JOHN A. SEAVERNS TUFTS UNIVERSITY l-IBRAHIES_^ 3 9090 6'l4 534 073 n i«4 Webster Family Librany of Veterinary/ Medicine Cummings School of Veterinary Medicine at Tuits University 200 Westboro Road ^^ Nortli Grafton, MA 01536 [ t 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 22 HOWITT, SAMUEL .. 36 LANDSEER, SIR EDWIN, R.A. •• 47 MARSHALL, BENJAMIN .. 85 MARSHALL, LAMBERT •• 97 POLLARD, JAMES 99 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 94 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. V 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. 15 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. 22 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 ^f ^ :^ 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. 36 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 1^ 5 < c > i' < o O w z < UJ X Z o O X C3 Z < 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. 46 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. 47 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. o 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. 76 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. 78 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. 79 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 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 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 1892 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. 85 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 M. ''(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. 97 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. 99 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. no 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 ^. '^l? -;???#' ,^^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 I UJ > O o o z < UJ m 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 cr 1- < >- CO o O 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 hi < o z H H O CC H Q UJ H < CC ca u _i ui O w Q. O I W U CC D H < GC I- QC o Q. s 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) : c is < o H O U ^ ■* =<; :'»J o ° ',-■"£ P ; >- O O 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. 'o 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\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 !jss(ii!i;ii|||i|:ifl|iii[|w;i'fl^ ^ (iiiiiii'i[iiiiiiyiiiiiii!iiiijj';iiiiii [,i;iiii!!iiilimiiiiriHi:'ii ini ii'.iiiiiiiriin'.i :; O -: Q- ,; 6 ' z DC < I- u I I- O ^ I- - HI LU ^ C/) EC CC < 5 o £; HI I H cc QJ > o I o I- < ^ UJ (0 QC o I ■5 > Q Z < I- 0) UJ I 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, J '^ 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%\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 O 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&- < Z S o ^ w < uj S UJ w w UJ d I cr ^ o s ? ^ < J UJ h Q 5 O «) o ^ ^ 5" M Q DC O c I- O J Q. >• < DC C5 Z o O" 5 CO o UJ S x" = O i- m 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 o o < m UJ I 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. 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 ... 53 PAOE ... 55 240, 242 ... 79 ... 221 ... 242 ... 242 ••• 34 ... 196 ... 98 ... 241 30, 239, 241 75. 77 ... 232 83 243 19 84 1,83 222 158 206 122 46 46 241 74 103 46 44 46 «3 44 95 127 199 232 94 241 140 98 34 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 18 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 13 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 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 John Scott Dean Wolstenholme, Jun. 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. 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 12 ... 74 ... 140 240, 243 II ...41,46 ... 167 ... 266 ... 13 4> 5. 13 ... 141 ... 122 ... 46 ... 240 ... 240 ... 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 ... 46 ... Samuel Howitt 45 ... George Stubbs, R.A. 206 ... Samuel Howitt ... 44 ... Samuel Howitt ... 44 ... James Ward, R.A. itli 229, 239 ... James Ward, R.A. 234, 235, 238 ... James Ward, R.A. 241 ... Samuel Howitt ... 44 ... George Stubbs, R.A. 206 ... James Ward, R.A. 238 ... Dean Wolstenholme, Jun. ... 25s ... Charles Hancock... 12 ... 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. 79 F.C.Turner 222 Thomas Spencer 180 John F. Herring "28, 33 James Pollard 104 Sir Edwin Landseer, R.A. 79 Samuel Howitt 46 Benjamin Marshall 95 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 44 James Ward, R.A. 243 George Stubbs, R.A. 206 James Ward, R.A. 242 John Wootton 264 Charles Hancock 12 Samuel Howitt 45 John Scott 156 Charles Hancock 12 James Ward, R.A. 239 Philip Reinagle, R.A. ... 122 Benjamin Marshall 94 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 Chase, The 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 84 78 95 160 239 76 77 240 121 238 12 239 239 228 219 224 223 278 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, Mr 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 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. 77 F.C.Turner .. 221 George Slubbs, R.A. .. 206 Sir Edwin Landseer, R.A. 74 Sir E. Landseer, R.A. ... 77 Samuel Howitt 44 Chas. Hancock "3 John Scott .. 