After a tour of Europe he was more influenced by Renaissance and Baroque painting. David Roberts (1796–1864) became known for his prolific series of detailed lithograph prints of Egypt and the Near East that he produced during the 1840s from sketches he made during long tours of the region. The tradition of highland landscape painting was continued by figures such as Horatio McCulloch (1806–67), Joseph Farquharson (1846–1935) and William McTaggart (1835–1910). McCulloch's images of places including Glen Coe and Loch Lomond and the Trossachs, became parlour room panoramas that helped to define popular images of Scotland. This was helped by Queen Victoria's declared affection for Scotland, signified by her adoption of Balmoral as a royal retreat. In this period a Scottish "grand tour" developed with large number of English artists, including Turner, flocking to the Highlands to paint and draw. From the 1870s Farquharson was a major figure in interpreting Scottish landscapes, specialising in snowscapes and sheep, and using a mobile heated studio in order to capture the conditions from life. In the same period McTaggart emerged as the leading Scottish landscape painter. He has been compared with John Constable and described as the "Scottish Impressionist", with free brushwork often depicting stormy seas and moving clouds. The fashion for coastal painting in the later nineteenth century led to the establishment of artist colonies in places such as Pittenweem and Crail in Fife, Cockburnspath in the Borders, Cambuskenneth near Stirling on the River Forth and Kirkcudbright in Dumfries and Galloway. In the early decades of the century, sculpture commissions in Scotland were often given to English artists. Thomas Campbell (c. 1790 – 1858) and Lawrence Macdonald (1799–1878) undertook work in Scotland, but worked for much of their careers in London and Rome. The first significant Scottish sculptor to pursue their career in Scotland was John Steell (1804–91). His first work to gain significant public attention was his "Alexander and Bucephasus" (1832). His 1832 design for a statue of Walter Scott was incorporated into the author's memorial in Edinburgh. It marked the beginnings of a national school of sculpture based around major figures from Scottish culture and Scottish and British history. The tradition of Scottish sculpture was taken forward by artists such as Patrick Park (1811–55), Alexander Handyside Ritchie (1804–70) and William Calder Marshall (1813–94).