Richard Ansdell

Thomas Agnew, London by whom sold, Christie's, 16 June 1906, lot 66, bought 'Lister';
Dunecht House, Aberdeenshire

STRUCTURE The canvas has been relined, visible along the upper edge in the present frame. There are some very faint signs of craquelure along the right side of the upper edge, only visible upon close inspection; otherwise the work appears in very good overall condition. ULTRAVIOLET LIGHT UV reveals some retouching to the left hand side of the upper edge and a horizontal line of retouching approximately 25in. long to the clouds in the centre, which we feel corresponds to a repaired tear. There are an additional few small flecks of retouching to the sky upper right, a line to the cloud above the large rock on the right, a few flecks to both dogs, a small line to the left of the man in the foreground's face, a few flecks above the horse, and a small spot behind the shepherd on the left. FRAME Held in an attractive gilt plaster exhibition frame in good condition. Please telephone the department on 0207 293 5718 if you have any questions about the present work.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Ansdell was the finest Victorian animal painter after Sir Edwin Landseer but unlike Landseer, who often painted violent melodrama, Ansdell's approach to the depiction of animals was to the more incidental aspects of everyday life. Even before Landseer's death, Ansdell's great talent was heartily recognised by collectors and the critics alike, the Art Journal writing in 1860; 'That picturesquely, and that his productions are among the best of their kind with our school – and indeed, any other – has brought forward, is to pay him and them no higher compliment than is merited. If we had no Landseer, Ansdell would, unquestionably, occupy the very foremost place in this department of art' (The Art Journal, 1860, p.223).

The hardy highland shepherd and his loyal border collie, herding flocks to new pasture, is the subject most associated with Ansdell. The wilderness and beauty of the Scottish landscape, combined with his animated study of animals and human figures, make Ansdell's work so immediately engaging. He painted several variants on the same theme of a  flock being taken to safer ground or more fertile pasture. The first of this series of pictures Turning the Drove, Aviemore and the Grampians in the Distance (private collection) was exhibited at the Royal Academy in 1851 and the International Exhibition in Paris in 1855, where it was awarded a gold medal. The second painting in the series Crossing the Moor (Tunbridge Wells Museum and Art Gallery, Ashton bequest) painted in 1863 and exhibited that year at the British Institution, was described by the Art Journal as 'sheep, heather, dogs and Scotch shepherd, all vigorous even to violence' (ibid. pg.223). The third painting Crossing the Burn of 1863 (Sotheby's, 27 August 2003, lot 1179) was a variant in the series and in 1866 Ansdell painted another less-animated example. A similar subject of Sheep Gathering, Glen Spey dated 1871 and almost the same size as the present picture (35.5 by 77.5 in.) was in the collection of Josiah Radclyffe until the 1890s and another example with the same title is known (Sotheby's Gleneagles, 31 August 2005, lot 1038).