Huntsmen with Hounds and a Crouching Hare [recto]

Seymour employs loose graphite strokes on laid paper, allowing the paper’s texture to contribute to the visual effect. The drawing lacks background detail; instead, the artist uses broad, light lines to suggest forms and motion. This rapid, almost sketch‑like approach aligns with the practice of on‑site drawing, where speed was essential to capture the immediacy of a scene.

Born in London in 1702, Seymour was the son of an amateur artist and dealer who facilitated his exposure to the works of leading painters through the Virtuosi Club of St. Luke. The drawing reflects his early career focus on equestrian and sporting subjects, a niche that later defined his reputation. Its provenance traces back to private collections before entering a public holding in the late twentieth century.

The early eighteenth century saw a rise in outdoor sketching among English artists, driven by a growing interest in naturalistic observation. Seymour’s drawing exemplifies this trend, prioritising the capture of dynamic action over the polished finish typical of studio work. The piece also resonates with the broader Baroque emphasis on movement and dramatic tension, albeit in a more restrained, documentary manner.