161 Charles Hancock 13 John N. Sartorius 140 John F. Herring 28 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 95 141 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 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, 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 Death, The " Deception," a racehorse De Coverley and the Gipsies, Sir Roger Deer 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. Sir Edwin Landseer, R.A. James Ward, R.A. Sir Edwin Landseer, R.A. 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. James Ward, 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 12 ... 240 ■■. 73 ... 78 ... 240 ... 77 ... 223 ... 242 ... 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 " 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 R.A PAGE 240 233 78 20s 20s 45 73 240 08 75 25.32 205, 206 243 240 95 238 139 239 82 205 78 246 106 34 34 222 4 27 238 75 140 179 6 242 79 77 33 54,84 129, 131 239 141 98 82 98 77 45 73 242 149 242 91 159 241 159 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 E Eagle and Deer ... .. Eagle and Vulture disputing with a Hyena " Eagle," a racehorse Eagle's Nest, The Early Drawings Earth-Stopper, The ... 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. ... 77 John F. Herring 28 Samuel Howitt 45 . F. C. Turner 222 John N. Sartorius 141 F 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 of " 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 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 ... 12 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 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 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 ... 45 . . 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 ... 33 .. Dean Wolstenhohne, Junr. 259 . . Dean Wolstenholme, Junr. • 259 .. James Ward, R.A. 240 .. Benjamin Marshall 94 .. 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 ... 32 . Sir Edwin Landseer, R.A. ■ 76 .. Sir E. Landseer, R.A 75 .. Dean Wolstenholme Junr. . 260 .. John F. Sartorius • 145 .. James Ward, R.A. • 239 .. Samuel Howitt .. 45 .. Francis Sartorius... . 127 .. James Ward, R.A. . 241 .. J. F. Herring • 30 .. John F. Herring ... 35 .. 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. '. 74 .. 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 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 45 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 II 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 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 G "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.., 3 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... 19 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... 13 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 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 1 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! 82 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 ... 44 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. 76 Sir Edwin Landseer, R.A. So 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 ... 19 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. 62 Sir Edwin Landseer, R.A. 61 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. 73 Sir Edwin Landseer, R.A. 77 Sir Edwin Landseer, R.A. 77 Sir Edwin Landseer, R.A. •55.75 Sir Edwin Landseer, R.A. 81 Sir Edwin Landseer, R.A. 79 Sir Edwin Landseer, R.A. 72 Sir Edwin Landseer R.A. ■77.79 Sir Edwin Landseer, R.A. 70 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 ... 44 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, &c " Hornsea," a racehorse Horse ... Horse, Portrait of a ... 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 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 ... 44 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 ... 44 George Stubbs, R.A. 195, 206 James Ward, R.A. ... 241 Peter Tilleman ... 208, 209 John N. Sartorius ... 140 Chailes Hancock... 12 Sir Edwin Landseer, R.A. ... 77 John N. Sartorius - 139 James Ward, R.A. ... 240 Charles Hancock... 12 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... 19 C. C. Henderson... 19 Charles Hancock... 12 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... 13 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 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 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. 95 122 239 242 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 K 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 7 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 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 94 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. 79 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 9S G. A. Turner .. 224 Philip Reinagle, R.A. ... 121, 122 John Wootton .. 264 Charles Hancock 12 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 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 N 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 F. C. Turner Sir Edwin Landseer, R.. Sir Edwin Landseer, R.. James Ward, R.A. James Ward, R.A. 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 A. ... 74 ... 219 A. ... 