Wilson Hepple (1853-1937) stands as a notable figure in the annals of British art, particularly celebrated for his sensitive and skilled portrayals of animals. Working primarily in the late 19th and early 20th centuries, Hepple carved a niche for himself as a painter whose affection for the animal kingdom, especially dogs, shone through his canvases. Born into an era where animal painting was highly esteemed, Hepple contributed a distinctly Northern English perspective to this popular genre, leaving behind a body of work that continues to be appreciated for its charm, detail, and heartfelt connection to its subjects.
Early Life and Artistic Heritage
Wilson Hepple was born in 1853, with strong ties to the North of England, specifically the Newcastle upon Tyne area. Some records suggest a birthplace in Northamptonshire, but his life and career were predominantly centered around Newcastle. This region, rich in industrial heritage but also surrounded by rugged countryside, likely provided a diverse tapestry of inspiration for the budding artist.
Crucially, Hepple hailed from an artistic family. His father, Robert Hepple, was himself a painter, establishing an environment where artistic pursuits were encouraged and nurtured from a young age. This familial connection to the arts undoubtedly played a significant role in shaping Wilson's own career path. The presence of an artist father would have offered early exposure to techniques, materials, and the professional life of a painter. This lineage continued with Wilson's own son, John Wilson Hepple, who also became an artist, marking three generations of Hepples dedicated to the visual arts. This familial tradition underscores a deep-seated passion for art within the Hepple clan.
Living and working in Newcastle, Wilson Hepple became an established and respected member of the local artistic community. The North of England, while perhaps not as central to the British art world as London, possessed a vibrant cultural scene, and artists like Hepple contributed significantly to its richness.
Artistic Focus and Stylistic Approach
Wilson Hepple's oeuvre is primarily characterized by his specialization in animal painting. He demonstrated a remarkable ability to capture the essence and individuality of his animal subjects. While he painted various animals, he gained particular renown for his depictions of dogs, a subject beloved by the Victorian and Edwardian public. His approach was rooted in careful observation and a desire for verisimilitude, rendering fur, musculature, and expressive features with meticulous attention to detail.
Hepple was proficient in both oil and watercolor, adapting his medium to suit the subject and desired effect. His watercolors often possess a freshness and immediacy, while his oil paintings allow for richer textures and depth of color. Regardless of the medium, his works convey a genuine empathy for the animals he portrayed, moving beyond mere anatomical accuracy to capture their spirit and character. This ability to imbue his subjects with personality was a hallmark of successful animal painters of his time, distinguishing them from purely scientific illustrators.
His paintings often situate animals within narrative contexts, whether it be a loyal terrier awaiting its master, a group of pugs in a domestic setting, or farm animals in their rural environment. This narrative element resonated with contemporary audiences, who appreciated art that told a story or evoked an emotional response.
Representative Works and Thematic Concerns
Several key works highlight Wilson Hepple's skill and thematic interests. Among his most recognized pieces is Swarland Pugs, dated 1898. This oil painting, depicting a group of pug dogs, showcases his mastery in rendering the distinct features and charming demeanor of this popular breed. Pugs were fashionable pets during the Victorian era, and Hepple’s work captures their appeal with warmth and precision. The painting’s notable auction estimate of ,000 to ,000 in more recent times indicates the enduring appeal and market value of his work.
Other significant works include two watercolors from 1919: An Innocent Victim and It Wasn't Me. The titles themselves suggest a narrative and perhaps a touch of anthropomorphic sentimentality, common and appreciated in animal art of the period. An Innocent Victim might depict a scene of gentle pathos, while It Wasn't Me hints at a moment of playful mischief, likely involving a beloved pet. These titles invite the viewer to engage with the story behind the image, a characteristic Hepple shared with many successful contemporaries.
Hepple also tackled larger, more ambitious compositions. A notable example is a large oil painting commissioned for the Bewick Club in Newcastle. This work depicted the famous local historical event of the elopement of John Scott (later Lord Eldon, a Lord Chancellor) and Bessie Surtees in 1772. This piece demonstrates Hepple's versatility beyond pure animal portraiture, engaging with local history and narrative genre painting on a grander scale. The Bewick Club, named after the famed Newcastle-born engraver Thomas Bewick, was an important hub for artists in the North East, and a commission for the club would have been a significant local honor.
His repertoire also included scenes of rural life, such as Farm Girl and Calf and Farmer with Team of Horses. These works place animals within their working agricultural context, reflecting an appreciation for the pastoral and the traditional rhythms of country life, themes that were popular as Britain became increasingly industrialized.
The Hepple Family: An Artistic Dynasty
The artistic inclinations within the Hepple family were strong. As mentioned, Wilson's father, Robert Hepple, was a painter, providing the foundational artistic environment. Wilson, in turn, passed this legacy to his son, John Wilson Hepple, who also pursued a career as an artist. This continuation of artistic practice across generations speaks to a deeply ingrained creative spirit within the family.
The broader Hepple family also included other artists. For instance, Norman Hepple (1908-1994), a highly successful portrait painter and official war artist, was related, likely a nephew or cousin to Wilson, further cementing the Hepple name in British art. While Norman belonged to a later generation and achieved fame in different genres, the shared surname points to a lineage where artistic talent was a recurring trait. This familial network of artists, centered in the North, would have provided mutual support and perhaps a degree of shared artistic identity.
Life in Newcastle and Public Engagement
Wilson Hepple was an active participant in the life of his community. His residence in Newcastle placed him at the heart of a thriving industrial city with a distinct cultural identity. His involvement with institutions like the Bewick Club indicates his integration into the local art scene. The club served as an exhibition venue, a meeting place for artists, and a forum for artistic discourse, playing a vital role in the cultural life of the North East.
