‘Practicioners’ whose works he had studied, placing him after Cornysshe, Pygott, and Taverner. His name was probably never mentioned again until Hawkins published his ‘History.’
[Brit. Mus. Addit. MSS. 15233, 17802–5, 29996, 30513; Hawkins's Hist. of Music, c. 77 and Appendix; Collier's Annals of the Stage, i. 72, ii. 342–5; Grove's Dict. of Music and Musicians, iii. 270–1; Bumpus's Organists and Composers of St. Paul's; Shakespeare Society's Publications and other works quoted above.]
REDGRAVE, RICHARD (1804–1888), subject and landscape painter, second son of William Redgrave, and younger brother of Samuel Redgrave [q. v.], was born at 2 Belgrave Terrace, London, on 30 April 1804. At the time of his birth his father was a clerk in the office of Joseph Bramah [q. v.], inventor of the hydraulic press, but he afterwards became a manufacturer of wire fencing, and his son began life as a clerk and draughtsman in his father's office. He nevertheless found time to draw from the marbles in the British Museum, and in 1826 was admitted a student of the Royal Academy, to which he had in 1825 sent a picture of ‘The River Brent, near Hanwell.’ About 1830 he gave up office work, and for some years maintained himself by teaching drawing. He likewise sent pictures to the exhibitions of the Royal Academy, the British Institution, and the Society of British Artists. His first success was ‘Gulliver exhibited to the Brobdingnag Farmer,’ which appeared at the British Institution in 1836, and is now in the Sheepshanks Collection, South Kensington Museum. It has been engraved by James Mollison. In 1838 he sent to the British Institution ‘The Trial of Griselda's Patience,’ and a subject from Crabbe's poem of ‘Ellen Orford:’ this latter was rejected, but hung on the line at the academy in the same year. These were followed at the Royal Academy by ‘Olivia's Return to her Parents’ and ‘Quentin Matsys, the Blacksmith of Antwerp,’ in 1839; and by ‘The Reduced Gentleman's Daughter’ and ‘The Wonderful Cure by Paracelsus’ in 1840, in which year Redgrave was elected an associate. In 1841 he exhibited ‘The Castle-Builder,’ ‘Sir Roger de Coverley's Courtship,’ and ‘The Vicar of Wakefield finding his Lost Daughter at the Inn;’ in 1842, ‘Ophelia,’ one of his best figure pictures, and ‘Cinderella,’ both in the Sheepshanks Collection, and ‘Bad News from Sea;’ in 1843, ‘The Poor Teacher,’ ‘The Fortune Hunter,’ and ‘Going to Service;’ in 1844, ‘The Sempstress’ and ‘The Wedding Morning—the Departure;’ in 1845, ‘The Governess,’ now in the Sheepshanks Collection, and ‘Miranda;’ in 1846, ‘Preparing to throw off her Weeds,’ also in the Sheepshanks Collection, and ‘The Suppliant;’ in 1847, ‘Fashion's Slaves,’ ‘The Guardian Angel,’ ‘Happy Sheep,’ and ‘The Deserter's Home;’ in 1848, ‘Country Cousins,’ now in the Vernon Collection, National Gallery, and engraved by Henry C. Shenton, and ‘Bolton Abbey—Morning,’ in the Sheepshanks Collection; in 1849, ‘The Awakened Conscience’ and ‘The Solitary Pool;’ and in 1850, ‘The Attiring of Griselda,’ ‘The Child's Prayer,’ and ‘The Woods planted by Evelyn.’
Early in 1851 Redgrave was elected a royal academician, when he painted as his diploma work ‘The Outcast,’ and in the same year produced a more ambitious work, ‘The Flight into Egypt: Mary meditating on the Prophecy of Simeon,’ as well as a landscape entitled ‘A Poet's Study.’ Henceforward landscapes became more and more frequent among his exhibited works: ‘Love and Labour’ appeared at the academy in 1852; ‘The Forest Portal,’ in 1853; ‘An Old English Homestead,’ now in the South Kensington Museum, and ‘The Mid-wood Shade,’ in 1854; ‘The Sylvan Spring,’ in 1855; ‘Handy Janie,’ in 1856; ‘The Well-known Footstep,’ ‘The Cradle of the River,’ and ‘The Moorland Child,’ in 1857; ‘The Strayed Flock,’ ‘Seeking the Bridle-Road,’ and two pictures of the ‘Children in the Wood,’ in 1860; ‘A Surrey Combe,’ and ‘The Golden Harvest,’ in 1861. Among his later works may be mentioned: ‘Sermons in Stones’ and ‘Startled Foresters,’ 1874; ‘Starting for a Holiday’ and ‘The Mill Pool,’ 1875; ‘Calling the Sheep to Fold,’ 1876; ‘Deserted’ and ‘Help at Hand,’ 1877; and ‘The Heir come of Age,’ 1878. Redgrave's genre pictures have been called ‘social teachings,’ and he has himself written, ‘It is one of my most gratifying feelings that many of my best efforts in art have aimed at calling attention to the trials and struggles of the poor and the oppressed.’
Redgrave was actively engaged in the organisation of the government school of design, of which he was appointed botanical lecturer and teacher in 1847. He became head-master in 1848, art superintendent in 1852, and inspector-general for art in 1857. He was a member of the executive committee of the British section of the Paris Exhibition of 1855, and at its close received the cross of the Legion of Honour. In 1857 he received the appointment of surveyor of crown pictures, which he held until 1880, and during that time he compiled a detailed catalogue of the pictures
