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695:, had become recognised as one of the leading figures of the English landscape watercolour style of the first half of the 19th century. This judgement was complicated by reaction to the rougher and bolder style of Cox's later Birmingham work, which was widely ignored or condemned. While by this time De Wint and Fielding were essentially continuing in a long-established tradition, Cox was creating a new one.
1980:
1960:
312:
646:
Cox's later work produced after his move to
Birmingham in 1841 was marked by simplification, abstraction and a stripping down of detail. His art of the period combined the breadth and weight characteristic of the earlier English watercolour school, together with a boldness and freedom of expression
270:
from his workshop at 10 Parade in the northwest of the town. Early biographers of Cox record that he left his apprenticeship after
Fielder's suicide, with one reporting that Cox himself discovered his master's hanging body, but this is probably a myth as Fielder is recorded at his address in Parade
535:
In
Harborne, Cox established a steady routine – working in watercolour in the morning and oils in the afternoon. He would visit London every spring to attend the major exhibitions, followed by one or more sketching excursions, continuing the pattern that he had established in the 1830s. From 1844
515:
made it difficult for an artist to be recognised for work in both watercolour and oil in London, however, and it is likely that Cox would have preferred to explore this new medium in the more supportive environment of his home town. By the early 1840s his income from sales of his watercolours was
387:
By 1810 he was elected
President of the Associated Artists in Water Colour. In 1812, following the demise of the Associated Artists, he was elected as associate of the Society of Painters in Water Colour (the old Water Colour Society). He was elected a Member of the Society in 1813, and exhibited
670:
Cox's watercolour technique of the 1840s was sufficiently different from his earlier methods to need explanation to his son in 1842, despite the fact that his son had been helping him teach and paint since 1827. The materials used for his later works in watercolour also differed from his earlier
662:
of landscape artists with which Cox had been associated early in his life, and as early as 1810 Cox's work had been criticised for its "sketchiness of finish" and "cloudy confusion of objects", which were held to betray "the coarseness of scene-painting". During the 1840s and 1850s Cox took this
710:
By 1850 Bennett in particular had become recognised as "perhaps the most distinguished among the landscape painters" for his Cox-like vigorous and decisive style. Such early followers concentrated on the example of Cox's more moderate earlier work and steered clear of what were then seen as the
893:
In 1983, an exhibition celebrating the bicentenary of the artist's birth was organized by the
Birmingham Museums and Art Gallery and curated by Stephen Wildman. The exhibition traveled to the Victoria and Albert Museum, London, in the same year. An exhibition of his work was held at the
1963:
441:, the move to Hereford marked a retreat in terms of his career as a painter: he sent few works to the annual exhibition of the Society of Painters in Water Colours during his first years away from London and not until 1823 would he again contribute more than 20 pictures.
1983:
727:
as "a kind of potted art, of an agreeable flavour, suppliable and taxable as a patented commodity", excluding only the late work of Cox, about which he wrote "there is not any other landscape which comes near these works of David Cox in simplicity or seriousness".
226:
to the east of
Birmingham. Early biographers record that "she had had a better education than his father, and was a woman of superior intelligence and force of character." Cox was initially expected to follow his father into the metal trade and take over his
412:
and in Autumn 1814 moved to the town with his family. Cox taught at the school in
Widemarsh Street until 1819, his substantial salary of £100 per year requiring only two days' work per week, allowing time for painting and the taking of private pupils.
494:
In May 1840 Cox wrote to one of his
Birmingham friends: "I am making preparations to sketch in oil, and also to paint, and it is my intention to spend most of my time in Birmingham for the purpose of practice." Cox had been considering a return to
432:
had caused a contraction in the art market, however, and by 1814 Cox had been very short of money, requiring a loan from one of his pupils to pay even for the move to
Hereford. Despite its financial advantages and its proximity to the scenery of
408:, but he resigned shortly afterwards, finding little sympathy with the atmosphere of a military institution. Soon after that he applied to a newspaper advertisement for a position as drawing master for Miss Crouchers' School for Young Ladies in
231:, but his lack of physical strength led his family to seek opportunities for him to develop his interest in art, which is said to have first become apparent when the young Cox started painting paper kites while recovering from a broken leg.