Beyond his artistic endeavors, an interesting and unusual episode in Hepple's life was his involvement as a witness in the 1910 Newcastle train murder trial. He provided key testimony in this notable criminal case. While seemingly unrelated to his art, this participation in a significant public event offers a glimpse into his life as a citizen and underscores his standing within the community. Such an experience, though somber, would have undoubtedly been a memorable and perhaps even impactful one for the artist.
His reputation as a skilled animal painter would have been well-established locally, likely leading to commissions from gentry, farmers, and pet owners wishing to have their prized animals immortalized on canvas. This local patronage was crucial for many artists working outside the major metropolitan centers.
The Context of Animal Painting in Victorian and Edwardian Britain
To fully appreciate Wilson Hepple's contribution, it's essential to consider the broader context of animal painting in Britain during his lifetime. The Victorian era witnessed an unprecedented surge in the popularity of animal art. This was fueled by several factors: Queen Victoria's own love for animals (especially dogs, like her beloved Dash), a growing middle class with the means to commission portraits of their pets, increased scientific interest in the natural world, and a romantic sensibility that often idealized rural life and the perceived innocence of animals.
The towering figure in British animal painting was Sir Edwin Landseer (1802-1873), whose dramatic and often anthropomorphic depictions of animals, particularly stags and dogs, set a standard and captivated the public imagination. Landseer's influence was pervasive, and many artists followed in his wake, specializing in animal subjects.
Other prominent animal painters contemporary with or slightly predating Hepple included Richard Ansdell (1815-1885), known for his sporting scenes and depictions of animals in the Scottish Highlands, often collaborating with figure painters like Thomas Creswick. Briton Rivière (1840-1920) was another highly successful artist who often imbued his animal subjects with human-like emotions and placed them in narrative or allegorical settings, such as his famous Sympathy.
The tradition of sporting art, particularly equestrian subjects, was also strong, with artists like John Frederick Herring Sr. (1795-1865) and his son John Frederick Herring Jr. (1820-1907) producing numerous paintings of racehorses, farm scenes, and coaching inns. Earlier, George Stubbs (1724-1806) had laid a foundational anatomical precision for equine art that influenced generations.
Dog portraiture, Hepple's specialty, was a particularly vibrant field. John Emms (1844-1912) was renowned for his dynamic and characterful paintings of hounds and terriers. Maud Earl (1863-1943) was another highly successful female artist specializing in dog portraits, known for her ability to capture the individual character of different breeds. Heywood Hardy (1842-1933) also painted animals, often within genre or historical scenes.
In the North of England, the legacy of Thomas Bewick (1753-1828), though primarily an engraver, loomed large. Bewick's detailed and affectionate wood engravings of British birds and quadrupeds had a profound impact on the appreciation of nature and wildlife. Artists like Ralph Hedley (1848-1913), a contemporary of Hepple in Newcastle, focused on genre scenes of working-class and rural life in the North East, often featuring animals as integral parts of these narratives.
Painters of rural landscapes and idyllic country life, such as Myles Birket Foster (1825-1899) with his charming watercolor scenes, or Helen Allingham (1848-1926) with her picturesque cottages and gardens, also contributed to the era's appreciation for subjects outside the urban sprawl, often including domestic animals.
Wilson Hepple operated within this rich and varied tradition. While perhaps not achieving the national fame of Landseer or Rivière, his work found a ready audience, particularly among those who appreciated his specific focus on domestic animals and his regional connection. His dedication to capturing the individuality of his subjects, especially dogs, placed him firmly within the lineage of esteemed British animaliers.
Hepple's Artistic Legacy and Enduring Appeal
Wilson Hepple's legacy lies in his contribution to the genre of animal painting, particularly his heartfelt and skillful depictions of dogs and scenes of Northern English rural life. His work is characterized by its observational acuity, technical competence, and an evident affection for his subjects. He successfully navigated the art world of his time, building a career based on a specialized yet popular theme.
The continued appearance of his works at auction, and the respectable prices they command, such as for Swarland Pugs, attest to an ongoing appreciation among collectors. His paintings serve as more than just animal portraits; they are windows into the tastes and sensibilities of the late Victorian and Edwardian periods, reflecting the era's fondness for pets, its romanticization of rural life, and its appreciation for narrative art.
For art historians, Hepple's work provides valuable insight into regional art practices in Britain, particularly in the North of England. He represents a class of highly skilled professional artists who, while perhaps not always in the national limelight, sustained a vibrant artistic culture outside of London. His connection to the Bewick Club and his family's artistic dynasty further enrich this narrative.
His paintings, whether capturing the playful glance of a pug, the quiet dignity of a farm horse, or a dramatic local historical event, speak to a consistent artistic vision. Hepple’s ability to connect with viewers on an emotional level through his portrayal of animals ensures that his work retains its charm and relevance.
Conclusion
Wilson Hepple was an artist deeply rooted in his Northern English heritage and his family's artistic tradition. Over a long and productive career spanning from 1853 to 1937, he distinguished himself as a fine animal painter, with a particular gift for capturing the character and spirit of dogs. His works, ranging from intimate pet portraits like Swarland Pugs to narrative watercolors such as An Innocent Victim, and even historical scenes for institutions like the Bewick Club, demonstrate his versatility and skill.
Situated within a strong British tradition of animal art that included luminaries like Landseer, Ansdell, and Emms, Hepple carved out his own respected place. His paintings offer a delightful glimpse into the human-animal bond as perceived in his time, rendered with a sensitivity and technical proficiency that continue to earn admiration. Wilson Hepple remains a significant, if sometimes overlooked, figure whose art provides a warm and engaging reflection of his era and his enduring affection for the animal world.
