ARTISTS
—are gentlemen, the aid of whose pencils, in the decorative department of sporting publications, is considered so immediately necessary (particularly with the younger branches) in all matters of minutiæ requiring accurate representation, that the success is frequently considered doubtful and uncertain without the attractive influence of their professional exertions. It has been observed, and must be freely admitted, that, till within the last third of the last century, HORSES, DOGS, and GAME, have appeared less upon canvas (in proportion to the progress of the art) than any subjects whatever: whether they were thought less worthy the study and pencil of the master, or productive of less emolument, it may not be possible, nor is it much to the purpose, to ascertain. Certain it is, they have never, at any former period, so nearly approached the summit of perfection as at the present moment; never were artists known more emulous; never were finer pictures produced by the foreign pencils of fertility, than are now exhibited by the natives of our own island; nor ever were artists of this description so largely patronized, or so well rewarded.
Elmer, whose paintings of GAME excited the astonishment and admiration of every beholder for forty years past, has lately paid his last debt, with one of the best and most unsullied characters that ever accompanied man to the grave: but what is equally to be regretted, is the total destruction and loss of his very valuable collection (soon after his death) by an accidental fire near the Haymarket, where they had been but lately deposited and arranged for exhibition; constituting an irreparable misfortune to those whose property they were become by his decease, and no small disappointment to CONNOISSEURS, amongst whom they would most probably have been divided at some future period by public sale.
The PROFESSIONAL ARTISTS, or, as they are now more familiarly termed, animal painters, who derive present advantage from public protection and personal popularity, are not numerous, but truly respectable; each enjoying the happy effect of his own peculiar excellence, in the gradations of favour, a discriminating and indulgent public is always so truly ready to bestow. Of these, the names of Stubbs, Gilpin, Marshall, Garrard, and Sartorius, appear the most prominent. Others there are, but of much inferior note, who do not at present promise (by the specimens they have displayed) to soar above the planetary influence of mediocrity. Various productions of the rest of those just mentioned, have for years in succession graced the exhibition of the Royal Academy at Somerset House, where they have been as repeatedly honoured with ROYAL as with general approbation: but whether it is owing to a superiority of good fortune, or to a superiority of his genius, Marshall is the only instance of an artist's having so early in life, and with so much rapidity, reached the summit of princely patronage, as well as the very zenith of professional celebrity, without having once submitted a single production of his pencil to the caprice of public opinion at the shrine of fashion, hitherto considered the only possible and direct road to Fame and Fortune.