234:
By the late 18th century
Birmingham had developed a network of private academies teaching drawing and painting, established to support the needs of the town's manufacturers of luxury metal goods, but also encouraging education in
299:
it is likely that he had already decided to try to establish himself as a professional artist, and apart from a few private commissions for painting scenery his focus over the next few years was to be on painting and exhibiting
2025:
617:
with his family. It is not known why he didn't continue working in this medium at the time, but the five known surviving examples were described in 1969 as "surely some of the most brilliant examples of the genre in England".
279:, initially as an assistant grinding colours and preparing canvases for the scene painters, but from 1801 painting scenery himself and by 1802 leading his own team of assistants and being credited in plays' publicity.
520:, then a village on Birmingham's south western outskirts. It was this move that would enable the higher levels of freedom and experimentation that were to characterise his later work.
1032:
1047:
1002:
912:
655:, but Cox stood apart from the older painter's focus on capturing material detail, instead employing a high degree of generalisation and a focus on overall effect.
630:
in 1814. Although only two major watercolours can confidently be traced to the period between Cox's arrival in the town and the end of the decade, both of these –
711:
excesses of Cox's later years. During a period dominated by sleek and detailed picturesque landscape, however, they were still condemned by publications such as
1017:
2055:
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362:) engaged him in 1808, Cox went on to acquire several other aristocratic and titled pupils. He also went on to write several books, including:
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in 1843; and two oil paintings were exhibited at the Royal Academy in 1844 – the last that would be exhibited in London during his lifetime.
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2015:
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Cox showed regularly at the Birmingham Society of Arts and its successor, the Birmingham Society of Artists, becoming a member in 1842.
460:
428:, which claimed to present works by "all of the most approved water coloured draftsmen." The depression that accompanied the end of the
416:
Cox's reputation as both a painter and a teacher had been building over previous years, as indicated by his election as a member of the
1906:
1888:
1843:
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863:
791:
755:
456:
He made his first trip to the Continent, to Belgium and the Netherlands in 1826 and subsequently moved to London the following year.
957:
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in 1831. In 1839, two of Cox's watercolours were bought from the Old Water Colour Society exhibition by the Marquis of Conynha for
2020:
551:
Cox's experience of trying to exhibit his oils in London was short and unsuccessful: in 1842 he made his only submission to the
516:
sufficient to allow him to abandon his work as a drawing master, and in June 1841 he moved with his wife to Greenfield House in
172:
towards the end of his career, now considered "one of the greatest, but least recognised, achievements of any British painter."
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By 1857 however, his eyesight had deteriorated. An exhibition of his work was arranged in 1858 by the Conversazione Society
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from 1805. His paintings never reached high prices, so he earned his living mainly as a drawing master. His first pupil,
895:
859:
327:, his earliest dated watercolours are from this year. Throughout his lifetime he made numerous sketching tours to the
811:
552:
272:
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699:
464:
276:
1947:
1082:
A chronological history of the old English landscape painters, in oil, from the 16th century to the 19th century
573:
on 12 June 1853 that temporarily paralysed him, and permanently affected his eyesight, memory and coordination.
479:
355:
1974:
1967:
397:
296:
1897:
Wildman, Stephen (2008), "David Cox's Development and Reputation as an Oil Painter", in Wilcox, Scott (ed.),
679:
for which he became well-known – both of these were related to his development of a rougher and freer style.
