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Radnorshire Fine Arts Ltd
Tel01597 272 439Please quote Antiques Atlas.
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Non UK callers :
+44 1597 272 439
Sawrey Gilpin (1733-1807) Frightened Horses
Pencil ink and watercolour on wove paper. A slightly more dramatic example of the same composition (including lightning) is repeated in reverse on the back of the sheet, with monochrome (ink) washes and a little colour. The picture has been mounted to display both sides of the sheet.
Gilpin’s sketches are often rapid and skilfully executed, particularly with horses he liked to portray them in dramatic situations such as we see in our watercolour. Both sides of the painting illustrate the time during and after a thunderstorm, a popular theme with the artist.
The expressive way in which Gilpin has painted the foliage closely matches an example of his work titled ‘Abbey Ruin’ in the collection of Yale Centre for British Art. A large painting by S. Gilpin, titled ‘Horses in a Thunderstorm’ ca. 1798 is in the RA collection, London.
Gilpin was born in Carlisle in Cumbria, the seventh child of Captain John Bernard Gilpin, a soldier and amateur artist, and Matilda Langstaffe. He was the younger brother of the Rev. William Gilpin, a clergyman and schoolmaster who wrote of several influential works on picturesque scenery.
As a child Gilpin learnt to draw from his father, who ran a drawing school in Carlisle. Having shown an early predilection for art, he was sent to London at the age of fourteen to study under the marine painter Samuel Scott in Covent Garden. Gilpin, however, preferred sketching the passing market carts and horses, and it soon became evident that animals, especially horses, were his speciality. Gilpin left Scott in 1758 and devoted himself to animal painting from then on. Some of his sketches were shown to the Duke of Cumberland, who was much impressed by them, and employed Gilpin to draw from his stud at Newmarket and at Windsor, where he was ranger of the Great Park. He afforded the artist considerable material assistance in his profession.
Gilpin lived at Knightsbridge in London for some years. He became one of the best painters of horses that the country had produced, and was almost as successful in other areas of animal art. He sometimes attempted historical pictures on a larger scale in which horses were prominent, but with rather less success. He was purely an animal painter, and required the assistance of others to paint landscapes and figures for the former he often turned to George Barret, Sr., to whom he gave similar service in return, and for the latter he sometimes used the services of John Zoffany, and Philip Reinagle.
Gilpin first exhibited with the Incorporated Society of Artists in 1762, and continued to show pictures there, mostly of horses, up to 1783. In 1768, and 1770-1, he exhibited a series of pictures illustrating "Gulliver's visit to the Houyhnhnms", one of which was engraved in mezzotint by Valentine Green in 1770 a drawing of "Darius gaining the Persian Empire by the neighing of his horse" in 1771 "The Duke of Cumberland visiting his stud (with a view of Windsor Castle from the Great Park, by William Marlow)". In 1773 he became a director of the society, and in 1774 president.
He exhibited at the Royal Academy, London from 1786 until his death. He was elected an associate of the academy (ARA) in 1795, and Royal Academician (RA) in 1797.
Gilpin married Elizabeth Broom their son William Sawrey Gilpin (1762–1843) also became an artist, and in later life a landscape gardener. After his wife's death Gilpin lived in Bedfordshire with his friend Samuel Whitbread. He then returned to London and spent his last years with his daughters at Brompton, where he died on 8 March 1807.
His pupils included John Warwick Smith and George Garrard. The latter married his eldest daughter, Matilda.
Many of his pictures of horses, dogs, and sporting scenes were engraved, notably The Death of the Fox (Royal Academy, 1788), engraved by John Scott (1774–1827) and Heron-Hawking (Society of Artists, 1780), engraved by Thomas Morris (fl. 1780-1800). He also made some etchings of horses and cattle, and made many illustrations for the works, both published and unpublished, of his brother William. His portrait is included in the series of drawings by George Dance (1741–1821), engraved by William Daniell, and now in the National Portrait Gallery.
There are works by Gilpin in the collections of the Courtauld Institute of Art, Tate Britain, and the Royal Academy, in London and the Fitzwilliam Museum, Cambridge.
