Print Specifics:
- Type of print: Etching - Original antique print
- Year of printing: not indicated in the print - actual: 1886
- Original artist: Ward
- Etched by: Murray
- Editor: Philip Gilbert Hamerton
- Condition: 2 (1. Excellent - 2. Very good - 3. Good - 4. Fair)
- Age toning of paper, slightly darker in reality than in the photo.
- Printing plate mark around the image present.
- Small lighter area along the top edge at right corner.
- Dimensions: 10 x 13 inches, including blank margins (borders) around the image.
- Paper weight: 2 (1. Thick - 2. Heavier - 3. Medium heavy - 4. Slightly heavier - 5. Thin)
- Reverse side: Blank
Notes:
- Green color around the print in the photo is a contrasting background on which the print was photographed.
- 1 inch = 2,54 cm.
An excerpt from the description that accompanied the print:
- Nevertheless, so great was Ward's reputation at the period
of which I speak, and so faithful is the hero-worship of art-students,
that not a few of my comrades left the school, and made excuses for
crossing the path of the Keeper and his visitor in their tour through
the Schools of Painting and the Life, which then sufficed for the whole
pictorial curriculum of the Academy. It was then I saw at whole
length, so to say, one of the greatest and most masculine artists of
the English school, an animal painter with whom, except in the
achievements of his youth, Landseer was not fitter to be compared to
his advantage than lago with Cassio, as the former esteemed himself to
be comparable. The portly, long-bearded, Hessian-booted old
gentleman we students crossed and re-crossed was beyond comparison, so
far as thorough knowledge and hearty sympathy with beasts
qualified him to be such, the best artist of this category since
Snyders, while following his master Rubens, contrived to become.
- In some respects, but with very limited designing
powers and great inferiority in regard to the number of animals of
which his knowledge approached finality, Stubbs equalled Ward as an
animal-painter; but Stubbs hardly got beyond horses and dogs, nor was
he very great with respect to the latter, whereas Ward's horses—witness
the famous life-size white horse we saw lately at the studio of Mrs.
Henrietta Ward, his grand-daughter -- are as elegfant and vigorous as
Stubbs' superb Whistlejacket itself, which represents a life-size
golden bay, is the property of Earl Fitzwilliam, and one of
the greatest ornaments of magnificent Wentworth Woodhouse.
Stubbs' Whistlejacket is a figure so beautiful
and refined that no Greek painter would have been ashamed to
claim it as his own. Ward would have painted the same horse with
equal elegance and spirit, with greater solidity and more
resources. Ward painted lions, boars, cats, pigs, bulls, cows,
rams, sheep, goats, dogs, reptiles, birds of prey, swans,
poultry, and what not else? I say nothing
of boys and girls, whom he depicted with all the Englishness of
Morland, his first model ; and he painted a pretty woman, full of
homely life and tender simplicity, better than Morland could, which is
saying a good deal; in this respect he nearly touched Leslie,
who, however, recognised refinement in
the charms of his pretty women more than Ward could.
-
[Source, The Portfolio for 1886, pp. 11.].
- NOTE: PHILIP GILBERT HAMERTON (1834—1894)
was an English artist and author. In 1866 he published his standard work
on Etching and Etchers. He was also an art critic to the Saturday
Review. In 1870 he established an art journal of his own, The Portfolio,
a monthly periodical, each number of which consisted of a monograph upon
some artist or a group of artists, frequently written and always edited
by him. The monographs were accompanied by the original prints taken from
the plates, etched by the eminent etchers of the day solely for the purpose
of being published in The Portfolio.
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