f(t?t.;rttjtm=ir - THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES •'-juuuiait: 'James Ward, R.A. DEBENHAM ^ FREEBODY'S EXHIBITION ^ SALE OF ANTIQL^ES A ROYAL STUART CABINET. A matchless and historic Antique Ebony Cabinet, inlaid with finest needlework, showing panels worked in crimson and green on a ground of ivory coloured satin. Formerly the property of His Majesty King James I. Size: 4 feet 6 inches high, 3 feet wide, 15 inches deep. THIS CABINET IS A TYPICAL EXHIBIT OLD ENGLISH EMBROIDERED PICTURES AND SAMPLERS. OLD BROCADES. DAMASKS AND \ELVETS AND MANY OTHER INTERESTING ANTIQUES. Also .\ portion of the collection of Old Embroideries oi the late Mrs. Hailstone, which includes an exquisite Panel of King William and Mary, wrought by her own hand. Many specimens of Old Embroidery and Samplers from the late Mrs. Conyer Morreil's collection, including- fine pictures in Black Silk and Hair, of unusual interest. Collectors and visitors to London are specially invited to the Antique Gallery on ground Jioor. WiGMORE Street, London, w. y antes Ward^ R..1. THEIR MAJESTIES- SILVERSMITH and DRESSING CASE MANUFACTURER. Ladies' and Oentlemen's Fitted Dressing Cases. Suit Cases, and Travelling Bags, from £5 to £200 LADIES' MINIATURE MOTOR AND TRAIN BAGS A SPECIALITY. J. C. VICKERY 179, 181, 183, Regent Street LONDON, W. Special Display of Exclusive Novelties for XMAS GIFTS Now on View. A VISIT OF INSPECTION INVITED. P. i886. - Gentlemen's 24 in. Solid Crocodile Skin Dressing Case fitted Sterling Silver and finest African Ivory. AUCTION SALE PRICES Supplement to "THE CONNOISSEUR." Quarterly Record of Prices Realised at AXN^UAL SUBSCRIPTION £1. Auction. Invaluable to Collectors. BY POST £1 is. 5/- nett The next issue will be on Sale on JANUARY 1st, 1910. Obtainable from all "Booksellers and bookstalls, or "THE CONNOISSEUR" MAGAZINE CARMELITE HOUSE. CARMELITE STREET. E.C. parries Ward^ R.A. MAPLE & CO Ltd Fine Art Galleries Tottenham Court Road London BASEMENT. (^intiques) GROUND FLOOR. (Oriental) FIRST FLOOR. T*tctures SECOND FLOOR. (China) Old Furniture Porcelain Plate Tapestry- Needlework and a varied collection of Curious Interesting and Artistic Objects. Oriental Bronzes Porcelain Ivories Carved and Inlaid Work. Textiles Colour-prints Lacquer Work Screens Embroideries Antique Rugs. Oil paintings water-colour drawings colour-prints mezzotints etchings en- gravings. (Artistic framing and reproductions of antique frames.) Enu;lish and Continental China and Faience, Modern Bronzes. ' Maple ^ Co.^s Qalleries contain a very large and repre- sentative Collection. T'he objects are of a high order of artistic excellence. l^he prices are regulated as in all other departments of the Mouse. They are rigidly business prices., not artificially inflated., and demand the attention of all amateurs of taste and of moderate means. James Ward, R .1. LAWRENCE & THOMPSON Dealers in Antique Furniture, Established about 1830. China, Glass, &c. Enquiries Solicited. TAUNTON Antique Iron Deed Box, finely engraved inside, with fine old catch lock, padlocks, etc., com- plete. Price on application. OLIVER BAKER For Old and Interesting ENGLISH FURNITURE, PEWTER. IRONWORK. ETC.. AND QUAINT OLD DOMESTIC OBJECTS. 7^ Opposite Post Office. Stratford- on -Avon. GEO. CAMPION Antique Oak^ ^ Chuui Dealer Rare and Choice Specimens of Antiquity in Clocks and Hron^es □ Chippendale and Oak Furniture D Old English Glass and China I — I Old Sheffield Plate and Silver i — i I— J Antique Brass of every description I — I Water Coloured Drawings by the best local Artisis. Also Baxter Prints. :■ Old Furniture Restored. Inspectioa respectfully iavited. Commissions executed. 99 Church Street, WHITBY Jo H.M. King Edward VII. To H.M. Queen Alexandra, To H.R.H. The Prince of Wales. To H.R.H. The Princess of Wales, By Appointment. W. EMERSON n D Qourt jeweller a n 32 & 34 Norwich Street DEREHAM, Norfolk Call and see the t^nique collection of antique Jewels, Silver, China. &c. iF-rouwwrr-TO-BUYoH-SELL- <^^^^^^77^^ :old:stanne5: xhurcmyard: :yifLSCHE5jTER\ OTD01-C0MPR.!>f-3- 5ooo-5''Aa-«nicL£5*or*irfrB)E5T- -TD-COaECTCniS- MISTORIC PENRhyn old hHLL ■ fnxo3 -Txt-LftRcEST-STrcn-w-TWE-pisntia- ■5unABt£.R«-AE-roRni5t1EB-0'WEWIE-r.Wt5 ■ 'f-RErtM.''uui.fp iCtft-aCiiCnEO-AnO-OT^fnLI-ClWPPCD- R. MORRELL, 45 Gold St. & 60 Mareiair NORTHAMPTON. ASTBURY FIGURE QUEEN ANNE TANKARD (front view), made for 1706 Extinguisher. Time 1750 to 1760 26 ozs. Height 44 inches. ASTBURY FIGURE (back view) for putting out burning tinder. y antes Ward, R.A. Waring & Gillow REPRODUCTION of a FINE OLD COFFER from BEAUMONT COTE HOUSE, LANCASTER. T>ait about 1720. To be seen in the GALLERIES of the GILLOW SECTION Waring & Gillow, Ld, 164/180 Oxford St., London. >w<'x IVard, R.A. F. W. PHILLIPS The Manor House, HITCHIN. IT is 40 miles from King's Cross, G.X.Ry. IT is 90 minutes from Town by Motor Car. IT contains 80 rooms full of lovely old furniture. IT contains a collection of pottery and porcelain only equalled by the London museums. IT contains nothing that is spurious or " doctored." IT is essentially a place for collectors with small means and artistic tastes. Everything is plainly labelled with the date and price, and is guaranteed. yames Ward^ R.A. F. W. PHILLIPS The Manor House, HITCHIN. Chiminc Clock. C. 1700, Satinwood Inlaid. Writing Tnble. C, 1775. ILLUSTRATED CATALOGUES ON APPLICATION. "James J fa rd, R.A. T II K !■: K HOURS FROM I, O N D O N 14 NORTHERNHAY PLACE LONDON INN SQUARE IHK TEMPEST— Shakespeare. Miranda and Caliban, signed and dated 3S37, by James Ward. R..\. 2,v300 ipicturcs to select from Collected principally in Devon and Cornwall IRarc collection of Enoravincit^ ^ i£tchino5 late o( 22 /ln;^ll^all:n Stioct. Eyetev Customers in all parts of the World PLEASE NOTE CHANGE OF ADDRESS 5. Spratt The NotcJ Fine Art din/ Curiosity Dealer Eight Original Sketches hy R. Dudley, re- presenting the laying of the cable by the Great Eastern from the Medway to the chairing of Mr. Canning at Hearts Content, Newfound- land. Mr. Clifford and Mr. Cyrus Field were also subsequently elevated — a unique and interesting series being likenesses of the :: :; Principals concerned therein. :: :: •l^ XlCCni5C^ Valuer an& Commission HOent communicate your wants and I win try to supply them ''Connoisseur" EXTRA NUMBERS 51- Paper Cloth 7/6 GEORGE MORLAND by ]. T. Herbert Baily JOHN DOWNMAN by Dr. G. C. Williamson FRANCESCO B ARTOLOZZI by J. T. Herbert Baily FRANCOIS BOUCHER by Haldane MacFall OLD SPORTING PRINTS by Ralph Nevill BRITISH MILITARY PRINTS by Ralph Nevill These Charming Gift Books, profusely Illustrated In colour and Monochrome, are still obtainable from all Booksellers, or (If 6d. for postage Is sent) from the Publishers : "The Connoisseur" Magazine,CarmeliteHouse,Carmelite St., E.C. VIII James Ward, R.A. "Chippendale" Table Damask ^ One of the latebt patteriib \n tlie ■' Period Damask Series" of our Irish hand. woven double-damask Table Cloths and Napkins, designed by an artist who has cleverly embodied all the characteristics of Chippendale's best period so as to perfectly harmonise with the furniture and decoration. PRICES OF TABLE CLOTHS. 2 X 2 yds. 2 X 2jyds. 2 x 3 yds. 2 x 31yds. 2J x 24 yds. 2J x 3 yds. 17/= 21/3 25/6 29/9 31/3 37/6 2)1 X 3iyds. 2j X 4vds. 2* x 4* yds. 2I x 5 yds. 24 x 6 yds. 43/9 50/= 56/3 62/6 75/= N.VPKINS Size J X 5 yd. Per 37/6 Doz. 'IPgbinson 156-170, Regent Street, London, w. Oitr Illustrated List of. Period Danuisks will be sent on appliaition. A GOOD SELECTION OF genuine Old €ngli$b furniture OF VARIOUS PERIODS. PRICE LIST POST FREE FROM I. W. Partridge, ALVECHURCH, Worcestershire. Jiuucs War J, R.A. J. <5 J. ASHFORD, Ltd. Antique 'Dealers and Collectors S AXM UNDH AM ONE OK THE LARGEST AND BEST ASSORTED STOCKS IX THE EASTERN COUNTIES Every Article marked in plain figures Etruscan Cinerary Urn. I'eriod :U.T<) B.C. Ltngtli, 17 inttieN , SUBJECT : The Combat between EteocleB and PoljmlceB. two of the Fniies aiding and abetting. f mni the collection of the f.tst l-.AKL OFCHAKLH.MON I W. J. McCOY 6 SONS, Ltd. "Dealer in Antiques BEI.FAST Geo. Pulman ^Sons ART AND MERCANTILE PRINTERS LTD. •AND' MANUFACTURING STATIONERS Telephones : 3660 Paddington. 366 Harrow P.O THE CRANFORD PRESS: 24, 25, 26, 27 THAYER STREET, LONDON, W. And WEALDSTONE. MIDDLESEX All the "Connoisseur" Special Publications: "LADY HAMILTON" " FRANCESCO BARTOLOZZI" "BOUCHER" "GEORGE MORLAND" " JOHN DOWNMAN " "NAPOLEON" "SPORTING PRINTS" "BRITISH MILITARY PRINTS" and "JAMES WARD " were printed at THE CRANFORD PRESS. E. HARRISON, ^7 duke street ' MANCHESTER SQUARE, W. Close to Wallace Collection.) WANTED. Genuine Old Hunting, Racing, and Coaching Paintings and Engravings. BURROW'S WORLD FAMED "ALPHA" BRAND MALVERN Address : THE SPRINGS, MALVERN. WATERS James Ward, R.A. STEINMANN & Co. '^"'liiTder^n Real Lace Specialists A BEAUTIFUL COLLECTION ALWAYS i)N ;VIE\V. :. , ,^-^.^- ^*.a# ^th^f ■' M (Specimen of Antique Point d" Anj^ltteirf i Lengths and pieces of every kind of Antique and Modern Real Lace. We have a fine collection, comprising specimens of the following. Prices from 21/- to jCioo. Point de Venise. "Brussels Point Gaze. Voint d'Alencon. Point d'Angteterre. Point de Flandre. Mechlin. Genoese. Milanese. "Burano. Irish, a Honiton, etc. Also Real Lace Berthes, ScarVes, Collars. Fichus, Handkerchiefs, etc. Illustrated Price List on Application. Goods sent for selection. Laces Valued, "Bought. Cleaned & Restored 185=186 'PICCADILLY, LONDON, fV. Established 1S65. 1st Floor, opposite the Albany ; not a shop. DEPOT OF ANTIQUITIES GENUINE ANCIENT Gold Fob Seals, Rings, Brooches, Watches in Tortoise- shell, Gold and Silver Embossed Cases, Miniatures, Prints, etc , Works of Art. CURIOS FROM ALL PARTS This Business has been established over a century WM. KAYE, 19&20SC0TLANE DONCASTER. ANTIQUE FURNITURE, CHINA, BRONZES, IVORIES, CURIOS, & ORIENTAL ART GOODS F. W. PALMER 80 bruntsfip:ld plack EDINBURGH Cbe County Jintique Galleries NORTHAMPTON. A set of sis siriall and une arm at a low price, covered in hair seating. ESTIMATES for decorating and Furnish- ing Free. Experienced advice in the arrangement of rooms where desired effect has not been accomplished. Proprietor : J. EVANS THOMAS. Also Agency for High Class County Residences and Estates. GIBSON 4& COMPANY -LIMITED- Goldsmlths and SIlTer&mlths by Royal Appointment Supply the Public direct at Manufacturers' Cash Prices, saving purchasers from 25 per cent. WalcJimakcrs to tin' Lords Commissioners of H.AI. Admiralty . Registered No. 258354 The Lucky White Heather Hrooch, Solid Fine Gold, with Whole Oriental Pearls, as used by Her Majesty the Queen and the Royal FannlieB of Europe, also by the Nobility and Gentry, as an emblem of good luck. Price £3 3s. To be had only from GIBSON .V CO DONEGALL PLACE, BELFAST XI y Klines Ward, R.A. A BEAUTIFUL XMAS GIFT. British Military Prints By RALPH NEVILL Piofusely Illustrated wdh over ONE HUNDRED PLATES in Colour and Monochrome after West. Copley, Mealh, Alkcn, Hayes, Hunsley, and other Military Painters. SPECIMEN ILLUSTRATION. PRICE: Paper Covers. 5 - nett ; Cloth Covers, 7 6 nett. Obtainable of all Booksellers and Bookstalls, or, if 6d. extra for postage is sent, from THE PUBLISHERS, CARMELITE HOUSE. CARMELITE STREET. E.C. XII James Ward, R.A. INTERNATIONAL THE "CHATS " SERIES ART SERIES <3i^ T^ractical Guides for Collectors Monographs hy well-known ^4rt Critics^ ELABORATELY ILLUSTRATED WITH REPRODUCTIONS IN COLOUR. PHOTOGRAVURE AND HALF-TONE Size Ui X \\\ inches. In Stiff Paper Covers. 5/= > REPRODUCTIONS COMPETITIVE PRICES Finely Carved ChippcnJale Pattern Arm Chair, in Silk. £4 18 Carved Walnut Arm Chair. I-'rom 35/- each. Ten in stock of similar design. Old Oak Settle, with Cushion Scat, £4 18 A Finely Carved Chippendale Pattern Arm Chairs, in Silk £S 5 each. T mm HE COLLECTOR will well repay himself by regular visits to these well-known Galleries ; also those seeking for odd pieces of Old Furniture to add to their home. ^ Many fine specimens of Antiques arrive daily, and are quickly disposed of at prices which are strictly competitive, being but a fraction ot usual dealers' prices GENUINE ANTIQUES PURCHASED OR TAKEN IN EXCHANGE JOHN BARKER tro ANTIQUE GALLERIES KENSINGTON W XVI James Ward, R.A. Q S < JAMES WARD, r.a His Life and Works With a Catalogue of his Engravings and Pictures, By C. Reginald Grundy LONDON Published by OTTO LIMITED CARMELITE HOUSE, E.C. 1 909 ^a tlj£ lonourable loljn timarti, ^M.d^., Whose fiindiiess in allowing his unique collection of Pictures, Studies, and Engravings by, and after James Ward, R.A., to be drawn upon for Illustrations, has provided this Volume with its most attractive features, this work is gratefully dedicated by the Author. Art library PREFACE . THE literature relating to James Ward is scanty — one or two magazine articles, some short notices in biographical dictionaries, a well written monograph by Sir Walter Gilbey in his work on animal painters, an anonymous biography relating to the artist's early career, published in 1807 — to which I shall refer later — and Mrs. Julia Frankau's sumptiously mounted volume, published in 1904, complete the tale. Of these, the last named work, though the most ambitious, and most elaborate, is unfortunately not the most accurate ; and much as I admire the fluent picturesqueness of Mrs. Frankau's narrative, I find myself in constant disagreement with the facts and conclusions set forth by that lady. I must confess, that my alterations are chiefly on the prosaic side ; thus, I have been obliged to prolong the somewhat reprobate existence of James Ward, Senior, for twenty years after the time Mrs. Frankau had killed him off — a chastened and penitent sinner frightened into sobriety and death by the apparition of his deceased brother. In like manner I have had to alleviate the hardships of Mrs. James Ward, Senior, by endowing her with only five children, instead of eight, to transform the " regal pomp and circumstance " of Ward's tours in Wales, for the Boydells, into commonplace and economical journeyings in a second-hand gig ; and by postponing, for nearly ten years. Ward's attempt to enter the Royal Academy as a student, to make his conduct, then, appear perfectly reasonable, instead of an exhibition of youthful petulence and conceit. A hundred other instances might be mentioned, but as lack of space forbids, I will content myself with giving, as a sample of Mrs. Frankau's methods, a single quotation from her book. It is taken from page 57, and forms part of a long tirade against James Ward for his treatment of his children, more especially of his son George. " George was persuaded, urged, forced eventually, to abandon art, to give up everything that had filled his life, and provided him with the means of subsistence, and . take to the manufacture of blacking ! ! " The only date Mrs. Frankau mentions in connection with this event is 1857. To the reader who has had his emotions excited by visions of a youthful stripling bullied into obedience by a stalwart middle aged father, it may come as a relief to know that in 1857, James Ward was a decrepit and tottering veteran of 88, while George, who had reached the mature age of 58, might be reasonably supposed to have outgrown parental control. It is improbable that at that time he could have been " forced " into the blacking factory, as it had ceased to exist for nearly twenty years. As a matter of fact George was never connected with it. It was an enterprise in which his brother Claude James persuaded their father to risk his savings and where he lost them for him. For the materials of my monograph, I am chiefly indebted to the generosity of Mrs. E. M. Ward, the painter's granddaughter, who placed at my disposal a voluminous mass of his letters and papers, and supple- mented them with her own interesting personal recollections ; while Miss Edith Jackson, a great-granddaughter of the artist, kindly lent me some of his diaries. 1 have drawn from the 1807 biography, already mentioned, some important details of Ward's early career, and have done this the more confidently, as from the characteristic phrases and turns of expression, contained in this work, and other internal evidence, I am convinced that it was produced under the direct inspiration of James Ward himself, if not actually written by him. I owe a debt of gratitude to those owners of pictures and engravings who have allowed me to reproduce the many interesting examples of the artist's work; and, in collating the list of engravings, must thankfully acknowledge the kind assistance of Mr. Fritz Reiss, and Mr. A. R. Johnson, who have made me free of their fine collections, and of Mr. Basil Dighton, Mr. Frank T. Sabin, and Mr. Ernest Leggatt, who have given me much valuable information, and last but not least of those officials of the British Museum whose patience and kindness in supplying my somewhat onerous requirements have been inexhaustible. VI, THE LIFE OF JAMES WARD, R.A. Chapter I. THE present year is the sixtieth anniversary of the death of James Ward, animal, landscape, and portrait painter, engraver, litho- grapher, and modeller. His disappearance left no gap in English art, for he v^^as then a veteran of ninety ; and, for a score of years or more, had produced little work that added to his reputation. He was in truth a survivor of the past, a straggler from the age of Reynolds and Gainsborough, and the newer art movement which was heralded by the advent of Millais, Leighton, and Watts, had in it no place for him. He was born in 1769, the year of the foundation of the Royal Academy, just at the time that English art was casting off leading strings, and establishing itself on a firm footing. Hogarth was but five years dead. Hudson and Ramsey were still fashionable portrait painters, Reynolds and Gainsborough had barely reached their prime, Romney was courting fame as an historical painter preparatory to his journey to Italy, and Stubbs was gaining larger sums by his canvasses and enamels of horses, than most of his brother artists could earn by painting portraits of men and women. Of Ward's future contemporaries, Beechey, lately apprenticed to an attorney, was cultivating art as a relaxation from the law, Hoppner had not left the nursery, Morland was still unbreeched, and Lawrence was a baby in long clothes. Six years were to elapse before the birth of Turner, seven before that of Constable, and sixteen before that of Wilkie. Ward was destined to survive them all, to live far into the Victorian era, to find his later work surpassed in popular estimation by the more taking pro- ductions of Landseer and Sidney Cooper, his engravings only remembered as curiosities, and the art of England diverted into new paths by the influence of the Pre-Raphaelite movement, and the impassioned writings of Ruskin. From the pages of Ward's own memoirs, and the lips of one or two who still remember him, his portrait can be drawn with tolerable accuracy. Nature had intended him to be a big man, but early privation, and premature hard work stunted his growth. He was broad and thick set, his head and shoulders would have suited a six-foot figure, and his limbs were of proportionate girth. He was big and vehement in his ways. When he sang the volume of his voice made the welkin ring and the glasses on the table quiver. He laughed boisterously, nor minded if it was at his own expense. His grand-daughter, Mrs. E. M. Ward, tells me that, when a Httle girl, dearly as she loved him, she dreaded his embraces, for he kissed with such gusto and opened his mouth so wide, it seemed as if he was going to engulf her. He spoke loudly, and with authority, and in whatever company he found himself, he dominated it with his presence. This was the more noteworthy because he was unlearned, having had but scant schooling, and his knowledge of reading and writing and power to express himself in fluent though loquacious English, were due to his own unaided eff^orts. After his boyhood he cared little for reading, except as a means of equiping his mental armory, especially as regards religion. Thus he knew the Bible by heart, was as well versed in theological literature as a clergyman, and very rarely opened a novel. The only one that made any impression on him, and that very late in life, was " Uncle Tom's Cabin." Poetry he must have studied to some extent, for he dabbled largely in verse, and in his ragged numbers there can be frequently traced the influence of Blake, and more occasionally that of Scott. Withal he was brimful of emotion, a pathetic ballad making him cry like a child, and any piteous tale unloose his purse strings, while an insult or wrong set him bristling with indignation. In some of his letters he complains of his sufferings with the unrestrained vehemence of a hysterical girl, and his language is no less forcible when applied to the sufferings of others ; but these were not the vapourings of a weak nature — a little stubble quickly set aflame and quickly put out — but rather the surface ebullitions of a fiery deep-rooted volcano, which the waters of adversity could not quench, and even old age could only slightly abate. No man was more fixed in his ideas, gave more free expression to them, or pursued them against powerful opposition, with such indomitable courage. Even in little matters such as dress he entirely disregarded convention. To the last he affected tights which showed off to advantage the well-shaped contour of his legs ; and having designed a great coat which suited his fancy — a drab-coloured garment reaching to his heels — he ordered his tailors to make all his future ones in similar fashion. When he grew his beard, at a time when beards were scarcely tolerated in polite society, he wrote a long pamphlet setting forth the moral and physical advantages of remaining unshaven, and insisted on reading it aloud, to a full assembly of his bored and yawning brother Academicians. Though temperate he was no teetotaler, taking wine at dinner, yet so rarely exceeding a fixed limit, that when, on one or two occasions, he drank four glasses, he chronicled the event in his diary. One of his bitterest complaints in the days of his old age and poverty, was that he was no longer in a position to give a glass of wine to a friend. For rank he had a profound respect, often sacrificing his own feelings rather than show a lack of deference to his titled patrons. Thus on one occasion he concealed the fact of the death of his infant son from a party of noble guests whom he was entertaining; but his was no cringing servility ; on matters of conscience or art he was adamant, as when executing some commissions at a certain country seat he borrowed a horse and rode six miles to attend a church service in defiance of the expressed wish of his host; while when George IV ventured to criticise the action of a trotting horse in one of his pictures, he browbeat the astonished monarch into owning himself mistaken. It is this trait of independence, which renders noteworthy the warm friendship tendered to him by so many noblemen, and shows that the man must have had many engaging and loveable qualities. Like most artists who achieve early popularity, and attain a ripe old age, Ward suffered first from the indiscriminating praise of the public, and afterwards from its neglect. During the first period his colouring was said to surpass that of Titian and Rubens, and his powers acclaimed as being VIU. / •'■ .'V /•V .-•-■ / // •'/ LOUISA (portrait OF MRS. GKORGF. MORI. AND, NEE ANNE WARD) Painted and Engraved by IT. Wui-d equal to perfecting vast and grandiose works that would have taxed the genius of a Tintoretto. His own aspirations, and his lack of trained critical acumen betrayed him into the same belief. His temperament was not wholly that of an artist, before everything he was a theologian. In his earliest boyhood, he pored over the pages of Bunyan's " Pilgrim's Progress," until the intense and fervid views of the Bedford tinker had become part of his nature. For a time his religion was a thing apart from his art. During the early part of his career he was either working as an engraver in translating the ideas of other men, or painting under the influence of iViorland, confining himself to the same class of subject as that artist, and only differing from him in regarding it from a higher, more sedate, and more moral standpoint. When, however, he had freed himself from tutelage, and found his strength, he gave his mysticism free vent, and in the intervals of producing realistic cattle pieces, powerful landscapes, and occasional, but always interesting essays in portraiture, he strove to express the innermost thoughts of his soul in huge allegories. In these he failed utterly. His art was wholly of the earth. He could paint anything that he saw ; but the embodiment of abstract ideas, or the representation of divine attributes were beyond his powers. These powers were neverthe- less great — limited in fact only by the extent of his imagination. The vast indefinite horizon of nature, as Turner perceived it, was beyond his vision, he had not the intense feeling of Constable for atmosphere, he could not impress a landscape with the glamour, the airy lightness, and the mystery of Gainsborough, but what he saw he realized perfectly. And, as in life he encountered much sorrow, and had from boyhood to face the sterner realities of existence — care and poverty and never-ending toil — so he regarded nature with melancholy eyes, that discerned its rugged and majestic features, rather than its softer beauties. Thus of all trees, he was most fond of the oak, not luxuriated with foliage, but gnarled and sere, he emphasised all the broken features of a landscape — the rocks, the clefts, and the surging inequalities of the hills — and delighted in skies serrated with masses of heavy cloud. Nature to him, was hard and strong, and not even Turner has better expressed in his pictures the brooding sense of her dormant power. Power, indeed, was the key note of his work. He loved to paint mighty bulls, and fiery stallions, picturing their brutal strength, as no one has done, before or since ; and this without the sacrifice of any of their other attributes. No other artist excells him in the rendering of the texture of their coats, or keeps more closely to life in giving the exact relative proportions of their limbs and bodies. With mankind he is not so successful, yet the incidental figures in his pictures are scarcely inferior to those of Morland, whom he far surpassed in the delineation of old age, or in works where more than an elementary definition of character is needed. Of his portraits, and he painted but few, one or two must take high rank. What more charming for instance than his picture of Miss Musgrave, with its rich lambent colouring, or the wonderful portrait of his mother, in whose care-worn face we can read of the trials and sorrows of eighty years, as in a printed book. If, in his allegories and religious pictures, he utterly failed, because he disdained to follow or imitate the others who had preceded him in the same path, the fault lay more in his upbringing, than in his own innate shortcomings. Sprung from the midst of squalor, his intellect narrowed by the pressure of poverty, and dwarfed by daily association with people devoid of education or refinement, his aspirations chilled by contempt and solitude, he yet achieved much. What might he have done, had his genius been nurtured on a more kindly soil, and amidst more genial surroundings ? James Ward was son of the manager to a large wholesale fruiterer and cider merchant in Thames Street, London. The father, whose name was also James, was an easy going man, having a pretty turn for mechanics, but given to drink, a habit which constantly grew upon him. The mother, Rachael Ward, was a woman of energy and intelligence. Her son says of her "that there never lived a brighter example of noble fortitude, Hrm temper, long tried patience, and unwearied cheerful exertion in the charge of every conjugal and maternal affection." The relations of the family appear to have been highly respectable. Thomas, the elder brother of the father, was a devout member of a neighbouring chapel, another uncle named Gent, is said to have died while amassing a fortune by inventing colour printing ; while a great uncle, whose name is not given, was one of the head clerks at the Bank of England, and an intimate friend of the Rev. John Newton. The younger generation of the Ward family consisted of two boys and three girls. William, the eldest, was born about 1762, and had the benefit of the most affluent period of his father's fortunes. Educated at the Merchant Tailors School, then situated near the top of Dowgate Hill, he showed such talent for drawing, that when about thirteen his father paid the necessary premium to have him apprenticed to John Raphael Smith, the great mezzotinter. Of the girls we hear little. The eldest, who subsequently married Edward Williams, an engraver of little note, made James the butt of her ill-natured raillery. The boy, who was keenly susceptible to ridicule, turned from her to Anne the second daughter, some two years older than himself. His youngest sister, whom her grandniece Mrs. E. M. Ward believes to have been named Charlotte, was probably less precocious than the others, and though she was much in her brother's company, he mentions her but seldom. James was born on the 23rd of October 1769. Almost from the first he shows the fully developed traits which were to characterise his manhood. He was bold, self reliant, tenacious of his rights, his opinions, and ambitions. Greedy of praise, he ever endeavoured to surpass his fellows for the sake of winning it. He was keenly sensitive to criticism. Extremely credulous, especially in matters relating to the marvellous and supernatural, he was, early in life, afraid of ghosts, but presently acquiring a lively faith in revealed religion, and in the direct interposition of a Divine Providence on his behalf, he may be said to have become bankrupt of fear. Of his babyhood nothing is recorded, except that even before his long clothes had been discarded, he suffered severely from chilblains. The affliction may have been constitutional, but more probably was caused by neglect, for his mother can have had but scant leisure to devote to her little ones. She was the guiding spirit, and hardest worker in a large servantless household, where, besides performing the usual duties that pertain to a wife and mother, she attended to lodgers in her upper rooms and workmen in the cellars below, and also tried to atone for the short- comings of her hard drinking husband in the business. In the meantime great events were happening in the outer world, and presently the career of little James became involved in the cataclysm which remoulded the destinies of three continents. At the time he was short-frocked the American colonists were still loyal subjects of the British crown, and he was sent to the Merchant Tailors School while the revolution was smouldering. Then came the outbreak of war, bringing with it bad trade, and cruel times for the poor. The Wards were affected, and little James, before he could properly read or write, was withdrawn from school and given the freedom of the streets. They were a dangerous playground for the little lad, who, in a richer and better ordered household, would have still been under the tutelage of a nurse. His home was in the midst of a foul and unhealthy neighbourhood. Dowgate Dunghill stood hard by, and its noisome odours mixed with the dank vapours distilled from the unembanked river foreshore. Thames Street, where he lived, was a medley of warehouses and manufactories, of low-class houses, shops and drinking dens, and was thronged with the bustling traffic, and motley humanity of the waterside. James played about the unfenced wharves with the other street urchins, and made friends with the carters and bargemen of the vicinity. He learnt riding at the peril of his neck and limbs, knew what it was to shoot a Thames bridge in a crazy boat with the lee gunwale buried under the water, and found out how to use his fists, by guarding the contents of his father's vegetable cart from the sneak thieves at Covent Garden Market. He taught himself