PAYMENT OPTIONS
PayPal /Card transactions can be processed through PayPal on our company website. We also accept payment by cheque and bank transfer. Deferred payments can be accepted over an agreed period of time whilst paintings remain with us.
CONDITION AND PRESENTATION
In our description, if a picture is shown to be framed then the frame will be included with the sale of the picture. Unless stated otherwise all unframed watercolours, drawings and prints have been mounted onto acid-free conservation board using either Japanese hinging paper or reversible wheat starch past. Unframed and mounted pictures are then wrapped in clear polyester film to protect both the picture and the mount. All conservation work has been carried out by accredited conservators.
SellerRadnorshire Fine Arts Ltd
View all stock from
Radnorshire Fine Arts Ltd
Private dealer
By appointment only
Powys
Mid Wales
Tel : 01597 272 439
Non UK callers : +44 1597 272 439
Gilpin’s sketches are often rapid and skilfully executed, particularly with horses he liked to portray them in dramatic situations such as we see in our watercolour. Both sides of the painting illustrate the time during and after a thunderstorm, a popular theme with the artist.
The expressive way in which Gilpin has painted the foliage closely matches an example of his work titled ‘Abbey Ruin’ in the collection of Yale Centre for British Art. A large painting by S. Gilpin, titled ‘Horses in a Thunderstorm’ ca. 1798 is in the RA collection, London.
Gilpin was born in Carlisle in Cumbria, the seventh child of Captain John Bernard Gilpin, a soldier and amateur artist, and Matilda Langstaffe. He was the younger brother of the Rev. William Gilpin, a clergyman and schoolmaster who wrote of several influential works on picturesque scenery.
As a child Gilpin learnt to draw from his father, who ran a drawing school in Carlisle. Having shown an early predilection for art, he was sent to London at the age of fourteen to study under the marine painter Samuel Scott in Covent Garden. Gilpin, however, preferred sketching the passing market carts and horses, and it soon became evident that animals, especially horses, were his speciality. Gilpin left Scott in 1758 and devoted himself to animal painting from then on. Some of his sketches were shown to the Duke of Cumberland, who was much impressed by them, and employed Gilpin to draw from his stud at Newmarket and at Windsor, where he was ranger of the Great Park. He afforded the artist considerable material assistance in his profession.
Gilpin lived at Knightsbridge in London for some years. He became one of the best painters of horses that the country had produced, and was almost as successful in other areas of animal art. He sometimes attempted historical pictures on a larger scale in which horses were prominent, but with rather less success. He was purely an animal painter, and required the assistance of others to paint landscapes and figures for the former he often turned to George Barret, Sr., to whom he gave similar service in return, and for the latter he sometimes used the services of John Zoffany, and Philip Reinagle.
Gilpin first exhibited with the Incorporated Society of Artists in 1762, and continued to show pictures there, mostly of horses, up to 1783. In 1768, and 1770-1, he exhibited a series of pictures illustrating "Gulliver's visit to the Houyhnhnms", one of which was engraved in mezzotint by Valentine Green in 1770 a drawing of "Darius gaining the Persian Empire by the neighing of his horse" in 1771 "The Duke of Cumberland visiting his stud (with a view of Windsor Castle from the Great Park, by William Marlow)". In 1773 he became a director of the society, and in 1774 president.
He exhibited at the Royal Academy, London from 1786 until his death. He was elected an associate of the academy (ARA) in 1795, and Royal Academician (RA) in 1797.
Gilpin married Elizabeth Broom their son William Sawrey Gilpin (1762–1843) also became an artist, and in later life a landscape gardener. After his wife's death Gilpin lived in Bedfordshire with his friend Samuel Whitbread. He then returned to London and spent his last years with his daughters at Brompton, where he died on 8 March 1807.
His pupils included John Warwick Smith and George Garrard. The latter married his eldest daughter, Matilda.
Many of his pictures of horses, dogs, and sporting scenes were engraved, notably The Death of the Fox (Royal Academy, 1788), engraved by John Scott (1774–1827) and Heron-Hawking (Society of Artists, 1780), engraved by Thomas Morris (fl. 1780-1800). He also made some etchings of horses and cattle, and made many illustrations for the works, both published and unpublished, of his brother William. His portrait is included in the series of drawings by George Dance (1741–1821), engraved by William Daniell, and now in the National Portrait Gallery.
