounts of the
circumstances under which the artist's election
remained unratified are therein detailed. It will
suffice here to state that George Stubbs was
invited to be of the Forty ; that the trouble arose
over a regulation subsequently made concerning
the presentation of a Diploma picture, and that
the dispute reflected no discredit upon George
Stubbs as a man or as an artist. For a few
years he ceased to send pictures to the Academy
exhibitions; but in that of 1786 he was repre-
sented by two works, and thereafter continued to
do so with regularity till 1791, when he again
ceased to exhibit until 1799.

In 1790 Stubbs undertook to paint for The Turf
Review a series of portraits of horses which had

='' Tlu Life of George Stubbs, R.A., by Sir Walter Gilbey,
Bart. Published in 1S98 by Vinton & Co., Ltd.

GEORGE STUBBS, R.A. 199

been famous on the English turf from the time
of the Godolphin Arabian. These pictures were
to be exhibited first, then engraved, and finally
published in numbers with descriptive letterpress.
A sum of ^9,000 was offered for the undertaking,
and Stubbs had made considerable progress when
the outbreak of war with France alarmed the pro-
jectors, and caused the somewhat abrupt abandon-
ment of the scheme after sixteen pictures had
been painted. These were portraits of (i) The
Godolphin Arabian ; (2) Marske, the sire of
Eclipse; (3) Eclipse; (4) Dungannon ; (5) Volun-
teer ; (6) Gimcrack ; (7) Mambrino ; (8) Sweetbriar ;
(9) Sweet William; (10) Protector; (11) Shark;
(12) Baronet; (13) Pumpkin; (14) Bandy; (15)
Gnawpost ; and (16) Anvil. The portrait of the
Godolphin Arabian had been intended to form the
frontispiece of the work. These sixteen pictures,
in 1794, were exhibited at the Turf Gallery in
Conduit Street ; they were afterwards engraved
by George Townley Stubbs, the plates being of
practically uniform size, viz., 20 inches by i sc-
inches, and published in accord with the original
design.

Stubbs was a man of simple tastes and habits.
He outgrew the delicacy of his early youth and
developed into a man of sound constitution and of
remarkable physical strength. He possessed extra-

200 ANIMAL PAINTERS

ordinary capacity for work and his energy was
untiring. To the last he was an early riser, and of
abstemious habit ; for the last forty years of his life
he drank only water. When seventy-nine years
of age he was so active that on two or three
occasions in one month he walked from his house
in Somerset Street to the Earl of Clarendon's place,
The Grove, between Watford and Tring, a distance
of sixteen miles, carrying a small portmanteau ; and
this before ten o'clock in the morning. On July
9th, 1806, he walked eight or nine miles, a feat
that shows he retained his bodily vigour to the
very last ; for in the morning of the following day
he was found dead in his chair. The Sporting
Magazine, in an appreciative obituary notice, states
that Stubbs was " so fully persuaded of the possi-
bility to prolong his own existence to the patriarchal
age of one hundred and fifty, that he most cheer-
fully began his Comparative Anatomy, after the
plan of Professor Blumenbach, at the period of
eighty, promising a complete classification of the
Animal World as an additaynentjim to an under-
taking so laborious — a work that would require at
least thirty years of good health and perfect
memory to accomplish." He was in his eighty-
second year when he died on July loth, 1806, at
his house in Somerset Street. He was buried
at St. Marylebone.

GEORGE STUBBS, R.A. 20I

That George Stubbs was superior to all the
painters of animals, and more especially of the
horse, who preceded him is a statement on which
it is needless to insist ; and if he has been equalled
since, he has never been excelled, by painters who
have had the enormous advantage of his anatomical
and artistic labours to aid their studies. John
Landseer, the engraver, in his Carnivorous Quad-
rupeds, gives Stubbs the place of honour in a com-
parison of his work with the animal paintings of
Rubens, Rembrandt, Reydinger, Spilsbury and
Edwin Landseer. Mr. Joseph Mayer, F.S.A.,
sums up his merits so ably that we cannot do better
than quote from his careful and discriminating
pages :—

He who knows what manner of beast was given EngHsh-
men to admire before Stubbs' day best recognises what we
owe him. His obstinacy in rejecting the models of other men
saved him from falhng into the exaggerations of any school.
. . . Stubbs was the first to paint animals as they are.
No temptation led him to invent a muscle, nor did he put his
creatures into an attitude. They are always as nature made,
with their own shapes, gestures and expressions, often ugly,
but always true.

" Anthony Pasquin " who, in his Memoirs of the
Royal Acadejiticians (London, 1796), disparaged
when he could and praised only when he must,
gave cordial approval to the work of Stubbs.
" He has become," says this exacting critic,
"by his genius and his researches the example

202 ANIMAL PAINTERS

of Europe in his particular department." And
in making- this statement WilHams did not
overstep the limits of truth.

The reader is referi'ed to my recently published
Life of George Shibbs for particulars of a large
number of the artist's pictures. Therein also a list
is given of his works in the following collections,
viz. : —

At Windsor Castle— H.M. the Queen.

At Marlborough House — H.!\I. the Queen.

At Cumberland Lodge, Windsor — H.M. the Queen.

At the National Gallery, London.

At the South Kensington Museum.

At Eaton Hall — Duke of Westminster.

At Heatherton Hall— Col. Adair.

At Queen's House, Lyndhurst — Hon. G. Lascelles.

At the Jockey Club, Newmarket.

At the Durdans, Epsom — Earl of Rosebery.

At Berkeley Square — Earl of Rosebery.

At Brocklesby Park — Earl of Yarborough.

At Wellbeck Abbey— Duke of Portland.

At Althorp — Earl Spencer.

At Elsenham Hall— Sir Walter Gilbey, Bart.

At 143, Piccadilly — Baron F. De Rothschild.

At Scorby Hall— R. N. Sutton-Nelthorpe, Esq.

At Wentworth House— Earl Fitzwilliam.

At Sherborn Castle — Earl of Macclesfield.

At Goodwood House — Duke of Richmond.

At Wynyard Park — Marquis of Londonderry.

At Petworth Hall — Lord Leconsfield.

At Schleissheim, Munich — King of Bavaria.

At Osberton Hall— Right Hon. J. F. S. Foljambe.

At Pessingworth — Louis Huth, Esq.

At Belvoir Castle — Duke of Rutland.

At Sunningdale, Ascot — Sir George Pigot, Bart.

GEORGE STUBBS, R.A. 203

Since that work left the publishers' hands particu-
lars of the following additional pictures by George
Stubbs have been kindly sent me, viz, : —

In the possession of the Marquis of Tweedmouth.

Portrait of Josiah Wedgwood, on a white horse, in a
dress of the period, wearing a three-cornered hat, yellow
frock-coat and top boots.

In the possession of Earl Cowper, Panshanger, Hertford.

A picture entitled " The Waldegrave Family," con-
taining portraits of Lord and Lady Milbanke, Sir Ralph
Milbanke and Mr. John Milbanke — a subject group with
members of the family seated in a pony-carriage, others
on horseback — size of the canvas 5 feet by 3 feet 6 inches.

At Grimsthorpe, in Lincolnshire, the property of the Earl
of Ancaster.

(These pictures hang in the Lower East Gallery.)

No. 141. Portrait of a dark bay horse near an arch, a
groom in Turkish dress holding him by the bridle. 35I
inches by 44 inches.

No. 142. Portrait of a bay horse with white spots on
its back, held with a bridle by a groom in a brown
Turkish dress. 35 J inches by 44 inches.

No. 143. Portrait of a chestnut horse, held by a man
in red flowing robe, with white dog in the landscape.
35t inches by 44 inches.

No. 148. Portrait of the Duke of Ancaster's " Blank,"
a bay horse in a landscape, held by a man in a blue coat.
40 inches by 50 inches.

No. 150. Portrait of the Duke of Ancaster's Spec-
tator, a bay mare, with groom in drab coat and vest and
jockey cap. 40 inches by 50 inches.

No. 159. Portrait of the Duke of Ancaster's Blank,
a bay stallion, held back by a groom ; in distance two
tigures with horse near a stable. 30 inches by 44 inches.

204 ANIMAL PAINTERS

In the possession of Lord Cobham, Hagley Hall, Stour-
bridge.

Portrait of bay race horse, Trentham, ridden by jockey
in harlequin jacket and cap: signed and dated 1771.

In the possession of F. G. Pawson, Esq., East House,
Titchfield, Hants.

"The Rest." Landscape with figures: 23 inches by
25 inches. One sportsman in a drab coat sitting at the
root of a tree ; beside him stands a companion in a red
coat loading his gun ; near the latter sits a liver-and-
white pointer and a lemon-and-white setter. This pic-
ture, which bears neither date nor signature, was pur-
chased in Yorkshire about 1848 by an artist named
Chinn, who sold it to the uncle of the present owner.

In the possession of H. Gooseman, Esq., Great Grimsby,
Yorks.

A Portrait of the Artist painted by himself. This
interesting picture is painted on white enamelled porcelain
and measures 30 inches by 24 inches ; the oval mount
reducing it to 27 inches by 20 inches, and revealing the
half-length figure. Stubbs has portrayed himself looking
o\er his right shoulder and in the act of painting : his
white hair curls at the ends, the crown of his head being
bald ; he wears a loose coat, greyish-brown in colour,
and a white neck-cloth. He holds his palette, on which
his signature is boldly painted, " Geo : Stubbs, Pinxt :
1781." This portrait, therefore, shows him at the age of
57 years. Stubbs had made progress with an engraving
of this picture on copper ; the plate measures 13J by
10^ inches, and the oval portrait 12 inches by 9 inches ;
it is, however, unfinished.

In the possession of J. R. F. Burnett, Esq.

A Portrait of Eclipse, oblong, 4 feet 2 inches by 3 feet
4 inches. Eclipse, saddled and bridled, stands facing
the right : a surcingle passes over the saddle. At the
foot of an immense ancient oak, which throws a bough

WORKS OF GEORGE STUBBS, R.A. 205

across the picture, is seated Mr. Wildman, the owner of
the famous horse : he wears a blue suit, tcnee breeches,
white stockings, buckle shoes and three-cornered hat.
Mr. Wildman's two sons stand at the horse's head, one
of them holding the bridle. They are dressed like their
father, in blue, with knee breeches, white stockings,
buckle shoes, and three-cornered hats. This picture was
formerly the property of Mr. Burnett's mother, who was
a direct descendant of Mr. Wildman. Mrs. Burnett died
about the year 1868, at the age of 80.

The pastel portrait of George Stubbs, by Ozias
Humphrey, R.A., is now in the permanent collec-
tion of the Walker Art Gallery in Liverpool. It
measures four feet by two feet, and Mr. Charles
Dyall, the Curator, states that the painting appears
to be almost as fresh as when first e.xecutecl over
a century ago.

WORKS OF GEORGE STUBBS, R.A.

PICTURES EXHIBITED AT THE ROYAL ACADEMY

(52 in number).

V5AR

'775— (4) PORTRAIT OF EUSTO.V, A HORSE, belonging to Mr. WiIdman-/'0/f -
TRAIT OF A POMERANIAN DOG, belonging to Earl Spitncn—SPANISH
DOG, belonging to Mr. Cosw.iy— PORTRAIT OF A MONKEY.

1776— (4) TIGERS AT PLAY— MARES AND FOALS— PORTRAIT OF A DOG-
PORTRAIT OF A DOG.

1778— <6) PORTRAIT OF A HORSE— DOG— TWO DOGS— PORTRAIT OF A
GENTLEMAN PREPARING TO SHOOT— PORTRAIT OF A BOY-
PORTRAIT OF A BOY.

'ng—ii,) PORTRAIT OF A MARE AND DOG— A DOG— GENTLEMAN ON
H0RSEB.4CK— LABOURERS.

1780— (6) PORTRAITS OF HORSES— PORTRAITS OF TPYO HEIFERS— POR-
TRAITS OF HUNTERS— PORTRAIT OF A DOG— FIGURES AND
ANIMALS— PORTRAIT OF A HORSE.

ijSi—TIVO HORSES (in enamel).

206 ANIMAL PAINTERS

Tjii-ii) PORTRA/T OF A DOG—PORTRAIT OF A YOUNG LADY, in the
character of Una, from Spenser's Faerie Queen — PORTRAIT OF A YOUNG
GENTLEMAN SHOOTING (tn;aatXy~ FARMER'S WIFE AND RAVEN
(Gay's ¥a.\>\t:s)— PORTRAIT OF AN ARTIST (n:ime\)— PORTRAITS OF A
VERY OLD HORSE AND DOG— PORTRAIT PF A DOG (enamel).

1786— (2) REAPERS— HAYMAKERS.

'787— (3) BULLS FIGHTING— BULLS FIGHTING— PORTRAITOF A HUNTER.

i-liq— CARTING OF CORN.

iTjo—PORTRAIT OF THE LINCOLNSHIRE OX, now at the Lyceum, Strand.

1791 -(4) A POMERANIAN DOG-PORTRAIT OF HIS ROYAL HIGHNESS
THE PRINCE OF WALES— SHEPHERD'S DOG, FROM THE SOUTH
OF FRANCE— A BUFFALO.

1799— (2) A TROTTING HORSE— A MONKEY.

i8co— (2) HAMBLETONIAN BEATING DIAMOND AT NEWMARKET— HAM.
BLETONIAN, rubbing down.

1801— (2) PORTRAIT OF A M.4RE, the property of the Earl of Clarendon— /"/} A' A"
SCENE A T THE GROVE, near Watford, Herts, the seat of the Earl of Clarendon.

iio2—(i) PORTRAITS OF TWO HORSES, AND DOGS, in the possession of G.
Towney SluhU—POR TRAIT OF AN INDIAN BULL, in the possession of the
Earl of Clarendon.

iio2— PORTRAIT OF A NEWFOUNDLAND DOG, the property of His R.H. the
Duke of York.

PLATES IN THE SPORTING MAGAZINE (13 in number).

1796 — OTHO, a famous horse, the property of the Earl of Upper Ossorj"; by Moses out of

a clam by Old Cade, foaled in 1760 ; vol. 9.
iZo^— COLT BRED BY LORD BOLINGBROKE\ the horse was painted by Stubbs,

the landscape by Vernet ; and the two figures, the dog and the sheep, by Boucher ;

vol. 21 ; engraved by J. Scott.
1B08—AMBROSIO, a stallion in the stud of Thomas Haworth, Esq., at Barham Lodge,

near Edgware, Middlesex, was got by Sir Peter Teazle, his dam Tulip by Damper,

vol. 31 ; engraved by Scott.
i%oZ— HORSE AND LION, vol. 32 ; engraved by Mr. William Nicholls.
xZoZ—THE LION AND HORSE, vol. 32; engraved by Mr. William Nicholls.
iZoZ— THE GODOLPHIN ARABIAN, vol. 33 ; engraved by Mr. Nicholls.
1808 — DUNGANNON, the sire of many famous horses, got by Eclipse, foaled in 1780, and

bred by Colonel O'Kelly, vol. 33 ; engraved by W. Nicholls.
t8ii — BARONET, a bay horse, foaled 1715* property of H.R.H. the Prince of Wales ;

Baronet was a trial horse at Newmarket and afterwards sold into America, vol. 37 ;

engraved by William Nicholls.
\%iQ—MARSKE, was a son of Squirt by Eartlet's Childers, full brother to Flying Childers,

vol. 56 ; engraved by Scott.
1 821 — MAMBRINOy a grey horse, got by Engineer son of Sampson by Blaze, property of

Earl GrLSvenor, vol. 57 ; engraved by Scott.
1^12— SHARK, got by Marsk, his dam by Old Snap, both sire and dam great grandsons of

the D^rby Arabian, property of Robert Pigott, Esq., vol. 60; engraved by Scott.
1S22— ECLIPSE, foaled 1764, bred by the Duke of Cumberland, vol. 61; engraved by

Scott.
J823 — GIMCR AC K, folded 1760, was got by Cripple son of the Godolpbin Arabian out of

Blossom, a grey maie by Old Crab, vol. 62 ; engraved by Scott.

207

PETER TILLEMAN.
(Born 1684. Died 1734).

pETER TILLEMAN was born at Antwerp in
■'■ 1684, and came over to England with Peter or
Pieter Casteels in the year 1704. It would appear
that at first he failed to obtain recognition, for he
was employed by a picture dealer, named Turner,
to make copies of the works of Borgognone and
other great masters ; in this he achieved remarkable
success, more particularly in imitating the style and
execution of Teniers. At a later date he turned his
attention to landscape, painting scenes with small
figures, sea-ports, and other views. In course
of time his pictures began to attract notice ; and
in 1719 he was commissioned to illustrate Bridge's
History of Noi'thainptonshire, for which he executed
nearly 500 drawings. It was no doubt this work
which served to bring his talents for depicting
country scenes under the notice of the landed
gentry ; but whether he owed it to the publication
of this book or not, he now found patrons among
the nobility, who commissioned him to execute views
of their country seats, hunting and racing scenes,
and portraits of their horses and dogs.

208 ANIMAL PAINTERS

His picture of Chatsworth, painted for the Duke
of Devonshire, is considered one of his happiest
efforts ; another successful work was a general view
of Richmond from Twickenham Park, painted for
the Earl of Radnor. This picture was afterwards
engraved by P. Benazech, the plate measuring 19
inches by 13 inches. Among the works of sport-
ing interest may be mentioned The Warren Hill at
New Market which was engraved by J. Sympson,
size of plate 42^ by 17 inches. The View of a
Horse Match over the Long Course at New Market,
engraved by Claude de Bose, size of plate 44 by
i6f inches. The inscription tells us that this picture
was "painted for John Bowles at No. 13 in Corn-
hill and Carrington Bowles, No. 69 in St. Paul's
Churchyard." The Round Course or Plate Course
New Market was engraved by J. Sympson, size
of plate 43j by 16J inches. None of the copies of
the plates examined bears a date ; their similarity in
point of size and shape seems to indicate that the
three pictures were executed to form a set.

Tilleman was employed for a time by the fourth
Lord Byron, both to give him instruction in drawing
and to paint pictures.

A private collection in Essex includes a good
example of Tilleman's work as a landscapist and
animal painter, in fairly good preservation. This
is a large picture of the Duke of Kingston on

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PETER TILLEMAN 209

horseback, with keepers, and eleven young pointers
all standing to game ; a view of Thoresby Hall,
Lincolnshire, forming the remote background. The
work bears date 1725. In the Elsenham collection
there is an engraving by Pritchard from this
picture ; the plate measures 1 7 inches by 1 1 inches,
and it bears the quaint inscription, "His Grace, and
attendants going a-setting."

The excellent plates engraved by Js. Sympson
and Jn. Lloyds, from a set of three pictures descrip-
tive of " Newmarket Horse Races," enable us to
measure Tilleman's talent as a horse painter.
Equine anatomy had not yet been mastered — had
been hardly approached seriously — by artists when
these pictures were painted, but the "different
actions and postures," to quote from the inscription
on the first of the series, are rendered with a skill
that shows no inconsiderable advance in the art of
horse portraiture. The pictures are: (i) A View
of the Round Course with divers Jockeys and
Horses in Different Actions and Postures, going to
the Start for the King's Plate at Newmarket ; (2)
A View of a Horse Match over the Long Course
from the Starting Post to the Stand at Newmarket.
Each of these plates measures i6 inches by 11
inches ; (3) A View of Noblemen's and Gentle-
men's Several Strings or Trains of Running Horses
taking their Exercise up the Watering Course on
14 VOL. n.

2[0 ANIMAL PAINTERS

Warring Hill at Newmarket. This plate measures
17 inches by 12 inches. A fourth falate, "The
Fox Cha.se," is of the same dimensions as the last
of the Newmarket set. The four were " printed for
and sold by Elizabeth Foster at the White Horse
on Ludgate Hill, and published in 1752." The
engraving, by Mr. F. Babbage, here given is from
the " Horse Match over the Long Course."

A trade catalogue issued in 1 768 by Robert
Wilkinson, successor to John Bowles, 58, Cornhill,
London, advertises four large prints from the same
paintings. Each plate is described as being i foot
7 inches deep, and 3 feet 6 inches wide, " curiously
engraved by Tilleman, Dubose and Sympson."
The same catalogue contains an advertisement of
ten prints, each 17 inches deep and 19 inches wide,
curiously engraved by Pardieu, Baron, and others,
from the original paintings of Tilleman, Parocell,
and others, illustrative of prominent events in the
history of King Charles the First. The names
of the artists are not declared in connection with the
several pictures ; but in view of the acquaintance
with Northamptonshire possessed by Tilleman, it is
permissible to suppose that he was responsible for
No. 5, depicting the battle of Naseby. The ten
prints, representative of "The History of King-
Charles the First," are : (i) The King's Marriage ;
(2) King Charles before Hull ; (3) The Revolt of

PETKR TILLEMAN 211

the Fleet ; (4) The King Setting up his Standard ;
(5) The King Seized by Cornet Joyce at Holmby
House ; (7) The King's Escape from Hampton
Court ; (cS) The Trial of the King ; (9) The King
taking leave of his Children ; and (10) The
Apotheosis or Death of the King.

Tilleman painted numerous portraits of race-
horses for his patrons, among whom were the
Dukes of Somerset, Rutland, and Bolton, and the
Earl of Portmore. A set of twenty-five copper
plates, 7 J- inches deep and 8|- inches wide, were
engraved by R. Parr from portraits of race-horses
by Tilleman and his contemporary, John Wootton.

He suffered much from asthma, and for this
reason selected Richmond as his place of resi-
dence. The malady, however, was never shaken
off and he died at Norton, in Suffolk, on 5th
December, 1734, in the fiftieth year of his age.

A portrait of the artist, engraved by T. Cham-
bers, from a painting by Hissings, is given (opp.
page 92) in Pilkington's Dictionary of Painters,
published 1805.

212

F. C. TURNER.

(Born circa 1795.)

"C" C. TURNER was born about the year 1795.
-•- • Where he first saw the light, who his parents
were or what their worldly condition, we are unable
to discover. It is certain that his artistic talents
developed early in life, for his name occurs as an
exhibitor in a London gallery in the year 18 10,
when he could not have been more than fifteen,
or at most sixteen years of age ; and he has left
abundant evidence to prove how those talents
matured.

That he was a native either of the South or
East of England seems probable from the scenes
whence he obtained material for the hunting pic-
tures which formed so large a proportion of his
works. We find him portraying incidents which
occurred in the field with the Royal Staghounds,
The Berkeley, Old Berkeley, East Kent and East
Essex ; while he has left nothinq: to indicate that
he was familiar with the packs of the Shires and
the North country. Mention of the last-named
pack suggests reference to his portrait of Mr.

F. C. TURNER 213

Charles Newman, painted for presentation to that
gentleman when he resigned the mastership in
1842. The picture included portraits of several
East Essex sportsmen, Messrs. Caswell Newman
and Thomas White, " Parson Cox," and Meshech
Cornell, whipper-in. Mr. Charles Newman is
riding a white horse, and the hounds are repre-
sented breaking covert. This work was engraved
by Barraud.

F. C. Turner's first picture in the Royal Academy
— "The Portrait of a Lady" — exhibited in 1817,
was painted in London, the artist's address being
given as 17, Park Street, Upper Baker Street;
and nearly twenty years later he sent a picture to
the Royal Academy from 66, Great Queen Street,
Lincoln's Inn Fields. He could not have passed
any considerable portion of his time in the metro-
polis, during the hunting season at all events, for
it is said of him — and the bare statement is the
only scrap of biographical detail to be found — that
he rode more often to hounds and had been in at
the death of more foxes than any artist in exist-
ence. A note in the Sporting Magazine, descrip-
tive of one of his hunting scenes, remarks, " We
know he can both wield and follovo ' the brush '
with equal credit." The minute accuracy of tech-
nical detail which distinguishes his work sufficiently
proves the intimacy of his acquaintance with all

214 ANIMAL PAINTERS

matters pertaining to the hunting field ; and his
pictures lose nothing of their interest to sportsmen
from the fact that the artist was a straisfht man
to hounds. The Old Berkeley was the pack with
which he most frequently hunted, and F. C. Turner
on a celebrated horse named Tommy was a figure
well known to the members of that hunt. As
will be seen from the titles of the pictures given
hereafter, his sporting interests were by no means
restricted to horse and hound ; on the contrary,
he was an all-round sportsman, equally fond of
racing, shooting, and coursing, and equally conver-
sant with each.

" Throwing the Lasso " was painted to comme-
morate the take of a deer which had soiled in a
pond in Durham Marshes after giving the Royal
Buckhounds a run of 35 minutes. " Our artist,"
says the Sporting Magazine, in a note descriptive
of an engraving which T. H. Engleheart made
from the picture, "having been mounted by a
friend was present at the capture ; and Lord
Frederick Fitzclarence and the select few up having
expressed a desire to see a sketch, it was accord-
ingly made on the spot." It represents the hunts-
man on the bank throwing a noose neatly over the
head of the quarry as it plunges in the water.

The possessor of sporting tastes which claimed
gratification in winter and summer alike, it is

F. C. TURNER 215

extraordinary what a quantity of work he sent out
from his easel. His brush must have been as sure
and rapid as it was industrious, for he was a pro-
lific contributor to sporting publications, and also
exhibited largely during the thirty-five years over
which his artistic career extended.

His Royal Academy pictures were few, num-
bering only eleven, inclusive of the portrait of
which mention has been made as his first exhibit.
His second Academy picture was indicative of his
sporting tastes ; this contained portraits of Mr. W.
F. Stephenson's " Favourite Horses Going to
Covert." With the exception of the first, his
Royal Academy pictures exhibited between 1817
and 1844 were equine portraits and sporting
subjects. In 1836 he exhibited a portrait of
Master Becher on Ladybird, which was afterwards
engraved and reproduced in the Sporting Magazine.

From the descriptive note accompanying the
plate we gather that Ladybird was a very remark-
able pony ; her height is not mentioned, but it is
stated that she was one of the fastest ponies in all
her paces in England. She trotted one match, for
;^50, fourteen miles within the hour, carrying four-
teen stone ; and Captain Becher, her owner, states
that he often drove the pony fifty, sixty, seventy,
and even eighty miles a day, and never got to the
bottom of her.

2l6 ANIMAL PAINTERS

Other exhibitions received more of F. C. Turner's
attention than did the Royal Academy ; to the
British Institution, the Suffolk Street Galleries
and other galleries, he contributed no fewer than
sixty-five works.

Like other animal painters of his day, F. C.
Turner was in course of time secured as a con-
tributor to the Sporting Magazine, though he was
an exhibitor at the various public London galleries
for two-and-twenty years before that journal was
adorned by a reproduction of any work from his
easel. We find him first represented in the
numbers for 1832, and the two years following by
plates from hunting pictures. These are : —

In February, 1832 (No. i) —

" Who-whoop ! who-whoop ! tear him, he's fairly run down."

An engraving by John Romney from a work illus-
trative of the finish of a brilliant run with the
Old Berkeley, at which, no doubt, the artist was
present.

In December, 1832 (No. 2) —

" Tally-ho ! Tally-ho, there ! across the green plain."

Engraved by John Romney from another picture
of the Old Berkeley, portraying the fox stealing
away, hounds in full cry on his line and the hunts-
man landing over a stiff fence out of the coppice
from which hounds have just broken.

F. C. TURNER 217

In May, 1833 (No. 3) —

" ' Drag on him ! ah, wind him, my steady, good hounds.'
' Drag on him ! ah, wind him,' the covert resounds."

This plate was engraved by H. R. Cook. The

scene is laid at Thornley Park, near Canterbury

(no doubt an incident with the East Kent Hounds) ;

the huntsman, on a grey, is capping his hounds

on to the line as they stream out of covert.

In January, 1834 (No. 4) —

" Cast round the sheep stain ; cast round, cast round !
Try back the deep lane ; try baclv, try back ! "

This plate is also the work of H. R. Cook. The
picture represents the huntsman on a celebrated
old crop-eared mare which was ridden for many
years by Tom Arnold, huntsman of the East Kent.

These four plates from F. C. Turner's paintings
complete the series illustrating the old song — " A
southerly wind and a cloudy sky " —

" Hark ! I heard some hound challenge in yonder spring

sedge.
Comfort bitch hits it — there, in that old thick hedge.
Hark forward ! hark forward ! have at him, my boys.
Hark forward ! hark forward ! 'Zounds, don't make a

noise ! "

In February, 1835, R. Ackermann & Co. pub-
lished plates engraved by C. Heath from these
pictures; each plate measuring 19 in. by 14^ in.,
and printed in colours. The series was entitled
" The Fox Chase."

2l8 ANIMAL PAINTERS

F. C. Turner, once secured for the Sporting
Magazine, continued to be a regular contributor.
Between tlie years 1832 to 1845 seventy-eight
pictures from his brush were reproduced ; the plates
of these were engraved by John Romney, H. R.
Cook, J. Engleheart, T. S. Engleheart, J. H.
Engleheart, John Roff, R. Parr, John Scott, G.
Patterson, H. Beckwith, W. R. Smith, T. Good-
man, G. A. Perrian, S. Allen, H. Lemon and
H. Hacker.

Nor did this industrious painter confine himself
to the magazine mentioned ; we find him repre-
sented in the Neiv Sporting Magazine for 1837 by
a picture engraved by T. E. Nicholson. The
Sporting Review for 1840 contains an engraving
by T. A. Prior, from one of Turner's pictures,
which, by the way. appears again in the Sporting
Review ior 1843, engraved by J. Wesley. He was,
from an early date in his career, in much request
as an illustrator by the publishers of books of
sporting character.

The Essay on Hunting (third edition), published
by Edward Jeffrey & Son, London, 1820, con-
tains three plates engraved from his pictures by
Beckwith: — (i) Broke Cover; (2) Treeing a Cub;
and (3) The Stable.

Billesdon Coploiv, a poem on Fox-hunting, by
the Rev. Robert Lowth, published by T. Griffiths,

F. C. TURNER 219

London, 1830, contains six plates engraved from
works by F. C. Turner. These are hunting scenes
and other designs.

Bachelor's Hall, a series of six plates measuring
18^ inches by 13^ inches, engraved by T. Fairland,
and printed in colours, was published by R. Acker-
mann ; as also was the series entitled Moving
Accidents by Flood and Field, plates engraved by
N. Fielding, measuring 14.^ inches by lOj- inches
and printed in colours.

A book entided Tumer's Illustrations to " Nim-
rod" on the Condition of Hunters, published at the
Court Gazette Office, 343, Strand, contains twelve
engravings from works by this artist. These, as the
name of the book denotes, illustrate a book written
by Mr. Charles James Apperley, which was pub-
lished originally in 1831, by M. A. Pittman, of
London, under the title Remarks on the Condition
of Hunters. The plates are : (i) Huntsman Rating
Tail Hounds ; {2) The Meet ; (3) Breaking Covert ;
(4) Nearly Done Up ; (5) The Standstill ; (6)
Hounds in Full Cry ; (7) A Cold Bath ; (8) The
Rider Spilled; (9) Clearing the Brook; (lo) The
Death of the Hunter; (11) The Awkward Predica-
ment; and (12) The Death of the Fox.

A set of twelve foxhunting scenes by Turner was
published by Knights, of Sweeting Alley, Cornhill,
in 1835 ; the plates were engraved on zinc by Day
& Haghe.

2 20 ANIMAL PAINTERS

The Dying Fox Hunter, engraved and printed
in colours, was published in September, 1837.

