James Ward

Property of another owner James Ward, RA (British, 1769-1859) Sir Richard Sutton's chestnut hunter signed with monogram and dated '1824' (lower left) oil on panel 12 x 16in PROVENANCE: Sir Richard Sutton; with Vicars Brothers, London; purchased from the above, 27 June 1957. Sir Richard Sutton, 2nd Baronet (1758-1855) of Norwood Park in the county of Nottingham was a great sportsman, some say that in hunting and shooting he had no equal, and he is thought to have spent upwards of 300,000 pounds in the pursuit of foxhunting. He was Master of the Burton Hunt (1824-42), Master of the Cottesmore Hunt (1842-47) and then Master of the Quorn from 1847 until his death in 1855. The original Vicars Brothers invoice accompanies this lot.

Description: James Ward, British 1769-1859- "The Victory of Lord Duncan", after John Singleton Copley, publ by John Singleton Copely Friday 1 August 1800; mezzotint, 56x76cm: Samuel Cousins ARA, British 1801-1887- "1 May 1851", after Franz Xaver Winterhalter, publ by London Nov 6th 1852 by Colnaghi & Co 13 & 14 Pall Mall East; mezzotint, in a glazed gilt composition Empire style... More James Ward, British 1769-1859- "The Victory of Lord Duncan", after John Singleton Copley, publ by John Singleton Copely Friday 1 August 1800; mezzotint, 56x76cm: Samuel Cousins ARA, British 1801-1887- "1 May 1851", after Franz Xaver Winterhalter, publ by London Nov 6th 1852 by Colnaghi & Co 13 & 14 Pall Mall East; mezzotint, in a glazed gilt composition Empire style frame, 53x56cm., (2) Provenance: From the collection of The Estate of the Hon Christopher Lennox-Boyd Estimate: £300 - £400

James Ward, R.A. (London 1769-1859 Cheshunt) Study of Matilda Ward as a young child signed with monogram and inscribed 'Matilda Ward.' (lower left) pencil, on paper, unframed 6¾ x 4¾ in. (17.3 x 12.1 cm.); An unframed study of Emma Ward sleeping; A study of another Ward child; An unframed study of toys made by Rees Daniel, the blind toy-maker at Glastonbury; and An unframed study of an interior with figures celebrating, some signed with the artist's monogram and all by the same hand (5) JAMES WARD, R.A. (LONDON 1769-1859 CHESHUNT) (Lots 850-853) In a review of an exhibition of drawings by James Ward and Walter Greaves at Spink & Son in 1940, the writer was struck by the compass and variety of Ward's work. In his words James Ward is revealed as an artist of a far wider range than is usually attributed to him. In these sensitive and often charming drawings the cross-currents of the English art of the period make themselves felt (see E. G. Phillips, 'Drawings by James Ward and Walter Greaves', Burlington Magazine, LXXVI, no. 446, May 1940, p. 166). For other works by James Ward, R.A. see Andrew Wyld: Connoisseur Dealer, Part I; Christie's, King Street, 10 July 2012, lots 112-118.

James Ward, R.A. (London 1769-1859 Cheshunt) Corn stooks signed with initials 'JWD RA' (lower right) pencil on paper 10¾ x 14¼ in. (27.4 x 36.3 cm.) James Ward (Lots 112-8) In a review of an exhibition of drawings by James Ward and Walter Greaves at Spink & Son in 1940, the writer was struck by the compass and variety of Ward's work. In his words James Ward is revealed as an artist of a far wider range than is usually attributed to him. In these sensitive and often charming drawings the cross-currents of the English art of the period make themselves felt (see E. G. Phillips, 'Drawings by James Ward and Walter Greaves', Burlington Magazine, LXXVI, no. 446, May 1940, p. 166). London, W/S Fine Art, 2009, no. 62.

James Ward, R.A. (London 1769-1859 Cheshunt) A view in Somersetshire from Fitzhead, the Seat of Lord Somerville signed in monogram and dated 'JWARD -1805-' ('JWARD' linked, lower left) oil on panel 39¾ x 66 7/8 in. (101.3 x 170 cm.) Commissioned by John Southey, 15th Lord Somerville (1765-1819) and by descent, until 2004, when acquired by the father of the present owner. THE PROPERTY OF A GENTLEMAN K. Cave, ed., The Diary of Joseph Farington, New Haven, London, 1982, VII, p. 2683 (entry under Sunday, 16 February 1806). C. Reginald Grundy, James Ward R.A., London, 1909, p. 44, no. 308 or 309. O. Beckett, The Life and Work of James Ward R.A., Lewes, 1995, p. 202. London, British Institution, 1806, no. 31 or 40. This remarkable landscape, showing the extensive view from Fitzhead, near Taunton in Somerset, is an exceptional example of Ward's work, painted for one of the artist's most important patrons, the celebrated agricultural reformer, John Southey, 15th Lord Somerville (1765-1819). Executed in 1805, this sweeping panorama was painted in homage to Sir Peter Paul Rubens' celebrated View of Het Steen in the Early Morning (c. 1636; London, National Gallery) and was chosen by Ward to be exhibited along with its companion at the first exhibition of the newly founded British Institution in 1806. Having initially trained as an engraver, Ward developed a reputation as a mezzotinter before he started experimenting in oils, perhaps influenced by his brother-in-law, George Morland. In 1803, Ward was invited by Benjamin West to the American's studio to see Rubens's View of Het Steen in the Early Morning, recently acquired by Sir George Beaumont for the colossal sum of 1,500 guineas. This encounter inspired a transformation in Ward's approach to landscape painting and he soon began work on his famous Fighting Bulls at St. Donat's Castle (London, Victoria and Albert Museum). Ward first met Lord Somerville in connection with an ambitious scheme to produce two hundred portraits of the significant breeds of cattle, sheep and pigs. Although the project ultimately proved to be a financial disappointment, Ward's work had impressed Somerville and he commissioned a version of the artist's large equestrian picture of George III on His Majesty's horse Adonis. Ward visited Somerville in Somerset to paint the two large panels of the Fitzhead estate and later travelled with him up to Roxburghshire, where he executed two further landscapes: Melrose Abbey and The Eildon Hills and the Tweed (Edinburgh, National Gallery of Scotland). John Southey, 15th Lord Somerville, was born at Fitzhead Court, Somerset, in 1765. After his education at Harrow and St. John's College, Cambridge, Somerville left for his Grand Tour in 1785, stopping first at Nice where he met Francis Russell, 5th Duke of Bedford, who was to become a lifelong friend, sharing his enthusiasm for agricultural reform. During the Napoleonic wars he became colonel of the West Somerset yeomanry. He succeeded to the title in 1796, on the death of his uncle, and was elected a representative peer of Scotland in the House of Lords. In 1793 Somerville was appointed one of the first members of the Board of Agriculture, and in 1798, through Pitt's influence, he was elected president. In 1799 Somerville became a Lord of the King's Bedchamber, and this brought him into close contact with George III, who took a keen interest in agriculture. Apart from the King, who was responsible for introducing merino sheep into England in 1788, Somerville became the largest breeder and owner of merinos in England. He also devoted much time to the development of agricultural implements and had a notable success with the improvement of his double-furrow ploughs. Somerville was an original member of the Smithfield Club and, in 1802, he started his annual show of cattle, sheep, and pigs in London. These shows were supported by the leading agriculturalists of the time and were the forerunners for later royal agricultural shows.