• A Man and his Dog asleep -

    Signed with monogram lower right, inscribed with shorthand upper right and further inscribed lower centre: head ....., pencil

    19 by 27cm., 7 1/2 by 10 1/2 inches


    Stylistically this drawing dates from between 1811, when Ward was made a full Royal Academician, and 1825. Ward?s annotated notebooks, which date from 1810 to 1825 and are now in the Royal Academy Library, contain similarly confident drawings. The dog in this drawing may be based on Ward?s painting of Vic, Napoleon?s mastiff (circa 1820) which was captured during the Peninsular War. Ward was the best known animal painter in the early years of the nineteenth century



    With P. & D. Colnaghi, London;

    Bought by Sir David Scott (1887-1986), July 1970;

    By family descent until 2008

  • Sky Study -

    Signed lower left: JW. RA 


    11.5 by 15.9 cm., 4 1/2 by 6 1/4 inches



    Captain Claude Ward-Jackson;

    H. Noel Whiting until 1970;

    With Sidney Sabin;

    Private Collection, USA until 2007;

    Private Collection, London



    Dennis Farr, James Ward 1769-1859, exhibition catalogue, 1960, no. 92, p. 43



    London, Tate Gallery, and elsewhere, James Ward 1769-1859, 1960, no. 92;

    WS Fine Art Ltd, Drawings by James Ward, 2009, no. 49

  • Figures and Cattle on a Road through a Village -

    Signed with initials lower right: JW.RA

    Brown washes and pencil

    211 x 341 mm., 8 ¼ x 13 ¼ in.



    Robert Hyde, his sale, Christie’s, 17th June 1969, lot 69, bt. Sieff;

    Private Collection until 2014  

  • Near Beddgelert, North Wales -

    Watercolour over traces of pencil

    8.3 by 13.8 cm., 3 ¼ by 5 ¼ inches



    Iolo Williams;

    Given by his widow to L.G. Duke, 12th February 1964;

    Given to G.B. Mountford, 5th February 1971;

    Given to Anthony Pilcher, 3rd December 1975;

    Anonymous sale, Christie’s, 12th April 1994, lot 77;

    Private Collection, London


    Ward first visited Wales in 1802 and then again in 1807. Up to this date, he had generally avoided painting or drawing pure landscapes. An early biography of Ward records that `In 1802 he traversed the length and breadth of Wales and the bordering counties, painting not only the livestock, which was the nominal object of his journey, but recording in his sketch book every picturesque or uncommon object that he encountered. As the fruits of his three months’ Welsh tour he brought back with him five hundred and eighty one sketches from Nature’ (C. Reginald Grundy, James Ward, R.A., 1909, p.32).

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