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STUBBS, George & Amos GREEN engraved by `Henry Birche' [i.e. Robert Laurie and Richard Earlom]

Game Keepers

London: Published by Benjamin Beale Evans, 25 May,1790. Mezzotint. State iv/iv, with the title in closed letters and the etched inscription `Painted by George Stubbs, R.A./ Landscape by Amos Green Esqr: Bath *** Publish'd May 25 1790. by B.B. Evans, Poultry London *** Engraved by Henry Birche/ GAME KEEPERS./ To the Right Honble Lord Viscount Torrington This Plate is respectfully inscribed/ By his Lordship's obliged and very obedient Servant/ Benjn. Beale Evans.'. Plate mark: 17 ½ x 25 ¾ inches.

A beautiful portrait of the eccentric gamekeeper Joseph Mann, by the celebrated sporting artist George Stubbs.

George Stubbs is considered one of the greatest English painters. His ingenious animal and sporting portraits 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' 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.

The painting from which 'Game Keepers' was taken was commissioned by Lord Torrington in 1767, as one of three portraits of his outdoor servants. The gamekeeper portrayed here isJoseph Mann, who worked as huntsman and then gamekeeper for three successive Lords Torringtons between 1733 and 1777. Mann's durability was legendary amongst sportsmen and "he was looked upon by the neighbors as a prodigy." By 1790, this painting and its companion work 'Labourers' were part of the collection of Andrew Harrison who commissioned Amos Green to replace the background views, of the Southill estate, with generalized rustic scenery. The identity of the engraver Henry Birche has been disputed, but research indicates the possibility that the name may represent a collaboration between Richard Earlom and Robert Laurie.

Lennox-Boyd, George Stubbs 88, iv/iv; Gilbey no. 33; Le Blanc, Birche no. 2; Siltzer The Story of British Sporting Prints p.271; Snelgrove no. 40; Wessely no. 143

#3627$12,000.00
 
 
STUBBS, George & Amos GREEN engraved by `Henry Birche' [i.e. Robert Laurie and Richard Earlom]

Labourers

London: Published by Benjamin Beale Evans, 25 May 1790. Mezzotint. State iv/iv, with the title in closed letters and the etched inscription `Painted by George Stubbs, R.A./ Landscape by Amos Green Esqr. Bath *** Publish'd May 25 1790. by B.B. Evans, in the Poultry London *** Engraved by Henry Birche/ LABOURERS./ To Andrews Harrison Esqr. This Plate from the original Picture in his Collection/ Is most respectfully Inscribed by his much obliged and obedient Servant/ Benjn. Beale Evans.'. Plate mark: 17 ½ x 25 ¾ inches.

A beautiful portrait of outdoor labourers commission by Lord Torrington, from the celebrated sporting artist George Stubbs.

George Stubbs is considered one of the greatest English painters. His ingenious animal and sporting portraits 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' 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.

The original painting of 'Labourers' was one of a group of three portraits of outdoor servants commissioned by Lord Torrington and painted in 1767. By 1790, this painting and its companion work, Game Keepers were part of the collection of Andrews Harrison who commissioned Amos Green to replace the background views, of the Southill estate, with generalized rustic scenery. The identity of the engraver Henry Birche has been disputed, but research indicates the possibility that the name may represent a collaboration between Richard Earlom and Robert Laurie.

Lennox-Boyd, George Stubbs 87, iv/iv; Gilbey no. 26; Le Blanc, Birche no. 1; Siltzer The Story of British Sporting Prints p.271; Snelgrove no. 40; Stipple no. 266; Wessely no. 142

#3628$12,000.00
 
 
STUBBS, George (1724-1806), engraved by George Townly STUBBS

Anvil

London: Published by Edward Orme, June 4th, 1817. Stipple with etching, colour-printed with hand-colouring. State iii/iii, with the title in closed letters, and engraved inscription: "George Stubbs pinxt.*** Geo. Townly Stubbs sculpt. Engraver to His R.H. the Prince of Wales. / London Republished June 4th. 1817, *** ANVIL. *** by Edwd. Orme, Bond Street". Plate mark: 7 7/8 x 9 7/8 inches. Sheet size: 12 1/2 x 15 5/16 inches.

A magnificent portrait of the famous stallion Anvil, by the master equine 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.

