Introduction: A Victorian Animalier
Edward Armfield (1817-1896) was a British painter who carved a distinct niche for himself within the bustling art world of the 19th century. Active primarily during the Victorian era, Armfield became particularly renowned for his affectionate and lively depictions of dogs. His canvases often featured terriers, hounds, and various sporting breeds, capturing their energy, character, and interactions with an observant eye. He worked during a period when animal painting, especially dog portraiture, enjoyed immense popularity, fueled in part by the well-known canine enthusiasm of Queen Victoria herself. Armfield's contribution lies in his consistent dedication to this genre, producing a substantial body of work that continues to appeal to collectors and enthusiasts of animal art.
Early Life and Artistic Beginnings
Born in London in 1817, Edward Armfield entered a world where artistic lineage could significantly shape a career. His father was William Armfield Hobday (1772-1831), a reasonably well-regarded portrait and miniature painter who exhibited at the Royal Academy. It is highly probable that Edward received his initial artistic training from his father, absorbing the fundamentals of drawing and painting within the family environment. Adopting the name "Edward Armfield" for his professional career, he stepped into the London art scene, focusing his talents predominantly on animal subjects, a path that diverged somewhat from his father's primary focus on human portraiture but aligned with a growing public interest in animal life.
The London of Armfield's youth and early career was a vibrant centre for the arts. Institutions like the Royal Academy of Arts, the British Institution, and the Society of British Artists provided crucial platforms for artists to exhibit their work and gain recognition. While specific records of Armfield's earliest exhibitions require further detailed research, it is typical for artists of his time to seek visibility through these established venues. His choice of subject matter placed him within a popular and commercially viable segment of the art market.
The Victorian Era and the Love for Dogs
The Victorian era witnessed an unprecedented surge in the popularity of dogs, not just as working animals but as cherished companions. This cultural shift profoundly impacted the arts. Queen Victoria's personal fondness for various breeds, from Dachshunds to Skye Terriers and Collies, set a trend among the upper and middle classes. Dog breeding became more formalized, distinct breeds were celebrated, and dog shows gained prominence. Consequently, the demand for paintings featuring dogs soared.
Artists like Edward Armfield responded to this demand. His focus on terriers, often depicted in active pursuits like ratting, resonated with the Victorian appreciation for pluck and tenacity, qualities often associated with these breeds. Sporting dogs, shown in anticipation of the hunt or resting after exertion, appealed to the sensibilities of the landed gentry and those aspiring to country life. Armfield's work, therefore, tapped directly into the zeitgeist, reflecting the era's deep affection and fascination for canine companions in all their roles. This context is crucial for understanding the appeal and success of his art during his lifetime.
Artistic Style: Realism and Character
Edward Armfield's style is characterized by a commitment to realism and a keen observation of animal behaviour. He painted primarily in oils on canvas, the standard medium for easel painting during the period. His depictions of dogs are generally anatomically correct, showcasing a good understanding of their structure and movement. He paid close attention to the texture of fur, the alert expression in a dog's eyes, and the dynamic poses associated with different breeds and activities.
His compositions often feature dogs in naturalistic settings – a rustic barn, a forest floor, beside a riverbank, or within a simple interior. While perhaps not reaching the dramatic intensity of Sir Edwin Landseer or the polished refinement of some academic painters, Armfield's strength lay in capturing the lively spirit and individual character of his subjects. His terriers appear energetic and focused, his hounds noble and poised. He often depicted multiple dogs interacting, creating small narratives within the scene, such as terriers collaborating in a hunt or hounds resting together.
The overall impression of Armfield's work is one of competence, sincerity, and a genuine affection for his subjects. He avoided excessive sentimentality, preferring a more straightforward, observational approach. His brushwork is generally detailed but can vary in tightness, sometimes showing a slightly looser handling in backgrounds compared to the meticulous rendering of the animals themselves.
Signature Themes and Representative Works
Armfield consistently returned to specific themes, with terriers being perhaps his most frequent subject. The "ratting terrier" scene was a popular subgenre in Victorian animal painting, showcasing the dogs' natural hunting instincts and their utility in vermin control. Works like Terriers Ratting in a Barn exemplify this theme, often depicting several dogs in a state of high excitement, surrounding a potential hiding place for their quarry. These paintings capture movement and canine intensity effectively.