1765:
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500:
324:
252:
223:
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1997:
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The Birmingham school: paintings, drawings and prints by Birmingham artists from the permanent collection
651:. His concern with capturing the fleeting nature of weather, atmosphere and light was similar to that of
380:
1741:
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854:. Some of them have since been confirmed as forgeries. American collections holding Cox's work include
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The quest for character over precision in representing nature was an established characteristic of the
523:
2040:
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772:
698:
A group of young artists working in Cox's watercolour style emerged well before his death, including
1966:., engraved by W Taylor for Fisher's Drawing Room Scrap Book, 1832 with a poetical illustration by
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At the age of about 15 Cox was apprenticed to the Birmingham painter Albert Fielder, who produced
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304:. While living in London, Cox married his landlord's daughter, Mary Ragg and the couple moved to
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to work outdoors in both oil and watercolour, gradually becoming the focus for an annual summer
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The King's Artists: The Royal Academy of Arts and the Politics of British Culture 1760-1840
153:
He is considered one of the greatest English landscape painters, and a major figure of the
1102:
Pillement, Georges (1978), "The Precursors of Impressionism", in Sérullaz, Maurice (ed.),
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429:
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as "the 'blottesque' school", and failed to establish themselves as a cohesive movement.
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487:, Birmingham – where Cox lived from 1841 until his death in 1859 – pictured by his son
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to the Birmingham gun trade. Cox's mother was the daughter of a farmer and mille] from
2009:
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351:
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1127:
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The Victoria and Albert Museum: A Bibliography and Exhibition Chronology, 1852-1996
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421:
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735:, was based on a manuscript by Cox's friend William Hall, edited and expanded by
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1979:
1959:
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63:
1916:
1132:, Heilbrunn Timeline of Art History, New York: The Metropolitan Museum of Art
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835:
827:
823:
584:, London. Cox died several months later. He was buried in the churchyard of
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1523:
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pencil as his primary drawing medium, and the rough and absorbent "Scotch"
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1834:
Osborne, Victoria (2008), "Cox and Birmingham", in Wilcox, Scott (ed.),
580:, and in 1859 a retrospective exhibition was held at the German Gallery
663:"peculiar manner" to new extremes, incorporating the techniques of the
401:
305:
292:
215:
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about whom little is known, except that he supplied components such as
1879:
Wilcox, Scott (2008), "The Work of the Mind", in Wilcox, Scott (ed.),
1806:"Sun, Wind, and Rain: The Art of David Cox | britishart.yale.edu"
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798:, on the condition it opened on Sundays. His work is also held at the
1951:
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758:
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405:
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In the summer of 1813 Cox was appointed as the drawing master of the
1080:
Grant, Maurice Harold (1958), "The Birmingham School of Landscape",
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as late as 1825. At some time during mid-1800 Cox was given work by
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in Great Charles Street, where fellow students included the artist
1760:
Barbara M. D. Smith, 'Nettlefold, Joseph Henry (1827–1881)’, rev.
847:
609:
In the spring of 1811 Cox made a small number of notable works in
522:
478:
344:
310:
228:
186:
2026:
Members and Associates of the Royal Birmingham Society of Artists
1595:, Birmingham: Birmingham Museums & Art Gallery, p. 6,
1973:
In Fisher's Drawing Room Scrap Book, 1834, as illustration to
1743:
A Biography of David Cox: With Remarks on His Works and Genius
733:
A Biography of David Cox: With Remarks on His Works and Genius
548:
that continued until 1856 with Cox as its "presiding genius".
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since 1836 and in 1839 had taken lessons in oil painting from
1711:
1709:
1707:
1924:
1901:, New Haven, CT: Yale University Press, pp. 113–127,
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there every year (except 1815 and 1817) until his death.
1838:, New Haven, CT: Yale University Press, pp. 69–83,
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287:
In 1804 Cox was promised work by the theatre impresario
259:, both of whom would become important lifelong friends.
1883:, New Haven, CT: Yale University Press, pp. 1–67,
1422:
1420:
1238:
1236:
1165:
Wilcox, Scott (October 1983), "David Cox. Birmingham",
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In 1805 he made his first of many trips to Wales, with
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and moved to London, taking lodgings in 16 Bridge Row,
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His pupils included Birmingham architectural artist,
1084:, vol. 2, Leigh-on-Sea: F. Lewis, p. 167,
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in the US in 2008, traveling to Birmingham in 2009.
