This work depicts a meet on a hillside, looking down into an autumnal valley. The two men on their bay Hunters are turned away, surveying the country they are about to cross. James creates an open appeal in her works by forming ambiguous British landscapes, which could be a part of the country of many different packs. It is relatable and forms an immediate connection. There is also a feeling of nostalgia to her works, heralded both by the familiarity of the scenes and landscapes, and by the influence that Old Masters such as Seymour and Munnings have had on James’ work. It is a clever combination of a known and experienced contemporary scene and the recognisable and beloved scenes depicted by artists of previous centuries. It could be taking place today or 200 years ago, an effective commentary on the durability of English traditions. 

The Huntsman’s horse in the foreground creates an embodiment of the connection between horse and hound. It has stretched its head around and down to see what the hounds are up to around it’s legs. A strange relationship between a prey animal and predators, hunt horses that have spent their lives working and living with hounds can often form comfortable relationships. Afterall, both animals, despite their differences, are social creatures. There is a softness in the horse’s expression, a contrast to the Master’s horse behind who is being pulled up and turned by his rider. Anxious to set off, the Master is having to walk the horse around to keep it calm- James has effectively captured the very different characters of these horses. 

James engages with a wealth of material in order to achieve her effortless and natural compositions. Each hound has been placed carefully within the scene and, as with the horses, each exercises a different character. For example, the hound leaping behind the Huntsman’s horse compared to the two black and tan hounds in the foreground, who are standing quietly with their Master, waiting patiently to set off.