Charles Collins stands as a notable figure in early eighteenth-century British and Irish art, an artist whose meticulous dedication to the natural world carved a distinct niche for him during a period often dominated by portraiture. Born in Dublin around 1680, Collins would later move to London, establishing himself as a respected painter specializing in animals, particularly birds, and detailed still life compositions. His work bridges the gap between scientific observation and artistic representation, leaving behind a legacy of finely rendered paintings that continue to be appreciated for their skill and charm.
Early Life and Relocation to London
Details surrounding Charles Collins's early life and artistic training in his native Dublin remain somewhat scarce. Born circa 1680, he emerged during a time when Ireland's own artistic identity was developing, often in the shadow of its influential neighbour. What is clear is that Collins possessed a passion for painting from early on. Seeking broader opportunities and perhaps more specialized training, he made the significant move to London sometime in the 1720s.
This relocation placed Collins in the bustling heart of the British art world. London at this time was a magnet for artists, both native-born and from continental Europe. Portraiture reigned supreme, with established figures like the German-born Sir Godfrey Kneller nearing the end of his dominant career, and others like the Swedish painter Michael Dahl and the English Jonathan Richardson commanding significant patronage. Collins's chosen specialization in animal and still life painting set him apart from these mainstream trends.
In London, Collins reportedly received training specifically in the genre of animal still life. This suggests a conscious decision to hone his skills in a field that, while less fashionable than portraiture, offered opportunities for artists with a keen eye for detail and a deep interest in the natural world. His Irish origins made him one of a relatively small number of foreign-born artists successfully carving out a career in England by focusing on such a specialized area.
Specialization in Animal and Still Life Painting
Charles Collins quickly gained recognition for his proficiency in depicting the natural world. His primary subjects were animals, with a particular emphasis on birds. He painted a wide variety, from familiar domestic fowl and game birds to more exotic species, reflecting the growing interest in ornithology and natural history among the educated classes of the time. His depictions often showcased birds in naturalistic settings, perched on branches or amidst foliage, captured with lifelike accuracy.
Beyond birds, his repertoire included other animals such as game (rabbits, hares, etc.), often depicted as part of hunting still lifes ('dead game' compositions), a popular genre with roots in Dutch and Flemish painting. He also painted domestic animals. His still life works extended beyond fauna, sometimes incorporating arrangements of fruit, flowers, and other objects, demonstrating versatility within his chosen specialism.
His skill did not go unnoticed. Collins earned a reputation in England specifically as an "animal painter," a testament to his focused dedication and the quality of his output. He joined the ranks of other specialists, like the Hungarian-born Jakob Bogdani, who also found success in London painting birds and still lifes, catering to patrons fascinated by the beauty and diversity of nature. Collins's ability to render textures – the softness of feathers, the smoothness of eggs, the roughness of bark – was a hallmark of his style.
Artistic Technique and Style
Collins worked primarily in oil paint and watercolour, adapting his technique to the subject and medium. His oil paintings often exhibit a careful, detailed finish, characteristic of still life traditions. He paid close attention to anatomy, plumage, and the play of light on surfaces, aiming for a high degree of realism. The compositions are typically well-balanced, focusing the viewer's attention on the central subjects.
His watercolours, particularly those executed for specific commissions like the Taylor White collection, demonstrate a similar precision but often with a lighter touch suitable for scientific illustration. Even in watercolour, he achieved remarkable detail and vibrancy. While direct influences are hard to pinpoint definitively, his work resonates with the broader European tradition of animal and still life painting, particularly the Dutch Golden Age masters known for their naturalism, such as Melchior d'Hondecoeter for birds or Jan Weenix for game pieces, though Collins worked in a later era and developed his own distinct approach.
Compared to some of the more flamboyant Baroque styles still prevalent, Collins's work often possesses a quieter, more observational quality. The focus is less on dramatic allegory and more on the faithful representation of the subject itself. This aligns with the burgeoning Enlightenment-era interest in empirical observation and the cataloguing of the natural world. His style is characterized by clarity, precision, and an evident appreciation for the creatures and objects he depicted.
Major Works and Series
Several works and series stand out in Charles Collins's oeuvre, showcasing his talents and interests. One of the most significant is the series of twelve original oil paintings titled Icones Avium cum Nominibus Anglicis (Pictures of Birds with English Names). This ambitious project aimed to catalogue British birds. Today, nine paintings from this important series survive and are housed at Anglesey Abbey in Cambridgeshire, a testament to his dedication to ornithological representation.
Another key work, often cited as representative of his skill in game painting, is Still Life with the Dead Game. This painting, held in the collection of the National Gallery of Ireland in his native Dublin, exemplifies the genre with its careful arrangement and realistic rendering of hunted animals, likely intended for the dining room of a country house. It showcases his ability to handle textures like fur and feathers with convincing realism.
A dated work, Still Life with a Basket of Flowers and Two Parrots on Steps from 1741, highlights his ability to combine different elements – flora and fauna – into a pleasing composition. The inclusion of parrots points to the taste for exotic creatures among wealthy patrons. Furthermore, a specific watercolour dated 1736, depicting a Common Pheasant (Phasianus colchicus), survives in the Blacker Wood Natural History Collection at the McLennan Library of McGill University in Montreal, likely originating from a major commission.
