Late 19th Century Animal Paintings

H.Jackson. 19th century English landscape with sheep English late 19th-century painter of animals either in barns or landscapes. His paintings have the influence of the work of the Belgium painter Cornelius van Leemputten...

Gorgeous late 19th Century landscape of cows near watering hole with birch trees and puffy clouds in background by Wesley John Straight (American, 1855 - 1922). Signed lower left corner and on verso. Title "Autumn in New England" on verso lower stretcher bar. Condition: Good; professionally cleaned and restored; minor abrasions repaired and in-painted (see images). Unframed. Image size: 40"H x 32"W. Born in Wisconsin on May 20, 1855. Straight appears to have migrated to northern California in the late 1870s. While a resident of San Jose and Grass Valley, he painted scenes of the northern coast and other scenic spots. After moving to southern California in 1912, he lived at the Southern Hotel in San Bernardino until his demise on April 5, 1922. Exhibitions: Delavan Wisconsin County Fair 1874 (painting of the Wisconsin State School for the deaf and countryside), Calif. State Fair, 1880-90, Placer California 1880...

A terrier named Joe standing in an English country house walled garden, painted by the eminent animal painter John Emms (1844-1912) in the late 19th cent...

Artist/ School: English School, late 19th/ early 20th century. The painting came from a large collection of works by one artist. A very few of them are signed what looks to be 'F. Wa...

Work on canvas

Fine 19th century landscape oil on canvas by Alfred de Breanski Sr., this sunset, color and light, are exceptional in this work. Alfred De Brea...

Oil Study of Two Horses Oil on canvas, c. 1880 Unsigned Estate stamp verso of canvas and on stretcher (see photo) Condition: Excellent New gilt frame aptterned after the period frame Painting size: 4 1/8 x 8 3/8 inches Frame size: 6 3/4 x 11 inches Provenance: Estate of the Artist Jill Newhouse Gallery, New York Eric G. Carlson Fine Prints, New York "Frederick (sic) Arthur Bridgman relocated from Alabama to New York with his family while still a youth. He was eventually employed as an engraver with the American Bank Note Company. He began studying art in his spare time inthe Art Schools of Brooklyn and the National Academy of Design in New York. He traveled to Paris in 1866 and became a favorite student of Gérôme which lead to Bridgman's exhibition in the Paris Salon in 1868. He made France his permanent home in 1870, and spent his summers on sketching tours of Brittany. He exhibited with the National Academy of Design in 1871. He lived in Egypt in 1873; scenes from Egyptian antiquity were prominent in his work. Bridgman's talents extended to writing and music; he was a noted composer and musician. The artist died in Rouen, France, in 1928." Courtesy SAAM (Smithsonian American Art Museum) "Frederick Arthur Bridgman was a well-known landscape and historical painter. He is most admired for his Orientalist subjects, including views of North Africa, in particular Egypt and Algeria, and his scenes from Ancient Egyptian history. Although born in Alabama, Bridgman came from a Yankee family. After the death of his doctor father and amid the mounting tension before the Civil War, the Bridgmans returned to their native New England, settling in New York. Young Frederick showed artistic gifts and was apprenticed as an engraver to the American Banknote Company. He attended evening classes at the Brooklyn Art Association at the same time. He also studied at the National Academy of Design, where he met Harry Humphrey Moore and Thomas Hovendon. In these early years, Bridgman exhibited at the Brooklyn Art Association. Bridgman travelled to France, where he visited Pont Aven, the artists’ colony in Brittany frequented by Paul Gauguin and Emile Bernard as well as a circle of American painters around the Philadelphian Robert Wylie (1839-1877). Bridgman also studied in Paris with Jean Léon Gérôme at the Ecole des Beaux-Arts. Bridgman made an important reputation for himself in France at the annual Paris Salons; in Britain, where he exhibited at the Royal Academy between 1871 and 1904, and in Germany, where he showed at the Grosse Berliner Kunst Ausstellung. His work was included in the American displays at the 1889 Universal Exposition held in Paris. In 1872 Bridgman travelled to Spain and North Africa in the company of a British artist known only as ‘S’. In the winter of 1873-4 he made a second trip, visiting Egypt in the company of fellow American artist Charles Sprague Pearce. Bridgman married a young Bostonian, Florence Mott Baker; the deterioration of his wife’s health from the terrible inherited neurological disorder Huntington’s Chorea led him to return to Algiers in 1885 for a respite for them both in a warm climate. He wrote a fascinating travel narrative describing his journeys in North Africa, Winters in Algiers, published in 1888 and illustrated with woodcuts from his works. Bridgman’s great success culminated at the Paris Salons of 1877, 1878 and 1879 with a trio of paintings portraying life in the ancient Near East...