The Cracks of the Day, edited by "Wildrake"
(George Tattersall), and published by Rudolph
Ackerman, London, 1841, contains a plate engraved
by T. E. Nicholson from Turner's portrait of " Miss
Letty," winner of the Oaks of 1837. The later
editions of this book were published under the tide
of The Pictorial Gallery of English Racehorses.

Shooting. This is a set of six engravings by
C. Hunt from pictures by F. C. Turner, illustrative
of the shooting months, August, September,
October, November, December and January.
These were published by J. W. Laird, in 1841.

The Noble Tips. A set of four plates 24!-
inches by 17 inches; published by J. W. Moore,
in 1853, from pictures by F. C. Turner.

Portraits of Celebrated Racehorses of the past
and present centuries, by Thomas Henry Taunton,
M.A., published in four volumes by Sampson Low
& Co., 1887. Several of the plates in this well-
known book are from F. C. Turner's pictures.

These are but a few of the engravings of works
from the artist's prolific brush. The number of
pictures which appeared in the Sporting Magazine
alone would prove his industry ; but when we
remember that the appended list of these constituted
only a portion of his output, we recognise how busy
a life F. C. Turner led.

WORKS OF F. C. TURNER 22 1

The date and circumstances of his death are
equally uncertain with those of his birth ; no record
exists to show where and when he was born, and
nothing has been published, so far as our researches
have revealed, to tell where and when he died.
The last trace of his work occurs in the shape of
an engraving from one of his pictures which appears
in the Sporting Magazine for 1846, and assuming
that his life terminated with his labours, we must
conclude that he died when in about the fifty-first
year of his age.

WORKS OF F. C, TURNER.

PICTURES EXHIBITED IN THE ROYAL ACADEMY
(i I in number.)

YEAR

x%i-j— PORTRAIT OF A LADY.

■i%\<j— FAVOURITE HORSES GOING TO COVERT, the property of W. F.

Stephenson, Esq.
ii70— PORTRAIT OF A HORSE.

1821— /I FA VOURITE MARE, the property of J. Russell, Esq.
i823-(2) FA UN, the property of J. Archbutt, Esq.— C. COLMAN, ESQ., painted to

embellish Part II. of the *' Percy Anecdotes."
•i%T,6— .MASTER BECHER ON LADYBIRD.
1840— .4 SUBJECT FROM jESOP'S F.4BLES.
iiii~BI/OU AND BEA UTY, the property of Lord Tenterden.
1844 —(2) FO.KHOUNDS GOING OUT—FO.XHOUNDS RETURNING.

PLATES IN THE SPORTING MAGAZINE FROM PAINT-
INGS BY F. C. TURNER (78 in number.)

" WHO-WHOOP !" 1831, vol. 79 ; engraved by J. Romney.

(s) " TALLY-HO ! "1832, vol. 81 ; engraved by J. Komnty— SHAVER, a celebrated

deerhound, pinning a buck in Waldershare Park, Kent. 1832, vol. 81 ; engraved by

H. R. Cook.
(2) THE FIND, 1833, vol. 82, engraved by H. R. CooV— FLORA, a spaniel. 1833, vol.

82; engraved by H. R. Cook.

222 ANIMAL PAINTERS

(2) "TKy BACK!" Tom Arnold, on a mare well known with the East Kent, 1S34,

vol. 83; engraved by H. R. Cook.— THE EARTH STOPPER, Old Will
Norris, of Pelham, earth-stopper of the East Kent foxhounds, 1834, vol. 83 ;
engraved by H. R. Cook.

FALCONER DISGORGING A HERON, 1834, vol. 84 ; engraved by H. R. Cook.

(5) VIGNETTE, 1834, voL 85; engraved by J. T£.as\thtail-EXTRAORDINARY
PRESERVATION OF FOXES, zZ^, vol. 85; engraved by H. R. Cook-
THE EAST ESSEX FOXHOUNDS, 1834; vol.85; engraved by J. Engleheart
— C. NEWMAN, ESQ., 1834, vol. 85; engraved by R. RoSe-HA IVKING
PARTY. 1834, vol. 85 ; engraved by R. Parr.

(3) UNCARTING THE ROYAL BUCK, 1835, vol. 86; engraved by Parr—

HAWKING: THE FATAL STOOP, 1835, vol. 86; engraved \tyVm—THE
RENDEZVOUS, 1835, vol. 86 ; engraved by R. Parr.

MASTER BECHER ON LADYBIRD, 1836, vol. 87 ; engraved by J. Engleheart.

(2) FAN, a celebrated bitch, 1836, vol. 88; engraved by John Scott— Z/.'IZ.-l/i'Z), a

celebrated hackney purchased by the Marquis of Abercom for 330 guineas, 1836,

vol. 88 ; engraved by Engleheart.
VULCAN, BACHELOR AND BEVERLEY, three celebrated stallion greyhounds,

r837, vol. 8g ; engraved by Engleheart.
(2) THROWING THE LASSO, 1837, vol. 90; engraved by '&n%\Ai2:cl.— TANTALISA-

TION, a white terrier bitch, 1837, vol. 90; engraved by Engleheart.

(2) "OLD PLUCK," EARTH-STOPPER TO MAJOR-GENERAL WYNDHAM,

OF SADILAND, SUSSE.X, 1S37, vol. 91 ; engraved by G. Paterson— ZOI'^Z.
FOXHUNTERS, 1837, vol. 91 ; engraved by Engleheart.

(3) VIGNETTE, 1838, vol. 92; engraved by Engleheart- TA^.S HIPPODROME, 1838,

vol. 92 ; engraved by Engleheart — AMATO, a brown bay colt, bred by Sir Gilbert
Heatbcote, 1838, vol. 92; engraved by John Scott— /A'Z»6'i'7Vf K, a brown filly,
bred by the Earl of Chesterfield, 1838, vol. 92 ; engraved by Engleheart —
THE CAPERCAILZIE, 1838, vol. 92; engraved by Engl<:hiait— PARTRIDGE
SHOOTING, 1838, vol. 92 ; engraved by Engleheart— 7W£ GOODWOOD
PLATE, 1838, vol. 92; engraved by Engleheart— //.>l/iA'.j;F/)K, a chestnut colt,
bred by Mr. Ferguson, 1838, vol. 92 ; engraved by Engleheart.

(5) DON JOHN, a bay colt, property of the Earl of Chesterfield, 1838, vol. 93 ; engraved by

¥-.n'^^\^2.n— FORESTER, a bloodhound, 1838, vol. 93; engraved by Engleheart —
WOODCOCK SHOOTING, 1838, vol. 93; engraved by G. Paterson— ;r/Z/)
DUCK SHOOTING, 1839 ; vol. 93; engraved by G. Paterson— r/Z^ BADGER
HUNT, 1839, vol. 93 ; engraved by H. Beckwitb.

(2) VALIANT, property of Lord Adolphus Fitzclarence, 1839, vol. 94; engraved by

%n^A\it3.n— PHEASANT SHOOTING, 1839, vol. 94 ; engraved by G. Paterson.

(6) HUNTING : No. i, THE FIND, 1839, vol. 95 ; engraved by G. Paterson— No. 2,

CHEERING IN COVER, 1S39, vol. 95 ; engraved by G. Paterson— No. 3, THE
VIEW, 1840, vol. 95 ; engraved by G. Paterson— No. 4, THE DEATH, 1840,
vol. 95; engraved by G. Paterson —7"i/£ SPICEY SCREW, 1840, vol. 95;
engraved by Engleheart— //J/JV^r/iTG THE OSTRICH, 1840, vol. 93 ; engraved
by G. Paterson.

(3) POACHED EGGS, 1S40, vol. 96; engraved by Engleheart— /?£■/) DEER FIGHT-

ING, 1840, vol. 96; engraved by W. R. Srmih— INSTINCTIVE PRESERVA-
TION OF A FOX, 1840, vol. 96 ; engraved by H. Beckwith.

(4) CALLACH, a celebrated Highland deerbound, 1840, vol. 97 ; engraved by G. Paterson

— THE SNARE DISCOVERED, 1840, vol. 97; engraved by T. Goodman-
SETTING THE SMEUSE, 1841, vol. 97; engraved by Kagiehti^Lxl— SNIPE
SHOOTING IN JANUARY, 1841, vol. 97; engraved by John ScotL

WORKS OF F. C. TURNER 223

U) BLACK" A-VD RED GROUSE FIGHTING, 1841, vol. gS : eiigravea by H. Pecltwiih
— B/JOU, a bitch, property of Lord Tenterden, 1841, vol. 98 ; engraved by H. Beck-
with— THE STRICKEN MALLARD, 1841, vol. 98 ; engraved by H. Beckwith—
A DAV WITH THE PHEASANTS, 1S41, vol. 98 ; engraved by T. Goodman.

(i) HUNTING EXTRAORDINARY, 1841, vol. 99; engraved by Engleheart— T/^^
LOST SHOE, 1842, vol. 99 : engraved by E. A. Vtns.m— THE MILLER, a
celebrated 4-year-old buck, 1842, vol. 99; engraved by Engleheart.

MODISH, a favourite bitch in the Earl of Fitzhardmge's kennel, r84z, vol. 100; engraved
by H. Beckwith.

(3) GOING TO SCALE, 1843, vol. loi ; engraved by S. Allen— " iVO GO," 1843, vol, loi;
engraved by Engleheart — RIDING TO COVERT, 1843, vol. loi ; engraved by
Engleheart.

"BY YOUR LEAVE, GENTLEMEN," 1843 ; vol. 102, engraved by Engleheart.

(3) RUNNING REIN, bred by Charles Cobb, Esq., 1844, vol. 103 ; engraved by Engleheart
—FIRST DAY OF THE SEASON, 1844, vol. 103; engraved by H. Lemon—
CHANCELLOR RUNNING AMUCK, 1844, vol. 103 ; engraved by Hacker.

(fi) /E3I HASTINGS, THE RUNNING TAILOR OF THE BERKELEY HUNT,
1844, vol. 104; engraved by H. Beckwith — DESPERATE, a celebrated stallion
hound in the kennel of the Earl of Fitzhardinge, 1844, vol. 104 ; engraved by
Engleheart.

(3) A TICKLISH SUBJECT, 1845, vol. 105; engraved by H. Beckwith- ir.-iff TAVC
FOR THE DERBY, 1845, vol. 105 ; engraved by J. Engleheart — THE
STEWARDS' STAND AFTER THE DERBY, 1845, vol. 105; engraved by
Engleheart.

(6) THE BELVIDERE ROUNDING THE FLAG BUOY, 1846, vol. 106; engraved
by H. Beckwith— yl/^'yi'.ff I' MONARCH, a bright bay by Slane out of The Mar.
giavine, 1846, vol. 106; engraved by Engleheart— r.ff'^ EMPEROR'S CUP, run
for at Ascot, 1845 ; 1846, vol. 106; engraved by H. Lemon — THE TRIAL, young
horses on the heath at Newmarket, 1846, vol. 106; engraved by Hacker — THE
CANTER BEFORE THE RACE, 1846, vol. 106; engraved by Engleheart—
CLIPPING, 1846, vol. 806 ; engraved by Engleheart.

PLATE IN THE NEW SPORTING MAGAZINE.

MISS LETTVy a bay mare, bred and owned by the Hon. Thomas OrJe Powlett, 1837 ; vol.
13 ; engraved by T. E. Nicholson.

PLATES IN THE SPORTING REVIEW (2 in number).

MAJOR-GENERAL IVYNDHAMS FOXHOUNDS BREAKING COVER, 1840,
vol. 3; engraved by T. A. Vnox— FAVOURITE HOUNDS IN THE CHEL-
TENHAM PACK, 1843, vol. 10 ; engraved by J. Wesley.

224

G. A. TURNER.

GA. TURNER was the son of F. C. Turner.
• A brief note in the Sporting Magazine for
March, 1838, in connection with a clever picture of
a deerhound named BeHman, speaks of it as "the
first appearance in our Magazine of a talented
young artist, the son of F. C. Turner, who bids fair
to turn out a genuine chip of the old block." G. A.
Turner's works, so far as they can be traced, were
very few ; he exhibited three pictures in the Royal
Academy in the years 1836, 1838 and 1841 re-
spectively ; and in the volumes of the Sportnig
Magazine for 1837 and 1839 we find four plates,
including that from the portrait of " Bellman,"
engraved from his paintings.

No record can be found of the dates of his birth
and death.

WORKS OF G. A. TURNER.

EXHIBITED IN THE ROYAL AC.\DEMY (3 in number).

YEAR

1836— Z .4 iV^C£ AND HIS DOG CRAB— TWO GENTLEMEN OF VERONA.
rii%—BEVIS CONVEYS TOMKINS'S GLOVE TO WOODSTOCK, AND

HOWLING, GAINS ADMITTANCE, vide Sir W. Scott's " Woodstock."
^•,-i—THE CLIPPER.

PLATES IN THE SPORTING MAGAZINE (4 in number).

BELLMAN, a Highland deerhound, the property of the Duchess of Gordon, 1838, vol. 91

engraved by Engleheart,
2) THERON, Her Majesty's Charger, 1838, vol. 92; engraved by Engleheart— r/Zi'

SPORTSMAN S PRESENT, 1S38, vol. 9s; engraved by J. H. Engleheart.
RABBIT SHOOTING, 1S3S, vol. 93; engraved by T. S. Engleheart.

JAMES WARD, R. A.

(Born 1769. Died 1859.)

JAMES WARD was born in Thames Street,
London, on October 23, 1769. He owed his
first introduction to the arts to the industry and ability
of his elder brother William, who, at an early age,
had been apprenticed to Raphael Smith, an engraver
of some note. William, who afterwards became an
Associate of the Royal Academy, stood so high
in Smith's esteem that, when James reached his
eleventh or twelfth year, the engraver offered to
take him also as an apprentice. Smith's methods,
however, did not commend themselves to the boy,
whose taste for drawing was already developing.
Instead of receiving instruction in the elements of
the engraver's art, he was required to perform only
such tasks as window-cleaning and running errands;
his attempts at draughtsmanship were discouraged,
and he was not even allowed the use of chalks and
paper. Referring in after years to his apprentice-
ship, he says that the only paper he could get was
waste or unfinished proofs of engravings, and these
latter were rendered so rotten by the process to

15 VOL. II.

226 ANIMAI, PAINTERS

which they were subjected to print mezztintos that
they would not take the chalk when he tried to
draw on the backs.

A chance sketch of an arm, inspired by the
sight of a picture by Fuseli, which Smith and
William Ward were engraving, one day revealed
the budding gifts of James to his brother ; and
William, having reason to be dissatisfied with their
employer, kept the discovery to himself Soon
after William quarrelled with Smith and left, taking
James with him, and set up business on his own
account. He achieved success as a mezzotint
engraver, and trained his younger brother in the
art ; but James, though he proved a most apt
pupil, does not seem to have put his heart into the
business. He continued to work at it, at the same
time painting under the supervision of George
Morland, and made such a name for himself that,
in 1794, he was appointed mezzotint engraver and
painter to the Prince of Wales. His progress with
the brush must have been rapid after leaving
Raphael Smith's employ ; for despite the delay his
apprenticeship caused, he painted four pictures
which were exhibited at the Royal Academy in
1792, and continued to exhibit regularly from that
time forward.

His appointment as Engraver and Painter to the
Prince of Wales, when only twenty-five years of

JAMES WARD, R.A. 227

age, must have confirmed the young man's know-
ledge of his own abilities ; and thus he found open
to him two paths in life, either of which gave
promise of leading to eminence. He wavered long
before he finally resolved to adopt the career of a
painter, and not until 1797 did he practically
abandon the art in which he had been trained.
It was hardly wonderful that he should have
remained in a state of indecision. While his own
tastes and inclinations pointed directly to the easel,
the first painters of the time, whose pictures he
engraved, were unanimous in urging him to devote
himself to engraving, and give up painting. Sir
Joshua Reynolds, Hoppner and Northcote were
among the artists from whose pictures he had made
plates ; and the following frank letter written by
Hoppner to Mrs. Ward shows that the artists were
not wholly disinterested in their endeavours to
dissuade the young man from indulging his aspira-
tions :

Taking it [painting] up at his time of life, he can never
expect to overtake or even to make a stand with the painters.
We shall therefore all oppose him in the one as we shall en-
courage him in the other. I shall oppose him, for what shall
I do ? I shall lose the first engraver I want and be encourag-
ing a poor painter that we do not want.

Ward's intimacy with George Morland no doubt
did much to lead his thoughts away from engraving.

228 ANIMAL PAINTERS

William Ward had married a sister of Morland's ;
and Morland had married a sister of the Wards.
James was therefore brought much in contact with
him and came under his direct influence in the
studio ; in his early days he copied some of his
paintings and learned the secret of his touch ; and
he also engraved three of his best pictures, namely,
The Fruits of Early Industry and Economy,
Smugglers, and Fishwomen. And as he gave
an increasing portion of his time to painting and
less to engraving, he was more in Morland's society,
and was more greatly influenced by his style.

That Morland's influence appeared in James
Ward's earlier works was apparent to critics at
the time. He was regarded as a pupil of Morland,
and it was not to his advantage to be so regarded,
for that artist's popularity and fame, won by his
extraordinary talent for delineating scenes of a
domestic character — conversation pieces, landscapes
with horses, cattle and other domestic animals —
was on the wane ; and where the master had
ceased to gain acceptance it was hardly likely his
supposed pupil should succeed.

One of James Ward's exhibits at the Royal
Academy was a picture entitled Selling Rabbits.
This work and another of somewhat similar cha-
racter, " The Citizen's Retreat," both suggesting
the influence of Morland, were engraved by his

JAMES WARD, R.A. 229

elder brother, W. Ward, printed in colours and
published by him January i, 1796; the plates are
of uniform size and measuring 23f inches by
i7f inches.

The decline of George Morland's vogue, though
serious in its effects upon Ward's prospects for the
time, was in reality an advantage in disguise. In
1797 he exhibited at the Royal Academy a picture
called The Bull Bait, which appears to have
attracted much attention, even as it received high
praise from the critics. It was described as "a
work of great ability, full of figures cleverly grouped,
fine in colour, and full of animation and character,
which, though the talk of the day, was purchased
by a dealer for j^^o." The artist, however, heard
it described as the work of " a pupil of Morland,"
and realised the necessity of looking out for a
style of his own. He found, to use his own words,
that he "had a fresh foundation to lay and had
to begin at the bottom of the hill." Thus only at
the comparatively mature age of eight-and-twenty,
when artists of real ability have generally esta-
blished themselves, James Ward made the real
beginning of the career he had chosen for himself.

He entered as a student John Brook's School of
Anatomy in Blenheim Street, and appears to have
studied for a short time in the Royal Academy
School of Art. Concurrently with his studies he

230 ANIMAL PAINTERS

painted diligently and with a degree of success
which suggests that any shortcomings tuition might
correct were more apparent to the artist himself
than to his patrons. In 1798 he exhibited six
pictures at the Royal Academy. Among these were
two, Cattle in a Storm, and Lion and Tiger
Fighting, which won much praise. Another
picture was the Alderney Cow, no doubt the
work commissioned by Sir John Sinclair, Presi-
dent of the New (now the Royal) Agricultural
Society. This picture marks the beginning of
Ward's application of his energy and talents to
animal painting, and was the first of an important
series of similar works which did much to enhance
a rapidly growing reputation. He speedily threw
off the peculiarities of style or mannerisms of other
artists, and, bent though he was " looking out
for a style of his own," he could hardly have felt
aggrieved when his 1798 exhibits earned for him
the name, "The English Paul Potter."

The success of the " Alderney Cow " resulted in
his selection by the Agricultural Society to paint a
series of pictures representing all breeds of farm
stock ; and this commission, involving as it did con-
tinuous travel about the country for some years in
search of models, necessarily brought the artist in
contact with a very large number of leading agri-
culturists and others. The original scheme of the

JAMES WARD, R.A. 23 1

Society seems to have fallen through for lack of
funds in 1805 ; but Ward, though he is said to have
actually lost money over the collapse, had no reason
to regret the time he had spent over its partial
execution ; it gave him the opportunity to establish
his name as an animal painter and to secure a large
number of patrons whose orders meant financial
success. Among his patrons may be mentioned
the Dukes of Wellington, Bedford, Newcastle and
Northumberland, the Marquises of Exeter and
Huntly, the Earl of Powis, Lords de Tabley,
Brooke, Ribblesdale, Dewhurst and Southampton,
Lady Frances Vane Tempest, the Hon. C. Arbuth-
nott, Hon. C. Phipps, Sir Matthew White Ridley,
Sir W. W. Wynn, Sir J. Shelley, Sir Thomas
Mostyn and Sir A. Hume, Messrs. Beckford,
Vernon, J. Allnutt, John Wells, T. F. Heathcote,
T. Croak, E. Mundy and Ralph Lambton.

In the early years of the century James Ward, it
is said, was earning as much as .1^50 a day ; and it
will be observed, from the list of his contributions
to the Royal Academy, that he sent in fewer
pictures during the years 1802-5 than at any sub-
sequent period of the same length. He was a
large and constant exhibitor ; during the sixty-three
years of his artistic career, only five exhibitions
lacked works from his easel ; he very frequently
sent in eight pictures, and in 181 6 he had nine on
the walls.

232 ANIMAL PAINTERS

In 1807, he was elected an Associate of the
Royal Academy, and in 181 1 an Academican. His
diploma picture, A Bacchanalian, was presented
in 181 2.

The great canvas representing an " Allegory of
the Battle of Waterloo," was finished by Ward
after five years' work in 1823. The Directors of
the British Institution, in 181 7, had offered a prize
of ^1,000 for the sketch which should best express
in an allegorical spirit the triumph of the Duke of
Wellinofton. Ward's sketch was selected ; he had
always had a leaning towards the allegorical, but it
may be doubted whether his achievements in this
particular department of art were of a character to
bring him the fame he won as a painter of animal
life. The picture was ordered, and after some vicissi-
tudes due to its vast size (35 feet by 21 feet) was
hung in Chelsea Hospital.

Portraits of hunters, chargers and racehorses,
figure largely among the artist's Royal Academy
picures, as also do portraits of cattle and dogs.
His two 1 8 18 contributions, an Arab belonging
to the Earl of Powis, and a Favourite Hunter
of Theophilus Levett, Esq., receive favourable
notice from a critic of the time who refers to the
excellence of the anatomical drawing and colour,
and to the happy rendering of the silky texture of
the horses' coats. One of his contributions to the

JAMES WARD, R.A. 233

Royal Academy Exhibition of 1820 was a portrait
of Ralph Lambton, Esq., on his horse Under-
taker, surrounded by his hounds, which the hunts-
man is calling out of covert. This picture was
engraved and printed in colours by C. Turner,
who also published it in 1821.

The picture of Primrose and Her Foal, which
was reproduced in Vol. 36 of the Sporting Maga-
zine, 1 8 10, was also engraved on a larger scale, the
plate measuring 17I inches by 13I-. His portrait of
the racehorse Walton, also reproduced in the
Sporting Magazine, Vol. 45 of 1 8 1 4, was engraved
for separate publication, the plate being the same size
as that of Primrose and Her Foal. This engrav-
ing was published April 2, 1882, by R. Ackermann,
Rodwell and Martin, and Colnaghi and Co.

A portrait of Mr. R. Riddel's thoroughbred
Dr. Syntax, appears among the artist's exhibits
at the Royal Academy of 1820; on April i, 1803,
an engraving from a picture of the same horse,
t8 inches by 13I inches, was published by R.
Ackermann, Strand. The portrait of Mr. J. G.
Lambton's Leopold, which was exhibited in
the same year, was no doubt the canvas from
which was made the engraving, 18 inches by 13
inches, which R. Ackermann published in April,
1823. The portrait of King George IV. 's Sooth-
sayer was exhibited at the Royal Academy of

234 ANIMAL PAINTERS

1824 : this must have been a different picture from
the one which was engraved (plate 18 inches by 13^)
and published in 1823 by R. Ackermann and Rod-
well and Martin. The portrait of Phantom was
engraved, plate 18 inches by 13 inches, and pub-
lished in London in April, 1823. That of the
Duke of York's Moses was shown at the Royal
Academy exhibition of 1825, and was engraved and
published in October of the same year by R. Acker-
mann ; size of plate, 18 inches by 13 inches.

Ward's best known work is undoubtedly the
large " Bull, Cow and Calf," which hangs in the
National Gallery. This picture, 10 feet 8 inches by
15 feet 10 inches, shows an Alderney bull, cow and
calf, standing, in the centre ; a black cow lying
down in the right foreground, with sheep and a
goat in the middle foreground ; and in the distance,
meadows with cattle grazing. The animals por-
trayed belonged to Mr. Allnutt, of Clapham. This
work, painted in 1820-22, was undertaken at the
suggestion of Benjamin West, P.R.A., who thought
Paul Potter's famous " Bull " an over-rated per-
formance and considered Ward capable of better
work. The picture was exhibited in 1823 at the
British Institution, and afterwards sent over to
America and exhibited in New York, where it was
so greatly admired that Ward said, " They declared
I had reached the rt(:we of perfection." In 1848, it

H
Z
O

JAMES WARD, R.A. 235

was brought back to England and purchased by
George Ward, the artist's son, who exhibited it at
Smithfield Cattle Show. The picture created a
sensation, and was criticised at length in all the
papers, much to the interest of the artist. Thus he
writes to his son on December 22, 1848 : —

I have anxiously expected to hear how the exhibition
goes on, or if any more papers. I trust you carefully keep
all the criticisms. So many on one work is a curiosity, and
tends to prove how impossible it is for a painter to attempt
to suit the critics, as you will find that those I have seen
directly oppose each other as to the faults and beauties. I
could give a reply to each and a reason for everything I have
introduced, but then I must be writer as well as painter.

In 1862, it was purchased for ^1,500 by the
Trustees of the National Gallery from Mr. G. R.
Ward.

In 1825, Ward exhibited the portrait of
Monitor, a very fast hackney belonging to King
George IV., an engraving from which is reproduced
as an example of his work ; and in the following
year was shown his picture of the Norfolk
Phenomenon, the great hackney sire whose impor-
tation into Yorkshire by Mr. Robert Ramsdale did
so much to improve the breed of roadsters in that
county and in the North. Another picture, stated
in an article in the English Ilhtstrated Magazine
for August, 1884, by Mr. F. T. Piggott, to be even
a finer piece of work than the " Bull, Cow and

236 ANIMAL PAINTERS

Calf," is a portrait of a flea-bitten grey Arab which
was painted in 1828. This painting was shown
for the first time at the Winter Exhibition of Old
Masters in 1879.

Portraits of ladies and gentlemen, sporting and
domestic scenes, and landscapes came from Ward's
prolific brush. During his later years his work,
attained its widest variety, and at this period too,
we find in his Royal Academy contributions evidence
of the taste for allegorical art which he now per-
mitted himself to indulge. Religious subjects,
significant perhaps of the bent of the artist's thoughts
in his advancing age, figure conspicuously in 1850.
During the last few years of his life, however, he
returned to more accustomed grooves, if his con-
tributions to the Burlingrton House Exhibitions
fairly represent his work.

From the year 1792 to 1855 inclusive, James
Ward sent no fewer than 287 pictures to the Royal
Academy ; he was also a frequent contributor to
the Exhibitions at the Royal Institution, the
Suffolk Street Gallery and the Society of Artists.
Engravings from some sixteen of his pictures
appeared in the Sporting Magazine between the
years 1807-18 18 ; and one in the Neii) Sporiing
Magazine ; the majority of these possess sporting
interest, but in no case is there a strictly sporting
scene. Many of his works are widely known

JAMES WARD, R.A. 237

through engrravino's, and mention must be made of
a series of twelve lithographic drawings of celebrated
horses which was published in 1823 by Ackermann
and Rodwell.

Lord Middleton has a good example of his work
at Birdsall, Yorkshire.

James Ward resided in London during the better
part of his life from 1798 to 1830 ; and in the latter
year, being then sixty years of age, he retired to
Cheshunt in Hertfordshire. He continued painting
and exhibiting until he was eighty-seven years old ;
the exhibition of 1855 contained his last contribu-
tion, fitly enough a picture of cattle. He died at
Kensington, whither he had gone to pay a visit on
November 23, 1859, in the ninety-first year of his
age.

A portrait of the artist taken from the picture
painted by himself and exhibited at the Royal
Academy in 1831 is given on page 240. It shows
him at about 60 years of age.

James Ward married a lady of his own name,
referred to by Mr. Piggott as " his first wife,"
though he says nothing of her death or a second
marriage. He had two sons, William James, born
1800, and George Raphael who inherited a share
of his father's artistic ability and made his name as
an engraver.

238

ANIMAL PAINTERS

WORKS OF JAMES WARD, R.A,

IN THE NATIONAL GALLERY (4 in number).

LANDSCAPE WITH CATTLE, AldemeybuII, cow and calf. Canvas 10 ft. 8 in, high
by 15 ft. 10 in. wide.

A LANDSCAPE, COR DALE SCAR, yORICSH/RE.—A dark ravine between lofty
cliffs, over the summit of which storm-clouds roll. Cattle and deer in the foreground
and middle distance ; waterfall in the background. On canvas, lo ft. ii in. high by
13 ft. 10 in. wide. Purchased from Lord Ribblesdale in 1878.

HARLECH CASTLE AND SURROUNDING LANDSCAPE.— On the brow of a hill
in the foreground lies a large tree recently felled, to the left of which stands a wood-
man lopping off its branches. Behind are two peasant women binding faggots. To
the right a cart laden with timber and drawn by four grey horses is turning the corner
of a road ; some trees and half-hidden cottages separate this portion of the scene from
the middle distance, in the centre of which rises Harlech Castle, surrounded by a
large tract of meadow land with hills in the background. Stormy sky, with the sun
setting in the extreme left of the picture. Painted on panel, 4 ft. 3 in. high by 7 ft.
wide. Purchased out of a pecuniary bequest made by the late Mr. Richard C.
Wheeler.

REGENTS PARK IN 1S07 : A CATTLE PIECE.— In the foreground a white bull and
several cows stand near a stream or pool of water. To the left a cottage with
labourers at work; behind it a group of trees. Cattle in the middle distance. The
sky is luminous near the horizon, but is overcast with dark clouds above. On canvas,
2 ft. 4I in. high by 3 ft. 10 in. wide. Signed in the right-hand corner with cypher
and dated 1S07.

IN THE SOUTH KENSINGTON MUSEUM (7 in number).

BULLS FIGHTING; IN A LANDSCAPE, WITH VIEW OF ST. DONATES
CASTLE, GLAMORGANSHIRE. Panel, jif by Sgi oblong. Signed. Given
by Mr. C. T. Maud.

DONKEY AND PIGS. — A donkey feeding from a wheelbarrow ; two pigs are stretched on
a heap of straw on the right. Canvas, 9 in. by 6^ in. oblong. Signed "J. Ward.''
Sheepshanks Gift.

PIGS. — .\ large sow stretched at full length on the foreground ; two other pigs seen in the
background. Canvas, 15^ in. by 9J in. oblong. Signed "J. Ward, 1813." Sheep-
shanks Gift.

A CHINESE SOir.—\ large sow is rooting in the straw outside the sty. Panel, ii in.
by 83 in. oblong. Sheepshanks Gift.

PEGWELL BAY, NEAR RAMSGATE.—'PiLnd, 13} in. by :6' in. oblong. Signed
with initials. Jones Bequest.

Water Colours.

THE WATERCRESS GIRL
SKETCH OF A DOG

WORKS OF JAMES WARD, R.A. 239

PICTURES EXHIBITED AT THE ROYAL ACADEMY
(287 in number).