87 38.44 ,'f.S.A. 113 ... 240 206 A. ... 79 ... 46 ... 222 212, 213 172, 173 . . . 264 ... 122 • ■• 5. 13 . . . 240 a! ... 77 ... 95 ... 240 .„ 220 ... 223 A. ... 83 A. 59. 76. 82 241, 242 235. 241 • ■ 239 100, 109 A. ... 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. 77 • 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 32 I7S. 177 222 239 19 126 168 83 27.34 184 240 2o5 77,82 S3 79 137 137 77 5. '3 45 242 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. 61 Francis Sartorius i3< Samuel Howitt 44 John F. Herring 2S .33 John Scott 160 George Stubbs, R.A. 206 John F. .Sartorius 147 Sir Edwin Landseer, R.A. 81 Samuel Howitt ... 41 .46 Philip Rcinagle, R.A. ... "5 John F. Sartorius 147 Benjamin Marshall 96 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" "Phantom" Pheasant Shooting 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 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 34 ... 140 ... 72 ... 242 ... 46 ... 242 ... 76 ... 78 ... 238 78, 80, 84 ... 46 ... 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 ... 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. 77 Samuel Howitt ... 44 John N. Sartorius 140 Philip Reinagle, R.A "3. 121 Sir Edwin Landseer, 'r.a. 5= ', 75 Philip Keinagle, R.A 122 Lambert Marshall 98 James Ward, R.A. 239 Benjamin Marshall 94 Benjamin Marshall ... "'89, 96 Lambert Marshall 98 James Ward, R.A. 233. 243 Sir Edwin Landseer, R.A.' 76 Sir Edwin landseer, R.A. 61 James Ward, R.A. 241 Sir Edwin Landseer, R.A.' !!.77.78 Dean Wolstenholme, Jun. 257. 258 Sir Edwin Landseer, R.A. 84 Samuel Howitt ... 45 James Pollard ic8 Sir Edwin Landseer, R.A. 79 George Stubbs, R.A. 199 Sir Edwin Landseer, R.a! 75 John F. Sartorius... 147 Sir Edwin Landseer, r.a'. 78 John F. Herring ... 28 John F. Herring ... 33 P. Reinagle, R.A. "S. 123 Sir Edwin Landseer, R.A. 61 Samuel Howitt ... 44 John N. Sartorius 140 George Stubbs, R.A. 199 James Ward, R.A. 242 Samuel Howitt ... 38 Q 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 R 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, 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... II 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 ... 32 . Sir Edwin Landseer, r.a! 82 . 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 ... 44 . 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... 17 C. C. Henderson... 21 Benjamin Marshall ... 91 John Scott ... IS9 Benjamin Marshall ... 94 Charles Hancock 12 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 .. 4S 31 140 35 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 21 Philip Reinagle, R. A. ... ... 122 Charles Hancock ... ...5. 12 Sir Edwin Landseer, R.A. 55. 76 Sir Edwin Landseer, R-.A. 79 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 13 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. 81 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 ... 4 James Ward, R.A. ... 241 John N. Sartorius •■■ 139 John N. Sartorius •■• 139 John N. Sartorius ... 140 John N. Sartorius ... 140 Chas. Hancock ... 7 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" "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 20 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 28 140 .. 241 .. 147 .. 228 37. 43 .. 127 .. 222 .. 242 •• 147 .. 147 81 44 .. 141 222 122 •• 33 • • 159 94 •■ 233 .. 241 216, 217 ••■ 95 ... 90 ... 131 ... 94 ... 82 ... 160 ... 240 ... 45 ... 72 ... 140 ... 45 95 ... 76 ... 147 ... 162 ... 140 ... 241 ... 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. 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 S? 223 241 241 83 53 ■ 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 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 10 ... 221 75. 81, S3 42, 45 ... 4S ... 83 1S9, 191 ... 222 ...86,94 ... 141 ... 242 19 243 82 4S 45 122 123 .■ 259 .. 76 .. 260 74. 76 271, 34 13 • ■26,35 •• 33 ■■ 74 .. 224 •• 75 121 ■• 259 .. !)2 >3 ■■ 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 t 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 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, 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 ... 12 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 II 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 ... 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 W 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, 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 II 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 90 Philip Reinagle, R.A. ... 122 John F. Herring ... 35 John F. Herring, 1863, 1866 •• 32 Philip Reinagle, R.A. ... 122 James Ward, R.A. ■ 239 Francis Sartorius 1 29. 131 C. C. Henderson 21 George Stubbs, R.A. ... .. 203 James Ward, K.A. .. 242 Sir Edwin Landseer, R.A. .. 80 Benjamin Marshall 90 John Scott .. 159 Thomas Stothard, R.A. ... 1 86, 1 87 Benjamin Marshall 94 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, 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 6 ... John Scott ... 162 ... F. C. Turner ... 221 ... Charles Hancock 6 ... 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... II 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. 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