Selected Artist Biographies

Ede, Basil (1931-2016)

Basil Ede is regarded as having been among the foremost painters in the history of avian portraiture. Often compared by critics with John James Audubon, Mark Catesby and Archibald Thorburn in his treatment of his subjects and their backgrounds.

Ede first came to international prominence when, in 1964, he became the first living artist to be accorded the honour of a one man exhibition of his work at National Collection of Fine Art, at The Smithsonian, Washington DC.

Following a series of successful one man exhibitions of his work at London’s Tryon Gallery during the early 1960’s Basil Ede’s first book, ‘Birds of Town and Village’, published by Country Life in 1965 was among the bestsellers in Britain at that time . A second book, ‘Basil Ede’s Birds’ was published by Severn House and Van Nostrand Reinholt Inc. in 1980.

Having predominantly worked in watercolour, in his later works Ede paints his subjects using oils, preferring the medium for its facilitation of freer expression and bolder colours.

Basil Ede (1931-2016)

Edwards, Lionel Dalhouise Robertson (1878-1966)

Lionel Edwards was one of the most popular illustrators of hunting and sporting subjects of the twentieth century.

He grew up in North Wales following country pursuits rather than a formal education. Although originally destined for the army, a brief spell with the military proved that this was a career for which he had no aptitude. However, from the age of six he had been actively drawing horses and therefore his mother encouraged his artistic vocation. He studied in London at Heatherly’s School of Art, the equivalent of the Atelier Julienin Paris.

Edwards is known as the Grand Old Man of Sporting Art because he was an ardent hunter and a brilliant draftsman. He was perfectly equipped to portray the frisson of the hunting field: hounds with tongues rolling in exhaustion, strained, finely tuned horses on the alert for their next cue, and earnest fraught riders completely absorbed in the physical exertion of thundering over the raw winter land at breakneck pace.

Lionel Edwards was deeply involved with and committed to British field sports despite the challenge of the weather. Having worked for The Graphic and Punch before the First World War, he was increasingly drawn to hunting and sporting art, writing and illustrating many books on field sports. His experience during the First World War in the Army Remount Service, where he had ‘four solid years of nothing but horse’, brought an exciting realism to his art. His paintings are usually endowed with ‘tempered’ colours reflecting the climate and light, and the influence of these two factors on the British countryside.

Even before the opening of the Tryon Gallery, Edwards was a regular exhibitor- at Rowland Ward’s. With solo shows in 1961 and 1964, and posthumously in 1970, his work has been featured in most equine exhibitions held at the Galleries ever since.

Lionel Dalhouise Robertson Edwards (1878-1966)


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Faull, Emma (b. 1956)

Born in 1956, Emma was educated at St. Hilda’s Oxford after which she spent five years in Greece with the British School of Archeaology. She is an ornithological watercolour painter and captures the detail and immediacy of birds in the wild, particularly endangered species.

She has exhibited her work worldwide with over 20 solo shows and her paintings are in many permanent collections, including the Audubon Society in the USA, the National Museum of Athens and over a dozen with H.M. The Queen and the Duke of Edinburgh.  Emma had successful exhibitions at the Tryon in 2006, 2008, 2010 and 2012.  

Currently Emma continues to work on endangered species for the Durrell Wildlife Conservation Trust in Jersey where she lives, and returns to Greece every year to teach whilst also running workshops on endangered species focusing on Aldabra in the Seychelles.

Emma Faull (b. 1956)

Herring Snr, John Frederick (1795-1865)

John Frederick Herring Snr. is regarded as one of the finest and most renowned sporting artists of the nineteenth century. His oeuvre was of a consistently high quality - it is believed he destroyed works he felt were inferior - and this is why he is still so highly regarded today. He had a keen and discerning eye for horseflesh and his landscape backgrounds were extremely well observed and beautifully executed.

Herring enjoyed the life of a country squire and continued to paint up until his death despite ill-health and some physical incapacity in his later life. Indeed, he had so much commission work that his output greatly exceeded his exhibited paintings; for example he only exhibited eleven works at the Royal Academy, the first of these in 1818 (portrait of a dog). He also exhibited forty-four times at the British Institute and eighty-two at the Royal Society of British Artists in Suffolk Street, an institution of which he was later a vice-president.

The 1840's saw John Frederick Herring's commissions augmented by some major patrons such as the Duc d'Orleans, who invited him to Paris to paint a number of works. He had been commissioned by both George IV and William IV before becoming painter to the Duchess of Kent (Queen Victoria's mother) in 1845. In 1856 Queen Victoria herself granted him her patronage and continued to commission him for the rest of his life. During this time Herring worked with some of the greatest artists of his era including Sir Edwin Henry Landseer (1802-1873). His passion for horses led him to own an Arab stallion called Imaum, originally a gift to the Queen.

John Frederick Herring Snr. (1795-1865)

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