YEAR

i792-<4) CHRISTMAS CAROL-GATHERING COWSLIPS— ROCKING HORSE
-HAYMAKERS AT REST.

1793— (6) .'' DRAKE, study from nature—^ GUINEA PIG, study from nature—
FEEDING PIGS— INSIDE OF A COWHOUSE— A DOG STEALING-
TIGER SNARLING OVER HIS PREY.

1794—^ LAND STORM.

i79S-<3) A FANCY PIGEON— SELLING RABBITS— HARROWING.

179S— (5) CONDEMNED CALF— THUNDERSTORM— IDLE BOYS— COURSING
—FARRIER'S SHOP.

'797— (4) A STAFFORDSHIRE COW— A STAFFORDSHIRE BULL— A LADY
AND CHILDREN— BULL BAIT.

1798— (6) CATTLE IN A STORM— PORTRAIT OF MISS WALKIN— BATTLE
—AN ALDERNEY COW— WOODMAN AND GYPSIES— LION AND
TIGER FIGHTING.

1799— (2) SUNSET— PORTRAIT OF A CHILD.

iSoo-(3) A COW, the property of K. Dyott, 'Es^.-yiEW OF CHUDLEIGH—A LION
IN THE TOWER.

iZoi— (.5) GLEANERS— CONVERSATION— A DEVONSHIRE OX— A COW OF
THE LONG-HORNED BREED— THE BIRD-KEEPERS' REPAST.

iao2— THE MOTHER.

1803— (2) .4 NORMAN BULL— CATTLE.

1 805— (4) GROUSING ON THE ROUABON HILLS, with Portraits of Dogs the
property of Sir W. VV. Wynne, Bart.— /J CHARGER, the property of Sir W. W.
Wj-nne, Bart.—/! CHARGER, property of the s^me— SHEEP SHEARING, a
scene in Wales.

1807— (8) WAGGON HORSES FRIGHTENED AT LIGHTNING— AN OLD SHEP-
HERD—PIGS—LANDSCAPE AND FIGURES— .MELROSE ABBEY ON
THE TWEED, the seat of Lord Somer\-ille, in the distance the Selkirkshire Hills
—LITTLEDEN TOWER ON THE TWEED, the seat of Hugh Scott, Esq.—
THE INFANT CHRIST EMBRACING THE CROSS— A TERRIER, the
property of St. Aubyn, Esq.

1808— (8) THE DAIRY MAID— FALL OF PHAETON, a finished sketch-HAR-
LECH CASTLE— CATTLE— FIGHTING HORSES— A COWLAYER,
EVENING AFTER RAIN— TIGERS— RABBITS.

1809— (8) GRANADILLO, a brood mare, and SKYSCRAPER, colt, property of T.
Crook, Esq. — W GENTLE.MAN AND HIS KEEPER WITH HIS
FAVOURITE HORSE AND DOGS— PIGS— SUFFOLK MARE— POR-
TRAIT OF S. /. PRATT, ESQ.— SHETLAND PONY— ASSES WAIT-
ING THE RETURN OF FISHING-BOATS— A STRAW-YARD.
iSio— (7) CATTLE IN A STORM— A HEATH EWE AND LAMBS— POR-
TRAIT OF HON. C. B. PHIPPS AND HIS FAVOURITE PONY-
LANDSCAPE AND FIGURES— CATTLE— EAGLE, a race horse, a cele.
brated stallion— /5 SWINEHERD.

iSii— (8) AN ARABIAN, Viscount Clive's— .4 TERRIER, Sir A. 'Havae's-THE
MOUSE'S PETITION— A FAT STAFFORDSHIRE OX, property of E.
Dyott, Esq.— THE SAND PIT— PORTRAIT OF LITCHFIELD, the pro-
perty of Viscount howiher— THE OBSTINATE ASS— THE REV. T.
LOVETT AND FAVOURITE DOGS-COCK-SHOOTING.

240 ANIMAL PAINTERS

i8i2-(7) ^ FAVOURITE HACKNEY OF LORD BROOKS - BANKER, a
hunter, 25 years old, and a FOXHOUND, property of T. Lovctt, Esq.— SZ/ICA'-
THORN, a brood mare, and a FAVOURITE PONY, property of E. Mundy,
E.sti.— PORTRAITS OF CHILDREN— A FAVOURITE HORSE, Marquis
of Huntly's— ^ GENTLEMAN, HIS KEEPER, SHOOTING PONY AND
DOGS— J. NIC HO L, ESQ.

1813— (8) A HUNTER, Lord Maynard's— /i/^Z)G.1/^J\^r, Viscount Deerhurst's— Z>0<;5,
property of S. T. Parker, Esq.— W HUNTER, Hon. J. Coventry's— /4 CHARGER,
Gen. Sir C. Stewart's, Vi.E.—OSIVALD, Lady R. Deerhurst's— »'y4Z,r(?JV, Sir J.
Shelly's— />///! A'rOiT/, Sir f. Shelly's.

1814— (4) LUKE KENNY, aged 96, HIS WIFE, aged 88, who have lived in the Woods
upwards of 50 years, and brought up 8 children in a hut, following the empIo>inent
of charcoal burning— /I OR Ei'HO UND, proptrty of T. F. Heathcote, Esq.— /I
SHETLAND PONY, Hon. J. Coventry's— T/i^.e STRAIV-YARD, a sketch—
A BITTERN— A HERON.

iSis— <4) PRINCE PLATOFFS CHARGER, AND FOUR OF HIS COSSACKS—
A CHARGER AND PONY, property of Lord Steward—^ VIEIV OF GOR-
DALE, E.4ST MALHA.M, YORKSHIRE, Lord Ribblesdale's— r/FO EX-
TRAORDINARY OXEN, Earl of Powis's.

1S16— <9) r/£!F OF BRADBY CEDAR— BOAR HUNTING IN INDIA —
TWILIGHT— MORNING— HUNTING IN INDIA— PORTRAITS OF TWO
LADIES OF QUALITY— MISS .MANN— A NOBLE.MAN AND SHET-
LAND PONY-MISS BEAN.

1817— (7) THE DESCENT OF THE SWAN SEEKING HIS OWN ELEMENT,
an allegory, to illustrate a poem, "The Social Hay"— SPANIEL WATCHING
THE TOMB OF HER DECEASED MISTRESS, to illustrate a poem, "The
Social Day "—L UKE KENNY, aged 96, and HIS WIFE, remarkable characters
of Alderwaslie, Derbyshire— JF/Ji'/', R. Ludgate's— ^ BLOOD HOUND-
WALTON, Su- J. Shelly's, Bart.— /I NEWFOUNDLAND DOG.

iSiS— (2) T. LEVIT, ESQ., AND A FAVOURITE HUNTER— AN ARABIAN
Earl of Powis's.

t8i9— (3) REV. J. A. BUSFIELD, D.D.—DASH, a spaniel, Lady Francis Vane
■Xempiii's-.MASTER BEAN.

rS2o — (8) LEOPOLD, a celebrated race horse, property of J. G. Lambton, Esq. — DR.
SYNTAX, a race horse, property of R. Riddel, Esq.— ^ COSSACK HORSE,
Duke of Northumberland's— /! PERSIAN HORSE, Duke of Northumberland's—
W. LYNN, ESQ.— TAFF, a dog, property of Arthur Stanhope, Esq.— /-WA'-
HUNTING, CALLING THE HOUNDS OUT OF COVER— RALPH
LAMBTON, ESQ., HI^ HORSE UNDERTAKER, AND HOUNDS—
PORTR.IIT OF A DOG, taken with the French b.-iggage after the Battle of
Vittoria.

1821— (3) .4 HUNTER, property of Edm. Yates, Esq.— ROVER, a spaniel. Earl of Powis'
-.ANOTHER OF ROVER, Earl of Powis's.

1822— (5) FAVOURITE MARE, property of J. Harrison, Esq.— ^ HORSE, Earl of
■P0'x\^i— HAPHAZARD— THE BOA SERPENT SEIZING A HORSE-
ADONIS, the Favourite Charger of George IIL

1S23— (4) HORSES, property of J. Allnutt, Esq.— THE DEER STEALER— BOB, A
FAVOURITE OLD HORSE, property of J. P. Baxter, Esq.— A HORSE
AND DOG, the property of Hon. C. Arbuthnot, M.P.

WORKS OF JAMES WARD, R.A. 24 1

YEAR

1824— (6) A HUNTER, property of Unwin Heathcote, %v\.—SOOTHSAVER, a race
horse, property of George W.—FERRETT IiV A RABBIT IVARREX—SIR
JOHN LEICESTER, BART., EXERCrSING CHESHIRE YEOMANRY
ON THE SANDS AT LIVERPOOL— PRINCESS ROYAL, a racing mare,
property of Sir Thomas Mostyn, ^z.xt.—COPENH AGEN, ridden by the Duke
of Wellington at Waterloo, whose dam was ridden by General Grosvenor at the
Siege of Copenhagen when in foal of the former, and which carried the Duke that
day 15 hours.

1825— (5) NONPAREIL, the Charger of George IV.— MONITOR, very fast hackney of
George IV. — BROOD .UARES, Queen of Diamonds, sister of Rozan and Lupin,
property of Sir Thomas Mostyn, Bart., M.P. — DONALD, belonging to Philip
Cell, Esq.—MOSES, property of the Duke of York.

ii2&-<i) BATTLE NEAR BOSTON, LINCOLNSHIRE— HORSE AND PONY,
Duke of Newcastle's — MARENGO, barbed charger, ridden by Napoleon
Bonaparte at the Battle of Waterloo— .4 FAVOURITE HUNTER.

1827— (7) THE NORFOLK PHENOMENON— SIDES ALL— ITALIAN GREY-
HOUND, property of Lady Agnes Buller— r//£' DATS SPORT— A
SHOOTING PONY— RETRIEVER AND A SPANIEL, Lord Southampton's
—S.MOLENSKO, a race boTSe—PERSIAN SHEEP.

j82B-<8) ALDERNEY bull— a HACKNEY, property of John Wells, Esq.— THE
WOOD.MAN'S COMPANIONS— SPANISH ASS— THE RETRIEVER—
ALDERNEY COIV—A HUNTER, property of Peter Hesketh, Esq.—
V AMOUR DU CHEVAL.

ii2^— AUGUSTA, the property of Marquis of Exeter.

i830-(6) THE FALL OF PHAETON— .MALTESE ASS AND FOAL— SPANISH
ASS AND FOAL— VENUS RISING FROM HER COUCH— THE
ARTISTS MOTHER IN HER EIGHTY-FIRST YEAR— DIANA AT
HER BATH DISTURBED BY ACTMON.

^Zl\— PORTRAIT OF THE ARTIST (JAMES IVARD, R.A.)

Hi^—THE STRONG AND THE WEAK TWIN.

i853-<7) CONTENTION— BEAU.MONT, NEAR CHESHUNT, HERTS, the
residence of Matthew Munt, Eiq.—THE M0.1IENT— PORTRAIT OF .4
LADY—AVAIELLA OLIVERIA CR0.1IIVELL R USSELL, Ihe on]y child
of the late Archimidorus Cromwell Russell, the last lineal descendant of the
Protector Cromwell — MAMELUKE, a race horse, property of John Theobald,
En-— THE EFFECTS OF DISOBEDIENCE (i Kings xiii. 26).

iZn-ii) DUNCANS HORSES (M^chiilh, -Act ii. Sc. ih-AN ARABIAN— THE
YELDHA.M OAK AT GREAT YELDHAM, mentioned in the Esse.i Court
Rolls of the Manor, nearly 600 years ago.

iZiS— THE HIGH AND LOW CONDITIONED EWE.

1836— (3) BULL DOGS, REFORMER, BLUCHER, TROY AND CRIB, property of
Rowland Alston, Esq., U.V.—NUMPS RETURNING FROM MARKET,
vide lines upon the subject by the kn\s\.—THE STRUCK EAGLE, as
described in tributary verses upon the death of Henry Kirke White, by Lord
Byron.

1837— (8) A SHEPHERD AND HIS DOG, AND TWO RA.MS, of Rowland Alston,
Esq., M.P.— VIEW OF OXFORD, taken from 'RosehWl— CHANGE OF
PASTURE— PLENTY— THE REPAST— DASH, the property of the Artist
—SY.MPATHY— INTERCESSION.

16 VOL. II.

242 ANIMAL PAINTERS

1838— (8) THE IVF.IRD SISTERS— THE TRIUMPH OVER SIN, DEATH AND
HELL— THE LAST STRUGGLE OF SIN, DEATH AND HELL—
ROUNDCROFT COTTAGE, the Artist's residence— r//£ FAIR CROP—
THE FAIR SHOW— IGNORANCE, ENVY AND JEALOUSY FILLING
THE THROAT AND WIDENING THE MOUTH OF CALUMNY,
ENDEAVOURING TO BEAR DOWN TRUTH AS AN UNSHAKEN
PYRAMID FOUNDED ON A ROCK— TICKLING THE EAR.

1840— {3) DRYING THE LEGS— LOVE FLYING FROM SENSUALITY AND
DISSIPA TION—THE J Y'S NEST.

1842— (2) NONPAREIL, charger of George W.— ADONIS, favourite charger of
George IV.

1843— (8) VIRGIVS BULLS— OUT OF HEARING— MEETING THE SUN-
BEAUTY AND SPRITE, the property of Miss iMhmi— ENJOYING THE
BREEZE— THE CONTRAST— THE EVENING BLUSH— A GLEAM IN
THE STORM.

i&^S-<S) SAND ASSES— PEACE— DUCK WEEDS— WHAT IS IT '-WHAT A
BE A UTY! (The background is the residence of Mr. Westcar, the celebrated
feeder of Herefordshire Oxen)— THE BARROW PICr—COAL WORKS, of
Ralph Lambton, Esq.— THE TORN LAMB.

1846— (8) UNION— THE DEVIL'S BRIDGE— QUIETUDE DISTURBED—
N.4TURE'S SWEET RESTORER, BALMY SLEEP— A FRIEND IN
NEED— THE JUVENILE SCRIBE— WAITING THE WEATHER-
PORTRAIT OF THE ARTIST.

1047— (7) THE DISCOMFITURE OF CHARLES II. AT THE BATTLE OF
WORCESTER— THE SNARLERS—THE VISION OF MYRZA— CON-
WAY CASTLE AND TOWN BEFORE THE BRIDGE WAS MADE—
A MILL IN WALES— THE GRANDMOTHER— GOING OUT.

iS^S—THE COUNCIL OF HORSES.

1849— (6) SY.VPATHY— SHOWERY WEATHER NEAR MIDSUMMER— THE
CORNSTACK—RENTON IN SCOTLAND, looking to Ben Lomond, the birth-
place of Smollett, with pillar erected to his memory—^ DEWY MORNING, Sir
Robert Howard's Duel of the Stags, 2nd battle, written 1J2S— GIVEN GLEN-
DOWER'S PARLIA.UENT HOUSE, North Wales, as in the year 1802.

iSio— (6) GETHSEMANE— BETHANY, THE NE.YT DAY AFTER RAISING
LAZARUS— THE BAPTISM— AGE AND INFANCY— THE STAR OF
BETHLEHEM— THE LOOK TO PETER— PURITY CHERISHING
LOVE.

iZii-(&) DESTROYING THE HORNETS NEST— SEPARATION— HOPE IN
THE TROUBLED OCEAN OF LIFE— TREES : THE PURPLE
BEECH, ILEX, SPRUCE, FIR, AND THE WILLOW— THE HOUSE
IN WHICH SMOLLETT WAS BORN ON THE RIVER SEVERN—
THE DOUBLE TRIUMPH, SIN, DEATH, AND HELL— UNDER-
MINING THE ROCK OF AGES— MEASURE FOR .MEASURE, THE
BITER BIT— AGE AND INFANCY, THE SPANISH GRANDFATHER
AND ENGLISH OFFSPRING.

1852— (6) LAMBS OF THE FIRST YEAR— OLD CAREFUL— DANIEL IN THE
DEN OF LIONS— THE HUNTED STAG, caught in the Rapids above the
Fall of the C\yie— LISTENING TO ADVICE— THE FALL OF THE
CLYDE AFTER A FLOOD.

i853-<7) THE OLD DUTCH COW— CARTING SEA-WEED— HEARTS EASE—
THE BAD DAY— TEETOTAL BEER AND BEEF— THE SHEPHERD
AND BIRDKEEPER— PEEBLES CASTLE, SCOTLAND.

itH—MR. RUDALL.

■lZH-THE .MORNING GREY, with cattle of different breeds.

WORKS OF JAMES WARD, R.A. 243

PLATES IN THE SPORTING MAGAZINE (16 in number).

LION AND TIGER, 1807, vol. 29; engraved by H. R. Cook— PORTRAIT OF A
DOG, Fubbs, belonging to J. Ward, R.A., 1S07, vol. 30; engraved by H. R. Cook —
PERSIAN GREYHOUND, 1S07, vol. 31 ; engraved by H. R. Cook.

THE AL.MOND TUMBLER, a species of pigeon, 1808, vol. 31 ; engraved by H. R.
Cook— THE SHEPHERD DOG, i8o3, vol. 32; engraved by H. R. Cook— POR-
TRAIT OF A DOC, Viper, 1808, vol. 32; engraved by H. R. Cook.

THE LIBOV SEIZING A TIGER, 1809, vol. 33 ; engiaved by H. R. Cook— HORSES
FIGHTING, 1809, vol. 34; engraved by H. R. Cook— C.-IAT HORSES, 1809,
vol. 34 ; engraved by H. R. Cook.

PRIMROSE, a brood mare with foal, iSio, vol. 36— GAME COCK', 1810, vol. 36 ; engraved
by H. R. Cook.

BLOODHOUND, i8i4,vol. 43 ; engraved by H. R. Cook— jr.^irO-V, a celebrated racer,
1814, vol. 45 ; engraved by J. Scott.

VIXEN, a terrier, the property of Jas. Aubyn, Esq., 1S18, vol. 51 ; engraved by J. Scott.

TERRIER, the property of C. Sturt, Esq., 1821, vol. 58 ; engraved by Cooke.

ALMOND TUMBLER, a species of pigeon, 1825, vol. 65 ; engraved by W, Raddon.

PLATE IN THE NEW SPORTING MAGAZINE.

THE EVENING OF LIFE, picture of an old horse and ass, 1838, vol. 15 ; engraved by
J. W. Cook.

244

DEAN WOLSTEN HOLME, Senr.

(Born 1757. Died 1837.)

pwEAN WOLSTENHOLME, Senr., was born
*^ in Yorkshire in the year 1757. He was
descended from Sir John Wolstenholme, Knt.,
who was one of the Farmers of the Customs in
the reign of Charles I. Sir John Wolstenholme,
who belonged to Stanmore in Middlesex, pur-
chased Nostel Abbey, in Yorkshire, and when he
died, in 1639, left very large property, which was
inherited by his son John. The latter sustained great
losses during the Civil War ; but after the Restora-
tion he received some compensation in the shape of
a Baronetcy (1664) and an appointment as Farmer,
or lessee, of Customs. It may be added that the
first Sir John was buried in the church of Stanmore,
which he had rebuilt at his own cost ; and that the
consecration of that church, on July 17th, 1632,
was made to serve as one of the accusations pre-
ferred against Archbishop Laud at his trial.

Dean Wolstenholme's early life was passed in
Essex and Hertfordshire ; Cheshunt, Turnford and
Waltham Abbey being in turn chosen by him as

DEAN WOLSTENHOLME, SENR. 245

places of residence. The possessor of considerable
means, he was able to indulge to the full the passion
for sport which is betrayed in his pictures. He was
an ardent lover of animals, more particularly dogs
and horses, and found his chiefest pleasure in fox-
hunting- and coursing. At this time he dabbled in
art merely for amusement, painting occasionally for
friends portraits of horses and hounds and also
scenes of sport. His talent as an artist was remarked
by Sir Joshua Reynolds, who predicted that Dean
Wolstenholme would become a painter in earnest
before he died. Sir Joshua's remark was prophetic,
but Wolstenholme's adoption of the brush as a
means of livelihood was due not to talent, but
necessity. By some misfortune (1793) he became
involved in legal proceedings in connection with the
title of a property he had purchased at Waltham.
He was compelled to fight three suits in Chancery,
and finally losing the day found himself reduced to
very slender resources ; he had then no alternative
but to make a profession of the art he had thereto-
fore followed as a pleasure.

About the year 1800, therefore. Dean Wolsten-
holme turned his back on country life and sports and
came to London. He settled in East Street, Red
Lion Square, and set to work to gain a livelihood ;
no slight change for a man past forty years of age,
who had been able to make sport the great business

246 ANIMAL PAINTERS

of life. His pictures naturally reflected the tastes
he could no longer indulge, and his first contribu-
tion to the Royal Academy, exhibited in 1803,
when he was forty-six years of age, is entitled
" Coursing." The large majority of the pictures he
sent to the Royal Academy were sporting scenes or
animal portraits, but his publicly exhibited works
represent only an insignificant proportion of the
pictures he painted during the quarter of a century
which constituted his working life as a professional
artist.

In the interesting series of interleaved catalogues
of the Academy exhibitions which Mr. Anderden
bequeathed to the British Museum we find notes
bearing on Wolstenholme's pictures. Of the " Por-
trait of Mr. J. Goldham," shown in 1806, Mr.
Anderden writes : " I have seen this man cutting
away right and left, his horse at full gallop all the
time. He was a trooper in the London Volunteer
Yeomanry, of which my father was Colonel Com-
mandant." The artist has portrayed this accom-
plished swordsman "performing the Austrian broad-
sword exercise with two swords at speed." John
Goldham was Field Adjutant of the corps men-
tioned, and the picture commemorates his success
in winning a bet of 200 gs., that he would go
through the exercise while riding at the rate of
thirty miles an hour. Having won the wager he

DEAN WOLSTENHOLME, SENR. 247

afterwards went through one of the divisions of the
exercise while riding over a five-barred gate.
J. W. Reynolds executed a fine engraving from this
picture, and a small plate engraved by Edwards
was published in the Sporting Magazine of 1806.

" A Correct View of the Golden Lane Genuine
Brewery," with a dray and heavy massive horses,
painted and exhibited in 1807, a canvas about
47 inches long by 2oi- inches high, hangs in
the Council Room of the Shire Horse Society in
Hanover Square.

Dean Wolstenholme painted several sets or series
of hunting, coursing, and shooting scenes, many of
which were engraved by Sutherland and Bromley.
One such set represents " Foxhunting," in four
scenes ; these were engraved by Sutherland ; size
of plates 27 inches by 8|- inches, printed in colours,
and published by Ackermann. "Shooting" was the
title of another series of four clever pictures, which
represented respectively (i) Going out ; (2) Game
Found ; (3) Dogs Bringing the Same, and (4) Re-
freshing. These were engraved by Himeley. Many
of his pictures were inspired by the hunting songs
which he was fond of singing with a few com-
panions of his active sporting days. Others worthy
of special mention are " The High-mettled Racer
Sold to the Hounds " ; " The Joys of Coursing."
The " Death of Tom Moody " and " Reynard seek-

248 ANIMAL PAINTERS

ing Refuge in the Church " were companion works.

These two pictures were engraved by his son, Dean

Wolstenholme, Junr., the plates measuring 17 inches

by 13 inches, and were pubhshed by R. Ackermann.

A representative example of his work is the

picture entitled " Lord's Wood, Leading Roding,

Essex," which was painted in 1820. The portraits

are those of Mr. G. M. Box on Grey Pilot, and

Mr. W. H. Box on Sally, the hounds belonging to

the Essex Hunt, so many years hunted by the then

well known master, Mr. John Conyers, of Copt Hall,

Essex. Underneath the picture are the lines from

Somerville's Chase : —

" Hark ! on the drag I hear
Their doubtful notes, preluding to a cry
More nobly full, and swelled with every mouth.
As struggling armies, at the trumpet's voice,
Press to their standard, hither all repair,
And hurry through the woods with hasty step.
Rustling and full of hope."

Wolstenholme did but little work after the

year 1826; nearly all the pictures after this date

signed " Dean Wolstenholme " are the work of

his son, whose touch so closely resembled his that

it is difficult to distinguish the work of each.

Mr. Dean Wolstenholme, grandson of the artist

with whose labours we are presently concerned,

has indicated two points of dissimilarity which

may in some cases help to determine the painter

of a picture bearing the name. The elder Wol-

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DEAN WOLSTEN HOLME, SENR. 249

stenholme was fond of representing a dark and
gloomy sky, whereas the younger, father of my
informant, seldom painted any but a bright and
sunny sky ; again, the senior Wolstenholme was not
over particular in bestowing care upon his landscape
backgrounds, while the younger man invariably
painted these with scrupulous care and always from
nature. While dealing with the distinguishing
features of the work of the two, it may be added
that Dean Wolstenholme, Junior, was extremely
fond of painting leafless oaks in his landscape ;
the sketch books in the possession of his son
contain innumerable sketches of boughs, limbs, and
trees taken from nature and destined for use at
some future time. Errors in determining the
authorship of the later works of the father and the
earlier pictures of the son are particularly likely to
arise as the professional career of the former over-
lapped that of the latter by some eight or nine
years, if not more.

Dean Wolstenholm, Senior, died in 1837 at the
age of 80, and was buried in the Old St. Pancras
Churchyard. He was a man of remarkable physical
strength ; it is said that on one occasion he made
a bet that he would carry two sacks of flour up a
ladder, and won it. As an artist, if he be not
entitled to rank high in the profession, we may at
least write him as one who painted, with skill and
perfect understanding, scenes with which he was

250 ANIMAL PAINTERS

in intimate sympathy, and animals whose character
he knew as well as their forms. His works possess
a simplicity and truth which arrest attention and
afford pleasure. The portrait which faces this page
was taken from a rough sketch made by Dean
Wolstenholme, Junior, when a young man and
afterwards finished.

WORKS OF DEAN WOLSTENHOLME, Sen.

EXHIBITED AT THE ROYAL ACADEMY (28 in number).

VEAR

1S03— corn s/xG.

lioi—FOX-HUNTING.

lio-,— THE EPPING FOREST HUNT.

zitii—(^y HOUNDS RUNNING GALLANTLY INTO A FOX IN VIEIF— POR-
TRAIT OF MR. J. COLDHAM fXTforming the Austrian Broadsword Exercise
with two swords, at speed— HOUNDS DRAIFING COVER AND JUST
FINDING— VIEW OF THE INTERIOR OF MR. HARRISON'S
VETERINAR Y SHOP. Horses Shoeing, &c.

iZoj—VIEIY OF THE GOLDEN LANE GENUINE BEER BREWERY.

1808— (2) PORTRAIT OF PILOT, formerly the property of Mr. Lade— rV^^fF OF THE
INTERIOR OF THE SIX-STALL STABLE AT THE FINSBURV
REPOSITORY.

1809— (4) THE CHASE— DIGGING THE FOX FROM EARTH— PORTRAIT OF
A CHARGER belonging to an Officer in the City of London Light Horse— THE
LEAP OF THE STAG.

l8io-{4) RETURN FROM FOX-HUNTING BY MOONLIGHT— PORTRAITS OF
HORSES belonging to a Stage Coach changing horses on the Edmonton Road —
RETURN FROM HUNTING BY MOONLIGHT — PORTRAITS OF
TWO HORSES, a Dray Horse, the property of H. Meux, Esq., and Hunters and
Hounds stopping to refresh at a public-house returning from Hunting.

1813— (5) PORTRAIT OF AN OLD HORSE, the property of the late C. S. Chauncey,
Esq., Cheshunt, Hertfordshire— /'CyeT'^.^/T' OF HORSE AND DOG, the
property of Mr. Fuller, Tooting, Surrey— PORTRAITS OF POINTERS,
belonging to C. Chauncey, Esq., Little Munden, Hertfordshire— j^O/eTi^.^/T' OF
MR. JOLLIFFE'S HOUNDS AND HORSES wailing an Appointment at
Merstham Church, now in possession of Lord Hylton ; also another of his pictures,
COL. JOLLIFFE AND HOUNDS.

iZ-H-PORTRAIT OF A HERTFORDSHIRE SHEEP, the property- of Mr.
J. Clarke, of Littley Park, allowed by judges to be the largest ever seen.

1819— (2) PORTRAIT OF BELFONT, a fast trotter, the property of a Gentleman—
PORTRAIT OF A GENTLEMAN AND HIS SON waiting in Cover,
Hounds finding.

1S20-VIEWOF A GENTLE.VAN'S RESIDENCE IN SURREY, with Portraits
of favourite Cattle.

1S24— VIEW OF THE INTERIOR OF THE RIDING SCHOOL belonging to the
Light Horse Volunteers, with portraits of horses, &c.

/•'rout a roH^h Sketch Portrait by D. li'., /fir., iv/te/i a youn^^ man.

Engrai'cd on Wood by F. Habba^c.

DEAN WOLSTENHOLME, SENR.

251

DEAN WOLSTENHOLME, Junior.

(Born 1798. Died 1882.)

"DORN near Waltham Abbey in Essex, on April
-*-' 21, 1798, this artist was the first-born of
his father. He inherited both the love of sport
and artistic gifts of his parent ; and he contrived
to indulge the former by following hounds in
Essex and Hertfordshire, while his talents were
directed and fostered by his father, who had
long made his own mark. From childhood the
younger Wolstenholme evinced the keenness for
sport, fox-hunting particularly, and the love of
animals which distinguished his sire. He was
always among horses and dogs ; and his affec-
tion for the former once led to a nasty mishap.
When about fourteen years of age, at Chelms-
ford, he had a piece bitten clean out of his cheek
by a vicious coach-horse. The piece was sewn in
by a surgeon, but he carried a conspicious scar all
his life.

Very early in life he showed the love of
drawing which induced his father to teach him the
elements of his art ; and tuition in his father's

252 ANIMAL PAINTERS

Studio was followed by a course of study at the
Royal Academy.

At this period he began the practice of making
long journeys on foot, which he never abandoned ;
his sketch book was his constant companion on
frequent walking tours, and to this he committed any
picturesque scraps of scenery, sketches of animals,
trees and other objects which struck his fancy. Of
active habit from his youth up, he extended his
pedestrian travels all over the country, and thus
made acquaintance with the greater part of the
country, travelling widely both in Scotland and
Ireland. His affection for, or perhaps his more
intimate knowledge of, the counties of Herts and
Essex is betrayed in many of his hunting and
coursing scenes which are laid in the districts where
he passed his youth. At the age of seventeen he
began to study engraving, and having in a few
years mastered the mysteries of the art, was able
to engrave both his own and his father's pictures.
In after life his attention was about equally divided
between painting and engraving ; and in regard to
this his son states that he was frequently heard, in
his later years, to regret that he had not devoted
himself exclusively to the brush ; believing that
the time and labour he had bestowed on the
engraver's art had retarded his progress and quali-
fied the success he might otherwise have won as
a painter.

DEAN WOLSTENHOLME, JUNR. 253

The younger Wolstenholme must have been a
man of considerable force of character. Born after
misfortune had overtaken his parents, he did not
allow the love of sport which his earnings would
have enabled him to indulge more fully to blind
him to what he considered his duty, and his younger
brothers owed much to the assistance he rendered
in giving them an education.

