62:
43:
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22:
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Palmer's studio became a dance hall and his house, "The White House", 28, Upper Sutton Lane, noted in the
Victoria County History of Middlesex to be "timber-framed and contains 16th-century features, including an original roof", later "cased with brickwork" and given "several additions and alterations"- was acquired from its subsequent owners by the Council under a
321:
Palmer's notoriety as an equine artist is largely based on his paintings of racehorses for an aristocratic, wealthy clientele that were united by wealth and interests. Palmer and
Munnings became the preferred choice of this set when it came to painting their equine champions. Most of the commissions
509:
In his will Palmer left personal possessions including his riding crop and glasses to his housekeeper Mary Cox, which were sold at auction by
Sotheby's on 1 November 2006. His long-standing friend Hugh McCausland was left the bulk of his free estate of £5412.6(equivalent to £339,000 in 2023).
208:(1893) Although he had no formal training he developed an affinity for drawing and painting horses of all types: hunting, carriage, or race horses. He remained in North America for 11 years and found patrons who admired his style of painting and bought his works, including
445:. Palmer painted at least four commissions for Vanderbilt before the latter returned to the United States in 1914. Other carriage-themed paintings for Ambrose Clark and Lady Warwick were commissioned. One of his most important patrons of the interwar years was
506:. The marriage lasted until his death at Heston on 22 June 1941, his wife dying in 1942. Palmer's health had declined following a serious injury when kicked by one of his equine subjects close to the heart, which affected him considerably in his later years.
457:
Lynwood Palmer possessed a retentive visual memory for the appearance of a horse. Invariably he made sketches from life, out of doors, if possible. He worked quickly and quietly trying to capture the character of the horse. In 1927 he explained his work as
490:. Once his style was established it did not change. His success as an artist was largely derived through his ability to infuse into his expert draughtsmanship his thorough and first-hand understanding of the characteristics of the animals he was painting.
470:
in detail according to one of his pupils. His use of colour was limited and he did not shirk applying colours directly to the canvas to produce the iridescent sheen which are a feature of his paintings. Palmer's figures are often one-dimensional.
463:. His paintings of race horses, nearly all on commission, are oil-on-canvas. The background is usually non-specific and the horse is centre stage. Palmer's knowledge of the anatomy of a horse was based on practical knowledge but he had studied
100:(1868–1941) was an English painter who specialised in painting race-horses, his characteristic style showing them as nervous and highly-strung, often depicted within a background of a dramatic landscape. His success as a leading
287:, concerned at the injury rate of police horses on city cobbles asked Palmer to provide advice on the treatment of horses' hooves. Subsequently, some trainers would seek Palmer's advice. In his latter years he frequented
235:. A confident, well-dressed man he was at home with all types of horses and self-possessed enough to move smoothly between his aristocratic clientele. He prospered attributing his success to clients that included: the
191:
The first public success in his artistic career was perhaps that which came through the illustrations of an
American catalogue of a sale of horses. The drawings received great praise and resulted in a number of
460:
The secret of painting race-horses lies in quickness. Their movements are so alert, they are so full of nervous energy, that the artist has to have a hand like a streak of lightning to catch the pose while it
187:
master and show jumper. His involvement in horse shows in
Toronto, and from 1892 in New York provided him with contacts and developed his skill in sketching horses. According to Lyllyan Baldwin (1933)
441:. Another major client Alfred Vanderbilt had moved to England by 1904 where he purchased fifty trotting horses, together with a team of carrige greys and two carriages which he based near Palmer at
478:
He primarily strove to make a true likeness of the horse against a harmonious background. He did not show any interest in wider fields staying firmly in the
English tradition of racehorse artists:
196:
Palmer spent some years in the 1890s supplementing his artistic income in employment as a cab master. At this time Palmer showed great interest in carriage driving which led to commissions from
475:, an impressionist painter of the period, did some of the figures in these paintings. In 1925 Lynwood Palmer was painted by Talmage seated astride a carriage. The painting is in private hands.
104:
painter of the first half of the twentieth century is represented by around eight hundred paintings that were commissioned by clients, almost exclusively from private patrons, who included:
990:
655:
417:
grandson of Palmer's early patron. The style is always the same with non-specific, featureless backgrounds so that the eye always focuses on the horse.
