There are, in addition to these older men, several artists whose work begins about 1760 or soon after. Anthony Devis exhibited in 1761–63 eight pictures, chiefly “Views in Wales.” He would thus antedate all painters of Welsh scenery except Boydell. In 1761–78 James Lambert exhibited numerous landscapes including many with titles such as “A Misty Morning with Ewes and Lambs,” “Landscape with Ewes and Lambs,” “A Farm-yard with Cattle.” George Barret (1732–84) was an Irish painter who had taken a premium for landscape from the Dublin Society before he came to England in 1762. Of the fifty-five landscapes exhibited by him in England during the years 1764–82 the earliest were of Powerscourt Park in Ireland, but from 1769 to 1772 he shows Scotch and Lake District views, and in 1776–77 three pictures of “Llanberis Pool in the Mountains of Snowdon.” The list of his pictures shows some interesting special studies as “A Moonlight, with the Effect of a Mist; a Study from Nature” (1767); “A Group of Beech Trees” (1776); “A View of Windermere Lake, in Westmoreland, the effect, the sun beginning to appear in the morning, with the mists breaking and dispersing” (1781). Barret was a very popular painter. Of his premium picture in 1764 Barry wrote, “My friend and countryman, Barret, does no small honour to Landscape amongst us; I have seen nothing to match his last year’s premium picture. It has discovered to me a very great want in the aërial part of my favourite Claude’s performances.” Barret’s work brought prices never before paid for landscapes, Lord Dalkeith having given fifteen hundred pounds for three of them. The Rev. John Lock commissioned him to paint the principal rooms of his house from skirting to ceiling with landscape scenes.[635] Richard Wright (1735–75) was a marine painter known sometimes as “Wright of the Isle of Man.” In 1764 he took a premium of fifty guineas for a sea-piece from which Woollett engraved “The Fishery.” Such themes as “A Ship in a Squall,” “The Sun Dispersing a Fog,” “A Fresh Gale,” “A Moonlight,” show attempts at the representation of other aspects of the sea than merely as a background for England’s navy. Wright exhibited till 1773. Another marine painter, John Cleveley, exhibited from 1764–86. Fleets, royal yachts, ships of war, distinguished naval events, are his chief themes. Dominic Serres (1722–93) exhibited after 1765. He, too, was chiefly occupied with naval affairs, particularly so after 1780 when he became marine painter to his majesty. The Rev. William Gilpin (1723–1804) contributed to the interest in home scenery by numerous sketches and, especially, by his book, “Forest Scenery” (1786). Far more gifted was his younger brother, Sawrey Gilpin (1733–1807), who excelled as an animal painter. His most abundant as well as his most spirited and accurate work is in portraits of fine horses and dogs. But he painted other animals also, birds, deer, foxes, tigers, and even “American Bears” (1798).