His first Royal Academy picture was exhibited
in the year 181 8, when he was twenty years of age.
This work was a portrait of " Beach," a favourite
bull bitch bred at Abergavenny, an engraving of
which by H. R. Cook appeared in the Annals of
Sporting for November. 1828. The artist was fond
of the bull dog, and during his life owned many
good examples of the breed. The " View of the
Golden Lane Brewery," painted by his father, was
the means of suggesting to the young man that in
the magnificent teams of dray horses owned by
the great private brewing firms there was a com-
paratively unworked mine of art possibilities. The
brewers of an earlier time took great pride in
their horses, and if we may be guided by existing
pictures, some of the larger firms made a point of
using animals of one particular colour. The first
of the younger Wolstenholme's " Brewery pictures,"
which were simply horse pictures, was Messrs.
Truman, Hanbury and Buxton's " Black Eagle

254 ANIMAL PAINTERS

Brewery ; " this was exhibited in the Royal
Academy of 1822. A "View of the Hour Glass
Brewery," in Thames Street, belonging to Messrs.
Calvert & Co., was one of his contributions to the
gallery of the British Institution in the following
year. The last of the series was "Messrs. Barclay,
Perkins & Co.'s Brewery in Park Street, South-
wark," painted in 1840. All of these pictures he
subsequently engraved.

Commissions for portraits of horses and hounds
soon began to come in freely. Among his patrons
were the Earl of Egremont, Lord Glamis, Lord
Dacre, Colonel Joliffe, and Philip Booth, Esq.
About 1830, he painted a full-length portrait of
Lord Glamis in highland dress, with a favourite
bloodhound at his side, mountain scenery forming
the background. This picture is now in the posses-
sion of the Earl of Strathmore, and hangs in the
dining room at Glamis Castle ; the original sketch
for this work is owned by the artist's son. Another
portrait of Lord Glamis with his staghounds was
painted by Wolstenholme about the same time ;
the Hon. Francis Bowes Lyon, of Ridley Hall,
Bardon Mill, Carlisle, possesses this work, which has
been twice engraved, once by Bromley and again
by Reynolds. He painted numerous portraits of
horses and cattle, which possessed interest for
breeders ; one of these, a likeness of a famous cart-

DEAN WOLSTENHOLME, JUNR. 255

horse named Warwick, was engraved. A print of
it hangs in the rooms of the Shire Horse
Society. " Friends of the Agricultural Society,"
three heads of bullocks, was exhibited in Suffolk
Street in 1849.

Among Wolstenholme's most popular and success-
ful pictures were " The Burial of Tom Moody," and
"The Shade of Tom Moody," the former of which
is here reproduced. Tom Moody, it will be re-
membered, made a dying request that at his grave
side six earth stoppers should "give three rattling
view halloas " in farewell ; which request was duly
carried out. Both of these works were engraved by
the artist himself; the copper plates are still in
existence. A series of four pictures of the Essex
Hunt afforded him an excellent opportunity of dis-
playing his skill in grouping numerous figures in
appropriate landscape. These pictures are entitled
(i) The Meet at Matching Green ; (2) Drawing the
Covert of Man Wood ; (3) Fox Crossing from
Leading Roothing ; and (4) The Death. The
figures in these pictures — men, horses and hounds
— are all portraits ; they were painted in the time of
Mr. Henry J. Conyers, who succeeded his father in
the Mastership in 18 18. "The Essex Hunt " series
is now in the possession of Mr. Salvin Bowlby,
joint master of the Essex Hounds at the present
time. The artist was likewise the engraver.

256 ANIMAL PAINTERS

Four verses of Coursing in the Last Century,
a descriptive effusion of the old-fashioned kind,
suppHed him with subjects for a series of four
coursing jDictures which he engraved and which
were printed in colours.

Hunting scenes and coaching pictures were
numerous among his pictures, but he did not con-
fine himself exclusively to sport. " Love in a
Tub" and "The Widow Bewitched" are known
through the engravings made therefrom. In 1846,
he exhibited two works which are noteworthy for
the minute accuracy of the dresses and their
historical interest. One was a picture of Queen
Elizabeth, illustrative of a hunting expedition : —

In April 1556, Princess Elizabeth was escorted from
Hatfield House to Enfield Chase, that Her Grace might
hunt the hart, by a retinue of twelve ladies in white satin, all
on ambling palfreys, and twenty yeomen in green on horse-
back. At the conclusion of the day's chase, Her Highness
was honoured by cutting the throat of the hart.

This work, which measures 6 feet high by 7 feet
wide, was shown at the Royal Academy ; it is
now in the possession of Mr. S. Lithgow, of 29,
Wimpole Street. The Queen rides a cream-
coloured horse and is surrounded by her atten-
dants, the majority of whom are mounted, and by
the hounds. " Queen Elizabeth going to Kenil-
worth Castle by Torchlight " was shown in the
same year at the Suffolk Street Exhibition. The

Q
O

<
m

DEAN WOLSTENHOLME, JUNR. 257

pains bestowed by the artist on these works is
proved by the numberless sketches of costume,
horse-furniture, appointments, &c., contained in the
books now in possession of his son. He spent a
vast amount of time at museums and elsewhere,
searching out details of dress, &c., for these
pictures. So full of the undertaking was his mind
that on one occasion he rose from his bed, dressed
himself in his sleep and went upstairs to his studio ;
he did not awake until he actually had palette and
brushes in hand. Similar cases of somnambulism
have been recorded.

Dean Wolstenholme exhibited for the last time
in the year 1859, when he sent a picture to the
British Institution, but he continued to paint until
within a very short time of his death. "Shetland
Ponies and Sheep " was painted when he was
eighty years of age, and other works, hunting and
coaching scenes, came from his easel during the
remaining years of his life.

He was a great pigeon-fancier, his speciality
being the variety known as the "Almond Tumbler,"
which he brought to a high state of perfection.
The illustrations for Eaton's Book on Pigeons were
drawn and engraved on steel by him. He also
executed portraits of numerous prize birds, many
of which he engraved in life size. A set of these,
printed in colours, fourteen in number may be seen
17 VOL 11.

258 ANIMAL PAINTERS

in the Print Room at the British Museum. In
several of these plates (which are " dedicated to the
Gentlemen of the Feather Club") the metallic sheen
of the plumage is very beautifully suggested. On
February 23, 1869, the Pigeon Fanciers of England,
Scotland and Ireland presented him with a testi-
monial to mark their esteem for his private
character and their admiration for the skill with
which he portrayed those birds which it is the aim
of the " Fancy " to produce.

Dean Wolstenholme, it may be added, was the
inventor of a process of colour printing which was
afterwards patented by Leighton Brothers.

From 1820 till about 1862 the artist lived in
Chads Row, Gray's Inn Road ; he then mov^ed
to Highgate, where he passed the remainder of
his days. Many of his later pictures are landscapes
showing the scenery of Hendon, Hampstead and
Finchley. The metropolis saw comparatively little
of him however. Until the last he was a great
traveller, and in course of his long life visited
nearly every corner of the United Kingdom.
Like George Stubbs and others of the craft, he
continued hale and active till a few weeks before
his death, and thought nothing of a twelve-
mile walk. He died in 1882, at the advanced
age of eighty-four An old friend of his, now
living, has described his character. " A man at

From a i^ortrait painted by himself.

DEAN WOLSTENHOLME, JUNR.

WORKS OF DEAN WOLSTENHOLME, JUNR. 259

once upright and true, honest and gentle minded,
a kind friend and one that I most sincerely and very
highly respected."

The portrait here given is from a picture painted
by himself and was considered an admirable like-
ness.

WORKS OF DEAN WOLSTENHOLME, Junior.

PICTURES EXHIBITED AT THE ROYAL ACADEMY
(14 in number).

YEAR

i8i3 — BEACH, a favourite bull bitch, bred at Abergavenny, the property of a Gentleman.

iSig—PORTXA/TS OF THREE HORSES, the property of — Wyatt, Esq., Sun
Brewhouse, Portpool Lane.

1821— (2) THREE DOE RABBITS OF FANCY BREED, the property of a Gentle-
man—/^Oi/./? BUCK RABBITS, the property of a Gentleman.

iS2i—y/ElF OF THE BLACK EAGLE BREIVERV, belonging to Messrs. Truman,
Hanbury, Buxton & Co., with portraits of Horses, Men, &c.

liiy— HARLOT, A STAG HOUND, WITH PUPPIES, belonging to Lord Glamis.

1824— /I FAVOURITE HACKNEY AND DOG, the property of a Gentleman.

1825— <2) TERRIERS FERRETING RABBITS— PORTRAIT OF PHILIP BOOTH,
ESQ.— VIEW FROM HATCH WOOD, LOOKING TOWARDS LORD
D ACRE'S.

■ii^d—BACKERTRUMPS, a trotter, the property of George Wyatt, Esq.

iSaS— FAVOURITE HUNTER, the property of Philip Booth, Esq.

1S46— QUEEN ELIZABETH ESCORTED FROM HATFIELD HOUSE TO
ENFIELD CHASE TO HUNT THE HART.

li^9—A MORNING SHOOTING.

PICTURES EXHIBITED AT THE BRITISH
INSTITUTION (8 in number).

1823— (2) VIEW IN SURREY FROM THE OLD BRIGHTON ROAD, LOOKING
TOWARDS GATTON, 2 ft. 4 in. by 2ft. 8 m.—A VIEW OF THE HOUR-
CLASS BREWERY, THAMES STREET, belonging to Messrs. Calvert &
Co., 4 ft. 4 in. by 5 ft. 2 in.

1824— /I VIEW OF R UINS IN HER TFORDSHIRE, 3 ft. 4 in. by 3 ft. 10 in.

1825— .4 FAVOURITE FOXHOUND, 2 ft. 4 in. by 2 ft. 8 in.

ii2i— LANDSCAPE, WITH HOUNDS RUNNING ACROSS THE COUNTRY, a
view in Hertfordshire, i ft. 4 in. by i ft. 8 in.

26o ANIMAL PAINTERS

\at^-PR/JVCESS ELIZABETH ESCORTED FROM HATFIELD HOUSE TO

ENFIELD CHASE, 6 ft. 4 in. by 7 ft. 3 in.
1833— /4 PROCESSION OF QUEEN ELIZABETH TO KENILWORTH CASTLE,

3 ft. by 3 ft. 6 in.
xZiCj-BEAGLES WAITING FOR THE MEET.

PICTURES EXHIBITED AT THE SOCIETY OF BRITISH
ARTISTS, SUFFOLK STREET GALLERIES (13 in number).

^^2^— INTERIOR OF A BARN, ESSEX.

ji26— PORTRAIT OF A GIRL, WITH A FAVOURITE PUPPV.

^Z2(,— PORTRAIT OF A BOY, WITH A FAVOURITE HOUND.

1827— (2) A LANDSCAPE VIEW (hom Nature)— HOUNDS FORDING A RIVER

(from Nature).
1828— (2) AN OLD HUNTER, the property of J. Lyons, Ksq.—PORTRAIT OF A

TERRIER, WITH PUPPIES.
1829—/. BOOTH, JUN., ESQ., WITH TWO FAVOURITE HORSES.
^Szo— FAVOURITE SPANIELS.

iZy^—THE TRIAL OF REBECCA, vide Sir Walter Scott's " Ivanhoe."
1846— (2) QUEEN ELIZABETH ESCORTED BY THE EARL OF LEICESTER

TO KENILWORTH CASTLE— INTERIOR OF A GA.MEKEEPER'S

COTTAGE AFTER A MORNING'S SHOOTING.
litg-FRIENDS OF THE AGRICULTURAL SOCIETY.

26l

JOHN WOOTTON.

(Born circa 1685. Died 1765.)

JOHN WOOTTON was born about the year
1685. Matthew Pilkington, Horace Walpole,
and other authorities state that he was at one time
a pupil of John Wyck, the celebrated Dutch painter,
whose battle scenes, equestrian pictures, and hunt-
ing and hawking pieces are well known. If
Wootton did enjoy the advantages of John Wyck's
tuition, he must have done so when he was very
young, the Dutch master having died at Mortlake
in 1702, when Wootton would have been about
seventeen years of age, if we are correct in be-
lieving 1685 to have been the year of his birth.

After studying in London, Wootton took up his
residence at Newmarket for the purpose of painting
the likenesses of horses ; and during his stay here
he executed his principal works connected with the
turf. Seymour and Spencer were at this time
hardly out of the nursery, and Peter Tilleman
devoted no attention to this department of art ;
John Wootton, therefore, stood practically alone
as a painter of equine portraits, and found many

262 ANIMAL PAINTERS

patrons. Among his more influential friends he
counted Henry, third Duke of Beaufort. The
Duke was something more than a patron to him ;
when he recognised the young artist's abihty he
generously sent him at his own expense to study
at Rome. Horace Walpole, in his Anecdotes of
Painting, published in 1782, says that Wootton
painted "with consummate skill, animation and
truth," and describes him as "a capital master in
the branch of his profession to which he chiefly
devoted himself" Walpole's opinion has been
endorsed by Sir Edwin Landseer. Among the
many works by Wootton in the Badminton collec-
tion is a small one of a covey of partridges with
pointers drawing up followed by men with nets.

The present Duke, in a communication to the
writer, says that Sir Edwin declared this to be "not
only a far better picture than he himself had ever
painted, but the best animal picture he had ever
seen ; that you could see the dog crawling along to
the birds." Wootton obtained high fees for his
pictures according to the standard ruling during his
day. Pilkington states that " for painting a single
horse he has been paid forty guineas, and twenty
when smaller than life." Forty guineas for the life-
size portrait of a race-horse would hardly content
an artist of very moderate pretensions in these
days.

JOHN WOOTTON 263

The Duke of Portland has in the collection at
Welbeck Abbey fourteen examples of Wootton's
works : —

(i) Landscape with View of a Plain : three horsemen water-
ing their horses at a stream : in the foreground a pack mule
covered with a red cloth, followed by a white horse with a
blue cloth, a man and a dog.

(2) A Brown Wolf: life-size. Landscape with hill to the
right : 50 inches by 40^ inches.

(3) Brown-and-White Antelope, life-size: landscape with
fir trees in background : 40-i inches by 40 inches.

(4) The Countess of Oxford : wearing a scarlet-and-silver
habit and black hat. She rides a dun mare with red trap-
pings. By her side a running footman in blue-and-white
livery, knee breeches, black jockey cap laced with silver
cord, bearing a cane ; behind, a groom in blue livery on a
dark-brown horse : 30 inches by 25 inches.

(5) The Starting Post, Newmarket, 37 inches by 58 inches.

(6) The Countess of O.xford, on a dun mare attended by
a groom in blue livery. Landscape with trees in back-
ground ; 8 feet 10 inches by 11 feet.

(7) White Arab Horse, with black attendant in red leaning
on a wall : a greyhound in foreground : landscape back-
ground.

(8) Dun Mare, with attendant, to left a dun Arab horse
held by a black groom dressed in blue with red cap. In
foreground lie a crimson saddle and stirrups, a blue bow,
quiver of arrows and scimitar : 7 feet by 5 feet 8 inches.

(9) Dun Mare, held by groom ; sheet of water in middle
distance : 50 inches by 40^ inches.

(10) Hare Hunting on Orwell Hill. The Countess of
O.xford in green-and-silver habit on a dun mare ; on left a
gentleman in scarlet on a brown horse ; horseman behind.
In foreground, a boy in blue with hare slung over his
shoulder. In distance a rider who has lost control of his
horse; two running footmen; hounds in full cry: 6 feet 11
inches by 9 feet 8 inches.

264 ANIMAL PAINTERS

(11) Hare Hunting, a dead hare with two dogs on right
and left, on the branch of a tree perches a jay.

(12) Hawking in Wimpole Park; the Countess of Oxford
in scarlet-and-gold liabit attended by running footmen in
blue-and-white liveries. A central group of a clergyman,
gentleman and falconer, all on horseback. Below a hill other
falconers on horseback and several spaniels : 7 feet i inch by
10 feet.

(13) Landscape: in foreground a lady in an open carriage
drawn by six horses, with an outrider and mounted groom
with led horse. To the left a party of gentlemen and
horse led by groom : 45 inches by 50 inches.

(14) Casey, the Countess of Oxford's black-and-white
spaniel, on a crimson velvet cushion : 50 inches by 40 inches.

The present Duke of Beaufort possesses many
of Wootton's works. In the front hall at Badminton
are five large pictures: "A Stag Hunt," painted
before the artist's visit to Rome ; " Hunting on
Salisbury Plain," with a view of Stonehenge in the
distance ; " Hunting on Salisbury Plain," with a
view of Netheravon House ; " Newmarket from
the Cambridge side of the Ditch," and the race
horse Gripe, being rubbed down after winning
a race. The last-named work, which is dated 1 734,
contains portraits of the third Duke, his brother,
and Sir Watkin Williams Wynn, who stands by
looking on.

Two important pictures by Wootton may be seen
in the long corridor at Windsor Castle ; these are
large canvases representing the Royal Buckhounds
hunting in Windsor Forest with many horsemen.

JOHN WOOTTON 265

There are two pictures by this artist in St.
James's Palace, and a third labelled as by "Wootton
and Pyne." The latter is a life-size equestrian
portrait of King George II., on a dark chestnut
horse with white hind feet ; its mane is plaited with
blue ribbons. It hangs over the mantel piece in
the first reception room and measures 7 feet 1 1|-
inches by 9 feet 7 inches. This picture was
formerly at Carlton House. The other two are
examples of Wootton's battle scenes, depicting the
siege of Lisle and the Siege of Tournay respec-
tively ; each measures 10 feet by 16 feet. They
were formerly in the great drawing-room at
Kensington Palace. At Goodwood House, the
Duke of Richmond has seven pictures by John
Wootton; one, dated 1733, is a portrait of Lady
Georgina Lennox with a pony and attendant ; the
other six are portraits of hunters, including the
famous Bay Bolton. The Marquis of Bath has six
hunting pieces by Wootton in his collection at
Longleat.

At Osberton Hall, Worksop, Mr. F. I. S.
Foljambe has a portrait of Flying Childers ; it
is on canvas and measures 4 feet 10 inches by
3 feet 1 1 inches.

Lord Rothschild, in his collection at Tring Park,
has an equestrian portrait of Sarah Jennings,
wife of the first Duke of Marlborough ; she wears

266 ANIMAL PAINTERS

a plain but elegant riding habit and a wide brimmed
Leghorn hat.

The Elsenham collection contains several exam-
ples of Wootton's work, among which may be
mentioned : a large upright painting of Sir
Robert Walpole standing by his hunter, with
hounds in the foreground ; " Waiting for the
Master," a groom holding a crop-eared grey, an
engraving from which is here reproduced. These
two pictures were formerly at Houghton Hall.
Other pictures are : a portrait of The Bloody
Shouldered Arabian, with his Persian groom and
a greyhound, signed and dated 1726; and a life-
size portrait of an Irish Water Spaniel. The
latter is an excellent specimen of Wootton's skill
as an animal painter ; it is in a quaint wooden
frame of the period, with an emblematical female
head in a large shell carved on the top. This
picture was in the Hamilton Castle collection,
sold at Christie's.

For the Hunting Hall at Houghton, Norfolk,
Wootton painted a hunting piece 8 feet 5 inches
long and 6 feet 10 inches wide, into which he in-
troduced equestrian portraits of Sir Robert Walpole,
Colonel Charles Churchill, and Mr. Thomas Turner.
An engraving, plate 24 inches by 17 inches, from
this picture by D. Lerpinsir was published in 1778
by John Boydell.

JOHN WOOTTON 267

Earl Spencer has now in his collection a very
clever group painting of Wootton, entitled, " The
Chase is Over," an enairavinor from which faces
p. 270. This work was painted for the gallery at
Althorp in Northamptonshire ; the figures in the
foreground represent the Hon. John Spencer,
Charles, Duke of Marlborough, and Lord Vane.
From the Atina/s of Sporting for October, 1827,
we take the following quotation from an article
referring to the picture, an engraving from which,
by Percy Roberts, is there reproduced :

Charles, the second Duke of Marlborough, the grandfather
of the present Duke, was at the period of which we are
speaking the possessor of Althorp, and his spirit and
liberality led him to decorate the broad sides of the superb
entrance hall with paintings by the pencil of the once famed
and still highly esteemed John Wootton, descriptive of the
matchless pleasures of the jovial chase.

To the left, covering the whole side, there is a glowing
representation of that moment of " maddening joy," " A
Burst " ; whilst opposite, and of equal dimensions, is its
companion (the original of our engraving), "The Chase is
over."

The main incidents of the picture are so famihar to every
good sportsman that we need not illustrate by words ;
Reynard is beaten — slain ; the huntsman holds him aloft,
and the brush being won, the hungered hounds are leaping
around in eager rivalry for their share of the spoil.

To the left of the picture, in the foreground, is a group
drawn and executed with great spirit and truth. The lower
figure, to the left, is the Hon. John Spencer, grandfather to the
present Earl ; the central figure is that of Charles Duke of
Marlborough ; and the third figure, to the right, is that of

268 ANIMAL PAINTERS

Lord Vane, who used constantly to hunt with the Duke
and, judging from his appearance, we should set him down
as equally good in the field and jovial at the table. He was
a jolly dog, depend upon it.

There are other parts of the painting which will also bear
a scrutiny, and which well depictures the moment when, with
the modern poet of Scotland, we may exclaim :

Huntsman, rest, the chase is done ;
Think not yet of rising sun.

Now, we are quite aware that our modern, fast-going fox-
hunters, with whom pace is everything, will smile at the
hunting caps, high boots, ample coats, and all the etceteras
of costume which make up a sportsman of a century ago ;
but still there are those who look back with fond reminiscence
to the jovialities of the olden time, and who assert that,
although we might have gained in speed, shape, breed, and
show, we have lost in tone, stoutness, in hunting-caps (really
a loss in our opinion), and in pluck over the bowl. Noit
nostrum tantas componere lites. It is not for us to reconcile
these differences. It is our province to please both parties,
and both, in this instance, may be assured that we have
shown them a true sporting field of the time of George the
First.

One of Wootton's best known portraits is that
of Tregonwell Frampton, Esq., " The Father of
the Turf," who died on March 12, 1727, at the
age of 86, when King George II. was on the
throne. Mr. Frampton was the owner of the
famous race-horse. Dragon, concerning which an
utterly incredible story is told, and was Keeper of
the Running Horses at Newmarket to William III.,
Queen Anne, George I., and George II. The
portrait shows the old man seated in his easy chair

JOHN WOOTTON 269

with a trimmed fighting cock on a table at his side,
and a greyhound resting- its head upon his knee,
and a portrait of " Dragon " hanging on the right
on the wall of the room in which the old man is
seated.

It was engraved by " John Jones, Engraver extra-
ordinary to the Prince of Wales and published 1791
by J. Bodger, Land Surveyor, Stilton, Hunts, and
at 53, High Holborn." Frampton was a great
character, and twelve closely-printed lines describe
the remarkable event of his life in connection with
the race-horse Dragon. The size of plate, which
includes the small printed matter following the
portrait, is 21 inches by 14 inches. In the Racing
Calendar for 1 790 will be found on the last page
(413) an advertisement for the sale of the engraving :
" The price to subscribers for prints on paper in
colours ^i IS., in blank los. 6d., may be seen at
Mr. Weatherby's, the Racing Calendar office, 7,
Oxenden Street, London ; and in order to save
trouble to the subscribers, the money may be paid
into his hands, and there remain until the delivery
of the print." Mr. Bodger also supplied this print
and all his other published works, printed on silk,
price £\ I IS. 6d.

At a much earlier date than the above, a plate
was engraved, evidently from the original painting,
by J. Faber — size of plate 15 inches by 10

270 ANIMAL PAINTERS

inches. It differs from the larger and more
recent engraving in that it bears under the likeness
and above the letterpress a portrait of Dragon
in a circular medallion. A third plate, similar to
this, giving the portrait, was engraved by John
Scott for the Sporting Magazine, vol. 18, for April,
1801.

Several of Wootton's pictures of race-horses were
engraved ; a set of seven paintings entitled " Fox
Hunting," were engraved by Carnot ; and for
Gay's Fables, published in 1727, he executed a
series of illustrations which display both ability
and humour. A portrait of William Duke of
Cumberland, with the routed army of the Pretender
in the back-ground, was engraved by Baron.

According to Mathew Pilkington, whose Dic-
tionary of Painters was first published in 1770,
Wootton "was first distinguished by frequenting
Newmarket, and drawing race-horses," and "after-
wards applied himself to landscape, approaching
towards Caspar Poussin, and sometimes imitating
happily the glow of Claude Lorraine."

Wootton possessed a collection of his own works
which were sold when he gave up painting, which
he did a few years before his death. His drawincrs
and prints were sold on January 21, 1761, and his
pictures on March 12 and 13 following. He
evidently prospered as an artist ; he built for

From a Painting by John U'ootton.

THE CHASE IS OVER

WORKS OF JOHN WOOTTON 27 I

himself a house in Cavendish Square, and displayed
much taste and judgment in adornino- the interior
with his own brush. He died at Cavendish Square
in 1765, when he would have been about eighty
years of age.

INDEX TO PAINTINGS, ENGRAVINGS, SCULPTURES, &c.

Abbotsford, Scene at

" Adonis," King George IV. 's charger, 1S22,

1842

Adversity (the Cabman's Horse)

iEsop's Fables, Subject from

Age and Infancy

Age and Infancy, Spanish Grandfalher and

English Offspring

"Alarm"

Albemarle, Portrait of Earl of
"Albert," with Connolly, the Jockey

Alderney Bull

Alderney Cow, An, 1798, 1828

Alexander and Diogenes

Allegory of Battle of Waterloo

" All that remains of the Glory of William

Smith"

Almond Tumbler, The (2) ...
" A London Particular "

Alpine Mastiff

Alpine Mastiffs

" Amato," a colt

" Ambrosio," after G. Slubbs, K.A.

" Ambrosio," a stallion

American Aloe, The

American Bear at bay...
American Wolves
Amour du Cheval, L'...

Angler's Guard, The

Anglers packing up ...

Angling (4 plates)

Angling for Salmon

Angling, preparing for Sport...

Animals

Antelope Hunting

" Anticipation "

" Antinous," a racehorse

"Anvil"

Arab belonging to Lord Powers, An

Arahian, An ...

Arabian, An, 181 1, 1818, 1834
Arabian, Portrait of an, 1808, 1S13..

"Archibald," a racehorse

Atistides"

Sir Edwin Landseer, R.A.

James Ward, R.A.

Sir Edwin Landseer, R.A

K C. Turner

James Ward, R.A.

J. Ward, R.A

John F. Herring

George Stubbs, R.A,
Lambert Marshall
James Ward, R.A.
James Ward, R.A. :

Sir Edwin Landseer, R.A
James Ward, R.A.

C. C. Henderson

Sir Edwin Landseer, R.A,
Sir Edwin Landseer, R.A
F. C. Turner
John Scolt
George Stubbs, R.A.
Philip Reinagle, R.A.
Samuel Howitt ...
Samuel Howitt ...
James Ward, R.A.
Sir Edwin Landseer, R
James Pollard
Samuel Howitt ...
Samuel Howitt ...
Samuel Howitt ...
Charles Hancock...
Samuel Howitt ...
Benjamin Marshall
Francis Sartorius...
George Stubbs, R.A.
James Waid, R.A.
Benjamin Marshall
James Ward, R.A.
John N. Sartorius...
Lambert Marshall
John F. Herring ...

PAOE

... 55

240, 242
... 79
... 221
... 242

... 242

••• 34
... 196
... 98
... 241
30, 239, 241

75. 77
... 232

243

1,83
222
158
206
122

46
241

74
103

44
46

«3

127

199

232

241

140

39. 249,

INDEX

Arrest of the False Herald

Artist, Portrait of an

Artist, Portrait of the

Artist, Portrait of the, 1831, 1846

Artist's Mother, aged 80, The

Ascot ...

Asses waiting return of fishing boats

Ass Race, The

Astley, and his Harriers, Francis Dukinfield

At Fault

Athol, and Mr. George Murray, Duke of ...

Attachment

" Attila," a Derby Winner

"Augusta"

Away ...

Awkward Predicament, The...

Aylesbury Steeplechase, The. (i) The Start.
(2) The Brook. (3) The Bank. (4) The
Finish.

Sir Edwin Landseer, R.A.
George Stubbs, R.A.
George Stubbs, R.A.
James Ward, R.A.
James Ward, R.A.
James Pollard
James Ward, R.A.
Samuel Howitt ...

B. Marshall

John N. Sartorius

Sir E. Landseer, R.A. ...

Sir Edwin Landseer, R.A.

Chas. Hancock,

James Ward, R.A.

Samuel Howitt

F. C. Turner

James Pollard

273

PAGE
.,. 79
... 206
. . . 204
... 241
... 241
100, 106
•■■ 239
... 44
... 90
... 141
... 76
... 76

4, S. 1.3
... 241
... 38

... 219

106, 107

"Babel"

" Babraham " and mare

Bacchanalian, A

Bachelor's Hall, Series

" B,ackertrumps " a trotter

Bad Day, The

"Badger"

Badger and Terriers ...
Badger Hunting

Badger Hunting

Badger Hunt, The

" Bagdad," an Arab charger

Baker, George, Esq., on his Favourite old

Mare

"Bandy"

" Banks " and a Foxhound ...
" Banker," a racer

Baptismal Font, The

Baptiser, The ...

Barclay, Perkins & Co.'s Brewery

" Barefoot," a racehorse
Barn, Essex, Interior of a

"Baron," The

"Baronet"

Barouche and Four, afler M. H. Pyite,

A.R.A

Barrow Pig, The

"Bashaw"

Battle

Battle, A

Battle between Herons and Rooks

Benjamin Marshall 95

Thomas Spencer ... ... ... iSo

James Ward, R.A. ... ... 232

F. C. Turner 219

Dean Wolstenholme, Jun. ... 259

James Ward, R.A. 240

Benjamin Marshall ... ... 95

Samuel Howitt ... ... ... 46

Samuel Howitt ... ... ... 44

Lambert Marshall 98

F.C.Turner 222

John F. Herring 31

Charles Hancock 10

George Stubbs, R.A 199

James Ward, R.A. 240

Benjamin Marshall ... ... 95

Sir Edwin Landseer, R.A. ... 78

James Ward, R.A. 242

Dean Wolstenholme, Jun. ... 254

John F. Herring 26,35

Dean Wolstenholme, Jun. ... 260

John F. Herring ...27, 34

George Stubbs, R.A. ... 199, 206

John Scott 160

James Ward, R.A. 242

Sir Edwin Landseer, R.A. ... 76

James Ward, R.A. 239

Thomas Stothard, R.A 190

Samuel Howitt 45

VOL. II.

274

INDEX

Battle near Boston, Lincolnshire

Battle of the Bull-dog and Monkey

" Bay Bolton," a Hunter ...

Bay Horse, Portrait of a

" Bay Malton," a racehorse

" Bay Malton" beating " King Herod " ...

" Bay Middleton," a racehorse

" Bay Middleton "

Bay of Sarza, View in the

" Beach," a Bull Bitch

Beagles waiting for the Meet...

Bean, Master

Bean, Miss

Bear-Hunting

Beaufort and Sisters, Duke of

Beaumont, Herts

" Beauty " and "Sprite"

Becher on Ladybird, Master...

"Bedlamite"

Begonia, The ...

Belcher, Thomas, Portrait of...

" Belfont," a fast trotter

"Bella, Horrida Bella"

"Bellissima" beating "Warter" and
" Diamond " at O-xford

" Bellman," a deerhound

Belvidere rounding the Flag Buoy, The

Benevolent Cottager, The

Bengal Pitfall

" Benningbrough "

Bentinck, Daughter of Lord Charles, after
Chalon

Berkeley Hunt, The

Bethany, the day after rai.sing Lazarus

Betts, Mr. Samuel, Sketch of

Bevan, Miss, and Richard Lee, Esq., Eques-
trian portraits of ...