reading ; drawing and singing came naturally to him ; and by watching, and perhaps occasionally assisting, carpenters and basket makers at their work, he picked up something more than the rudiments of their handicrafts. This completes the record of his early accomplishments, to which he did not add materially until he had turned thirteen. It is a pitiful one for a lad of genius, who was eager to learn and allowed no opportunity of acquiring knowledge to pass him by ungrasped. If ill-placed to secure an acquaintance with the erudition and politer niceties of society, James was in a position to learn all about the seamy side of life, and to catch more than a passing glimpse of death. He himself early encountered the dread enemy. He fell from a barge into the Thames, escaping drowning by a hair's breadth, only to encounter death at still closer quarters in his bed chamber, the illness that supervened after his wetting bringing him to the verge of dissolution. Once, w^hen waking out of what well might have been his last sleep, he found his mother holding a looking glass to his mouth to discover if he yet breathed. He saw malefactors taken through the streets on their way to execution ; men at their w^ork torn to pieces on the wheels then used for raising heavy weights on the bank of the Thames, and his next door neigh- bour " crushed to a mash " almost at his feet by the fall of a hogshead of tobacco from the upper story of a warehouse opposite. Later on he went through the inferno of the Gordon Riots, and witnessed the mob break into Newgate, and the released prisoners come out, the red glare from the burning buildings gleaming on their clanking chains. These experiences early turned his thoughts to the idea of a hereafter- His mother, who was pious, encouraged him, but the strongest influence of all was that of his Uncle Thomas, from whose little library, when he had XI. taught himself to read, the boy appears to have drawn most of his books. They were all of a religious character, and included Bunyan's " Pilgrim's Progress," which James accepted as a narrative of actual fact, poring over it until the intense visionary views of the Bedford tinker became part of his being. Even earlier than this, he had been put to work in his father's cider cellar, bottling cider. Here, having a sweet voice, his grown up companions, among whom was his own father, taught him songs, some of which were of a questionable character. Ward, in his memoirs, speaks of them as being abominable, but when these were written his ideas of immorality had gone beyond the verge of prudery. Elsewhere he says that the repertoire he then acquired included forty-seven songs by Dibden, a proof both of the general harmlessness of their nature, and of the retentiveness of his memory. The men laughed at the incongruity of hearing Dibden's Bacchanalian and amourous sentiments trilled out in his shrill childish treble ; but their laughter, even though at his own expense, must have acted as a wholesome corrective to the gloom which brooded over the rest of the household. The father was imperilling his situation by his continued drinking, while the pious uncle tried to win him back to temperance by vehement warnings of the hell fire that awaited the impenitent sinner. Little James accepted these warnings with a more fervid belief than did his easy-going father, and fed his superstitious terrors by listening tremblingly to the ghost stories which circled at evening time round the family fireside. Through this latter cause, the little boy — he was then scarcely seven — suffered untold terrors. His father's chronic thirst required slaking during the small hours, with draughts of the coolest well water and it was James's nightly errand to fetch these. The well stood by an empty vault, and was approached through a narrow lane, dark and lonely, by the side of which was an old charnel house filled with the mouldering bones of dead and gone generations. The boy must have gone each night in fear of encountering some ghastly apparition to bar his progress, or fleshless arm stretched out to drag him to the depths. So deeply were the terrors of the place impressed upon his mind, that years afterwards he could not revisit it, even in daylight, without shuddering. Then came an apparently real supernatural experience. The Uncle Thomas was seized with a mortal illness, and, during the night of his death, he sent repeatedly for his brother; but the latter either thinking that there was no need of haste, or perhaps not in a fit state to go, deferred his visit until the morning, to find, when he went, that Thomas was dead. The shock made a deep impression on the mind of the drunkard, he became possessed with the idea that he heard his brother's voice unceasingly calling upon him to repent, and for twelve months the visitation never left him day or night. He reformed for the time being, but his penitence came too late, for shortly afterwards he was dismissed from his situation a hopeless wreck. Mrs. Ward faced the situation with dour resolution, and opened a little vegetable shop for the support of her broken-down husband, and five children. James, who, though barely nine, was the only wage earner in the family, went to a bottle warehouse on Four Cranes Wharf, where for a weekly pittance of four shillings, he washed the returned empties over a tub of hot water, working from six in the morning until six or eight at night. xu. o y >■ III c -^ The youngster accepted his lot with resolute cheerfulness. He found leisure in his meal times to turn his chilblained hands to carpentering and basket making, enjoyed surreptitious peeps at an old copy of Don Quixote he found in the Counting-house, and revelled in debauches of salt junk and hard tack, which were sometime provided him on outward bound ships to which he took boat loads of bottles. One other amusement he had, which was to lead him to better things, was drawing. He was in the habit of sketching the objects which passed his window — the people, and above all the horses and carts. These transcripts from life are described by an early biographer as being " full at once of the vigour, the vivacity, and diffidence of talent." It appears probable that they possessed merit ; and that his brother William showed them to his master, J. R. Smith, for when William's term was nearly expired, the engraver, having a vacancy for a pupil, offered to take James, without exacting a premium. It was arranged that as an equivalent, the lad should serve two extra years before being bound for the usual seven, and accordingly he was transferred from the dingy bottle warehouse to the establishment of the great mezzotinter. Chapter II. To OUR modern ideas the most noted of the eighteenth century mezzotinters are prodigies of talent and industry. The enormous output of their work is not less amazing than its superlative excellence. While present day engravers are content to produce two or three important plates in a year, these older men issued them by the dozen. Nor do these works betray signs of undue haste ; if every one is not a masterpiece, the worst of them is distinguished by high technical excellence, and possesses qualities of tone and handling, which few modern artists can do more than emulate. This is due partly to the superior attributes of the copper plates, made from the disused rollers of cotton mills, and the hand-woven paper used in the eighteenth century, and more, perhaps, to the system under which the engraver worked. He was not then fully recognised as an artist, but regarded as merely a superior craftsman, a master artificer having journey- men and apprentices to do the less difficult portions of his w'ork, and keeping a shop in which to sell his wares. The master engraver thus increased the powers of his production almost in the same ratio as the number of his assistants, the least proficient of whom was soon competent to rock a plate, while the more skilled, working under his supervision, were practically his doubles. The master had thus no necessity to tire eye and hand by labouring at the uninteresting and semi-mechanical preliminaries to a plate, but, with fresh and unjaded mind, could add the essential strokes that con- verted the engraving into a work of art. Such an engraver was John Raphael Smith. At the time that James Ward came to him, he was at the height of his powers and reputation, and had lately moved to 83 Oxford Street, opposite the Pantheon, an address which appears in the publication line of many of his greatest works. He was a consummate artist in mezzotint, a fine stipple engraver, and painted portraits and subject pictures with respectable ability. Brought up as a draper, he had acquired a keen business acumen, which usually placed him on the upper side in every bargain. Withal he was a bon vivaiit, addicted to convivial pleasures, and lax in his morals. Probably his example had lowered the tone of the household, so that to the youn<< lad, whose studies of Bunyan had filled him with the ambition of becoming a second Christian, the moral atmosphere must have been as uncongenial as was that of Vanity Fair to Bunyan's hero. James was apprenticed in the latter part of 1781 or the beginning of 1782. In a letter to Sir Charles Eastlake, written in his 89th year, he says " I was under 12 years old when I came into it with J. R. Smith," but the inspired biography of 1807, which is probably the more correct, puts it at nearly thirteen. He describes himself as being a " tiny little boy — timid and diffident"; small he undoubtedly would be, as even when full grown, he was considerably under the average height, but the remainder of the des- cription may be questioned. His timidity, such as it was, would be entirely owing to his poverty, his lack of education, and the strangeness of his surroundings ; for constitutionally, his self-confidence amounted almost to rashness. Smith early tried it by sending him alone to Norwich to fetch back a valuable hunter by road, a commission which he successfully performed. But the lad did not get on well with Smith, who kept him back, told him that he would never succeed in art, put him to work sweeping out the shop, running errands and other menial occupations, and withheld from him any drawing materials. James, ever remarkable for self-resource, helped himself to the trial proofs from Smith's plates, and practised drawing on their backs. Probably the impressions thus sacrificed to James' industry, would nowadays have brought a considerable fortune under the hammer. A copy in crayon, made by James at this time, of Rapture, one of the series of Le Brun's Passions, and now in the collection of the Honourable John Ward, is on the back of the centre portion of an early proof of Smith's fine plate of the Honble. Mrs. Stanhope after Reynolds, a copy of which has realised over £500. This would seem to be the most expensive sub- stitute for a penny sheet of drawing paper on record. There are several other similar drawings in existence. The rotten state of the paper on which they were executed prevents them reaching high technical excellence, but they are marked by that boldness of execution which always distinguished Ward's work, until old age had robbed him of his vigour. The records of Ward's life with Smith are meagre, he learned to rock a plate, to draw a copy from the flat, and to imitate copper-plate lettering. Of the visitors to Smith's establishment he probably saw little, for it cannot be supposed that the shabby little shop-boy would be suffered to penetrate into the drawing room, where, according to William Collins, they were enter- tained with a view of the pictures that the engraver had in his house for reproduction. Of Reynolds indeed, we catch a glimpse at second hand, Ward writing to his son July 8th, 1848, apropos of some drastic changes which had been made in one of the latter's plates, says : " It makes me so much afraid of little alterations, one little thing begets another, until the change is of a new picture. I remember when a boy, how often this was the case with Sir Joshua Reynolds, to the annoyance of J. R. Smith and my brother." This fragment is interesting as showing how extensively Smith's fine plates after Sir Joshua were supervised by the artist. With Fuseli Ward came into actual contact, though probably the " little great " painter bestowed scant attention on the shop boy, called in, perhaps to turn over some prints for his inspection. Smith had done well out of Fuseli, making £500 from his plate of the Night Marc, for the original picture of which the artist only received £20. This probably rankled less in the artist's bosom, than the engraver's presumption in toning down the eccentricities of his pictures when reproducing them. He revenged himself by his savage denunciations of Smith's draughtsmanship, using similies too coarsely expressive to be nowadays printable. During one of these verbal encounters, Fuseli, to illustrate his point, drew with a few vigorous strokes, a gigantic female arm and hand. James stood by in wondering admiration, and after the painter was gone, repeated the drawing from memory in white chalk on the front of an old print chest. He was so successful in his rendering, that when he showed it to his brother, the latter could scarcely believe that the lad had done it, and told him to keep it secret. William, now nearly out of his time, may have wished to conceal the lad's talent, in order to secure his services, when he set up for himself. An untoward incident precipitated the matter. Smith had a pet terrier which followed James on all his errands. During one of these excursions the dog was lost. To quote the somewhat vague account given in the 1807 biography : " The conduct of the master on this occasion could by no means be tolerated by our young student, who although ever humble, meek, and respectful to the kind-hearted, has, from his earliest days, been firm and towering to the haughty and tyrannical. Under the sanction therefore of his brother, and all those who witnessed the transaction, a separation was deemed advisable." As Ward elsewhere alludes to Smith as a " brutal tyrant," one is tempted to suspect that the "transaction" mentioned, included amongst other items, a good thrashing for the lad ; a lesser matter would hardly have been deemed sufficient justification for the termination of his apprenticeship. Smith, who had previously disparaged James' talents, now showed him- self keenly aware of them, and made a hard bargain with William before he would surrender his indentures. It was agreed that William, when out of his time, should work for his master three days a week at ten shillings a day, during the succeeding three years, and not accept employment from any one else during that period. As William Ward had now become, after Smith, the best engraver of the daj', his remuneration was worse than moderate. James was between thirteen and fourteen when he left Smith's estab- lishment, he had been there for hardly more than a year and had learnt little beyond how to rock a plate. William being still an apprentice himself could not take one of his own, and a short interval elapsed before the boy could be legally bound to him. During this period, and for some time afterwards, James worked in William Ward's lodgings at 10 Well St., off Oxford St., where his occupations had best be related in his own words : " I was there left quite alone, and kept constantly laying mezzotint grounds, dreadful drudgery to a mind then all imagination, my only relief was breeding rabbits and canary birds ; and a garden of flowers in my workroom garret window. It happened that the house was kept by a large family of sisters in a vei'y genteel family reduced, who got their living by dressmaking, among them JfV, being Mrs. Say (subsequently wife of William Say the engraver), then a young woman. Their evening amusements were riddles, puzzles, forfeits, &c., and I as a great favourite, was ever with them. Once on expatiating upon the human form, I fetched down an antique cast of a figure of a man, and pointed out all its beauties, quite unconcious of the sly giggle that passed between a large circle of young ladies on such an open display. At this time I was attending an evening school in Castle Street, to learn to write. I have ever regretted that there was no kind friend to come forward in the midst of my earlier drudgery, to have got me into some public charity school. For want of this, a very extraordinary timidity haunted me to such a degree, as to prevent my ever writing before others, lest the spelling should be wrong, and that, from a peculiarity of sentiment, appeared as a crime. Not so with others, Nollekins for example and the president (Benjamin) West, the latter in sending an apology to a public society for not dining with them, concluded by wishing them all manner of " phylicity." James had left Smith in 1783, and was regularly apprenticed to his brother in the same year, giving his first year's service in lieu of premium, and being then bound for the remaining seven. William appears to have retained the lodgings in Well Street until after May 1785, for he sent in an exhibit to the Royal Academy of that year, from this address. James did not go with his brother to Smith's, but was left "alone for days and months without any regular employment that could benefit him in the arts." He, later on, bitterly regretted that he was not at that time sent to the Royal Academy Schools, but William never encouraged him to study, saying " that an engraver required little knowledge of drawing, but the head and the hands, the painter doing all the rest for him." James employed his leisure in making cages for his birds, and cabinets for his flowers, and being naturally of a mechanical turn found much enjoyment in these pursuits. Whatever he wanted of this kind he either invented for himself, or if he adapted the idea from a similar article, he never rested until he made some improvement upon it either in construction or ornament. Without doubt this lonely sojurn in his brother's lodgings was bad for the lad, and did much to hamper his future career. Already unduly self-confident, his easy triumphs over these mechanical difficulties fostered his egotism, and led him in after years to apply the same methods to his art, so that he failed to avail himself sufficiently of the teaching of others, and relied too exclusively on his own judgment. Chapter III. J. R. Smith, having taken a country house called Fortune Gates at Kensal Green, then a small village quite remote from London, persuaded William Ward to rent a little place near by. The move probably took place in 1785, and was undoubtedly beneficial to James. It transferred him from the inactive cloistered solitude of the Well Street garret, to a busy, bustling life, where every moment of his day was brimful of occupation. The new residence, " a very pretty house — at a pleasant hamlet, on the Harrow Road," as it is described by William Collins, was embowered in a large garden, containing a miniature lake on which James rowed about in a boat xvi. '«^ 1 m O §^ 3 a z ^ of his own making. Stabling was attached in which William kept three horses, and there was other live stock, including at least " sixty head of poultry," to be presently carried off at one fell swoop by some marauding gipsies. James revelled in his new surroundings, and relates, with gusto, that he was "head groom, head gardener, poultry keeper and everything else." The vegetable shop having come upon evil days, William generously afforded a harbour of refuge to his father, mother, and two unmarried sisters. Of his parents, at this time, James says little. The mother was probably too busied with the house work to enter into the life of her sons ; while the disreputable old father, sobered somewhat by his recent experiences, became a chimney corner ornament ; his favourite occupation being to sit in an easy chair, with a tankard of liquor by his side, smoking a long pipe. The eldest of the three daughters — whose portrait is perpetuated in William Ward's attractive stipple plate of The Musing Charmer — had already left the family circle, having married Edward Williams, an engraver of little note, though the progenitor of a distinguished family of artists. The marriage, like the subsequent ones of her two sisters, ended disas- trously. She had formerly made James the constant butt of her ridicule, so he had no cause to regret her absence. Anne, the second sister, was James's favourite. Her soft, yielding, and loveable character was the exact antithesis of his own — a down cushion on which a man might find solace from the hard corners of life. Her beauty has been immortalized in a hundred or more pictures by her future husband, George iMorland, and her brothers, the one entitled Louisa, by William Ward, a reproduction of which appears in this volume, according to the family tradition, being the most life-like. At this time she was eighteen, in the first blush of womanhood, and in all probability as ignorant of the attractive qualities of the opposite sex as Miranda, the society she saw in her mother's vegetable shop including few possible men. The Ferdinand, who was to appear in the house in Kensal Green, was the erratic and im- pressionable George Morland, who it must be confessed possessed more resemblance to Tony Lumpkin than to Shakespeare's graceful hero. Since leaving his father's tutelage, two years back, he had sown a flourishing crop of wild oats, and had been the principal actor, if not the hero in several discreditable love affairs. Now, though the kisses of his last amarata were hardly cold upon his lips, his roving fancy was attracted to sweet Anne Ward, who returned his light affection with that ardent devotion that only a good woman can bestow on a worthless object. William Ward abetted the courtship. He was dazzled by Morland's genius, and regarded his faults as mere youthful exuberances, which would soon pass away. Probably, too, he was influenced by ulterior motives, for Morland's pictures were providing his graver with many profitable themes. The young artist was received into the household as paying guest, and presently introduced his sister Maria, to whom William became attached. It would be easy to throw a glamour over the sojurn at Kensal Green, and make of the episode a delightful country idyl, picturing George Morland in the intervals of his work — and he worked hard — wooing his blushing mistress, or teaching her clever young brother how to paint. But, as William Collins discovered fourteen years later, the artist was chary in giving instruction to anj- one whom it was likely to benefit ; and James during the whole term of their XVII, intimacy never received a single lesson from him. One surmises that life at the Ward's house, and the adjacent establishment at Fortune Gates, was rough and boisterous, alternating between spells of hard work, hard drinking, rustic sport, and dangerous horseplay. James was handy man to the two places, and was borrowed continually by Smith, — for a day's work on the plate of the Duke of Orleans after Reynolds ; to attend him on a rook shooting expedition ; or to escort his drunken guests back to town at night. One of these latter, Kenny Meadows, riding home, holding on mainly by his spurs, leaped Paddington Turnpike, and James in following, only saved his neck by his horse coming a cropper on a heap of road sweep- ings. But Smith, while willing enough to employ him for sport or pleasure, had also an eye to his professional talents and presently secured his services to himself as well as those of his brother. The boy's religious principles seemed to have annoyed the others, they plied him with Voltaire and Tom Paine ; but he overcame the doubts raised by these works by studying Young's " Night's Thoughts " and " Payley's Christian Evidences," and thus added to the edifice of narrow religious convictions in which he was gradu- ally imprisoning his imagination. Religion, however, did not at present inspire James with any aversion to IVlorland's society ; the two had kindred tastes, among which was a fondness for firearms. They rarely seem to have left the house without pistols, and incidents in connection with their use are of frequent occurrence. A loaded weapon, which Morland was cleaning once, exploded, the bullet lodging within an ace of James's head. The two disguised as highwaymen stopped and robbed James Ward, senior, as he jogged along from market in a chaise cart, and riding home in advance of the old man, were there in time to hear him recount, wnXh bombastic ex- aggerations that would not have disgraced Falstaff, his desperate struggle with a gang of masked ruffians of prodigious numbers. A little later they practised shooting at the door of an outhouse inside which the old man was sleeping. Morland, much to James's perturbation, even insisted on carrying a pair of loaded pistols in his trousers pockets to his wedding, which cere- mony took place at Hammersmith Church, July, 1786. Maria Morland became Mrs. William Ward a month later. The joint establishment was continued for a little time, but the two ladies, finding that their husbands had frequent occasion to go into town, and being fearful of the dangers they might incur at night returning along the lonely Harrow Road, insisted on moving to High Street, Marylebone. James went with his master; but what became of the rest of the family is not recorded. As a few years later we find the father and mother established at Hendon, it is probable that at this time they parted company from William. In a short tmie dis- sensions broke out betw^een Anne and Maria, and the quarrel was taken up by their husbands, wdio grew into such a towering passion with one another that they determined to settle the dispute in a neighbouring sand pit with horse pistols loaded with slugs. Fortunately a reconciliation was patched up ; but the two families separated. James probably got on the better for Morland's absence. The painter did not help him in his art, and his jokes and rough horseplay must have acted as a disturbing influence. At eighteen James had become a thoroughly competent mezzotinter. This would be in 1787, at which time William Ward was installed in Warren Place, Kentish Town, his younger brother's proficiency being marked by his own rapidly extending output, from one plate in 1784, six plates in each of the years 1785 and 1786, it leaps up to 13 in 1787, a number which was equalled in the following year. Probably by this time William had some junior apprentices to do the " dreadful drudgery " of laying mezzotint grounds, and the other semi- mechanical tasks, which left James free to devote himself to the more interesting and responsible portions of the work. The consciousness of his own talents, and the knowledge that they were being appreciated by other people, inspired the young man with, what was for the time being, an unqualified enthusiasm for mezzotinting. No task was beyond his powers. He laboured early and late, and so won his brother's confidence, that he was practically allowed to execute whole plates by himself, which according to the custom of the time, were published as the work of his master. More especially was this the case in regard to subjects containing landscape, in the rendering of which, according to the 1807 biography, "he always evinced a peculiar taste, and without which perhaps we should never have seen that character of Nature attempted in Mezzotint." Three engravings, all of them being after Morland, are mentioned definitely in the same book as being the work of James, viz.: Children at Play (probably "The Kite Entangled";, published in 1789, and Co^/fl^n-s and Trai^e/Z^rs, published in 1791. This statement is hardly likely to be inaccurate as it was made at a time when William Ward, who was always jealous of his reputation, was alive to dispute it, and there is certainly nothing in the technique of the works themselves to contradict the attribution, for it does not more nearly resemble that of William Ward than does the technique of Rustic Felicity, The Rocking Horse, the Sunset, Leicestershire, and other of James Ward's early plates. In following Ward's progress in engraving I have overshot the time when he made his first essays in painting. He was inspired to make them by Morland's work, but received neither his countenance nor his assistance. The two families had probably remained apart after the quarrel, and Anne, wrapped up in her affection for her husband, needed no other society. For a time he was a model Benedict, then his wife had a long illness, lost some- thing of her good looks, and perhaps of her cheerfulness, and George began to seek for society and amusement elsewhere. The Morlands' move, in 1787, to one of the largest and most handsome of the new houses in Warren Place, a few doors away from her brother's humbler residence, may have been inspired by her desire to be near her family agam. Morland was at this time earning a thousand a year, and spending considerably more, but James found him still the good natured, pleasant and somewhat rowdy companion of yore, and the two renewed their intimacy. They boxed, sparred and rode together, probably often turning their horses in the direction of Watford, for James, in a letter dated 1823, recalls that it was in "this part of the country where poor Morland and the (prize) fighters used to ride about so much." Sometimes also they mildly lampooned their acquaintances in doggerel rhyme, which, judging by Ward's later effusions, cannot have been of a high order. George desired to know something of engraving, and James initiated him into some of the mysteries of the art, while he himself was never tired of watching his brother-in-law painting. For a long time the friendship continued with unabated warmth. Then it gradually cooled, for James developed an unexpected trait ; he began to paint, and what was more disconcerting, to paint well. Henceforth Morland regarded him as a possible rival and his visits to the studio were no longer encouraged. The knowledge that he could paint came to James by accident. A picture by Copley which he and his brother were engraving got damaged. James borrowed some colours to repair it, found the brush a more Huent and facile method of expression than the graver, and after making good the defect, continued his experiments on an old canvas. He had probably already practised in water colour, in which his brother William attained some proficiency, but in spite of this, the picture, which is now in the possession of the Hon. John Ward, is a marvellous piece of work for a first effort. It is boldly, almost arrogantly painted, with a freedom and breadth that speaks of an assured self-confidence. The result is a triumph for Ward's memory, which indeed was so phenomenal that towards the close of his life he was able, without any extraneous assistance, to paint an excellent likeness of a lady whom he had not seen for twenty years. He had closely watched Morland's methods in painting, and now was able to put his observations so perfectly into practice that the picture might well be mistaken for a Morland — not, indeed, one of that painter's best works, but something that he had carelessly composed and dashed off on the spur of the moment, yet characterised by the charm of his colour and handling. Ward was fired by this triumph to fresh efforts. Instinctively he seems to have turned to animal subjects. He painted a sow and her litter in the courtyard of his next door neighbour, which was followed up by a picture of some sheep. William appears to have encouraged his brother in every way possible. Probably he would not have been ill-pleased if the latter, who bade fair to become his most formidable rival in engraving, had had his attention wholly diverted to the sister art. He purchased some of James's pictures and hung others in his studio. One of these, the fourth effort of James, picturing a white horse sheltering in a storm, caught Morland's attention. He regarded it critically for some time, and then made some comments on the young artist's growing skill, but ever afterwards he ceased to welcome his brother-in-law to his painting room. The picture may, I believe, be identified with one now in the possession of the painter's