Watercolor on paper, signed lower right Agustus Knoller and dated 1884. Inscribed on the reverse in pencil "This trotting came off Aug 15th 1884 at Belmont Park near Manayunk." This ...

Highland Cattle Watering is a landscape/cattle painting, late 19th century/early 20th Century by Scottish artist Douglas Cameron. This is an oil painti...

Known for his Highland landscape paintings, Garland was well regarded among his peers presenting work in the Royal Academy, Royal Society of British Artists, and British Institution. Signed by the artist on the lower left corner, and dated 1876 (verso), this painting dates to Garland's successful mid-career period, flourishing from 1854 when he won a medal for 'Best Drawing from the Life' to 1900. From a private collection, this work is presented in a monumental period gilt frame. Garland's work has been presented in London and UK, sold in galleries and in prominent auction houses. Oil on canvas, this painting has cloudy mountain views, gleaming silver river, and Highland cattle in the foreground and background, with figure and herding dog in the distance. Garland is renowned for this genre of plein art...

Fine large 19th century French oil on canvas depicting chickens in a farmyard, by Charles Marechal. Excellent quality work, presented in its original oak frame with gilded gesso deco...

A Still Life with Sparrow and Grapes Artist 19th century European School Signature: Verso signed and dated 1883 Medium: Oil on panel Dimensions: Image size 23 x 18 cm, frame size 3...

Otto Norquist (1859-1906) "Gordon Setter in a Landscape, 1890" Oil on canvas 22 x 27 inches Signed and dated 1890, lower right Otto Norquist was born in...

19th Century Dutch

LE ROY Jules Gustave (1853 - 1922 ) Cat and Kitten on the Desk Oil on canvas signed low left Old Frame regilded with leaves Dim canvas : 46 X 38 cm Dim frame : 58 X 50 cm LE ROY Jules Gustave (1853 - 1922 ) French painter 19th-20th century. Jules Le Roy...

Artist/ School: English School, late 19th/ early 20th century. The painting came from a large collection of works by one artist. A very few of them are signed what looks to be 'F. Wa...

Two Cats, by Arthur Heyer Oil on canvas 21.5 x 27 inches Arthur Heyer was born in Haarhausen. He studied at the college of applied arts in Berlin. In 1...

Oil on canvas with original frame. Total size with frame 42x49x7 cm Signed H. Baes (Belgian Artist from 19th century)

River Landscape Painting of the Scottish Highlands by 19th Century British Artist, Alfred De Breanski Snr, (1852 - 1928). Signed on the front (l...

A delightful oil study of two Papillon dogs resting on a green cloth and looking curiously behind us. Unsigned. On canvas paper.

Antique Dog Painting "The Bulldog and the Fly" Auguste Vimar (France, 1851-1916) Gouache on paper Circa 1900 7 1/4 x 9 3/4 (13 1/2 x 16 frame) inches An amusing study of a bulldog in a stable on a horse blanket staring at a bothersome fly. Auguste Vimar was a French painter, sculptor, designer and illustrator though he is best known for his talents as an illustrator. He illustrated great classics like La Fontaine's Fables or books by his friends, such as L'Arche de Noé by Paul Guigou...

Fabulous 19th Century oil on canvas portrait of a child with their dog. It is signed and dated 1872 underneath the gold matting. I cannot decipher the signature. Painting could be ei...

Artist/ School: Sidney Yates Johnson, British circa 1900. Title: The Close of the Day, fine late Victorian Scottish Highlands landscape at sunset, with sheep along a river valley p...

Oil on canvas with frame. The total size with frame is 109x90 cm

Charming 19th-century painting of two Cairn Terrier puppies playing in sewing basket by Katherine L. Fitz (American, 19th Century). Written on verso, "Pa...

Oil on cardboard mounted on canvas, signed lower right Image size: 9 x 7 1/4 inches (23 x 18.5 cm) Original gilt frame This painting shows a horse standing in profile in front of, w...