Bevis conveying Tomkins' glove to Wood-
stock

" Bijou," a Bitch

"Bijou" and "Beauty"

Billesdon Coplow, ////«/>'a//i'K.r /c ...

Bird-Keeper's Repast, The

Bittern, A

Bittern and Spaniel ...

Black and Red Grouse fighting

Black-breasted Dark Red, The

Blackcock

Blackcock and Grey hen

Black Eagle Brewery ...

Black Highland Ox

"Blackleg"

" Blacklock," a racehorse

" Blackthorn" and a favourite pony

PAGE

James Ward, R.A. 241

Samuel Howitt ... ... ... 44

John Wootton 265

George Stubbs, R.A 203

Francis Sartorius 127

John F. Sartorius ... ... 144

Charles Hancock... ... ... 4

John Y. Herring 27, 33

Philip Reinagle, R.A 122

Dean Wolstenholme, Jun. 253, 259
Dean Wolstenholme, Jun. . . . 260

James Ward, R.A. .. .. 240

James Ward, R.A. ... ... 240

Samuel Howitt ... ... ... 44

Sir Edwin Landseer, R.A. ... 79

James Ward, R.A. ... ... 241

James Ward, R.A. 242

F. C. Turner ... 215, 221, 222

John F. Herring 35

Philip Reinagle, R.A. ... .. 122

Benjamin Marshall ... ... 88

Dean Wolstenholme, .Sen. ... 250

Samuel Howitt ... ... 39, 43

John N. Sartorius 140

G. A. Turner 224

F. C. Turner 223

John Scott 157

Samuel Howitt ... ... ... 46

John N. Sartorius ... ... 140

John Scott 157

C. C. Hender.son. ... 18, 21

J. Ward, R.A 242

Benjamin Marshall ... 91, 94

R. W. Buss and Chas. Hancock

G. A. Turner ... ... ... 224

F. C. Turner 223

F.C.Turner ... ... ... 221

F.C.Turner ... ... 218,219

James Ward, R.A. ... ... 239

James Ward, R.A. ... ... 240

.Samuel Howitt ... ... ... 45

F. C. Turner ... ... ... 223

Benjamin Marshall ... ... 87

Samuel Howitt ... ... ... 46

Sir Edwin Landseer, R.A. ... Si

Dean Wolstenholme, Jun. 253, 259

Sir Edwin Landseer, R.A. ... Si

Benjamin Marshall ... ... 95

John F. Herring 35

James Ward, R.A. 240

INDEX

" Blank," Portrait of Duke of Ancaster's ...
Blenheim Spaniels

Blcssington's Dog, Lady

Blood horse
Bloodhound

Bloodhound, A

Bloodhounds ...

Bloody-shouldered Arabian, The

Bloody-shouldered Arabian, The
" Bloomsbury," a Derby Winner

" Blue Bonnet," a racehorse

" Blue Cap," a foxhound

Blue Passion-flower and Night-blooming

Cerea

Boa Constrictor and Antelope
Boa seizing a Horse ...

Boar Hunting in India

" Bob," a favourite old horse

" Bob," a terrier

"Bonatic," a racehorse ..

Book of Common Prayer, Westall's, plates

in ...

Bookplates

Booth, Esq., Portrait of Philip

Booth, junr., Esq., with favourite horses, J.

Bottom-fishing

Boy and favourite Hound, Portrait of a

Boy, Portrait of a (2)

Brackendale Hill, Norfolk, View from

Bradby Cedar ...

Braemar

Bran and Oscar

"Bravura"

Brazilian Monkeys, Pair of

Breaking Covert

" Breeze," a retriever ...

Bringing up tail Hounds

British Field Sports, Engravings for silver

buttons

British Game Fowls

^x\\x^Vat\.s,, Illustrations in

British Sportsmen

Brocado, General Shubrick's colt

Broke Cover

Broken Teapot, The

Brood Mare and Foal, 1819, 1824

Brood Mare and Foals

Brood Mares

Brown and White Antelope

Brown Mastiff, The

Brown Shooting Pony in Landscape

Brown Wolf, A

Browsing

George Stubbs, R.A.
Charles Hancock...
.Sir Edwin Landseer, R.A.
John N. Sartorius
James Ward, R.A.
Charles Hancock...
Samuel Howitt ...
James Seymour ...

John Wootton

Chas. Hancock ...
Charles Hancock...
John N. Sartorius

Philip Reinagle, R.A. ...
Samuel Howitt ...
James Ward, R.A.
James Ward, R.A.
James Ward, R.A.
Sir Edwin Landseer, R.A.
Thomas Spencer

John Scott

Dean Wolstenholme, Jun.

James Pollard

Dean Wolstenholme, Jun.

George Stubbs, R.A.

P. Reinagle, R.A.

James Ward, R.A.

Sir Edwin Landseer, R.A.

Benjamin Marshall

Sir Edwin Landseer, R.A.

F. C. Turner

Sir Edwin Landseer, R.A.
Samuel Howitt

John Scott

Lambert Marshall
Thomas Stothard, R.A. ...
Samuel Howitt ...

John F. Herring

F.C.Turner

Charles Hancock

John N. Sartorius
Benjamin Marshall
Lambert Marshall
James Ward, R.A.

John Wootton

Sir Edwin Landseer, R.A.

Charles Hancock

John Wootton

Sir Edwin Landseer, R.A.

275

PAGE

... 203

... 74

... 140

240, 243

...41,46
... 167
... 266
... 13

4> 5. 13
... 141

... 122

... 46

... 240

... 84

... 179

... 156

... 162

... 259

. . . 260

... 103

... 260

. . . 205

... 121

... 240

... 80

... 77

... 95

... 77

... 219

... 77

... 45

... 161

... 98

... 182

... 38

... 32

... 218

... I, 12

... 140

... 95
... 9S
... 241
... 263
... 50
7
. . . 263
61, 82

276

INDEX

" Brutus," a bull terrier

Brj'an's O'Lynn

Buck's Death Wound, The

Buck grazing, A

Buffalo, A

Buffalo Hunting

Bull-Baiting

Bull Bait, The

Bull, Cow and Calf ( " Landscape

Cattle")

Bull Dogs

Bull Dog, The

Bulls Fighting (2)

Bulls Fighting

Burial of Tom Moody...

Burns, Robert

Busfield, D.D., Rev. J. A

Butler's " Miss Coiner," Mr., 1809 ...

"Buzzard"

" By your leave, Gentlemen "

PAGE

... Sir Edwin Landseer,

R.A. 51, 54, 75

... John N. Sartorius...

141

... Samuel Howitt ...

... Samuel Howitt

... George Stubbs, R.A.

206

... Samuel Howitt ...

... James Ward, R.A.
itli

229, 239

... James Ward, R.A.

234, 235, 238

... James Ward, R.A.

241

... Samuel Howitt ...

... George Stubbs, R.A.

206

... James Ward, R.A.

238

... Dean Wolstenholme,

Jun. ... 25s

... Charles Hancock...

... James Ward, R.A.

240

. . . John N. Sartorius

140

... John N. Sartorius

149

... F. C. Turner

223

Cabman's Horse, The (Adversity) ..

" Callach," a Deerhound

Callen Arabian and Mare, The

"Camarine" ...

Cambridge Telegraph Starting, The

Canine Friends

Canine Landing Net, The

"Cannon Ball"

Canter before the Race, The

Canterbury Pilgrims ...
Canterburj' Pilgrims, yf?-.r/ sketch for
Capercailzie, The
" Cardinal Ruff," a racehorse
" Careless," a racehorse
Carriage Match, The ...
Cart-horse, Portrait of a
Carthorse, Portrait of a, 1802, 1810

Cart Horses ...

Cart Horses

Carting of Corn

Carting Sea-weed

" Casey," a Spaniel

"Cashmere"

Cat and the Rat, The

Cathedral Antiquities, //ato in

Caton, Jack and Barra

Cattle, 1803, 1808, 1810

Cattle, Group of

Cattle, Improved Shorthorns
Cattle in a Storm, 1798, 1810

Sir Edwin Landseer, R.A.

F.C.Turner

222

Thomas Spencer

180

John F. Herring

"28, 33

James Pollard

104

Sir Edwin Landseer, R.A.

Samuel Howitt

Benjamin Marshall

F. C. Turner

223

Thomas Stothard, R.A. 1S4,

1 87,

190

Thomas Stothard, R.A....

185

F.C.Turner

222

Francis Sartorius

127

John Sartorius

126

James Seymour ... 169,

170,

173

Francis Sartorius

131

John N. Sartorius

140

Samuel Howitt

James Ward, R.A.

243

George Stubbs, R.A.

206

James Ward, R.A.

242

John Wootton

264

Charles Hancock

Samuel Howitt

John Scott

156

Charles Hancock

James Ward, R.A.

239

Philip Reinagle, R.A. ...

122

Benjamin Marshall

James Ward, R.A.

230,

1 239

INDEX

Cattle, Study of

Cat's Paw, The

Cavendish, The Hon. Richard
Celebrated Cab-horse, A
Celebrated Race, A. ...
Celebrated Sportsman, The ...
Ceremony of the Dunmovv Flitch, The
Chace, The
Chaise Horse, A
" Champion" ...
Chancellor running amuck

Change of Pasture

Charger, A, 1805, 181 3

Charger, The

Charger, The ...

Charger, The, after B. Marshall

Charger and four Cossacks, Prince PlatofP:

Charger and Pony, A...

Charger, Portrait of a...

Charity ...

Charles I., History of King ...

" Charles the Twelfth," a racehorse

Chase, The

Chase, The, plaks for Somerville's, after J.

N. Sartorius

Chase is over, The

Chatsworth

Cherubim Shooting

Cheshire Pile, The
Chesterton Windmill ...
Chestnut Arabian, The
Chestnut Barb Stallion, A ...
Chestnut Horse, Portrait of a
" Chevy," a deerhound
" Chevy will no leave him "...

Chifney, Samuel

Child found by a Traveller, after A. Cooper,

R.A

Child, Portrait of a

Children of the Hon. Col. Seymour Bathurst

Children of the Mist

Children, Portraits of

Children, Portraits of three ...

Chinese Sow, A

"Chloe"

Christmas Carol

Chudleigh, View of

Citizen's Retreat, The
Clearing the Brook ...

Clipper, The

Clipping

Philip Reinagle, R.A.
Sir Edwin Landseer, R.A,
Sir Edwin Landseer, R.A,
Lambert Marshall
Francis Sartorius...
Benjamin Marshall
Thomas Stothard, R.A
John N. Sartorius
John N. Sartorius
John N. Sartorius
F. C. Turner
James Ward, R.A.
James Ward, R.A.
Samuel Howitt ...
Benjamin Marshall
John Scott
James Ward, R.A.
James Ward, Iv.A.
Dean Wolstenholme, Senr,
Thomas Stothard, R.A. .
Peter Tilleman ...
Chas. Hancock ...
Samuel Howitt ...
Sir Edwin Landseer, R.A
John N. Sartorius
Dean Wolstenholme, Senr,

JohnScott...
John Wootton
Peter Tilleman ...
Samuel Howitt ...
James Pollard
P. Reinagle, R.A.
Thomas Spencer ...
James Seymour ...
George Stubbs, R.A.
Sir Edwin Landseer, R.A
Sir Edwin Landseer, R.A
Benjamin Marshall

JohnScotl...
James Ward, R.A.
Sir E. Landseer, R.A.
Sir Edwin Landseer, R,
James Ward, R.A.
Philip Reinagle, R.A.
James Ward
Charles Hancock..
James Ward, R.A.
James Ward, R.A.
James Ward, R.A.
F.C.Turner
G. A. Turner
F. C. Turner

277

PAGE
... 122

54. 84
... 76
. . 98
128, 129
... 87
... 187
- 139

•■ 139
• ■• I3S
... 223
... 241
239, 240
... 44
... 91

- 159
... 240
. . . 240
... 250
... iSs
210-21 1
... 13
... 42
... 78
... 141
. . . 250

161, 162
267
208

43. 45

104

119

180

167

203

160

239

240

121

238

239

228

219

224

223

278

INDEX

Coach Horse, Portrait of a

Coach Horses, Portrait of

Coaching in the Olden Days

Coal Works

" Cobweb," a mare

Cock and the Fox, The ...

Cock in Feather, The...

Cock Pit Royal

Cock-Shooting...

Cold Bath, A

Collie dog rescuing sheep from Snowdrift ...

Collie Dogs

Colman, G. , Esq.

Colt bred by Lord Bolingbroke

Comical Dogs ...

Coming Events cast their shadows before

them ...

Commodore Trunnion

Common and Sunday at their every-day work
Compleat Angler, flates in IValton and

Cotton's

"Compliments of the Season"

" Comrade " beating " Fo.xbury " and

" Epsom"

" Comus," a racehorse

Condemned Calf ...

Connoisseurs, The

" Contention "

Contrast, The

Conversation ...

Conway Castle and Town

" Copenhagen," Wellington's charger at

Waterloo ...

" Copperbottom "

"Cormorant"

Cornstack, The

" Coronation," a racehorse ...
" Coronation," a racehorse ...
Corselli's Greyhound going down Dover Cliff,

Corsican, Russian and Fallow Deer

Cossack Horse, A

Cottagers, The, after Gainsborough

Cottage Scene ...

"Cotherstone," a Derby Winner

Council of Animals, A

Council of Horses, The

Count Borulawski

Country Horse Fair, The

Coursing

Coursing Adventure

Coursing at Hatfield Park ...

Francis Sartorius

.. 131

John N. Sartorius

■ 139

C. C. Henderson

James Ward, R.A.

.. 242

Lambert Marshall

.. 98

Thomas Stothard, R.A... 1

87, 189

Benjamin Marshall

.. 87

Samuel Howitt

•• 44

James Ward, R.A.

•• 239

F.C.Turner

.. 219

Sir E. Landseer, R.A. ...

.. 76

Sir Edwin Landseer, R.A.

F.C.Turner

.. 221

George Slubbs, R.A.

.. 206

Sir Edwin Landseer, R.A.

Sir E. Landseer, R.A. ...

Samuel Howitt

Chas. Hancock

John Scott

.. 161

Charles Hancock

John N. Sartorius

140

John F. Herring

James Ward, R.A.

•• 239

Sir Edwin Landseer, R.A.

.. 78

James Ward, R.A.

.. 241

James Ward, R.A.

.. 242

James Ward, R.A.

■ 239

James Ward, R.A.

242

James Ward, R.A.

.. 241

Benjamin Marshall

... 94

John N. Sartorius

■■ 135

James Ward, R.A.

... 242

Chas. Hancock

• 4. 13

John F. Herring

27. 34

S. Howitt

• 45

Sir Edward Landseer, R.A.

.. 76

James Ward, R.A.

240

John Scott

.. 157

Philip Reinagle, R.A. ...

122

Charles Hancock

4. S. 13

Samuel Howitt

.38,44

James Ward, R.A.

.. 242

Philip Reinagle, R.A. ...

.. 121

Samuel Howitt ...

38, 44

Lambert Marshall, 1S32, 1835

■97.98

John Ward, R.A.

■• 239

Dean Wolstenholme, Senr. s

46, 250

Samuel Howitt

■• 4S

James Pollard

.. los

INDEX

Coursing in Hatfield Park

Coursing in the Last Century
Coursing the Bustard ...

Cow, A

Cowlayer, A ...

Cow of the Long-horned Breed

Cow, Portrait of a

Cowthorp Oali

"Crab"

Cricketer, A

Cross of the Dog and Fox, Portrait of a ...

" Crucifix," a racehorse

Cruel Punishment

" Crutch," a racehorse

Cudgel Playing

Cumberland, William Duke of
Cupid inspiring plants with love

"Curricle"

Curricle and Horses ...

Cynegetus, or Essays on Sporting, Iliusira

lions ill
" Cyprian," a racehorse

John F. Sartorius...
Dean Wolstenholme, Jun
Samuel Howitt ...
James Ward, R.A.
James Ward, R.A.
James Ward, R.A.
John N. Sartorius
Philip Reinagle, R.A.
Thomas Spencer ...
George Hayter ...
Sir Edwin Landseer, R
John F. Herring ...
Samuel Howitt ...
Lambert Marshall
Samuel Howitt ...
John Wootton
Philip Reinagle, R.A.
Benjamin Marshall
John N. Sartorius

Thomas Stothard, R.A.
John F. Herring ...

279

PAGE

145. 147
256

■43. 44
239
239
239
139
121
180
52
84
■27, 34
44
98

44
270
122

141

18S

■ 27, 33

" Dabster," a foxhound

Dairymaid and Alderney Cow

Dairy Maid, The

"Dandie Dinmont," H.M.'s. Skye terrier

Dangerous Play

Daniel in the Lion's Den

Dark Bay Horse, Portrait of a

Darlington, Earl of, and his Foxhounds

"Dash"

" Dash" a spaniel

" David," a coachhorse

" David," after B. Marshall

Day's Sport, The

Day with the Pheasants, i

Dead Bull, The

Dead Fox with Lurchers

Dead Game

Dead Game, 1783, 1S12

Dead Game

Dead Game and a Jack Snipe

Dead Game, Fish, cSc, PlaU in " Essay on

Hunting "
Dead Game, Study of
Dead Pheasant
Dead Red Deer
Dead Roe Deer

Dead run Hare and Beagles in a Ditch
Dead Wild Duck

Benjamin Marshall

Sir Edwin Landseer, R.A

James Ward, R.A.

Sir E. Landseer, R.A. ..

John F. Herring ...

James Ward, R.A.

George Stubbs, R.A.

B. Marshall

James Ward, R.A.
James Ward, R.A.
Benjamin Marshall
John Scott
James Ward, R.A.

F. C. Turner

Sir Edwin Landseer, R.A,
Philip Reinagle, R.A. ..
Samuel Howitt ...
Sir Edwin Landseer, R.A
Philip Rein.agle, R.A.
John F. Sartorius
John F. Sartorius

John Scott

Philip Reinagle, R.A. ..
Sir Edwin Landseer, R.A
Sir Edwin Landseer, R.A
Sir Edwin Landseer, R.A,

S. Howitt

Sir Edwin Landseer, R.A

J9.
114,1

145

94
82

239
62, 77

32
242
203

90
241
240

91
IS9
241
223

57
115
43.45

75
I, 122

147
147

162
122

81
84
76

45
81

28o

INDEX

Death of a Hare, The

Death of the Fox, 1812, 1815

Death of the Fox, The

Death of the Fox, afler Sawrey Gilpin

Death of the Hare

Death of the Hunter, The

Death of the Otter

Death of the Woodcock

Death of Tom Moody, The

Death, The

" Deception," a racehorse

De Coverley and the Gipsies, Sir Roger

Deer

John N. Sartorius

Samuel Howilt

Sawrey Gilpin

F. C. Turner

John Scott

Samuel Howitt

F. C. Turner

Samuel Howitt ...

Sir Edwin Landseer, R.A.

Dean Wolstenholme, Senr.

Samuel Howitt ...

John N. Sartorius

Charles Hancock...

Thomas Stothard, R.A. ...

Samuel Howitt ...

Sir Edwin Landseer, R.A.

Deer and Deerhounds in a Mountain Torrent Sir E. Landseer, R.A.

Deer and Owner

Deer Family, A

Deer Fighting...

Deerhound and Mastiff

Deer in Windsor Forest

Deer of Chillingham Park ...

Deer, Remarkable three-year-old

Deer-stalking ...

Deerstalking ...

Deer-stalking in Falah Forest, Two

Gentlemen

Deer Stealer, The

Defeat of Comus, The

Dejeuner a la Fourchetle

Descent of the Swan ... ...

Desert, The

" Desperate," a Stallion Hound

Destroying the Hornets' Nest

Devil's Bridge, The ...

Devonshire, Duke of, and Lord and Lady

Cavendish (unfinished)

Devonshire Cows
Devonshire, K. G., Duke of
Devonshire Ox, A
Dewy Morning, A

Dialogue at Waterloo, A ...

"Diamond" ...

Diana disturbed by Actaeon

Digging out the Otter

Digging the Fox

Digging the Fox from Earth

Dignity and Impudence

Diligence of 1830, The

Disappointment

Discomfiture of Charles II. at Battle of

Worcester...
Distinguished Member of the Royal Humane

Samuel Howitt

Sir Edwin Landseer, R.A.

Samuel Howitt ...

Sir Edwin Landseer, R.A.

Samuel Howitt

Sir Edwin Landseer, R.A.
John N. Sartorius
Charles Hancock
Sir Edwin Landseer, R.A.

Charles Hancock

James Ward, R.A.

Sir Edwin Landseer, R.A.

James Ward, R.A.

Sir Edwin Landseer, R.A.

F. C. Turner

James Ward, R.A.

Sir Edwin Landseer, R.A.

James Ward, R.A.

Sir Edwin Landseer, R.A.

John N. Sartorius

James Ward, R.A.

Sir Edwin Landseer, R.A.

John N. Sartorius

Dean Wolstenholme, Senr.

Sir Edwin Landseer, R.A.

C. C. Henderson...

Sir Edwin Landseer, R.A.

Society, A

J. Ward, R.A. ...
Sir E. Landseer, R.A.

PAGB
•■■ 139

... 45
85, 118
... 219
... 157
... 45
... 219

■ ■ 45

... 81

... 247

... 3S

... 141

... 13

... 191

39. 43. 45
... 78
... 76
... 44
... So
... 44
... 82
...41,46
... 78
... 140
II
...77,84

... 240
■■. 73
... 78
... 240

... 77

... 223

... 242

... 78

... 75

... 76

-. 239

... 242

... 77
139, 140
... 241
...79.80
... 141
... 250
•.. 73

...l8,2I

... 77

... 242

68, 73. 76

INDEX

281

"Dr. Syntax"

" Dr. Syntax," a thoroughbred

Doctor's visit to poor relations at the Zoo ...

Dog

Dog, A

Dog and Badger

Dog and his Shadow, The ...

Dog at Vittoria, Portrait of a
Dog Breaking ...

Dog of the Marlborough Breed, A

Dog, Portrait of a

Dog, Portrait of a (2), 1776, 1780, 17S2, 1782

Dog, Portrait of a (2)

Dogs

Dog's Head and Partridge

Dog, Sketch of a

Dogs, Portraits of

Dog Stealing, A

Dogs, Three ...

Dogs, Two

Dogs looking for Crumbs, Two

"Donald"

Doncaster

" Done Handsome" ...

"Don John"

" Don John," a colt

" Don John," a racehorse

Donkey and Pigs

Donkey, Portrait of a

" Don Quixote," a son of " Eclipse "

" Dormouse," a mare

" Dos-a-dos " ...

Double Triumph, Sin, Death and Hell, The

Douglas, Lady Catherine, hawking

Doubtful crumbs

"Dover"

Down Charge !

" Dragon," a racehorse

Drake, A

Drawing Cover

Drawing Covert

Drive, Glen Orchay, The

" Driver," a trotter

Drive, The
Drop Leap, A ...

Drover's Departure, The

Drying the legs

Duck Shooting

Duckweeds

" Durabling," a carthorse

' ' Dumbling, " after B. Marshall

Duncan's Horses

^''DMncomhe" afler B. Marshall ...

" Duncombe," a hunter ...

R.A

James Ward, R.A.
James Ward, R.A.
Sir E. Landseer, R.A.
George Stubbs, R.A.
George Stubbs, R.A.
Samuel Howitt ...
Sir Edwin Landseer, R
James Ward, R.A.
Lambert Marshall
Sir Edwin Landseer,
John F. Herring ...
George Stubbs, R.A.
James Ward, R.A.
James Ward, R.A.
Benjamin Marshall
James Ward, R.A.
John N. .Sartorius
James Ward, R.A.
Sir Edwin Landseer,
George Stubbs, R.A.
Sir Edwin Landseer,
James Ward, R.A.
James Pollard
John F. Herring ...
John F. Herring ...
F.C.Turner
Charles Hancock...
John F. Herring . . .
James Ward, R.A.
Sir Edwin Landseer, R..
John N. Sartorius
Thomas .Spencer ...
Charles Hancock...
James Ward, R.A.
Sir Edwin Landseer,
Sir Edwin Landseer,
John F. Herring ..
Sir Edwin Landseer, R.A,
Francis Sartorius...
James Ward, R.A.
John N. Sartorius
Lambert Marshall
Sir Edwin Landseer,
Lambert Marshall
Sir Edwin Landseer
Samuel Plowitt ...
Sir Edwin Landseer, R.A,
James Ward, R.A.
John Scott
James Ward, R.A.
Benjamin Marshall
John Scott
James Ward, R.A.
John Scott...
Benjamin Marshall

R.A

PAGE
240
233
78
20s
20s

240

25.32

205, 206

243
240

95
238

139
239

82
205

246

106

222

238

75
140
179
6
242
79
77
33
54,84
129, 131
239
141

242

149

242

159

241

159
91

282

INDEX

"Dungannon" ...

"Dungannon" beating " Rockingham " at
Newmarket

Dun Mare, A (2)

"Dustman"

Dying Fox Hunter, The

George Stubbs, R.A.

John N. Sartorius
John Wootton
Benjamin Marshall
F. C. Turner

PAGE
199, 206

... I4t
... 263

... 95
... 220

Eagle and Deer ... ..

Eagle and Vulture disputing with a Hyena

" Eagle," a racehorse

Eagle's Nest, The

Early Drawings

Earth-Stopper, The ...

Easter Monday, Turning out the Stag

Easter Monday : View of Fairmead Bottom,

Epping Forest
East Essex Foxhounds, The ...

"Eclipse," after G. Sltibbs, R.A

" Eclipse and Shakespear "

"Eclipse," Portrait of

" Eclipse," with Jack Oakley up

Edinburgh and Glasgow Mails parting Com-
pany, The... ... ...

"Edmund," a colt ...
Effects of Disobedience, The ...
'^lL\c3.nor," afle?- B. Marshall
" Eleanor," a racehorse

Elephant and Tiger ...

Elephant Hunting

"Elis"

"Eliza"

Elk pursued by Wolves

"Emilius"

"Emma"

Emperor's Cup, The ...

Encampment of the West Norfolk Militia ...

English Homestead, An

English Post-boys

Enjoying the Breeze ...
Entrance into a Wood

" Eos," a greyhound ...

Epping Forest Hunt

Epsom Races ...

Epsom Races, A Prospective View of
(i) Saddling in the Warren.

(2) The Betting Post.

(3) Preparing to Start.

(4) The Grand Stand, the Race.

(5) The Race over.

(6) Settling at Tattersalls.

Samuel Howitt

... 46

P. Reinagle, R.A.

... 114

James Ward, R.A.

• • 239

Sir Edwin Landseer, R.A

... 74

Sir Edwin Landseer, R.A

... 49

C. C. Henderson

iS, 21

F. C. Turner

... 222

James Pollard

... 104

James Pollard

... 104

F.C.Turner

... 222

John Scott

... 158

John N. Satorius ...

.. 136

George Stubbs, R.A. 199

, 204, 205,

206

John N. Sartorius

13s. J41

C. C. Henderson

17, 21

John F. Sartorius...

142, 147

James Ward, R.A.

... 241

John Scott

... 159

Benjamin M.irshall

... 90

Samuel Howitt

... 46

Samuel Howitt

... 44

John F. Herring

••• 33

John N. Sartorius

... 140

Samuel Howitt ...

41, 46

Benjamin Marshall

... 95

John F. Herring

• •• 34

F. C.Turner

... 223

P. Reinagle, R.A.

... 121

John F. Herring

... 32

C. C. Henderson

... 17

James Ward, R.A.

... 242

Philip Reinagle, R.A. ..

122, 123

Sir Edwin Landseer, R.A

...61,77

Dean Wolslenholme, Sen

... 250

James Pollard

100, 106

James Pollard

... 108

INDEX

28-

Equestrian Portrait

J-

PAGE

" Erymu?," a racehorse

"Escape"

Essex County Hall

Essex Hunt Series, The

(i) Meet at Matching Green.

(2) Drawing the Covert at Man Wood.

(3) Fox crossing the Leading Roothing,

(4) The Death.

" Euston," Portrait of

Evening after Rain

Evening Bhish, The

Evening: First September

Evening of Life, The

Evening Scene in the Highlands

" Everton," a hunter

Extraordinary Escape...

Extraordinary Preservation of Foxes
Extraordinary Trotting Mare, An ' ...

Sir E. Landseer, R.A., and Sir

E. Millais, R.A 75

Benjamin Marshall ... ... 95

John N. Sartorius ... 134, 140

Philip Reinagle, R.A 121

Dean Wolstenholme, Junr. ... 255

George Stubbs, R.A

205

. James Ward, R.A

239

. James Ward, R.A

242

. James Pollard

los

James Ward, R.A.

243

Sir E. Landseer, R.A. ...

John F. Herring

Samuel Howitt

. F. C. Turner

222

John N. Sartorius

141

Fables, Illustrations to Gay's

" Fag," a pointer ... ...

Fagge, Bart., Portrait of Sir Robert
Fair Crop, The

"Fair Helen"

Fairlop Oak

Fair Show, The

"Fairy"

Faithful Hound, The

FaUh Forest, Two Gentlemen Stalking in...
Falcon ...

Falcon disgorging a Heron

Fall of Phaeton, The

Fall of the Clyde after a Flood

Fallow Deer ...

Fallow Deer, biting thro' quick fence in

snow
Family at Little Thurlow, Suffolk, Portraits

" Fan," a celebrated Bitch

Fancy Pigeon, A

"Farm"

Farm Autumn, The

Farmer's Friend, The...

Farmer's Wife and Raven

Farmyard

Farmyard with Cattle ; sunset

Farmyard, with Fowls

Farrier's Shop

John Wootton

... 270

Samuel Howitt ...

... 45

James Seymour ...

... 168

James Ward, R.A.

... 242

John F. Herring ...

• ■ 33

Samuel Howitt ...

■ 43

James Ward, R.A.

. . . 242

Sir Edwin Landseer,

R.A.

... 76

Sir Edwin Landseer,

R.A.

... 57

Chas. Hancock ...

Sir Edwin Landseer,

r.a'.

... 76

F. C. Turner

... 222

James Ward, R.A.

239, 241

James Ward, R.A.

... 242

Sir Edwin Landseer,

R.A.

... 78

S. Howitt

... 46

Benjamin Marshall

... 94

F. C. Turner

... 222

James Ward, R.A.

• ■• 239

Benjamin Marshall

... 94

'oha F. Herring ...

... 32

ohn F. Herring ...

... 32

George Stubbs, R.A.

... 206

John F. Herring ...

... 32

Philip Reinagle, R.A

... 123

Philip Reinagle, R.A

... 121

John M. Sartorius

... 141

James W'ard, R.A.

• •• 239

284

INDEX

Fast-trotting Cart-house, A

Fast-trotting Hobby, A

Fast-trotting Horse, A, 179S, 1S12 ...
Fast-trotting Mare, Portrait of a
Fatal Accident in Hog Hunting

Fatal Duel

Fate of a Sheep-killing Pointer

Fat Heifer, Mr. Westcar's

Fat Staffordshire Ox, A

Fattened French Cow, A

" Faugh-a-Ballagh," a racehorse

" Faugh-a-Ballagh "

"Faun"

Favourite Cob, A
Favourite Foxhound, A
Favourite Hackney and Dog, A
Favourite Hackney, Lord Brook's ...

Favourite Horse, A. ...

Favourite Horse, A

Favourite Horse, A ...
Favourite Horses going to Covert ...
Favourite Horses going to Covert ...
Favourite Hounds in the Cheltenham Pack.

