Clifton Tomson (1775–1828) was a notable English painter who carved a niche for himself in the popular and enduring genre of sporting art. Active during the late Georgian and Regency periods, Tomson's work captured the vigour and elegance of British rural and sporting life, particularly focusing on equestrian subjects, hunting scenes, and animal portraiture. Though perhaps not as widely known today as some of his towering contemporaries, his contributions provide valuable insight into the artistic tastes and social customs of his era.
Early Life and Artistic Milieu
Born in 1775, Clifton Tomson emerged as an artist during a period when British art was flourishing, with portraiture, landscape, and the burgeoning field of sporting art gaining significant traction. While specific details about his early training remain somewhat scarce, his proficiency suggests a solid grounding in anatomical drawing and oil painting techniques. He was particularly associated with Nottingham, and his works often reflect the landscapes and activities of the English Midlands.
The late 18th and early 19th centuries saw a surge in demand for paintings depicting horses, hounds, and the thrill of the chase. This was fuelled by a landed gentry passionate about horse racing, fox hunting, and other country pursuits. Artists who could accurately and spiritedly render these subjects found ready patronage. Tomson operated within this vibrant artistic ecosystem, alongside and following in the tradition of masters who had established sporting art as a respected genre.
Artistic Style and Thematic Focus
Clifton Tomson's primary medium was oil on canvas, and his style is characterized by a keen observation of animal anatomy, particularly that of horses and dogs. He possessed a talent for capturing the individual character of the animals he depicted, moving beyond mere representation to imbue them with a sense of life and spirit. His compositions often feature animals within detailed landscape settings, providing context and enhancing the narrative of the scene.
His thematic focus was squarely on the sporting life. This included portraits of prized racehorses, depictions of lively hunting scenes, and more intimate portrayals of gundogs and hunters. Tomson's work reflects the era's deep appreciation for the thoroughbred horse, a breed that was being meticulously developed in England at the time. His paintings served not only as artistic endeavours but also as records of celebrated animals and significant sporting events. He was adept at conveying the energy of the hunt and the sleek power of a racehorse in full stride.
Notable Works and Commissions
Several key works illustrate Clifton Tomson's skill and thematic preoccupations. Among his well-regarded pieces is "Orville, A Dark Bay Stallion with a Groom in a Landscape with Nottingham Cathedral Beyond," painted in 1811. This substantial work, measuring 27 ½ x 35 ½ inches, showcases his ability to combine animal portraiture with a specific topographical element, in this case, the recognizable silhouette of Nottingham Cathedral. The painting demonstrates a modern and natural style, capturing the essence of aristocratic equestrian pursuits of the period. This piece was once in the collection of Mr. Robin Compton and was notably sold at Christie's New York in 1987. It has also been exhibited at the Hillstrom Museum of Art as part of the Penkhus Collection.
Another significant painting is "A Bay Hunter looking to a Grey," signed and dated 1804. This work, measuring 23 x 27.75 inches, exemplifies his skill in depicting the alertness and form of hunting dogs. It was offered at auction with an estimate of £500-£700, indicating the continued market interest in his work.
Tomson also painted dynamic hunting scenes, such as "A Hunter in a Landscape, with a Hunting Scene in the Distance." This piece, measuring 25 x 30 inches, captures the layered activity of the hunt, with a prominent figure in the foreground and the broader chase unfolding in the background. It was estimated at £1000-£2000 at a Parker Fine Art Auctions sale.
A particularly interesting commission was the portrait of Lyon, Lord Byron's beloved Newfoundland dog. The famous Romantic poet, who resided for a time at Newstead Abbey near Nottingham, entrusted Tomson with capturing the likeness of his canine companion. This commission underscores Tomson's reputation, extending to patrons of significant cultural standing. The story goes that Lyon was a formidable animal, with Byron humorously remarking that the dog "nearly ate the young poet." This painting is now part of the Wallace Collection in London, a testament to its perceived quality and historical interest.
Tomson is also credited with painting "The St Leger Stakes of 1812," depicting one of the classic English horse races. Such works were highly sought after as they commemorated important sporting victories and celebrated the prowess of specific horses and their owners.
Connections and Contemporary Artists
Clifton Tomson worked during a golden age for British sporting art. His career overlapped with, or immediately followed, some of the most influential figures in the genre. The towering figure of George Stubbs (1724-1806), renowned for his unparalleled anatomical accuracy and elegant compositions, had set an incredibly high standard. While Tomson's style differed, the influence of Stubbs's dedication to realism was pervasive.
Among Tomson's direct contemporaries was Benjamin Marshall (1768-1835), who was highly regarded for his vigorous and lifelike portrayals of racehorses and sporting figures. Marshall famously remarked that he discovered "many a man who would pay fifty guineas for a painting of his horse, who would not pay ten for a painting of his wife." This highlights the lucrative nature of sporting commissions.
Sawrey Gilpin (1733-1807), an older contemporary, was another significant animal painter, known for his graceful depictions of horses, often in dramatic or romanticized landscape settings. He collaborated frequently with other artists, including the landscape painter George Barret Sr.
John Nost Sartorius (1759-1828), whose lifespan almost exactly mirrored Tomson's, was part of a dynasty of sporting painters and was prolific in depicting hunting and racing scenes, known for his lively, if sometimes less polished, style.
Philip Reinagle (1749-1833) was a versatile artist who, after initially working as a portraitist under Allan Ramsay, turned to animal painting, sporting scenes, and landscapes, exhibiting many such works at the Royal Academy.