750:
memorials commemorating him at 116 Greenfield Road,
202:
Cox was born on 29 April 1783 on Heath Mill Lane in
1261:, Oxford: Oxford University Press, pp. 91–92,
120:
102:
91:
71:
49:
23:
1518:, Norwich: University of East Anglia, p. 12,
503:, to whom he had been introduced by mutual friend
667:into his finished works to a far greater degree.
378:(1816). The ninth and last edition of his series
179:(1809–1885), was also a successful artist.
626:Cox reached artistic maturity after his move to
555:; one oil painting was exhibited at each of the
846:shows a number of Cox's watercolours bought by
164:Although most popularly known for his works in
146:of landscape artists and an early precursor of
295:. Although he was unable to get employment at
638:of 1817 – mark advances on his earlier work.
239:, and nurturing the distinctive tradition of
138:(29 April 1783 – 7 June 1859) was an English
8:
1727:
1715:
1698:
1686:
1674:
1662:
1852:Wilcox, Scott; Newall, Christopher (1992),
247:. Cox initially enrolled in the academy of
142:, one of the most important members of the
1929:(Online ed.), Oxford University Press
536:these tours evolved into a yearly trip to
20:
1899:Sun, Wind, and Rain: the art of David Cox
1881:Sun, Wind, and Rain: the art of David Cox
1836:Sun, Wind, and Rain: the art of David Cox
1515:A decade of English naturalism, 1810-1820
1129:Watercolor Painting in Britain, 1750–1850
459:He exhibited for the first time with the
671:periods: he used black chalk instead of
1926:Oxford Dictionary of National Biography
1762:Oxford Dictionary of National Biography
1479:. Royal Birmingham Society of Artists.
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1009:Rainbow over the Shrewsbury Battlefield
908:
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1477:A Place for Art: The Story of the RBSA
1450:
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1357:
1345:
1326:
319:, brush and brown wash, over graphite.
1104:Phaidon Encyclopedia of Impressionism
757:, and at 34 Foxley Road, Kennington,
16:English landscape painter (1783–1859)
7:
725:Society of Painters in Water-colours
509:Society of Painters in Water Colours
418:Society of Painters in Water Colours
168:, he also painted over 300 works in
792:Birmingham Museum & Art Gallery
780:Royal Birmingham Society of Artists
183:Early life in Birmingham, 1783–1804
1948:122 artworks by or after David Cox
1372:, Dictionary of National Biography
864:Fine Arts Museums of San Francisco
723:in 1857 condemned the work of the
210:. His father was a blacksmith and
14:
2056:19th-century English male artists
2031:Burials at West Norwood Cemetery
1994:Jerdair, A hill village, Gurwall
1978:
1958:
1046:
1031:
1016:
1001:
986:
971:
956:
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911:
376:Progressive Lessons on Landscape
31:
1964:The Grass-Rope Bridge, at Teree
1855:Victorian Landscape Watercolors
1106:, Oxford: Phaidon, p. 39,
884:Princeton University Art Museum
596:tree, alongside his wife Mary.
368:A Series of Progressive Lessons
350:Cox exhibited regularly at the
206:, then an industrial suburb of
856:The Metropolitan Museum of Art
372:Treatise on Landscape Painting
266:and paintings for the tops of
1:
2046:19th-century English painters
1746:. Editied with additions, by
1126:Barker, Elizabeth E. (2004),
876:Rhode Island School of Design
461:Birmingham Society of Artists
444:Between 1823 and 1826 he had
195:, Birmingham, illustrated by
790:Several of his works are in
765:, where he lived from 1827.
687:By the 1840s Cox, alongside
527:The elderly Cox pictured by
364:Ackermanns' New Drawing Book
896:Yale Center for British Art
860:The National Gallery of Art
636:Lugg Meadows, near Hereford
96:St Peter's Church, Harborne
2072:
2016:English landscape painters
1858:, New York: Hudson Hills,
1784:. Routledge. p. 579.
