J. Seymour - Starling, a hunter belonging to the Duke of Cumberland (1752)

Title: Starling, a hunter belonging to the Duke of Cumberland; a hunter being led across a field by a groom wearing a check jacket, who walks with two hounds on the left. (First State)

Artist: James Seymour (1702-1752)

Engraver: Thomas Burford (1710-1774)

Year of printing: 1752

Origin: London, United Kingdom

Technique: Original mezzotint on laid paper

Size (inc. mat): 36.1 x 47.8 cm

Size image: 25.5 x 36 cm

Professionally matted in acid-free museum quality mat-board, some margins left beyond the plate-mark, one corner of the margin missing, pasted on 19th century paper, sharp impression, some (light) foxing. Extremely rare first state, printed by the artists (and not by later publishers' such as Sayer). The area behind the horse's head is unaltered (which would indicate the second state), and the rider is not holding a whip (third state). This copy doesn't mention the year 1752 in the caption, indicating a proof, undocumented early state or inking-error.

Artist: Thomas Burford's skill as a mezzotint printmaker and his interest in rural pursuits made him an obvious choice for the English sporting artist James Seymour and these images are a tremendous combination of their individual talents. Seymour was born into an art dealing and artistic family and from an early age became passionate about horses and equestrian art. He spent much of his youth on race tracks and his paintings soon found their way into the collections of influential and aristocratic benefactors including the Duke of Somerset. Ultimately his love for racing proved his financial downfall as his ability to paint could no longer keep pace with his gambling habit. This print was part of a series on hunting and remarkably early in its depiction of English Fox Hunting; a genre that was to become so widespread by the beginning of the 19th century.

Technique: The technique used for this print is mezzotint. After an artist made a drawing, an engraver would roughen up a copperplate (rocking) and then burnish (polish back) all the details that should be printed white. After this, ink would be applied on the plate and immediately whipped of the surface, leaving only ink in the grooves. The plate was then placed under a press with a piece of paper on top. After pressing, the ink from the grooves would remain on the paper creating the image.