grandson, Mr. Phipps Jackson. A little later James painted a copy of Morland's picture of The Travellers which he was then engraving. Morland, when he saw it, mistook it for the original and henceforth had as little to do with Ward as possible. In spite of the many assertions to the contrary, this is vouched for by James Ward himself as the only oil copy he ever made from Morland. It remained in the artist's possession for many years, but was ultimately stolen in 1819. Doubtless its present owner prides fiimself on possessing a genuine Morland. James, in spite of the encouragement which William gave to his painting, seems still to have turned out his full quantum of engraving. To conserve the daylight necessary for working in colour he curtailed his sleep, and roused himself at dawn by means of an alarum. This in a short time proving ineffectual, he had a cord tied to his wrist and suspended from his window, by the aid of which a neighbouring watchman dragged him out of bed every morning. Again exhausted nature intervened, and in his sleep he used to automatically unfasten the rope, but James, still unbeaten, transferred it to his ankle, and this device appears to have proved effectual. At this time he so thoroughly tired himself out, that when he reached his room at night he often had not the energy to undress, but used to fall asleep in his clothes. Chapter IV. James terminated his apprenticeship to William Ward in 1791, and wished to bind himself to Morland for a couple of years. The latter, however, did not relish the prospect of taking his clever young brother-in-law as pupil. The men already with him were too stupid ever to become his rivals ; of the two most competent. Hands and Brown, he contemptiously said that he could put his pencil in his button hole and paint better than either of those daubers. But James was a horse of a different colour. Morland did not definitely refuse him, but when asked by mutual friends, why he did not have him, candidly acknowledged that " Jammie " would get too forward for him. In the meantime Ward had left London and gone to live with his parents at Hendon, a hopeless love affair probably hastening his departure. The details of it that have been handed down are tantalizingly meagre. The lady was a friend of the family and James, though ardent in his affec- tions, was diffident, the absence of a tangible income helping to make him tongue-tied. The disconsolate lover did not suffer his unrequited passion to interfere with his art. He was in ill health through overwork, but nevertheless on his way down to Hendon he sat on the top of his cartload of belongings, sketch- ing the driver, and every interesting object or person he came across. At Hendon he continued the practice, until the house was besieged, and his walks haunted by all the picturesque blackguards in the neighbourhood, who waylaid him in the hopes of earning a few pence by posing as models. Nor did he neglect more serious work. He painted the picture Rustic Felicity, which so impressed J. Simpson the famous publisher of St. Paul's Church Yard, that he bought it, commissioned him to paint the companion picture of The Rocking Horse and entrusted him with the task of mezzotinting plates from the two works. Simpson also bought some of Ward's sketches which he reproduced in book form in company with a number by Morland. William Ward also gave the young painter a helping hand, by buying his next pair of pictures Compassionate Children and Haymakers at Rest which the elder brother engraved and published himself. Ward was now doing so well that a move back to town was deemed advisable. He went to live at 20 Winchester Row, Paddington, a pleasant residence with a large garden attached. The 1807 biography staiies that he took the house himself, but as I have discovered a letter, dated 1794, addressed to Mr. Ward c/o Dawes, Winchester Row, it is probable that he only sub-rented a portion of it. Here his sister Charlotte came to keep house for him. Encouraged by the ready demand which existed both for his plates and pictures, he bought furniture, kept a horse, and took a number of apprentices, of whom the name of one only, John Buck, has come down to us. On January 1, 1794, a further triumph awaited him, for he was then xxi. appointed Painter and Engraver in Mezzotinto to the Prince of Wales. It seems curious that Ward, an artist of only two years standing, and without influence at Court, should have been awarded this coveted distinction. Probably his plate of Edmund Burke from the bust by Hickey may have had something to do with obtaining the favour for him, as Hickey was appointed sculptor to the Prince of Wales at the same time. Great as had been Ward's success, he soon found that it was based on unsubstantial foundations. The war with France, which had broken out in 1793, by cutting off the chief market for English engravings, scattered his new born prosperiety to the winds. He and his now numerous pupils were left without any profitable work to do, or prospect of obtaining any. The pleasant residence in Winchester Row had to be given up, the horse sold and the establishment broken up. Charlotte went back to her parents while Ward took lodgings in Bow Street. His fecundity during the years 1792 and 1793 is remarkable, he had exhibited nine pictures in the Royal Academy, three of which had been en- graved, as well as three others of his works; and during the same period he had mezzotinted eight or nine plates. Three mezzotints after Morland — Fishermen, Smugglers and A Boy Employed in Burning Weeds are included among the latter. Their completion marking the final severance of business relations between the two friends. Since they last separated, Morland had gone to the dogs. He earned ten times as much as his brother-in-law ; yet could not keep a roof above his head, and was beset on every side by im- portunate creditors, duns and bailiffs. James in the meanwhile had become sincerely devout. He sat under the Rev. John Newton, attended church three or four times every Sunday, went regularly to week-night meetings, and regarded his former tolerance of Morland's drunken and riotous excesses as pandering to the Devil. He broke off his friendship with the painter, and neither the prospect of obtaining profitable subjects for engraving, nor the desire for the society of his favourite sister, could induce him to renew it. Once and only once did he break his resolve, and that was when Morland, at his wits end for a safe retreat implored James to harbour him in his lodgings, as being the last place on earth where the baliffs were likely to look for him. At Bow Street, Ward, in default of better employment, made a series of soft ground etchings, which were published in book form, but did not prove profitable. At this time he was reduced to great straits. He still retained two pupils, one of whom was probably William Say — the afterwards famous mezzotinter — and a servant, and the drain of even this modest establishment proved too great for his income, which was further depleted to give much needed assistance to his father and mother. His plates of A Dairy Farm and A Tiger Devouring his Prey, both after his own pictures, probably belong to this time, though one may suspect that the very shadowy and ghost-like lion which disfigures the latter subject, was added as an after thought immediately before publication, which did not take place until some years later. About this time also James first met his future wife. Miss Emma Ward, who, though possessing the same surname, was unrelated. Their acquaint- ance probably commenced professionally, for at one period her sister and brother were among his pupils, but showed no aptitude for engraving. His painter's eye was attracted by her beauty. According to her portraits she was richly coloured, with full red lips and dark eyes, while her manner was lively and vivacious. Ward was speedily fascinated, but it was no time for him to take upon himself additional responsibilities ; his private clientele had disappeared, and to keep a roof above the heads of his parents and to pro- vide for his own necessities, he was reduced to hawking his highly finished pictures round to the dealers at two or three pounds apiece. The worry incident to his unpropitious circumstances brought on a nervous illness ; his mind became confused and irritable ; and, a mental wreck for the time being, he retired to a little cottage on Hornsey Common, where he stayed for a year, by which time his mind recovered its equanimity. He still continued working with undiminished industry ; in fact, it seemed impossible for him ever to be idle. In his rural retreat he finished mezzotinting some of his plates, painted " three fancy pictures for a gentleman in Bethnal Green," several portraits, and two or three subjects for his brother to engrave. Amongst the latter was probably The Gleaner's Return, in which the background has the hilly characteristics of Hornsey scenery. He was urged to go back to town again, and probably the call was one too persuasive for him to resist, for next we find him, after settling in Paddington, leading the fair Emma to the altar. The wedding, which was celebrated from his father's house in Kentish Town, gave Morland — who was not invited to the ceremony — an opportunity to play a characteristic practical joke on his Puritan brother-in-law. "The nuptial knot had been tied, the guests re-assembled in the house, when suddenly a party of butchers appeared outside raising a hideous din by beating their cleavers against hollow marrow-bones. "This, at that period, was a customary salutation to a newly married pair, the serenaders invariably retiring after a gratuity had been given them. Not so on this occasion ; directly the front door was opened they forced their way among the guests, using the most filthy language, and threatening with their cleavers everyone who tried to eject them. It transpired that they had been bribed to do this by Morland, who, during the height of the tumult, was discovered looking on from the street nearly speechless with drink and laughter. Morland's genius serves as ample excuse for his shortcomings to posterity, who only see the fruits of the former, without having experienced the inconveniences of the latter ; but Ward was in a different position, and it is not surprising that the memories he cherished of his brother-in-law were tinged with bitterness. Morland's treatment of his wife's parents was a constant source of conflict between them. He was now without a regular home, and Anne — who was in ill health — lived with her mother ; the painter paying two guineas a week for her maintenance. George made this an excuse for constantly invading the Wards' house, generally with a horde of followers who kept the place in a state of constant tumult. The mother, already fully occupied with looking after her sick daughter, was worn out with attending to their wants. The father was kept in a state of chronic drunkenness. James remonstrated with Morland, only to be abused, until at length the tangle appears to have been solved by James Ward, senior, drinking himself to death. Ward at this time found his connection with Morland a distinct dis- advantage to him professionally. He had so far modelled his style on that painter's, and now the reputation of the latter cast a shadow over his best efforts. If he painted a good picture the dealers bought it to presently sell it as a Morland, while Morland's bad works were attributed to Ward. In 1797 James determined to free himself from the thraldom, and essayed a most ambitious composition, crowded with figures, such as Morland had never attempted, and which he hoped would establish his position as an independent artist. This was the Bull Bait, which was placed admirably in the Royal Academy, and met with universal approval ; but on every hand James heard it lauded as the work of a pupil and imitator of JVlorland. Just at this time he met John Raphael Smith at a dinner party, who said to him : " Ward you have taken up painting and you are right, for it's all over with printselling, but why do you follow Morland. Look at the old masters. Look at Teniers. Morland after Teniers is like reading a Grubb Street ballad after Milton." James, though he did not agree with this verdict, followed his old master's advice, and henceforth discarded Morland as a model. But the dictums of the fallen Divinity still held weight with the ex-worshipper. Morland had declared that de Loutherbourg was the only man to whom he would yield the palm ; and to de Loutherbourg James accordingly turned. While he was engaged in mastering the secrets of this second rate artist, the family exchequer needed replenishing, and this was only to be done by applying himself to engraving in which he was now beginning to make a great name, though robbed of the credit of some of his best plates. His first great success had been the mezzotint of the Douglas Children in 1796, a masterpiece which placed him at the top of his profession, for J. R. Smith was now past his prime, and William Ward never seems to have cut any great figure in the eyes of his contemporaries. Considering the great posthumus reputation of the latter, wonderfully little is known concerning him. There is a well founded tradition that he was intensely jealous of his younger brother, and he certainly appears to have used his best endeavours to divert him from engraving to painting. In 1796 the interests of the two brothers coincided, for any success that James achieved in engraving might jeopardise his future career as a painter. It was contrary to the rules of the Royal Academy to admit engravers as full members. The painters were opposed to the exponents of the black and white art trying to enter their ranks ; and if James became definitely known as a mezzotinter, it was probable that they would try to compel him to remain one. He had then his large picture of The Bull Bait on the stocks, which he hoped would secure his election as an Associate painter, but for the time being his pictures were not selling well, he wanted money badly, and Hoppner and other artists were ready to thrust upon him commissions for engraving their works. The situation was complex. There is more than a suspicion that James solved it by agreeing to work for his brother, and did in fact largely engrave for him Hoppner's picture of The Daughters of Sir John Frankland. There is a mystery concerning the production of this plate, and the equally fine Mrs. Michael Angela Taylor as Miranda also after Hoppner. The former bears on it the name of William Ward as engraver, the latter has not this imprint, but until quite recently was always claimed as his work, the two mezzotints being usually regarded as his masterpieces. Mr. Alfred o "^ ■^ G - s > -s Whitman has stripped William of his borrowed plumes in regard to the Miranda, but the Frankland Sisters is a more complex matter for there is the direct evidence of the imprint to be overcome. And yet this evidence when carefully weighed amounts to little. Engravers at that period were not accustomed to differentiate the work of pupils and assistants from their own. William had cheerfully acquiesced in many of his own early efforts being fathered by J. R. Smith, and in similar fashion he had claimed the credit for several plates by James. To add another to their number would neither conflict with his ideas of morality nor fraternal affection. William published the plate March 1st, 1797. James' last important mezzotint The Douo;las Children was issued exactly a year earlier. The interval was certainly not wholly filled in by the production of his one large and two smaller Academy pictures, nor can it be supposed that when paint- ings were so difficult to sell, and money urgently needed, he would remain altogether idle with the graver. Hoppner, before the mezzotinting of the Douglas Children had several times employed William, and the superb plate of the Frankland Sisters, if by the latter, should have drawn him back to his old allegiance with ropes of steel, but instead, he showered his commissions on James and did not return to William until 1804, when he apparently regarded him as a sorry substitute for the younger brother, who had by that time declined to do any more work for him. The four plates oi the Frankland Sisters, Miranda, and the Douglas and Hoppner Children, the two latter being indisputably the work of James, are absolutely indentical in style and manner, and are distinguished by a boldness and richness of chirascuro not generally so marked in the plates of William, but thoroughly characteristic of James who mezzotinted almost with the freedom of brush work, and wrought with astonishing rapidity, thus attaining a quality which renders his work in some respects unique, and caused Hoppner to say "Ward has done something which has never been done before." The most convincing fact of all is that the choice proof impression of The Frankland Sisters from Lord Cheyelesnore's collection, now in the British Museum bears on it the words " Published as the Act Directs" in James Ward's handwriting. This piece of evidence is almost conclusive in itself. The proof is probably the first copy from the completed plate after it had been passed as finished by the artist. It would be the engraver's business to write the inscription for the print writer to engrave beneath the work, and if James was not the engraver there is little hkelihood that he would have had a hand in the matter. The mezzotint of Mrs. Michael Angela Taylor as Miranda was probably completed about a year after that of the Frankland Sister's. A mystery has always attached to this plate. Though a superlatively fine piece of work, hardly a score of copies are known to exist. Two of these, — brilliant proof impressions before any lettering whatever, — have the margin intact ; the others are all cut close to the work to do away with the record as to who was the engraver. For years the mezzotint was attributed to William Ward, and the credit of restoring it to its proper author belongs to Mr. Alfred Whitman, who finding a copy from the plate in the British Museum, with some fragments of the upper portion of the inscription remaining, in- genously deciphered from it the words " engraved by James Ward," which had evidently been scratched on the plate. That this attribution is correct is proved by abundant confirmatory evidence. Tiie biography of 1807 mentions it as being one of James' finest plates, and an impression from it, probably the one now possessed by Mr. Fritz Reiss, is catalogued in the exhibition of his works shown in Newman Street in 1841. It has been suggested that the plate was suppressed owing to the jealousy of William Ward ; but James in a letter to the Marquess of Londonderry, dated June 9th, 1830 gives the matter quite a different aspect. He writes " I en- gaged to engrave a print after a picture painted by Mr. Hoppner, of Mrs. Taylor, with the knowledge and sanction of the family. When that engrav- ing was completed, a mysterious movement between Mr. Hoppner and the family took place. I know nothing of the circumstances, but through the entreaty of the artist, I submitted to the loss of professional reputation with the prospects I had of pecuniary advantage {i.e. by allowing the plate to remain unpublished). That plate was afterwards put into the hands of another engraver for the purpose of getting some impressions struck off, and for him to make some whimsical alterations which would have spoiled the engraving. This he declined doing." It would seem that Hoppner acted somewhat disingenuously in the matter, for, after that painter's death. Ward had the mortification to learn that the non-publication of the plate was ascribed by the Taylor family to the misbehaviour of the engraver. The years 1798 and 1799 mark the culmination of James' career as an engraver ; after that his aspirations were turned in another direction, and though his hand had not lost its cunning, his heart was not always in his work. He was counted an extraordinarily rapid worker even in those days when artists in black and white were compelled by necessity to turn out their plates by the half-dozen. His son relates that Saye, during his appren- ticeship to Ward on returning from a brief absence at lunch was astonished to find that his master had scraped in and finished an entire head during the interval. Such a rate of progress demanded that the graver should be used with the freedom of a brush, and this method of handling at once constitutes Ward's chief excellence and his weakness. In his best works this swift execution is combined with a high degree of finish. His plates are carried to the point of highest perfection ; and the strength and direct- ness of the work, unmarred by any hesitancy or retouching, gives an extraordinary rich and luminous effect to the whole. His blacks are lustrous and velvety, his high lights fresh and sparkling, and if he never quite attains to the refined delicacy shown in some of the masterpieces of J. R. Smith, he excels that artist in the richness of his chiroscuro. But in his poorer plates, his rapidity of handling degenerates into lack of finish. Nothing that Ward ever did could be called bad, but some of his works could be carried further with advantage. One suspects that if James had lived at a sufficiently early date to have worked under the careful and precise supervision of Sir Joshua Reynolds, he might have developed into a greater mezzotinter than he actually was — perhaps have become the greatest mezzotinter of the English School. He is generally at his best when engraving for Hoppner, but Hoppner met him late in his career, and attained to no great mastery over the strong willed engraver. Ward sometimes in his reproductions corrected the artist's works, and the latter, at least once, — in his picture of Lady Heathcote, — embodied the alterations on his canvas. Chapter V. Ward's career during these two years becomes involved into so many channels, that in describing it, one hesitates in what direction to turn first. Perhaps a quotation from his memoirs will serve as the best introduction. He relates " At this period I was introduced to Mr. Bryan, whose wife was sister to Lord Shrewsbury ; the former dealt largely in pictures, and at his house I saw the finest works of the old masters. He engaged me to engrave the Cornelius after Rembrandt, the Diana after Rubens, with several others ; and to paint a large picture containing himself, Mrs. Bryan and children, life size. There was a law suit between him and a nobleman about a Venus by Titian, he asked me if I could copy it. I did so, and when done, Mr. Bryan said ' Now Lord may take which he pleases.' The picture was recovered by the nobleman and I have reason to believe my copy was destroyed." The sight of Mr. Bryan's collection was a revelation to Ward and he obtained permission to go in and study it at all times, setting himself to learn not only the technique of the old masters, but also the secrets of their pigments. In this last endeavour he must be held to have largely succeeded, for he is one of the few artists of the period, whose colours never fade but remain as fresh as the day when they were painted. Ward's labours at this period must have been prodigious. His necessities, now heightened by the advent of a rapidly increasing family, compelled him to work more and more with the graver, yet far from ceasing his efforts to improve himself as a painter, he redoubled them. He had by this time discarded the inspiration of de Loutherbourg to remodel himself on Teniers and Paul Potter, which presently lead him to discover his deficiencies as a draftsman, and determine to enter the life schools of the Academy. In the meantime he had engraved portraits of Admiral Duncan after Hoppner, and John Revoult after Beechey, both published in 1798. This last work probably led to a momentous episode in Ward's career, for through it Ward was brought into contact with Beechey. This con- nection presently resulted in Ward, not content with the labours of two ordinary men, commencing a large publishing business, which though initiated by a success ended disastrously. This venture was started with the issue of a plate after Beechey's picture of the Revieiv which contained equestrian portraits of George III, the Prince of Wales and several well- known general officers. Ward had a share, and not an -unimportant one in the production of the picture, for he painted the horses, which nearly as much as their riders are the principal objects in the foreground. The work brought him into contact with Royalty; and, perhaps, influenced by the idea of strengthening the connection, he bought the copyright of the painting and proceeded to engrave it. Having no capital at his disposal, he was compelled to seek the aid of a Dr. Daw, who took a half share in the venture. The engraving had a very large sale, so large, indeed, that Ward apparently was compelled to mezzotint two distinct plates, to supply the demand for impressions. Ward relates that he presented a proof of the engraving in person to Queen Charlotte who was so pleased with it that she had it hung in her o\vn bedroom. Dr. Daw, having reaped a substantial amount of profit, cheerfully entered into partnership with James; and William Ward who had not been making much progress since his brother left him, induced the two to allow him to join. He appears to have again tried to divert his brother from engraving, suggesting that this should be his part of the business while James painted subjects for him; and on these lines the hrm was eventually established. The partnership was probably arranged in 1799. In that year James moved to 6 and 7 Newman Street, which he took on a long repairing lease at a rental of £77. It was a spacious house — almost a mansion — having a plentitude of apartments for work and entertainment. A large top-lighted gallery had been built out at the back on the site of some former stables, where James could show his pictures, or if need be work on those canvases too large to be accomodated in his ordinary painting room. This latter chamber was of considerable size, and James had in addition a small gallery, and a colour room where he ground, mixed and stored his colours. For entertainment he had front and back drawing rooms, and a dining room where he could seat thirty guests, besides a back parlour reserved for family use. The premises of the new firm were located here, and operations commenced on a considerable scale. A bran-new printing press costing £100 was installed, and pictures by Opie, Owen, and other well-known artists purchased for engraving. Dr. Daw nominally acted as manager, but as he posessed neither experience nor capacity, it is probable that almost from the beginning James occupied that office. He certainly appears as the predominating figure in the new concern. The firm is nearly as often styled "James Ward and Co." as by its official title of " JVlessrs. Ward and Co." He produced most of the plates, engraving twice as many as William, nor did he altogether neglect painting, for among the works issued are nearly a dozen from subjects by him. If his energy and industry alone could have atoned sufficiently for the other partners' shortcomings the business would have flourished ; but he was not sufficiently tactful, and perhaps too straight- laced to be a good man of affairs. The other publishers, while not actually boycotting their new rival, took care not to push the firm's wares. Ward says "Of all my prints my best works never sold! Of the Rembrandt I never sold half a dozen. My large Rubens never sold one, and also of Mrs. Billington the dealers told me they never sold one." After a short career of three or four years, though not an inglorious one if the quality of the works issued is taken into account, the firm was wound up, and its effects sold under the hammer, the printing press only fetching £18. The articles of the firm were apparently drawn up, so as not to preclude the two working members from receiving private commissions ; for the first work that James carried out in his new residence was the large plate of Lord Duncan's Victory over the Dutch which he engraved for Copley. The agreement and correspondence relating to this is still extant. It shows the formality that marked the letter-writing of the period, that the artists though often thrown into close contact, continue to address each other in the third person until the end of the series, and that every letter commences with the sender's compliments. Here is the gist of the agreement, which throws an interesting light on the prices then obtained by leading engravers, and the number of impressions which a mezzotint plate was expected to produce. It is dated September 30th, 1799, and sets forth that "Mr. Ward is to execute, in his best and most finished manner, a mezzotint engraving, thirty inches and an half long and twenty-two inches and an half broad. — He is to complete the engraving in the course of the next April — and to keep the plate in repair — tile (sic) it has produced four hundred good impressions." Copley was to pay Ward two hundred and fifty guineas in two equal instal- ments, the first to be handed over when the earliest trial proof was taken from the plate and the remainder on completion. The engraving was not finished until July 18th, but as Ward had to put in an extra six weeks' work by strengthening the plate with etching, which was not originally contem- plated; and was further hindered by illness, and Copley's inability to provide the first payment to time, the delay cannot be ascribed to his lack of industry. Notwithstanding his triumphs as an engraver, James had not for one moment relinquished his ambition to become a painter. The study of Mr. Byran's collection, and probably the criticisms of Benjamin West, then President of the Royal Academy, and a near neighbour to him in Newman Street, made him conscious of his deficiencies in drawing the figure, and so at about this time we find the popular and courted engraver, beset with more commissions than he had time to execute, modestly trying to enter the life schools of the Academy as an ordinary student. It was a hazardous undertaking for one of his years and professional standing. Then, as now, a candidate had to submit a drawing from the antique, which, in competition with others, had to be passed by the Council before he could obtain admission. It was quite on the cards that Ward, who had never studied from the antique, and was unpracticed in the nicities of stippling required by the examiners, might be passed over in favour of some young stripling fresh from an orthodox art training. If he was accepted, his reputation would not be enhanced, if rejected it would be irretrievably damned. Ward nevertheless took the risk, sent in a drawing on which he was highly complimented by West and Northcote, and was accepted. Then the Council discovered that they had not sufficient accommodation for all the students, and decided that the whole body must again compete for re-admission. No exception was made in favour of Ward, though he might have reasonably expected that as painter-in-ordinary to the Prince of Wales, and one of the leading engravers of the day, some indulgence would have been shown to him. He decided not to undergo a second ordeal, but to secure by his election as an Associate of the Academy, all the advantages of the life schools, without the risksand humiliation of a second examination. To quote his own words, " The question w'as whether I should come forward as a painter or engraver. I enquired if I became an associate engraver first, I could change that and become an Academician." (En- gravers were then only admitted as Associates, the distinction of Academician being confined exclusively to painters, sculptors and architects.) " The reply was, ' Certainly not,' I must withdraw and be elected associate painter. Not forseeing what followed I chose (to put up) as painter. Mr. Hoppner came forward and candidly stated as follows to my wife : 'Mrs. Ward, do all in your power to dissuade your husband from pursuing painting. He has done something in engraving which has never been done before, and we all want him to engrave our pictures. He will