03 Works, The Art of War, Edward Bird's The Day after the Battle of Chevy Chase, with footnotes

Edward Bird (1772–1819)

Study for 'The Day after the Battle of Chevy Chase', c. 1810–1812

Oil on panel

H 67.5 x W 94.5 cm

Wolverhampton Art Gallery

This image shows in detail the day after a battle. Men and horses lay dead on the field. The artist, Edward Bird, has captured the pallor of death in the skin of the corpses and the horses. The woman in the centre of the painting is overcome with grief and horror.

The painting is based on an English ballad and tells the story of a hunting party led by Percy, Earl of Northumberland. Inadvertently they crossed the English-Scottish border and the Earl of Douglas thought it was an invasion. The ensuing battle left few alive. It is probable that this was actually the Battle of Otterburn, with some of the facts mixed around, which took place in 1388. Bird become a specialist in history and battle paintings and that skill can be seen here. More on this painting

Edward Bird (1772–1819)

Study for 'The Day after the Battle of Chevy Chase', c. 1810–1812

Etched proof

19 3/4 x 28 1/4in. (50.2 x 71.8cm

Private collection

Bird painted the picture to illustrate the following verses of "Chevy Chase:"- Next day many widowes come Their husbands to bewayle, They washt their wounds in brinish tears, But all wold not prevayle. Their boclyes bathed in purple gore They bore with them away, They kissed them dead a thousand times; Ere they were clad in clay. 

Edward Bird (1772–1819)

The Day after the Battle of Chevy Chase, c. 1810–1812

Oil on mahogany panel

25 x 36 in. (63.2 x 91.2 cm)

Private collection

Estimated at US$10,000 - US$15,000 in Nov 2022

The battle field and the living and dead upon it are painfully rendered. There is much motion and excitement in the scene, which is represented as evening is approaching, the sky at a distance, russet in colour, indicating the fine effect of the setting sun. And before this aireal effect is the bier - covered with a purple pall, attended by martial followers of Earl Douglas, and bearing the standard and his body. This procession is of an imposing and solemn character, and the realisation of it by Bird is most impressive. Indeed, so fine is the rendering of this incident of the exciting scene, that if the artist had painted nothing else he might have been truly regarded as a fine painter. More on this painting

Edward Bird trained as a japanning artist in Wolverhampton, decorating laquered tinplate domestic items, particularly trays. He moved to Bristol in about 1794 and continued japanning to make a living while he established himself as a 'Portrait, Landscape and Historical Painter' and opened an 'evening Drawing Academy' for young gentlemen. He befriended Edward Villiers Rippingille and began the sketching meetings where the Bristol School artists met and worked together. Bird is best known for his genre painting such as 'The Reading of the Will Concluded'. They often include portraits of friends, for which he was compared to the Scottish artist, David Wilkie. It was Bird's influence which stimulated the flourishing of Bristol genre painting, particularly in the work of Rippingille, Samuel Colman and Rolinda Sharples.Bird showed that a Bristol artist could achieve national success and he became Bristol's first Royal Academician in 1815. He was also Historical Painter to Princess Charlotte. He was particularly successful and well loved in Bristol, with prosperous merchants purchasing his pictures of domestic life, yet he died poor. After his death a large memorial exhibition was held in 1820 in aid of his family. More on Edward Bird

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