Artwork on canvas Empire style frame in plaster and gilded wood 49.7 x 58 x 5.5 cm

Walter Shirlaw (1838 - 1909) The Coming Storm Oil on canvas 18 x 26 inches Signed lower right Exhibited: The Boston Art Club. Walter Shirlaw, born on August 6, 1838, was only three (fourteen according to one obituary) when he came to Hoboken, New Jersey from his place of birth, Paisley, Scotland. As a young man, he found work as a bank note engraver, a profession that he continued in Chicago, where he lived between 1865 and 1870. But already in 1861 he was exhibiting genre paintings at the National Academy of Design. In 1868, Shirlaw was a member of the Chicago Academy of Design, which would become the Art Institute of Chicago, after changing its name from the Chicago Academy of Fine Arts. Shirlaw spent the years 1870-77 in Munich, at the height of the movement led by Wilhelm Leibl in which a low-keyed, dark palette, combined with bold, virtuoso brushwork, were applied to realist subject matter. Michael Quick (in Quick, Ruhmer, and West, 1978, p. 28) defined the time of Shirlaw's arrival (1870-73) as an especially experimental period in progressive German painting. Shirlaw's teachers, however, sided with tradition. The genre painter Arthur Ramberg (1819-1895) and Wilhelm von Lindenschmidt (1829-1895), his successor at the Munich Academy, taught Shirlaw composition. The painter of genre scenes and landscapes, Alexander von Wagner (1838-1919) was Shirlaw's teacher in painting. T. H. Bartlett (in American Artists and Their Works, 1889, vol. 1, p. 23) mentioned that Shirlaw regarded Leibl as too realistic. Shirlaw won a scholarship at the Academy in 1874, the year in which he executed Toning the Bell (Art Institute of Chicago). Meanwhile, he was active as one of the "Duveneck Boys" in Polling. Sheep Shearing in the Bavarian Highlands (Private collection), painted under Lindenschmidt's direction in 1876, is regarded as one of Shirlaw's most important pictures. He exhibited it upon his return to America at the National Academy in the following year; in 1878, it won an Honorable Mention in Paris. In 1877, the second school year of the Art Students League, Lemuel E. Wilmarth announced that he would be returning to teach at the NAD. Frank Waller (1842-1923) took over as president of the ASL, and Shirlaw was hired to teach painting and drawing. The appointment was endorsed by Waller: "In Munich . . . he was regarded as one of the strongest of the American students and had the strong personality which would attract and influence others to have confidence in him, was so genuine in his artistic impulses and in his interest in the development of art in this country. . . ." (quoted by Landgren, 1940, p. 32). The hiring of Shirlaw and William Merritt Chase seemed to signify a preference of Munich over Paris among the members of the Art Students League, however, while Chase was under Leibl's spell, Shirlaw was strictly academic. During the fourth season at the ASL, Shirlaw taught composition. Thomas Wilmer Dewing...

Alfred Schönian (1856-1936) Germany Rooster With Hens and Ducks by a Pond oil on panel signed A.Schönian München panel dimensions 6.29 x 9.44 inc...

A French Chasseur a Cheval de la Garde Imperiale, drinking outside an Inn or Pub. Frank Moss Bennett was born in Liverpool, England on 15 November 1...

