In April 1854 the artist James Shaw took a patron, horse breeder Henry Woodhead, to court claiming damages. His patron, Shaw argued, had received the commissioned artwork, a portrait of his prize-winning draught horse ‘Warwick’, but refused to pay for it. An investigation of this case and of Justice Cooper’s judgement – not completely satisfying to either party – provides new insights into the position of artists in the art market in mid-nineteenth-century Adelaide. Portraits, or ‘likenesses’ as they were often called, were generally the most commercially lucrative sales for artists, and yet these commissions could expose shortcomings in the colonial art market. Embracing innovative strategies in soliciting patronage and developing their artistic activity, artists often found themselves grappling with a collision of consumer interests, market frailty, and the shifting codes of Victorian taste.
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