Updated October 2026 · ranked by our popularity score (searches, visits and orders for each work) · 19 works by Thomas Stringer in our catalogue
In short
The Thomas Stringer painting most people know is Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning (1773), and you can see it at the Yale Center for British Art, New Haven. Right after it come A Great Dane, called 'Turpin' (1778) and John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound (1779). Out of 19 works by Thomas Stringer in our catalogue, these 14 are the best known. Each one comes with its year, its museum and a short note on what makes it stand out.
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' |
Pick a decade to see its standout piece.
Top of the list is Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning (1773), Yale Center for British Art, New Haven. Right behind it: A Great Dane, called 'Turpin' (1778) and John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound (1779).
51 years old. Thomas Stringer was born in 1722, and Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning dates from 1773.
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. You'll find the year and the museum of each in the list above.
We have 19 works by Thomas Stringer in our catalogue, dated 1745 to 1779.
You'll find most of them in Yale Center for British Art (New Haven), Manchester Art Gallery (Manchester) and National Trust (Βάνγκορ). The museum list above has the full breakdown.
In 1770s, more than any other time: 6 of the 14 pieces on this page date from then, Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning among them.
The earliest piece here is View of Poynton Hall, Cheshire (1745); the most recent is John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound (1779).
You can see 2 of the pieces on this page at the Yale Center for British Art, New Haven, including 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.
Yes. Every painting on this page is available as a hand-painted oil reproduction or a print, in the size that suits you. Just open the painting's page to order.
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:
