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Princess Victoria recorded in her journal her delight with Landseer's picture 'After my lesson Mamma gave me a portrait of dear Dash's head, the size of life, most beautifully painted by Edwin Landseer. Her mother, the Duchess of Kent, had chosen him to paint a picture of Princess Victoria's favourite spaniel Dash, as a birthday present in 1836, which was to be the first of many Royal commissions. Most importantly of all, from the point of view of Landseer's later career, reputation, and popularity, his work had also caught the attention of the young Princess Victoria, who was to succeed to the throne in 1837. Other notable collectors of modern art, such as William Wells of Redleaf, who was to become one of Landseer's closest friends, also prized his work.
EDWIN HENRY LANDSEER SERIES
A favourite in aristocratic circles, in which his personal charm was a considerable asset, he had already received commissions from such prominent figures as the 6th Duke of Bedford, for whom he had executed a series of family portraits as well as more ambitious historical works such as the Hunting of Chevy Chase (1825-6), the 3rd Marquess of Lansdowne, the 4th Duke of Atholl, the 1st Duke of Wellington, and the 6th Duke of Devonshire. His network of patrons included some of the most important collectors of his day.
EDWIN HENRY LANDSEER FULL
Landseer's prodigious talent was reflected in his unusually swift rise at the Royal Academy where he was elected an Associate in 1826, at the astonishingly early age of twenty-four, and later a full Academician in 1831. 2, 61, 65, illus.īy the time that Landseer exhibited this picture at the Royal Academy in 1836 he had already established a reputation for himself as one of the most precocious and individual talents of his generation and had shown in his work many of the qualities which were to make him the most celebrated painter of animals in Victorian England. 'Caccia al Quadro, La Raccolta Forbes alla Old Battersea House', Ad/Londra, 187, pp. Kelly, Highlights from the Forbes Magazine Galleries, New York, 1985, p. Johnson, 'The Treasure House', Riverside, January 1985, p. Wintersgill, 'Nineteenth Century pictures', Art and Auction, March 1984, illus. Hicks, 'Fruits of Capitalism', Antique, Summer 1987.ĭ. in colour.Īrt at Auction, The Year at Sotheby's 1983-4, London, 1984, p. Ormond, Sir Edwin Landseer, catalogue to the exhibition at the Philadelphia Museum of Art and London, Tate Gallery, 1981, pp. Lennie, Landseer: The Victorian Paragon, London, 1976, p. Millais, Mammals of Great Britain and Ireland, London, 1904-6, III, p. Manson, Sir Edwin Landseer, R.A., London, 1902, pp.168-9. Reminiscences of Life in the Highlands, privately printed, 1891, pp. 217.Ĭharles Augustus Bennet, 6th Earl of Tankerville, The Chillingham Wild Cattle. Graves, Catalogue of the Works of the Late Sir Henry Landseer, R.A., London, 1874, p. Stephens, Memoirs of Sir Edwin Landseer, London, 1874, p. Mann, interleaved copy of the catalogue to the exhibition at the Royal Academy, London, The Works of the late Sir Edwin Landseer, R.A., with extensive annotations and photographic reproductions of most known Landseer prints, III, p. Dafforne, Pictures by Sir Edwin Landseer, Royal Academician with Descriptions and a Biographical Sketch of the Painter, London, 1873, pp. Queen Victoria's Journal, 18 July 1836, unpublished.Ĭopyright agreement between Landseer and Henry Graves, 20 August 1867 (British Library, London, Add MS, 46140, f. Letter from Landseer to his sister Emma, undated, unpublished, noting that he is making good progress on a picture of 'Ld Osston, Horse, three dogs, dead bull, and Keeper, all large as life' (Sims and Reed, catalogue no. Letter from Charles Augustus Bennet, 5th Earl of Tankerville, to Landseer, 26th February 1833, unpublished, saying that he hoped Landseer will return to Chillingham to proceed with the picture (London, Victoria and Albert Museum, Eng.
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