Another notable work mentioned is Terriers op rattenjacht, the Dutch title likely referring to a version of the ratting theme, perhaps indicating its exhibition or sale history on the continent or simply a descriptive title used later. Paintings titled Dogs in a River suggest another recurring motif, possibly showing sporting dogs retrieving game or simply enjoying the water. These works allowed Armfield to explore the interaction of the animals with a landscape element, depicting wet fur and reflections.
While a comprehensive catalogue raisonné is lacking, titles appearing at auction and in collections often revolve around descriptive phrases like "Terriers by a Rabbit Hole," "Spaniels Flushing Game," or simply "Portrait of a Hound." These titles underscore his consistent focus on dogs engaged in characteristic activities or presented as faithful companions. One specific work sometimes cited, Two Terriers Ratting in a Barn, highlights his dedication to this popular Victorian subject.
The Armfield Name: A Note on George Armfield
It is impossible to discuss Edward Armfield without mentioning George Armfield (born George Armfield Smith, c. 1808–1893). George was one of the most prolific and popular painters of dogs, particularly terriers and sporting breeds, in the 19th century. His style and subject matter bear a striking resemblance to Edward's. Sources often note a familial relationship between them, though the exact nature (cousins, uncle-nephew) is sometimes debated or unclear in historical records. Some sources even suggest Edward might have been a pupil or studio assistant to George, which would explain the stylistic similarities.
The confusion is compounded by the fact that George Armfield Smith had a son, born Edgar Armfield Smith in 1857, who also became a painter and sometimes used variations of the Armfield name, including Edward or Edwin. This has led to considerable confusion in attributing works and biographical details. However, the Edward Armfield born in 1817, son of William Armfield Hobday, is generally considered a distinct artistic personality, albeit one working very much in the shadow and style of the more famous George Armfield. Regardless of the precise relationship, George Armfield's immense popularity undoubtedly created a favourable market for the type of canine scenes Edward specialized in.
Techniques and Materials
Like most Victorian easel painters, Edward Armfield predominantly worked in oil paints on canvas. This medium allowed for rich colours, subtle blending, and the detailed rendering necessary for capturing the textures of fur, foliage, and rustic settings. His technique involved careful drawing as an understructure, followed by layers of paint to build up form and detail. He demonstrated skill in depicting the varied coats of different dog breeds, from the smooth fur of a hound to the rougher coat of a terrier.
While one source snippet mentions the use of egg tempera, this is highly unusual for a mainstream 19th-century British animal painter focused on this style. Egg tempera, known for its quick drying time and luminous finish, was more characteristic of earlier periods or specific revivalist movements (like the Pre-Raphaelites, though for different subjects). It's possible Armfield experimented with media, or this refers to a specific, atypical work, or perhaps even a misattribution related to the confusion surrounding the various Armfield painters. The vast majority of works attributed to Edward Armfield (1817-1896) appear consistent with standard oil painting techniques of the era.
His palettes likely consisted of earth tones suitable for depicting animals and natural settings (ochres, umbers, siennas), along with brighter colours for highlights and details. The overall finish of his paintings tends towards the detailed realism popular in the Victorian period, aiming for convincing representations of his canine subjects and their environments.
Exhibitions, Recognition, and Collections
Edward Armfield's works found their way into the public eye through exhibitions and sales. While perhaps not a regular exhibitor at the most prestigious London venues like the Royal Academy on the scale of Landseer or Briton Rivière, his paintings were commercially successful. His works are known to be held in several public collections in the UK, indicating a degree of recognition beyond private sales.
Confirmed holdings include paintings at the Leamington Spa Art Gallery & Museum, the Brighton & Hove Museums, and The Whitaker Museum & Art Gallery in Rossendale. The presence of his work in these regional public collections suggests his appeal and reputation extended beyond the London market. His paintings continue to appear regularly at auction houses today, demonstrating sustained collector interest in his specific genre of Victorian animal painting. However, detailed records of his lifetime exhibition history and critical reception require more specialized research.