command incited iier husband to live in a style almost beyond his means she at least took care that the large household should be carried on as economically as possible. She was up in the morning with her maids, and early passers by looking through the basement windows could see her bustling about the kitchens doing her share of the work and seeing that the girls did theirs. James more than matched his wife for energy. He scoured round the London slaughter houses for suitable models for his cattle, often sitting up through the night painting, by the flickering light of a torch, some particularly fine beast that was to be slaughtered on the morrow. He was again honoured by his work being brought to the notice of Royalty. This time it was his large equestrian portrait of King George III. which he copied for Lord SomerviUe from the picture of The Review. The letter dated March 21, 1800, is still extant, requesting him to send to the Queen's house for the work, " as their Majesties and the Princesses " have seen it, and "were very much pleased with it." An illness intervened — probably of a nervous character — which must have been of some moment, as it is described as " a relaxation of the whole internal machine, with the most threatening symptoms of an agonising death ; " but James recovered and turned, like a giant refreshed, to new work. In 1801 he put himself under Mr. Brooks, the anatomist of Blenheim Street, where he dissected bodies not only of human beings, but also of various animals, birds and serpents. In the same year, on his mission for Boydell and the Agricultural Society, he travelled to Windsor, and then through Berkshire, Wilts., Dorset, Somerset- shire, Devon, and Cornwall, finishing up with a week's stay at the Duke of Bedford's, at Woburn. In 1802 he traversed the length and breadth of Wales and the bordering counties, painting not only the live stock, which was the nominal object of his journey, but recording in his sketch book every picturesque or uncommon object that he encountei'ed. As the fruits of his three months' Welsh tour he brought back with him five hundred and eighty one sketches from Nature. Up to this period Ward seems to have avoided producing any important effort in pure landscape, using it, indeed, with much skill as a background to his figure and subject pictures, but never essaying to make it the principal inoiif for a work. Hitherto this branch of art had profited its exponents but little ; Wilson had starved at it, Gainsborough had followed it during the intervals of portrait painting as an unprofitable though much loved amusement, and even the more original genius of Constable was tramelled down to the same practice. However, in 1803, Sir George Beaumont purchased the fine landscape by Rubens of A view of the Chateau de Stein, Autumn, now one of the most treasured possessions of the National Gallery, for 1,500 guineas, a sum, which taking into account the comparatively small prices paid for old masters in those days, would be equal to ten times that amount at the present time. It was taken to Mr. West's Studio and, to continue the narrative in Ward's own words, " He came, inviting me to see it. I did so, and remained the whole day studying it. Many artists of the first distinction came in to look at it, and generally gave it as their opinion that Rubens had some colour or vehicle which we had not. I said nothing, but took the size of the picture and sent to my Upholsterer to know if he could make such a panel. I shut myself up, painted my picture The Fighting Bulls at St. Donats Castle (now at the South Kensington IVluseum), and called upon 'i -: s o S 5 rS Mr. West to look at it. He sent off to Sir George Beaumont and brought him. The latter came with friends, I think, nine days in succession. Mr. West brought Mr. Beckford in to see it, and I overheard him say ' Mr. Beckford, I consider this the perfection of execution, and when I go back and look at the Rubens it is gross and vulgar.' The next time I called upon Mr. Tresham (the Royal Academician), infirm as he was, he got up and, by the use of the table, came round and took me eagerly by the hand, with the following expression: 'Ward, I congratulate you. You have thrown the gauntlet at Rubens, and you have beaten him.' " Ward had in truth painted a magnificent picture, as visitors to South Kensington can testify ; and if, in an age when critics had no superstitious reverence for the works of the great dead to stultify their praise for the living, he was told that he had bettered Rubens, small blame to him if he believed it. A similar conceit had inspired Hogarth to found the English School of Painting. Though Ward's sublime confidence in his own powers led him to perpetrate many extravagances, and squander his talents on subjects for which they were unsuited, it also nerved him with the strength to produce his best works. Had he been modest and diffident he might have remained a bottle-washer to the end of his days. The subsequent history of the St. Donats Castle is not without interest. Ward sacrificed it to his urgent necessities by selling it to his late partner, Dr. Daw, for 100 guineas, the latter being apparently loath to purchase it even at this price. A few days later, however, when the artist received an offer for it of double this amount, the Doctor, realising that he had secured a masterpiece, declined to part with it for less than 500 guineas. Proud as Daw was of his treasure, he took but little care of it, and when he moved it to Gloucester sent it down unpacked in a common wagon. The panel was cracked and the picture so badly damaged that he had to spend ten pounds in having it repaired. On his death it was sold by auction in a little country town at a time when Ward's works were out of fashion and realised only 120 guineas. The Academy had still to be convinced of Ward's genius. West recom- mended that he should try "something large and striking" in order to remove the feeling "of his being an engraver." The advice coincided with Ward's ambitions, and he carefully evolved a subject which should display his knowledge of anatomy to the best advantage. The theme he selected was terrific. A hugh boa serpent, anchored fast to a gnarled oak, crushing in its massy folds a negro mounted on a white stallion. -The man is helpless, but the horse, with terror in its eyes, and dilated nostrils, is biting and plunging furiously in its desperate efforts to rid itself of the convulsive embrace that is slowly crushing out its life. All the figures were painted the size of life. West lauded the work highly, and James sent it to the Academy in company with the St. Donats Castle. His hopes were san- guine as to its success, he probably anticipated that it would be awarded a principal centre. The sequel had best be told in his own words. He writes : "To my mortification a friend heard that the great picture was rejected. I sent to the R.A., and it was found among the rejected works standing in the hall. On my going to Mr. West to complain, and stating ' I must now give it all up, I find it is of no use.' He said, ' Mr. Ward, I fear your powers are not understood by the Royal Academy. The wisest man I know is Mr. Romney (who always declined to exhibit there). Make your own connection and live quietly.' Feeling the force of this I withdrew my large landscape, and was thrown out of becoming a member for some years." James was not the man to sit idly under the rebuff. He gathered his works together, and started an exhibition of them in his painting gallery in Newman Street. The affair had roused much comment, and the Hanging Committee were severely criticised even by many of their brother members. This all tended to advertise the show, which was then far more in the nature of a novelty than it would be nowadays. It was thronged with art patrons, connoisseurs, and artists. Among the latter came poor George Morland, now in "an emaciated and feeble state of body and mind." He tottered round the room, leaning on the arm of some disreputable hanger-on, "squalid, bloated, cadaverous, and trembling under the weight of his own frame." This was the last meeting between James and his whilom com- panion, and it is pleasant to record that it was of a thoroughly friendly character ; Ward indeed being moved to tears at the sorry plight of his brother-in-law. A short time later he and his brother William were among the small party who followed Morland to the grave. Sweet Anne Ward did not long survive her husband. She had been used to say to James, "I know my friends wish George dead, and think that I shall be happy, but they don't know what they wish for; whenever that happens I shall not live three days after." Her prophecy was almost literally fulfilled. She died on the fourth day. James appears to have been sensibly affected by his favourite sister's death, and it was some time before he could get into the full swing of work again. By now commissions were pouring in upon him. Only the great work for the Boydells languished, and this through no fault of the painter. The giant firm was tottering, Josiah Boydell had no longer sufficient spare capital for the enterprise. It was initiated in 1800, and now five years later, not a single plate had been published, though several were in the course of being engraved. Boydell on various pretexts had repeatedly delayed the progress of the work, and perhaps would have been glad to have given it up, but James was not one to set his hand to the plough without completing the furrow. He had made sketches for the bulk of the two hundred subjects, and had actually delivered or got ready for delivery about twenty-five com- pleted panels. These were all charmingly painted. No other than James could have made pictures from such subjects, but he is indefatigable in seizing every opportunity to introduce some element of beauty into these exact records of the size, weight, and form of the beefy ungainly oxen and cows, whose picturesque outlines and hollows have been squared and filled in by the scientific methods of the breeder; and so there are beautiful little vistas of country life in the backgrounds, strongly reminiscent of Bewick. In one a group of oxen ploughing, in another, a heavily laden barge being towed along a canal, yet every incident is subservient to and helps to illus- trate the leading theme of the subject. Matters came to a crisis in August, 1805, by which time James had been paid in driblets £438 14s. on account. Mrs. Ward then, apparently, was drawing money from the Boydells for housekeeping expenses while her husband was away. On the 7th of the month there unexpectedly arrived a curt note from the firm, to say that they declined to make any further advances. James was summoned home and a heated correspondence ensued. He demanded that they should either pay him for the time occupied, and the expenses incurred while making the sketches, or take from him the full total of pictures as originally arranged. Josiah Boydell made out the best case he could in reply, but it is obvious that the rights of the matter are on the side of the artist. The publisher, however, could do nothing, he was no longer his own master, his business was in the hands of his creditors, and all he could suggest was that Ward should finish sufficient panels to work off the balance of forty or fifty pounds, for which he had not yet delivered pictures. To this arrangement James apparently agreed. The commission for the work had greatly aided his professional advancement, by introducing him to a number of rich and influential patrons, yet its abrupt termination must have been a severe blow to him financially. His expenses in collecting material alone amounted to over £750, and instead of receiving 3,000 guineas, he was left over £300 out of pocket. Neither of his large pictures had sold. Still affairs were flourishing. His prices for the small cattle panels had gone up from fifteen to twenty-five guineas, and as a result of the success of St. Donats Castle he had painted the Twelve Signs of the Zodiac for Mr. Beckford, and four important pictures for Lord SomerviUe. The latter nobleman, who was always Ward's good friend, introduced him and his works to George HI. The artist may have hoped to receive a royal commission, but if so he was disappointed. It was the third time that James had been brought to His Majesty's notice, the first as an engraver, next as a portraiturist, and now as a landscape painter. The triplication of roles puzzled the monarch. " How ! How ! How ! Mr. Ward," he exclaimed, " How is this. That you, so fine an engraver, should turn painter, and landscape painter too. Why, I am sure that it cannot pay you as well as engraving ? " "An please Your Majesty," retorted James, "I engrave to live and I paint for the pleasure of the art." " Well ! Well ! Well ! That puts me in mind of Gainsborough. He told me that when he painted only landscape no one would buy his pictures, and he turned portrait painter, and then people bought his landscapes," answered the King, then pointing to Lord SomerviUe, he added, "You have got hold of the right man here. I hope he gives you a good price for your landscapes. He ought to have done so, for I have just paid him two hundred and fifty guineas for a ram." Later on Lord SomerviUe whirled James of¥ in a post chaise and four to his Scottish seat at Melrose. On their way they stopped a day and a night at Abbotsford, to reach which they were obliged to cross the river Tweed with the water flowing over the floor of their carriage. Ward gives a short but vivid description of Scott. He writes, " I was struck with his appearance and simplicity as very unfavourable to the impression his works had made upon my mind, but during the evening he repeated a poem in manuscript, he had lately received from Mr. Campbell ; and as he proceeded, his countenance lighted, his eyes sparkled, and his nostrils opened like those of a blood horse at a race course. This was the real Walter Scott." Though James had gained entrance to the most exalted circles, without the aid of the Academy, he still hankered after an official recognition from NXXV. that body, as a tangible hall mark to his merit. His friends there were urgent that he should exhibit again. He suffered himself to be persuaded and in 1805 contributed four pictures the fruits of a recent Welsh tour. Whether they were accepted or rejected mattered little to him, for three were commissions from Sir Watkin Williams Wynne, and the fourth, Sheepwashiiig, had been bought by a " gentleman of Lincoln's Inn." They were hung, but Ward was not among the candidates elected to an associateship, and this seems to have determined him to force matters to a head. On the following year he sent in a number of works carefully painted to show the wide range of his talents and asked that they all might be grouped together. The hanging committee declined to make the innovation, so James withdrew the pictures to form an exhibition at Newman Street, which, like the earlier one, crowded his gallery with visitors. His canvasses had now become the fashion, his commission book was like a miniature " Debrett," so filled was it with the names of the nobility and country gentry ; and though his great picture of the Boa Serpent still remained unsold, it attracted a vast amount of attention, apparently impressing the visitors with a sense of wonder that so huge a canvas could have been painted by so short an artist. Among its admirers was Lord Ribblesdale's son and heir, who invited the artist to the family seat in Yorkshire. To this visit we owe the fine Gorsdale Scar, now occupying a place of honour in the Tate Gallei'y. Sir George Beaumont had declared that the subject was quite unpaintable ; but James, with a confidence in his own powers, which in this instance was fully justified, accepted a commission for a picture of it from Lord Ribblesdale. The theme was one which attuned with his talents. Vast, gloomy, and rugged, the scene has been invested by him with a sombre majesty, which impresses the spectator with a sense of awe, and marks the picture as a work of original genius. The subsequent history of the painting is not without interest to the public. Lord Ribblesdale intended it for the decoration of a dining room in a large mansion which he proposed erecting. This house, however, was never built. The huge canvas, for want of a more suitable place, had to be hung in an ill-lighted corridor; and Lord Ribblesdale, thinking it a pity that such a fine work could not be seen to better advantage, some years later, presented it to the British Museum. This proved to be a move from the frying pan to the fire, for it was promptly rolled up, and for many years stowed away in a cellar. Some of the artist's friends commenced to agitate for its proper exhibition, whereupon the authorities indignant at being thus called to account, had the picture exhumed and returned to the heir-at-law of the late owner, the latter having died in the interval. The new owner had no reason to be dissatisfied with his acquisition, as some years after the artist's death he sold it back to the Government for £1,200. There is small need for wonder that Ward in one of his last letters wrote very bitterly about the treatment which the "jacks in office " had meted out to his picture. Chapter VII. In 1807 Ward was again persuaded to send to the Royal Academy, and he exhibited nine pictures, the subjects of which ranged from a study of Pigs to a picture of The Injant Christ embracing the Cross. This last may have been painted as a gage of defiance to certain members who had told him "We will receive you, for we cannot keep you out any longer, but you must suffer us to clip your wings ; you must not fly amongst us, that has not been customary." The warning was futile. If James's aspirations soared heavenwards, not the whole Academy could bring them down. Perhaps they recognized this, for he was now elected an Associate, and three years later advanced to the standing of an Academician. The honours came too late to help him, and, in truth, were given because he had conclusively proved that he could do as well without them. Yet the long delay was in the end to indirectly mar Ward's future career. If he had been elected in 1799 it is probable that he would never have turned his attention to the religious and allegorical subjects, on which, in the future, he was to squander so much of his time and strength. It was his eagerness, to prove that he was no mere engraver, that lead him into paths so uncongenial to the true bent of his talents, and his distrust, of those artists who had attempted to force him to remain a black and white craftsmen, which kept him there despite their advice and criticisms. About this time he added the painting of blood horses to his already extended repertoire of subjects. This was a profitable branch of art in the hands of comparatively few exponents, of whom his brother-in-law, H. B. Chalon, was one of the most able and popular. The latter told a friend, who passed it on to James : " Ward can paint rustic horses, but can no more paint blood horses than my boot," a criticism which James never forgot nor wholly forgave. Presently an opportunity came to him to dis- prove it. He was down in Wiltshire engaged in some cattle portraits for a noted breeder, who possessed a racing stud, when a friend called his attention to a beautiful brood mare and colt, saying " Here is a subject you could not paint." The remark instantly put James on his mettle. He painted a fine portrait of the pair and exhibited it in the Academy of the following year, when it brought him in a shoal of commissions. By refer- ence to the Academy catalogue one is able to identify this work as being the picture of Grandillo a)id her colt Skyscraper, shown in 1809. This successful venture was the means of sending up Ward's prices by leaps and bounds. In 1807 he sold for thirty guineas his picture of the Fighting Horses. This was probably the work exhibited in the Academy of the following season. Four years later we find him pricing his huge canvas of the Boa Serpent at £300 to a Philadelphian dealer, who took it to the United States on sale. It was lost at sea, so that Ward probably never received payment for it. By 1814 he was at the height of his reputation, and had drawn out the following elaborate scale of charges, to which he appears to have strictly adhered, whether the subject was a portrait, animal, or landscape. For a canvas 10 by 12 inches, 50 guineas; 14 by 17, 60 guineas ; 20 by 26, 70 guineas ; 24 by 30, 80 guineas ; 28 by 36, 90 guineas ; 32 by 44, 100 guineas; whole length portrait under life-size, 120 guineas; whole length portrait, life-size, 250 guineas, or when one or more extra figures were introduced, 125 guineas for each additional figure. Unlike the other portrait painters he rated the animals in his pictures just as highly as the figures, so that when he painted the portrait of the two daughters of the Earl of Chesterfield fondhng a pet fawn, the Earl had to pay 125 guineas for the addition of the latter, making the total cost of the picture 500 guineas. His prices appear to have advanced so quickly as to have outrun the knowledge of some of his noble clients, for we find both Lords Chesterfield and Darnley demurring to the amounts he demanded for commissions executed at their request. The former merely stated that had he realised Ward's prices he would have contented himself with a smaller number of pictures, and settled his account for over a thousand guineas ; but with Lord Darnley there ensued a long and acrimonious correspondence. Ward asked him 100 guineas for a portrait of a small dog, which he had painted on a canvas 36 by 35. His lordship replied in a letter, which even a less touchy man than James would have resented, suggesting that most artists would have done the work for five pounds, and that in offering Ward fifty in full settlement he was acting with great liberality. The matter was eventually referred to arbitration when James was awarded the full amount. In this as in other matters he acted with consistent integrity, for when Lord Darnley suggested West as one of the arbitrators, he at once wrote back saying that as he had already spoken to West on the subject it would be fairer to appoint some other artist who was not biassed in his favour. As a proof, that Ward was not unduly estimating the market value of his work, it should be mentioned that only a little before this time he engaged to paint for Mr. John Barnes, a London stockbroker, a picture 25 inches by 19, of a white horse in a sandpit. The price arranged was 100 guineas. Sir Thomas Lawrence saw the completed work and at once offered James 150 guineas for it. The latter declined, as he considered he was bound by his original arrangement. Mr. Barnes was so pleased with the picture that he spontaneously sent a cheque for 25 guineas in addition to the sum originally specified. It might be thought that James would now be in a fair way to amass a fortune. Without being miserly he was jealously careful of his personal expenditure, setting forth his own disbursements to the last halfpenny. But he had no aptitude for money grabbing, and would as lief paint a picture that brought him in no return, save the satisfaction of accomplishing a difficult piece of work, as one that had a good fat honorarium attached to it. He took many expeditions into the country, not only for the purpose of levying toll on his wealthy patrons, but also for the purpose of studying nature, and recording anything curious or extraordinary that he came across, which latter mission he considered as one of the chief duties of an artist. The record of one of these expeditions — a walking tour through the South of Scotland in the late summer of 1811 — is not uninteresting, both as illustrating the primitive state of the country at the time and the tenacity of the artist. It reads more like the record of an intrepid adventurer ex- ploring an uncivilized land, than of a middle aged gentleman by now inured to good living, to the luxurious hospitality of the great country seats, and to the easy travelling by stage coach or post, taking a pleasure excursion. The fare provided at most of the inns appears to have been barbarous. Here are some of the menus. Black cabbage soup eaten out of a wooden bowl common to the assembled company — this was at Carnworth ; at the larger town of Lanark, a two course dinner was provided of " dirty dry salt fish, and soup made of rice and cabbage and a stinking knuckle bone of ham." James lived mostly on bread and butter and eggs, yet even this simple food, was often scarcely eatable. The eggs were not unseldom bad, and generally boiled to powder, while the butter was so full of cow hairs as to taste like mortar. If a joint was cooked, the gravy was inevitably solidified with coal dust. Sometimes he got delectable morsels, such as freshly caught trout, at others even the bread failed, and he was compelled to make his meals on underbaked oat cake. Bad as was the living, the accommodation was worse. The bedrooms were as often as not open to one another. Occasionally the kitchens were turned into dormitories for the poorer male guests, who undressed without shame or diffidence before the assembled company. The bed linen was dirty, swarmed with insects of a most objectionable character, and was generally reeking with damp. Where James could manage it, he had a fire in his room and dried the clothes before retiring, at other places he went to bed with all his garments on, even to his overcoat. These discomforts would have been sufficient to turn back most men from such a trivial enterprise, and James in addition was in a poor state of health. He was afflicted with gravel, one of his feet became lame, and he caught a bad cold on his chest. That he continued his tour as originally conceived, without abating its length or laying by for a day to nurse his ailments, despite continued bodily pain and weakness, shows the man was of a heroic fibre. The following is an abbreviated record of a few days out of his six weeks' journey, the whole of which is worth recounting but would need a volume to do it justice. On the second day out one of his feet blistered. He put tobacco leaves in his boot and did his alloted number of miles. The next day he writes, " My foot very painful and swelled got a needleful of worsted and let out the water, leave the worsted in the blisters, and sow some rag round it, and set out for Lanark with my boot down at heel." He walked eighteen miles in this plight, in the teeth of a heavy storm of wind and rain. After such heroic treatment, the foot became worse, James applied poultices and plasters but never rested it. He could not sleep for the pain, yet even on a Sunday he crawled seven miles, going to a neighbouring church in the morning, and not liking the preacher, migrating to a more distant one in the afternoon, where he had the mortification to encounter the same minister, who repeated his morning's sermon word for word. The next day he got gravel into his wound through wearing his boot down at heel. Still he had no thought of laying up, and of the succeeding day gives us the following record. " Got up tolerably well but for my foot, see through Hamilton Palace ... go down the glen and sketch Cadgow Castle, then my foot so painful I can scarce draw a line. I hobble round to the other side of the river, about three miles away, and make studies. My leg worse and worse, get very feverish with the pain, manage to go round with great difficulty back again to the Palace to draw Hamilton, but find it lost in the fog, return with much pain to the inn." The leg swelled and blotched, but eventually got tolerably well, to be succeeded by a bad feverish cold, yet with this on him James XTCXIX. regularly did his thirty miles or more a day in the pouring rain, subsisting for the most part on milk and whiskey, and occasionally lightening the weight of his sodden garments by taking them off and wringing the water out of them. In other expeditions James fared sumptuously, touring about from one lordly seat to another, and being welcomed as an honoured guest at each. With the country gentlemen, he was popular for more reasons than his painting, for he shot straight, and was a consummate horseman, winning more than one brush by his prowess in the hunting field. His Stirling independence of character must also have obtained for him the regard of many of the noblemen whom he encountered, for while he paid them the deference, and perhaps more than the deference due to their rank, he was punctilious in exacting from them the respect he considered due to himself. Thus when the Marquess of Londonderry directed a letter to him as Mr. James Ward, portrait painter, he wrote back, pointing out that as a Royal Academician, and thus a holder of the King's sign manual, he was entitled to be addressed as " Esquire." He was equally punctilious in other respects, even when it was against his own interests. When on a visit to the Earl of Chesterfield at Bradby, his daughter Matilda came to join him. She was a bright, vivacious girl, inheriting her mother's good looks, and possessing considerable personal charm. The nephew of the Earl, Lieutenant Stanhope, who formed one of the house party, fell a victim to her attractions, and a flirtation sprang up between the young people, which might easily have developed into a serious love affair. Nothing would have pleased James better than that his daughter should have married into such a distinguished family. Pi'obably if he had allowed matters to take their course, the match might have come off, but he would countenance nothing that was not perfectly above board. He put the matter to the Earl, and finding that the latter would disapprove of such an alliance, carried his daughter back to town again. This was in 1814, Ward's family was then five in number. They had proved a not inconsiderable drain on his fortune, for having had next to no education himself, he was anxious that his children should be better equipped for the battle of life, and sent them to boarding schools at the earliest possible moment. He states in his memoirs that this was when each attained the age of two and a half. It seems incredibly young, yet the statement may be correct, for Mrs. Ward was no lover of children, and was probably glad to have her off-spring out of the way. Henry, the eldest, was weak minded. Matilda, the second, who has already been mentioned, was much given to nervous attacks of a hysterical nature, and showed to greater advantage in society than in the home life. The two boys who came next, were of very different dispositions. George Raphael, the elder, was of a retiring nature, diffident of his own powers, but possessing his father's conscientiousness and unremitting industry. His brother, James Claude, was good natured, fascinating in his manners, and extremely popular, but an unreformable spendthrift. He wrecked his own career by his extravagance, and in the end did much to beggar his father. Emma, the next in order, was of such a singulary sweet and religious disposition, that she might have stepped out of the pages of an old time moral story book. Of the youngest child, Somerville, we hear little, he died when he was eleven, and appears xl. s to have flitted from the family circle without leaving tangible mark of his presence. In 1815 however, the family circle was still unbroken. Mrs. Ward's mother lived with them at Newman Street, while James's mother had apartments of her own, not far distant, in which she was supported in comfort by her son's bounty. Mrs. James had grown much stouter, but her matronly presence became her. She entertained more than ever, and still did her shopping in the early mornings at Covent Garden, her son George now assisting her, by carrying the heavy marketing basket. Matilda was little domesticated, but made an attractive figure at her mother's numerous dinner parties, to which James's brother artists were always welcome. Calcott, Owen, Hills, and John Jackson were among his intimates. After the repast was concluded, James would " talk shop," or more frequently sit down and sketch, while his wife had her rubber at whist, and the younger members of the company, which not