James Ward (1769-1859) was a powerful and versatile painter and engraver, known for his romanticized animal subjects and dramatic landscapes. His large-scale works often carried allegorical or sublime connotations, distinguishing him from more straightforward sporting painters.
Artists who continued and built upon this tradition, whose careers were beginning or flourishing as Tomson's was active or concluding, include John Frederick Herring Sr. (1795-1865). Herring became one of the most popular sporting artists of the 19th century, famed for his detailed and numerous depictions of St Leger and Derby winners, as well as charming farmyard scenes.
John E. Ferneley Sr. (1782-1860) was another major figure, particularly associated with Melton Mowbray, the epicentre of fox hunting. He produced a vast number of hunting portraits and scenes, characterized by their accuracy and social documentation.
Henry Alken (1785-1851) was immensely popular for his dynamic and often humorous depictions of hunting, coaching, and racing. His prolific output, often reproduced as prints, made his style widely recognizable.
Abraham Cooper (1787-1868) was known for his battle scenes as well as his sporting subjects, particularly horses and dogs. He was elected to the Royal Academy, indicating the growing acceptance of animal painting within the academic establishment.
The Swiss-born Jacques-Laurent Agasse (1767-1849), who settled in England, also contributed significantly to animal painting in Britain, known for his sensitive and detailed studies of exotic animals as well as horses and dogs.
Tomson's involvement with the Nottingham Subscription Library around 1822, where he, along with Thomas Barber junior (a Nottingham portrait and landscape painter), contributed to a fundraising effort by providing artworks, shows his engagement with the local artistic and cultural community. Tomson initially offered a painting but later withdrew it due to dissatisfaction with the library's terms, an anecdote that offers a glimpse into the practicalities and perhaps the temperament of an artist managing his professional affairs.
Exhibitions, Collections, and Market Presence
Clifton Tomson's works have appeared in various exhibitions and auctions over the years, indicating a sustained, if modest, level of collector interest. As mentioned, his painting "Orville" was part of the "Animal and Sporting Paintings in the Penkhus Collection" exhibition at the Hillstrom Museum of Art, Gustavus Adolphus College. This museum is noted for its collection that includes works by British sporting artists.
His paintings, such as "A Bay Hunter looking to a Grey" and "A Hunter in a Landscape, with a Hunting Scene in the Distance," have been offered at auction houses like Parker Fine Art Auctions. The sale of "Orville" at Christie's New York in 1987 also highlights his presence in the international art market.
The inclusion of his portrait of Lord Byron's dog, Lyon, in the prestigious Wallace Collection in London is a significant indicator of his work's historical and artistic merit. Public collections holding an artist's work are crucial for their long-term recognition.
While comprehensive records of all his exhibitions during his lifetime are not readily available, his activity in Nottingham and his commissions from figures like Lord Byron suggest he achieved a degree of contemporary recognition.
Personal Life and Anecdotes
Beyond his artistic output, glimpses into Clifton Tomson's personal life are relatively few. The commission from Lord Byron for the portrait of Lyon is perhaps the most well-known anecdote, linking him to one of the era's most flamboyant and celebrated literary figures. This connection not only provided a prestigious commission but also placed Tomson within the orbit of high society and cultural influencers.
His involvement with the Nottingham Subscription Library, and his subsequent decision to withdraw his donated painting, suggests an artist with a clear sense of his work's value and perhaps a degree of assertiveness in his professional dealings. Such incidents, though minor, help to flesh out the personality of the artist beyond the canvas.
It is important to distinguish the documented life of Clifton Tomson, the British sporting artist, from any unrelated or misattributed stories. The information available firmly places him within the context of early 19th-century British art, centered around Nottingham and catering to the tastes of the sporting gentry.
Legacy and Art Historical Significance
Clifton Tomson's legacy lies in his contribution to the rich tapestry of British sporting art. While he may not have achieved the revolutionary impact of a Stubbs or the widespread fame of a Herring Sr., he was a skilled and diligent painter who proficiently captured a key aspect of British culture. His works serve as valuable historical documents, offering insights into the types of animals prized, the nature of sporting pursuits, and the landscapes of early 19th-century England.
His paintings, particularly those of identifiable horses like "Orville," contribute to the lineage of equine portraiture, a genre that was taken very seriously by patrons who invested heavily in breeding and racing. The accuracy and attention to detail in his work would have been highly valued by his contemporary audience.
In the broader context of art history, Tomson and his fellow sporting artists played a role in elevating animal painting. While academic hierarchies often prioritized historical and religious subjects, the dedication and skill evident in the best sporting art challenged these conventions and found an enthusiastic and knowledgeable audience.
His association with Nottingham also makes him an important figure in regional art history. Artists working outside the dominant metropolitan centre of London contributed to a diverse national artistic landscape, and Tomson's career reflects this.
Conclusion
Clifton Tomson (1775-1828) remains a noteworthy figure in the realm of British sporting art. His paintings of horses, hounds, and hunting scenes are characterized by their observational acuity, lively execution, and faithful representation of the sporting world of his time. Through works like "Orville, A Dark Bay Stallion with a Groom in a Landscape with Nottingham Cathedral Beyond" and his portrait of Lord Byron's dog Lyon, Tomson demonstrated his ability to meet the demands of his patrons while creating art of enduring appeal.
He operated within a competitive field, alongside many talented contemporaries, and carved out a respectable career. His paintings continue to be appreciated by collectors and art historians for their artistic merit and as windows into the passions and pastimes of Georgian and Regency England. Clifton Tomson's work enriches our understanding of this specialized yet significant genre, ensuring his place in the annals of British art.
