G.E. after Heywood Hardy
1843-1933

 A Real Good Story

Original hand tinted photogravure signed in graphite by the artist below image. Published by Arthur Booth & Sons. London 1900, after the 1899 painting. Bears embossed stamp of the Printsellers Association, London below image (bottom Left).  Double matted, glazed,  brass bound wood frame
Image 19 x 28 7/8" plate size 23 x 32" (48.3 x 73.3 cm.) Frame:30 x 38 1/4"
Ref. KS2(157)/ENN/s.andv> DNLN SOLD   PRICE CODE D

This pleasing scene reminds us that fox-hunting is not all about the blood sport but having a good day's ride to hounds amid friends. Depicted is a moment during a hunt when four chums share a good laugh and story whilst sitting astride their hunters, a single foxhound sniffs idly for a scent on the ground below. Other members of the hunt are seen approaching in the distance. As befitting Hardy's style, the horses and dog are beautifully rendered. 

Heywood Hardy  1843-1933 was an accomplished etcher and illustrator of a variety of hunting  and coaching scenes, sporting subjects and genre pictures, principally with an eighteenth century feel.

He was born in Chichester, 25th November 1843, the youngest son of the landscape painter James Hardy Snr. His was to become a well-known family of artists. James Hardy Jnr (1832-1889), a brother, was a renowned painter of animals and sporting genre, David, a second brother, was a painter of rustic genre and his cousin Frederick Daniel Hardy (1827-1911) a painter of genre and interior scene, was a leading member of the Cranbrook colony in Kent.

His work can be found in museums in: Bristol and London, Victoria and Albert Museum and other important collections throughout the world.

Thomas Lupton  after John Wray Snow
The Meet at Blagdon [1840]

Hand coloured Photogravure. Dedicated to Sir Matthew White Ridley  glazed, Hogarth Frame 
21 3/8 x 31 1/8" Plate Size (54.3 x 79.1 cm.)  27 3/8 x 36 3/8"        
SW8 (166) /ALN/ d.ands>GNN   PRICE CODE C  SOLD

Horses and hounds are shown gathered in a field with a wood to right, more trees further off to left with a distant view of Blagdon Hall, Northumbria in the background. 

Six men on horseback, including Sir M. W. Ridley, Baronet, in centre left, Captain Ridley standing near him holding another horse, and 'The Late' Sir M. W. Ridley, Baronet, to right of centre in profile, are named below image, with a seventh man riding up from the wood in the background to left, and hounds; after J.W. Snow.

 

Walter Dendy Sadler
1854 -1923
Portrait of a Jack Russell with Friends  AKA. the Hunting Morn

 SCARCE Original Etching uncoloured as issued, with Remarque of running fox-hound. Signed by Artist (Bottom Left) & Etcher H. Macbeth Raeburn (Bottom Right). Published London 1891. Embossed seal of the Print Seller's Association (Bottom Left). Museum quality matt, original glass, period oak frame,
16 ¾ x 20" inc. remarque (42.5 x 50.8 cm.) Fr. 26 ¼ x 30 ¼"
Ref. SW4 (166) /DNN/ d.ands> ELN    PRICE CODE B

This fine dark impression of this quality etching is SCARCE in this format as originally issued without tinting. Depicts a Jack Russell dog looking curiously on as the master of the hunt and two friends discuss the hounds with the master of hounds over a late breakfast of Ham, cheese & eggs. A parson and his wife are also in attendance and sup tea, and appear to be disapproving, as the master of hounds (standing) partakes of a glass of spirits.