There are works by Gilpin in the collections of the Courtauld Institute of Art, Tate Britain, and the Royal Academy, in London and the Fitzwilliam Museum, Cambridge.
PAYMENT OPTIONS
PayPal /Card transactions can be processed through PayPal on our company website. We also accept payment by cheque and bank transfer. Deferred payments can be accepted over an agreed period of time whilst paintings remain with us.
CONDITION AND PRESENTATION
In our description, if a picture is shown to be framed then the frame will be included with the sale of the picture. Unless stated otherwise all unframed watercolours, drawings and prints have been mounted onto acid-free conservation board using either Japanese hinging paper or reversible wheat starch past. Unframed and mounted pictures are then wrapped in clear polyester film to protect both the picture and the mount. All conservation work has been carried out by accredited conservators.
Price
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The price has been listed in British Pounds.
Conversion rates as of 19/DEC/2024. Euro & Dollar prices will vary and should only be used as a guide.
Always confirm final price with dealer. Price includes delivery within the UK
DimensionsSheet: 6 2/8 x 8 1/8 in. (15.8 x 20.6 cm.)
Mount: 12 9/16 x 14 1/2 in. (31.9 x 36.8 cm.)
Category Antique Pictures / Engravings / Art
> Antique Watercolours
Date c.1800
Early 19th Century Antiques Material Paper
Origin English
Condition This watercolour has been cleaned and mounted by an accredited paper conservator
Item code as176a843
Status For Sale
£450.00 
$564.80
€544.05
$564.80
€544.05
Looking to Buy?
Payment with PayPal is availableArrange a final price and delivery details directly with the dealer
Click here to message the seller
Conversion rates as of 19/DEC/2024. Euro & Dollar prices will vary and should only be used as a guide.
Always confirm final price with dealer. Price includes delivery within the UK
Shipping information
All our prices include FREE packing and delivery within the UK.
If you live outside the UK and you wish to purchase a painting, please contact us by phone or e-mail for further details concerning shipping costs.
If you live outside the UK and you wish to purchase a painting, please contact us by phone or e-mail for further details concerning shipping costs.
Terms and conditions
Returns and Complaints
Great care and trouble has been taken to ensure that all details written for every picture are correct and the photos are of sufficient quality so that each item can be viewed in detail. If the purchaser can find a fault (by way of a photograph) as proof of damage in transit that is not present in our promotional photo i.e. a tear in the canvas, broken glass, broken frame, damage to surface of picture, then a full or part refund will be offered back to the purchaser depending on the extent of the damage. This will only apply within 24 hours of signing for the parcel.
If the parcel has arrived and appears to be damaged in some way please return the parcel to us (unopened) and we will refund the purchase price on receipt of the picture.
If the purchaser can prove with written evidence from three independent experts that our description was false or misleading in any way then a full refund will be offered back to the purchaser.
Every effort has been made to give our clients complete confidence and satisfaction when buying from our company.
Great care and trouble has been taken to ensure that all details written for every picture are correct and the photos are of sufficient quality so that each item can be viewed in detail. If the purchaser can find a fault (by way of a photograph) as proof of damage in transit that is not present in our promotional photo i.e. a tear in the canvas, broken glass, broken frame, damage to surface of picture, then a full or part refund will be offered back to the purchaser depending on the extent of the damage. This will only apply within 24 hours of signing for the parcel.
If the parcel has arrived and appears to be damaged in some way please return the parcel to us (unopened) and we will refund the purchase price on receipt of the picture.
If the purchaser can prove with written evidence from three independent experts that our description was false or misleading in any way then a full refund will be offered back to the purchaser.
Every effort has been made to give our clients complete confidence and satisfaction when buying from our company.
View all stock from
Radnorshire Fine Arts Ltd
Private dealerBy appointment only
Powys
Mid Wales
Tel : 01597 272 439
Non UK callers : +44 1597 272 439
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