Wonderful signed oil on panel cattle and figures in landscape by French impressionist painter Jean-Francois Raffaelli. The work depicts oxen being loaded onto ships in Honfleur, France en route to England. Signature: Signed lower right Dimensions: Framed: 18"x16" Unframed: 9"x8" Provenance: Exhibition Jean Francois Raffaélli held at Galerie Simonson, 19 Rue Caumartin Paris - October 1929 (number 44) Jean-François Raffaëlli's father was a failed Italian businessman and Raffaëlli himself was, among other things, a church chorister, actor and theatre singer. He then studied under Gérôme at the École des Beaux-Arts in Paris. He travelled to Italy, Spain and Algeria and on his return to France settled in Asnières. In 1876, on a trip to Brittany, he first saw the potential of realist subject matter, if treated seriously. He became involved in meetings of artists at the Café Guerbois, where the Impressionist painters used to gather. As a result, Degas, contrary to the advice of the group, introduced Raffaëlli to the Impressionist exhibitions - according to one uncertain source as early as the very first exhibition, at the home of Nadar, and certainly to those of 1880 and 1881. In 1904, Raffaëlli founded the Society for Original Colour Engraving. He first exhibited at the Salon de Paris in 1870 and continued to exhibit there until he joined the Salon des Artistes Français in 1881, where he earned a commendation in 1885, was made Chevalier of the Légion d'Honneur in 1889 and in the same year was awarded a gold medal at the Exposition Universelle. In 1906 he was made Officier of the Légion d'Honneur. He was also a member of the Société Nationale des Beaux-Arts. In 1884, a private exhibition of his work cemented his reputation. He contributed to several newspapers such as The Black Cat (Le Chat Noir) in 1885 and The French Mail (Le Courrier Français) in 1886 and 1887. He published a collection entitled Parisian Characters, which captured his favourite themes of the street, the neighbourhood and local people going about their lives. In 1880 he participated, with Forain, on the illustration of Joris Karl Huysmans' Parisian Sketches (Croquis Parisiens). He also illustrated Huysman's Works. As well as working as an illustrator, he also made etchings and coloured dry-points. His early attempts at painting were genre scenes, but once he was settled in Asnières he started to paint picturesque views of Parisian suburbs. From 1879 onwards, his subject matter drew on the lives of local people. These popular themes, which he treated with humanity and a social conscience, brought him to the attention of the social realist writers of the time such as Émile Zola. In addition to his realist style, Raffaëlli's dark palette, which ran contrary to the Impressionist aesthethic, helped to explain the opposition of those painters to his participation in their exhibitions. More concerned with drawing than colour, he used black and white for most of his paintings. Towards the end of his life, he lightened his palette, but without adopting any other principles of the Impressionist technique. After painting several portraits, including Edmond de Goncourt and Georges Clémenceau, he returned to genre painting, particularly scenes of bourgeois life. Later in his career, he painted mainly Breton-inspired sailors and views of Venice. His views of the Paris slums and the fortifications, sites which have almost completely disappeared, went some way towards establishing a genre in themselves and perpetuated the memory of the area: The Slums, Rag-and-Bone Man, Vagabond, Sandpit, In St-Denis, Area of Fortifications. His realistic and witty portrayal of typical Parisian townscapes accounts for his enduring appeal. Born in Paris, he was of Tuscan descent through his paternal grandparents. He showed an interest in music and theatre before becoming a painter in 1870. One of his landscape paintings was accepted for exhibition at the Salon in that same year. In October 1871 he began three months of study under Jean-Léon Gérôme at the École des Beaux-Arts in Paris; he had no other formal training. Raffaëlli produced primarily costume pictures until 1876, when he began to depict the people of his time—particularly peasants, workers, and ragpickers seen in the suburbs of Paris—in a realistic style. His new work was championed by influential critics such as J.-K. Huysmans, as well as by Edgar Degas. The ragpicker became for Raffaëlli a symbol of the alienation of the individual in modern society. Art historian Barbara S. Fields has written of Raffaëlli's interest in the positivist philosophy of Hippolyte-Adolphe Taine, which led him to articulate a theory of realism that he christened caractérisme. He hoped to set himself apart from those unthinking, so-called realist artists whose art provided the viewer with only a literal depiction of nature. His careful observation of man in his milieu paralleled the anti-aesthetic, anti-romantic approach of the literary Naturalists, such as Zola and Huysmans. Degas invited Raffaëlli to participate in the Impressionist exhibitions of 1880 and 1881, an action that bitterly divided the group; not only was Raffaëlli not an Impressionist, but he threatened to dominate the 1880 exhibition with his outsized display of 37 works. Monet, resentful of Degas's insistence on expanding the Impressionist exhibitions by including several realists, chose not to exhibit, complaining, "The little chapel has become a commonplace school which opens its doors to the first dauber to come along."An example of Raffaëlli's work from this period is Les buveurs d'absinthe (1881, in the California Palace of Legion of Honor Art Museum in San Francisco). Originally titled Les déclassés, the painting was widely praised at the 1881 exhibit. After winning the Légion d'honneur in 1889, Raffaëlli shifted his attention from the suburbs of Paris to city itself, and the street scenes that resulted were well received by the public and the critics. He made a number of sculptures, but these are known today only through photographs.[2] His work was also part of the painting event in the art competition at the 1912 Summer Olympics. In the later years of his life, he concentrated on color printmaking. Raffaëlli died in Paris on February 11, 1924 Museum and Gallery Holdings: Béziers: Peasants Going to Town Bordeaux: Bohemians at a Café Boston: Notre-Dame; Return from the Market Brussels: Chevet of Notre-Dame; pastel Bucharest (Muz. National de Arta al României): Market at Antibes; Pied-à-terre Copenhagen: Fishermen on the Beach Douai: Return from the Market; Blacksmiths Liège: Absinthe Drinker...

