413:"I took home a picture to the Dook of Wellington one day, and, as I was taking it up in the hall, he comes by, and says, "Oh, you comes from Messrs. Bennett." "Yes, sir," I says. With that he passes on, and out comes at the front door a man dressed all in black, and comes up to me—his butler, I suppose. He says, "Do you know who you were a talking to just now?" "Yes, sir," I says, "Arthur Wellesley, better known as Dook of Wellington." Then, why don't you say "Your Grace to him ?" "Grace ?" says I, " why should I say grace for? there's no meat here. Where's the viands? Why, I said sir to him—a common title of respect between man and man." " Well," says he, " you are a rum sort of customer, you are. What do you call the Duke ?" "What do I call him ?" I says ; "a wholesale carcase butcher! Look at his career. He begins by going to France to learn the art of war, and then he goes to India and kills thousands of natives who were only defending their own country, and at last turns his arms against the country where he first learned the art of war, and murders thousands more. A wholesale carcase butcher: that's what I call him."
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measurements of the bones, their proportionate length, &c. When I had obtained what information I needed, I came away, and crossing
Lincoln's Inn Fields, it struck me that the occupation in which I had been engaged would furnish a good subject for the picture." To paint this picture he asked for advice on obtaining a skeleton of the adjutant stork from Sir
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depicting a scientist with measuring instruments before the skeleton of an adjutant stork is considered a classic. He got the idea of painting this scene while taking measurements for his earlier paintings. "In making studies of the birds, I went to the Museum of the Royal
College of Surgeons to take
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in 1862 along with
Calderon. The aim of the clique was to improve each other by critique and the motto framed by Calderon was "the better each man's picture, the better for all." Marks was also an entertainer in the group with his fake sermons and songs. He was much loved in the club and was known as
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In 1888 the Fine Art
Society planned an exhibition on birds and Marks decided to use this opportunity to take up an intensive study of birds and he became a regular visitor at the zoo. In 1890 he had a private exhibition on his bird works. As his career progressed, he became increasingly interested
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that could be kept at home so that he could study it at leisure. Flower suggested a taxidermy artist and skeleton preparer in Camden Town who supplied him with a suitable specimen. Marks ensured that he counted the vertebrae and measured them carefully to make sure it was accurate. The title was
191:, Kent where he learned to paint heraldry symbols so as to assist his father in his carriage making business. In 1845 he worked for a friend of his father as a clerk in a warehouse. He later went to work with his father and around 1846 he attended evening classes at
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Marks' father emigrated to
Australia leaving Henry to support his mother, three brothers and from October 1856, his wife, Helen Drysdale (1829-1892). He supplemented his income from painting by carrying out decorative work for various patrons. These included the
371:, superintendent at the London zoo, encouraged him to draw birds with accuracy rather than colour them with anthropomorphism. In later years he painted landscapes and seascapes based on studies in Southwold and Walberswick.
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Marks was married in 1856, to Helen
Drysdale. Helen died in 1892, and the following year Marks married Mary Harriet Kempe, who was also a painter. Although baptised in an Anglican church, Marks was brought up as a
404:. A childhood of listening to sermons led him to rebel in later age to religious and other forms of authority by lampooning clerics and preaching bogus sermons. In an interview to
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holds three of Marks' finished watercolour studies of birds and eleven sketches for larger paintings. Some of his works are exhibited in the Parrot House of Eaton Hall.
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in
December 1851. In 1852 his father sold off the carriage-making business leaving Henry free to attend classes. He however decided to move to Paris with his friend
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and in general his paintings depicted large birds and the colourful parrots and he visited the London Zoo regularly to observe them. His early works were in oil (
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as well as landscapes. Most of his early works were oils but he also worked on murals and with watercolours. He was a founding member of the
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decided after much discussion with artists and scientists and he submitted it as his diploma picture for the Royal
Academy of Arts.
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274:, writing under the pen-name of "dry-point". Marks worked on decorations for the house of the Duke of Westminster at
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Marks considered the Royal
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producing wood-cut illustrations. After being rejected once, Henry enrolled successfully at the
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148:(13 September 1829 – 9 January 1898) was a British artist who took a particular interest in
357:(1870), was first sold for sold for £450 and seven years later for £1155. His diploma work
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Marks was the fourth child of John Isaac Marks and
Elizabeth (née Pally). His father was a
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and medieval themes in his early career and later in decorative art depicting birds and
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made by Marks for his wife, Mary, that demonstrates his love of drawing birds.
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He published a two-volume autobiography towards the end of his life titled
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pilgrims in the saloon, and twelve panels of birds in the drawing room.
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Marks died on 9 January 1898 in his London home and was buried in
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with whom he became a friend. Marks' most important patron was
603:. London: Sampson Low, Marston and Company. pp. 248–250.
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Watercolour sketch of a parrot, with the monogram "H.S.M."
576:"Illustrated Interviews. No. II. Henry Stacy Marks, R.A"
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Pennie, A. R. (2004). "Marks, Henry Stacy (1829–1898)".
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in painting birds. Possibly his most famous painting is
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in 1891 he recalled with his typical wit an anecdote:
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Marks, Henry Stacy (1894). Pen and Pencil Sketches.
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160:and was well known for his humorous performances.
563:. London: Cassell and Company. pp. 111–121.
341:, 1870) but many of his paintings of birds were
195:'s art school where he would become a friend of
258:. His early works on medieval themes included
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668:William Augustus Brewer Bookplate Collection
600:The life and letters of Charles Samuel Keene
503:(online ed.). Oxford University Press.
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580:The Strand Magazine. An Illustrated Monthly
242:works, for the stained-glass manufacturers
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645:20 artworks by or after Henry Stacy Marks
262:(1856) which was bought by the publisher
673:Archived profile on Royal Academy of Art
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500:Oxford Dictionary of National Biography
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268:Hugh Grosvenor, 1st Duke of Westminster
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301:"Marco". He is shown in a cartoon
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355:St Francis Preaching to the Birds
112:Helen Drysdale (1856–1892)
664:Bookplates by Henry Stacy Marks
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713:19th-century British painters
597:Layard, George Somes (1892).
232:Examining Conrad and Borachio
517:UK public library membership
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209:Philip Hermogenes Calderon
557:Meynell, Wilfred (1887).
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708:Artists' Rifles soldiers
560:The modern school of art
538:Marks (1894) v2:147-148.
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347:Old Watercolour Society
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359:Science is measurement
303:A vision of the clique
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698:Painters from London
369:Abraham Dee Bartlett
276:Eaton Hall, Cheshire
264:Charles Edward Mudie
256:Lawrence Alma-Tadema
219:École des Beaux-Arts
42:Aberdeen Art Gallery
623:on 23 February 2009
574:How, Harry (1891).
470:Marks (1894) v1:76.
193:James Mathews Leigh
183:who later became a
718:Royal Academicians
529:Marks (1894) v2:1.
441:Hampstead Cemetery
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327:Walker Art Gallery
323:A Select Committee
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627:16 January
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458:References
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402:dissenter
380:bookplate
280:Chaucer's
181:solicitor
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659:volume 2
656:volume 1
423:(1894).
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89:Painter
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649:Art UK
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240:Minton
175:(1874)
311:Punch
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