1053:ABDAG003347 - David Cox -
1038:ABDAG003344 - David Cox -
812:Victoria and Albert Museum
553:Society of British Artists
356:Colonel the Hon.H. Windsor
273:William Macready the elder
1917:"Cox, David (1783–1859),
1915:Wildman, Stephen (2013),
1591:Wildman, Stephen (1990),
1024:Sheep drover on windy day
996:by David Cox. Watercolour
794:, having been donated by
384:, was published in 1845.
30:
1975:Letitia Elizabeth Landon
1968:Letitia Elizabeth Landon
1778:Elizabeth James (2013).
1728:Wilcox & Newall 1992
1716:Wilcox & Newall 1992
1699:Wilcox & Newall 1992
1687:Wilcox & Newall 1992
1675:Wilcox & Newall 1992
1663:Wilcox & Newall 1992
778:A bust of Cox is in the
507:. Hostility between the
2021:English watercolourists
1984:The Zenana - Conclusion
1766:Oxford University Press
1475:Flynn, Brendan (2014).
1167:The Burlington Magazine
796:Joseph Henry Nettlefold
632:Butcher's Row, Hereford
1740:Hall, William (1881).
1255:Hoock, Holger (2003),
919:view of Harlech Castle
888:The Huntington Library
840:Lady Lever Art Gallery
592:, Birmingham, under a
532:
491:
463:in 1829, and with the
398:Royal Military College
320:
199:
2051:English male painters
741:Birmingham Daily Post
526:
482:
475:Birmingham, 1841–1859
420:and his inclusion in
314:
297:Astley's Amphitheatre
190:
177:David Cox the Younger
1040:Near the Inn, Bolton
949:A Train on a Viaduct
868:Cleveland Art Museum
773:Allen Edward Everitt
683:Influence and legacy
647:comparable to later
501:William James Müller
483:Greenfield House in
317:Travellers on a Path
191:Cox's birthplace in
1748:John Thackray Bunce
1512:Gage, John (1969),
1441:, pp. 116–117.
737:John Thackray Bunce
557:British Institution
505:George Arthur Fripp
392:Hereford, 1814–1827
381:Progressive Lessons
264:portrait miniatures
86:Birmingham, England
1665:, pp. 17, 20.
1055:Pass of Llanberies
1026:by David Cox, 1851
1011:by David Cox, 1850
880:High Museum of Art
786:Public collections
704:David Hall McKewan
613:during a visit to
533:
492:
446:Joseph Murray Ince
321:
277:Birmingham Theatre
200:
175:His son, known as
1919:landscape painter
1791:978-1-134-27106-1
1689:, pp. 20–21.
1653:, pp. 39–40.
1641:, pp. 38–39.
1602:978-0-7093-0171-4
1486:978-0-9930294-0-0
1453:, pp. 14–15.
1370:James Murray Ince
1290:, pp. 71–72.
1230:, pp. 69–70.
1113:978-0-7148-1897-9
660:Birmingham School
465:Liverpool Academy
452:London, 1827–1841
283:London, 1804–1814
257:William Radclyffe
255:and the engraver
245:Birmingham School
144:Birmingham School
140:landscape painter
133:
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42:William Radclyffe
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982:
976:
967:
961:
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946:
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916:
904:
872:Fogg Art Museum
788:
700:William Bennett
693:Copley Fielding
685:
644:
624:
607:
602:
569:Cox suffered a
477:
454:
430:Napoleonic Wars
394:
285:
185:
121:
87:
84:
78:
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61:
56:
54:
45:
44:, oil on canvas
26:
17:
12:
11:
5:
2069:
2067:
2059:
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2053:
2048:
2043:
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2033:
2028:
2023:
2018:
2008:
2007:
2004:
2003:
2002:
2001:
1996:, engraved by
1988:
1987:
1971:
1955:
1943:
1942:External links
1940:
1939:
1938:
1912:
1908:978-0300117448
1907:
1894:
1890:978-0300117448
1889:
1876:
1864:
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1845:978-0300117448
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1583:
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1504:
1492:
1485:
1467:
1465:, p. 116.
