Lot Essay
The trade label bears an old inscription in Indian ink 'Sir E. Landseer R.A.'
This rifle was delivered by the makers on 1 July 1863 at a total cost of ¨87-7.od to E.J. Coleman, almost certainly Edward J. Coleman (d. 1885), the wealthy stockbroker who lived stylishly at Stoke Park, near Stoke Poges, and owned several of Landseer's most important late works, including 'Well-Bred Sitters That Never Say They Are Bored' (by 1864), the monumental 'Man Proposes, God Disposes' (1863-64), regarded by contemporary critics as Landseer's greatest picture, and 'The Chase' (1866). The last of these so impressed Lord Elcho that the running figure of the stag was used as the basis of a target for the annual Running Deer shooting competition then held on Wimbledon Common and eventually at Bisley - later the stag was used for road signs.
Coleman was a close friend of Landseer, and a fellow deer-stalking enthusiast. However, rifle No. 6254 was returned to Purdey's in 1864, for there is an entry in the Credit Column of Coleman's ledger. It seems likely therefore that Landseer purchased the rifle, rather than receiving it from his friend as a gift.
It is likely to be the rifle listed in the catalogue of the sale of the contents of Landseer's house by Daniel Smith & Oakley on 28 - 30 July 1874 - 'a double-barrel breech-loading rifle by Purdey, in oak case' (lot 270).
Sir Edwin Landseer, R.A. (1802-1873) was one of the most successful artists of the Victorian era. He first visited the Highlands in 1824, when he was already an established artist, but mainly recognised as a painter of dogs. His first visit, for the purpose of studying deer, was spent with the Duke of Atholl at Blair Castle, where he stayed for ten days. He then went on to Bruar where, as the guest of the famous pioneer deer-stalker William Scrope (author of The Art of Deer-Stalking, first published in 1838), he was introduced to the excitements of the hill. He soon became a keen stalker, although his desire to sketch often overcame his killing instincts, and he was all his life an erratic shot. Each autumn he returned to the Highlands, where his abilities both as artist and sportsman opened the door to the best forests, owned by his aristocratic friends. At the Doune and Glenfeshie his companion was Georgiana, Duchess of Bedford (second wife of the sixth Duke), reputedly his mistress, who rejected his proposal of marriage after the Duke's death in 1839.
In the forest of Mar he was a guest of the Breadalbane family, and most importantly, at Balmoral he enjoyed the patronage of Queen Victoria and Prince Albert, beginning in 1850, the year of his knighthood. At Balmoral he sketched the stalkers and gillies, as well as painting several pictures which included the royal family.
In 1851 he completed his best known painting of all, 'The Monarch of the Glen', and in 1857 he exhibited at the Royal Academy the much larger 'Scene in Braemar', sold in these Rooms on 25 March 1994 for ¨793,000 ($1,186,283), the record auction price for his work.
The success of Landseer's stalking pictures was due to his great affinity with deer, and to his ability to convey the romance of Scotland. His contribution to the expansion of stalking and its fast growing popularity around the middle of the 19th Century was considerable, and his fame immense. In 1874 an exhibition of his work at the Royal Academy attracted 105,000 paying visitors, and his studio sale at Christie's commencing 8 May and lasting seven days raised ¨69,000. It was to be the last sale conducted by James Christie himself.
Landseer's will was proved for ¨160,000, and two years later was re-sworn at over ¨200,000
For further information on Landseer see:
Duff Hart-Davis, Monarchs of the Glen
Campbell Lennie, Landseer, The Victorian Paragon
Richard Ormond, Sir Edwin Landseer, exhibition catalogue, Philidelphia Museum of Art and The Tate Gallery, London
Christie's gratefully acknowledges the kind help of the Hon. Richard Beaumont C.V.O. of Purdey's, and Richard Ormond of The National Maritime Museum in the preparation of this footnote
This rifle was delivered by the makers on 1 July 1863 at a total cost of ¨87-7.od to E.J. Coleman, almost certainly Edward J. Coleman (d. 1885), the wealthy stockbroker who lived stylishly at Stoke Park, near Stoke Poges, and owned several of Landseer's most important late works, including 'Well-Bred Sitters That Never Say They Are Bored' (by 1864), the monumental 'Man Proposes, God Disposes' (1863-64), regarded by contemporary critics as Landseer's greatest picture, and 'The Chase' (1866). The last of these so impressed Lord Elcho that the running figure of the stag was used as the basis of a target for the annual Running Deer shooting competition then held on Wimbledon Common and eventually at Bisley - later the stag was used for road signs.
Coleman was a close friend of Landseer, and a fellow deer-stalking enthusiast. However, rifle No. 6254 was returned to Purdey's in 1864, for there is an entry in the Credit Column of Coleman's ledger. It seems likely therefore that Landseer purchased the rifle, rather than receiving it from his friend as a gift.
It is likely to be the rifle listed in the catalogue of the sale of the contents of Landseer's house by Daniel Smith & Oakley on 28 - 30 July 1874 - 'a double-barrel breech-loading rifle by Purdey, in oak case' (lot 270).
Sir Edwin Landseer, R.A. (1802-1873) was one of the most successful artists of the Victorian era. He first visited the Highlands in 1824, when he was already an established artist, but mainly recognised as a painter of dogs. His first visit, for the purpose of studying deer, was spent with the Duke of Atholl at Blair Castle, where he stayed for ten days. He then went on to Bruar where, as the guest of the famous pioneer deer-stalker William Scrope (author of The Art of Deer-Stalking, first published in 1838), he was introduced to the excitements of the hill. He soon became a keen stalker, although his desire to sketch often overcame his killing instincts, and he was all his life an erratic shot. Each autumn he returned to the Highlands, where his abilities both as artist and sportsman opened the door to the best forests, owned by his aristocratic friends. At the Doune and Glenfeshie his companion was Georgiana, Duchess of Bedford (second wife of the sixth Duke), reputedly his mistress, who rejected his proposal of marriage after the Duke's death in 1839.
In the forest of Mar he was a guest of the Breadalbane family, and most importantly, at Balmoral he enjoyed the patronage of Queen Victoria and Prince Albert, beginning in 1850, the year of his knighthood. At Balmoral he sketched the stalkers and gillies, as well as painting several pictures which included the royal family.
In 1851 he completed his best known painting of all, 'The Monarch of the Glen', and in 1857 he exhibited at the Royal Academy the much larger 'Scene in Braemar', sold in these Rooms on 25 March 1994 for ¨793,000 ($1,186,283), the record auction price for his work.
The success of Landseer's stalking pictures was due to his great affinity with deer, and to his ability to convey the romance of Scotland. His contribution to the expansion of stalking and its fast growing popularity around the middle of the 19th Century was considerable, and his fame immense. In 1874 an exhibition of his work at the Royal Academy attracted 105,000 paying visitors, and his studio sale at Christie's commencing 8 May and lasting seven days raised ¨69,000. It was to be the last sale conducted by James Christie himself.
Landseer's will was proved for ¨160,000, and two years later was re-sworn at over ¨200,000
For further information on Landseer see:
Duff Hart-Davis, Monarchs of the Glen
Campbell Lennie, Landseer, The Victorian Paragon
Richard Ormond, Sir Edwin Landseer, exhibition catalogue, Philidelphia Museum of Art and The Tate Gallery, London
Christie's gratefully acknowledges the kind help of the Hon. Richard Beaumont C.V.O. of Purdey's, and Richard Ormond of The National Maritime Museum in the preparation of this footnote