George Garrard, A.R.A.

Including: a Devonshire Bull and Cow in the possession of the Earl of Egremont; a Devonshire Ox and Heifer in the collection of the Duke of Bedford; a Hereford bull from Woburn Abbey; a Hereford Bull and Cow from Lord Egremont’s stock at Petworth House; a Herefordshire Bull, called the Oakley Bull from Woburn Abbey; a Herefordshire Ox from Woburn Abbey; a Leicestershire Bull; a Leicestershire Cow (2); a Leicestershire Ox from Woburn Abbey; a Sussex Bull and Cow from Petworth House; a Sussex Heifer (2); a Short Horned Ox, called the Durham Ox; a Tees-Water Bull and Cow; a Tees-Water Ox, called the Ox of Houghton le Spring; a Suffolk Bull and Ox; a Highland Bull and Cow; a Highland Ox; a Dunlop Bull and Cow; a Pembrokeshire Ox, exhibited at Lord Somerville’s Show, 1809; a Kerry Bull and Cow; an Isle of Shetland Bull; a Yorkshire Polled Cow; a Galloway Heifer, exhibited by Alderman Curtis at the Smithfield Show, 1804; an Alderney Cow and Ox; a White Wild Bull, bred in Chillingham Park, Northumberland; a Bison; a Friesian Bull from Woburn Abbey; a Bengal Cow with her calf; an Indian Bull from Woburn Abbey

Probably the artist's studio, mounted approximately three years before his death;
Unidentified collector, (indistinctly inscribed with initials on the flyleaf of the album), 1870;
with Handyside & Buchanan Book Dealers, London circa 1930;
by whom sold to the Henry Rogers Broughton, 2^nd Baron Fairhaven (1900-1973);
thence by family descent

The works are bound into an album which has generally remained in good condition. The binding is a little worn in places. The images are created with oil paint and this has survived well. There are occasional minor areas of foxing and surface dirt to some of the sheets, but although in some cases these defects are noticeable, in our opinion, they do not disrupt the overall composition of the images. Each of the works are attached to an album sheet at various places verso. For further information on this lot please contact Mark Griffith-Jones at 0207 293 5083 or mark.griffithjones@sothebys.com
"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."

George Garrard was amongst the foremost animal painters and sculptors of his day. He created the present ad vivum depictions of cattle in connection with his book: ‘Descriptions of the Different Varieties of Oxen, Common in the British Isles’. This important volume was first published in 1800, and contained thirteen hand-coloured aquatints. However, such was Garrard’s passion for the subject, that by the 1815 publication, the number of plates had increased to fifty-two. The project was supported by the Board of Agriculture, who praised the attention to anatomical detail, while the Royal Academy chose to officially recognise Garrard’s achievement by appointing him an associate member in 1800.

The late 18^th Century was not only an age of economic and social revolution, but also a time of great agricultural reform. There emerged an intense interest in farming methods in general and the careful breeding of live-stock in particular. The movement was led by influential landowners, such as John, 15^th Lord Somerville (1765-1819) and Thomas Coke (1754-1842). They bred pedigree cattle and sheep and supported the establishment of agricultural societies such as the Smithfield Club, which aimed to improve the breeding of livestock. Annual agricultural shows became fixtures in the calendar and, much in the same way as with the breeding of thoroughbred racehorses, they helped to develop a sense of competitiveness to live-stock husbandry.

Leading contemporary artists were affected by this interest and they received many commissions in connection with it. For instance, George Stubbs (1724-1806), who had published The Anatomy of the Horse in 1766, exhibited his Portrait of the Lincolnshire Ox at the Royal Academy exhibition of 1790, while during his career James Ward (1769-1869) painted over one-hundred pictures of cattle and nearly fifty pigs. Garrard also benefited and enjoyed the patronage of many of the great patrons of the day. Chief amongst these were Samuel Whitbread (1764-1815), George, 3^rd Earl of Egremont (1751-1837) at Petworth House, Sussex and Francis, 5^th Duke of Bedford (1765-1802) at Woburn Abbey. The present album has not been seen in public since the 1930s and its re-emergence on the market not only sheds new light on Garrard’s working methods but also provides new information on a project that proved to be amongst the greatest successes of his career.