Favourite Hunter, A (1826)

Favourite Hunter, A ...
Favourite Mare, A

Favourite Mare, A

Favourite Pony and Dogs

Favourites

Favourite Spaniel, Portrait of a

Favourite Spaniels

Favourite Terrier, Portrait of a

Feeding Pigs ...

Female Running Match
Fermore, Hunting, W. and H.
Ferret in a Rabbit Warren ...

Ferry, The ...

"Figaro"

Fighting Horses
Fighting Horses

Figures and Animals

" Filho da Puta and Sir Joshua" ...
" Filho da Puta," a racehorse

Find, The

Finish, The ... ...

Fireside Party, A

First Day of the Season

First Leap, The

First-rate Shot, Portrait of George
Osbaldeston, Esq., A

Fish

Fisherman

.. John N. Sartorius

. 140

.. John N. Sartorius

140

. . John N. Sartorius

139

.. John N. Sartorius

139

.. Samuel Howitt ...

. 46

.. Sir Edwin Landseer,

R.A.

■ 78

.. Samuel Howitt ...

. . John N. Sartorius

139

.. James Ward, R.A.

239

.. John N. Sartorius

139

.. Charles Hancock...

■ 45

.. John F. Herring ...

27,34

.. F. C. Turner

221

.. John F. Herring ...

.. Dean Wolstenhohne,

Junr.

259

. . Dean Wolstenholme,

Junr.

• 259

.. James Ward, R.A.

240

.. Benjamin Marshall

.. Francis Sartorius ...

• 131

. James Ward, R.A.

240

.. F. C. Turner

221

.. F. C. Turner

• 215

.. F. C. Turner

223

.. James Ward, R.A.

32, 241

.. Dean Wolstenholme,

Junr.

■ 259

.. F. C. Turner

221

.. James Ward, R.A.

. 240

.. Sir Edwin Landseer,

r.a'. '.

. 76

.. John F. Herring ...

. Sir Edwin Landseer,

R.A.

■ 76

.. Sir E. Landseer, R.A

.. Dean Wolstenholme

Junr.

. 260

.. John F. Sartorius

• 145

.. James Ward, R.A.

• 239

.. Samuel Howitt ..

.. Francis Sartorius...

. 127

.. James Ward, R.A.

. 241

.. J. F. Herring

• 30

.. John F. Herring ...

• 35

.. James Ward, R.A.

• 239

.. George Stubbs, R.A

. 205

.. Benjamin Marshall

• 90

.. John F. Herring, 1822, 1844

■ 35

.. John F. Herring ...

• 35

.. F. C. Turner

221

. John F. Herring ...

• 35

.. Sir Edwin Landseer,

R.A. '.

.. F. C. Turner

• 223

.. Sir Edwin Landseer,

R.A.

• S3

.. Benjamin Marshall

92.95

., Samuel Howitt ...

• 45

.. Philip Reinagle, R.A

'23

INDEX

285

Fishermen displaying Results of Day's Sport
Fishing, Portraits of two young gentlemen

and their sister

F'ishwomeo, a/ier Morlanii ...

FitzHarris, Lady

"Fleur-de-Lys"

Flood in the Highlands
" Flora," a spaniel

" Fly," a greyhound

Fly-fishing

" Flying Childers "

" Flying Childers and King Herod "

" Flying Childers," a racehorse

Flying Leap
Fl)'ing Leap

Flying Leap ; Fox dying

Foreign Nobleman and Horses, Portraits of

" Forester," a Blood-hound

Forester's Family, The

Forest Keeper Shooting a Buck

Four Buck Rabbits

Four-in-Hand Carriage

Fox and Cubs ...

Fox and his Prey

Fox and Partridge

Fox and Partridges

Fox and Pheasants

Fox and Wild Duck

Fox breaking Cover, The

Fox breaking Cover, after P. Reinagle

Fox Chase, The

Fox Chase : View Halloa

Foxes

Foxes ...

Fox, Heron, and the Eel, The

Foxhound, A

Foxhound, The

Fox-hounds breaking Cover, Gen. Wynd-

ham's

Foxhounds Going Out

Foxhounds of the Hatfield Hunt

Foxhounds Returning

Fox Hunt, A

Fox-hunting

Fox-hunting; four pictures

Fox-hunting

(i) Going out in the Morning.

(2) Brushing into cover.

(3) In Full Chase.

(4) The Death of the Fox.
Fox-hunting Breakfast, A

Fox-hunting : calling hounds out of cover . , .
Fox-hunting Scenes (4)

PAGE

P. Reinagle, R.A.

i'5. 123

P. Reinagle, R.A.

... 121

James Ward, R.A.

... 228

Sir Edwin Landseer, R.A.

... 76

John F. Herring

•■• 35

Sir Edwin Landseer, R.A.

70. 77- S3

F. C. Turner

... 221

John F. Herring

•■■ 35

James Pollard

loi, 103

John Wootton

... 26S

John N. Sartorius

.. 136

James Seymour ...

167, 177

Samuel Howitt ...

... 45

John N. Sartorius

... 141

John N. Sartorius

. . 140

Benjamin Marshall

... 94

F. C. Turner

... 222

Sir Edwin Landseer, R.A.

... 77

Samuel Howitt

Dean Wolstenholme, Junr.

... 259

John F. Sartorius. . :

... 147

Charles Hancock

... 13

Samuel Howitt

... 45

Philip Reinagle, R.A. ...

... 115

Samuel Howitt

... 46

Samuel Howitt

... 45

Samuel Howitt

... 45

Philip Reinagle, R.A. ...

118, 122

John Scott

... 157

Peter Tilleman

... 210

James Pollard

... 109

Samuel Howitt

... 44

Sir Edwin Landseer, R.A.

... 84

Samuel Howitt

■ • 45

Charles Hancock

Samuel Howitt

... 44

F. C. Turner

... 223

F. C. Turner

.. 221

Sir Edwin Landseer, R..A.

... 84

F.C.Turner

... 221

Samuel Howitt

37.43

James Pollard

... 108

Samuel Howitt

37,3s

John N. Sartorius

... 138

James Seymour

■74. 175

Samuel Howitt 44

James Ward, R.A. 240

Dean Wolstenholme, Sen. 247, 250

286

INDEX

Fox-hunting Series (7)

Fox-hunting : the Death

Fox on the Watch, A

Fox's Head, A

Fox, The

Fox Unkennelled

Fractured Leg of Spartan, The

Frampton, Esq., the Father of the Turf,

Portrait of Tregonwell ,

Free Church, The

Free Trade and Protection ...

French Horses

French Postillions

Friend in Need, A

Friends of the Agricultural Society

Friends

Frugal Meal, The

Fruits of Early Industry, after Morland . . .

Full Cry

Fuller, Mr. John, Sketch of

John Wootton
Philip Reinagle, R.A.
Charles Hancock...
Charles Hancock...
Charles Hancock...
Samuel Howitt ...
John F. Herring ...

rAr.E
270
121

7
12

5. 13
45
33

John Wootton ... 268,269,270

Sir Edwin Landseer, R.A. ... 77
Sir Edwin Landseer, R.A. ... 80

C. C. Henderson 21

C. C. Henderson 17

James Ward, R.A 242

Dean Wolstenholme, Jun. 255, 260
Sir Edwin Landseer, R.A. ... 76

John F. Herring 30

Jessica Landseer ... ... ... 4S

James Ward, R.A 228

Samuel Howitt 38

Benjamin Marshall ... 9I) 94

"Galatea"

Galton, from the Old Brighton Road, Surrey

Game Cock, A...

Game Cock

Game Cocks

Gamekeeper, The

Gamekeeper's Cottage, Interior of a

Gathering Cowslips ...

" Gazelle," An Arab ...
Gedro, in the Province of Beira
" General Bandbox ".. .

Gentleman, A ...

Gentleman and Dogs, Portraits of, 1793, 1797
Gentleman and his Son, Portraits of a
Gentleman and Keeper with favourite horse

and dogs ...
Gentleman, Keeper, Sporting Pony and Dogs
Gentleman on Horseback
Gentleman, Portrait of a, 1 782, 1784, 1790
Gentleman preparing to Shoot, Portrait of a
Gentleman's Residence in Surrey, View of...
Gentleman Shooting, A, 1794, 1795

George II., Equestrian Portrait of

George IV. Going to Ascot

George III., Portrait of

George HI. Staghunting

George IV. Travelling

Gethsemane ...

"Ghuznee"

Benjamin Marshall 96

Dean Wolstenholme, Jun. . . . 259

Benjamin Marshall 87,94

James Ward, R.A. 243

Lambert Marshall 98

Charles Hancock ... ... 11

Dean Wolstenholme, Jun. . . 260

James Ward, R.A 239

John F. Herring 33

Philip Reinagle, R.A 122

Philip Reinagle, R.A. ... ... 120

Philip Reinagle, R.A., 1779 .. 121

John N. Sartorius 139

"Dean Wolstenholme, Sen. . . . 250

James Ward, R.A 239

James Ward, R.A. ... ... 240

George Stubbs, R.A 205

Philip Reinagle, R.A 121

G. Stubbs, R.A 205

Dean Wolstenholme, Sen. ... 250

John N. Sartorius ... ... 139

Wootton and Pyne 265

James Pollard, I02

Philip Reinagle, R.A- no

Thomas Stothard, R.A 188

James Pollard 109

James Ward, R.A 242

John F. Herring 27,35

INDEX

287

" Gibside Fairy "

"Gimcrack"

" Gimcrack " after G. Sliibbs, R.A,

Gipsy Encampment ...

Girl and favourite Puppy, Portrait of a

Glamis, Portrait of Lord

Glamis and Staghounds, Portrait of Lord ...

Gleam in the Storm, A

Gleaners

Glen Fishie ...

" Glencoe," a racehorse

" Glencoe," a stallion

Glenorchay, Scene to illustrate " Legend

of"

" Gnawpost " ...

Godolphin Arabian, The ...

Going a- Coursing

Going Out

Going Out in the Morning ...

Going to Plough

Going to Scale...

Going to the Fair

Going to the Fight ...

Golden Lane Genuine Brewery

Golden Plover and Snipe

Goldham, Portrait of Mr. J. . . .

Gone to Ground in Clump near Birdsall

" Good Doggie "

Goodwood

Goodwood Plate, The

Gordale, East Malham, Yorkshire ...

Gordale Scar, Yorkshire

" Granadillo " and " Skyscraper " ...

Grand Convent of Scholastica, View of the...

Grandmother, The

Grand Stand at Doncaster ...

Great Ox, Mr. Westcar's

Great Tench, The

Grey Arab, A ...

Grey Dam, The

"GreyDiomed"

Greyhound, A

Greyhound and Hare ...
Greyhound coursing a Hare ...

Greyhound killing a Hare

Greyhounds

Greyhounds and Dead Hare

Greyhounds in Pursuit
Greyhound turning a Hare ...
" Gripe," a racehorse

Grosvenor Hunt, The

Group, Geneva

John F. Herring ...

■•• 3S

George Stubbs, R.A,

199, 206

John Scott

... is8

Sir Edwin Landseer,

r.a'.

... 80

Dean Wolstenholme,

Jun.

. . . 260

Dean Wolstenholme,

Jun.

• 255

Dean Wolstenholme,

Jun.

■ 2SS

James Ward, R.A.

242

James Ward, R.A.

• 239

Sir Edwin Landseer,

R.x;

... 6l

Charles Hancock..,

Chas. Hancock ...

.. 13

Sir Edwin Landseer,

R.A.

... 77

George Stubbs, R.A.

... 199

George Stubbs, R.A.

199, 206

John N. Sartorius

•■ 139

James Ward, R.A.

... 242

John N. Sartorius

■ 139

John F. Herring ...

.,, 32

F. C. Turner

... 223

John F. Herring ...

... 30

C. C. Henderson...

Dean Wolstenholme,

Sen.

247, 250,

John N. Sartorius

253
... 147

Dean Wolstenholme,

Sen.

... 246,
247, 250

P. Reinagle, R.A.

... 119

Sir Edwin Landseer,

R.a!

... 77

James Pollard

... 106

F. C. Turner

.., 222

James Ward, R.A.

. . . 240

James Ward, R.A.

... 238

James Ward, R.A.

■ 239

Philip Reinagle, R.A. ...

... 122

James Ward, R.A.

... 242

James Pollard

... 106

John N. Sartorius

• ■• 139

Philip Reinagle, R.A. ,,,

116,122

James Ward, R.A.

... 236

Charles Hancock...

John N. Sartorius

134, 140

James Ward, R.A.

. . . 240

Samuel Howitt ...

... 45

James Seymour ...

• J73

Samuel Howitt ...

... 45

John N. Sartorius

... 140

Samuel Howitt ...

... 45

Samuel Howitt ...

... 45

John Wootton

... 264

George Stubbs, R.A,

... 196

Sir Edwin Lnadseer,

R.a!

... 77

288

INDEX

PAGE

Grouse ... Sir Edwin Landseer, R.A. ... 8t

Grousing, with Portraits of Favourite Dogs John F. Sarlorius .. 147

Grouse Shooting Lambert Marshall ... ... 98

Grouse Shooting Philip Reinagle, R.A. 115,116,123

Grouse Shooting John N. Sartorius 141

Grouse Shooting in Cumberland ... ... John F. Sarlorius 147

Grouse Sketch from Nature John F. Sartorius 147

Grousing on the Rouabon Hills James Ward, R.A. 239

Guinea Pig, A James Ward, R.A. 239

Hack, A, after A. Cooper, R.A.
Hack, Portrait of a

Hackney, A

Hackney, A (1828) ,.,
Hacks, Portraits of Two
" Hambletonian "
Hambletonian and Diamond, Race of
Hambletonian beating Diamond at New-
market

Hambletonian, rubbing down

Hamilton, Ladies Harriet and Beatrice
Hampstead Heath

Hancock, Mr. J., Portrait of

Hanger, General George

Hanmerton Hills, Yorkshire, View of, 2 ...
" Hap-hazard," a racehorse ...

"Haphazard"...

Hare

Hare and Stoat

Hare Hunting

Hare Hunting : a dead hare

Hare Hunting on Orwell Hill

Hare Hunting; the Death

Hare in its Form, The

Hare killed by a Weasel

" Harkaway," a colt

Harlech Castle

" Harlot," a Staghound with Puppies

Harriers

Haxneis, after Sawrey Gilpin

Harriers running in view ...

Harrison's Veterinary Shop, Interior of
Harrowing

" Has been ridden with Hounds "

Hatch Wood, View from

Hawk and Peregrine Falcon

Hawking ...

Hawking in the Olden Time

Hawking: the fatal stoop

Hawking in Wimpole Park

Hawking Party

John Scott

.. 206

Francis Sartorius...

131

John N. Sartorius

37, 140

James V.'ard, R.A.

.. 241

John N. Sartorius

•• 133

John N. Sartorius

.. 140

John F. Sartorius

■ 143

George Stubbs, R.A.

.. 206

George Stubbs, R.A.

206

Sir Edwin Landseer,

R.A.

•■ 76

Philip Reinagle, R.A

.. 122

Charles Hancock...

I, 12

Philip Reinagle, R.A

.. 116

Philip Reinagle, R.A

122

Benjamin Marshall

.. 89

James Ward, R.A.

240

John N. Sartorius...

■■ 137

Sir Edwin Landseer,

r.a!

Samuel Howitt ...

.. 38

John Wootton

264

John Wootton

263

Thomas Stothard, R.A. ...

.. 188

Samuel Howitt ...

• 4S

Samuel Howitt ...

• 4S

F. C. Turner

222

James Ward, R.A.

3S, 239

Dean Wolstenholme,

Jun.

• 259

Samuel Howitt ...

John Scott

.. 162

Samuel Howitt ...

.. 45

Dean Wolstenholme,

Sen.

250

James Ward, R.A.

• 239

John F. Herring ...

• 34

Dean Wolstenholme,

Jun.

■ 259

Sir Edwin Landseer,

R.A.

.. 82

Sir Edwin Landseer,

R.A.

Sir Edwin Landseer,

R.A.

F.C.Turner

222

John Wotton

.. 264

F. C. Turner

222

INDEX

289

Hawk upon a Buzzard

Haymakers
Haymakers at Rest

" Hazard," a hackney

Head of Old Eclipse

Heads of a Lion and Tiger ...

Heads of Pointer Bitch and Puppy

Heart's Ease ...
Heath Ewe and Lambs
" Hector," a hen-cock

Heifers, Portraits of two

Her Majesty's Favourite Dogs and Parrot ...

Her .Majesty at Osborne

Her Majesty at Osborne, l856

Her Majesty's favourite Dogs and Parrot ...

Her Majesty the Queen

" Herod," a racehorse

Heron, A

Hertfordshire Sheep, Portrait of a ...

" Hetman Platoff"

High and Low conditioned Ewe, The
Highgate Tunnel

Highland Breakfast, A ...

Highland Cabin, The
Highland Dogs

Highland Shepherd's House, The

Highlander

Highlanders returning from Deer-stalking ...

Highland Interior, A...

Highland Lassie, A ...

Highland Music

Highland Nurses

Highland Shepherd ...

Highland Shepherd's Home, The

Highland Terrier, A ...

Highlands, The

High Life

High-Mettled Racer, The

(1) The Foal.

(2) Breaking.

(3) The Sweat.

(4) The Start.

(5) The Race.

High-Mettled Racer sold to the Hounds, The

Hilton, Sketch of, Mr. John

Hilton, Esq., Thomas
Hinds alarmed...
Hippodrome, The
Hippopotamus, The ...
Hog winning a race against a man ...
Hogs, Two
Holy Family, A

Holyhead Mountain from West Extremity of
Anglesea ...

PAGE

Philip Reinagle, R.A

122

George Stubbs, R.A.

.. 206

James Ward, R.A.

■ 239

F. C. Turner

222

John N. Sartorius

141

Sir Edwin Landseer,

R.A.

■ 50

Sir Edwin Landseer,

R.A.

•51. 75

James Ward, R.A.

.. 242

James Ward, R.A.

•• 239

Lambert Marshall

.. 98

George Stubbs, R.A.

.. 205

Sir Edwin Landseer,

R.A.'

.. 76

Sir Edwin I^andseer,

R.A.

•■ 78

Sir Edwin Landseer,

R.A.

Sir Edwin Landseer,

R.A.

Sir Edwin Landseer,

R.A.

.. 83

Francis Sartorius ...

.. 127

James Ward, R.A.

240

Dean Wolstenholme,

Sen.

250

John F. Herring ...

■■ 34

James Ward, R.A.

.. 241

James Pollard

.. 103

Sir Edwin Landseer,

R.A.'

■■73.76

Sir Edwin Landseer,

R.A.

■ ■ 83

Sir Edwin Landseer,

R.A.

Sir Edwin Landseer,

R.A.

Sir Edwin Landseer,

R.A.

Sir Edwin Landseer,

R.A.

•55.75

Sir Edwin Landseer,

R.A.

Sir Edwin Landseer,

R.A.

Sir Edwin Landseer,

R.A.

Sir Edwin Landseer

R.A.

■77.79

Sir Edwin Landseer,

R.A.

Sir Edwin Landseer,

R.A.

... 78

Sir Edwin Landseer,

R.A.

... 75

Sir Edwin Landseer

R.A.

■ 76

Sir Edwin Landseer,

R.A.

... 72

John F. Herring ...

•33.34

Dean Wolstenholme, Sen

... 247

Benjamin Marshall

...91.94

Benjamin Marshall

... 95

Sir Edwin Landseer, R.A

... 79

F. C. Turner

... 222

Samuel Howitt ...

Samuel Howitt

... 45

Samuel Howitt

... 45

Thomas Stothard, R.A...

... 185

Philip Reinagle, R.A.

VOL. II.

290

INDEX

Honeymoon, The

Hooded Falcon

Hooper, Dr

Hope in the Troubled Ocean of our Life ...
Hornpipe leaping over Pepperpot, his rider,

" Hornsea," a racehorse

Horse ...

Horse, Portrait of a ...

Horse, Portrait of a, 1778, 1780

Horse, Portrait of a ...
Horse, Lord Powis' ...

Horse and Dog

Horse and Dog, Portrait of a...
Horse and Lion
Horse and Lion

Horse and Pony ...

Horse Match over Long Course, Newmarket

Horse, Portrait of a, 1802, 1806

Horses ...

Horses ... ...

Horses

Horses and Dogs

Horses and Dogs
Horses and Poultry
Horses at a Cover Side
Horse falling from a Precipice
Horses Feeding
Horses Fighting
Horses Fighting

Horses in a Mail Phaeton, Pair of

Horses in a Stable

Hor.ses in a Thunderstorm

Horses, Pigs, &c. ... ...

Horses, Portrait of

Horses, Portraits of Stage

Horses, Portraits of three
Horses, Portraits of two

Horses, Portraits of two

Horses, Portraits of two ...

Horses, Three

Horses taken in to bait
Horses, Two ...

Horses and Dogs, Portraits of two ...
Hound, Bitch and Puppies ...
Hounds contending for the lead
Hounds drawing cover and just finding
Hounds fording a River
Hounds in Full Cry ...

Hounds in Full Cry ...

Hounds making a Cast

Hounds running into a Fox in View

PAGE

Sir Edwin Landseer,

R.A.

... 82

Sir Edwin Landseer,

R.A.

... 76

Philip Reinagle, R.A

... 122

James Ward, R.A.

... 242

Samuel Howitt ...

John F. Herring ...

••• 33

Benjamin Marshall

... 95

Francis Sartorius...

... 131

John Sartorius

... 126

George Stubbs, R.A.

... 205

F. C. Turner

... 221

James Ward, R.A.

... 240

James W'ard, R.A.

... 240

Dean Wolstenholme,

Sen.

... 250

Samuel Howitt ...

George Stubbs, R.A.

195, 206

James Ward, R.A.

... 241

Peter Tilleman ...

208, 209

John N. Sartorius

... 140

Chailes Hancock...

Sir Edwin Landseer,

R.A.

... 77

John N. Sartorius

- 139

James Ward, R.A.

... 240

Charles Hancock...

Sir Edwin Landseer,

R.A.

... 78

John F. Herring, 1864, 1868

... 32

John N. Sartorius

... 140

John N. Sartorius

... 141

John F. Herring, 1865, 1867

... 32

John F. Herring ...

■■■ 35

James Ward, R.A.

... 243

C. C. Henderson...

Charles Hancock...

John F. Herring ...

... 32

John N. Sartorius

•■■ «39

Dean Wolstenholme,

Sen.'

... 250

Dean Wolstenholme,

Jun.

... 259

John N. Sartorius

■■• '39

Dean Wolstenholme,

Sen.

... 250

. Francis Sartorius...

... 131

Charles Hancock...

Sir Edwin Landseer,

R.A.

... 76

George Stubbs, R.A.

... 205

George Stubbs, R.A.

. . . 206

Samuel Howitt ...

... 45

Benjamin Marshall

... 95

Dean Wolstenholme,

Sen.

... 250

Dean Wolstenholme,

Jurj.

. . . 260

James Seymour ...

... 168

F. C. Turner

... 219

Samuel Howitt ...

... 45

Dean Wolstenholme,

Sen.

... 250

INDEX

291

Hounds starting a Hare

Hour Glass Brewery ...

House in which Smollett was born

" How happy could I be with either ! "

Humming Birds

Humorous Revenge ...

Hunted Stag, The

Hunter, A, 1784, 1791

Hunter, A, 1813, 1821, 1824, 182S

Hunter, Lord Maynard's

Hunter, Portrait of a

Hunter, Portrait of a, 1784, 178S, 1793

Hunter, Portrait of a ...

Hunters

Hunters at Grass

Hunter, Portraits of ...

Hunters, Portraits of ...

Hunters, Portraits of two ...

Hunters, Portraits of ...

Hunters' Stable

Hunting Cheeta and Axis Deer
Hunting Extraordinary

Hunting for Moor Game

Hunting in India

Hunting of Chevy Chase, The

Hunting on Salisbury Plain ...

Hunting Picture (Mr. H. W. Estridge's) ...

Hunting Piece, A ...

Hunting Pieces

Hunting Pieces with equestrian portraits ...

Hunting Scene, with portrait of Sir William

Jolliffe

Hunting Scenes

(1) The Find.

(2) Cheering in Cover.

(3) The View.

(4) The Death.

Hunting Subjects

Hunting the Ostrich

Huntsman Rating Tail Hounds

Hyde Park Disaster, The

Samuel Howitt

... 45

Dean Wolstenholme, Jun.

... 254

J.ames Ward, R.A.

... 242

Charles Hancock

■■• 5. 13

Philip Reinagle, R.A. ...

... 121

Samuel Howitt

... 46

Sir Edwin Landseer, R.A

72, 81

James Ward, R.A.

... 242

John N. Sartorius

139, 140

James Ward, R.A.

240, 241

James Ward, R.A.

... 240

Francis Sartorius

... 131

John N. Sartorius

... 139

George Stubbs, R.A.

. . . 206

Samuel Howitt

... 44

Sir Edwin Landseer, R.A.

...76,78

Benjamin Marshall

... 95

Benjamin .Marshall

... 90

Sir Edwin Landseer, R.A.

... 75

Philip Reinagle, R.A. ...

... 120

John N. Sartorius

• •• 139

George Stubbs, R.A.

... 20s

John F. Sartorius

... 147

Samuel Howitt

... 46

F. C. Turner

... 223

Philip Reinagle, R.A. ...

... 123

James Ward, R.A.

. . . 240

Sir Edwin Landseer, R.A.

..-55. 7S

John Wootton

. . . 264

John N. Sartorius

... 136

Samuel Howitt

37,43

John Wootton

... 26s

John Wootton

... 266

James Seymour

... 167

F. C. Turner

... 222

Samuel Howitt ..
F.C.Turner
F. C. Turner
John N. Sartorius

37
222
219
141

" lago " a greyhound Benjamin Marshall

Iceland Hawk upou a Bittern Philip Reinagle, R.A.

Idle Boys James Ward, R.A.

Ignorance, Envy and Jealousy seeking to

overcome Truth J. Ward, R.A. ...

Illicit Whiskey Still in the Highlands, An... Sir E. Landseer

R.A.

122

239

242
76

292

INDEX

" I'm looking at you " ...

Imperlinent Puppies dismissed by a Monkey
Incidents in Mail Coach Travelling...
Indian Bull, Portrait of an ...

" Industry," a nily

Infant Christ embracing the Cross, The

In Full Cry

Inside of a Cowhouse...

Inside of a Stable

Insiinclive Preservation of a Fox

Intercession

Interior of a Highlander's House

Interior of a Stable

Intruding Puppies

Irish Hackney, An

Irish Water Spaniel, An

" Isabella," a mare ...

Isleworth Meadows, Scene from the...

Italian Greyhound

Tack in Office, A

■"Jack Spigot "

Jackson, Mr. John, Portrait of

Jacques and the Deer ...

J y's Nest, The

" Jasper," a hound

Jem Hastings, the Running Tailor of the

Berkeley Hunt ... ...

Jenkins, Mr

Jennings, Sarah, Duchess of Marlborough ...

"Jerry"

Jockeys, Studies of celebrated

John Gilpin ...

"Johnny"

Jones, Mrs. Robert

JoUiffe and Hounds, Colonel

Jolliffe's Hounds and Horses, Mr. ...

Joys of Coursing, The...

"Judgment" ...

" Jupiter," a Stallion, after Smvrey Gilpin..

"juniper and Janette," greyhounds

Juvenile Scribe, The

Kainsi, or Rock-leaping Antelope ...
Kenny, and his wife, charcoal burners, Luke,

1814, 1817

Keeper going his rounds. The

Keppel, Earl of Albemarle at Siege of Lisle

Kind Star, A

King George returning from Hunting

PAGE

Charles Hancock

... 13

Sir E. Landseer, R.A. ...

... 75

James Pollard

loi, 109

George Stubbs, R.A.

... 206

F. C. Turner

... 222

James Ward, R.A.

■ •■ 239

Samuel Howitt

38.44

James Ward, R.A.

•■■ 239

John N. Sartorius

■•• 139

F. C. Turner

... 222

James Ward, R.A.

... 241

Sir E. Landseer, R.A. ...

... 76

John F. Herring

... 32

Sir Edwin I.andseer, R.A.

... 80

John N. Sartorius

... MO

John Wootton

... 266

John F. Sartorius

142, 147

P. Reinagle, R.A.

... 122

James Ward, R.A.

... 241

Sir Edwin Landseer, R.A.

74, 76

John F. Herring ...

26. 35

Benjamin Marshall

... 88

Samuel Howitt

37.43

James Ward, R.A.

... 242

Benjamin Marshall

... 94

F. C. Turner

... 223

Philip Reinagle, R.A. ...

... 122

John Wootton

... 26s

John F. Herring

26,35

Benjamin Marshall

... 96

Thomas Stothard, R.A. ...

... 191

John N. Sartorius

... 141

Benjamin Marshall

... 94

Dean Wolstenholme, Sen.

... 250

Dean Wolstenholme, Sen.

... 250

Dean Wolstenholme, Sen.

... 247

James W'ard, R.A.

... 240

John Scott

... 162

Benjamin Marshall

... 95

James Ward, R.A.

... 242

Samuel Howitt

... 44

James Ward, R.A.

... 240

Charles Hancock

T. Stothard, R.A.

... 188

Sir Edwin Landseer, R.A.

... 77

James Pollard

... 100

INDEX

293

King of the Forest, The

King's Stnghound, The
Kingston, on Horseback, Duke of ( " His
Grace and Attendants a Setting ")

Knight, Richard

" Korsaid," An Arab

Labourers

Ladies of Quality, Portraits of two

Lady and Children

Lady Godiva's Prayer

Lady Scoit Douglas' Spaniels

Lady, Portrait of a, 1774, 1776, 1790, 1796

Lady, Portrait of a

Lady, Portrait of a ...

Lady's Horse, The (Prosperity)

Lady's Hunter, Portrait of a...

Lake of Bolzana, View near ...

La I\Lanche Bridge

Lambert, Mr. D

Lambs of the first year

Lambton, Esq., on his horse Undertaker,

Ralph

" Lamplighter "

Lance and his Dog Crab

Landscape, A, 178S, 1801, 1810

Landscape, A ...

Landscape and Cattle...

Landscape and Figures

Landscape View, A ...

Landscape with Asses

Landscape with Cattle

Landscape with Cattle at a Ford

Landscape with Cattle : Bull, Cow and Calf

Landscape with Cattle, View near Durham

Landscape with Figures

Landscape with Figures and Cattle fording...

Landscape with Figures : Morning ...

Landscape, with Hounds running across

country
Landscape with new invented Carriage
Landscape with Pigs ...
Landscape with Sheep
Landscape with sporting Figures
Landscape with View of a Plain

Landseer, Portrait of Sir Edwin

Land Storm, A

Langdale, View of

Larder Invaded, The

Lassie

PAGE

Sir Edwin Landseer, R.A.

... 79

John F. Sartorius

•■ 143

Peter Tilleman 208,209

Benjamin Marshall

John F. Herring

•• 31

George Stubbs, R.A. ...

.. 205

James Ward, R.A.

240

James Ward, R.A.

.. 239

Sir Edwin Landseer, R.A.

..78,83

Sir Edwin Landseer, R.A.

.. 76

Philip Reinagle, R.A. ...

.. 121

F. C. Turner 213, 221

James Ward, R..\.

.. 241

Sir Edwin Landseer, R.A.

John N. Sartorius

140

Philip Reinagle, R.A. ...

