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24 results found
displaying results 21 to 30
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 STUBBS, George
Godolphin Arabian
London: Published by Edward Orme, June 4, 1817. Colour printed stipple with etching. State iii/iii. In good condition with the exception of being trimmed to the image and remargined. Sheet size: 9 1/8 x 11 1/8 inches.
A splendid portrait of 'The Father of the Turf', Godolphin by the master painter George Stubbs.
George Stubbs is considered to be one of the greatest English painters. His ingenious animal and sporting pictures remain unrivalled in their passionate depiction of emotion and their commitment to naturalistic observation. Stubbs was briefly apprenticed to the painter Hamlet Winstanley, a relationship that quickly ended, leaving the young artist to his own education. In contrast to contemporary academic theory, Stubbs attached great importance to the belief that art should imitate nature, not the work of other artists. He spent years carefully studying human and equine anatomy so that he could truthfully represent natural form and movement. A result of this study was his famous Anatomy of the Horse, which details, with beautiful engraving, the various elements of a horse's anatomy, from skeletal form to muscular definition. By the 1760's, Stubbs had developed a considerable reputation as a sporting artist and had attracted a number of distinguished patrons. Continuing in search of innovation, Stubbs began experimenting with a myriad of different mediums, becoming accomplished in both enamels and printmaking. Through arduous application, he became a talented mezzotint engraver and worked with ease in both soft ground and etching techniques. Stubbs' masterful paintings inspired some of the greatest engravers of the day to reproduce his work for publication, including his own son George Townly Stubbs who reproduced with faithful accuracy the sublime emotion inherent in his father's exquisite works. Stubbs was elected Director of the Society of Artists and a Royal Academician, and today his prized paintings are housed in some of the finest museums in the world.
This striking portrait of the elegant Arabian Godolphin, was presented to subscribers as a frontispiece to Review of the Turf, and consequently was only engraved in the small size. Godolphin is one of only two subjects in the publication for which the description survives (the other is Anvil). In Stubb's catalogue Godolphin was described as the "Father of the Turf," the entry continues and states that "those who are conversant in pedigree will allow, that no stallion, before or since his time, has contributed so much to the improvement of the breed of horses in this country" (Lennox-Boyd).
Lennox-Boyd, George Stubbs, 99; Gilbey, Life of George Stubbs, no.38; Slater, Engravings and their Value, p.610; Siltzer, The Story of British Sporting Prints, p. 272.
#4137 $2,750.00  
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 STUBBS, George
The Farmer's Wife and the Raven
London: Published by George Stubbs, 1788. Etching with roulette and rocker work. State ii/ii, with the title in closed black letters and the engraved inscription: 'The ravens on yon left-hand Oak/ (Curse on his ill-betiding croak) *** Bodes me no good. No more she said,/ When poor blind Ball with stumbling tread/ Fell prone./ The Farmer's Wife and the Raven./ 1st May 1788. Publish'd by G. Stubbs, No.24 Somerset Str. Portman Sq. London.' In good condition with the excepton of being expertly rebacked with facsimilie work in the upper left corner. Sheet size: 20 3/4 x 27 7/8 inches.
A sublime example of Stubbs' masterpiece 'The Farmers Wife and the Raven', which exhibits with dramatic effect the artistic genius of this celebrated painter.
George Stubbs is considered one of the greatest English painters. His ingenious animal and sporting pictures remain unrivalled in their passionate depiction of emotion and their commitment to naturalistic observation. Stubbs' was briefly apprenticed to the painter Hamlet Winstanley, a relationship that quickly ended, leaving the young artist to his own tuition. In contrast to contemporary academic theory, Stubbs' attached great importance to the belief that art should imitate nature, not the work of other artists. He spent years carefully studying human and equine anatomy so that he could truthfully represent natural form and movement. A result of this study was his famous 'Anatomy of the Horse', which details, with beautiful engraving, the various elements of a horse's anatomy, from skeletal form to muscular definition. Continuing in search on innovation, Stubbs began experimenting with a myriad of different mediums, becoming accomplished in both enamels and printmaking. Through arduous application, he became a talented mezzotint engraver and worked with ease in both soft ground, and etching techniques. Stubbs was elected director of the Society of Artists and a Royal Academician, and today his prized paintings are housed in some of the finest museums in the world.
This is a wonderful copy of one of Stubbs' most famous prints. This dramatic image is derived from a series of political fables by John Gray, the renowned author of the Beggars Opera. This mixed method print combines a number of different engraving techniques, making it one of Stubbs' most complicated prints. The bulk of the engraving uses a complex combination of roulette, scrapers, and rockers producing a richly engraved surface that both excites and fascinates the eye. This famous image exhibits Stubbs' skill as an engraver and the genius of his artistic vision, in this print drama and beauty combine to produce a veritable feast for the viewer.
Lennox-Boyd, George Stubbs 69, II/II; Gilbey, no.47; Sparrow 1922, page 135; Slater, page 610; Siltzer, The Story of British Sporting Prints page 271; Taylor 1969, no. 14 (describes State I); Snelgrove, no. 38; Egerton 1984, no.185
#4156$35,000.00
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 STUBBS, George
Tygers at Play
Published by Ian Bain, 1974. Etching, finished with a graver. State iiia/iiia. Sheet size: 23 1/8 x 25 ½ inches.