329:
Palmer painted winners of all the
English and Irish classics and many Group winners beside. These included champion horses such as: the Earl Of Derby's
677:
498:
In 1895 whilst living in the United States he met and married Lydia
Frohawk of Dereham, Norfolk, the daughter of a local landowner. Her brother was
244:
227:
before he and his wife Lydia returned to
England, where they eventually settled in 1911 at the 16th Century White House at Sutton in the parish of
105:
594:
219:
In 1895 Palmer returned to Europe with a nucleus of work to his credit, mostly from anglophile
Americans A short stay followed with a relative in
279:
Palmer had a deserved reputation for his ability to treat lame horses, no doubt learnt as a result of his training as a cab master. In 1911 the
183:
In 1884, aged 17, Palmer left school without his parents blessing and emigrated to Canada, where he worked with horses on cattle ranches, as a
302:
in 1921 but had been involved in its organisation since its inception in 1907. He designed a series of publicity postcards in pre-war years.
514:, then destroyed in an arson attack which cleared the way for construction of the residential Palmer Close, which stands on the site today.
970:
960:
534:
signed and dated 'Lynwood Palmer/1922' (lower left), per Christie's catalogue description, lot 51, Christie's,!June 27, 2012, London
429:. Some of his earliest paintings are of carriage driving in the United States and Canada. One of Palmer's first major commissions for
747:
975:
965:
449:, a collector of English sporting paintings for whom Palmer produced two, of carriage horses (and several racehorses besides).
837:
Fountain, Robert & Kennedy, Neil, Lynwood Palmer, 1868–1941, Equestrian Artist, Whip and Horseman, Chapter 11 on Technique
912:
734:
656:
http://www.artnet.com/artists/james-lynwood-palmer/the-duke-of-portlands-stallions-at-welbeck-stud-KaEiDBqT1D9X1rBsJsKucA2
117:
733:
Reports and papers of the architectural and archaeological societies By Associated Architectural Societies, 1863, p.vi
271:. Palmer created a niche for himself and his style and subject matter rarely deviated for the remainder of his career.
236:
90:
425:
Palmer had a passion for carriage driving and was frequently seen driving his "beautifully maintained" coach and
255:
in 1909. It established him as a major painter of racehorses, a relatively small field that included his friend
980:
121:
160:
930:
709:"Bonhams : James Lynwood Palmer (1868–1941) Mares and foals at Lavington 127 x 67 cm. (50 x 26.5 in.)"
390:
155:
Lynwood Palmer's childhood was spent in what within 15 years would officially be made inner parts of the
935:
598:
487:
483:
61:
511:
499:
175:. Palmer was not interested in such a course preferring horses and art at which he showed aptitude.
724:
Alumni Cantabrigienses: A Biographical List of All Known Students ..., Volume 2 edited by John Venn
535:
168:
140:
George Thomas Palmer (1836–1908) and Anna Frances Blair. His father, schooled in Bath, graduate of
42:
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694:
426:
224:
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950:
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and an increasing number of commissions for private clients and periodicals that included
8:
309:, offering his skills for the service of the nation by managing a 750-horse stud for the
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159:, where his father took the living (and thus in this era also priest-in-charge role) at
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31:
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897:
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790:: "his list of wealthy American clients included the Vanderbilts and Marshall Field"
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350:
342:
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284:
212:
I (1834–1906), the American entrepreneur, prominent racehorse owner and founder of
201:
156:
69:
21:
708:
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148:, Lincolnshire from 1861 to 1869, an urban parish priest, then honorary canon of
86:
152:(1890 to 1908). His older brother Charles Jasper was also an ordained minister.
