The inscription, “Walters,” on the upper center margin of this wash drawing suggests that this was developed as a specific study for the watercolor titled Wild Horses (CR# 449B) that was part of the William Walters commission of 1858 – 1859. In the final work, the two mounted observers are eliminated, thus providing more focus on the six combative horses at the forefront of the composition.
Peter H. Hassrick
The inscription, “Walters,” on the upper center margin of this wash drawing suggests that this was developed as a specific study for the watercolor titled Wild Horses (CR# 449B) that was part of the William Walters commission of 1858 – 1859. In the final work, the two mounted observers are eliminated, thus providing more focus on the six combative horses at the forefront of the composition.
Peter H. Hassrick
The inscription, “Walters,” on the upper center margin of this wash drawing suggests that this was developed as a specific study for the watercolor titled Wild Horses (CR# 449B) that was part of the William Walters commission of 1858 – 1859. In the final work, the two mounted observers are eliminated, thus providing more focus on the six combative horses at the forefront of the composition.
The artist; by descent to Louisa Whyte Norton; [Old Print Shop, New York, NY, 1947]; Everett D. Graff, Winnetka, IL; Robert C. Graff; present owner by gift