This wonderful print is a later impression of George Stubbs masterpiece 'Tygers at Play', this image is both touching and sublime and it epitomizes Stubbs' genius as an animal painter.
George Stubbs is considered one of the greatest English painters. His ingenious animal and sporting pictures remain unrivalled in their passionate depiction of emotion and their commitment to naturalistic observation. Stubbs' was briefly apprenticed to the painter Hamlet Winstanley, a relationship that quickly ended, leaving the young artist to his own tuition. In contrast to contemporary academic theory, Stubbs' attached great importance to the belief that art should imitate nature, not the work of other artists. He spent years carefully studying human and equine anatomy so that he could truthfully represent natural form and movement. A result of this study was his famous 'Anatomy of the Horse', which details, with beautiful engraving, the various elements of a horse's anatomy, from skeletal form to muscular definition. Continuing in search on innovation, Stubbs began experimenting with a myriad of different mediums, becoming accomplished in both enamels and printmaking. Through arduous application, he became a talented mezzotint engraver and worked with ease in both soft ground, and etching techniques. Stubbs was elected director of the Society of Artists and a Royal Academician, and today his prized paintings are housed in some of the finest museums in the world.
This animated image shows two leopards at play in front of the opening of a dark cave. Although the print was entitled 'Tygers at Play', early writings on natural history show that tyger was a generic term, commonly applied to all the larger cats, with the sole exception of the lion. This magnificent print not only demonstrates Stubbs' talents as an engraver but also exemplifies his genius when expressing animal emotion. In contrast to some of his darker images of conflict, 'Tygers at Play' is light and carefree while still remaining true to nature. In mood and effect this image is nothing short of sublime, it blends natural observation with a sense of emotion creating a visual feast for the viewer. This is a later impression from a limited edition of 175 copies, printed in 1974 under the supervision of Philip McQueen. The edition is printed on J. Barcham Green `Penshurst' paper, and published by Ian Bain at the John Boydell Press for Observer Art Ltd. The total edition of 235 prints was completed by 60 copies printed in brown-black ink on J. Green & Co. hand-made paper.
Lennox-Boyd, George Stubbs 60 iiia/iiia; Gilbey no. 36; Parris pp. 7-11; Siltzer, The Story of British Sporting Prints p. 271; Snelgrove no. 27; Sparrow 1922, p. 135; Taylor 1969 no. 2.
#3630$1,200.00
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 STUBBS, George
Tygers at Play
Published by George Stubbs, February 25, 1780. Etching, finished with a graver. State ii/iii, finished proof with the etched inscription: "Painted and Engraved by Geo: Stubbs / Publish'd as the Act directs febry. 25, 1780 by Geo: Stubbs London". Plate mark: 14 3/4 x 19 inches. Sheet size: 19 x 25 3/8 inches.
An incredibly rare proof impression of George Stubbs masterpiece. "Tygers at Play" is touching and sublime, and epitomizes Stubbs' genius as an animal painter.
This is a stunning proof impression of one of George Stubbs' most famous prints. Stubbs is considered one of the greatest English painters. His ingenious animal and sporting pictures remain unrivalled in their passionate depiction of emotion and their commitment to naturalistic observation. Stubbs' was briefly apprenticed to the painter Hamlet Winstanley, a relationship which quickly ended, leaving the young artist to his own education. In contrast to contemporary academic theory, Stubbs' attached great importance to the belief that art should imitate nature, not the work of other artists. He spent years carefully studying human and equine anatomy so that he could truthfully represent natural form and movement. A result of this study was his famous Anatomy of the Horse, which details, with beautiful engraving, the various elements of a horse's anatomy, from skeletal form to muscular definition. Continuing in search of innovation, Stubbs began experimenting with a myriad of different media, becoming accomplished in both enameling and printmaking. Through arduous application, he became a talented mezzotint engraver and worked with ease in both soft ground and etching techniques. Stubbs was elected Director of the Society of Artists and a Royal Academician, and today his prized paintings are housed in some of the finest museums in the world.
This animated image shows two leopards at play in front of the opening of a dark cave. Although the print was entitled Tygers at Play, early writings on natural history show that "tyger" was a generic term, commonly applied to all the larger cats, with the sole exception of the lion. This magnificent print not only demonstrates Stubbs' talents as an engraver but also exemplifies his genius when expressing animal emotion. In contrast to some of his darker images of conflict, Tygers at Play is light and carefree while still remaining true to nature. In mood and effect this image is nothing short of sublime. It blends natural observation with a sense of emotion, creating a visual feast for the viewer.
Lennox-Boyd, George Stubbs, 60, ii/iii; Gilbey, Life of George Stubbs, no. 36; Sparrow, British Sporting Artists from Barlow to Herring, 1922, p. 135; Siltzer, The Story of British Sporting Prints, p. 271; Taylor, The Prints of George Stubbs, no. 2 (described LB states II and III); Parris, pp. 7-11 (describes all states); Snelgrove, British Sporting and Animal Prints 1658-1874, no. 27.
#6789$75,000.00
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Copyright © 2002-2010 Donald A. Heald
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