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35:
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54:
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Thus in 1863 noted as a member of the Lincoln Diocesan Architectural Society
865:
678:"Lynwood Palmer, Equestrian Artist, Whip and Horseman, Equestrian art book"
434:
382:
366:
133:
81:
50:
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An exhibition of his work was held at the Carlton Gallery, London, in 1898
931:
http://www.artnet.com/artists/james-lynwood-palmer/past-auction-results/3
406:
405:
for Lady Douglas, the first woman to own a classics winner and the filly
354:
322:
were for racehorses on the flat although Palmer painted seven winners of
306:
26:
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437:
features a four-in-hand horse carriage being driven along Ocean Drive,
310:
248:
184:
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As an asthmatic Palmer was deemed not fit for military service during
260:
232:
136:
in Lincolnshire, the third son and the youngest of eight children of
936:
https://artuk.org/discover/artists/palmer-james-lynwood-186718681941
410:
378:
370:
338:
330:
880:"Heston and Isleworth: Introduction | British History Online"
595:"Horseracing History Online - Person Profile : Marshal Field"
358:
292:
644:
Lynwood Palmer, 1868–1941, Equestrian Artist, Whip and Horseman,
536:
https://www.invaluable.com/auction-lot/james-lyn-51-c-477682d162
223:
where he garnered new contacts and future patrons that included
905:
Lynwood Palmer, 1868–1941, Equestrian Artist, Whip and Horseman
228:
171:, and was destined by his father for a career in Law or in the
393:
as the best English-trained two-year-old of the 20th century,
298:
Palmer was also a judge at the International Horse Show at
124:(1865–1936). He rarely exhibited his work to the public.
896:
Baldwin, Lyllyan, "Lynwood Palmer – Painter of Horses",
34:(1893–1956), grandson and heir of Palmer's early patron
749:
Rasen Horse Artist, Market Rasen Mail, 27 October 2006'
530:
Known as "Lynwood Palmer", for example his portrait of
144:, was a career clergyman. Specifically he was vicar of
860:
858:
855:
72:(1880–1964), American equestrian, by Lynwood Palmer
502:(1861–1946), an established zoological artist and
991:People educated at King's College School, London
942:
866:"The White House – Heston Residents Association"
106:William Cavendish-Bentinck, 6th Duke of Portland
900:, Vol. 17, No. 101, May 1933, pp. 175–180
695:"James Lynwood Palmer (1868-1941) – Limelight"
353:, painted in 1933 after the colt won both the
786:Toledo Club Newsletter, September 2011, p.19
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573:Admitted to the Royal Academy of Arts (R.A.)
251:for whom he painted his Derby Stakes winner
369:, owned by Earl Lonsdale and winner of the
738:
924:
777:American carriage Monthly, 25 March 1893.
715:
684:
661:
613:
852:Calendar of Probates and Administrations
345:, a success in the fillies classic, the
75:
60:
47:Lord Annaly, Master of the Pytchley Hunt
41:
38:I (1834–1906). Painted by Palmer in 1922
20:
826:Lynwood Palmer as a painter of the Road
295:where his advice was sought and given.
216:, the Chicago-based department stores.
167:, in south London. He was educated at
66:Ambrose Clark and favourite coach horse
943:
903:Fountain, Robert & Kennedy, Neil,
642:Fountain, Robert & Kennedy, Neil,
316:
274:
845:
843:
768:, Vol.17, No:101, May 1933, pp. 175–6
850:https://probatesearch.service.gov.uk
815:Letter to The British Racehorse 1977
517:
137:
110:The Duke of Portland's stallions at
291:, the regimental mess of the 17/21
118:Daisy Greville, Countess of Warwick
13:
890:
840:
828:The Horse, Michaelmas 1943 p.10-13
762:Lynwood Palmer – Painter of Horses
564:The author was Palmer's secretary.
14:
1002:
971:20th-century English male artists
961:19th-century English male artists
919:
493:
433:, now at The Schwarz Gallery in
872:
831:
818:
809:
793:
780:
771:
754:
727:
567:
558:
549:
178:
788:The Toledo Club Art Collection
701:
649:
587:
540:
524:
1:
976:20th-century English painters
966:19th-century English painters
580:
206:The American Carriage Monthly
452:
57:1902–1914, by Lynwood Palmer
51:Luke White, 3rd Baron Annaly
7:
907:. Palette Press, UK, 2009.
391:National Horseracing Museum
53:(1857–1922), Master of the
10:
1007:
484:John Frederick Herring Sr.
