The tradition of sporting art celebrates the culture of sport and field pursuits, focusing on the relationship between people, animals and landscape. Popularised in Britain during the 17th and 18th centuries it reflects aristocratic pastimes such as horse racing, hunting, shooting and fishing. Today sporting art remains an important visual record of this rich sporting heritage.
On Wednesday 22 April, we are pleased to present our auction of Sporting Art. The sale includes an impressive array of works by artists including John Russell, John Wootton, Richard Andsell and James Pollard. Here we wanted to explore the life and work of two of the greatest animal painters of the 19th century, John Frederick Herring Senior and Sir Edwin Landseer, taking a look at their collaborative work, The Village Blacksmith.
Sir Edwin Henry Landseer RA was an English painter and sculptor. He is considered perhaps England's greatest animal painter of the 19th century. He was particularly celebrated for his depictions of horses, stags and dogs. His works, hugely popular in his lifetime, and still recognised today, and can be found in public collections including the Royal Academy of Arts, National Portrait Gallery, Tate Britain, the Victoria and Albert Museum, Kenwood House and the Wallace Collection in London.
John Frederick Herring Senior was a painter, sign maker and coachman in Victorian England. After twenty years in London, having established himself as one of the most eminent sporting artists, Herring made an impulsive and rapid move to Kent in 1853. This is likely due, in part, to concerns about his health as he had suffered from asthma and bronchitis from his days as a coach driver. He finally settled in the fine Georgian mansion of Meopham Park. Surrounded by the beautiful landscape of the Weald of Kent, Herring concentrated almost entirely on the rural subjects that surrounded him. There is a greater freedom to the work of this period with a naturalistic style replacing the formality of the 'rocking-horse' racing portraits that he had become known for during his time in London.
Amongst the works in the auction by these two artists, we are thrilled to be offering the impressive work The Village Blacksmith (Shoeing of Imaum), which was painted by Herring, Landseer, as well as John Phillip. This method of collaboration was not unusual for Herring who often worked with other artists, including Thomas Faed, Henry Bright and William Powell Frith, as well as Alexander Rolfe. The inclusion of the work of Landseer is more unusual though and demonstrates the mutual appreciation between these two artists.
Executed in 1855, two years after his move to Kent, The Village Blacksmith represents Herring's finest work from this period, showcasing his more naturalistic style of painting. The white horse in the picture is Imaum, a remarkable horse who was originally given to Queen Victoria by the Imaum of Muscat, before being purchased by Herring following an auction at Tattersall's. Imaum went on to become Herring's favourite model, featuring in multiple works by the artist.
Features of the composition by Landseer include the hound and the blacksmith. The dog, standing to attention, highlights Landseer's mastery in studied anatomy; while the blacksmith, and in particular the texture of his hair and his muddy boots, is very typical of the artist's work.
John Phillip - also known as 'Spanish Phillip' for his depictions of Andalusian peasants - painted the blacksmith's wife. She can be seen on the right of the scene, entering the stable with a basket. This section of the picture was painted on a separate piece of canvas and cleverly inserted into the composition by Herring who subsequently painted the superb still-life elements of the smith's tools.
Wednesday 22 April 2026, 10.30am BST
Donnington Priory, Newbury, Berkshire RG14 2JE
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