Stubbs was often commissioned to paint accurate portraits of specific steeds for proud aristocratic patrons, who wished to highlight their horses' racing success. This practice is expertly exemplified with this magnificent print of the stallion Anvil, bred by Thomas Paton. The image shows Anvil in an enclosed paddock, and exhibits a keen attention to naturalistic detail. Anvil was first a stallion in the stud of the Prince of Wales and went on to win a great number of races at some of the best courses in England. This beautiful print demonstrates that, with subtle atmospheric effects and complex compositional structure, Stubbs succeeds in raising the genre of equine portraiture to a poetic level.

Lennox-Boyd, George Stubbs 114, ii/iii; Siltzer, The Story of British Sporting Prints, p. 272

#19560$4,500.00
 
 
STUBBS, George (1724-1806), engraved by George Townly STUBBS

Two Hacks Belonging to Henry U. Reay of Burn Hall in the County of Durham Esq... [and] Two Hunters Belonging to Herny U. Reay of Burn Hall in the County of Durham Esq...

London: Published by George Townly Stubbs, No. 14 John Street Adelphi, 1792. [Two Hacks] Roulette work. A superb colour-printed impression. Second state of two, with the title in closed letters and the engraved inscription:"Painted by George Stubbs.*** Engrav'd by G. Townly Stubbs /TWO***HACKS / Belonging to Henry, U, Reay of BURN HALL in the ***COUNTY of DURHAM Esqr. to whome this Plate is Dedicated by his/much obliged Hble. Sert. / G. Townly Stubbs. /London. Pubd. Jany. 1792 by G.T. Stubbs No. 14 Iohn Street Adelphi". Image size: 13 5/16 x 18 1/2 inches. Plate mark: 15 15/16 x 19 13/16 inches. [Two Hunters] Roulette work. A superb colour-printed impression. Second state of two, with the title in closed letters and the engraved inscription: "Painted by George Stubbs.*** Engraved by G. Townly Stubbs /TWO***HUNTERS / belonging to Henry, U, Reay of BURN HALL in the ***COUNTY of DURHAM Esqr. to whom this Plate is Dedicated by his / much Oblig'd Hble. Sert. / Geo. Townly Stubbs. /London. Pubd. Jany. 1792 by GeoTownly Stubbs No. 14 John Street Adelphi".

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 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.

Stubbs was often commissioned to paint equine portraits for proud aristocratic patrons, who wished to highlight their steed's talent and beauty. This practice is expertly exemplified in this exquisite pair of prints commissioned by the wealthy landowner Henry Utrick Reay. The paintings, which were completed by Stubbs in 1789, were later expertly engraved by George Townly Stubbs, who reproduced his father's stunning images with uncommon skill. They are now extremely rare, particularly as a pair.

Lennox-Boyd, George Stubbs; The Complete Engraved Works 94, 95 ii/ii; Gilbey, Life of George Stubbs no. 23 & no. 67; Siltzer, The Story of British Sporting Prints p.270; Slater, Engravings and their Value p. 610; Snelgrove, British Sporting and Animal Prints 1658-1874 no. 2.

#19473$10,000.00
 
 
STUBBS, George engraved by ANONYMOUS

An Arabian belonging to Lord Grosvenor

London: Published by Robert Sayer, circa 1790. Colour printed mezzotint with additional hand-colouring. State vi/viii, with the publication line altered to: ' Printed for ROBERT SAYER Map & Printseller, No. 53 Fleet Street, London'. Sheet size: 11 x 16 1/2 inches.

A magnificent portrait of Lord Grosvenor's celebrated Arabian horse, by the master equine painter George Stubbs.

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' masterful paintings inspired some of the greatest engravers of the day to reproduce his work for publication. 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.

Stubbs was often commissioned to paint accurate portraits of specific mares for proud aristocratic patrons, who wished to highlight their horses' racing success. This practice is expertly exemplified in this magnificent print. The Arabian horse in this print belonged to the first Lord Grosvenor, one of Stubbs' earliest and most important patrons. Lord Grosvenor had two passions, horse racing and collecting paintings; by glorifying one passion he was able to indulge the other. In this clever work Stubbs made the Arabian horse the clear center of attention, even the groom is made to appear secondary to the horse. The artist's anatomical knowledge is displayed in the musculature of the horse's legs and shoulders and by the veins on the muzzle and right hind leg.