421:Carriage driving paintings
214:Marshall Field and Company
161:St James' Church, Norlands
127:
512:compulsory purchase order
500:Frederick William Frohawk
488:John Frederick Herring Jr
389:and voted by the British
132:He was born in 1868 at
30:, a racehorse owned by
925:Illustrations of works
646:Palette press, UK 2009
397:, who in 1918 won the
194:
94:
73:
58:
39:
981:English male painters
439:Newport, Rhode Island
413:in 1923 and owned by
247:and most importantly
189:
169:King's College School
163:, then from 1875 at
142:Peterhouse, Cambridge
120:(1861–1938) and King
108:(1857–1943) (notably
79:
64:
45:
24:
399:English Triple Crown
98:James Lynwood Palmer
317:Racehorse paintings
275:Knowledge of horses
150:Rochester Cathedral
102:equestrian portrait
806:by W.E. Lyon, 1928
760:Baldwin, Lyllyan,
468:Anatomy of a Horse
415:Marshall Field III
324:The Grand National
95:
74:
59:
40:
32:Marshall Field III
913:978-0-9556138-3-8
518:Explanatory notes
447:Lord Woolavington
431:August Belmont II
381:, the undefeated
375:Lord Woolavington
363:Suffragette Derby
289:Hounslow Barracks
198:Alfred Vanderbilt
165:St Mary Newington
89:in 1922 owned by
998:
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847:
838:
835:
829:
824:Hugh McCausland
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816:
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801:Feet And Shoeing
799:Lynwood Palmer,
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597:. Archived from
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473:Algernon Talmage
409:, winner of the
377:'s Derby winner
361:, winner of the
333:, winner of the
285:Reginald Mckenna
245:Duke of Portland
157:County of London
139:
85:, winner of the
70:F. Ambrose Clark
1006:
1005:
1001:
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927:
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898:Apollo Magazine
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891:Further reading
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601:on 3 March 2016
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319:
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257:Alfred Munnings
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130:
17:
16:English painter
12:
11:
5:
1004:
994:
993:
988:
986:Equine artists
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978:
973:
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953:
939:
938:
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920:External links
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403:Ascot Gold Cup
387:Hugh McCalmont
357:and St Leger,
335:Eclipse Stakes
318:
315:
281:Home Secretary
276:
273:
265:Lionel Edwards
210:Marshall Field
180:
177:
173:Foreign Office
129:
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68:. Portrait of
49:. Portrait of
36:Marshall Field
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804:In My Opinion
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504:lepidopterist
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494:Personal life
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476:
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469:
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465:George Stubbs
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385:owned by Sir
384:
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356:
352:
348:
347:1,000 Guineas
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269:Raoul Millais
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241:Lord Lonsdale
238:
237:Earl of Derby
234:
230:
226:
225:T. K. Laidlaw
222:
221:County Offaly
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202:Ambrose Clark
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55:Pytchley Hunt
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603:. Retrieved
599:the original
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560:
551:
542:
531:
526:
508:
497:
486:and his son
477:
467:
459:
456:
435:Philadelphia
427:Four-in-hand
424:
395:Gainsborough
383:The Tetrarch
367:Royal Lancer
349:in 1923 and
328:
320:
304:
297:
278:
218:
205:
195:
192:commissions.
190:
182:
179:Early career
154:
134:Market Rasen
131:
109:
97:
96:
82:Royal Lancer
80:
65:
46:
25:
18:
956:1941 deaths
951:1868 births
532:Golden Corn
407:Golden Corn
307:World War I
27:Golden Corn
945:Categories
581:References
480:Harry Hall
311:Royal Mail
261:Emile Adam
249:Edward VII
185:hansom cab
658:See image
453:Technique
443:Kingsbury
373:in 1922,
365:in 1913,
233:Middlesex
93:by Palmer
458:follows:
411:July Cup
401:and the
379:Coronach
371:St Leger
351:Hyperion
343:Tranquil
339:St Leger
337:and the
331:Swynford
122:George V
116:(1900),
87:St Leger
359:Aboyeur
300:Olympia
293:Lancers
146:Linwood
128:Origins
112:Welbeck
911:
766:Apollo
253:Minoru
243:, the
229:Heston
605:9 May
461:lasts
355:Derby
909:ISBN
607:2017
267:and
200:and
138:Rev.
114:Stud
947::
857:^
842:^
764:,
740:^
717:^
686:^
663:^
615:^
482:,
341:,
326:.
313:.
283:,
263:,
259:,
239:,
231:,
915:.
882:.
868:.
711:.
697:.
680:.
609:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
