Lion And Leopard

Samuel Howitt: A Sporting Vision of the British Landscape

Samuel Howitt, born in Nottingham in 1756 and tragically passing away in Somers Town, London in 1822, remains a captivating figure within the annals of 18th and early 19th-century British art. More than simply an illustrator, he was a keen observer of nature, a dedicated sportsman, and a remarkably versatile artist who deftly navigated the worlds of oil painting, watercolor, and etching. His legacy lies not just in the sheer volume of his output – encompassing sporting scenes, animal studies, landscapes, and even caricatures – but also in the meticulous detail and spirited realism he brought to each piece. Howitt’s work offers a unique window into the leisure activities and social customs of his era, reflecting both the romantic ideals of the countryside and the burgeoning commercial interests surrounding hunting and sport.

Early Life and Artistic Beginnings

Howitt's early life was marked by an unusual independence. Born into an old Nottinghamshire Quaker family, he spent his youth at Chigwell near Epping Forest, a location that profoundly shaped his appreciation for the natural world. Far from the constraints of formal artistic training, he cultivated his talent as an amateur, dedicating himself to field sports – hunting, shooting, and observing wildlife – a passion fueled by financial independence inherited through family connections. This formative period instilled in him a deep understanding of animal behavior and a keen eye for detail, qualities that would later define his art. His initial foray into professional art came after facing financial difficulties, leading him to London where he briefly served as a drawing master at Samuel Goodenough’s school in Ealing. It was here that his skills began to attract attention, eventually leading to exhibitions with the Incorporated Society of Artists and, crucially, the Royal Academy starting in 1784.

A Master of Sporting Illustration

Howitt quickly established himself as a premier illustrator of sporting subjects. His works weren’t mere depictions of hunts or races; they were imbued with a palpable sense of energy and authenticity. He meticulously researched his subjects, often sketching animals in the field to capture their true movements and expressions – a practice that set him apart from many of his contemporaries. His illustrations for Captain Williamson's *Oriental Field Sports* (1807), based on sketches made during the author’s travels in India, are particularly noteworthy, showcasing Howitt’s ability to translate exotic landscapes and wildlife into compelling visual narratives. Beyond hunting, he produced detailed studies of horses, dogs, and other animals, frequently referencing stuffed specimens from museums like William Bullock's and the British Museum – a testament to his dedication to accuracy and observation. His work wasn’t simply decorative; it aimed to “assist the pencil of the designer who has not had an opportunity to pay the same attention to this branch of the art,” providing a valuable resource for other artists seeking to depict animals with realism and grace.

Etching and Caricature

Howitt’s talents extended beyond painting and watercolor, demonstrating considerable skill as an etcher. He produced a vast number of plates, mirroring the style and character of his drawings, executed with remarkable delicacy and precision. He also ventured into caricature, drawing inspiration from the work of Thomas Rowlandson – a fellow artist with whom he maintained a close professional relationship. While sharing similarities with Rowlandson’s satirical style, Howitt distinguished himself through his grounded approach to sporting subjects, offering more accurate and nuanced representations than his brother-in-law. His etching output included numerous animal studies and plates inspired by Aesop's fables, reflecting a desire to engage a wider audience beyond the elite world of hunting.

A Commercial Innovator: The ‘New Work of Animals’

Perhaps the most ambitious undertaking in Howitt’s career was his “New Work of Animals,” a series of 100 copper engravings published in 1811. This project represented a bold, innovative venture – essentially an illustrated animal encyclopedia presented as a collection of fables. The prefatory note reveals Howitt's belief that depicting animals within the context of moral tales offered greater scope for capturing their character and emotions than simply illustrating sporting scenes. The work included not only Aesop’s fables but also selections from Gay and Phaedrus, alongside lengthy moral commentaries. This project demonstrates Howitt’s commercial acumen; he cleverly exploited multiple revenue streams – selling individual plates, offering tinted versions of the illustrations, and producing watercolor reproductions—effectively maximizing his artistic output. The fact that only 56 plates depicted fables highlights the strategic balance between commercially viable sporting subjects and the more ambitious, morally-driven narratives of the Aesop collection. Samuel Howitt’s legacy endures as a skilled artist who captured the spirit of his time through a unique blend of observation, artistry, and entrepreneurial vision.