Artist/ School: Scottish School, circa 1900 Title: Loch Long Medium: oil painting on canvas, framed Size: frame: 22.25 x 32.25 inches ...

Artist/ School: E. S. England (British, active c. 1890-1910), signed lower corner. Title: The Huntsman and his horse. Medium: signed oil painting on canvas, unframed. canvas: ...

Carl Haag Erlangen 1820 – 1915 Oberwesel a. Rhein German Painter 'A Best Friend' Signature: Signed middle right Medium: Mixed media Dimensions: Image size ...

Wonderful late 19th-century animal portrait scene with Turkey, Chickens, and a Peacock. Monogrammed lower left the piece is very similar to the paintings of many animal painters fro...

"Waiting for Master" British School, 19th century oil painting on canvas, framed canvas: 26 x 32 inches framed: 29 x 35 inches Lovely quality Victorian oil painting, painted on thi...

Antique Dog Portrait of a Terrier "Sugar Nose" Carl Friedrich Deiker (German, 1836-1892) Circa 1870 Oil on wood panel Circa 12 1/2 x 11 1/12 ​Having mastered the feat of posing terriers with ​sugar cubes balanced carefully at the very tip of his sitter's noses, Deiker displayed the skill of an artist who deeply loved his subjects. Carl Friedrich Deiker specialized in depicting animal and hunting motifs. From 1864 until his death, he lived in Düsseldorf. His specialty was painting big game and wild boar and he was also skilled at the depictions of deer fights, fleeing big game – being pursued by the hunter - and the like. He also treated vultures and falcons, scenes from the life of foxes with excellent results. His painting, Sauhatz-Sow Hunt (1870), is in the Museum in Cologne. He has also supplied numerous drawings of hunting scenes for illustrated journals and hunting books. With his dramatic depictions of the hunt and his connection to the painting of the Rubens School, he is regarded as an important source of inspiration for the animal paintings of the Düsseldorf School. The highly regarded British animal painter Louis Henry Weston Klingender was a student of Deiker as was the remarkable Swedish animal painter Bruno Liljefors...

Allegory with parrot, capital, amphora and drapes is an original oil painting on canvas realized by the artist belongs to the Italian School of the Late 19th Century An esoteric sub...

Initialed upper right, 'C.N.' (Danish, 19th Century) and dated 1898. A late nineteenth-century oil composed with a fresh palette and finely-observed detail. This elegant feline stud...

This is an original and unique oil on canvas painting by the Belgian 19th century artist Julien Jos, who was active from 1890 -1910. He specialised in rustic genre scenes featuri...

This Victorian wooden string box is very intricately painted by hand. There are beautiful scenes featuring peacocks around the box and a peacock with outstr...

Antique and exceptionally rare and fine Portrait of 6 Dogs on Enameled Ceramic Maison Pichenot-Loebnitz France, ca. 1870. 25 x 8 (31 x 13 framed) inches This rectangular panel made of enameled ceramic was made by Jules Loebnitz in the second half of the 19th century depicts a suite of 6 very fine canines in a landscape setting. The Pichenot-Loebnitz factory was founded by Mr Pichenot, grandfather of Jules Loebnitz, in 1833. From 1841, Mr Pichenot created a new, innovative method of uncrackable earthenware panels for architectural mantels, winning a medal at the Exhibition of 1844. In 1857, Jules Loebnitz, an artist as much as an industrialist, became director of the factory. For his first major job, Loebnitz passionately collaborated with architect Félix Duban on the restoration of the Blois Castle, recreating the antique tiles of the mantelpieces. He then went to work with the most prominent architects of his times; Eugène Viollet-le-Duc, Laval, Charles Garnier, Just Lisch and Paul Sédille. A friendship was born in 1867 between Paul Sédille, the architect of the Printemps department stores and the Basilica of Bois-Chenu in Domrémy-la-Pucelle, and Jules Loebnitz that would lead to a tight, long-lasting professional, artistic, and intellectual collaboration. This was an important meeting between the theorist of polychrome architecture and the man who had pushed French ceramic art considerably forward, allowing for large, enameled earthenware plates decorated with very bright and long-lasting glass-like colors. Many architectural projects were born from the collaboration of Sédille and Loebnitz: World’s fair pavilions, apartment buildings, villas, hotels, and monuments. During the Great Exhibition of 1878, Paul Sédille created the door of the Palais des Beaux-arts, while Jules Loebnitz was in charge of the ceramic decoration of the facade. A reporter covering the 1878 World’s fair described the monumental door...

