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Francis Dukinfield Astley, Esq. and his Harriers, 1809. (1941). Artist: Richard Woodman

Francis Dukinfield Astley, Esq. and his Harriers, 1809. (1941). Artist: Richard Woodman


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Francis Dukinfield Astley, Esq. and his Harriers, 1809. (1941). Artist: Richard Woodman

Francis Dukinfield Astley, Esq. and his Harriers, 1809. After Benjamin Marshall (1768-1835). From The Connoisseur, 1941 edited by H. Granville Fell. [The National Magazine Co. Ltd, London, 1941]

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Media ID 14962559

© The Print Collector

Astley Ben Marshall Benjamin Benjamin Marshall Doffing Hat Fell Foxhound Greeting H Granville H Granville Fell Hillside Hound Hunting Dog Huntsman Marshall National Magazine Co Ltd On The Move Richard Richard Woodman The Connoisseur Woodman Harrier Metaphor


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> Arts > Artists > W > Richard Woodman

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EDITORS COMMENTS
In this print titled "Francis Dukinfield Astley, Esq. and his Harriers, 1809" we are transported back to a bygone era of elegance and adventure. The artwork, created in 1941 by Richard Woodman after Benjamin Marshall's original work from the early 19th century, captures a picturesque scene set against a vibrant red hillside. The image showcases Francis Dukinfield Astley, an esteemed gentleman of the time, surrounded by his loyal pack of harriers - hunting dogs known for their agility and speed. Clad in traditional hunting attire, Mr. Astley exudes authority as he sits atop his majestic horse while doffing his hat in greeting. This print not only serves as a visual delight but also offers us a glimpse into the rich history of foxhunting during the 19th century. It symbolizes an era when horseback riding was not just a leisurely activity but an industry that brought together people from various walks of life. Woodman's skillful engraving technique brings out every intricate detail with precision and finesse. The colors chosen add depth and vibrancy to the composition, making it truly come alive. As we admire this remarkable piece from "The Connoisseur" magazine edited by H. Granville Fell in London during the 1940s, we can't help but appreciate how art has the power to transport us through time and immerse us in different worlds – even if just for

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