Aldin, Cecil

  • “Huntsman Jumping” Chromolithograph, 16 x 23.5 inches, 25 x 33 inches, Signed with remarque
  • “Huntsman Jumping” Chromolithograph, 16 x 23.5 inches, 25 x 33 inches, Signed with remarque
  • “The Pytchley Full Cry” Chromolithograph, 15 x 25.5 inches, 24 x 34.5 inches, Signed
  • “The Pytchley Full Cry” Chromolithograph, 15 x 25.5 inches, 24 x 34.5 inches, Signed
  • “Hounds & Fox” Chromolithograph, 15 x 25.5 inches, 24 x 34.5 inches, Signed with remarque
  • “Hounds & Fox” Chromolithograph, 15 x 25.5 inches, 24 x 34.5 inches, Signed with remarque
  • “Fox on the Run” Chromolithograph, 15 x 25.5 inches, 24 x 34.5 inches, Signed with remarque
  • “Fox on the Run” Chromolithograph, 15 x 25.5 inches, 24 x 34.5 inches, Signed with remarque
  • “Hounds Hunting” Chromolithograph, 15 x 25.5 inches, 24 x 34.5 inches, Signed with remarque
  • “Hounds Hunting” Chromolithograph, 15 x 25.5 inches, 24 x 34.5 inches, Signed with remarque
  • Set of Four Hunting Types: A Timber Topper with the Quorn Lithograph (one of four), 13 x 16 inches (plate size)
  • Set of Four Hunting Types: A Warwickshire Thruster Lithograph (one of four), 13 x 16 inches (plate size)
  • Set of Four Hunting Types: The Duke of Beaufort's Stone Wall Country Lithograph (one of four), 13 x 16 inches (plate size)
  • Set of Four Hunting Types: A Pytchley Double Oxer Lithograph (one of four), 13 x 16 inches (plate size)
  • “Activity” Photolithograph

British, (1870-1935)

Recognised as an illustrator of books and magazines, a painter, and a writer, Cecil Aldin was a leading light in the re-emergence of Sporting art at the beginning of the twentieth century. He strived to reinvigorate the format inspired by the influences of past sporting names Henry Alken and John Leech. However his own lifelong passion for hunting would prove to be very influential on his creative ambitions.

As his own participation in sport increased so did his output of sporting scenes. This is defined by his famous series ‘The Hunting Countries’ which he made between 1912 and the early 1920s. Not only is this significant in documenting the development of his own style but for also demonstrating his ability to portray the many different protagonists of the hunt, especially animals, in one scene.

Following the death of his son at Vimy Ridge in 1916 his post-war work began to move away from his innocent and playful depictions of the past. It was during this period he made many of his finest canine and equestrian works.

In the Times Obituary he was described as one of the leading spirits in the renaissance of British sporting art.