This mid-19th-century oil painting by British artist Martin Theodore Ward (1799-1874) depicts a chestnut hunter and a white cat in a stable. It’s inscribed ‘Thrumpton. Lass.’ in the upper left.
Ward was born into a renowned clique of artists. His father was the engraver, William Ward ARA (1766-1826), and his uncles included James Ward RA (1769-1859) and, by marriage, the notorious George Morland (1763-1804). As such, his early years at Edgware Road in London would’ve been interesting to say the least. It’s likely that his father taught him to draw with both a pencil and burin. Ward’s brother, William James Ward (1800-1840) is known to have studied under his father and became a mezzotint engraver to King George IV.
Animal painter, Sir Edwin Henry Landseer RA (1802-1873), provided further tuition and, by the age of 20, he’d debuted at the British Institution - his first major exhibition. Via his family, there were numerous opportunities for commissions: he painted the Rev. T. Lyster’s beloved dog ‘Tippoo’, a terrier owned by E. Tunno, two alpine mastiffs treasured by Sir Thomas Tyrwhitt Jones, and Lady Charlotte Denys’ favourite spaniel, ‘Frisk’ - among others. In 1820, his ‘A Terrier, The Property of a Gentleman’ was shown at the Royal Academy.
Several of his patrons were located in the north of England and, as such, he moved to Yorkshire for greater convenience. He lived initially in Doncaster before residing in Sheffield where he developed a reputation as one of the foremost animal painters in the country.
In this charming piece from around 1840, he’s depicted the splendid chestnut hunter ‘Thrumpton Lass’ along with a white cat. Thrumpton is a village in Nottinghamshire and a meeting place for the Quorn Hunt. The initials in the lower left, JJB or similar, probably relate to the owner.
Ward’s various successes led to increased wealth and, alas, “a social life revolving around disreputable inns” “and questionable company”. Mounting debts ensued and ultimately a spell in York Castle debtors’ prison. This self-inflicted fall from grace had grim repercussions as, during his incarceration, an opportunistic bailiff struck a deal for the exclusive rights to his work. In exchange for his early release, the bailiff would keep him in squalor, living on scraps, while essentially ‘farming’ his talent. Fortunately, he escaped this vile arrangement and took a local room with a white terrier for company.
Following a period whereby he produced a considerable amount of work for the officers of the ‘Carbineers’, Ward moved into the historic environs of the Old College in College Street, York - a stone’s throw from York Minster Cathedral. Here, “for 20 years he stuck to his easel” and “never went out of the city he had adopted”. He’d resolved to live a reclusive life, working solely for a close circle of friends.
Regarded as “eccentric” and a “character”, only a handful of locals were permitted to enter his studio - with countless commissions declined. His later work consisted predominantly of head studies, including of his loyal terrier ‘Joe’, who stuck by his side until the end. He died in extreme poverty.
In a lengthy obituary published in The Sheffield Daily Telegraph, no mention is made of his distinguished artistic relations, which would suggest that he kept this information private. It’s interesting to consider why.
Martin Theodore Ward is represented at the Yale Center for British Art, the York Art Gallery, and the Harris Museum & Art Gallery.
Signed in the lower right and held within a gilt frame.
Learn more about Martin Theodore Ward in our directory.
Medium: Oil on canvas
Overall size: 28” x 24½” / 71cm x 62cm
Year of creation: c. 1840
Labels & Inscriptions: Inscribed ‘Thrumpton. Lass.’ in the upper left.
Provenance: Private collection, UK.
Condition: Assessed and approved by our conservator. Cleaned.
Artist’s auction maximum: £23,000 for ‘Gamekeepers Returning From Shooting’, Oil on canvas, Sotheby's, London, 1982.
Our reference: BRV1894