1455:
1443:
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1404:
1402:, p. 114.
1389:
1387:, p. 115.
1374:
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804:British Museum
787:
784:
754:, Birmingham,
746:There are two
731:An 1881 book,
706:and Cox's son
684:
681:
677:wrapping paper
653:John Constable
643:
640:
623:
620:
606:
603:
601:
598:
546:artists colony
476:
473:
469:Queen Victoria
453:
450:
393:
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325:Charles Barber
284:
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253:Charles Barber
184:
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131:
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118:
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104:
103:Known for
100:
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85:
83:(aged 76)
73:
69:
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62:
51:
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36:
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2019:
2017:
2014:
2013:
2011:
1999:
1998:Thomas Higham
1995:
1992:
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1754:
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1733:
1730:, p. 18.
1729:
1724:
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1718:, p. 22.
1717:
1712:
1710:
1708:
1704:
1701:, p. 21.
1700:
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1692:
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1683:
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1676:
1671:
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1664:
1659:
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1629:, p. 38.
1628:
1623:
1620:
1617:, p. 33.
1616:
1611:
1608:
1604:
1598:
1594:
1587:
1584:
1581:, p. 53.
1580:
1575:
1572:
1569:, p. 58.
1568:
1563:
1560:
1557:, p. 46.
1556:
1551:
1548:
1544:
1539:
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1525:
1521:
1517:
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1505:
1502:, p. 15.
1501:
1496:
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1429:, p. 14.
1428:
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1413:
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1245:, p. 70.
1244:
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964:Raglan Castle
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844:Port Sunlight
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775:(1824–1882).
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749:
744:
742:
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722:
718:
716:
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714:The Spectator
709:
708:David Cox Jr.
705:
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696:
694:
690:
689:Peter De Wint
682:
680:
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674:
668:
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649:impressionism
641:
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583:
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567:
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561:Royal Academy
558:
554:
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543:
539:
530:
529:Samuel Bellin
525:
521:
519:
514:
513:Royal Academy
510:
506:
502:
498:
490:
489:David Cox Jr.
486:
481:
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457:
451:
449:
447:
442:
440:
436:
431:
427:
424:'s 1813 book
423:
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352:Royal Academy
348:
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329:Home Counties
326:
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289:Philip Astley
282:
280:
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249:Joseph Barber
246:
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241:landscape art
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148:Impressionism
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101:
97:
94:
92:Resting place
90:
74:
70:
65:
53:29 April 1783
52:
48:
43:
39:
34:
29:
22:
19:
1993:
1950: at the
1931:, retrieved
1925:
1918:
1898:
1880:
1869:, retrieved
1854:
1835:
1828:Bibliography
1814:. Retrieved
1810:the original
1800:
1780:
1773:
1756:
1742:
1735:
1723:
1694:
1682:
1670:
1658:
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1634:
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1610:
1592:
1586:
1574:
1562:
1550:
1538:
1527:, retrieved
1514:
1507:
1495:
1476:
1470:
1463:Wildman 2008
1458:
1446:
1439:Wildman 2008
1434:
1407:
1400:Wildman 2008
1385:Wildman 2008
1365:
1360:, p. 9.
1353:
1348:, p. 8.
1329:, p. 6.
1322:
1315:Wildman 2008
1310:
1303:Osborne 2008
1288:Osborne 2008
1283:
1272:, retrieved
1257:
1250:
1243:Osborne 2008
1228:Osborne 2008
1223:
1216:Osborne 2008
1211:
1204:Wildman 2013
1170:
1166:
1160:
1153:Wildman 2008
1134:, retrieved
1128:
1121:
1103:
1097:
1081:
1054:
1039:
1023:
1008:
994:Bolton Abbey
993:
981:by David Cox
978:
966:by David Cox
963:
951:by David Cox
948:
936:by David Cox
934:Boys Fishing
933:
921:by David Cox
918:
892:
852:James Orrock
808:Tate Gallery
789:
777:
770:
745:
732:
730:
719:
712:
697:
686:
669:
657:
645:
635:
634:of 1815 and
631:
625:
608:
575:
568:
565:
550:
538:Betws-y-Coed
534:
493:
458:
455:
448:as a pupil.