Walter Dendy Sadler (12 May 1854 – 13 November 1923) was born in Dorking, Surrey, England, and brought up in Horsham, West Sussex. At age 16 he decided to become a painter and enrolled for two years at Heatherly's School of Art in London, subsequently studying in Germany under Burfield and Wilhelm Simmler.   He exhibited at the Dudley Gallery from 1872 and at the Royal Academy from the following year through to the 1890s. He was a member of the RBA., he also exhibited at the RA (Royal Academy). One of the true masters of domestic genre, he painted contemporary people in domestic and daily life pursuits, showing them with comical expressions illustrating their greed, stupidity etc. His subjects were usually set in the late eighteenth or early nineteenth centuries with sentimental, romantic and humerous themes. Before painting a scene he would create elaborate settings in which local villagers would often pose as models. Indeed, as he often used the same props and models, these can sometimes be seen repeated in successive paintings in different guises. The home, the inn, the lawyer’s office, the garden and the golf course all provide subjects for his wit and clever social observation.
Henry Macbeth - Raeburn RA.  RE. 1860-1947
A Scottish painter and mezzotint engraver of portraits after late 19th Cent. British painters. He was an accomplished etcher of hunting and sentimental subjects, landscapes & architectural views after his contemporaries and his own designs. He was brother to R.W. Macbeth and took the name Raeburn to distinguish himself. He studied at the RSA, schools and in Paris and worked in both London and Scotland.

Cecil Charles Windsor 
ALDIN RBA.
 
Hunting Types:  The Duke of Beaufort's – ‘Stone wall country'.

Published by Lawrence & Jellico Ltd London. Colour offset-lithograph. matted, glazed oak-wood frame.  One of a set of four.
12 x 14 1/8 inc. letters (30.5 x 35.9 cm.) Fr. 19 ¾  x 23 ½" Ref. SW6 (166) /LN/ d.ands>DNN   PRICE CODE A SOLD

It is this type of well executed detail that set Aldin’s equestrian art apart from that of his contemporaries. The focused ease of the expert rider taking a stone wall in stride, gave rise to the popularity of show-jumping.

Cecil Charles Windsor Aldin (1870-1935) was born in Slough, in 1870, and lived near Reading, England. His artistic talent for portraying animals and rural life developed at an early age. He left school at the age of sixteen and, encouraged by his father, a builder by profession but himself a skilled amateur artist, Aldin enrolled in the Royal College of Art. Cecil was later influenced by British sporting artist William Frank Calderon (1865-1943), an artist and teacher who founded The School of Animal Painting in Sussex in 1894 and who was later to teach Sir Alfred Munnings (1878-1959) and Lionel Edwards (1878-1966), two famous British sporting artists also at work in the early twentieth century.

A prolific painter, Aldin is known in particular for his sporting art, sensitive depictions of dogs, horses, and hunting scenes in the English countryside. He was successful and admired in his own time, as a writer and illustrator of books and magazines, his images becoming more popular with the passage of time. “Cecil Aldin can justly be described as one of the leading spirits in the renaissance of British sporting art” (Alan Horne, The Dictionary of 20th Century British Book Illustrators, p. 67).
But as a painter of renown, he became one of the most popular and successful of all British sporting artists. Aldin is best known for his large prints of hunts, coaching and races. His sporting art featured one of his lifelong passions, hunting. He became famous for his watercolours and humorous prints showing foxhunting scenes in the English countryside, as well as his ability to portray the dogs, horses, and animals that were the protagonists of these scenes. In particular, his special talent in sketching and painting dogs. In a funny pose, the tilt of a head or a cocked ear, Aldin captured the individual character of the many dogs and breeds he worked with. His art shows the camaraderie he felt with his canine friends and models, though his work is never overly cute or sweet.

His serious and exacting portrayal of scenes of hunting, racing and horse portraiture is among the finest in British Sporting Art. Aldin was the Master South Berkshire Hunt. He was elected a member of the Royal Society of British Artists in 1898.