unfrequently exceeded a score, amused themselves with conversation. James had now reached the zenith of his reputation, and in this year an event occurred which placed him for the time being at the head of his profession. The British Institution offered a thousand pound prize, for the best allegorical picture commemorating Wellington's triumph at Waterloo. The leading artists in England competed, among them being Ward, whose design was probably the most ambitious and elaborate of those sent in. It easily gained the prize, and he was entrusted with the commission for the picture. The story of the work is comedy, but comedy in which the elements of tragedy are so interwoven, that it excites tears rather than laughter. This, the crowning triumph of Ward's career, was in the end to prove his undoing. Misfortune dogged him while carrying out the great work. The shadow of death darkened his household, his family dispersed, his friends were alienated, and he himself, weary with disappointment, and afflicted with grief, lost much of his faith in human nature, and perhaps a little of his trust in God. It is difficult at the present time to put ourselves in Ward's position. Our taste has been educated by the contemplation of great masterpieces which were then not accessible. We know now that neither Ward nor any other native painter of his time was competent to paint an allegory of the lofty conception, and heroic size such as he attempted. Such a work cannot result from one man's isolated effort. It must be built up on accumulated experience, gathered from the experiments and failures of the men, who, have gone (jefore, feeling their way step by step, and passing from one achievement to another; until in the fullness of time some great genius, like Michael Angelo or Tintoretto, the heir and master of the treasure of the ages, shall embody the knowledge, the unrealized ideals, and the beatific visions of those who have gone before, in some stupendous creation that shall be the wonder and admiration of all time. Ward's immediate predecessors in heroic art, were Barry, West, and Haydon, painters whose works only survive in popular memory by the des- criptions of them given in text books. He might be forgiven for thinking that he could more than rival their efforts ; but he was probably less able to cope with his task than many of the modern art students, who have the contents of the National Gallery to guide their taste and train their judgment. xli. His own previous experience with worli of the same elevated type was next to nothing. He had painted a few religious subjects and designed a stained glass window for a church. Perhaps if he had contented himself with an allegory dealing only with Wellington's success as a general, and filled his canvas with armed warriors and prancing steeds, backed by the smoke and flame of battle, he might have achieved a success, but it was the moral, and not the martial aspect of Wellington's triumph which appealed to him. He regarded Napoleon as an Anti-Christ, and endeavoured to symbolize the Emperor's overthrow, as it might have been recorded by the inspired writer of the Apocalypse. In his picture there is an areole typifying the presence of the Deity. There are angels and fiends, dragons and serpents, the Vices and the cardinal Virtues, and in the midst of all Wellington attired in full field marshal's uniform. The British Association by accepting Ward's design, shared with him the responsibility for its incongruities ; and to their secretary's suggestions may be ascribed the inordinate size of the work. Originally it was planned to be 14 feet by 12 feet. Ward, to avoid crowding his composition, increased the dimensions to 20 feet by 14 feet, and actually partly completed it on this scale. The secretary, learning, that even then, the figures would not be life size, urged the artist to make them so, and said, that Ward might recoup himself for the increased labour by exhibiting the picture ; West's, Christ Healing the Sick having brought in upwards of £6000 by this method. James adopted the suggestion, and decided to execute the work on a canvas 35 feet by 21 feet. One would wish to leave the history of this gigantic failure in oblivion, but it is impossible to do so, for the painting of the work was Ward's principal occupation during the six years ending 1821 and proved the turning point of his career. James equipped himself for his task both mentally and spiritually. He spent days in the British Museum studying and modelling from the Elgin marbles, and hours on his knees in the studio engaged in fervent prayer. Nor did he forget more material considerations. His time was so largely occupied with his great work, which was to be paid for on completion, that his opportunities of earning money were largely curtailed, Mrs. Ward does not seem to have lessened the number of her dinner parties to accord with his narrowed income, but he^ himself dispensed with his horse, and kept himself in form by digging in his back garden. The expenses in connection with the big picture were considerable — the huge canvas which had to be specially woven, the large rollers on which it was hung, and the tremendous amount of paint he used, which all had to be paid for, demanded ready money. He got into debt, but by taking all commissions he could execute in town he managed to keep his head above water. On July the 3rd, 1817 he writes in his diary "Thank God for ease and health this day. I won't forget my feelings on paying the last £5 due on Mr. Knight's draft. Bless God." A further source of gratitude to the Almighty was that his wife was becoming more devout, for a few days later he writes " Hear Dr. Busfield (the Rector of Marylebone) with great pleasure, Mrs. Ward much effected to excess of weeping, God grant that the impression may last." This diary throws an interesting light on the amount of care and time he devoted to his animal portraits. For a picture of a horse, belonging to xlii. Mr. Harrison, 30 inches by 24 inches, he had seven sittings from life, some of which were over six hours each, and he occupied three more days with the finishing touches. It was his habit to adapt his pictures as far as possible to the surroundings in which they were to be placed, he studied the lighting of the rooms, and brought away with him samples of the wall papers. For a time all things went auspiciously. George, the second son, a youth of eighteen, who after a brief experience in a wine merchant's office, had adopted miniature painting as a profession was showing great promise. He is described by his father as being " free from every inclination of evil of every kind, with a good capacity and great steadiness." James Claude, his younger brother, was doing well at school ; whilst Ward himself had received a number of profitable commissions from Lord Powis which occupied most of the time he could spare away from his allegory. Yet even then the muttering of the approaching tempest could be heard. Ward's success had been bitterly resented by many of the recognised historical painters. They regarded him as a charlatan, and were indignant that the prize awarded by the British Institution should have been won from them by a mere cattle painter. Their views too found active expression in the Press, and the members of the Institution became dubious as to the wisdom of their choice. They could not withdraw their commission, but they could and did withold any active support to ensure its execution. Ward had been led to believe, that a painting room would be found for him sufficiently large to receive his gigantic canvas when strained. There were suitable places belonging to the Government and other public bodies, and Ward pleaded desperately for one of these, but the British Institution instead of exerting their powerful influence in his favour remained quiescent and his applications were rejected. It seemed that the picture must remain unpainted, but Ward, with characteristic resource, had the canvas hung on rollers, and as the height of his gallery did not permit the whole of it to be unrolled at once, he rolled and unrolled it so as to expose the particular portion on which he wanted to work. Sometimes, where the paint had not thoroughly set, a week's work would be destroyed in rolling it up, and the artist would set to work grimly to repair the damage. He could never see his whole conception at once, but toiled on like a man feeling his way in the dark. Doubts began to assail him, as to whether the work was receiving Divine approval. On September 19th, 1817, he writes in his diary "The Tempter at work to make me think my great picture an offence to God, and a great curse with everything connected with it." He had however no thoughts of relinquishing the task. There arose domestic troubles. Mrs. Ward like Martha was careful and troubled about many things. She saw that much money was going out, and little coming in, and she worried both herself and her husband. Then came a keen blow ; about the beginning of November Ward's favourite daughter, Emma, was taken ill but the illness appears to have caused little alarm until the 23rd, when there is the note in Ward's diary " Emma much weaker." This is followed by the entry "The dear daughter worse and worse," and then there is a long gap. It was not until the 16th of December, that Ward found the strength to write "It is all over now and nearly a month passed." There follow many closely lined pages, where indifferent penmanship and faulty spelling show that the writer's emotion is still fresh ; he records how he xliii. spent hour after hour at the bedside of his beloved daughter comforting her dying moments with the thoughts of Jesus, and fervently praying that if it was God's will, she might be spared. Though she longed for life, she was fully prepared for death. In the pzean to God for his mercies with which his entry concludes one can read the unexpressed wish, that he too might have gone with her and been at rest. Ward does not say what was the cause of his daughter's death, but he mentions that during her illness, from first to last, seven doctors were called in, which appears in itself sufficient reason. Indeed it seems wonderful that any of the family survived their attentions. Mrs. Ward's grief was assuaged by blood letting ; George had twelve leeches applied to his stomach ; and James himself was anointed with an ointment to produce an eruption which he naively hopes "did him good." Matilda is said to have been on the point of death for four days, but recovered ; and in six months' time was led to the altar by her father's old friend and neighbour John Jackson, R.A., a widower with a grown up daughter older than the bride. He nevertheless, was cordially welcomed by Ward as a son-in-law, as being a man of strong and sincere religious convictions. The married couple were away on the Continent, when Mrs. Ward, whose health had been undermined by her increasing stoutness and many worries, was taken ill. Her doctor's remedy, the extraction of twenty-six ounces of blood, can scarcely have strengthened her. She ultimately took to her bed, and on September 26th, 1819, made an edifying end. A little later there is still another death to record — that of Somerville the youngest boy, a child of eleven. He had been away at boarding school ; there is mention of him once or twice in the diaries and letters, but he appears in them as a name only, giving no vital evidence of his presence. James was left in the great empty house, with only his son George and the unfinished allegory to bear him company. The latter had been in progress four or five years when it came to a standstill. Even Ward did not dare to put the finishing touches to a work of which he could not see the whole effect. Besides which, the picture was much in the condition of the play of "Hamlet" with the title role omitted. The central figure on his canvas had still to be inserted, for the artist had not yet obtained sittings from the Duke of Wellington. It would have been far better for Ward had these obstacles proved insurmountable, but his energy carried everything before it. He imagined that the Duke of Wellington would not sit to him because he was not a recognized portrait painter; so in 1818 to prove that he was capable, he got the Rev. Dr. Busfield to sit to him. To recoup himself for the picture, which he presented to the sitter, he engraved a plate from it, hoping to realise £200 from the sale of the impressions. The portrait was wasted so far as the Duke was concerned, for he was called out of the country. In the meantime, James was searching for a suitable place in which to finish his picture. Haydon had such a studio which he wanted to let, but was one of Ward's bitterest decryers and opponents, and though James made application for the place, his offer was declined. He was consequently compelled to turn to other work. In 1819 he went to Northumberland and commenced a picture of a "Persian Horse" for the Duke of that county, and the fine " Lambton Hunt," so well known by the engraving from it, by .\Iiv. Charles Turner, for Mr. Ralph John Lambton. In 1820 he paid a visit to his old friend, and faith patron, Mr. Levett and painted the " Deer Stealer," one of his largest works. Towards the close of 1821, his hopes at last seemed on the point of consummation. Haydon relinquished his studio, and though he tried to force another tenant upon his landlord, the latter gave James the first option. A thousand pounds was necessary to secure the lease, and Ward scarcely possessed so many shillings. He borrowed the money in equal moieties from Sir John Soane and his tried friends the Levetts of Wicknor. The Iron Duke sat for his portrait in the early part of 1822, and the gigantic work was at last completed. Ward hired the Egyptian Hall for its exhibit- ion. He now looked to secure the reward for the courage and tenacity which had enabled him to surmount so many rebuffs and disappointments. But the picture was doomed to failure. Had it been a masterpiece by Raphael, it would have fallen equally short of success, for the public taste for allegory had vanished, and the Duke of Wellington was in the nadir of his popularity. There is little need to expatiate on the details of the grim fiasco. The work was not destitute of merit. Though the composition as a whole was ill conceived, many of the individual figures were well drawn, as may be seen from the illustration from the " Study for Hope " at the end of the book. The members of the British Institution who attended the private view, were loud in their praises ; but when it presently appeared that both press and public were unanimous in condemning the work, their voices quavered. Despite all arrangements to the contrary, they suffered the canvas to be mutilated by the authorities of the Chelsea Hospital, who fitted it over a balcony which partially concealed it from public view. Here it hung for some years until removed to make room for a collection of Chinese trophies. Later it was unearthed from the cellars of the Hospital and contemptuously given back to the artist's family, who cut it up into several fragments which appear to have vanished completely. Chapter VIII. James' plight would have driven a weaker man to despair. He had hazarded fortune and reputation on the cast, and lost. The six best years of his life had been wasted. His out-of-pocket expenses in connection with the production and exhibition of the work amounted to over seventeen hundred pounds ; the thousand pounds that was to be paid for it had already been so largely drawn upon that the balance remaining was but as a drop in the ocean^'of his liabilities. Again he proved himself unconquered by fortune and faced the chorus of execration levelled at his picture with undaunted mien, considering the public unable to appreciate the work because it transcended their intelligence. To re-establish himself he descended to their level by painting the picture originally called Protection, but now hanging in the Tate Gallery under the more prosaic title of Landscape with Cattle.'' The size of the canvas is 10ft. Sin. by 15ft. lOin. Large as it is, Ward relates that the work seemed as child's play to him after the allegory. The picture was exhibited in the British Institution in 1823, it did some- xlv. hing to restore his bankrupt reputation, but henceforth the struggle was a losing one tor him, though waged with desperate resolution, and lit up by some transient gleams of success. James felt this and his letters betray his despondency. He writes in 1822, " I may find some little corner (in the country) in which to bury my aching head and repose my aching heart," and again in the same year apropos of a squabble between some artists, " a little while, a very little while, and those in and out of the Academy will sleep together in peace." He was now over fifty, a widower, hampered with debt, and thoroughly weary of the world, yet he pursued his work with the same dogged determin- ation, if not with the same high hopes as before. Fame had eluded him, but he was eager to free himself from his liabilities, to keep his old mother in comfort during her declining years, and provide a competence for his children before he died. He stooped to beg favours for his boys which he would have scorned to ask for himself. We find him soliciting commissions for George with the assiduity of a professional bagman. James invented work for him, and paid for it out of his own lean pockets, rather than the young man should lack employment; and to do George justice, he more than deserved the assistance, for he repaid it in a thousand ways, taking charge of the Newman Street establishment during his father's long absences, and acting as his housekeeper, agent, and business manager. Nor was his pencil unworthy of recommendation. Lawrence, for whom he made miniature copies of his pictures, was so pleased with them, that at least once he paid a higher price than the amount demanded, and gave him all the work of this character that he could. James, in his endeavours to further his son's interests, was thrust into the practice of lithography. He made drawings of some prize cattle for Mr. Arbuthnot, which it was arranged should be reproduced on stone. Ward had earmarked the work for George, but the latter was away engaged on more profitable commissions, so James performed the task himself, with the success which always attended his efforts at realistic art. This opened to him a new, and for the time being, a profitable field of employment. In the course of two years, he drew a set of fourteen lithographs from his own pictures of celebrated horses, and over half-a-dozen other works as well, which appear to have commanded a readier sale than ever did his fine mezzotints. At this time his waning career appears to have entered upon a little St. Martin's summer of success. In 1823, whilst on a visit to Newmarket, he was honoured by the Duke of York with a commission to paint his well-known thoroughbred Moses. On the following year he made a long visit to Tabley, painting pictures for Sir John Leicester. Then followed one of the crowning events of his life, a visit to Windsor and two long interviews with George IV. The king fascinated Ward, his personal charm was irresistible, with winning suavity he declared that the three pictures which Ward was painting of the royal horses must be considered as commissioned from himself, and led the delighted artist to infer that he was at least as much pleased to secure his work, as the latter was to receive the royal patronage. Ward asked that he might be allowed to send home for further pictures to show His Majesty, who was charmed by the suggestion. James was brimming over with joy, he hastily wrote home to George to despatch the canvasses, and with them "the large magnifying xlvi. glass" so that the king might see the minute finish of the work, he concludes with the instructions, "Call upon my dear old mother to make her happy with the news, and remember that those who live upon Providence will never be in want of Providence if they will wait upon His time." The second interview was granted. The king was even more gracious than before, he talked to the artist as an equal, and placed his hand familiarly on his shoulder, a gracious action that lingered long in Ward's memory and is often referred to in his letters and reminisences. His Majesty ventured to criticise the action of one of the horses in Ward's pictures which had all its four feet oft the ground, but in this he presumed too far. James, like the " Yerl o'Waterydeck," was absolute in his own domain, and overwhelmed his sovereign with arguments and illustrations, making sketches of the action of the horse, and imitating the gait of a high- paced racer in front of the king until the latter expressed his entire agreement with the artist. Perhaps Ward was hardly deferential enough in his behaviour, perhaps the death of the French king, which occurred about that time, blotted the recollection of the artist from the king's memory, for when the three works were finished, and James begged leave to submit them, he was told that His Majesty was too busy to attend to the matter, and so ended his last intercourse with royalty. Perhaps it was well that James did not come into more frequent contact with such exalted circles, for two anecdotes which he relates, show that the artists attached to the Court in those days must have kept their tempers well under control, an attainment beyond Ward's powers. The following is the first of the tales " There was a certain bishop who had been a great friend of Beechey's with King George III. He came to the artist to paint his portrait, but explained that he could not afford to go to his high prices. Beechey, in gratitude, charged him less than usual, which the prelate imprudently made known to His Majesty. The next time Sir William went to the King, the latter, who was then verging on one of his attacks of madness, foamed with rage, and burst upon him in the most abusive language as charging him more for his pictures than he did other people. Beechey fainted under the shock, and the princesses who were present kindly took him into another room, where they brought him to with smelling salts." " Such is the post of honour ! " interjects Ward, who then proceeds to give an anecdote of George IV., and Sir Thomas Lawrence. " He (Lawrence) when painting the portraits of the distinguished characters in the late war (with France) made a very beautiful portrait of Napoleon's son, which was engraved. As he had been in the habit of presenting all the engravings from his works to the King, he brought an impression to His Majesty. The latter took it out of the artist's hand, and instantly tearing it to atoms, threw it in his face. The gentleman, then superintendent at Carlton House, told me, that when Sir Thomas came out of the King's room, his state of mind was such, that he thought he had become deranged." Ward adds the reflection " It was a lesson to me — Fear to be too near Kings." The King's patronage, however, short-lived as it had proved, enabled Ward to maintain his position for a few years longer, 'though he was earning more than he spent, his debts hung about him like mill-stones, and it was only by strenuous efforts he could keep himself from being submerged. xlvii, Such was his lack of ready money that now he rarely started on a journey with suFHcient cash to carry him throui^h with it. This resulted in situations which were almost painfully ludicrous. At Paris, which he visited in the winter of 1825, he was to outward appearance, floating on a flood-tide of prosperity. The French authorities received him with distinguished courtesy, the large copy which he made from a Giorgione in the Louvre had been commissioned in advance, and, around his easel there daily gathered the elite of the English visitors to the French capital ; among the most faithful attendants being the Duke of Bedford, who was so impressed with the work that he arranged that the artist should paint an important picture for his collection at Woburn. Doubtless many an artist was envying Ward his distinguished cortege, and rich clientele, while poor James in the solitude of his inn chamber, was counting over his fast vanishing francs, conscious, that unless George could raise enough money to send him a remittance he must remain in pawn to his landlord for his unpaid hotel bill. The money, however came, and Ward was set free to resume his never ending labours. I suppose that no man in his declining years was ever more heavily weighted by the faults, the weaknesses, and the misfortunes of others. For over a decade he had kept his wife's mother and sister. His own mother was still his cherished pensioner. There was no money he grudged less than that he sent to the old lady. She was constantly in his thoughts, and he never mentioned her but in the terms of the warmest affection. He instructed George, however hard pressed they were, to pay her allowance to the day, lest she should be worried by thinking things were not going well with him. Here is a characteristic extract from a letter to George impressing him to look after her: "When did you see my dear, dear mother ? Let it be very often. Her spirits at times are subject to depression, do all you can to prevent it. Take tea with her at times, and see that she wants nothing. My kind love to her, and never forget to convey it with every letter I write." Ward's afflicted son Henry was another constant expense, fifty pounds a year being paid for his board in the country. Finally there was James Claude. The clever boy had developed into a spendthrift, and money passed through his pockets like water through a sieve. Ward, at the cost of many rebuffs, had begged for him a cadetship on board an East Indianman, and spent £250 in fitting him out. Less than a year elapsed before he was back on his father's hands; again the father went the round of his patrons, and eventually secured for him a clerkship at the Tower. Claude (for it is advisable to drop his first name to prevent it being confused with that of the parent), was lax in his morals, he developed habits of staying out late, and mixing with undesirable associates. Nothing could have been more displeasing to James, who was puritanically exact in such matters ; he expelled his son from Newman Street and forbade him to the house. Claude, left to his own devices, garnered in a fine crop of debts, and presently, when threatened with arrest by his creditors, came whining to his father for assistance. James did not respond willingly, he stormed and lectured as was his nature to ; but ultimately an arrangement was effected by which the young man's salary was set aside for his creditors, while the much burdened father provided him with means of subsistence. Claude's allowance was a pound a week, sixteen shillings of which went to xlviii. his sister Matilda and her husband, with whom he now boarded. The prodigal found this penury irksome, he pestered his father with a constant succession of letters, all savouring of the professional mendicant, filled with contrite sentiment, and ingenious pleas to extract money. Five pounds were wanted for a set of new shirts, two pounds for a pair of boots, six guineas for a series of medicated baths to restore him to health, and other amounts for various items, which it may be suspected were but aliases for some delectable morsels, to garnish the prodigal's fare of husks. Ward grew tired of the drain. He was on the eve of contracting new responsibilities, for, by now he had become engaged to Charlotte Fritche, a cousin of his first wife, whom he had known for over thirty years, and who was to prove a loving and helpful companion during the remainder of his pilgrimage along the vale of life. George too had become engaged. The two couples were married in 1828 on the same date, and though from this time father and son lived in separate establishments, their intercourse continued with unabated affection. Claude, in the meanwhile, was finding his position increasingly irksome, and in 1829 cut the Gordian Knot of his difficulties by enlisting in a cavalry regiment outward bound for India ; his last act before leaving the country being to buy himself a "handsome chased gold-mounted riding whip," for which his father was presently favoured with a bill of three and a half guineas. Unfortunately, this was not Claude's final appearance on the scene, and even his temporary exit was the occasion of a fresh crop of troubles. He was declared bankrupt under the style of James Ward, late of Newman Street, and the coincidence of his name with that of his father caused the latter's credit to be impaired. James, a year or two previously, had taken a little country house — Roundcroft Cottage at Cheshunt, Huntingdon — at an annual rental of £40 ; and now, stung with a sense of disgrace, he determined to retire there. It was a thatched, two-storied building, very picturesque, but woefully dilapidated, and constantly needing repairs, which Ward had to have executed entirely at his own expense, for the owner met all applications for assistance by threatening to have the place pulled down. Ward retained a few rooms in his Newman Street house but let off the greater portion, the proceeds more than covering his entire rent. He was persuaded to put up his collection of unsold pictures at Christie's, a hazardous proceeding for any artist, however eminent. The sale, which took place in 1829, more than realized his worst forebodings. For his large Cattle-Piece there does not seem to have been a single bid ; of the other lots, a number were bought in, and the remainder brought less than a quarter of their original prices. The net proceeds were under a thousand pounds — a little nest egg to help James over his declining years, and one that was urgently needed, for he was turned sixty, and craved for rest from the stress and strain, the bitter rivalries and never ending turmoil of London life, and sought to find it amidst the country surroundings that he loved so well. Thirteen years later he was to record in his exhibition catalogue: "Complete rest is only to be found in the grave." The interval had proved the truth of the statement. James was given a few years of freedom from worry, and then his son Claude returned to England, invalided out of the army, in which, to do the young man justice, he had borne himself creditably, xlix. attaining the rank of a Corporal. The prodigal was welcomed back with open arms ; but after the " veal " had been eaten and the feast brought to a close, it was necessary that he should be put in the way of earning a living. James had invented a kind of waterproof blacking, which met with the approval of the experts to whom it was shown. It was arranged that Claude should exploit the novelty. Another gentleman was found, who put his son and a considerable sum of money into the concern, which was financed by James to at least an equal extent. The rest may be told in a few words. The invention proved a failure. Claude dropped the blacking and turned to gutta-percha, then a little known substance, more used for fancy articles such as rings, watch chains, and ladies' garters, than for ordinary commercial purposes. He seemed to be doing well, and actually paid off a portion of his father's loan. Then returning to his former extravagant habits, he ordered a phaeton and a set of harness from the King's coachbuilders, and was looking out for the best horse procurable, when death put a period to his quest. The reader can probably surmise what followed. The business proved insolvent. James' thousand pounds had vanished, and having committed himself to a guarantee he found himself heavily involved. The old man, now turned seventy-two, went back to town to gather up the threads of his connection and retrieve the position. Fortunately, he had not occasion to remain there long ; some of his former patrons, among whom was the Duke of Northumberland, came forward and purchased several of his more important works ; and by realising all his tangible assets he was able to pay every creditor in full. Ward's retirement to Roundcroft synchronised with the period of his most pronounced literary activities. The writing mania came to him late in life, and as youthful maladies are said to assail the aged with peculiar virulence, so he was strongly affected, and never outgrew the habit. His description of his allegory, issued some years previously, contained about half the matter of a three-volume novel, and had created some sensation in the artistic world, though not of a nature to gratify the author, for the pamphlet did more towards damning the picture than the combined efforts of the hostile critics. Now he brought out a treatise, entitled: " New Trials of the Spirits, in reply to two sermons preached in the Parish Church of Upper Chelsea, and published by the Rev. Henry Blunt, M.A., written in a letter to a friend by James Ward, R.A." This was presently to be followed by "A Defence of the Beard," and a brochure on "The folly of docking horse's tails" ; while the catalogue of his exhibition in Newman Street was enlivened by some hundreds of lines of original descriptive verse. The prose compositions are distinguished by much admirable if verbose moral sentiment, some sound common sense, and an extravagant use of italics and leaded capitals. The poetry is distinctly inferior. Ward having no ear for either rhythm or rhyme, and, in happy unconsciousness that he is offending against the laws of verse, matches "moan" with "thorn," "knows" with "lose," "moon" with "tomb" and gives us stanzas such as " I am modest and bashful at bazaar or class, In public or private hating vanity's fuss, And I'm pained to the heart when they're over and gone, But the thistle has down, as the rose has a thorn." 