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Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning
Hand-painted oil reproduction from $231 37 × 27 cm
Same size as the original $534 122 × 90 cm Order at original size →
The painting that made Thomas Stringer famous is Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning (1773); it hangs in the Yale Center for British Art, New Haven. A Great Dane, called 'Turpin' (1778) and John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound (1779) follow it in the hearts of collectors and museum visitors. Of the 19 works by Thomas Stringer in our catalogue, these 14 are the most admired, each presented with its date, its museum and what sets it apart.
Ranked by our popularity score, which combines the searches, visits and orders for each work. Updated October 2026. Every masterpiece on this page can be ordered as a museum-quality, hand-painted oil reproduction or a fine art print, at the size you choose.
The 6 museums that hold the most of the paintings on this page.
| Museum | City | Works by Thomas Stringer | Paintings from this list |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 2 | Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning, John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound |
 Manchester Art Gallery |
Manchester | 2 | Huntsman in a Landscape, 'Driver' with Owner and Groom |
 National Trust |
Βάνγκορ | 2 | A Bay Horse, 'Chance', and a Jockey, A Dun Horse, with Its Groom |
 Dunham Massey Hall |
1 | A Great Dane, called 'Turpin' | |
 Attingham Park |
1 | A Black Horse Called 'Bishop', with His Groom, in a Landscape | |
 National Trust |
Altrincham | 1 | A Harlequin Great Dane Called 'Turpin' |
Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning (1773), Yale Center for British Art, New Haven. Next come A Great Dane, called 'Turpin' (1778) and John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound (1779).
51 years old: Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning dates from 1773 and Thomas Stringer was born in 1722.
Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning, A Great Dane, called 'Turpin', John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound, View of Poynton Hall, Cheshire, Chestnut Hunter with a Groom, A Black Horse Called 'Bishop', with His Groom, in a Landscape, George Heron Galloping, A Harlequin Great Dane Called 'Turpin', Huntsman in a Landscape and A Gentleman on His Bay Hunter. The ranking above gives the year and the museum of each.
Our catalogue lists 19 works by Thomas Stringer, dated from 1745 to 1779.
Most of them are in Yale Center for British Art (New Haven), Manchester Art Gallery (Manchester) and National Trust (Βάνγκορ). The table above lists the museums one by one.
In 1770s: 6 of the 14 works on this page date from then, among them Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning.
The earliest on this page is View of Poynton Hall, Cheshire (1745), the latest John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound (1779).
Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning and John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound are among the 2 works on this page held by the Yale Center for British Art, New Haven.
Yes. Every painting on this page can be ordered as a museum-quality, hand-painted oil reproduction or a fine art print, in the size you choose, from the painting's own page.
Thomas Stringer (1722-1790) remains a somewhat enigmatic figure in the annals of 18th-century British art, yet his captivating equine portraits and meticulously rendered landscapes offer a unique window into the world of aristocratic leisure and rural life. Born in Knutsford, Cheshire, a region steeped in gentry tradition, Stringer’s artistic journey was shaped by both innate talent and a series of influential encounters – from apprenticeship to patronage, and ultimately, a distinctive style that blended observation with a touch of whimsical invention.
Early life provided little indication of the artist he would become. He began as a servant in the household of Peter Legh, a prominent local landowner, an experience that instilled a keen eye for detail and a familiarity with the rhythms of rural existence. However, a falling out led to his departure, setting him on a path toward establishing himself as a professional painter. This early period undoubtedly honed his skills in capturing animal forms – a crucial element in his later success.
Stringer’s career truly blossomed during the mid-18th century, coinciding with a surge in demand for portraits of horses and their riders. The aristocratic pursuit of hunting and equestrian sport fueled this trend, creating a lucrative market for artists capable of depicting these subjects with grace and accuracy. Stringer quickly gained recognition for his ability to capture not just the physical appearance of the animals but also their spirit and movement. His paintings weren’t merely representations; they conveyed a sense of dynamism and connection between horse and rider.
His commissions came primarily from wealthy landowners in Cheshire and beyond – families like the Brooke, Heron, and Smith-Barry, all prominent figures within the region's social and economic landscape. These patrons sought portraits that reflected their status and celebrated their sporting pursuits. Stringer’s work became synonymous with this aristocratic ideal, showcasing a refined aesthetic and an appreciation for the beauty of the countryside.
Stringer's artistic style is immediately recognizable, characterized by a unique blend of observation and illusionistic technique. He possessed a remarkable ability to render details with precision – from the texture of horsehair to the folds in a rider’s clothing – yet he frequently employed techniques that subtly altered the viewer’s perception of space. A common feature of his paintings is the tendency to “disappear” elements into the background, creating an impression of depth and movement. This technique, often described as a form of visual trickery, adds a layer of complexity and intrigue to his compositions.
His use of color was also notable – favoring muted tones and earthy hues that evoked the natural world. He skillfully employed light and shadow to create a sense of atmosphere and drama, further enhancing the realism of his subjects. The signature element of many of his works is the nonchalant crossing of the sitter’s legs, a detail that adds a touch of informality and personality to the portraits.
Among Stringer's most celebrated paintings are “Beauty, a dapple grey,” a captivating portrait of a young mare, and "A gentleman with his hounds in an extensive landscape," which offers a glimpse into the aristocratic pursuit of hunting. “View, Supposedly of Poynton Hall, Cheshire” is another significant work, showcasing Stringer’s ability to capture the beauty of the English countryside.
Despite his prolific output and considerable reputation during his lifetime, Stringer faded from public view after his death in 1790. For many years, his work was largely overlooked, overshadowed by more prominent artists of the era. However, in recent decades, a renewed interest in 18th-century British art has led to a reassessment of Stringer’s contribution – recognizing him as a skilled and imaginative painter who deserves greater recognition for his unique artistic vision. His paintings continue to be exhibited and studied, offering valuable insights into the social and cultural life of Georgian England.
For further information on Thomas Stringer, consider exploring these resources:
