End of the season

Renowned for his exquisite depictions of wildlife, particularly birds, this Scottish artist brought an unmatched vitality and precision to his subjects. Working primarily in watercolor, he captured the delicate interplay of light and feather with a sensitivity that bordered on reverence. His compositions often placed creatures in their natural habitats—misty moors, windswept coasts, or tangled thickets—rendered with such atmospheric depth that they seemed to breathe. Though he occasionally painted mammals, it was his avian studies that cemented his legacy, combining scientific accuracy with an almost poetic attention to detail. Unlike many wildlife artists of his era, he avoided stiff, museum-like poses. Instead, his birds perched mid-song, took flight in a blur of motion, or preened with quiet intimacy. This dynamism owed much to his fieldwork; he sketched outdoors in all weather, often in the Scottish Highlands or England’s rural counties. His work graced numerous ornithological books, including Lord Lilford’s *Coloured Figures of the Birds of the British Isles*, and his illustrations remain benchmarks of the genre. Though steeped in realism, his art wasn’t devoid of emotion. A subtle melancholy lingers in his winter scenes, while his springtableaux burst with exuberance. Later in life, he experimented with looser brushwork, though never at the expense of anatomical truth. Today, his originals are coveted by collectors, and his influence endures in wildlife art—a testament to his ability to marry rigor with wonder.