Artist: Thomas Hunt (English, 1854-1929) Title: "Unsold Cattle Returning from the Fair" *Signed and dated by Hunt lower right Year: 1883 Medium: Original O...

Horses with carriage. Oil on panel. 16.1 x 24.2 cm

This is a stunning artwork entitled a ‘Landscape with Highland Cattle’. It is circa 20th Century and is an original oil on canvas painting by the English Artist William Perring Holly...

“The ploughed horses break” Oil on canvas signed Michael Therkildsen, dated 1887. Monogrammed bottom right M TH and dated 1887. Danish school Exhibited at the universal exhibition ...

Artist: John Frederik Hulk II Title: Grazing Sheep Medium: Oil on Wood Panel Dimensions: Unframed 13.5" x 13.5" Framed 19.5" x 16" Frederik Hulk II paints a rural landscape. His careful brushstrokes create the fluffy, wool coats of the sheep as well as the detailed facial features in the foreground. These farm animals are dusted with bright and light. Behind them, Hulk’s forest provides a dark contrast as trunks and boughs crisscross and entangle. Hulk’s oil painting is both a playful and realist representation of 19th century Dutch landscape...

Original watercolor from a Victorian album by an unknown artist. English, circa 1860.

Arthur Heyer, 1871-1932 Oil on canvas, 22" x 27" Signed on the front. A bulldog is depicted guarding his bowl of food from a fluffy white cat, who keeps ...

This beautiful and vibrant 19th century American watercolor is an hommage by Paul de Longpré to the Alps, as it features a rich variety of Alpine flowe...

William Edward Millner was born in 1849 in Lincolnshire, and was a Victorian painter of landscapes and rustic genre. He worked his entire life ...

"The Good Shepherd" German School, circa 1900 oil painting on canvas, framed canvas: 19.75 x 24 inches framed: 25 x 30 inches Beautiful oil painti...

William Baptiste Baird: 1847-1917. Well listed American painter with auction records over $16,000 for similar size and subject. He was born in Chicago and lived in Paris for most of his adult life. He often exhibited at the Paris Salon as well as National Academy of Design and PAFA. This subject is what you want in a Baird. Chickens in a French farm yard. Oil on panel measuring 8 1/2 inches high by 6 1/4 wide. The antique distressed frame...

Artist: J. Bowker Title: St. Bernard Year: 1887 Medium: Oil on Canvas, signed and dated l.r. Size: 30 in. x 48 in. (76.2 cm x 121.92 cm)

English 19th century set of four oils on card, two horse racing scenes, and two-point to point scenes all in extensive landscapes. Edward Algernon Stuart Douglas...

A late nineteenth century polychrome painted panel, depicting a foliate and ornithological arabesque upon a white ground. Oil on panel, set within an ebonised frame.

Imogen Mary Collier (1873-1952) Portrait of Jerry and Dot Circa. 1895-1900 Oil on Canvas 49 X 42.5 Imogen Mary Collier (1873-1952) was born in 1873 at Whitchurch, Devon, England. She was the daughter of Mortimer John Collier...

Charles Augustus Henry LUTYENS (1829 – 1915, British) On the Scent c.1880 Unframed 50 x 84 inches Framed 64 x 98 inches Oil on Canvas Signed Provenance: Possibly commissioned by George William Coventry, 9th Earl of Coventry (1838-1930); thence by family descent; Croome Court House Sale, Worcestershire 1948 Lord Coventry was a keen huntsman having founded the North Cotswold Hunt in 1867 and in 1882 The Croome. Besides founding two Hunts, he also held the unique distinction of owning racehorses that won two Grand Nationals in consecutive years. Daphne Moore, the hunting correspondent writing about the Croome Hounds c.1950, emphasised the influence of Rambler as a perfect type of hound. ‘Who could have dreamed that in 1949 well-bred hounds in almost every kennel in England would have at least a trace of Rambler’s blood in their veins?’ … to the hound man The Croome and the name Coventry immediately recalls Rambler. Anyone who has seen his portrait by Lutyens, will remember him as being the perfect type of hound for any country…’ Charles Lutyens the artist spent his early adult life in the Army, joining the 20th foot and siled with them in 1850 to serve in Canada. In 1857 he left the army to take up life as a professional artist. He based himself at Onslow Square...