122

Samuel Howitt ...

.. 46

Benjamin Marshall

• • 94

James Ward, R. A.

.. 242

James Ward, R.A.

■"-ih 240

Benjamin Marshall

G. A. Turner

.. 224

Philip Reinagle, R.A. ...

121, 122

John Wootton

.. 264

Charles Hancock

Philip Reinagle, R.A.

122

James Ward, R.A.

• • 239

Dean Wolstenholme, Jun.

260

Philip Reinagle, R..-\. ...

122

Sir Edwin Landseer, R.A.

.. 78

Thomas Stolhard, R.A. ...

.. 188

J.ames Ward, R.A. 234, 2

35. 238

P. Reinagle, R.A.

.. 123

Philip Reinagle, R.A. ...

.. 122

P. Remagle, R.A.

122

Philip Reinagle, R.A. ...

.. 123

Dean Wolstenholme, Jun.

.. 259

John N. S<artorius

■ ■ 139

Philip Reinagle, R.A. ...

122

Philip Reinagle, R.A. ...

.. 122

P. Reinagle, R.A.

122

John Woutton

.. 263

J. F. Lewes

.. 68

James Ward, R.A.

•■ 239

Philip Reinagle, R.A. ...

122

Sir Edwin Landseer, R.A.

-77.78

J94

INDEX

Last Run of the Season

Last Leap, The

Last Struggle, The

Last Struggle of Sin, Death and Hell

" Launcelot" and " Maroon," racehorses ...

Laying down the Law

Leap of the Stag, The

Leicester, Bart., and Yeomanry, Sir John ...

" Legends of Glenorchay," Scene to illustrate

Levit, Esq., and favourite Hunter, T.

Lennox, Lady Georgina

Leopard seizing an Antelope...

"Leopold"

Levity and her foal Queen Elizabeth
Liboya seizing a Tiger, The ...
Life's in the Old Dog yet

Lincolnshire Ox, Portrait of the

Lion and Buffalo

" Lion " and " Dash " ^

Lion and Horse
Lion and Lioness
Lion and Lioness
Lion and the Lamb, The
Lion and Tiger

Lion and Tiger fighting

Lion Dog from Malta

Lioness

Lion Hunt, A ...

Lion in the Tower, A...

Lion preying on a Fawn

Lions, &c., twenty engravings of

Listening to Advice ...

"Litchfield"

Littleden Tower

Little Red Riding Hood

" Little Wonder," a Derby Winner

Llangollen, View of ...

London Fire Engines, The

Lonesome, View near...
" Longwaist" ...

" Looby," a racehorse

Look to Peter, The ... ...

" Lop," a racehorse ...

Lord's Wood, Leading Roding, Essex

Lost Shoe, The

" Lottery"

Love flying from Sensuality and Dissipation

Love in a Tub ...

Lovett and favourite Dogs, The Rev. T. ...

Low Life

Loyal Foxhunters

" Lucetta"

Luke Kenny and his Wife, charcoal burners,
1S14, 1817

PAGE

Sir Edwin I^ndseer, R.A.

... 77

Charles Hancock

... 14

Charles Hancock...

James Ward, R.A.

... 242

Chas. Hancock ...

... 14

Sir Edwin Landseer, R.A.

... 76

Dean Wolstenholme, Sen.

... 250

Tames Ward, R.A.

... 241

Sir E. Landseer, R.A. ...

,. 77

James Ward, R.A.

. . . 240

John Wootton

... 26s

Samuel Howitt

41, 46

James Ward, R.A.

233. 240

John F. Herring ...

• • 34

James Ward, R.A.

• •• 243

Sir Edwin Landseer, R.A.

... 76

George Stubhs, R.A.

... 206

Sameul Howitt

... 4S

Sir Edwin Landseer, R.A.

... 76

George Stubbs, R.A.

ig5, 206

Charles Hancock...

... 13

Samuel Howitt ...

■ .■38.44

Sir Edwin Landseer, R.A.

•..78.83

James Ward, R.A.

- 243

James Ward, R..A.

230, 239

Sir Edwin Landseer, R.A.

... 76

Samuel Howitt ...

... 44

Thomas Stothard, R.A....

188, 189

James Ward, R.A.

... 239

Sir Edwin Landseer, R.A.

... 80

Thos. Landseer, R.A. ...

■■ S3

James Ward, R. .\.

... 242

James Ward, R.A.

..• 239

James Ward, R.A.

... 239

Sir E. Landseer, R.A. ...

... 76

Chas. Hancock ...

Philip Reinagle, R.A. ...

... 122

James Pollard

... 108

Philip Reinagle, R.A. ...

... 123

Benjamin Marshall

... 95

John Sartorius

... 126

James Ward, R.A.

... 242

Benjamin Marshall

... 89

Dean Wolstenholme, Sen.

... 248

F. C. Turner

... 223

John F. Herring

■■• 35

J. Ward, R.A

... 242

Dean Wolstenholme, Jun.

... 256

James Ward, R.A.

■ ■• 239

Sir Edwin Landseer, R.A.

... 72

F. C. Turner

... 222

John F. Herring

■•■ 33

James Ward, R.A.

240

INDEX

Lurcher, The ..
Lynn, Esq., W.

John Scott
James Ward, K.A.

PAGE

'54
240

Macaws and Parrots ...

Macaw, Lovebirds, Terrier and Sianiel

puppies

" Magistrate"

Maid and the Magpie, The ...

Mail Coach in a Snow-storm, The ...

" Major," a greyhound

Major Money falling into the sea with a

balloon

Mai I ese Ass and Foal

" Mambrino "

" Mambrino," afler G. Stuhbs, R.A.

" Mameluke," a Derby Winner

" Mameluke," a racehorse ...

"Mandane"

Mann, Miss ...

Man proposes, God disposes...

" Marengo," Napoleon's charger at Waterloo

Mare, Portrait of a

Mare and Foal

Mare and Dog, Portrait of a...

Mares and Foals

Market day at St. Albans

Mark Hall

" Marmion," a bloodhound ...

Marshall, the Artist's father, Mr. Benjamin

" '^is.tike," after G. Slubbs, K.A

" Mar.ske," sire of Eclipse

Marten and Rabbit ...
Mastiff and Lamb

"Matilda"

Match, A

Maternal Anxiety

" Mazeppa," a racehorse

Measure for Measure, the Biter bit

" Medora"

Meet, The

Meeting the Stag Hounds

Meeting the Sun

Mellish, Colonel

Melrose Abbey

Members of the Temperance Society
" Memnon" ...
"Mendicant"...

Merino Sheep and Dog ..

" Merry Monarch " ...

" Merry Monarch," a Derby Winner

" Merry Monarch," a racehorse

Philip Reinagle, R.A.

Sir E. Landseer, R.A. ...

61, 76

John F. Herring

•■• 35

Sir Edwin Landseer, R.A.

■■75.77

James Pollard

... 109

Philip Reinagle, R.A. ...

... 122

P. Reinagle, R.A.

... 121

James Ward, R.A.

... 241

George Siubbs, R.A.

199, 206

John Scott

... .58

John F. Herring

- 35

James Ward, R.A.

... 241

John F. Herring

• ■■ 35

James Ward, R.A.

... 240

Sir Edwin Landseer, R.A.

67, 78, 80

J.Wood, R.A

... 241

George Stubbs, R.A. ...

... 206

Sir Edwin Landseer, R..'\.

... 78

George Stubbs, R.A.

... 205

George Stubbs, R.A.

... 205

John F. Herring

... 32

Sir Edwin Landseer, R.A.

... 76

Charles Hancock...

• ■■ 513

Lambert Marshall

97, 98

John Scott

- 158

George Stubbs, R.A.

199, 206

Samuel Howilt

... 46

Samuel Howitt

... 46

John F. Herring

•■• 33

John N. Sartorius

■ ■■ 137

James Pollard

... 109

Lambert Marshall

... 98

James Ward, R.A.

... 242

John N. Sartorius

... 141

F. C. Turner

... 219

Benjamin Marshall

... 96

James Ward, R.A.

... 242

Benjamin Marshall

... 95

James Ward, R.A,

■■• 239

John F. Herring

... 30

John F. Herring

26, 35

John F. Herring

28.33

Sir Edwin Landseer, R.A.

... 75

F. C. Turner

... 223

John F. Herring

■ 34

John F. Herring

296

INDEX

" Merry Monarch "

" Middlelon "

Middlelon, Portrait of the 6th Lord

Middleton, Bielby Lawley and Sir Francis
Lawley, Portrait group of Henry, sixth
Lord

Middleton, and Spaniels, Henry, 6th Lord

Middleton, his Spaniels and Pony, Lord ...

Mill in Wales, A

Miller, The

Mill Ford, The

" Mirandola "

" Mischief," a terrier

"Miss Coiner"

" Miss Craven," a racehorse

" Miss Letty "

" Miss Letty," a bay mare ...

" Miss Letty," a racehorse

Mitcalf, blind roadmaker, John

Mode of destroying the Wolf in Bengal

" Modish," a bitch

Moll Tomson and Harefoot ...

" Molly," a racehorse...

Moment, The

Monarch of the Glen ...

" Monitor," a hackney

Monkey, A

Monkey, Portrait of a...

Monkey Tricks

Monkeys, Pair of Brazilian ...

Monkey who had seen the world. The

" Mopsy and Molly," after Philip ReinagU

Morning

Morning Grey, The ...

Morning Shooting, A...

" Moses "

" Moses," Duke of York's

Mother, The

Motherly Protection

Mountains of Subiaco, View in the

Mourner, a Bulldog, The

Mouse-trap Man, The

Mou.se's Petition, The

Moving Accidents by Flood and Field, series

"Mulatto"

" Muley Moloch," a racehorse

" Muiidig," a racehorse

Murray, The Honourable James

" Muscat," an Arab ...

Musical Dog, Portrait of an extraordinary ...

"Mustaid"

PAGE

James Pollard

... 109

Benjamin Marshall

89.95

P. Reinagle, R.A.

... 118

Charles Hancock, 1833 ...

Charles Hancock...

9. 10. '3

James Ward, R.A.

... 242

F. C. Turner

... 223

James Pollard

103, 109

Benjamin Marshall

- 95

Benjamin Marshall

... 95

John N. Sartorius

... 141

^l^ambert Marshall

... 98

F. C. Turner

... 220

F. C. Turner

... 223

John F. Herring ...

27,33

Philip Reinagle, R.A

... 122

S. Howitt

... 46

F. C. Turner

... 223

John N. Sartorius

... 141

John Sartorius

... I2S

James Ward, R.A.

... 241

Sir Edwin Landseer,

R.A.

70, 80

James Ward, R.A.

235> 241

George Stubbs, R.A.

... 206

George Stubbs, R.A

... 20s

Philip Reinagle, R.A

... 122

Sir Edwin Landseer,

'r.a.

... 77

.Sir E. Landseer, R.A. ...

... 75

John Scott

... 162

Sir Edwin Landseer,

R.A.

... 77

James Ward, R.A.

. . . 240

James Ward, R.A.

. . . 242

Dean Wolstenholme,

Jun.

... 259

James Ward, R.A.

... 241

James Ward, R.A.

... 234

James Ward, R.A.

•■• 239

James Pollard

... 109

P. Reinagle, R.A.

... 122

Sir Edwin Landseer,

R.A.

... 61

C. C. Henderson...

... 15

James Ward, R.A.

■ 239

F. C. Turner

... 219

John F. Herring ...

- 33

Benjamin Marshall

... 89

Charles Hancock...

••• 3. 13

Sir Edwin Landseer,

R.a!

... 75

Lambert Marshall

... 98

P. Reinagle, R.A.

... 122

Sir Edwin Landseer,

R.A.

... 76

INDEX

297

Nature's Sweet Restorer, Balmy Sleep

Naughty Child, A

Nearly Done Up

" Neptune," a Newfoundland

Netley Abbey

Newcastle, and Cock-Springers, Duke of ...

Newfoundland, A

Newfoundland Dog, Portrait of a ...

Newfoundland Dog and Terrier at a Stream

Newfoundland Dog's Sagacity

Newman, Esq., C.

Newman, M. F.H., Portrait of Chas.

Newmarket Heath, Map of

Newmarket from the Duch ...

New Passage of the Severn, View of the ...

New Years Morn

Nichol, Esq., J.,

Night

" Noble," a hunter

Nobleman and Shetland Pony

Noble Tips, The

"NoGo"

No more Hunting till the Weather Breaks...
"None but the Brave deserve the Fair" ...
" Nonpareil," George IV. 's charger
Norfolk Phenomenon, The ...

Norman Bull, A

North Country Mails at the Peacock, Isling-
ton

" Not caught yet "

" Not e.\actly"

Novelists' Magazine, Illnstrations in

Numps returning from Market

" Nutvvith," a racehorse

"Nutwith"

J. Ward, R.A. ..

Sir Edwin Landseer, R.

F. C. Turner

Sir Edwin Landseer, K.t

Samuel Iliivvitt ..

Francis Wheatley, R.A.,

James Ward, R.A.

George Stubbs, R.A.

Sir Edwin Landseer, R..

Samuel Howitt ...

F.C.Turner

F. C. Turner

James Seymour ...

John Wuotton

Pliilip Reinagle, R.A.

Charles Hancock

James Ward, R.A.

Sir Edwin Landseer, R.^

Benjamin Marshall

James Ward, R.A.

F. C. Turner

Sir Edwin Landseer, R..

James Ward, R.A.

J. Pollard

Sir Edwin Landseer, RA,
John F. Herring ...
Thomas Stothard, R.A.
James Ward, R.A.
Charles Hancock
John F. Herring...

PAGB

... 242

... 74

... 219

... 87

38.44

,'f.S.A. 113

... 240

206

... 79

... 46

... 222

212, 213

172, 173

. . . 264

... 122

• ■• 5. 13

. . . 240

... 77

... 95

... 240

.„ 220

... 223

... 83

59. 76. 82

241, 242

235. 241

• ■ 239

100, 109

... 82

... 34

... 182

... 241

4. 5. 13

■ 27, 35

Obstinate Ass, The

October Shooting

Odds and Ends

Officer, Portrait of an...

Officer on Horseback, Portrait of an

"Old Brutus"

Old Careful

Old Cover Hack, An ...

Old Dog and Horses, 1789, 1790 ..

Old Dutch Cow, The

Olden Times at Bolton Abbey

Old Famous Hunter, An

Old Head, An

James Ward, R.A.

John F. Herring ...

Sir Edwin Landseer, R..

Philip Reinagle, R.A.

John N. Sartorius

Sir Edwin Landseer, R.

James Ward, R.A.

Sir Edwin Landseer, R..

Francis Sartorius

James Ward, R.A.

Sir Edwin Landseer, R..

John N. Sartorius

Philip Reinagle, R.A.

■ 239

• 38

.A^ ;

. 78

121

■ '39

.A.

.79. 80

. 242

.A.

• 131

■ 24

.A. '.

• 76

• 139

121

298

INDEX

Old Horse, Portrait of an ...

Old Horse, Portrait of an

Old Horse, A Very

Old Horse and Dog, Portrait of a Very

Old Hunter, An

Old Hunting Mare, An

Old Lodge, The

" Old Partner," a Racehorse

" Old Pluck," earthstopper to General

Wyndham...
Old Shepherd, An
Old Six- Horse Diligence, The
" Old Traveller " and Stephen Jefferson
Old Weighing-House at Newmarket, The ...

On Trust

"Orlando"

Orpheus and his Lyre

"Oswald"

" Otho," a famous Horse

Otter and Salmon ...

Otter Hound.s in Water

Otter Hunt, The

Otter-hunting ...

Otter in a Tree

Otter Speared, The ...

" Our Nell," a racehorse

Outlying Deer going thro' a swing-pale

Out of Hearing

Over the Downs

Owen Glendower's Parliament House

Owls

0.x(ord and Opposition Coaches

Oxford, Countess of, (2)

Oxford, View of,

Sir Edwin Landseer, R.A.
Dean Wolstenholme, Senr.
John N. Sartorius
George Stubbs, R.A.
Dean Wolstenholme, Junr.
John N, Sartorius
John F. Herring ...
James Seymour ... 165

F. C. Turner
James Ward, R.A.
C. C. Henderson...
John Sartorius
James Seymour ...
Sir Edwin Landseer, R.
John F. Herring ...
Thomas Stothard, R.A.
James Ward, R.A.
George Stubbs, R.A.
Sir Edwin Landseer, R.A.
Sir Edwin Landseer, R.A.
Sir Edwin Landseer, R.A.
John N. Sartorius
John N. Sartorius
Sir Edwin Landseer, R. A.
Chas. Hancock ...

S. Howitt

James Ward, R..^.
C. C. Henderson
J. Ward, R.A. ...
Samuel Howitt ...
James Pollard
John Wootton
James Ward, R.A.

PAGE

75
250

206
260

I7S. 177

222

239

126
168
83
27.34
184
240
2o5

77,82

137

5. '3

242

iS, 21

242

41,46

104

263

241

Pair of Brazilian Monkeys

Pair of His Majesty's Coach-horses ...

Panther and Antelope...

" Pantomime," a hunter

Park Scene, aj/er G. Garrard, A. R.A.

Park Scene at the Grove

Partridge, A

Partridges

Partridges ...

Partridges

Partridges and Snipe ...

Partridge Shooting

Partiidge Shooting

Partridge-Shooting

Partridge Shooting with Pointers

Partridges with pointers drawing up

Sir Edwin Landseer, R.A.

Francis Sartorius

i3<

Samuel Howitt

John F. Herring

.33

John Scott

160

George Stubbs, R.A.

206

John F. .Sartorius

147

Sir Edwin Landseer, R.A.

Samuel Howitt ...

.46

Philip Rcinagle, R.A. ...

John F. Sartorius

147

Benjamin Marshall

John N. Sartorius

140,

141

F. C. Turner

222

P. Reinagle, R.A.

115.

'23

John Wootton

262

INDEX

Passions of the Horse, The

" Patriot"

Peace ...

Peace

Peaceful Angler, The ...

Peebles Castle, Scotland

Peel, .Miss Eliza

Peel, The L.idy Emily

Pegwell Bay

Pensioners, The

Perch Fishing ...

Peregrine Falcon and Pheasant

Peregrine Falcon upon a Woodcock

Persian Horse, A

Persian Greyhound

Persian Sheep ...

Persian Tom Cat

Pets

"Phantom"

Pheasant Shooting

Pheasants Basking

Pheasant Shooting with Springers

" Phenomena," a Hackney Mare

Phipp and his favourite pony, Hon.

"Phosphorus"

"Phosphorus"...

Pigeons, Illustrations to Eaton's Book

Pigs

Pike and Anchor, Ponders End, The
Pike Fishing ...

Pike Fishing

Pilgrim's Progress, 7 illustrations to

"Pilot," Portrait of

"Pincher"

Piper and Pair of Nutcrackers

"Play or Pay"

Plenty

Poached Eggs ...
Poacher and Red Deer
Poacher, The ...
Poacher's Bothy, The ...
Poachers Deer Stalking

Pointer, Portrait of a

Pointer ...

Pointer, A, after Philip Reinagle

Pointer and Partridge...

Pointer and Setter

Pointers...

Pointers

Pointers, Portraits of ...
Pomeranian Dog, A ...
Pond NLtlers

John F. Herring, 1853, 1S54,

John N. Sartorius

Sir Edwin Landseer, K.

James Ward, R.A.

Samuel Howitt ...

James Ward, R.A.

Sir Edwin Landseer, R.A

James Ward, R.A.

Sir Edwin Landseer, R.A.

Samuel Howitt ...

S. Howilt

Philip Reinagle, R.A.
James Ward, R.A.
James Ward, R.A.
James Ward, R.A.
Sir Edwin Landseer, R.A
Sir Edwin Landseer, R.A
Benjamin Marshall
James Ward, R.A.
John N. Sartorius
F. C. Turner
Samuel Howitt ...
Sir E. Landseer, R.A. ..
John N. Sartorius
James Ward, R.A.
John F. Herring ...
Benjamin Marshall
Dean Wolstenholme, Jun
James Ward, R..\.
James Pollard
Samuel Howitt ...
James Pollard ... ■..

Thomas Stothard, R.A. ..
Dean Wolstenholme, Sen,
Sir Edwin Landseer, R.A,
Sir Edwin Landseer, R.A.
John N. Sartorius
James Ward, R.A.
F. C. Turner
Sir Edwin Landseer, R.A
Sir Edwin Landseer, R.A.
Sir Edwin Landseer, R.A.
Sir Edwin Landseer, R.A,
Philip Reinagle, R.A.
Sir Edwin Landseer, R.A,
John Scott...
Samuel Howitt ...
Samuel Howitt ...
John N. Sartorius
Sir Edwin Landseer, R.A
Dean Wolstenholme, Sen.
George Stubbs, R.A.
Samuel Howitt ...

1855

299

PAGE

... 140

... 72

... 242

... 46

... 242

... 76

... 78

... 238
78, 80, 84

... 46

... 122

. . . 240

... 243

... 241

... 50

.. 76

... 95

234, 240

... 141

... 222

41,46

54, 84

134. «4I

... 239

27, 33

... 94

... 257

238, 239

... loi

... 45
103, 109

... 187

... 250

... 77

... 78

... 140

... 241

... 222

... 76

... 84

... 76
76, 80

... 122

... 8l

... 162

... 45

... 138

... 75

... 250
205, 206

... 46

300

INDEX

Ponsonby, Hon. Ashley

Pony, The

Pony and Dog ... ...

Portrait of a Gentleman

Portrait of a Mule

Pottery, A

" Pranks and Lazarus" ...

Pratt, Esq., S. J

" Precipitate "

"Priam"

" Priam," a setter ...

" Primrose," a Foal

Princess Mary of Cambridge

Princess Mary of Cambridge and Newfound-
land

" Princess Royal," a racing Mare

Prize Calf, The

Prize Pigeons, Portraits of ..

"Proctor"

Prolific Hare. The

Prospective View of Epsom Races ...

Prosperity (The Lady's House)

"Protector" ...

Prowling Lion, A
Ptarmigan, A brace of

Ptarmigan Hill, The

" Pyrrhus," a racehorse

" Pyrrhus the First "

Puffin Shooting at Back of Isle of Wight ...

Pug, The

PugDog

Pug Dog, Portrait of a

"Pumpkin"

Purity Cherishing Love

Putting Hounds in Cover ...

Sir Edwin Landseer,

R.A.

Samuel Howitt ...

John N. Sartorius

140

Philip Reinagle, R.A

"3.

121

Sir Edwin Landseer,

'r.a.

', 75

Philip Keinagle, R.A

122

Lambert Marshall

James Ward, R.A.

239

Benjamin Marshall

...

"'89, 96

Lambert Marshall

James Ward, R.A.

233.

243

Sir Edwin Landseer,

R.A.'

Sir Edwin landseer,

R.A.

James Ward, R.A.

241

Sir Edwin Landseer,

R.A.'

!!.77.78

Dean Wolstenholme,

Jun.

257.

258

Sir Edwin Landseer,

R.A.

Samuel Howitt ...

James Pollard

ic8

Sir Edwin Landseer,

R.A.

George Stubbs, R.A.

199

Sir Edwin Landseer,

R.a!

John F. Sartorius...

147

Sir Edwin Landseer,

r.a'.

John F. Herring ...

P. Reinagle, R.A.

"S.

123

Sir Edwin Landseer,

R.A.

Samuel Howitt ...

John N. Sartorius

140

George Stubbs, R.A.

199

James Ward, R.A.

242

Samuel Howitt ...

Queen, on a White Horse The,

Queen Victoria meeting the Prince Consort

after deerstalking... ...

Queen, Unfinished .Sketch of H.M. the

Queen Charlotte, Portrait of ...

Queen Elizabeth going to Kenilworth by

Torchlight

Queen Elizabeth's Hunting Expedition to

Enfield Chase

" Queen of Trumps," a racehorse ...

" Queen of Trumps "

Quietude Disturbed

Sir E. Landseer, R.A 79

Sir Edwin Landseer, R.A. ...62, 78

Sir E. Landseer, R.A 62, 78

Philip Reinagle, R.A no

Dean Wolstenholme, Jun. 256, 260

Dean Wolstenholme, Jun., 256, 259, 260

Charles Hancock 3

John F. Herring ... ... 27, 33

James Ward, R.A 242

INDEX

301

Rabbits

Rabbits and Terrier ...

Rabbit Ferreter, A

Rabbit Shooting

Rabbits of Fancy Breed, Tliree Doe

Race at Newmarket

Race between Mrs. Thornton and Mr. Flint

Racehorse being Viewed, A

Racehorse

Racehorses, Portraits of

Racehorses, Porliaits of

Racehorses, Portraits of

Racehorses, Training...

Race of Hambletonian and Diamond

Racer, Portrait of a ...

" Rally," a hound

Random Shot, A
Rat-catchers ...
Rat Hunting ...
Real Yorkshire
Reaper, The ...

Reapers

"Recovery" ...

Red Deer

Red Deer Fighting
Red Grouse
Red-legged Partridge ..

Reedall, Mr

Reeves, .Mrs

Refreshment ...

Regent's Park in 1807

Remarkable three-year-old Deer
Rendezvous, The
Rent Day in the Wilderness ...
Renton in Scotland ...
Repast, The

Rest, The

Retriever, The...
Retriever and Woodcock
Retriever and Spaniel...
Return from Deer-Stalking, The

Return from Deerstalking

Return from Foxhunting by Moonlight

Return from Hawking

Returning from the intended Fight ...

Reynard in the Pigstye

Reynard seeking Refuge in the Church

Reynard's last Shift

Rhinoceros Hunting ...

Richmond Hill : Morning

Richmond : Twilight, View near ...

P.IGE

James Ward, R.A.

• 239

Samuel Howitt ...

... 45

John N. Sartorius...

■ 139

A. Turner

... 224

Dean Wolstenholme,

Junr.

... 259

Tames Seymour ...

... 168

P. Keinaijle, R.A.

... 117

James Seymour ...

... 175

Samuel Howitt ...

... 44

James Seymour ...

... 174

Thomas Spencer ...

I7«. 179

Peter Tilleman ...

... 211

F. C. Turner

... 220

George S'ubbs, R.A.

... 195

John F. Sartorius...

••■ 143

John F. Sartorius...

... 143

Benjamin Marshall

•■■ 95

Sir Edwin Landseer,

R.A.

... 77

Sir Edwin Landseer,

1S21,

1822 75

Charles Hancock...

Lambert Marshall

... 98

Sir Edwin Landseer,

R.A.

... 81

George Stubbs, R.A.

. . . 206

Charles Hancock...

••• 3. 13

Sir Edwin Landseer,

R.A.

57,78

F. C.Turner

... 222

Samuel Howitt ...

... 46

Samuel Howitt ...

... 46

James Ward, R.A.

... 242

Philip Reinagle, R.A

•

... 122

Sir Edwin Landseer,

r.a!

... 77

James Ward, R.A.

... 238

John N. Sartorius

... 140

F. C. Turner

... 222

Sir Edwin Landseer,

R.A.

... 78

James Ward, R.A.

... 242

James Ward, R.A.

... 241

. George Stubbs, R.A.

. . . 204

. James Ward, R.A.

... 241

. Sir Edwin Landseer,

r.'a.

... 82

. James Ward, R.A.

... 241

. John F. Herring ...

. Sir Edwin Landseer,

r.a!

. Dean Wolstenholme,

Sen.

... 250

. Sir Edwin Landseer,

R.A.

... 76

. Samuel Howitt ...

... 45

. Samuel Howitt ...

... 45

. Dean Wolstenholme,

Sen.

247, 248

. Charles Hancock...

... 13

Samuel Howitt ...

. Philip Reinagle, R.A. ..

... 123

. Philip Reinagle, R.A. ...

... 122

?02

INDEX

Richmond, View of ... ...

Rider Spilled, The

Riding to Covert

Riding School, V'iew of Interior of

Rising at a Leap

River Scene with Cottage and Barge
River with Anglers

Road-scrapings

Road to Cover, The ...

" Roan Billy," a hackney

" Ko?in MMy," a/Ur B. Maiskall

Roan Hack, A.

Robert Burns

Robinson, James
Roebuck and Rough Hounds
Roebuck Shooting in the Forest of Glenmore,
v/ith a l2-barrelled rifle, Col. Thornton

Roe's Head and Ptarmigan ...
Rocking Horse
"Rockingham"
"Rockingham"

Roger's Poems, Itliistrations to

Rotten Row ... ...

Rough and Ready ...

Roundcroft Cottage

Round, or Plate Course, Newmarket

" Rover," a spaniel (2)

Rowley's Dog-kennels at Tendring Hall,

SirW

Rowcroft and Children, Mrs.

Rowley, Sir William, Bart., on horseback ...

Royal Buckhounds in Windsor Forest, The

(2) ,

Royal Hunt in Windsor Park

Royal Mail, The

Royal Mail leaving the G.P.O., The

Royal Sports on Hill and Loch

Ruins in Hertfordshire

Running Horses exercising on Warren Hill,

Newmarket, View of ...

" Running Rein "

Rural Sports, Daniel's, /'/ato «K

Rural Sports: Men Running in Sacks
Russell, Avarella Oliveria Cromwell
Russell, Lord Cosmo

PAGE

Peter Tilleman ..

... 208

F. C. Turner

... 219

F. C.Turner

... 223

Dean Wolstenholme

Sen

... 250

Samuel Howitt ...

... 45

Philip Reinagle, R.A. ..

... 123

Samuel Howitt ...

38, 44

C. C. Henderson...

Benjamin Marshall

... 91

John Scott

... IS9

Benjamin Marshall

... 94

Charles Hancock

Benjamin Marshall

... 9S

Sir Edwin Landseer,

R.A

69, 74

P. Reinagle, R.A.,

and

Sawrey

Gilpin

... 116

Sir Edwin Landseer,

R.A

... 81

James Ward, R.A.

■ ■ 239

John F. Herring ...

291. 32

John N. Sartorius

... 13s

Thomas Stothard, R.A...

. ... .87

John N. Sartorius

... 141

Sir Edwin Landseer,

R.A

... 77

James Ward, R.A.

... 242

Peter Tilleman ...

20S, 209

James Ward, R.A.

... 240

John Scott

... 151

Philip Reinagle, R.A

. ..

... 122

John N. Sartorius

••■ 133

John Wootton

... 264

James Pollard

... 100

James Pollard

... 104

James Pollard

... 107

Sir Edwin Landseer,

R.A

...62,77

Dean Wolstenholme,

Jun.

... 259

Tames Seymour ...

172, 173

^. C. Turner

... 223

John Scott

... 158

Samuel Howitt ...

... 44

J. Ward, R.A. ...

... 241

Sir Edwin Landseer,

R.A

... 75

Sagacious Hare, The ... ' ...
" Said," an Arab
" Saltram," a son of " Eclipse '
" Sam," a pointer

Samuel Howitt ..
John F. Herring ..
John N. Sartorius
John F. Herring ..

140

INDEX

303

"Sancho" beating "Hannibal" at Brigh-
ton...

Sancho Panza and Dapple ...

Sanctuary, The

Sand Asses

Sand-Pit, The

"Satan," a Newfoundland, and Chestnut
Pony

" Satirist," a racehorse

"Saved!"

Scene at Abbotsford, A

Scene from Midsummer Night's Dream

Scene from Nature

Scene in Braemar

Scene in Chillingham Park ...

Scenes in Lord Breadalbane's Deer Forest...

Scene ill the Grampians, A ...

