This is a 1937, signed fox hunting print by renowned British sporting artist Lionel Edwards, which is entitled The Meynell at Bantley Carr. The print depicts a classic British country-hunting scene and has been signed by the artist in the lower left part of the margin.
Lionel Edwards, born in Bristol in 1878, was one of the most popular illustrators of hunting and sporting subjects of the twentieth century. The son of a doctor, this painter's artistic talents came from his maternal Scottish grandmother Ann Robertson, who was a pupil of Romney. Edwards grew up in North Wales following country pursuits rather than a formal education. Although originally destined for the army, a brief spell with the military proved that this was a career for which he had no aptitude. However, from the age of six he had been actively drawing horses and therefore his mother encouraged his artistic vocation. He studied in London at Heatherly's School of Art, the equivalent of the Atelier Julien in Paris.
Edwards is known as the Grand Old Man of Sporting Art because he was an ardent hunter and brilliant draftsman. He was perfectly equipped to portray the frisson of the hunting field: hounds with tongues rolling in exhaustion, strained finely tuned horses on the alert for their next cue, and earnest fraught riders completely absorbed in the physical exertion of thundering over the raw winter land at breakneck pace.
Lionel Edwards was deeply involved with and committed to British field sports, even including the challenge of the weather. Having worked for The Graphic and Punch before the First World War, he was increasingly drawn to hunting and sporting art, writing and illustrating many books on field sports. During his lifetime, he wrote and illustrated some 25 books on sporting art including Exmoor Sporting & Otherwise and Black Beauty. His experience during the First World War in the army remount service, when he had "four solid years of nothing but horse", brought an exciting realism to his art. His paintings are usually endowed with "tempered" colors reflecting the climate and light, and the influence of these two factors on the British countryside.
Watercolour was his favorite medium, though he used oils more frequently in later life. He often signed with a monogram. His work was very sensitive showing a superb understanding of horses coupled with a great ability to paint fine landscapes and skies. He also painted many portraits of racehorses and hunters. After Sir Alfred Munnings, Lionel Edwards was probably the most important sporting artist of the hunting field of the first half of the twentieth century. Among sporting art collectors, Ivester-Lloyd's work has become as much sought after as his contemporaries, Lionel Edwards, Gilbert Holiday and G.D. Armour.
Above all, his lifelong involvement with the hunting world enabled him to depict the magic of the chase by riding a horse across country behind a pack of hounds. He truly was the Master of the Sporting scene.
Framed Size: 18 ½” H x 24 ¼” W x 1 ⅛” D
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