1. After reading this, one sympathises with the frank brutality of the criticism contained in a letter from his brother-in-law, G. Fritche, apropos of a catalogue of the Newman Street Exhibition. He writes : " I went to see the pictures, and when Mr. Swan read your descriptions, became disgusted with them. Your poetry lowers them 100 per cent. For God's sake don't let the public read such d— d doggerel stuff! " It is refreshing to think that though this criticism failed to cure James of his weakness for poetastry, it did not interrupt the friendship of the two men. Ward succeeded in re-letting his premises in Newman Street, and after Claude's affairs had been wound up there was nothing to prevent him from returning to his beloved country cottage. Here in peace and con- tentment he spent the remainder of his days, secluded from the world, yet neither forgotten nor unheeded, and taking a lively interest in public affairs, and in the concerns of his children, grandchildren and great-grandchildren. Though his latter end was not blessed with great material prosperity, his trust in God sweetened his dinner of herbs, and secured him in the belief that he should not be utterly cast down nor forsaken in his old age. Here is an extract from a letter to his son George, written in 1849, showing with touching simplicity his belief in the efficacy of prayer, even in small matters. He writes : " You have heard that one of our torments here has been bad servants, and my prayer has been for (a good) one. A man is suddenly sent to me all the way from Norfolk, who has also prayed for a quiet situation in life, being advanced in years. If I had painted a man as to what appearance I should like, he is the man. Who, but Providence, could induce him to seek a place so far from home, or direct him to Roundcroft." The man's name was Peg, he was an ex-gamekeeper, partially crippled by some wounds received in his former occupation. He proved a most faithful and exemplary servant, looking up to Ward, on religious matters, as a disciple to a master, and ending his days in the latter's service. At the time of Peg's advent James was enabled to gratify a long cherished desire of buying a little pony and phaeton for his wife to drive about in. He obtained them for a trifle, as both horse and vehicle were the worse for years. The pony was slow and lame, but perfectly suited his master and mistress ; and when not in service, grazed on the little paddock in front of the house, with its long tail and main flowing in the wind — for James would never permit a single hair of them to be docked — ready to come instantly to its master's call. James loved all animals, wild or tame, and neither bird nor beast was allowed to be disturbed in his little domain. On his dogs and cats he lavished nearly as much aff^ection as an ordinary man would on his children. In a letter to George he recounts the history of his pets from the beginning. The first was a little dog named Dandy, so small that James " used to button him up " in his bosom, and take him to Hampstead Heath " and there let him loose to frolic among the furze bushes and heather," to the mutual delight of the two playmates. He ultimately was poisoned by swallowing some paint left about by careless workmen, and James records, " I felt as though I had lost a child ! " Dandy was succeeded by a " beautiful thorough- bred little spaniel," who in his turn met with an untimely end. Straying by mistake into a strange house he was there done to death with pitch-forks under the apprehension that he was mad. James and his servant scoured the country in search of the missinj* pet. At length Ward met the man "returning with the poor Httle darhng hanging by a string about his neck." James in his grief at first decided never to have another pet, but was persuaded to accept a second spaniel in the person of " little Dash," who won his master's heart completely, and waxed old in his service. At length he " became diseased all over." James doctored him daily with ointment, and " the dog was as sensible of the relief afforded him as a human being." Eventually he grew too ill for the remedy to ease his sufferings, and then he would gaze reproachfully at his master, as though he thought that the latter could assuage his pain but would not. This preyed so much on James's feelings that he had the dog made away with, and buried in an unmarked grave so that he should not learn where his favourite lay. " I do not know to this day," (1853) he writes, " and I am glad of it, for the sight of Dash's picture is still too much for me, if I dwell on it." The last of Ward's pets was a cat which was wont to jump on his lap, " purring and fondling him as a child." Much to James's sorrow and indignation the animal was ultimately shot by a neighbouring land-owner for poaching. As the years rolled on Ward's income from the sale of his pictures gradually dwindled, and finally ceased altogether. In 1847 he was driven to apply to the Academy for assistance, when he stated that for years he had not sold a single picture. The Council of that institution responded with willing alacrity, for not a man among them but was proud of the grand old veteran who had pursued his professional career so long and honourably, and against such weighty antagonisms. He was granted a pension of £100 — not a large amount, but sufficient, eked out with the little salvages that occasionally came to him, to keep him and his wife in comfort. In the following year an unexpected piece of good fortune came to him in the sale of his important picture, the Council of Horses, painted in his eightieth year, and bought for £250 by that well known connoisseur, Robert Vernon. The subject is taken from " Gay's Fables," and is finely rendered, the contrast- ing characters of the individual horses, composing the assembly, as des- cribed by the fablist, being fully expressed, and this not at the expense of the truth by humanizing them, but by the perfect realization of their equine variations. It was a wonderful work for a man of Ward's years, and though age had abated the vigour of his handling, it is questionable whether any artist then living could have shown an equal amount of technical skill and knowledge in painting the same theme. It was Ward's swan song. Though he did not relinquish his brush, no after work by him attained the same high level of excellence. Though his frame was enfeebled, he still retained his mental and physical activity, got up at six in the morning, and worked unceasingly. When he lay awake, during his meagre hours of rest, he wiled away the dragging night by composing poetry, which he inflicted on his long suffering relatives, and on the compilers of the Academy Catalogues. Many and ingenious were the excuses invented by the latter for not printing in extenso the metrical descriptions of his pictures. He still dabbled in theology, discussing abstruse points of doctrine with his parish clergyman, and pursuing the solution of the " ten horns " of Daniel's vision with unbated ardour. lii. He in no whit abdicated his position as head of the family. He leant on George, ahnost wholly transferred to him the management ot his business affairs, and made him largely his medium of communication with the outer world, but if he considered that his son had acted wrongly with regard to matters of deportment or morality, he chided him as he would have done a sixteen year old boy. Thus when he learnt that his favourite granddaughter Henrietta, George's only child, had attended a fancy dress ball garbed as Nell Gwyn, his wrath knew no bounds, and in a series of indignant letters, he sternly rebuked her parents for permitting a Christian girl to assume the disguise of a courtesan. This self same Henrietta, now widely known as Mrs. E. M. Ward, and still living among us, exhibiting regularly in the Academy, and producing work which conclusively proves that age has not dimmed her eyes, nor caused her hands to lose their cunning — showed extraordinary talent as an artist, even in her earliest days, and owed much to her grandfather's criticisms, and kindly praise. Later on he was to perform for her a service of a different kind — -to act as mediator between the young girl and her parents. The occasion of this intervention was Henrietta's marriage. A precocious, because an only child, she ripened into a beautiful woman at an age when most girls have scarcely doffed their pinafores. Among her father's friends was Edwin Mathew Ward, a namesake but unrelated, already known to fame as an historical painter. The young couple found a mutual attraction in each other's society, and when Henrietta was yet fifteen, they plighted their troth. The consent of her parents to their immediate marriage was demanded, Mr. and Mrs. Ward who had no reason for witholding it, except on account of their daughter's extreme youth, promised that if the affianced pair remained of the same mind for a year, they would grant their sanction ; but the period of probation having elapsed, the parents still hesitated, and finally extended it for a second twelve months. This was more than the lovers could endure, they were fearful for the future, and anxious to be united beyond the possibility of separation. One morning Henrietta left her parents' house, nominally to spend the day with a sister of E. M. Ward. She met her lover by pre-arrangement, and they were married by special license, Wilkie Collins the well known author, giving the bride away. The wedding was kept secret from the parents, who in company with the newly made bridegroom and bride dined that night .at the house of Charles Ward. The situation was ludicrously embarrassing. Host and hostess, and all the company, with the exception of Mr. and Mrs. George Ward, knew of the event of the morning, but had to act as if nothing had occurred. For some months things continued as though no wedding had taken place, then one fine morning, the young couple eloped to Ivah. Mr. and Mrs. George Ward were naturally angry, and declined to be reconciled with their daughter and son-in-law. James however sided with the latter, and advocated their cause, though at first without avail ; for the parents hearing that he had invited the pair to Roundcroft, objected on the ground that he was countenancing filial disobedience. Such was the old man's reverence for parential authority that he deemed it his duty to with- draw the invitation, until by continued pleading, he had obtained for them forgiveness. James's last years ebbed peacefully away. He and his wife were never lonely. They made their little cottage, a place of entertainment for their liii. relations where all were welcome, and so the rooms re-echoed with the laughter of little children whose hearts were not more pure, or whose lips more innocent of guile, than those of the white haired old man now verging upon ninety. 1855 was the year of his last exhibit in the Academy. He nevertheless continued to paint for a little longer. A letter, dated 1856, contains the record of what was apparently his final picture. It is scribed in Ward's charac- teristic writing, now however, grown feeble and uneven, and runs as follows : " Last picture, J. Ward, R.A., Heading the Fox, March, 1856." In August of the same year he writes to his son George, " I hope to hear of you having new commissions, assured that we are never so happy as when full of work, my pain is increased by having the desire to work but without the power ; but how thankful I ought to be that my mind has not left me." The last letter of his that I have discovered, is dated April, 1857, and is also written to George ; it contains the following sage maxim which applies to no time more than the present, "Live close, and spend not one unnecessary shilling — for times are coming which I think will be more trying than any we have yet seen." He barely outlived his ninetieth birthday. The end came on November 16th, 1859. It was such as befitted his life. He passed into the unknown hereafter with the confident assurance of a weary traveller reaching his long sought for goal. He is buried in Kensal Green Cemetery, a beautiful monument by Foley, marking his last resting place. By a curious coinci- dence, the site of the cottage, in which William Ward and George Morland lived together in the May dawn of their careers, forms part of the cemetery grounds, and it may well chance that the mortal remains of the old veteran, lie on the very scene of some of his youthful labours. It is still full early to speak of Ward's position in English Art. His career was so extended, and his productions so varied in their character, and so unequal in quality, that posterity has not yet had time to separate his transient work from that which has in it the elements of the eternal. By an irony of fate, he is at present best appreciated for his engraving of which he thought little, for he despised the art as mere craftsmanship, did his best to prevent its exponents from being admitted as full members to the Academy, and was himself in no wise anxious to be distinguished or honoured as one of them. There is no need to enlarge on his achievements in this branch of the profession, for his position as one of England's greatest mezzotinters is firmly established, and the proofs of his finer works are ransomed by collectors at prices which would have astonished their author. During the first portion of his career, Ward was painting pictures which he himself described as being " pure Morland," this phase of his art lasted from 1790 to 1797; few of the works of this period are known to exist, and probably many of the best of them have been passed off on to collectors as genuine Morlands, a practice which was in vogue even during the lifetimes of the two artists. Some of those surviving are charming, but in them Ward reveals little of his own personality, they are frank imitations — the compositions of a scholar who still saw nature through the eyes of his master. From 1797 until 1803, Ward was gradually evolving a style of his own. His experience, as a painter of prize cattle, taught him to note detail minutely and accurately, while the study of the works of the Dutch and Flemish painters, which came under his notice at this period, encouraged liv. him to express it with great elaboration, thus his development was wholly in the direction of greater definition. The salient characteristics of Ward's style are brilliancy, clear definition, and minature like finish. His pictures are concrete statements of fact, that leave no ellipsis to be filled in by the imagination of the spectator, and in this lies both their strength and weak- ness. All art is in the nature of a compromise, for as no picture can embody the whole truth of nature, some portion of it must be sacrificed, in order that full expression may be given to the remainder; hence the greatest artist is he who expresses most, and does it in the most perfect manner. Ward was unwilling to make any conscious sacrifice, he tried to combine breadth with elaborate detail, and not seldom the attainment lagged behind the intention. In his huge '' Cattle Piece'" at the Tate Gallery, he records the marks on a butterfly's wing, and the minute forms of the weeds and grasses in the foreground, with the same close observation that he devotes to the I'endering of the group of cattle, trusting to his skill to subordinate these details to the leading ;«o;'// of his picture. In his smaller works he carries this love of minutiae even further, so that they may be examined under a magnifying glass without losing their effect of perfect finish. In nearly all the pictures of his best period — that is from 1803 until about 1830 — his brushwork is free and virile, his execution solid, and his colouration strong and brilliant, so that many of our present day pictures, when put alongside, look thin, flat, and lacking in chiroscuro. Ward's weaknesses are on the surface, his occasionally faulty drawing, his over accentuation of the rugged and eccentric features he depicted, and, in some of his earlier works, the division of his composition into several minor groups insufficiently correlated to form a homogeneous whole ; but in spite of these blemishes he is a great artist, interesting in all his work, and within narrow limits an unsurpassed master. There have been other painters of cattle, who have produced pictures, which, as a whole, may rank higher than any of his, but in the deliniation of the animals themselves, their forms, the texture of their coats, and their characteristic traits, no one has equalled him. In painting Ward has still to come into his own. The present age is hardly likely to do him justice, for the critics are leading us further and further from his ideals, and putting before us fresh conceptions of art of which he knew nothing. To them the suggestion of a transient impression, or the blurred epitome of one of Nature's moods, in which form, detail, and local colour are expressed in vague generalisations, are -all sufficing. They regard Ward's pictures as unatmospheric, his outlines as too clear cut and hard, and his work as cumbered with over elaborated masses of detail ; yet as I write this, on a furze clad English hill slope, with the span of half a county spread out in front of me, and see the definiteness with which every object, however remote, impresses itself on the eye — the flaming blooms within my hand's reach, hardly more distinct than the red-roofed houses of the village in the valley below, or the trees, that nearly a dozen miles away, sierrate with their jagged outlines the circumfluent sweep of the horizon — I feel that Ward was in the right ; and that our teachers are drawing us away from Nature into a maze of bewilderment, where the idiosyncracies, the mannerisms, and sometimes the impertinences of a few artists of great but imperfect talents, are held up to us as our guides. Iv. PORTRMT OF JAIIKS WARD By John Jackson, R.A. From an Eti!;rciiiiig by J. W'arJ, ill the collection of Mis. E. M. Il'iKif PORTRAIT OF THE ARTIST S MOTHER By J. Ward. From a Picture belonging tj Miss Jinkson WOOD SAWYERS From a Drawing by James Ward, in the collection of the Honble. John Ward. M.V.O. MRS. MICHAEL ANGELO TAYLOR AS "MIRANDA Engraved by J. ]\'ard. After the Picture by John Hoppiier STUDY OF A BARN J^V J ■ \\'y J ■ IWut!. From the Picture by Sir Joshua Reynolds. {The Print lent by Messrs. Grundy & Robinson) STUDY FOR FIGURE IN THE " HAY-MAKERS ' By Jciincs Ward From collection tj Honhk. John \\ anl, M . I '.(>. STUDY FOR FinURH OI' "HOPE" IN THE ALLEGORY OF THE BATILE OF WATERLOO STUDY OF HOUNDS From the Collection of thi HoiihU. John Ward, ^■LV.O. 1 HP, COUXTkY BUTCHER S SHOP livj. Ward Fviiin an Engraving by S. ]\'. Reynolds, in the collection of the Honhle. John \\'tii\i. M. ]'.(). THE FAMILY COMPACT (PORTRAIT OF '1 H E ARTIST's MOTHER AND HIS SECOND WIFE) I'yoin the Picture in tite possession of Leslie Waiii Esq. THE ESCAPE From a Lithograph hy J . \V iird "5 ■^ ^ C5 ^ < o o STUDY FOR FIGrRK_^lN "THE MOUSES PETITION liy J. ]]'ani,friwi the coUcclton of the Honlile. John Want, M.]\0. LIONESS AND HERON Bv J ■ \\'ili:l DESCENT OF THE SWAN By J. Ward. From the collection of Briton Riviere, Esi].. R.A. ROUNDCROFT COTTAGE (THE ARTIST's LAST RESIDENCE) By James Ward. From the Picture belonging to Miss Jackson Z i 3 = SUMMER By J. Wnrd From an Engraving by W ■ Wanl. in the collection of the HonbU. John Ward, .!/.['. 0. 13 ^ -; FIRST SKETCH FOR PRIMROSE AND FOAL By James Ward WATERCOLOUR STUDY By J. Ward, in the collection oj the Honhk. John Ward. ht.l'.O. 14 '}'}'. LORD SOMERVILLE S FISHERMAN From a icatci--coloiir by J. Ward, in the collection of the Hon. John U'anl. M.l'.O. 15 PORTRAIT OI JAMES WARD WHEN 10 By U'. Wnrd. in the cnllcctlon of Mrs. E. M. Ward MRS. HIBBERT Eiij^i-avcd by J. Ward, from the picture by Hoppner SUNSET — A VIEW IN LEICESTERSHIRE From the Mczzotiut by J . Ward, after G. Morland ALSO CALLED "A BOY EMPLOYED IN BURNING THE WEEDS " i6 (V ItA'h. A WILTSHIRE HIND By]. Wcud. From a Water-colour in the collection of the Honbte. John Ward,M.V.O. i8 19 T^ '^.^ /■ ^^ >,--^"" .^■. 'i/v\ / STUDY oi- A SWAN />'.v ./. Ward. From the C'Ahctwii nj the IhmhU. John Ward. M.V.O. ^ V?»>f, J-^V-X^h •"^ ^. V." !^ -;■ > ■^ * STUDY o|- A I-IG BvJ. W.ird. I- mm the Collection of the HoMe. John Ward. M.V.O. 20 il f^J^-^ l^- / STUDY OF A DONKl-.V. Bv ] . Wiivd. f irm tlif col'tcctUiu oj titc 11 nil. John Ward, M.l'.O. STUDY OF CALF. By J. Ward. Flow llie cnllirtioi! pf Ihc Honhle. John Ward. M.\ .U. 22 J^^tl'^-'-s v^ l*"^ ^1 y ^ J i 4» PORTRAIT OF JAIIES WARD From n soft ground EtcJiiiii; 23 JUVENILE REriREMEXT (tHE DOUGLAS CHILDREN) By J. Wdi-d. after JJn/^piur 24 THE UL'KE Ol WELLINGTON From a Lithograph by tiiid iiftir J. Ward 25 PORTRAIT OF MRS. GEORGE MORLAND ByJalUCS Ward. STUDY FOR FIGURE IN " THE MOTHEr's BRIBE " From the collection of Mrs. E. M. ]\'iird 26 a 5 27 PORTRAll Ol- MKS. GtUkt.b .MOKLAND. blUUV lOR IIGLKE IX "THE CLEAN FACE rewarded" From tlid coUiictiiiu »/ Mrs. E. M. IWird 28 *i^ '^' i ^-^^-^ ^l' 29 P^ /^sr^ ll" 1 'i< »k3 •-- k^ fe*»"^^ IHE WOUNDED LIONESS llyJ.lWinl. I n'lii llic colUilixii ,:/ J inlf^f lii;iiis r^^^A , STUD^ 1 OR MGURE IN '■ DISOBEDIENCE IN DANGER Lly J. \\\ii-d. From llic collation of the Honhlc. Juhii Waid, M.l'.O. 31 STUDY FOR FIGURE IN THE PEASANT'S SUNDAY DINMk b'rom the collection of the Hoiilile. John Ward, M. V.O. DON'KEY s HEAD By J. Ward. From tin- Oil Puiiitiiig i'l tlie collection of the HonhU. John Ward. M.V.O. 32 tf5 '7 a: -' z ^• g^ v--$v ty • z 5 I a -^ H oi _ t. ^ 5 2 ~ g^ Is* _2i 1 c - H i. ^; W 3 5 ? ^ t 5 i' z ^ 33 LADY HEATHCOTE AS " HEBE ' Engraved by J. Ward, after John Hoppner From a print in the British Museum 34 A FLEA-BITTEN ARAB I II th^- pt'SSdSsioil Ol MrS.E.\[. Il'dnf YOUTH AND TIME In the possesiioii of M rs. E. M . Wavii 35 .^sJ^<_ ^'^^ ^i^V^-^**^.^ <^^ ^^iZ. <^ y^7^Jyt/^^^ IW SJ^i^ i^^^t^ -S.'^rr^^ ,.7^^.^^,^^ ZJ^ ^--^ rORTlON CF AN AUTOGRATII LETTLR BV JAMES WARD SIGNATURES USED BV JAMES WARD 36 I List of Pictures by James Ward, R.A. The following list of pictures by James Ward R.A. is confined to works whose authenticity is guaranteed by (1) being mentioned in his letters or papers, (2) exhibited publicly during his life time, (3) engraved during his life time, (4) included in the artist's sale at Christies, or (5) which have been exhibited in the Old Master's Exhibitions at the Royal Academy and British Institute or in important loan exhibitions. As Ward apparently kept no systematic record of his output, it is probable that he painted a number of works which do not occur under any of the above headings. This would be especially the case with regard to his earlier pictures, the majority of which are probably now masquerading under the guise of Morlands ; Ward's style until 1797 being, to use his own words, " pure Morland." He evolved his own characteristic style very early in the 19th Century. It is often difficult to assign a period to Ward's pictures not actually dated, firstly, from his habit of repeating the same theme with only slight variations after very long intervals, and secondly from his fondness for retouching, and often nearly repainting hia earlier works, when they came into his possession a second time. His signatures vary greatly. Three characteristic forms are given in the fac simile of his letter reproduced on the opposite page, and I have ventured to add imitations of other characteristic signatures by him, which I have seen on his works. Nos. 1 and 2 are taken from early water-colour drawings. No. 3, in which the letters " A" and " R" are altogether omitted from his monogram, is a form which he used almost as frequently, especially during his middle period, as the more elaborate monogram he gives in his letter. No. 4 is from a picture dated 1806, No. 5 from a sketch of 1821, No. 6 is an interesting example of Ward's monogram occurring before he was made A.R.A., and Nos. 7 and 8 are taken from early oil paintings. There are instances, though not many, of pictures by Ward altogether lacking a signature. In compiling the list of pictures I have been much assisted by Mr. Algernon Graves, whose kindness in allowing me to make use of his invaluable published Dictionaries as well as his copious manuscript indices, has saved me many weary hours of labour. The letters after the pictures refer to the exhibitions or sales in which they were shown. R.A. standing for Royal Academy, B.l. for British Institution, and Xies for Christies. The figures immediately following refer to the year of the exhibition and the number of the exhibit in the catalogue. The prices given are either those originally fixed by Ward, or those actually realized. For pictures of asses see under that sub-heading, in the same way those of serpents are classified under Boa- constrictors; bulls, cows, oxen, etc. under Cattle; bucks, stags, etc. under Deer; dogs, hounds, etc. under Dogs; boars, sows, etc. under Pigs; rams, ewes, etc. under Sheep; and Copies and Portraits under their respective headings. Actseon see No 221 1 Admonition (Portrait of the Artist's Mother) BI 1818. 63 Ward worked on the portrait after its return from exhibition. Bought by Earl Fitzwilliam for £84. see also Nos 298, 710, 711 and 712 Adonis see Nos 353 and 354 2 Affection and Gratitude B I 1834. 124. l"-2' x 1". 2' 3 Age and Infancy (Abraham and his son Isaac) RA 1850. 387. 4 do Spanish grandfather and English offspring RA 1851. 702 probably a picture of Asses. 5 L'Amour de cheval RA 1828. 302. 6". U' x 4" 8' sold to Mr Darbeney for 300gs. sold in the L Hutb collection Xies 1905 6 Ashbourne Mill B I 1807. 303. 3" 11 x 4" -7' painted in imitation of Rembrandt's Mill Newman Street 1822 PICTURES OF ASSES 7 Ass and foal stolen from Newman Street about 1819 in company with a number of other pictures 8 do do do B 1 Loan Ex 1860, 154 owner J. Allnutt 9 do do do &c B 1 Loan Ex 1860 163. owner R. Rothwell 10 do A grey, side view belonging to Thomas Crooks Esq stolen from Newman St in 1819 11 do Study of the foal of an. (highly finished) Xsties 1829. 74 5 gs 12 do Maltese, and a mule foal with her former ass foal in background RA 1830. 81 13 do The obstinate RA 1811. 208 (probably the same picture shown in the RA Old Masters Es 1872 no 20) The Obstinate Donkey 53J x 44J owner G R Ward) 14 do do B I. 1818. 182. I".0'xl0' 15 Mrs E M Ward possesses a third version of this subject somewhat larger than No 14. 16 do A Spanish Xies 1829. 94. 5gs 17 do of the Spanish breed RA 1828. 139 (probably the picture Ward mentions as having been bought by Mr Ludgate inspector general of the customs at Liverpool) 18 do Spanish bred, grey, front view Stolen from Ward's studio in 1819 19 do do back view do 37 LIST OF PICTVRES— continued. 20 Ass Spanish with her English foal RA 1830. 98. 21 do ,, Two different portraits of, in a landscape, treated with bold pencil but highly finished Xics 1829. 101. £31.10.0 22 do An old Spanish. Newman Street 1841 23 do Young Spanish owner Thomas Crooks Esq 24 do Head of a young Spanish. do do sec also No 4 25 Asses Mr Chantrcys. Commenced July 4. 1817, a small picture probably a companion to the " Goats " for same gentleman 26 do Sand. RA 1845. 142. .€21. 27 do waiting the return of fishing-boats RA 1809. 165 28 A picture of " Donkey and Pigs " is in the South Kensington Museum no 216. For Asses see also Nos 291. 301. 423A. 555. 29 Attention Newman St 1841 Augusta see Nos 366 and 367 30 Bacchanalian A. RA Old Master Ex 1896 no 120 52x39 owner the Royal Academy. Ward's diploma picture. 31 Bacchus and a young Satyr (painted before 1807) 32 do teaching use of the grape B I. 1806.95 33 Bad day The RA. 1853.1807. £25 Banker See No 368 34 Baptism, The. of Jesus. RA. 1850. 357 reproduced as a stained glass window in Hoxton Church, Ward receiving 30 guineas for permission 35 Bark weighers, an early picture bought by Dr. Daw 36 Battle near Boston Lincolnshire RA. 1826. 23 £525 (Cromwell was a principal figure in this) 37 Sketch for above Xtie 1829. 85 £36.15.0 38 do of Worcester. The discomfiture of Charles II at RA. 1847. 10 Bean Master see No 661. do Miss see No 662. 39 Beaumont near Cheshunt, residence of Mathew Hunt Esq RA 1833 108 Beauty see 370 40 Bethany next day after raising Lazarus. RA 1850. 343 41 Bethesda The Pool of B I. 1818. 94 8"-0' x 10"-8' commissioned by Mr John Knight of Lee Castle £420 This picture appears to have been finished before 1817 42 do (smaller work) Newman Street 1822 43 Bird Keepers Repast. RA. 1801. 289. bought by Dr. Daw engraved by the artist. ; ce also 798 44 Bittern, A. RA 1814. 656 Blackthorne see 369. Blucher see No 472. Bloomfield The Young see No 882 45 Boa constrictor, Indian struggling with Xies 1829. 58. 2gs 46 Boa serpent seizing horse (portrait of Adonis) RA 1822. 529 this was probably the picture Ward mentions as being in the possession of Wm Theobald 1840 47 (Lib)oya do seizing his prey. B I. 1806. 32 £315 for description see page 35. 48 do do finished study forabove painted 1804 (now in collection of Duke of Sutherland) 49 do destroying a Tiger B I. 1807. 299. 3". 6 x 4". 10' engraved by H. R. Cook. 50 Boa Constrictor and Tiger RA Old Masters Ex 1893 no 16. 32^" X 46 owner the Earl of Lichfield 51 Boar-hunting in East Indies Morning RA 1816 168. 52 do do Noon do 187 53 do do Evening do 138 54 do do Night do 128 A study for one of these was exhibited in Newman Street 1822 Bob see No 371 Boston. Battle near, see No 36. Boy see No 663. Boy scaring birds sec No 43. 55 Bradby Cedar. RA 1816. 24. Half length size ; painted for Earl of Chesterfield 120gs. Commenced 1814. Briggs Mr see No 664. 56 Broken Fence. The. B I. 1847. 417. l"-4' X l"-9' Bryan Michael see No 665 57 Buchan, picture commissioned by Mr. 1809 50gs Buck in Landscape see 208 58 Bull bait The. RA. 1797. 308. (Wards first important picture See page XXVI) 59 Bulls fighting B I. 1817. 12 5.6x8.9 59a The Butcher's Shop, engraved by S. W. Reynolds. See No. 718. Busfleld Dr see No 666. 60 Cabinet Picture International Ex London 1862 no 261 owner R Rothwell this may be the picture of " Ass, foal, &c " exhibited by same owner B I Loan ex 1860. 171. 61 Can, Study of a. RA Old Master Ex no 28 6x8 M. P. Jackson. 62 Carting Seaweed. RA. 18.53. 317. £25. 63 Castle and 64 Cottage a pair of early pictures bought by D' Daw 38 LIST OF PlCTVnUS— continued. PICTURES OF CATTLE 65 Alderney Bull. RA 1828. 33. 17J x 14. probably the work described as Highly finished picture of bull of the Alderney breed in a landscape. Xies 1829. 84. Sold for £27. 6 66 do Cow RA 1798. 172. Probably the one painted for the Boydell Work, stolen 1819 67 do do RA 1828. 223. 17JxI4. probably the work described as Highly Hnished portrait of Alderney cow, the property of J AUnutt Esq and interior of barn, Xies 1829. 