Collins also engaged in illustrative work. He contributed illustrations to Robert Furber's celebrated horticultural catalogue, Twelve Months of Fruit. Furber, a nurseryman based in Kensington, produced elaborate catalogues featuring engravings based on paintings of fruits arranged according to the month they ripened. Collins's involvement underscores the connection between art, science, and commerce during this period. He also collaborated with John Lee on the publication of Icones Avium, further cementing his role in disseminating natural history knowledge through art.
Patronage and Artistic Network
A crucial aspect of Collins's career in London was his relationship with patrons who appreciated his specialized skills. His most significant patron appears to have been Taylor White (1701-1772), a lawyer, judge, treasurer of the Foundling Hospital, and an avid amateur naturalist and Fellow of the Royal Society. White commissioned an extensive series of watercolours depicting birds and other animals, many drawn from life or from specimens in his own collection or menagerie.
This commission was substantial. It is believed that the collection eventually comprised around 659 watercolours bound in several volumes. Of these, a significant number, reportedly 201, were signed by Charles Collins, indicating he was a primary contributor, particularly active for White from the mid-1730s until his death. These works served both as decoration and as a form of scientific record, often accompanied by Latin inscriptions detailing the species. The aforementioned Pheasant watercolour at McGill is likely part of this large commission.
Within Taylor White's circle of artists, Collins was not alone. After Collins's death in 1744, the task of producing these natural history watercolours for White was largely taken over by Peter Paillou (fl. 1740s-1780s), another skilled bird and animal painter, possibly of Huguenot descent. This indicates a small network of specialist artists catering to patrons like White. While direct evidence of extensive collaboration or competition is limited, Collins and Paillou clearly operated within the same specialized market.
Beyond this major patron, Collins likely benefited from the broader network of artists and collectors in London. His work for Robert Furber and John Lee suggests connections within the worlds of horticulture, publishing, and engraving. While perhaps not moving in the highest echelons dominated by portraitists like Richardson or later Thomas Hudson, Collins occupied a respected position within his field, associating with others who shared an interest in natural history and detailed representation, a lineage tracing back to earlier English artists like Francis Barlow (c. 1626–1704), a pioneer in British animal painting and illustration. He was also contemporary with other bird painters like Marmaduke Cradock (c.1660-1717), though Cradock died shortly before Collins arrived in London.
Context: British Art in the Early Eighteenth Century
Charles Collins worked during a transitional period in British art. The era saw the decline of the dominance of foreign-born portraitists like Kneller and Dahl, and the gradual rise of native English talent. William Hogarth (1697-1764) was emerging as a major force, revolutionizing genre painting and satire with works like A Rake's Progress and Marriage A-la-Mode. Landscape painting was also gaining ground, with artists like George Lambert (1700-1765) becoming known for their topographical views and classical scenes, sometimes collaborating on decorative schemes. Samuel Scott (c.1702-1772) was developing his reputation for marine paintings and London river views.
In this environment, Collins's specialization was somewhat unusual but catered to a specific, knowledgeable clientele. The interest in natural history, fuelled by exploration, collecting, and scientific inquiry associated with the Royal Society (of which his patron Taylor White was a Fellow), created a demand for accurate and aesthetically pleasing depictions of flora and fauna. Collins's work fitted perfectly into this niche.
Engraving and printmaking were also flourishing, facilitating the dissemination of images, including natural history illustrations. Figures like George Vertue (1684–1756), an engraver and antiquary, meticulously documented the London art scene of the time, providing invaluable records for later historians. Collins's contributions to publications like Furber's catalogue placed his work within this broader context of print culture and the popularization of knowledge. His focus on careful observation aligned with the empirical spirit of the age, even as artistic tastes were beginning to shift towards the Rococo and, later, Neoclassicism.
Legacy and Collections
Charles Collins died in London in 1744. He left behind a body of work admired for its technical skill and dedication to the accurate portrayal of the natural world. While perhaps not as widely famous as the leading portraitists or later groundbreaking figures like George Stubbs (1724-1806), whose scientific approach to equine anatomy revolutionized animal painting later in the century, Collins holds a significant place as one of the foremost animal and still life painters active in Britain during the first half of the eighteenth century.
His legacy lies primarily in his contribution to natural history illustration and the genre of animal painting. His works provided valuable visual records for patrons like Taylor White and contributed to the growing appreciation for the beauty and diversity of the natural world. The meticulous detail and careful observation in his paintings set a high standard for artists working in this field.
Today, works by Charles Collins can be found in several public collections. The National Gallery of Ireland in Dublin holds his important Still Life with the Dead Game. Anglesey Abbey (National Trust) in Cambridgeshire preserves the unique set of nine oil paintings from his Icones Avium series. McGill University Library in Montreal holds examples of his watercolours, likely from the Taylor White commission. Other works occasionally appear in private collections and at auction, reminding us of this skilled Irish artist who made his mark on the London art scene through his specialized focus and refined technique.
Conclusion
Charles Collins represents a fascinating strand within the tapestry of early eighteenth-century art. An Irishman who found success in London, he distinguished himself through his specialization in animal and still life painting, particularly birds. Working with patrons like Taylor White and contributing to publications, he combined artistic talent with the era's growing interest in natural history. His paintings, characterized by meticulous detail, careful observation, and a quiet naturalism, stand as a testament to his skill and dedication. Though perhaps overshadowed by the dominant trends of portraiture, Collins carved out a significant niche, leaving a legacy as a master of avian and still life representation in the Georgian era, admired both in his time and ours.
