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Lot Essay
Thomas Blinks is among the best known and most highly regarded of those who painted sporting dogs in the late nineteenth century. Despite opposition from his father Blinks finally followed his artistic leanings and although he received no formal training, his understanding of horse anatomy and action was learned from observation at the horsemarket Tattersalls. He first exhibited at the Dudley Gallery in 1881, the Royal Society of British Artists in 1882, and regularly at the Royal Academy from 1883-1910. This is one of the best examples of his work, combining accuracy of observation with freedom of brushwork and a polished finished. He is also able to capture the expression, anatomy and coat texture of sporting dogs.
Blinks has used a pyramidal composition to emphasise the alertness of the central dog in contrast to some of his sleeping companions. He has also lowered his viewpoint which enhances the nobility of the animals and presents this portrait on a monumental scale. The rich coloration of the dogs and the attention to the details of the landscape are very typical of his work. William Secord comments on this picture, 'Effectively silhouetted against the undergrowth, the artist's careful rendition of the dogs' lustrous coat texture is characteristic of his work. Note the Irish Setter whose attention is drawn to the beetle in the foreground.' (op. cit., p. 363).
The painting includes English and Irish setters, both of which are thought to have originated from the same stock. Early sporting writers referred to them as 'setting' Spaniels in order to distinguish them from 'springing' Spaniels. In time, the setting variety was bred larger with a view to speed. The English Setter as a distinct breed was largely developed by Edward Laverack, who from about 1825 produced top English Setters. About the same time R.L. Purcell Llewellin, another noted English Setter breeder, crossed these with a strain from another part of England. Most modern English Setters derive either from the Laverack or Llewellin types.
The Irish Setter became popular in the eighteenth century in Ireland, the early dogs often being red and white. The first solid red appeared in Ireland around 1810. This breed did not become popular in England until 1880.
Blinks has used a pyramidal composition to emphasise the alertness of the central dog in contrast to some of his sleeping companions. He has also lowered his viewpoint which enhances the nobility of the animals and presents this portrait on a monumental scale. The rich coloration of the dogs and the attention to the details of the landscape are very typical of his work. William Secord comments on this picture, 'Effectively silhouetted against the undergrowth, the artist's careful rendition of the dogs' lustrous coat texture is characteristic of his work. Note the Irish Setter whose attention is drawn to the beetle in the foreground.' (op. cit., p. 363).
The painting includes English and Irish setters, both of which are thought to have originated from the same stock. Early sporting writers referred to them as 'setting' Spaniels in order to distinguish them from 'springing' Spaniels. In time, the setting variety was bred larger with a view to speed. The English Setter as a distinct breed was largely developed by Edward Laverack, who from about 1825 produced top English Setters. About the same time R.L. Purcell Llewellin, another noted English Setter breeder, crossed these with a strain from another part of England. Most modern English Setters derive either from the Laverack or Llewellin types.
The Irish Setter became popular in the eighteenth century in Ireland, the early dogs often being red and white. The first solid red appeared in Ireland around 1810. This breed did not become popular in England until 1880.