xt7qjq0stw34_5444 https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/mets.xml https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/1997ms474.dao.xml unknown archival material 1997ms474 English University of Kentucky The physical rights to the materials in this collection are held by the University of Kentucky Special Collections Research Center.  Contact the Special Collections Research Center for information regarding rights and use of this collection. W. Hugh Peal manuscript collection Edwin Henry Landseer letters, with clipping text 43.94 Cubic Feet 86 boxes, 4 oversize boxes, 22 items Poor-Good Peal accession no. 11453. Edwin Henry Landseer letters, with clipping 2017 https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/1997ms474/Box_63/Folder_28/Multipage28748.pdf 1868-1869, undated 1869 1868-1869, undated section false xt7qjq0stw34_5444 xt7qjq0stw34  





B. 1802. D. 1873.

Edwin Henry Landseer was the third son of John Landseer
the engraver, and was born at 83, Queen Anne Street East, now
33, Foley Street, London, on the 7th of March 1802. He was
educated in art by his father, before he became a student of the
Royal Academy, and he received also some instruction from
Haydon, the historical painter. Edwin Landseer displayed his
great ability while still very young, having obtained a medal from
the Society of Arts at the early age of 13, for a drawing of a.
large Alpine mastifif, of which there is an etching by his brother
Thomas. But he first attracted general notice by pictures
exhibited at the Gallery of the Society of Artists, in Spring
Gardens. His name appears in the Royal Academy Catalogues
for the first time in 1817, in his 16th year, when he exhibited the
“Portrait of a Dog.” In 1820 he sent to the British Institution
his large picture of “Alpine MastifEs reanimating a Distressed
Traveller”; and in 1822 he obtained from the same institution
the premium of £150, for his picture of “ The Larder invaded.”
These works attracted great notice, and established for the
painter an unrivalled reputation in his own department of art;
this was more than maintained by the long series of pictures
which followed them, on the walls of the Royal Academy, and at
the British Institution. Besides his pictures of animals, he painted
several portraits. In 1826 he exhibited at the Royal Academy
“ The Hunting of Chevy Chase,” and was in that year made an
Associate of the Academy. In 1829 appeared the “Illicit Whisky
Still in the Highlands." He was elected an Academician in the
following year. In 1850 he received the honour of knighthood
from Queen Victoria. From 1817 to 1873 inclusive, Sir Edwin
exhibited at the Academy 175 pictures, in 51 years, having
failed to contribute on six occasions only during that long in-
terval of 57 years. He was likewise a frequent exhibitor at the
British Institution, but often exhibited there works already
shown at the Royal Academy. Besides those above named, the
following are some of Sir Edwin Landsecr’s more ci,,‘brated
works : i

Exhibited at the Royal Academy—Hawking, in 1832; A Jack
in Olfice, 1833; Bolton Abbey, 183st : The Old Shepherd’s Chief
Mourncr, 1837 ; There’s life in the Old Dog yet, 1838 ; Van Am-
burg and his Animals, 1839 ; Laying Down the Law, 1840; Otter
and Salmon, 184.2; The Otter Spearcd, and Shoeing, in 1844;
The Shepherd’s Prayer, 184-5 ; Time of Peace, and Time of 'War,
and Stag at Bay, in 1846 ; “Sketch of my Father,” and Alexander
and Diogenes, 1848: A Dialogue at Waterloo, 1850; Titania
and Bottom, 1851 ; Night, and Morning, 1853; Uncle Tom and
his Wife for Sale, 1857; The Maid and the Magpie, 1858; The
Shrew Tamed, 1861; The Connoisseurs (containing his own
portrait, engraved by S. Cousins, R.A.), 1865; Her Majesty
at Osborne, 1867 ; and the Swanery Invaded by Sea anles, 1869.