443:
426:Aqua Pictura
425:
422:John Hassell
415:
395:
386:
379:
375:
374:(1813); and
371:
367:
363:
358:(the future
349:
322:
316:
302:watercolours
286:
261:
233:
201:
197:Samuel Lines
174:
163:
152:
135:
134:
126:
122:Notable work
115:oil painting
98:, Birmingham
37:
18:
2041:1859 deaths
2036:1783 births
1651:Wilcox 2008
1639:Wilcox 2008
1627:Wilcox 2008
1615:Wilcox 2008
1579:Wilcox 2008
1567:Wilcox 2008
1555:Wilcox 2008
1543:Wilcox 2008
1500:Wilcox 2008
1451:Wilcox 2008
1427:Wilcox 2008
1412:Wilcox 2008
1358:Wilcox 2008
1346:Wilcox 2008
1327:Wilcox 2008
882:, Atlanta,
782:' gallery.
748:Blue Plaque
721:John Ruskin
622:Mature work
582:Bond Street
542:North Wales
435:North Wales
333:North Wales
315:David Cox,
224:Small Heath
166:watercolour
159:watercolour
157:of English
111:watercolour
75:7 June 1859
2010:Categories
1865:155595071X
1268:0191556106
1065:References
979:Rhyl Sands
816:Manchester
642:Later work
605:Early work
439:Wye Valley
341:Derbyshire
268:snuffboxes
212:whitesmith
208:Birmingham
155:Golden age
127:Rhyl Sands
79:1859-06-08
64:Birmingham
57:1783-04-29
40:(1830) by
1090:499875203
836:Cambridge
828:Edinburgh
824:Liverpool
820:Newcastle
814:, and in
586:St Peters
578:Hampstead
337:Yorkshire
308:in 1808.
136:David Cox
107:landscape
66:, England
38:David Cox
25:David Cox
1977:'s poem
850:through
752:Harborne
673:graphite
628:Hereford
615:Hastings
594:chestnut
590:Harborne
559:and the
531:in 1855.
518:Harborne
511:and the
485:Harborne
437:and the
410:Hereford
370:(1811);
366:(1809);
237:fine art
216:bayonets
204:Deritend
193:Deritend
1816:2 March
1524:6705579
902:Gallery
402:Farnham
306:Dulwich
293:Lambeth
275:at the
243:of the
220:barrels
77: (
55: (
1952:Art UK
1933:24 May
1905:
1887:
1871:1 June
1862:
1842:
1788:
1768:, 2004
1599:
1529:1 June
1522:
1483:
1274:26 May
1265:
1179:881452
1177:
1136:1 June
1110:
1088:
886:, and
838:. The
832:Oxford
800:Louvre
759:London
665:sketch
571:stroke
406:Surrey
129:(1854)
1175:JSTOR
848:Lever
345:Devon
229:forge
1954:site
1935:2014
1903:ISBN
1885:ISBN
1873:2014
1860:ISBN
1840:ISBN
1818:2015
1786:ISBN
1597:ISBN
1531:2014
1520:OCLC
1481:ISBN
1276:2014
1263:ISBN
1138:2014
1108:ISBN
1086:OCLC
834:and
691:and
611:oils
600:Work
343:and
218:and
72:Died
50:Born
1171:125
763:SW9
540:in
400:in
170:oil
2012::
1986:.:
1923:,
1764:,
1706:^
1419:^
1392:^
1377:^
1334:^
1295:^
1235:^
1186:^
1169:,
1145:^
1072:^
890:.
878:,
874:,
870:,
866:,
862:,
858:,
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830:,
826:,
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818:,
810:,
806:,
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761:,
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339:,
335:,
331:,
161:.
150:.
113:,
109:,
2000:.
1970:.
1921:"
1820:.
1794:.
1750:.
1489:.
1317:.
1206:.
81:)
59:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
