brother, Hugh, was also a ’cellist of some note.
A son, Alexander Robert Reinagle (1799–1877), musician, born at Brighton on 21 Aug. 1799, was from 1823 to 1853 organist of St. Peter's-in-the-East, Oxford, and died at Kidlington, where he is buried, on 6 April 1877. He published ‘Psalm Tunes for the Voice and Pianoforte’ (circa 1830), in which appears the tune ‘St. Peter,’ now widely used, and included in most church collections (Parr, Church of Engl. Psalmody; Love, Scottish Church Music).
[Biogr. Dict. of Musicians, 1824; Grove's Dict. of Music; Wasielewski's Violoncello and its History (Stigand's edit.), pp. 191, 216.]
REINAGLE, PHILIP (1749–1833), animal and landscape painter, was born in 1749. He entered the schools of the Royal Academy in 1769, and afterwards became a pupil of Allan Ramsay (1713–1784) [q. v.], whom he assisted in the numerous portraits of George III and Queen Charlotte. He exhibited first at the Royal Academy in 1773, sending portraits almost exclusively until 1785, when the monotonous work of producing replicas of royal portraits appears to have given him a distaste for portraiture, and to have led him to abandon it for animal painting. He became very successful in his treatment of sporting dogs, especially spaniels, of birds, and of dead game. In 1787, however, he sent to the academy a ‘View taken from Brackendale Hill, Norfolk,’ and from that time his exhibited works were chiefly landscapes. He was elected an associate of the Royal Academy in 1787, but did not become an academician until 1812, when he presented as his diploma picture ‘An Eagle and a Vulture disputing with a Hyæna.’ He likewise exhibited frequently at the British Institution. Reinagle was also an accomplished copyist of the Dutch masters, and his reproductions of the cattle-pieces and landscapes of Paul Potter, Ruysdael, Hobbema, Berchem, Wouwerman, Adriaan van de Velde, Karel Du Jardin, and others have often been passed off as originals. He also made some of the drawings for Dr. Thornton's ‘New Illustration of the Sexual System of Linnæus,’ 1799–1807, and for his ‘Philosophy of Botany,’ 1809–10; but his best drawings for book illustration were those of dogs for Taplin's ‘Sportsman's Cabinet,’ 1803, which were admirably engraved by John Scott.
Reinagle died at 5 York Place, Chelsea, London, on 27 Nov. 1833, aged 84. His son, Ramsay Richard Reinagle [q. v.], is noticed separately. A drawing by him, ‘Fox-hunting—the Death,’ is in the South Kensington Museum.
[Redgrave's Dictionary of Artists of the English School, 1878; Bryan's Dictionary of Painters and Engravers, ed. Graves and Armstrong, 1886–9, ii. 356; Royal Academy Exhibition Catalogues, 1773–1827; British Institution Exhibition Catalogues (Living Artists), 1806–29. ]
REINAGLE, RAMSAY RICHARD (1775–1862), portrait, landscape, and animal painter, son of Philip Reinagle [q. v.], was born on 19 March 1775. He was a pupil of his father, whose style he followed, and he exhibited at the Royal Academy as early as 1788. He afterwards went to Italy, and was studying in Rome in 1796. Subsequently he visited Holland in order to study from the Dutch masters. After his return home he painted for a time at Robert Barker's panorama in Leicester Square, and then entered into partnership with Thomas Edward Barker, Robert's eldest son, who was not himself an artist, in order to erect a rival building in the Strand. They produced panoramas of Rome, the Bay of Naples, Florence, Gibraltar, Algesiras Bay, and Paris, but in 1816 disposed of their exhibition to Henry Aston Barker [q. v.] and John Burford (Art Journal, 1857, p. 47).
In 1805 Reinagle was elected an associate of the Society of Painters in Watercolours, and in 1806 a member. He became treasurer in 1807, and was president from 1808 to 1812. Between 1806 and 1812 he sent to its exhibitions sixty-seven drawings, mostly Italian landscapes and scenery of the English lakes. During the same period he exhibited portraits and landscapes in oil at the Royal Academy, of which he became an associate in 1814, and an academician in 1823. He was a clever copyist of the old masters, and is said to have been much employed by a picture-dealer in restoring and ‘improving’ their works. In 1848 he sent to the Royal Academy exhibition as his own work a small picture of ‘Shipping in a Breeze and Rainy Weather off Hurst Castle,’ painted by a young artist named J. W. Yarnold, which he had purchased at a broker's shop, and in which he had made some slight alterations. Attention was called to the imposition, and a full inquiry made by the academy resulted in his being called upon to resign his diploma as a royal academician. In 1850 he published in the ‘Literary Gazette’ (pp. 296, 342) two letters in which he unsuccessfully endeavoured to exculpate himself. He continued to exhibit at the academy until 1857, but in his later years sank into poverty, and was assisted by a pension from the funds of