90 Sold £431-0 68 do fat cow painted for Boydell Work 69 do heifer do 70 do Two fine Alderney cows, in fat and lean state, owner J AUnutt Esq 81 1827 2"-6' x3"-4' see also No. 75 Anglesey battle 71 Bull painted for Boydell work 72 Cow do 73 Ox do 74 Yerling Heifer do 75 Ayrshire and Alderney breed. Cows of BI. 1828. 147 3"-l'x3".9' 76 ,, Cow Newman Street 1841 77 Buffalo. An Italian stolen, see Zebu 78 Bull and Cow RA Old Master Ex 1871 no 18. 25x52 owner R.A.R. Jones 79 Calf in two positions. Study from nature Xies 1829. 21. Sold £6 10 80 Calves The Two. RA Winter Ex. 1872 no 28 10 x 17 owner G. R. Ward ; sold Xies 1905 owner L Huth 81 Calves heads. Study of four. Xties 1829. 70 Sold £7-0-0 Calf see No 167. 82 Cardigan Wild Stock. Ox of Boydell Work. 83 Cattle. RA. 1798. 117 84 do RA 1803. 698. 85 do Bl 1807. 260. 2"-l'x2"-6' 86 do RA 1808. 221 87 do RA 1810. 178 88 do painted 1827 Manchester Art Treasures Ex 1857 no 493 owner W^ Wells 89 do going to fair important work bought by Mr. Swan about 1847-8. this is probably the one painted 1840 27Jx35 which was in Sir Cuthbert Quilters collection 90 do in a Storm RA 1798. 55 bought by D' Daw 91 do do RA. 1810. 11 92 do Group of BI. 1823. 12f'-8'''x 18" 0' originally called " Protection Ex as " Bull, Cow, and Calf " no 196 Art Treasures Ex Manchester 1857, and as "An Alderney Bull, Cow, and Calf no 287 at the International Ex 1862, G R Ward owner. The picture is now in the National Gallery of British Art. It was considered by Ward his masterpiece. It was sold by him to his son George Raphael Ward, and after being exhibited in America purchased from the latter by the British Government for £1200. 93 Cow Lady Hertford's commenced for Lord Clive Nov 23. 1817. This was probably a picture of A Cow and Calf as Ward records in his diary for 1817 that he was painting one for Lord Clive, the works however may be distinct. 94 Cow painted 1837 95 do do do 96 do owner R Dyott Esq RA 1800. 42 97 Cow and Calf early picture bought by D' Daw. a small picture with similar title is in the South Kensington Museum no 684. 98 do do painted 1818 99 Cows. RA Old Master Ex 1890 no 29 18x28f owner Lord Brassey 100 Cows. Two, on river 18x14. 101 Devonshire Bull Boydell work. Engraved by T Tagg 1807 102 Devonshire Cow do do do 1807 103 Lean Devonshire Bull do do do 1807 104 Devonshire Ox. RA. 1801. 200 105 Durham Ox. Boydell Work. Stolen from Newman Street 1819 106 Dutch Breed Cow of Bl 1834. 34. 1". 5' X 1". 8' this is probably the one mentioned by Ward as being in W"" Theobald's possession 1840 107 Dutch Cow Boydell Work. 108 do yerling bull do. 109 do Cow. The Old. RA 1853.93. £70. 110 French Bull Boydell Work, engraved HI do Cow do do 112 Galloway heifer Boydell Work. 113 Glamorgan Bull. Boydell Work. 114 do Cow do 115 do Ox do 116 do Working ox do 39 LIST OF PICTVRES— continued. 117 Hereford bull. Boydell Work. 118 do cow do 119 do ox do 120 do (at cow do 121 do fat prize ox Bl 1808. 411. 1". 10' X 2'. 5" probably the work at Xies 1829. 88. bt in for £9. 19. 6 Ward valued it at £25. 120 Long-horned cow. RA. 1801 . 201 probably the one painted for Boydell Work and engraved. 121 do bull. Boydell Work. 122 do ox do 123 do cows. Study of four heads Xies 1829. 71. Sold at 4 gs 124 Merionethshire cow. Boydell work. 125 Montgomery bull do 126 do cow do 127 do ox do 128 Norman bull. RA 1803. 281. 129 North Highland Ox Boydell Work. 130 Old Glos'ter Red cow. Boydell Work. 151 Oxen, Two extraordinary owner Earl of PowisRA. 1815. 300. 132 Pembroke Bull Boydell work 133 do Cow do 184 do ox do 135 Staffordshire bull RA. 1797. 183. Probably " Bright," a long horned Staffordshire bull belonging to Thomas Princep and engraved. 136 do cow RA. 1797. 172. Probably " Bright " a cow belonging to same owner 137 do fat ox owner R. Dyott RA 1811. 76. 138 Shropshire bull. Boydell work. 139 do cow do 140 do ox do 141 Sussex yerling bull do 142 Virgils Bulls. RA 1843. 9. Bull and Cow of Chillingham breed, and Alderney bull 143 White bull of Lord Ribblesdale of the original wild English breed (now known as Chillingham cattle) Xties 1829. 11 bought in £121-6 Ward valued this at £60. (study for the bull in the picture of Gorsdale Scar) 143a ditto. Xies 1829 52 sold. 7-17-6. 144 Yorks heifer Boydell Work. 145 Zebu, or Indian buffalo red bull do. Stolen from Newman Street 1819 146 ,, white cow 1 yard in height do 147 „ bull in interior of cowhouse. Xies 1829. 98. Sold 13 gs 148 ,, in interior of hovel painted for Lord Clive 1818 149 „ a small grey. Stolen from Newman Street 1819 For other pictures relating to Cattle see Nos. 58, 59, 150, 193, 193a, 193b, 199, 630, 531, 589. 150 Change of Pasture RA 1837. 202 (Savage looking bull being driven through gate) bought by the Duke of Northumberland. The Hon John Ward has a water colour drawing of the same subject. 161 Chaplin F. picture commissioned for 1803. Charcoal Burners see No 678 Charles see 359 Charles II see No 38. Chesterfield Earl of see Nos 668 and 669 152 Children with an ass, at a farm house door Xies 1829. 75 Sold 7^ gs 153 Childs rout BI. 1808. 9 2.1x2.6. 154 Chir (a dog) at Ellens Tomb 1813. given to Peter Coxe and engraved, see No 263. 155 Christ. The Infant, embracing the cross. RA. 1807. 463 Xies 1829 28. 12gs valued by Ward at 50 gs. 156 do. Intercession (Head of Christ) RA. 1837. 446. The following Criticism of the above appeared in the New Sporting Magazine for 1837 " Mr Ward can paint a bull's head admirably; but for the sake of other's feelings, if not from a regard to his own reputation, he ought not to have exhibited so horrible thing as No. 446, which he intends for the head of Christ ; and we are suprised that the council should have admitted it. If Mr Ward be not a Unitarian in principle he is so in this painting, for he has deprived Christ of his divinity." Ward retaliated the next year by painting "Tickling the Ear " in which he represented the Critic as a monkey perched on the head of a huge bull, tickling its ear with a peacock's feather, and guiding it against trees and other obstacles by means of a cord through the animal's nose. Ward was requested to withdraw the latter picture from exhibition, but declined. Christ, see also No 34 157 Christmas Carrol. RA. 1792. 123 158 Chudleigh View of RA 1800. 11 159 Citizens Retreat engraved by William Ward. 160 Clean face rewarded, engraved by James Ward. 161 Clearing off of Storm BI Old Master Ex 1860 no 120 J AUnutt owner this is possibly the same picture as "Landscape with Fish" No 555 was sold in Mr Allnut's collection at Xies 1863 entitled "A Coast Scene with Man on Horseback " from the de Tabley collection and fetched £35/14. 162 Clergyman fishing early picture bought by Dr. Daw Clyde Falls of see No 290. 40 LIST OF PICTURES— conlinueii. 163 Coal works, owner Ralph Lambton Esq RA 1845. 218. 164 Coast Scene Suffolk Street Winter Ex 1845. 357 165 Cock. A. with trees and cliffs in background, engraved. Combermere Lord, see No 667 166 Compassionate Children, engraved by William Ward, also called The Pound 167 Condemned Calf The. RA 1796. 40. 168 Contention. RA. 1833. 86. 169 Contrast The. RA. 1843. 448 170 Conversation RA. 1801. 29. 171 Conway Castle and Town, before bridge was built RA 1847. 158. Copenhagen see Nos 380 and 381 COPIES. 173 Cromwell, Oliver, Head of (probably after Cooper) stolen, a second copy of same was in Newman Street 1841 174 Diana, Bath of, from Titian picture in the gallery of the Marquess of Stafford. Xies 1829. 108. Bt in for £220. 10. 175 Diana returning with nymphs from the Chase, after Rubens Xies 1829. 55 bought in for £19. 8. 6 Ward engraved the original for Mr Bryan, he valued the copy at £60. 176 Giorgione picture by in Louvre made in 1825 177 Guido Virgin after, in pastel 52 X 38 and two smaller copies, some of these were drawn in 1818 from picture exhibited in B I. 178 Stubbs picture by. 1819 said to have surpassed original 179 Travellers The after George Norland (stolen in 18191 see page XXII 180 Venus after Titian, made for Mr Bryan about 1798 the same size as original. The copy was thought to be destroyed but this is apparently doubtful as at the time of Ward's death it was suggested in the newspapers that it was still in existence and being passed off as an original work. 180a Scene from King Lear reproduced in Boydells Shakespeare after West. Xies 1829. 61. sold 4gs It was Wards practice to copy any picture which specially struck his fancy and keep the copy to refer to. 181 Corn Stack. The. R A. 1849. 170. £35 Cottage see Nos 63 and 64. 182 Cottage in Wales. A. R A 1817. 257. 183 Cottager B I 1807. 33. 2. 2. X 1. 7. 184 Cottager going to market (engraved James Ward) bought by Dr Daw 185 Cottager returning from market (engraved James Ward) do do 186 Cottagers favourite. The. (engraved S W Reynolds) 187 Council of horses. The. R A 1848. 352. 5 feet 6J x 3 feet llj 300gs bought by Mr Robert Vernon for £250 and bequeathed by him to the National Gallery see page 54. A small version of this 7J — 9 on panel was sold in the Huth collection at Xies 1905 188 Country butchers shop, (engraved by S W Reynolds) see illustration page 7. 189 Coursing. R A. 1796. 193. 190 do B I. 1808.64. 1.0 x 1.3 Coursing in Sussex see No 674 Coursing see No 288. 191 Cowherd B I. 1807. 30. 2.2 x 1.7 192 Cow-house. Inside of a. R A 1793. 218. (engraved by James Ward). 193 Cow layer. A. Evening after rain. R A. 1808. 354. 193a Cowshed. Interior of. bought in at Xies 1894 for £120- 15 owner Hamilton This might be the same picture as No 811. 193b Cowshed. A B I Loan ex 1860. 148 owner J AUnutt. Cribb see No 472 Cromwell see Nos 36. 37. 173. Crook George see No 671. 194 Crossing Sweeper The. engraved by James Ward. 195 Cruelty painted 1834 196 Cunning Gipsy, engraved by William Annis. 197 Curiosity R A 1840. 88. 198 Cuttlefish Newman Street 1822 199 Dairy farm. The. engraved by James Ward. 200 Dairy-maid The R A 1808. 29. 201 do B I. 1809. 75. 1.6 x 1.8. 202 do milking cow painted for Mr Morrison 1834. R A Old Masters Ex 1882 No 11 A Woman Milking 18J x 26 owner Mrs Morrison 203 Daniel in the den of lions Newman Street 1841. 204 do R A. 1852. 303. 205 Day A. R A Old Master E.x. 1879 No 249 57-84 owner Uvedale Corbet 206 Days Sport. The. R A. 1827. 204. Dead Hare see No 339. 207 Death of the Wolf, engraved. W Annis. do of Goldfinch see No 329 41 LIST OF PICTURES— (;o«.' 1824. re-issued 1825. The original picture ex BI. 1826 18 Soothsayer, A celebrated Race-Horse, late in the possession of His Majesty King George the Fourth. Sub H 131— W 18 Pub"" April 20, 1823. The original picture ex RA 1825 19 Monitor, A Blood-Horse of remarkable strength and activity, the Property of His Majesty King George the Fourth. Sub H ISJ W 18 Pubd April 1823. The original picture ex. RA. 1825 20 Copenhagen, The Horse rode by the Duke of Wellington at the Battle of Waterloo, was bred by General Grosvenor. Copenhagen was by Eclipse from a Mare called Lady Catherine, which Mare was the Charger of General Grosvenor at the siege of Copenhagen, when in foal of the Colt which afterwards became the distinguished War-Horse of the illustrious Wellington at the Battle of Waterloo. Sub-13J W 18 Pub-i- May 1=' 1824. re-issued 1825. The original picture ex RA. 1824 21 Marengo Napoleon Buonaparte's Barb Charger at the Battle of Waterloo. The property of Captain Howard. Sub H ISJ W 17| Pub^ May 1. 1824. re-issued Aug' 1" 1824 Original picture ex RA 1826 22 A Persian Horse. The Property of his Grace the Duke of Northumberland Sub H 13J W 17| Pub"" Augs' 1823 Original picture ex RA. 1820 23 A Cossack Horse. The Property of his Grace the Duke of Northumberland Sub H 13J W 17| Pub<" May 1, 1824. Original picture ex RA 1820 24 Primrose and foal. A Brood-Mare, late the Property of his Grace the Duke of Grafton. Sub H 13J W 17j Pub" April 1823 „ ,_, 25 Walton A celebrated Race-Horse, the Property of Sir John Shelley, Bart, MP. Sub H 13^ W 17J Pub" April 1823. Original picture ex Bl. 1818 57 LIST OF WORKS EfiGRAVED— continued. 26 Phantom, A celebrated Race-Horse, the Property of Sir John Shelley, Bart. M.P. Sub H 13i W. 17J Pubti April 1823. The original picture ex RA 1813. 27 Leopold, A celebrated Race-Horse, the Property of John George Lambton, Esq. M.P. Sub H 13^ W 17J Pub"" April 1823. The original picture e.^ RA 1820 28 Dr Syntax, A celebrated Race-Horse, the Property of Ralph Riddle, Esq Sub H 13J W 18J Pub"" April 1823. The original picture ex RA 1820 29 Little Peggy. A Horse brought from the Thibet Mountains, East Indies, and shown in London as a curiosity. Height 33 inches. Nine years old. Sub H 13^ W 17i Pub'i April 1823 There are so many small variations in the States of the above that it would require too much space to describe them in seriatim The proofs are on India paper with titles &c in facsimile and the descriptions omitted, the prints are on plain paper with titles and descriptions printed, the following will serve as an example Proof. Under in facsimile James Ward RA Pinx' et Del' Select Proof touched by J W Adonis London Pub*" May 1. 1824. No 6 Newman Street and R Ackerman Strand. Print. Under in type James Ward RA Pinx' et Del' Adonis Printed by C HuUmandel. Then follows description for which see no 17, followed by London Pub'i i,y R Ackerman Strand. T Clay Ludgate Hill and J Dickenson New Bond St'. 1825 There are artist's proofs of several of the subjects before any inscription, and the publishers names vary- considerably Ackermans appear on all. but the others are frequently omitted and occasionally are added in pencil. Other publishers names which appear on some are " Rodwell," and "Martin Colnaghi and Co." The lithographs are given in the same order as in the list issued by Ward with the plates ; this arrange- ment however appears to have been purely arbitary and does not correspond with the order of publication. Ward himself published the lithographs at Newman Street, and sold the bulk of the impressions to his own private clients, the print sellers whose names appear as co-publishers acting merely as agents. The following were the terms of issue. Sets of proofs on India Paper selected and retouched by Mr Ward £10-100. (This was advanced first to £12-12-0 and afterwards to £14-14-0) Sets of Prints £5/5/- Single Prints 8/- each, or handcoloured 15/-. 30 Madame Chevalier ... ... ... ... ... ... ... ... ... Henard. H 20 Sub 17| W 16 Sub UJ Under. Charles Henard delineavit. James Ward sculpsit. Mdme Chevalier in the Character of Virginia giving water to the Negro. Opera of Paul and Virginia. Mdme Chevalier donnant a boire au Negre dans le Role de Virginie. Dans I'Opera de Paul and Virginie. London. Published Augt, 1799 and Sold by the Author No 14 Hanover Street. Hanover Square. Finished Engraver's Proof. I As described 31 Children bathing (The Hoppner Children) ... ... ... ... ... ... Hoppner H21J Sub21|. W 18. Under, Painted by I Hoppner. RA Portrait Painter to His RH. the Prince of Wales. Engraved by James Ward, Painter and Engraver to His RH the Prince of Wales. Children Bathing. Publifh'd April 1ft 1799 by Ward & Co at Mr Say's No 78. Charlotte Street. Portland Chapel. Finished Engraver's Proof I As described inscription in open letters II Letters filled. Publication altered to. Pub July 11, ISOO by Messrs Wards & Co No 6 Newman Street London. Also printed in colour 32 Christ taken down from the Cross. ... ... ... ... ... ... ... Dietricy H 2S| Sub 23| W 21J Finished Engraver's Proof. The original picture belonged to Mr M Bryan. The plate was probably not published. 33 Duke of Clarence (afterwards William IV) ... ... ... ... ... ... Shee H 25| Sub 24J W 17| Under His Royal Highness the Duke of Clarence. Engraved from the Original Picture Painted for the town of Liverpool by M„ A'„ Shee, Esq. RA. & Dedicated to the Mayor Corporation & Merchants of the said Town By their most Obed' Servant Ja' Ward. Engraved by Ja' Ward Painter & Engraver to His RH the Prince of Wales and Published April 2 1801 by Messrs Wards & Co No 6 Newman Street London. Finished Engraver's Proof. I As above title in open letters II do letters closed. 58 LIST OF WORKS ENGRAVED— continued. 34 The Clean Face Rewarded. {Companion to The Mothers Bribe) see illustration page 28 ... James Ward. H 18i S 17i W 23| Under Painted & Engraved by Ja^^ Ward Painter & Engraver to HRH the Prince of Wales. The Clean Face Rewarded. L'enfant recompense London Published Oct' 10. 1818 by T. Griffiths Printseller 230 O-xford Street. Finished Engraver's Proof. I As above , , , , i- ^ ^ The plate was engraved much earlier than the date given, and probably there may be an earlier state. The lady seated in a chair is a portrait of Mrs George Norland. , . , u Children with a Donkey by and after James Ward. An engraving in colours under the above title was sold at Christies Jan 15. 1902. It was probably an impression of Rustic Felecity. 35 William Cleaver (Bishop of Bangor) ... ... ... ... ••• ••• — Hoppner H 19t Sub 18J. W 13S Under Del J. Hoppner. RA. Sculpsit J. Ward Viro admodum Reverendo. Gulielmo Cleaver, S. T. P. Episcopo Bangoriensi, nee non CoUegii Onei Nasi apud Oxonienses Principal!. Ejusdem CoUegii Pietas. Finished Engravers proof I As above letters filled in II Onei altered to . 1800. by J. Coles N° 87 West Smithfield Finished Engraver's Proof. I As described, title in open letters II Letters filled in ... This together with nos 69 and 70 may be looked upon in the light of experimental plates for the series of engravings, from pictures of live stock by James Ward which Messrs Boydell arranged to publish. Eventually only a few of the plates were issued most of which were engraved in line by Thomas Tagg. 72 Sir William Fawcett Reynolds. H 19| Sub 17J W 14. Under Painted by Sir Joshua Reynolds Engraved by by {sic) James Ward Painter & Engraver to HRH. the Prince of Wales. The Right Hon"' General Sir Will". Fawcett, K.B. One of His Majesty's Most Hon"" Privy Council ; Colonel of the Third, or Prince of Wales's Reg> of Dragoon Guards ; And Governor of Chelsea Hospital London : Pub. Sep. 3. 1801 by Ja! Ward. No. 6. Newman Street. Finished Engraver's Proof I As above, open letters II Letters closed. Prints sold by Ward at 10/- each. 73 Fern Burners ... ... ... ... — — •■• — — — J Ward. H 19. Sub 18 W 23f Finished Engraver's Proof with inscription in Ward's handwriting stating that it was pamted and engraved by him and that the scene of the subject is in Wales. , ,,• The plate was probably never published, and sold with other of James Ward's plates on the death of his son George Raphael \Vard Modern reprint . . ,,. r^ i u- u ..u Under. Painted by G. Morland. Engraved by J. R. Smith Mezzotmto Engraver to His Royal Highness the Prince of Wales. London Published May 1 1799 by I. R Smith. King Street. Covent Garden The Fern Gatherers. I As above. Also printed in colours. . , ^ . , ,.■ u u This inscription is an obvious forgery, Morland had nothing to do with the picture, a sketch for which, by James Ward, is in the collection of the Honbi' John Ward. The original picture was bought by Dr Daw The officials of the British Museum tell me that on an average, they have two of these spurious reprints brought to them every week. 1 trust that this somewhat lengthy explanation will, in future, serve to spare them some part of the infliction. 74 Fishermen Norland. H 17| Sub 17i W 2IJ . ,. I, ■ Under Pamted by G. Morland. Engrav'd by J Ward Painter & Engraver in Mezzitinto {sic) to the Prince of Wales No 2 Fishermen London Published Nov' 1 1793 by I. R Smith King Street, Covent Garden. Finished Engraver's Proof ... , .-o, ..u .. t I As described ; title in open letters ; three birds over the rock projecting above the cliff near the centre ot the picture II As I " Mezzotinto" spelt correctly. Also printed in colour. ... ■ III Title thickened, "Mezzotinto" spelt correctly, left hand upper bird taken out. Also printed m colour. Plain impressions are priced in Hassell's catalogue at 15/- each 75. Sir William Forbes Reynolds in square border H 20 Sub 165 W 14. Within border H 13f W llj Under, in centre arms with motto Nee Timide Nee Temere Painted by Sir Joshua Reynolds. Engraved by James Ward Painter & Engraver to HRH the Prince of Wales. Sir William Forbes Bart of Pitsligo. Edinburgh. Published as the Act directs, 1800 Finished Engraver's Proof I As described Inscription in open letters II Letters closed 7fi Oeoree 111 Beechey HOPKINS AND WARD ^ ■■■ H25fW22 Undcf The King Painted by W Hopkins from the original Picture ot the Review by Sir W Beechey and the Horse Painted from the life by J Ward Painter &c to His Royal Highness the Prince of Wales. Engraved by J Ward. His Majesty George the Third King of the United Kingdom of Great Britain and Ireland &c &c &c on his favourite charger Adonis. From a Picture in the Possession of the Right Hon'''* Lord Somerville, To the Queens Most Excellent Majesty. This Print is by her most gracious permission dedicated by her grateful and devoted Servant William Hopkins. London Pubhshed Feb 1'' 1804 by J Ward and Co No 6 Newman Street Finished Engravers Proof I As described 63 LIST OF WORKS ENGRAVED— continutd. II A re-issue. Under. Painted by Sir William Beechey RA. Engraved by Ja' Ward Painter and Engraver to HRH the Prince of Wales, His Most Gracious Majesty George the Third on his favourite Charger Adonis Dedicated to the Queens most e.xcellent Majesty By Her faithful and devoted Servant, John P Thompson London *" Published Febv 6"' 1811 by J. P. Thompson G' Newport Street Printseller to His Majesty and the Duke & Duchess of York. (The " Re " of the word " Re Published " is printed in very minute letters inside the loop of the capital P) The inscription is engraved on a seperate plate and I have seen copies, presumably late impressions, printed without this A copy in the British Museum has on it in Wards handwriting " His Majesty The Horse painted from Adonis the Kings Charger by James Ward. The figure copied out of the Review picture by Hopkins — The whole painted over and finished by M' Ward & now in the Possession of Lord Somervillc The Plate worn out " Though the picture from which the plate was taken is described as being the work of Hopkins, it is elsewhere stated to be painted almost wholly by Ward, and the evidence appears to support the latter contention. Ward often speaks about it as being his own work, it was submitted by him to King George III, and the letter instructing him to make arrangements for its return is couched in terms as though lie was the artist. Northcote and S W Reynolds issued a very colourable imitation of it to which Ward alludes in the following terms " Sam Reynolds employed Northcote to pirate it by taking the portrait out of mine and made a composition so like mine, and the same size, that I heard that people bad bought his print, and thought that they had bought mine." 77 George III reviewing the Third Regiment of Dragoon Guards and the Tenth Regiment of Light Dragoons ... ... ... ... ... ... ... ... ... Beechey and Ward H 22| Sub21| W26 Finished Engraver's Proof I Under Painted by Sir William Beechey RA Portrait Painter to Her Majesty Engraved by James Ward Painter and Engraver in Mezzotinto to His Royal Highness the Prince of Wales. Published June 1, 1799 by J Ward & Co No 6 Newman Street, London. On the British Museum copy there is written in pencil by Ward " No such proof now to be got. This plate retouched by a very bad engraver for the present possessor" II Under. Painted by Sir Wm Beechy (sic) RA. Portrait Painter to Her Majesty. Engraved by James Ward Painter & Engraver in Mezzotinto to His Royal Highness the Prince of Wales. His Majesty Reviewing The Third or Prince of Wales's Regiment of Dragoon Guards & the Tenth or Prince of Waless (sic) Regiment of Light Dragoons attended by His Royal Highness the Prince of Wales, His Royal Highness the Duke of York, Sir W™ Fawcit General and Adjutant General & Knight of the Bath, Lieut Genl Dundas Quar' Master General & Maj' Gen' Goldsworthy His Majestys (sicj First Equerry To the Queens (sic) Most Excellent Majesty This Print is (by her most gracious permission) dedicated by her most grateful & devoted Servant J Ward Published June I 1799 by J Ward & Co No 6. Newman Street. London. Also printed in colours. III Same as above, reading Beechey for Beechy. HRH for the first " His Royal Highness " apostrophes inserted in Waless Majestys and Queens, and publication altered to Pub April 10. 1800 by Messrs Wards & Co 6 Newman Street London. 78 George III &c (2"'' plate) ... ... ... ... ... ... ... Beechey and Ward H 22J Sub 211— W 25f Under Painted by Sir William Beechy R.A. Portrait Painter to Her Majesty. Engraved by Jas Ward Painter & Engraver in Mezzotinto to His RH the Prince of Wales. His Majesty Reviewing the Third or Prince of Wales's Regiment of Dragoon Guards & the Tenth or Prince of Wales Regiment of Light Dragoons attended by His Royal Highness the Prince of Wales, His Royal Highness the Duke of York, Sir W? Fawcit General & Adjutant General Knight of the Bath, Lieu'. Gen'. Dundas, Quarter Master Gen' & Major Gen' Goldsworthy, His Majesty's First Equerry. To the Queen's most Excellent Majesty this Print is by her most gracious permission dedicated by her most gracious and devoted servant J. Ward. Pub April 10. 1800 by Messrs Wards & Co 6 Newman Street, London. Also printed in colours The subject commanded a very large sale, which is probably the reason why a second plate was needed Guinea Pigs See No 56. Hare. Dead See No 53 79 Lady Heathcote as Hebe. (See illustration page 34) ... ... ... ... ... Hoppner. H 25 j Sub 25— W 16} Under Painted by J Hoppner Esq' RA. Engraved by J Ward Painter & Engraver to HRH the Prince of Wales. Lady Heathcote Pub^ Jany 2"" 1804 by J Ward No 6 Newman Street. Finished Engraver's Proof I As described title in open letters II do letters filled in. Also printed in colour. After this engraving was finished Hoppner considerably strengthened the picture to make it correspond with the plate. Hebe see No 79. 80 William Heberdeen „. ... ... ... ... ... ... ... ... Beechey H 14f Sub 13— W 10? Sub 10| Finished Engraver's Proof Under. William Heberdeen, MD. age 86. Painted by Sir W" Beechy RA. — and Engraved by JaS Ward Painter & Engraver to H.RH. the Prince of Wales. A copy in the British Museum has on it in Ward's handwriting " Private Plate, engraved for the son " 64 LIST OF WORKS EtiGRAVED—continutd. 81 George Hibbert ... ... ... ... ... ... ... ... ... Hoppnbr H 15J Sub I3J W 10| Under Finished Engraver's Proof Painted by Jn° Hoppner Esq^ RA. Engraved by Ja? Ward Painter & Engraver to HRH the Prince of Wales. Finished Engraver's Proof. I As above On proof in B M in Wards handwriting Private Plate 82 Mrs Hibbert (see illustration page 16) ... ... ... ... ... ... ... Hoppner H 15J Sub 14J— W 11 Under. Painted by J Hoppner Esq' RA. Engraved by J Ward Painter & Engraver to HRH the Prince of Wales Finished Engraver's Proof I As above On a copy in British .Museum there is the note in Wards handwriting " bad ground, soft copper." Private Plate Hoppner Children see No 31 Horses Celebrated see Nos 16 to 29 Horses Heads see No 52 83 George Isaac Huntingford. (Bishop of Gloucester) ... ... ... ... ... Lawrence H 20 Sub 18J W 13| Under. Painted by T. Lawrence Esq' RA Principal Painter in Ordinary to His Majesty. Engraved by James Ward Painter and Engraver to His Royal Highness the Prince of Wales. The Right Rev? George Isaac Huntingford D.U. Lord Bishop of Gloucester and Warden of Winchester College. To the gentlemen of Winchester College; This Print is by permission dedicated by their respectful & obed' Serv' Rob' Cribb, London Published 1" Aug" 1807 by R Cribb 288 Holborn. Finished Engraver's Proof I As described, lago see No 36 84 Juvenile Retirement (Douglas Children or Repose) see illustration page 24 ... ... Hoppner H 21 j Sub 21 W 17J Under Painted by I. Hoppner. RA. Painter to His Royal Highness the Prince of Wales. Engrav'd by Ja« Ward. Painter & Engraver in .Mezzotinto to His Royal Highness the Prince of Wales. Juvenile Retirement, Pub'' March. I 1799 by. I. Ward near the Turnpike Paddington. Finished Engraver's Proof before any inscription I In scratch letters Painted by I Hoppner Portrait Painter to the Prince of Wales Engraved by Jas Ward Painter & Engraver in Mezzotinto to His Royal Highness the Prince of Wales Repose Pub"* March 1, 1796. by J. Ward near the Turnpike Paddington. "This state is extremely rare II As described III Publication line altered to Pub July 11, 1800 by Messrs Wards and Co No 6 Newman Street London. Also printed in colour. Kingsgate see No 67 85 Sir Robert Laurie ... ... ... ... ... ... ... ... ... Owen H 14| Sub 13f W lOJ Under Painted by W™ Owen Engraved by Ja' Ward Painter & Engraver to HRH to {sic) Prince of Wales. Lieu' Gen' Sir Robert Laurie, Bari Member of Parliament for Dumfrieshirc, Knight Marshal of Scotland. And Coll of the 8'}} or Kings Royal Irish Regiment of Light Dragoons. Finished Engraver's Proof. I As above letters filled in. Leicestershire. Sun Set a View in see No 12. Leopold see under " Celebrated Horses" No 27. , 86 Lion and Tiger Fighting ... ... ... ... ... ... ... ... J Ward. H 19 Sub 18 W 23| (companion to No 108) Under A Lion and Tiger Fighting Painted & Engraved by James Ward Painter and Engraver in Mezzotinto to His Royal Highness the Prince of Wales. London Published June 1" 1799 by James Ward & Co No 6 Newman Street. Finished Engraver's Proof. I As above title in open letters The original picture exhibited R A 1798 Little Peggy see under "Celebrated Horses" No. 29 London Sweeper see No 43. 87 Livery Stable (see illustration page xxiv.) ... ... ... ... ... ... J Ward. Under Ja" Ward del et sculp London, Pub. Janv 1. 1796. by T Simpson, St. Paul's Churchyard, and Darling & Thompson, Gt Newport Street. The Livery Stable Finished Engraver's Proof As above. Also printed in colour. 65 LIST OF WORKS ENGRAVED— <:oH<(Mncrf. 87 Louis XVIII ... Under Engraved by James Ward Painter and Engraver in Mczzotinto to His Royal Highness the Prince of Wales Louis XVIII Roi de France. London PubO Sep'.. 20. 1795 by James Ward No 13 Southampton Row Paddington Finished Engraver's Proof I As above title in open letters II Letters filled in Chaloner Smith and M" Frankau both give the date of publication as being 1796. the rest of the inscription being identical Marengo, see under Celebrated Horses No 21 Milking Cows see No 44 Maria see No 4. 88 William Markham (Archbishop of York) ... ... ... ... ... ... ... Romnby H 19i Sub 16J— W 15 Sub 13 Under Painted by George Romney Engraved by James Ward. William Markham Archbi^hop of York Pub^May 1. 1800 by J & J Boydell, No 90 Cheapside ; & at the Shakspcare Gallery, Pall Mai), London. Finished Engraver's Proof I As above The Price of impressions is given in Boydell's catalogue as 10/6 each. Miranda see No 5. Miranda Mrs Taylor as see No 106 89 The Misers ... ... ... ... ... ... ... ... ... ... Matsys HI? Sub 16 W 13J Finished Engraver's Proof. In the British Museum there is an impression on which Ward has written " The Misers. 5 finished. Engraved from a Copy by Hopkins after the original picture by Quintin Matses — by James Ward" Monitor see under Celebrated Horses No 19. Moore Ann see Nos 65 and 66. Morland Mrs George see Nos 34. and 91. 90 Moses (a race horse) lithograph ... ... ... ... ... ... ... J. Ward. Sub H 13W 18 Published October 1825 proofs 12/- prints 8/- The original picture was painted for the Duke of York, the owner of the horse, and ex RA 1825 Nonpariel See under Celebrated Horses No 16 Peasant driving a pig see No 51 Persian Horse See under Celebrated Horses No 22. Phantom do No 26 91 The Mothers Bribe (See illustration page 26) ... ... ... ... ... ... J Ward H 18J Sub 17|— 23i Under Painted & Engraved by Ja^ Ward Painter and Engraver to HRH the Prince of Wales. The Mother's Bribe. L'enfant Temple London Published Oct' 10. 1818 by T. Griffiths Printseller 230 Oxford Street. Finished Engravers Proof As above title filled in. In the British Museum there is a copy on which Ward has written the title in pencil as "The Temptation to be washed." The plate was commenced by William Say the pupil of James Ward and carried by him to a fairly advanced state. The lady represented is Mrs George Morland. The original picture was exhibited B I 1808. 