Lot 1825: Benjamin Cam Norton (1825-1900) Portrait of a

Benjamin Cam Norton (1825-1900) Portrait of a Sporting Family in the Peak District Signed and dated 1862, also inscribed with the artist's name and dates on a plaque attached to the frame, oil on canvas, 91cm by 126cm Benjamin Cam Norton is best known as a prolific and successful painter of racehorses at Doncaster, Cheltenham, Liverpool and Newmarket in the 1870's and 1880's. However, as a young man his range was wider, painting prize cattle, dogs, portraits and subject pictures. Professor Lamb's Dictionary of Yorkshire Artists gives rather inadequate information about this intriguing and distinctive artist. The following is additional information: Cam Norton was married aged 26 on 17 December 1860 to Eliza Nowill, aged 21, at the Apostolic Church, Victoria Street, Sheffield. His father, John Norton, is described (1851 census) as "Perfumer and Printseller", whilst hers was a "merchant" of Barker Nook, Ecclesall, Bierlow. Lucy Katherine, their first child, was born 4 December 1871 at Ecclesall, Bierlow. he 1860 Census and 1861 Trade Directory show that Cam Norton, artist, was living with Henry Norton (aged 49/50), "hairdresser and perfumer" of Norfolk Street, Sheffield. His first recorded picture was a religious copy painted in Sheffield in 1853. In 1857 he enrolled in the Royal Academy Schools giving his age as 18 (he was in fact 23). In 1862 he exhibited at the British Institution (address: Barker Nook, Sheffield): 169 Shades of Evening, waiting fro the Drover (30gns) 291 The Random Shot (12gns) In 1869 he exhibited at the Royal Scottish Academy (address: 5 Regent Street, Cheltenham) 181 My Katie 310 River Rother, Sussex By 1881 (census) he was living at 7 Bath Place, Cheltenham with his wife, his daughter Kate and son George Clarence. He died at Gainsborough Villa, Rock Road, Cherry Hinton, Cambridge on New Year's Day 1900. According to his will, dated 27 May 1899, he left his house and remaining pictures to his son. Benjamin Cam Norton's early realistic landscapes show a marked debt to Pre-Raphaelit m and this style may have been introduced to him by an association with John Ruskin or a friendship with Elizabeth Siddal, a Sheffield girl. It will be noted that the male sitter in this group portrait (apparently his masterpiece) sports a gold hunting horn pin in his stock suggesting an association with hunting. The scene is probably in the Southern Peaks, near Ashbourne. See illustration