Auction data specifically for Edward Armfield is not readily available in aggregated form, unlike for more prominent artists. His works generally sell for prices typical of competent Victorian genre painters whose names are less famous than the leading figures. Prices vary depending on size, subject matter, condition, and provenance. Works featuring multiple dogs in active scenes, particularly the popular terrier subjects, often command more interest.
The Wider Context: Victorian Animal Painting
Edward Armfield worked within a thriving tradition of British animal painting. The towering figure in the field during much of Armfield's career was Sir Edwin Landseer (1802-1873), whose dramatic and often anthropomorphic depictions of animals, particularly dogs and stags, achieved unparalleled fame. Landseer's influence was pervasive, setting a high bar for technical skill and narrative content.
Other significant contemporaries specializing in animal or sporting art included Richard Ansdell (1815-1885), known for his scenes of animals in landscape settings, often collaborating with landscape painters like Thomas Creswick. John Frederick Herring Sr. (1795-1865) and his sons were famous for their equestrian portraits and coaching scenes. Abraham Cooper (1787-1868) was another established painter of horses and battle scenes.
Later in Armfield's career, artists like Briton Rivière (1840-1920) continued the tradition of animal painting, often imbuing his subjects with symbolic or emotional weight. While Armfield's work may not have possessed the dramatic flair of Landseer or the narrative complexity of Rivière, he held his own as a reliable and appealing producer of canine portraits and scenes. His focus remained steadfastly on the dogs themselves, capturing their essential nature within well-observed settings. He can also be seen in the lineage tracing back to earlier masters like George Stubbs (1724-1806), whose anatomical precision set a standard, and James Ward (1769-1859), known for powerful animal portraits.
The broader Victorian art scene also included hugely popular genre painters like William Powell Frith (1819-1909), chroniclers of social realism like Luke Fildes (1843-1927) and Frank Holl (1845-1888), and landscape artists such as Thomas Sidney Cooper (1803-1902), known for his cattle paintings. Armfield's specialization placed him firmly within the animalier category, a respected and commercially viable part of this diverse artistic landscape.
Later Life and Legacy
Edward Armfield continued painting throughout his life, contributing to the enduring Victorian fondness for images of domestic animals and sporting life. He passed away in 1896 at the age of approximately 79. Records indicate he was buried near Lewisham Hospital in London.
His legacy is that of a skilled and prolific specialist painter. While not considered an innovator who dramatically changed the course of art history, he competently served the tastes of his time. His paintings offer valuable visual records of the types of dogs popular in Victorian England and reflect the era's attitudes towards these animals. He successfully captured the energy and character of his canine subjects, particularly terriers, in a way that remains engaging.
His work is often compared, sometimes unfavourably, to that of George Armfield due to the similarity in name and style. However, Edward Armfield sustained a long career and produced a significant body of work that stands on its own merits within the specific niche of Victorian dog painting. His paintings remain popular with collectors who appreciate traditional animal art and the charm of Victorian genre scenes. He represents a solid, second-tier talent within a major movement of British art.
Conclusion: A Dedicated Canine Artist
Edward Armfield (1817-1896) remains a noteworthy figure in the history of British animal painting. His life spanned a period of immense change and artistic activity, and he found his métier in depicting the dogs beloved by Victorian society. Influenced perhaps by his painter father, William Armfield Hobday, and working in parallel with the highly successful George Armfield, Edward developed a recognizable style characterized by realistic detail and an ability to capture the lively spirit of his subjects.
From energetic terriers engaged in ratting to poised sporting dogs, his canvases reflect the era's deep connection with the canine world. Though perhaps not reaching the heights of fame achieved by contemporaries like Landseer, Armfield's dedication to his chosen genre resulted in a substantial and appealing body of work. His paintings continue to be appreciated for their technical skill, their historical value as records of Victorian breeds and pastimes, and their enduring charm as affectionate portrayals of man's best friend. His works in public collections and their continued presence in the art market testify to his lasting, if modest, contribution to British art.