Scene in the Forester's House

Scene in the Highlands

Scene on the Great North Road, A

Scanty Meal, A

Scenes on the Road, A Trip to Epsom and
Back

(1) Hyde Park Corner.

(2) The Lord Nelson Inn, Cheam.

(3) The Cock at Sutton.

(4) Kennington Gate.

Scene on the Roadside, A ...

Scholastica, View of the Grand Convent of..
Scotch Terrier chasing a Rabbit
Scott, Sir Walter, at the Rhymer's Glen ...
Scott, Sir Walter, with a Book

Scott, Sir Waller, Portrait of

Seagull and " Escape "

Sea Port, A

Sefton, Earl and Countess of, and daughter

Selling Rabbits

Sensitive Plant, A

Sentimental Journeys, Draumigi for the

Sentinel, The ...

Separation

Series of Heads of Sporting Dogs, A

Setter, The

Setter and Spaniels

Setter Howling

Setting the Smeuse

Shaddick, J. G., Esq., Portrait of

Shade of Tom Moody, The ...

Shakespeare, Illustralions for BoydeU's

"Shark"

"Shz.iV," after G. Stuks, R.A. ...

" Shaver," a deerhound

Sheep and Cattle, heads of ...

Sheep-shearing

John F. Sartorius
Sir Edwin Landseer, R.A
Sir Edwin Landseer, R.A
James Ward, R.A.
James Ward, R.A.

Benjamin Marshall
Cha.s. Hancock ...
Sir Edwin Landseer,
.Sir Edwin Landseer, \
Sir E. Landseer, R.A
Philip Reinagle, R.A.
Sir Edwin Landseer,
Sir Edwin Landseer, '
Sir Edwin Landseer,
Sir Edwin Landseer,
Charles Hancock...
Sir Edwin Landseer,
C. C. Henderson...
John F. Herring ...

... 147

R.A.

... 74

R.A.

■■ 69,77

... 242

■•• 239

... 95

4, 5. '3

r.a!

... 97

R.A.

•• 75

... 77

... 121

R.A.

... 77

R.A.

... 76

R.A.

... 78

R.A.

... 76

... 13

R.A.

... 76

21
•■■ 33

James Pollard

106

C. C. Henderson

Philip Reinagle, R. A. ...

... 122

Charles Hancock ...

...5. 12

Sir Edwin Landseer, R.A.

55. 76

Sir Edwin Landseer, R-.A.

Sir Edwin Landseer, R.A.

... 7S

John N. Sartorius

... 141

Philip Reinagle, R.A. ...

... 122

Sir Edwin Landseer, R.A.

... 79

James Ward, R.A.

228, 239

Philip Reinagle, R.A. ...

... 122

Thomas Stothard, R.A. ...

... 191

Sir Edwin Landseer, R.A.

... 84

James Ward, R.A.

... 242

A. Cooper, R.A. & Chas. Hancock 6

Philip Reinagle, R.A. ...

... 122

Charles Hancock

Samuel Howitt

... 45

F. C. Turner

... 222

Benjamin Marshall, 1801,

806. ..87, 94

Dean Wolstenholme, Jun.

... 255

Thomas Stothard, R.A. ...

... 187

George Stubbs, R.A.

199, 206

John Scott

... 158

F. C. Turner

... 221

Sir Edain Landseer, R.A.

... 81

James Ward, R.A.

••• 239

304

INDEX

Shepherd and Bird Keeper, The
Shepherd's Bible, The
Shepherd's Chief Mourner, The

Shepherd's Dog ...

Shepherd Dog, The ...

Shepherd, Dog and Two Rams, A ...

Shepherd's Dog from South of France

Shepherd's Grave, The

Shepherd's Praj'er, The

Shetland Ponies and Sheep ..

Shetland Pony, A ...

Shipton, Yorkshire, View near
Shoeing...

Shooting Antelopes in India

Shooting a Rhinoceros

Shooting Peccaries

Shooting Pony, A

Shooting Pony and Dog, portraits of
Shooting Pony and Dogs, Portraits of

Shooting Pony and Rolla

Shooting Pony and Setter

Shooting Pony in a Landscape, Brown

Shooting Scenes

(ij Going out.

(2) Game found.

(3) Dogs bringing the Game.

(4) Refreshing.

Shooting: The Monihs (6)

Showery Weather near Midsummer...

Showin ga Horse

Shrew Tamed, The ...

Shrewsbury, View near

Shubricli's Colt Brocai do. General ...

Sides All

Siege of Lisle ...
Siege of Tournay

Silver Buttons

Sin Offering, The

"Sir Hercules"

"Sir Tatton Sykes"

"Sir Thomas"

Six-stall Stable at Finsbury Repository

Sketch in the Highlands

Sketch of my Father ...

"Skiff"

Skittles

"Sky Scraper"

" Slane," a racehorse ...

Sleeping Bloodhound, The ...

Sleeping Children, Design for Ckaiitre/s

Sleeping Dog, A

" Sniaragdine," a mare

Smash in Piccadilly, A

Smithfield Market

James Ward, R.A.

... 242

Sir Edwin Landseer,

R.A.

... 80

Sir Edwin Landseer,

R.A.

68, 74, 76

John Scott

... 156

James Ward, R.A.

•■• 243

James Ward, R.A.

... 241

GeoVge Stubbs, R.A.

... 206

Sir Edwin Landseer,

R.A.

Sir Edwin Landseer,

R.A.

... 77

Dean Wolstenholme,

Jun.

... 257

James Ward, R.A.

239, 240

Philip Reinagle, R.A. ...

... 123

Sir Edwin Landseer,

R.A.

73. 77

Samuel Howitt ...

... 46

Samuel Howitt

... 46

Samuel Howitt ...

James Ward, R.A.

... 241

John N. Sartorius

•■■ 139

John N. Sartorius

•■• 139

John N. Sartorius

... 140

John N. Sartorius

... 140

Chas. Hancock ...

Dean Wolstenholme,

Sen.'

... 247

F. C. Turner

... 220

James Ward, R..\.

... 242

John F. Sartorius...

... 147

Sir Edwin Landseer,

R.A.

... 78

Philip Reinagle, R.A

... 122

John F. Herring ...

... 32

James Ward, R.A.

... 241

John Wuotton

... 26S

John Woutton

... 26S

John Scott

... 161

Sir Edwin Landseer,

R.A.

... 83

Charles Hancock...

■■■ 3. 13

John F. Herring ...

28,33

John N. Sartorius

■• «3S

Dean Wolstenholme,

Sen.

250

Sir Edwin Landseer,

R.A.

... 74

Sir Edwin Landseer,

R.A.

... 77

Benjamin Marshall

... 95

Samuel Howitt ...

... 45

John N. Sartorius

... 140

John F. Herring ...

30, 32

Sir Edwin Landseer,

R.A.

57. 73

Thomas Stothard, R.A. ...

... 186

Sir Edwin Landseer,

R.A.

... 52

Lambert Marshall

... 98

C. C. Henderson...

18,21

James Pollard

... lOI

INDEX

"Smolensko"

Smolensko beating Caterpillar and the

Haphazard Colt

Smugglers, after Mor/and

Smugglers Alarmed

" Snap," a Mare

Snare Discovered, The

Snarlers, The

Snipe, A

Snipes, A couple of

Snipe and Woodcock

Snipe-Shooting

Snipe-Shooting
Snipe-Shooting in January ...

Snowdon

Snow Scene, A

Songs of the Chase, flaies in...

Son of " Eramus," A

" Soothsayer," George IV. 's ...
" Soothsayer," a racehorse ...
" Southerly Wind and Cloudy Sky, A

(4, 1832-4)

"Souvenir"
Spangles, a hunter
Spaniel, A

Spaniel and Hare

Spaniel and Pheasant ...

Spaniel at a Tomb, after J. Ward, R.A.

Spaniel watching Tomb

Spaniel flushing a Woodcock...

Spaniels of King Charles' breed

Spaniel, Portrait of a ...

Spaniel Starting a Hare

Spaniels

Spaniels...

Spaniels

Spaniels, after Sawrey Gilpin
Spaniels flushing a Woodcock

Spanish Ass

Spanish Ass and Foal...

Spanish Dog

Spanish Dog, Portrait of a ...

Spanish Pointer

Spearing the Otter

"Spectator," Portrait of Duke of Ancaster

Spicey Screw, The

Sport in the Highlands

" Sportley," a racehorse

Sportsman's Cabinet, The Pictures of Sport

ing Dogs ...
Sportsman's Repository, plates in, after

various artists

John F. Herring ...
John N. Sartorius
James Ward, R.A.

John F. Sartorius
James Ward, R.A.
Samuel Howitt ...
Francis Sartorius...
F. C. Turner
James Ward, R.A.
John F. Sartorius
John F. Sartorius
Sir Edwin Landseer, R.
Samuel Howitt ...
John N. Sartorius
F. C. Turner
Philip Reinagle, R.A.
John F. Herring ...
John Scott
Benjamin Marshall
James Ward, R.A.
James Ward, R.A.

F. C. Turner
Benjamin Marshall
Benjamin Marshall
Francis Sartorius...
Benjamin Marshall
Sir Edwin Landseer, R.
John Scott
James Ward, R.A.
Samuel Howitt ...
Sir Edwin Landseer, R.
John N. Sartorius
Samuel Howitt...
Benjamin Marshall
Sir Edwin Landseer, R.
John F. Sartorius
John Scott
John N. Sartorius
James Ward, R.A.
James Ward, R.A.
George Stubbs, R.A.
Francis Sartorius...
Philip Reinagle, R.A.
Philip Reinagle, R.A.
George Stubbs, R.A.
F. C. Turner
Sir Edwin Landseer, R.
Thomas Spencer ...

Philip Reinagle, R.A.

John Scott

305

PAGE

140

.. 241

.. 147

.. 228

37. 43

.. 127

.. 222

.. 242

•• 147

.. 147

.. 141

222

122

•• 33

• • 159

•■ 233

.. 241

216, 217

••■ 95

... 90

... 131

... 94

... 82

... 160

... 240

... 45

... 72

... 140

... 45
95

... 76

... 147

... 162

... 140

... 241

... 205

... 131

... 122

115, 123
... 203
... 222
... 79
... 179

... Ill

... 162

VOL. II.

3o6

INDEX

Sportsman's Return ... Samuel Howitt ..

Sportsman's Present, The ... G. A. Turner

Sportsman, The, Portrait of Thomas Gosden B. Marshall and Luke Clennell
Sportsman's Emulation ... ... ... Samuel llowitt ...

Springer, The Philip Reinagle, R.A

Springing Spaniels .. Philip Reinagle, R.A

Squirrel-hunting ... ... ... ... Samuel Howitt ...

Stable, The F.C.Turner

St. Bernard Dogs Sir Edwin Landseer, R.A.

StatTordand Lady Evelyn Gower, Marquess of Sir Edwin Landseer, R.A.

Staffordshire Bull, A
Staffordshire Cow, A ...
Stag at Bay, The

Stag at Bay

Stag Bellowing

Stag-chase thro' the Thames .

Staghound, The

Stag Hunt, A

Staghound, The

Stage Coach Passengers at breakfast

Stage Coach, with opposition coach in sight James Pollard

James Ward, R.A.

Sir Edwin Landseer, R.A. 59

John N. Sartorius

Sir Edwin Landseer, R.A.

Francis Sartorius

.Samuel Howitt ...

John Wootton

Philip Reinagle, R.A

James Pollard

Stag Hunt, A

Stag pursued by Greyhound ...

Stags, Group of

St. Albans Tally-ho Stakes

Stalker's Home, The

Stallion, Portrait of a

Standing Leap, A

Standstill, The

Star of Bethlehem, The

.Starting for the Derby

Starting Post, Newmarket

Steeple-chase, A

Steeple-chase Cracks

Steeple-chase, The ...

"Sterlin," a plater

Stewards' Stand after the Derby, The
Stonebreaker and his Daughter, The
Stopping Hounds running riot or changing

Straw Yard, A

Straw Yard, Sketch, The

Streaky-breasted Red Dunn, The ...

Stricken Mallard, The

Strong and Weak Twin, The

Struck Eagle, The

Study of a Dead Grouse

Study of a Dog

Study of a Lion (2)

Subiaco, distant view of

" Sudbury," a racehorse

Suffolk Mere

" Sultan," a racehorse

" Sultan," a hunter

Sunset ...

Philip I\einagle, R.A. ...
.. Sir Edwin Landseer, R.A.
.. Philip Reinagle, R.A. ...
. . James Pollard
.. Charles Hancock...
.. John N. Sartorius
.. John N. Sartorius

.. F. C. Turner

.. James Ward, R.A.

.. F. C. Turner

.. John Wootton

.. James Pollard

.. John F. Herring ...

.. John F. Hening, 1S4S, 1849

. . James Seymour ...

.. F. C. Turner

.. Sir E. Landseer, R.A. ...

S. Howitt

.. John N. Sartorius

.. James Ward, R.A.

. . Benjamin Marshall

. . F. C. Turner

.. James Ward, R.A.

,. James Ward, R.A.

.. Sir Edwin Landseer, R.A.

,. Sir Edwin Landseer, R.A.

, . Sir Edwin Landseer, R.A.

. Philip Rein.agle, R.A. ...

. James Seymour ...

. James Ward, R.A.

. Lambert Marshall

. John F. Herring ...

. P. Reinagle, R.A.

26,

PAGE
44

224
91
44

122

• US

44
. 218

• 79

• 76

■ 239

■ 239
77,78

• ■• 1.17
... 82

129, 131

... 44

. . . 264

... 122

... 104

... 104
122

... 80

... 122

... los

... 13

... 140

... 141

... 219

... 242

... 223

... 263

... ic»

... 29

■■■ 34

... 167

... 223

... 74

... 45

«39

240

223

241

■ 78

122

«7S

■ 239

. 98

28,33
122

239

•74

INDEX

307

Sunset

Suspense

Swannery invaded by Sea-eagles
Swans on the Thames, after J. Ward,
" Sweetbriar "...
"Sweetmeat"...

" Sweet William "

Swineherd, A ...

Sword Exercise

" Sylvia," a pony

Sympathy

... James Ward, R.A.
... Sir Edwin Landseer,
... Sir Edwin Landseer,
H.A. John Scott

... George Stubbs, R.A.
... John F. Herring ...
... George Stubbs, R.A.
... James Ward, R.A.
... Samuel Ilowitt ...
... Lambert Marshall
... James Ward, R.A.
... James Ward, R.A.

PAGE

••• 239

R.A.'

6S, 74

R.A.

... 78

... 160

... 199

■■• 34

... 199

•■• 239

... 44

... 98

... 242

... 241

"Taff"

"Tallyho!"

"Tally-ho!"

Taking a Buck

Taking Wild Horses on

Moldavia ...
Tame Deer pursuing Cattle ...
Taming the Shrew

"Tarn O'Shanter"

"Tantalisation," a terrier bitch

Taplin, Mr., Portrait of

"Teaboy" beating " Hephestion

" Grey Falcon" over Epsom ..

Teetotal Beer and Beef

Temple of Fancy, The

Terrier, A

Terrier and Dead Wild Ducks

Terrier and Rabbit

Terrier I'Cilling a Fox ...

Terriers...

Terriers and Polecat ...

Terriers ferreting Rabbits

Teirier, Portrait of a ...

Terrier with puppies. Portrait of a ..

Tethered Rams

" The Baron "...

" The Hounds are late this morning'

"Theodore"

" The Switcher "

"There's no place like Home "
"Theron," Her Majesty's Charger ..

Thistle and the Ass, The

Three Children, Portraits of ...
Three Doe Rabbits of Fancy Breed..
Three Dogs
Three Horses ...

Three Horses, Portraits of

Thornton, Portrait of Colonel

the Plains of

and

James Ward, R.A.
Charles Hancock

F. C. Turner
Sir Edwin Landseer, R.A.

Samuel Howitt

Samuel Howitt ...

Sir Edwin Landseer, R.A.

Thomas Stothard, R.A....

F. C. Turner

Benjamin Marshall

John N. Sartorius
James Ward, R.A.
C. C. Henderson...
, James Ward, R.A.
Sir Edwin Landseer, R.A.
Samuel Howitt ...
Samuel Howitt ...
Philip Reinagle, R.A.
Philip Reinagle, R.A. ...
Dean Wolstenholme, Jun.
Sir Edwin Landseer, R.A.
Dean Wolstenholme, Jun.
Sir Edwin Landseer, R.A.
John F. Herring ...
Charles Hancock...
John F. Herring...
John F. Herring ...
Sir E. Landseer, R.A. ...

G. A. Turner

Sir Edwin Landseer, R.A.
Philip Reinagle, R.A. ...
Dean Wolstenholme, Jun.
Sir Edwin Landseer, R.A.
Charles Hancock...
Dean Wolstenholme, Jun.
P. Reinagle, R.A.

. . . 240

... 221

75. 81, S3

42, 45
... 4S
... 83
1S9, 191
... 222
...86,94

... 141

... 242
19
243
82

122

123

.■ 259

.. 76

.. 260

74. 76

271, 34

13
• ■26,35

•• 33
■■ 74
.. 224

•• 75

121

■• 259

.. !)2

■■ 250
.. 123

239.

[16,

3o8

INDEX

Thornton, as a Falconer, Portrait of Colonel
Thornton shooting in Forest of Glenmore

with l2-barrelled rifle. Colonel

Thornton, Portrait of Dr

Throwing the Lasso

Thunderstorm

" Thyrsis," a hunter ...

Tickling the Ear

Ticklish Subject, A

" Tiger," a hack

Tiger blunting on Elephants

Tigers ...

Tigers at Play ...

Tiger snarling over his Prey...

Timber Carriage, The

Time of Peace...
Time of War ...

" Tiny," a spaniel

"Toho!"

Toiling the Buck

Too hot

" Torrismond," a racehorse

Torn Lamb, The

"Totlnchly"

"Touchstone"

Tournefoit's System

Town and Country Magazine, Illustrations in

Tracker

Trailing for a Hare ...

"Traveller"

Travelling in France

Trains of Running Horses exercising

Treeing a Cub...

Trees — purple beech, ilex, spruce, fir, and

willow

" Trentham," Portrait of bay horse

Trial, The

Trial of Rebecca, The

" Trim," a spaniel

Trimmed Cock, A

Tristram Shandy, Dra-vins;s for

Triumph over Sin, Death and Hell

Trolling for Pike

Trotting Cart Horse

Trotting Horse, A

Trotting Mare, Mr. Bishop's

Trout Anglers

"True Blue"

"Try Back!"

Turf Pony, The

" Turned out for Life "

Turnpike Gate, The

" Two Dogs," The

Twelfth Night

PAGE

P. Reinagle, R.A.

117,118

P. Reinagle and .Sawrey Gilpin... ii6

Philip Reinagle, R.A

... 114

F. C. Turner

214,222

James Ward, R.A.

■•• 239

John F. Herring ...

... 32

James Ward, R.A.

... 242

F. C. Turner

... 223

Benjamin Marshall

... 95

Thomas Stothard, R.A. ...

... 188

James Ward, R.A.

••• 239

George Stubbs. R.A.

... 205

James Ward, R.A.

■ ■• 239

John F. Herring...

... .30

Sir Edwin Landseer,

R.A.

... 77

Sir Edwin Landseer,

R.A.

... 77

John N. Sartorius

... 140

Sir Edwin Landseer,

R.A.

... 54

Samuel flowett ...

... 44

Sir Edwin Landseer,

r.a'.

... 84

James Seymour ...

... 174

James Ward, R.A.

... 242

Benjamin Marshall

... 95

John F. Herring ...

27, 33. 35

Philip Reinagle, R.A

122

Thomas Stothard, R.A. ...

... 182

Sir Edwin Landseer,

R.A.

... 78

James Seymour ...

... 176

John N. Sartorius

... 140

C. C. Henderson...

... 19

Peter Tilleman ...

. . . 209

F.C.Turner

... 218

J. Ward, R.A. ...

... 242

George Stubbs, R.A.

...

... 204

F. C. Turner

... 223

Dean Wolstenholme,

Jun.

... 260

Sir Edwin Landseer,

R.A.

58, 81, 84

Benjamin Marshall

...87,94

Thomas Stothard, R,

.A.!!!

... 191

James Ward, R.A.

... 242

James Pollard

loi, 103

John N. Sartorius

... 141

George Stubbs, R.A,

... 206

Francis Sartorius...

...1

[28,129, 131

Samuel Howitt ...

... 46

John N. Sartorius

••• 139

F. C. Turner

... 221

Lambert Marshall

... 98

Lambert Marshall

... 98

C. C. Henderson..

... 17

Sir Edwin Landseer,

R.A.

... 74

.Sir Edwin Landseer,

R.A.

... 76

INDEX

309

Twilight

Twins ...

Two Dogs

Two Dogs looking for Crumbs

Two Extraordinary O.ten ...

Two Gentlemen Deer-stalking in Falah
Forest

Two Gentlemen of Verona

Two Hacks, Portraits of

Two Heifers, Portraits of

Two Hogs

Two Horses

Two Horses, Portraits of

Two Horses, Portrait of

Two Horses and Dogs, Portraits of

Two Hunters, Portrait ol

Two Ladies of Quality, Portraits of

Two Young Ladies, Portraits of

Two Racehorses'

Two young Gentlemen and their Sister fish-
ing, Portraits of

PAGE

Philip Reinagle, R.A

... 122

James Ward, R.A.

... 240

Sir Edwin Landseer,

R.A.

... 77

George Stubbs, R.A.

... 205

Sir Edwin Landseer,

R.A.

... 78

James Ward, R.A.

... 240

Chas. Hancock ...

G. A. Turner

... 224

John N. Sartorius

- 133

George Stubbs, R.A.

...

... 20s

Samuel Howitt ...

... 45

George Stubbs, R.A.

... 205

John N. Sartorius

... 139

bean Wolstenholme,

Sen."

... 250

Francis Sartorius...

... 131

George Stubbs, R.A.

... 206

John N. Sartorius

.. 139

James Ward, R.A.

. . . 240

Sir Edwin Landseer,

r.a'.

.. 79

Charles Hancock

Philip Reinagle, R.A.

Uncarting the Royal Buck ...
Uncle Tom and his Wife for sale
Undermining the Rock of Ages
Union ...
Unkennelling the Hounds ...

F. C. Turner 222

Sir Edwin Landseer, R.A. 75, 77, 81

James Ward, R.A. 242

tames Ward, R.A. 242

John N. Sartorius ... 137, 141

"Valiant"

Van Amburgh and his Animals

Van Amburgh, Mr

Van Amburgh, Portrait of ...

"Velocipede"

Venus rising from her Couch
Veterinary Shop, Interior of Mr,
View, The

View from Nature

View of the Ruins of an Abbey
View on the Highgate Road...

Vignette, A

Vignette (1838), Sporting Magazine

Virgil's Bulls

Vision of Myrza, The

" Vixen," a Scotch terrier ...

" Vixen," a terrier

" Voltigeur," a racehorse
"Volunteer"

F. C. Turner 222

Sir Edwin Landseer, R.A. ...61,76

Sir Edwin Landseer, R.A. ... 77

Sir Edwin Landseer, R.A. ... 61

John F. Herring 32

James Ward, R.A. 241

Harrison's Dean Wolstenholme, Sen. ... 250

John N. Sartorius 137

Philip Reinagle, R.A 122

Samuel Howitt 43

James Pollard 103

F. C. Turner 222

... F. C. Turner 222

... James Ward, R.A. 242

... Sir Edwin Landseer, R.A. ... 84

... James Ward, R.A 243

... Sir Edwin Landseer, R.A. ...70,78

... George Stubbs, R.A 199

3IO

INDEX

"Vulcan, Bachelor, and Beverley," grey-
hounds
Vulture disputing with a Hyana

F. C. Turner

Philip Reinagle, R.A.

222
122

Waggon Horses frightened at Lightning ...

Waiting fur the Ferry...

Waiting for the Master

Waiting the Weather ...

Waldegrave Family, The

Wales, View in

Wales, Portrait of the Prince of

Walpole, Sir Robert, and Hunter ...

" Walton," a racer

Walton's Angler, Drawings in

Wandering Slag, A

"Wanton, Theodore, and M.ay Day "

War

Ward the Pugilist, William

Warrener, The

Warrener's Enemy, The

Warren Hill, The

Warren Hill at Newmarket, The

" Warwick," a catt-horse

"Wasp"

Watercress Girl, The

Water Dog, The

Water Dog and Mallard

Water Dogs

Waterfall in Goat Land

Watering Place, The

Watering the Team

Water Spaniel

Watkin, Portrait of Miss

"Waxey," a racehorse

Way we should go. The

Wedgwood, Portrait of Josiah

Weird Sisters, The

" Well-bred Sitters who never say they are
bored" ...

Wellesley Arabian, The

Wellesley Arabian, The, after B. Marshall

Wellington Shield, /)£j;[§«y()7- //jtf

Well-known Horse, A ...

West Country Mail Coach at the Gloucester-
shire Coffee House, Piccadilly ...

" What a beauty I " ...

"What is it?"

"Whisker"

" Whisker and Raphael "

"Whiskey"

James Ward, R.A.

• • 239

Sir Edwin Landseer, R.A.

.. 83

John Wootton

.. 266

James Ward, R.A.

.. 242

George Stubbs, R.A. ...

203

Philip Reinagle, R.A. ...

.. 122

George Stubbs, R.A.

206

John Wuotton

269

James Ward, R.A. 233, 2

40. 243

Thomas Stothard, R.A. ...

.. 190

Philip Reinagle, R.A. ...

.. 122

John F. Herring

•• 35

Sir Edwin Landseer, R.A.

■ 70,73

Philip Rein.igle, R.A. ...

121

John N. Saitorius

.. 141

Charles Hancock

■ • 6, 13

John F. Herring

■• 34

Peter Tilleman

.. 208

Dean Wolstenholme, Jun.

■• 25s

James Ward, R.A.

.. 240

James Ward, R.A.

.. 238

John Scott

• iSS

Samuel Howitt

■ 45

Benjamin Marshall

Philip Reinagle, R.A. ...

122

John F. Herring ...

John F. Herring, 1863, 1866

•• 32

Philip Reinagle, R.A. ...

122

James Ward, R.A.

■ 239

Francis Sartorius 1

29. 131

C. C. Henderson

George Stubbs, R.A. ...

.. 203

James Ward, K.A.

.. 242

Sir Edwin Landseer, R.A.

.. 80

Benjamin Marshall

John Scott

.. 159

Thomas Stothard, R.A. ... 1

86, 1 87

Benjamin Marshall

James Pollard

• • 103

James Ward, R.A.

.. 242

James Ward, R.A.

.. 242

John F. Herring

•• 35

John N. Sartorius

.. 141

John N. Sartorius

140

INDEX

311

" Whistlejacket," a racehorse

White Arab Horse, A

White Grouse

White Horse, A

" White Nose," a mare

White Horse chased by Black Spaniels
White Terrier, A, after Savjrey Gilpin

"Who- Whoop 1"

Widow, The

Widow Bewitched, The

Wildcat, The

Wild Cat and Moor Game

Wild Cat and Spaniels

Wild Cattle of Chillingham

Wild Cattle, Portrait Group of

Wild Duck Shooting

Windermere Lake, View of

Windsor Park ...

" Wings," a race-horse

Wolf-hunting ...

Woodcock

Woodcock Shooting ...

Woodcock Shooting

Woodcock Shooting ...

Woodcock Shooting

Woodcock Shooting ...

Woodcutter, The

Woodland Scene with Cattle...

Wood Grouse

Woodman and Gypsies
Woodman's Companion, The
Wyndham's Foxhounds Breaking Cover

PAGE

... George Stubbs, R.A. ..

... 196

... John Wootton

... 263

... Samuel Howitt

... 46

... James Pollard

... 109

... Thomas Spencer

... 180

... Charles Hancock

... John Scott

... 162

... F. C. Turner

... 221

... Charles Hancock

... Sir Edwin Landseer, R.A.

... 75

... Dean Wolstenholme, Jun.

... 256

... Samuel Howitt

... 46

... Samuel Howitt

... 46

... Samuel Howitt

.- 45

... Sir Edwin Landseer, R.A.

... 78

... Sir Edwin Landseer, R.A.

... 57

... F. C. Turner

... 222

... Philip Reinagle, R.A. ...

... 122

... Sir Edwin Landseer, R.A.

... 7S

... James Pollard

... 108

... Samuel Howitt

... 44

... John F. Sartorius

... 147

... John N. Sartorius

... 141

... Samuel Howitt

• ■■ 44

...P. Reinagle, R.A.

... 120

... James Seymour

... 176

... F. C. Turner

... 222

... Sir Edwin Landseer, R.A.

... 82

... Philip Reinagle, R.A. ...

... 123

... Samuel Howitt

... 46

... James Ward, R.A.

... 239

... James Ward, R.A.

... 241

... General F. C. Turner ...

... 223

X. Y. Z."

John N. Sartorius

141

Yeldham Oak, 600 years old, The ...

Young Falconer, The

Young Falconer, The .. .

Young Foxhunters

Young Gentleman, Portrait of a
Young Gentleman Shooting, Portrait of a .
Young Lady as Una, Portrait of a ...
Young Lady on Horseback ...

" Zinganee," a race-horse
" Ziva," a badger dog

James Ward, R.A.

... 241

Chas. Hancock

... 14

Charles Hancock...

Lambert Marshall

... 98

Philip Reinagle, R.A. ...

... 121

G. Stubbs, R.A

... 206

George Stubbs, R.A. ...

... 206

John N. Sartorius

... 140

Benjamin Marshall

89,95

Sir Edwin Landseer, R.A.

... 77

Webster Family Library of Veterinary Medicine
Cummings Scliooi of VctBrinary Medicine at

Tufts University
no Westboro Road
—ipraftnn.lVlA 01536

iiftO-".

WORKS BY SIR WALTER GILBEY, BART.

Animal Painters of England

from the year 1650. Illustrated. Two vols., quarto, cloth
gilt, Two Guineas net on subscription. Prospectus free.

The Great Horse or War Horse

From the Roman Invasion till its development into the
Shire Horse. New and Revised Edition, 1899. Seven-
teen Illustrations. Octavo, cloth gilt, price 2s. ; by
post, 2s. 3d.

Harness Horses

The scarcity of Carriage Horses and how to breed them.
3rd Edition. Twenty-one Chapters. Seven full-page
Illustrations. Octavo, cloth gilt, 2s. ; by post, 2s. 3d.

Young Race Horses — suggestions

for rearing, feeding and treatment. Twenty-two
Chapters. With Frontispiece and Diagrams. Octavo,
cloth gilt, price 2s. ; by post, 2s. 2d.

Life of George Stubbs, R.A.

Ten Chapters. Twenty-six Illustrations and Head-
pieces. Quarto, whole Morocco, gilt, price £i 3s.

Small Horses in Warfare

Arguments in favour of their use for light cavalry and
mounted infantry. Illustrated, 2s. ; by post, 2s. 2d.

Horses Past and Present

A sketch of the History of the Horse in England from
the earliest times. Illustrated. Octavo, cloth gilt, 2s. ;
by post, 2s. 3d.

Ponies Past and Present

The breeds of the British Islands, New Forest, Welsh,
Exmoor, Dartmoor, Westmoreland, Cumberland,
Scottish, Shetland, Connemara. With Illustrations.
Octavo, cloth gilt, 2s. ; by post, 2s. 3d.

VINTON & Co.,
9, NEW BRIDGE STREET, LONDON, E.G.

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Full text of "Animal painters of England from the year 1650 : a brief history of their lives and works: illustrated with--specimens of their painting"

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