(John) Frederick Tayler (30 April 1802 – 20 June 1889) was a 19th-century English landscape watercolour painter, and president of the Royal Watercolour Society. Personal Frederick was the son of a country gentleman, Archdale Wilson Tayler and his wife Frances Eliza, and was born at Boreham Wood, Elstree, Hertfordshire, on 30 April 1802. His siblings included Henry Joseph (b.1787), Elisa (b.1789), Sarah Maria (b.1790), Susannah Matilda (b.1791), Julia (b.1793), George Robert (b. 1795), Charles (b.1796), Anna Frances (b.1797), Emily Susan (b.1799), Thomas Edward (b.1799), Joseph Francis (b. 1805), Joseph Edward (b. 1807), William (b. 1808). The elder Tayler was ruined by the dishonesty of an agent, and entered the army. He died while Frederick was still a child, leaving a widow and seventeen children, several of whom rose to a certain eminence in their careers. William Tayler, commissioner of Patna in India, was a younger brother. The family had influential friends and some clerical interest. Education Frederick's uncle, Charles Henry Hall, was dean of Christ Church, Oxford, and the boy was educated successively at Eton College and Harrow School, and destined for the church. He soon, however, showed his strong artistic bent, and, in spite of domestic opposition, determined to become a painter. After studying at Sass's school and at the Royal Academy he went to Paris, and worked for a time under Horace Vernet, also frequenting the studio of Vernet's son-in-law, Paul Delaroche. From France he passed into Italy, where he spent some time, chiefly in Rome. While still a lad he met Richard Parkes Bonington at Calais, and a friendship sprang up between the two painters, who for a time shared a studio in Paris. Watercolours Tayler's fondness for water-colour was no doubt encouraged by Bonington, and though he made his début in the academy of 1830 with an oil-picture, ‘The Band of the 2nd Life Guards,’ he did not long hesitate in his choice of a medium. In mature life he occasionally turned his ambition towards oil, and even took some friendly lessons in Mr. W. P. Frith's studio (Frith, Autobiography). It was, however, as a painter of ‘elegant’ sporting and pastoral scenes in watercolour that he achieved the popularity which was maintained throughout his long career. His sporting subjects were of two classes, some dealing with the costumes and accessories of eighteenth-century stag-hunts, others with incidents of contemporary sport in the highlands of Scotland. Akin to