Lionel Dalhousie Robertson Edwards RCA. RI.
Hunting on the Salonika Front

  Colour offset-lithograph. Double matted glazed Gilt-wood frame
13 ¼ x 18" (33.7 x 45.7 cm.)    Frame 21 x 25 ½"

Ref. SW5 (166) /AL/ d.ands>DAL SOLD  PRICE CODE A

Painted in 1930, Captn. Lionel Edwards image of Hunting on the Salonika Front, with the explosion of shells in puffs of smoke over head, is a reminder that there was actually a war going on, and is an example of the horseman’s implacable determination to indulge in sport even in the face of the enemy. Until the last months of WWI, there was very little movement on the Bulgarian front, though little rest from cold, heat, disease, raids and artillery shelling, but the indomitable spirit and moral, demanded that sport must go on. The 13th. (Scottish Horse Yeomanry) of the Black Watch acquired (for a small fee) a few mongrel hounds from local Greek farmers and villagers and trained them under two professional huntsmen who rode with the Old Surrey & North Cotswold hunts. Master of hounds was Lt. Col. George Railson to what became known as the Salonika Hunt. Hacking behind the trenches in the summer of 1917 the countryside along the Struma river was discovered to be ideal for the sport, once the frost had set in. Consisting of 125 members, including the Corps Commander, Sir Charles Briggs & five other generals, the Hunt met throughout the winter of 1917/18 and were occasionally subjected to sporadic shelling, as here depicted for Cptn. Lionel Dawson Sport In War. London 1936, Illustrated by Lionel Edwards RI..

Lionel Dalhousie Roberson Edwards (1878 -1966) was a prolific sporting artist of the early 20th Century. Born in Wales, the fifth son of a doctor, Edwards learned to love the countryside and country sport at an early age. Much of his career was spent depicting country pursuits in their element, including foxhunting, fishing and shooting. As a purchasing officer with the Army Remount Service (together with his friends Cecil Aldin & Alfred Munnings) he would have been very familiar with scenes such as the one depicted in this image.
His artistic output was remarkable: he wrote almost 30 books and illustrated many more, including editions of Black Beauty, Lorna Doone and the Black Arrow in addition to numerous private commissions. He became a member of the Royal Cambrian Academy of Art in 1926 and the Royal Institute in 1927. His favorite medium was watercolours although he used oils more in his later years. He worked to the end of his life, dying from a stroke at his home on 13 April 1966.

[After FRANCIS CALCOTT TURNER]

BACHELOR'S  HALL

The complete set of six hand coloured aquatints. Titled centre bottom, with plate numbers below, verse by Charles Dibdin to either side of title, n/p or date but ca. 1835
image size excluding letters 10 ½ x 14" (26.7 x 35.5 cm.)

Ref. EK 1-6 /DNN ea/ s.andv > DEAL set        PRICE CODE  E

A complete set of the scarce set of six hand tinted aquatints entitled Batchelor’s Hall. In good condition set into period Hogarth frames.
 Sir W. Gilbey Animal painters of England from the year 1650 records a publisher’s announcement thus:
Francis Calcott Turner 1782-1846.  London 1830 contains six plates engraved from works by F.C. Turner.
This set of aquatints appears to be unrecorded (Siltzer, Snelgrove and Mackenzie all describe a series of lithographs by Fairland.
The Hunt family Charles I & II, George fl. 1830s - 1860s, are known to have engraved a number of sets after F.C. Turner.

A CHECK

"GET AWAY FORRARD"

Two plates from Dodson's Hunting Incidents
Original Hand tinted aquatint Engraved by F.G. Hester after paintings by T.S Walsh
Published R. Dodson's Fine Art Gallery London 1878
Image 13 x 17 3/4" inc letters glazed, Framed 18 3/4 x 25"
Ref. JH1 & 2 (14) /RNN/ g.dnoo > RNN each        PRICE CODE B
Tear repair left.

"THE PET OF THE STABLE"

C.R. Stock after T.N.H. Walsh
Published R. Dodson's Fine Art Gallery London 1886
Original Hand tinted aquatint Image 9 1/8 x 13 3/4 inc letters glazed, Framed 13 x 18 1/4"
Ref. JH 3 (14) /LVL/ g.dnoo >ALN            PRICE CODE B