92 A Poultry Market ... ... ... ... ... ... ... ... ... J Ward. H 19JSub I8JW24 Under. Painted and Engraved by Ja^ Ward Painter & Engraver to HRH the Prince of Wales A Poultry Market. London Pub. May 1. 1803. by Messrs Ward & Co No 6 Newman Street. Finished Engraver's Proof. I As described in open letters II Title filled in. Also in colour. In the British Museum are several progressive proofs, from the two earliest of which the two ducks hanging up in the booth in the booth on the extreme right are omitted. These however appear in the more advanced copies, and in all the impressions from the completed plate. Primrose and foal See under Celebrated Horses No 24 93 Princess Royal (A racing mare) lithograph ... ... ... ... ... ... J Ward Published on or before 1824 proofs 12/- prints 8/- first entry in Ward's day book Nov 8. 1824 The original picture was ex R A. 1824 Prize Ewe see No 71 94 The Red breast (companion to The Mouses' Petition by W Ward) ... ... ... ... Thomson H 19 Sub 18 W 23| Under. Painted by H Thomson. Engraved by J Ward Painter & Engraver to H R H the Prince of Wales. The Red Breast. Le Rouge Gorge Eyes all the smiling Family askance And pecks, and starts, and wonders where he is. — Thompson's Seasons II regarde de travers toute la famille enchant^e Ramasse des miettes, sautille et s'etonue de se trouver od il est. 66 LIST OF WORKS EJiGRkVED— continued. London Published May 12. 1805 by Messrs Wards & Co No. 6 Newman Street. Finished Engravers Proof I As above. Also printed in colour Repose see No 84 J. Ward 95 The Retriever (lithograph) ... ^-j g^^ si W lo'sub SJ The'Retriever, Painted and Drawn on Stone by James Ward RA. Published by R Ackerman 101 Strand & J. Dickinson 114 New Bond Street. Printed by C Hullmandel As above with border of two lines, printed on India paper Proofs published at 5/- The original picture was painted in 1826. RebcmeY 96 John Revoult |^ ^^ ^-^j^ ^3^ ^-^^ nn^e'r^Ensrlved by James Ward. John Revoult. A.M. Master of the Walworth Academy From an OrisinI PafntiL by Sir WiU" Beechey RA. presented to Mr Revoult by the Gentlemen who had been 2l7cated under him as a token of their high respect and affectionate regard towards h.m. Finished Engraver's Proof I As above Title in filled letters. , . . ..... t r u •_- On Lord Cheylesmore's copy in the British Museum the date 1798 has been wntten m .mmed.ately foUow.ng the inscription. The Robin see No 94 J. Ward. 97 J. Ward Sculp'. The The Rocking Horse (see illustration page^lvni)^^^ ^^ _^ ^.^^^ y.wTrd pinx'. London Pub" Feb 8. 1793 by T Simpson S' Pauls Church Yard. Rocking Horse. Finished Engravers Proof I Title in open letters II Letters filled in. Also printed in colours ^nduSlhthrB;iUs''h\^'!eum collection is a slip of paper with the following in James Ward's hand '.R„Tic plicitv and the Rocking Horse. The Hrst pair of plates I engraved after leaving my apprentice- """ship w Ih mVbrother!'°Theist pair of subjects^ painted for the P-P^fJ^ -g;-',";^^ montrs ^e fo^^^ as 1 can recollect the sixth attempt at painting m which 1 made my first effort about six months before I left him." 98 Rustic Felicity (see illustration page 19) .^^^_^.^.^^^^^.;.^j^ y Ward pixit et Sculpt London PubO April 25. 1792 by T Simpson St Paul's Church Yard. I As above in open letters II do letters filled in. St Clair Miss see The Alpine Traveller. 99 The Schoolmistress Under J. Ward. Rustic Felicity Wm Owen. h" 235— Sub 22J W 19 pLted by W Owen Engraved by J Ward. Painter & Engraver to HRH the Prince of Wales. The Schoolmistress In every village mark'd with little spire Embowr'd in trees, and hardly known to fame, There dwells, in lowly shades and mean attire A matron old, whom we schoolmistress name, Who boasts unruly brats with birch to tame Vide Shenstone Li Maitresse d' Ecole Pres d I'humble clocher de maint obscur village Que les arbres voisins cachent sous leur ombrage Vit dans un r^duit sombre, en modestes atours La Dame qui regit I'^cole en ses vieux jours Et, du bouleau funeste armant son bias di^bile Gourmande gravement le marnaot indocile London Pub" April 2° et Del- A Shepherd Boy. Printed by P Simonau London Published Hay 1« 1824 No 6 Newman St & R Ackerman Strand. The published price of the prints was 4/- each. 67 J Ward. (sic) 6 Newman Street and ... WOODHORDB New Bond Street. 105 Studies from Nature LIST OF WORKS ENGRAVED— continued. 101 A Shepherd's Dog (lithograph) ... Under in Pcneil James Ward RA Pinx' et Del'- London Pub'' May 1" 1824 N R Ackcrman Strand A Shepherd's Dog. Published at 3/- plain. Some of the impressions were hand coloured. The original water-colour drawing from which the lithograph was taken is in the collection of the Hon""' John Ward. 102 Smugglers, ... ... ... ... ... ... ... ... ... ... Morland. Under. Painted by G Morland Engravd {sic) by J Ward London Published Nov' 1. 1793 by I R Smith King Street, Covent Garden No 2 Smugglers I As above title in open letters II Letters filled in. Also printed in colours In Hassell's catalogue Impressions were priced at 15/- each. 103 John Lord Somerville ... H 25 J Sub24g W 17J Under Painted by S Woodforde London Pub March 15, 1800, by A C Poggi, 91 Engraved by James Ward Painter & Engraver to HRH the Prince of Wales The Rt Hon''" John Lord Somerville One of the Sixteen Peers for Scotland, President of the Board of Agriculture and Colonel of the West Somerset Yeomandry Finished Engravers Proof I As above letters of the title filled in A copy in this state at the British Museum bears on it in Wards writing " retouched after 200 Impressions " Soothsajer see under " Celebrated Horses " No 18 Sow with Young pigs see No 59. 104 The Spottiswoode Ox ... ... ... ... ... ... ... ... ... A Nasmith H 19 Sub 17J W 23J Finished Engravers Proof. On a copy in the British Museum. Ward has written " Private Plate" J. Ward. H 14f Sub 13§ W 19i Under Studies from Nature. Painted. Engraved, and Published, Jan l"-' 1807, by James Ward, Painter& Engraver to HRH the Prince of Wales, No 6 Newman Street London. Finished Engraver's Proof I As above title in open letters II do letters filled in The original ex B 1. 1808 Sunset, a view in Leicestershire see No 12 106 Mrs Michael Angelo Taylor (Miss Frances Vane) as Miranda (see illustration page 3) ... Hoppnbr Work H 25 J W 17^ The account of this plate will be found on page XXVI, It is one of the scarcest of all Ward 'sengravings, there being probably less than a score of copies in existence. Of these, one belonging to Mr Fritz Reiss is a finished engraver's proof before any inscription and 1 have been told of another in a slightly earlier state, enriched with a few touchings by Ward. All the other copies 1 have seen are cut close to the margin, the one in the British Museum showing remnants of an inscription, in very rough scratch lettering, part of which has been deciphered by Mr Alfred Whitman as reading ■' Engraved by James Ward " Finished Engravers Proof As described I have heard of one copy, printed in colours Temptation to be washed. See No 91 Thomas. Ellis see No 64 Thomas. Mary see No 60. 61 and 63 HOPPNER. H 19J Sub 17|-W 14 Under, Painted by J Hoppner R.A. Engraved by J Ward Painter & Engraver to HRH the Prince of Wales. Henrj- Thornton Esq^ Elected the 7th July 1802 a fifth time Representative in Parliament for the Borough of Southwark. Engraved at the request of the Electors Finished Engraver's Proof As described 108 A Tiger disturbed while devouring his Prey ... ... ... ... ... ... J Ward. H 18 Sub 19 W 231 (companion to No 86) Under. Painted & Engraved by James Ward. Painter & Engraver in Mezzotinto to His Royal Highness i..)e Prince of Wales. A Tiger disturbed while devouring his Prey. London Publish'd June 1" 1799 by James Ward & Co. No 6 Newman Street. Finished Engraver's Proof I As described title in open letters. Probably engraved from the picture "Tiger snarling over his prey" ex R A 1793. The plate was com- menced that year, but does not appear to have been completed until 1799 when it was brought out as a companion to the Lion and Tiger fighting No 86. 107 Henry Thornton 68 LIST OF WORKS ENGRAVED— continued.- Norland 109 The Travellers H 17? Sub 17|. W 21f PainTedbyG.Morland. EngraVd by VV. Ward. Travellers. London Publish'd FebV 1791 by T. Simpson St Pauls Church Yard. I As above title in open letters II Letters filled in. Also printed in colour. „„ «„ 41 For reasons tor attributing this plate to James Ward see No 41 Unmerciful Servant See No 37. Vane Miss Frances See No 106 Victory of Lord Duncan See No 48 Wall, Charles See No 7 Walton See under Celebrated Horses No 25 11 ... John Jackson 110 James Ward RA. (see illustration page 1) H 15 W 10| Sub H 10 W 8. In frame consisting of four lines immediately around the work, and two outer lines just w.th.n the Mrs E M wTrd°?nd Mr JPhiV^s Jaokson grandchildren of James Ward have kindly identified the portrait and given me the name of the artist. It was probably never issued J. Ward The Duke of Wellington (lithograph) ... ^ •■•„,■". ,, H lOJ Sub 6| W 8i Sub 5J stone destroyed. William IV See No 33 J Ward. U2 Basil Woodd -^ ^^ ^--^ ^^ ^^-^^ Under. Painted & EngravM byJa, Ward Painter & f g--„*°„»^l^,':i,r;irw^^^^^^^ M^n'st^r^f ^.:^J^^S^^^1^ t^^^^^^l'r^J^S^^^^^ the Earl of Leicester. Finished Engraver's Proof . I As described with Proof underneath to right II do Proof omitted Wright 113 Joseph Wright ^^ ^^^^ r ^^^^^,,,^, "h ,5 Sub 13|_W lOJ wiihio franie H llj W 9 'ilT^.e. by Ja= Ward Painter & Engraver, to HRHthPHn^eo^Wal^^^^ Picture painted by himself in the possession of James Cade esq (sic) & Co Cockspur Street Charing Cross Feb? 1. lau/. Finished engravers proof I As above, title in open letters, date omitted II With date III Letters filled in. Hay. ,14 Henry Redhead Yorke „ HJ Sub9| W 8J SubSf Sndt"°plre°/V"w Ha^^Hn^g-^^^ ^ """*'"" '° ''' "'"" °' '''^'"■ Henry Yorke Esq^ j,,,,r^i.-i Spirit- By Ancient Learning to th' enlightened Love Of Ancient Freedom warm'd , London Pub<. July 21" 1796 by W Hay No 68 Margaret S- Cavendish Square (name of painter and engraver and publication line in rough scratch letters) Finished Engravers Proof I Before title and poetry HlVamro^painter and engraver and publication line in small script) for ■■ EngraVd" read ■■ Engraved" ; and for " Pub'^." " Published " Young man with hare see No 58 69 III.— A List of Engravings and Lithographs made from Works by James Ward Size of Subject. Namt of Subject. The height in all Style. By whom engraved. Date. Publisher cases is grven first. Namt of Subject. 1 Almond Tumbler 2 do (belonging to R Latham) 3 do 4 Bird Keeper's Repast Cattle Subjects. 33 34 35 4 — 55 •■■ line ••• H RCook ... 4 — 5J ... line ... W Raddon ... 4J — 8J ... etching ... James Ward... 22| — 19 ... mezzotint.. James Ward... 1807 Sporting Mag 1825 Sporting Mag Unpublished? 5 Mr Arbuthnots Emperor ... 5f-8i ... litho ... J. Ward 1822 Private plate 6 do Maria 5i-8i ... litho ... J.Ward 1822 do 7 do Miranda ... 5i-8J ... litho ... J. Ward 1822 do 7a Bright, a Staffordshire Bull 7|— 10 ... etching ... J.Ward — — 7b Bright, a Staffordshire Cow 7|— 10 ... etching ... J. Ward — — 8 Bullock 14 —10* ... line ... T. Tagg 1807 Boydell and Co 9 Uevon Bull 14 — lOJ ... line ... T. Tagg 1807 do 10 Lean Devon Bull 14 — lOJ ... line ... T. Tagg 1807 do 11 Devon Cow 14 — lOJ ... line ... T. Tagg 1807 do 12 French Bull 14 — lOJ ... line ... T. Tagg 1807 do 13 French Cow 14 — lOJ ... line ... T.Tagg 1807 do 14 Longhorn bullock 14 — lOJ ... line ... Thomas Tagg — do 15 Shorthorn bull 14 — lOJ ... line ... Thomas Tagg — do 16 Chere watching at Ellens Tomb 4|-3i ... line ... James Scott... 1823 Illustration to the "Social Day" by Peter Coxe 17 Citizen's Retreat 17|— 23J ... mezzo ... Wm Ward ... 1796 W. Ward 18 Clean face rewarded 17|_23| ... mezzo ... James Ward... 1818 T. Griffiths 19 Compassionate Children ... 175-23J ... mezzo ... Wm Ward ... 1793 W. Ward On the first published state of the above the title is given as " The Pound " in open letters 20 Cottager going to market 17 — 21J ... mezzo ... James VVard... 1800 J Ward and Co 21 do return'd from market 17 — 21i ... mezzo ... James Ward... 1800 J Ward and Co 22 Cottager's favourite 17Jx22 ... mezzo ... S.W.Reynolds 1799 Morgan & Co 23 Council of Horses 6J- 9| ... line ... T A Prior ... 1852 Art Journal 24 Country butcher's shop ... 18f— 22 ... mezzo ... S.W. Reynolds 1798 Jeffryes & Co 24a Coursing in Sussex 14 x20 ... mezzo ... J. B. Pratt ... 1907 Thos Agnew and Son 25 Cowhouse 19 — 23| ... mezzo ... James Ward... 1793 T Simpson 26 Crossing Sweeper 21f— 14| ... mezzo ... James Ward... ? — 27 Cunning Gipsy 17J— 21| ... mezzo ... William Annis 1802 S Morgan 27a Dairy Farm 18 — 23i ... mezzo ... James Ward... 1801 R Ackermann 28 Death of the Wolf 17J— 21| ... mezzo ... William Annis 1802 S Morgan 29 Descent of the Swan 5 — 3J ... line ... James Scott... 1823 To illustrate " Social day" by Peter Coxe 30 De Tabley Park 6J-9X ... line ... T A Prior ... 1851 Art Journal 31 Disobedience detected 171—23 J ... mezzo ... W Barnard ... 1799 W Barnard 32 do in danger ... 18J— 23| ... mezzo ... W Barnard ... 1799 W Barnard Doos Bloodhound (belonging to S Hanbury) 41-5} .., line ... H R Cook .. . 1814 Disputing the Prize (two puppies quarelling over sheeps head) 4i-5| ... line ... J Scott Jun. .. . 1824 Dog's Head 4i-3J ... line ... John Webb .. . 1824 70 LIST OF ENGRAVINGS AND UTHOGRAPHS— continued. Size of .Subject. Name of Subject. The height in all Style. By whom engraved. Date. Publisher cases is given first. 36 Dogs of the Dalmatian Breed 14i-20J ... litho ... J Ward 1824 P. Clay &c 37 Fubbs (rough haired terrier) 4J_5| ... line .. H. R Cook ... 1807 Sporting Ma 38 Jerry 4I-3J ... line ... W. Raddon ... 1824 — 39 Persian Greyhouni i 4 - 5i ... line ... HRCook ... 1807 Sporting Mag 40 The Pointer ... 18 xl6 ... line ... John Scott ... 1829 Moon Boyesand Graves 41 Pointer Bitch and Puppies 12 —15 ... mezzo .. S.W. Reynolds 1799 S Morgan 42 Retriever 31- 5J ... litho .. J. Ward — R. Ackermann 43 Rover Spaniel property of Earl of Powis 6 — 7i ... line .. W. D. Taylor — — 44 Shepherd Dog 3I-5J ... line .. H. R. Cook ... 1808 Sporting Mag 45 do .*. — litho .. James Ward... 1824 James Ward 46 Terrier (belonging to Chas Sturt) 4J-5i ... line .. Cooke 1821 Sporting Mag 47 Viper 3}- 51 ... line .. H. R. Cook ... 1808 Sporting Mag 48 Vixen 4I-5J ... line .. J. Scott 1818 Sporting Mag 49 Escape The ... ... 3J-5f ... litho .. J Ward — R Ackermann 50 Evening of Life (H orse and Donkey) ... 3J-5J ... line .. J. W. Cook ... 1888 New Spting Mag 51 Ewe of the New Leicester Stock m-m - mezzo .. J Ward 1800 J. Coles 52 Farrier's Shop 18J— 24 ... mezzo .. Wm Say 1836 Wm Say 53 Fern burners. 18 — 23| ... mezzo .. James Ward... — Unpublished 54 Game Cock ... 4-5J ... line .. H R Cook ... 1810 Sporting Mag. 55 Gleaners returned 19J-24J ... mezzo .. Wm Ward ... 1801 Wards & Co 56 Guinea pigs ... 95-121 ... mezzo .. J.Ward 1800 James Ward 57 Happy cottagers 17 — 21f ... mezzo .. Wm Ward ... 1808 Jas Deeley 58 Happy father 17J— 21| ... mezzo .. Wm Ward ... 1808 Jas Deeley 59 Haymakers ... Horses. 18 —235 - mezzo .. Wm Ward ... 1793 W. Ward 60 Adonis 13J— 17i ... litho .. J. Ward 1824 R Ackermann 61 Cart - horses (Woodland background) 5J-3S ... etching . .. H R Cook ... 1809 Sporting Mag. 62 Copenhagen ... 13J— 18 ... litho .. J. Ward 1825 R Ackermann 63 Cossack Horse 13^171 ... litho .. J. Ward 1824 R Ackermann 64 Dr Syntax ... ... 13J— ISJ ... litho .. J.Ward 1823 R Ackermann 65 Horses Fighting 3|- 5i ... line .. H R Cook ... 1808 Sporting .Mag 66 Leopold 13^175 ... litho .. J. Ward 1823 R Ackermann 67 Little Peggy ... 13i-17i ... litho .. J. Ward. 1823 R Ackermann 68 Marengo 13J-175 ... litho .. J War^ 1824 R Ackermann 69 Monitor 13^18 ... litho .. J. Ward 1823 R Ackermann 70 Moses about 13 —18 ... litho .. J. Ward 1826 ? 71 Nonpariel 13 —18 ... litho .. J. Ward. 1824 R Ackermann 72 Persian horse ... 13J— 17i ... litho .. J. Ward 1823 R Ackermann 73 Phantom 13J-175 ... litho .. J Ward 1823 R Ackermann 74 Primrose and foal 13^171 ... litho .. J Ward 1823 R Ackermann 75 do 4-5} ... line .. H R. Cook. ... 1810 Sporting Mag. 76 Princess Royal about 13 —18 ... litho .. J Ward 1824 ? 77 Soothsayer ... I3g— 18 ... litho .. J. Ward. 1S23 R Ackermann 78 Walton 13J-175 ... litho .. J. Ward. 1823 R Ackermann 79 do ... 4i-5i ... line .. J. Scott. 1814 Sporting Mag. 80 Welch Poney. An old ... 3§— 6 ... etching . .. H. R. Cook ... 1807 Sporting Mag. 81 Idle boys 171-22 ... mezzo .. John Murphy 1797 John Murphy 82 do H-H - line .. R Cooper 1826 — 71 LIST OF ENGRAVINGS AND LITHOGRAPHS— continued 83 84 85 86 87 88 89 90 91 92 93 94 Name of Subject. Size of Subject. The height in all cases is given first. 17i-23J ... Style. By whom engraved. Date. Publisher Industrious Cottagers Lambton. Ralph John. Esq. his horse Undertaker and hounds Extract from letter of Ward assistance to engrave it). proved) to him a most profitable concern.' Liboya seizing a Tyger (siV) Lion and tiger fighting do Livery Stable Mothers Bribe or Temp tation to be washed Mouses Petition do Wm Ward. 1801 Wards & Co C. Turner 29|x19t's ... mezzo ... Chas Turner... 1821 " I was forced to give up (this plate) to my brother because I could get no Chas Turner got it out of my brother's hands by a fraudulent movement. (It 4 — 5| 18 —23} 4 — 6 19J-23J line mezzo line mezzo H R Cook . James Ward. H R Cook . James Ward. 1809 1799 1807 1796 Sporting Mag J Ward & Co Sporting Mag T. Simpson 171—23} 17|— 23| 3-41 mezzo ... James Ward... 1818 T Griffiths mezzo ... Wm Ward ... 1805 Wards & Co line ... F. Romney ... — Nursery Maid mezzo mentioned by Chaloner Smith as being engraved by William Ward. Outside a country alehouse 18 — 23| ... mezzo ... Wm Ward ... 1797 W Ward Peasant's Sunday dinner... 18| — 22 ... mezzo ... S.W.Reynolds 1798 Jeffryes & Co Portraits 95 Busfield, ReV. J. A. 17f— 14 ... mezzo James Ward... 1820 J. Ward. 96 George III 25 J— 22 ... mezzo do 1804 J Ward & Co 97 King R. Esq. Aged 81 12 - 9J ... mezzo Henry Meyer — Private Plate 98 Wellington Duke of 6S-5J ... litho James Ward abt. 1819 J.Ward. 99 Woodd Basil 18 — 13f ... mezzo do 1800 J.Ward. 100 Poultry market Pound The see Compas- . sionate Children 18^24 ... mezzo J Ward 1803 Wards & Co 101 Rabbits 10?— 13 ... mezzo J. Ward 1800 J. Ward 102 Regents Park 6^10 ... etching ... C. O. Murray — — 103 do 10*— 15J ... mezzo J. Shrimpshire 1904 Macmillan & Ci 104 Reaping 171-23 J ... mezzo Wm Ward ... — — 105 Recruit 18J-23i ... mezzo J.RSmith Jun. 1803 H Macklin 106 Rocking horse 17f-21f ... mezzo J. Ward 1793 T. Simpson 106a Rustic Conversation 17|-23| ... mezzo S.W. Reynolds 1794 T. Philipe 107 Rustic felicity 17J— 21 ... mezzo J. Ward 1792 T. Simpson 108 Selling Rabbits 17i-23i ... mezzo Wm Ward. ... 1796 W. Ward 109 Shepherd boy 9J-llf ... lithograph James Ward... 1824 R Ackermann 110 Sketches Original, from Nature, a series of 6 etchings — etching ... I. Whessel! ... 1793 T Simpson 111 A Spaniel Begging — mezzo Joseph Epene- tus Coombes 1832 Colnaghi & Co 112 Stray'd Child 181-23J ... mezzo B Pym. 1799 S. Morgan 113 Stray'd child restored 19 — 23J ... mezzo B Pym 1799 S. Morgan 114 Studies from Nature 13g-19} ... mezzo James Ward... 1807 J. Ward 115 Summer 9i-7J ... mezzo Wm Ward .. — — 116 Tiger disturbed while de- vouring his Prey... 18 — 23J ... mezzo James Ward... 1799 J Ward & Co Times of Day a set of four 117 Morning 12 — 15J ... lithograph Harraden 1809 J Deeley 118 Noon 12 —15 ... do do do do 119 Evening 12|— 15 ... do do do do 120 Night 12J— 15f ... do do do do 121 Vegetable Market 18 —23} ... mezzo Wm Ward ... 1803 Wards & Co 122 Wild Boar (head and shoulders) 6 — 8J ... etching ... J. C. Zeitler... — — 123 Winter about 9J— 7^ mezzo Wm Ward ... — — 124 Wounded Soldier 17 J— 23} ... mezzo J R Smith ... 1803 H. Macklin 72 IV.— Owners of Pictures, Animals, &c., mentioned in the foregoing List of Ward's Works. The numbers following refer to the numbers in the list. Agnew, Thomas and Sons, 302, 517, 674, 811, 857a. Allnut, 515. Allnutt, J., 8, 67, 70, 161, 193b, 432, 450, 616. Alston, Roland, M.P., 472, 797. Anderson, J. H., 430. Angerstein, W., 512. Arbuthnot, Rt.Hon.C.,M.P.,423. Art Union, 313. Bailey, E. H., 651. Barnes, James, 741. Barry, A. Smith, 307. Baxter, J. P., 371. Bean, 661. 662. Beckford, 883. Bedford, Duke of, 487, 772, 805. Bell, D. C, 315. Blunt, Sir Charles, 744. Brassey, Lord, 99, 431, 528. Briggs, 664, 674. British Institution, 867. Brooke, Lord, 392. Bryan, Michael, 175, 180, 665. Buchan, Mrs., 57. Buller, Lady Agnes, 247. Busfield, Rev. J. A., 666. Chantrey, 25, 326. Chesterfield, The Earl of, 55, 668, 669. Clive, Lord. (See the Earl of Powis.) Combermere, Lord, 667. Corbett, Major, 341. Corbett, Uvedale, 205. Coventry, The Hon. J., 434. Coventry, Sir J., 476. Coxe, Peter, 154, 821. Crooks, Thos., 10, 390, 449, 67L Daintree, Captain J., 258. Darbeney, 5. Darnley, The Earl of, 234. Daw, Dr., 43, 63, 64, 90, 97, 162, 184, 185, 282, 301, 305, 321, 325, 343, 346, 428, 510, 530. 558, 578, 591, 592, 600, 603, 656, 745, 747, 749, 780, 820. De Tabley. (See Tabley.) Deerhurst, Viscount, 442. Deerhurst, Lady R., 462. Ducie, Lord, 228. Dyott, R., 96, 137. Earle, 566. Edwards, T. D., 619. Elliot, 746, 747. Essex, The Earl of, 517a. Exeter, The Marquis of, 367. Fairbarn, Thomas, 575. Fitzherbert, 5S5c. Fitzwilliam, Earl, I. Fleetwood, Sir Hesketh, 398. Forbes, Sir Charles, 357. Fox, G., 810. Garle, 395, Cell, Phillip, 239. George III, 353. George IV, 455, 457, 458. Grafton, Duke of, 469. Graves, 512. Grenville, Lord, 246. Hamilton, 193a. Harrison, J., 448. Heathcote, T. F., 245. Heathcote, Unwin, 441. Hertford, Marchioness of, 93. Hesketh, Peter, 435. Hoare, 302, 517. Houghton, 423a. Hoxton Church, 34. Hume Sir A., 271, 624. Huntly, The Marquis of, 421. Hurt, Albert, 677. Huth, Louis, 5, 80, 285, 331, 423a, 518, 555a, 818, 857a. Jackson, Miss Edith, 868. Jackson, Howard, M., 711, Jackson, Mrs. John, 646. Jackson, M. Phipps, 61,243,873. Jarvis, 587. Jones, 555c. Jones, R. A., 78. Knight, John, 41. Lambton, John George, M.P., 444. Lambton, Ralph John, 163, 525, 682. Lathora, Miss, 370. Leicester, Sir John. (See Tabley, Lord de.) Levett, T., 215, 368, 675, 685, 687. Levett, Rev. T., 686. Lewis, C. W. M., 858. Lichfield, Earl of, 50. Londonderry, Marquis of, 268, 358, 373, 378, 424. Lowther, Lord, 445. Ludgate, Robert, 17,233,422,503, Lynn, Wm., 688. Lyon, 235, 236,. Man, 689, 690, 69L Maud, C. T., 745. Maurice, John, 465. Maynard, Lord, 436. Morrison, 202. Morrison, Alfred, 835. Morrison, Mrs., 202. Mostyn, Sir Thos. Bart., 470, 471. Musgrave, 660, 692, 702. Mundy, E.,369. Mundy, L. M.,369. Munro Executors, 22L Napoleon, 452. National Gallery, 187, 330, 340, 527, National Gallery of British Art, 92, 330. Newcastle, Duke of, 425. Nicholl, J., 693. Nixon, 857. Northumberland, Duke of, 150, 247, 353, 354, 377, 380, 382. 452. 457, 463, 696. Oakley, 529. Oliver, W. H., 589. Parker, T. L., 242. Payne, R. E., 724. Phipps, Hon. C. B., 695. Platoff, Prince, 377. Powis, The Earl of, 93, 131, 148, 265, 266, 360, 361, 393, 426. Pratt, S. J., 697. 73 Preston, Rev. M. M., 698. Prosser, 829. Quilter, Sir Cuthbert, 89. Kadstock, Lord, 725. Ribblesdale, Lord, 143, 330. Richards, W. J., 508. Riddell, R., 383, 384, 385. Riviere, Briton, R.A., 821. Rolle, Lord, 427. Rothwell, R., 9, 60. Royal Academy, 30. Rudall, 699. Russell, 616. Russell, Miss, A. O. C, 700. St. Aubyn, James, 270. Shelley, Sir J., Bart. 464, 500, 501, 502. Smith, George, 451. Soloman, 765. Somerville, Lord, 308, 309, 571, 581, 676. Southampton, Lord, 478. South Kensington Museum, 28, 97, 218, 291,626, 645. Stafford, Marquis of. (See Duke of Sutherland.) Stanhope, Arthur, 241. State Chronicle, 522. Stewart, General. (See Marquis of Londonderry.) Sturt, Charles, 272, 275. Sutherland, Duke of, 48, 174. Swan, 89. Tabley, Lord de, 161, 231, 806, 555, 557, 616, 684, 826, 827. Theobald, John, 447. Theobald, William, 46, 106, 226, 520,616, 781,882. Tunneley, 248. Tyson, 446. Vaughan, Sir R., 506. Vernon, Robert, 187, 555,602. Walker, Miss, 701, 702. Ward, 341, 515. Ward, Mrs. E. M., 15, 288, 336, 339, 381, 398, 555, 577, 616, 821. Ward, Geo. Raphael, 13, 80, 92, 344, 364, 398, 446, 468, 555b, 783, 786. Ward, James, R.A., 703 to 709, 729 to 731, 737. Ward, Mrs. James, Senr., 710 to 712. Ward, Honble. John, 150, 305, 417,821. Waters, 341. Webb, J., 829. Wellington, The Duke of, 380, 381, 713, 714. Wells, John, 133. Wells, William, 88, 811. Westcar, Charles, 869. Westenra, R., M.P., 480. Wigram, 387. Witham, 385. Woodd, Basil, 715. Wynne, Sir W. W., Bart. 333, 362, 375, 376, 477, 694. Yates, Edmund, 437. York, The Duke of, 456. TABLE OF CONTENTS. Preface ,,.,,,.,,, v, — vi. The Life of James Ward .-...',. vii. — Iv. Illustrations ---'------ i — 36 I. List of Pictures .,,.,.,. 37 — 54 IL List of Works Engraved by James Ward , , , , , 55 — 69 in. A List of Engravings and Lithograpfis made from Works by James Ward ---------- 70 — 72 IV, Owners of Pictures, Animals, etc. --'''- 73 List of Illustrations --------- 74 — 75 LIST OF ILLUSTRATIONS. The Stray'd Child. By J. Ward. From an Engraving by B. Pym, in the collection of the Honblc. John Ward, M.V.O. Colourplate ..... Frontispiece. Louisa (Portrait of Mrs. George Morland, nee Anne Ward). Painted and Engraved by W. Ward. Colourplate ........ Facing page viii. Rustic Conversation. By James Ward. From an Engraving by S. W. Reynolds, in the collection of the Honble. John Ward, M.V.O. Colourplate - ■ - .. Industrious Cottagers. By James Ward. From an Engraving by W. Ward, in the collection of tlie Honble. John Ward, M.V.O. Colourplate - - • - „ Outside of a Country Alehouse. By James Ward. From an Engraving by W. Ward, in the collection of the Hon. John Ward, M.V.O. Colourplate - - - » A Livery Stable. Painted and Engraved by J. Ward. From an Engraving in the collection of the Honble. John Ward, M.V.O. Colourplate - - - - „ Ralph John Lambton, Esq., his Horse Undertaker and Hounds (calling Hounds out of cover). By James Ward. From an Engraving by Charles Turner in the collection of the Honble. John Ward, M.V.O. Colourplate -■---,, Idle Boys. By James Ward. From an Engraving by John Murphy, in the collection of the Honble. John Ward, M.V.O. Colourplate -----., The Rocking Horse. Painted and Engraved by James Ward. From an Engraving, in the collection of the Hon. John Ward, M.V.O. Colourplate ----„„ xlvii Disobedience in Danger. By James Ward. From an Engraving by W. Barnard, in the collection of the Honble. John Ward, M.V.O. Colourplate ■ ■ • „ The Wounded Soldier. By James Ward. From an Engraving by J. R. Smith, Junr., 1)1 thi collection of the Honble. John Ward, M.V.O. Colourplate • - - „ The Gleaners Returned. By James Ward. From an Engraving by W. Ward, in the collection of the Honble. John Ward, M.V.O. Colourplate ■ • • ■ „ The Mouse's Petition. By James Ward. From an Engraving by W. Ward, in the collection of the Hon. John Ward, M.V.O. Colourplate ■ ■ - - „ Fern Burners. By J. Ward. From a W attr-colour Drawing, in the collection of the Hon. John Ward, M. V.O. Colourplate ■■■■■■„ Portrait of James Ward. By John Jackson, R.A. From an Engraving by J. Ward, in the collection of Mrs. E. M. Ward ........ Page Portrait of the Artist's Mother. By J. Ward. From a picture belonging to Miss Jackson Wood Sawyers. From a Drawing by James Ward, in the collection of the Honble. John Ward, M.V.O. .......... Mrs. Michael Angelo Taylor as " Miranda." Engraved by J. Ward. Afttr the Picture by John Hoppner .......... Study of a Barn. By J. Ward. From the Drawing in the collection of Mrs. E. M. Ward Study of a Waggon. By J. Ward. From the Water-colour in the collection of the Honble. John Ward, M.V.O. .......... Mrs. Billington as " St. Cecilia." Engraved by J. Ward. From the Picture by Sir Joshua Reynolds (The Print lent by Messrs. Grundy & Robinson) ..... Study for Figure in the "Hay-Makers." By James Ward. From collection of Honble. John Ward, M. V.O. .......... Study for Figure of " Hope " in the Allegory of the Battle of Waterloo Study of Hounds. From the collection of the Honble. John Ward, M.V.O. xl Ivi. 12 24 32 1 2 74 LIST OF ILLVSTRATIONS— continued. The Country Butcher's Shop. By J. Ward. From an Engraving by S. W. Reynolds, in the colleciionof the Hunbk. John Ward, M.V.O. ■ ...--- Page 7 The Family Compact (Portrait of the Artist's Mother and his Second Wife). From the Picture in the possession of Leslie Ward, Esq. ....--„ 8 The Escape. From a Lithograph by J. Ward ...----„ 8 Gordale Scar By J. Ward. From the Picture in the National Gallery of British Art - - „ 9 Study for Figure in the " Mouse's Petition." By J. Ward, from the collection of the Honble. John Ward, M.V.O. ----------„ 10 Lioness and Heron. By J. Ward ■ - - ■ • • - - ,> 10 The Cow House. Painted and Engraved by J. Ward. From an Engraving in the collection of theHonble. John Ward, M.V.O. - - - - - - - - „ II Descent of the Swan. By J.Ward. From the collection of Briton Riviere, Esq., R. A. ■ „ 12 Roundcroft Cottage (the Artist's Last Residence). By James Ward. From the Picture belonging to Miss Jackson - ■ - - - - • ■ -.il2 " Summer." By J. Ward. From an Engraving by W. Ward, in the collection of the Honble. John Ward, M.V.O. .---------„ 13 First Slietch for Primrose and Foal By James Ward ---•--„ 14 Watercolour Study. By J. Ward, in the collection of the Honble. John Ward, M.V.O. - - „ 14 Lord Somerville's Fisherman. From a Water-colour by J. Ward, in the collection of the Hon. John Ward, M.V.O. .-.---.--„ 15 Portrait of James Ward when 16. By W. Ward, in the collection of Mrs. E. M. Ward - „ 16 Mrs. Hibbert. Engraved by J. Ward, from the Picture by Hoppner - - - - „ 16 Sunset — A View in Leicestershire. From the Mezzotint by J. Ward, after G. Morland. Also called " A Boy employed in Burning the Weeds " - - - - - „ 16 A Wiltshire Hind. By J. Ward. From a Water-colour in the collection of the Honble. John Ward, M.V.O. ......---•„ 17 Bulls Fighting : St. Donat's Castle (Tate Gallery) -.----„ 18 Rustic Felicity. By and after J. Ward. From an Engraving in the collection of the Honble. John Ward, M.V.O. „ 19 Study of a Swan. By J. Ward. From the collection of the Honble. John Ward, M. V.O. - „ 20 Study of a Pig. By J. Ward. From the collection of the Honble. John Ward, M.V.O. ■ „ 20 Bull, Cow, and Calf (Tate Gallery) ...-.- - - „ 21 Study of a Donkey. By J. Ward. From the collection of the Hon. John Ward, M.V.O. • „ 22 Study of Calf. By J. Ward. From the collection of the Honble. John Ward, M.V.O. ■ „ 22 Portrait of James Ward. From a soft ground Etching ■ - • - • ■ „ 23 " Juvenile Retirement " (The Douglas Children). By J. Ward, after Hoppner - - „ 24 The Duke of Wellington. From a Lithograph by and after J. Ward ■ ■ - - ,, 25 Portrait of Mrs. George Morland. By James Ward. Study for Figure in " The Mother's Bribe." From the collection of Mrs. E. M. Ward ------„ 26 Study for " The Escape." From the collection of the Honble. John Ward, M.V.O. - - „ 27 Portrait of Mrs. George Morland. Study for Figure in "The Clean Face Rewarded." From the collection of Mrs. E. M. Ward. .------„ 28 Studies of Trees. By J. Ward. From the collection of the Honble. John Ward, M.V.O. ■ „ 29 The Wounded Lioness. By J. Ward. From the collection of Judge Evans - - - „ 30 Study for Figure in " Disobedience in Danger." By J. Ward. From the collection of the Honble. John Ward, M.V.O. ■ ...-----„ 30 Rustic with Bucket. From the Water-colour in the collection of the Honble. John Ward, M.V.O. „ 31 Study for Figure in The Peasant's Sunday Dinner. From the collection of the Honble. John Ward, M. V.O. ...-------„ 32 Donkey's Head. By J. Ward. From the Oil Painting in the collection of the Honble. John Ward, M.V.O. ..-.---'---„ 32 Study for Figure in "The Stray'd Child." By J. Ward. From iJie collection of the Honble J. Ward, M.V.O. ,,33 The Father of the Artist. By J. Ward. Study for Figure in " The Citizen's Retreat." From the collection of Mrs. E. M. Ward ..---••„ 33 Lady Heathcote as " Hebe." Engraved by J. Ward, after John Hoppner. From a Print in the British Museum .--..--■•-„ 34 A Flea-bitten Arab. /« the possession of Mrs. B. M. Ward • ■ - • ■ ,, 35 Youth and Time. In the possession of Mrs. E. M. Ward - - - - ■ ,, 35 Portion of an Autograph Letter by James Ward ..---•„ 36 Signatures used by James Ward ....----„ 36 75 LONDON AND WEALDSTONE. ^^ THE LIBRARY UNIVERSITY OF CALIFORNU LOS ANGELES 'Art Library -;;-MD I497 iv226a9 "oont ONLY ' ND 497 W226G9 L 006 239 906 8