Lennox-Boyd, George Stubbs 21, vi/viii; Gilbey, Life of George Stubbs no.28; Siltzer, The Story of British Sporting Prints p.270

#4147$3,950.00
 
 
STUBBS, George engraved by ANONYMOUS

Pangloss belonging Lord Grosvernor

London: Published by Robert Sayer, circa 1790. Hand-coloured mezzotint. State vi/viii. Sheet size: 11 1/4 x 16 1/2 inches.

A remarkable portrait of Lord Grosvenor's Pangloss, by the master equine 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.

Stubbs was often commissioned to paint accurate portraits of specific racehorses for proud aristocratic patrons, who wished to highlight their horses' racing success. This practice is expertly exemplified with this magnificent print of Pangloss, Lord Grosvenor's beloved horse. Pangloss was foaled in 1755, and named after a character in Voltaire's Candide; little is known about Lord Grosvenor's horse apart from the fact that his racing career was ended by a broken leg. This print was the second of a series of engraved horse portraits begun by the publisher Ryland in 1771 and extended by Robert Sayer in 1777. Although the inscription on the print establishes Stubbs as the painter, the painting has not been identified, making this print extremely intriguing since it is the only record of Stubbs' lost work.

Lennox-Boyd, George Stubbs, 20, vi/viii; Gilbey, Life of George Stubbs, no.39; Siltzer, The Story of British Sporting Prints, p.270.

#4138$3,750.00
 
 
STUBBS, George engraved by Benjamin Green

The Lion and Stag. From an Original Picture of Mr. Stubbs.

London: Published by Benjamin Green, 1 October, 1770. Hand-coloured mezzotint. State ii/iii, with publication line 'Published as the Act Directs Octbr. 1. 1770. by Benj. Green, Drawing Master to Christs Hospital, & at the Print Shops'. Image size (including text): 16 7/8 x 21 7/8 inches. Sheet size: 18 1/4 x 22 7/8 inches.

This dramatic print is a wonderful example of Stubbs's celebrated work, it combines intense drama with naturalistic observation to create a truly sublime image.

From the early 1760s to the 1790s, Stubbs returned again and again to the theme of horses and stags stalked and attacked by lions. In his hands the encounter takes on the high, elemental drama of a scene from myth, suggesting the struggle of good against evil, beauty against ugliness, civilization against savagery. The simple, relief-like design of the composition in 'The Lion and Stag' brings a sense of quiet power to this emotive image which is incredibly dramatic. Stubbs made many studies of caged lions at the Tower of London and at Lord Shelbourne's menagerie on Hounslow Heath, which helped him truthfully depict the attitude and movement of these great animals.

This print completed Benjamin Green's series of six mezzotints after Stubbs's paintings, but there is some dispute as to which painting Green's mezzotint reproduced. It was most likely after Stubbs's work, 'A Lion Devouring a Stag' which was exhibited at the Society of Arts in 1769. Alternatively, it might have been derived from Stubbs painting 'Lion Devouring a Deer' which had been shown in 1770. In this dramatic work Stubbs exhibits his artistic genius and infuses this dramatic work with a sublime beauty.

Lennox-Boyd, George Stubbs 9 ii/iii; Siltzer The Story of British Sporting Prints p. 270; Snelgrove, British Sporting and Animal Prints 1658-1874 no.23; Sparrow, British Sporting Artists from Barlow to Herring p.134

#6488$4,500.00
 
 
STUBBS, George engraved by George Townly STUBBS

Baronet

London: Published by George and George Townly Stubbs, 20 February, 1794. Stipple with etching. State ii/iii, with the title in closed letters and engraved inscription: 'G. Stubbs Pinxt.*** Geoe Townly Stubbs Sculp't. Engraver to his /Royal Highness the Prince of Wales. / BARONET / London Publish'd Feby. 20th 1794, by Messrs Stubbs, Turf Gallery, Conduit Street.'. Sheet size: 18 1/2 x 22 1/2 inches.

A lively portrait of the Prince of Wales's famous racehorse Baronet, by the master equine painter George Stubbs.

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' 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.

Stubbs was often commissioned to paint accurate portraits of specific racehorses for proud aristocratic patrons, who wished to highlight their horses' racing success. This practice is expertly exemplified with this magnificent print of the show horse Baronet, who was bred by Lord Sherborne. Baronet, a bay colt by Vertumnus, was foaled in 1785 and sold to Sir Walter Vavasour and then to the Prince of Wales. He is shown here with Samuel Chifney, The Prince of Wales's jockey, alighted on his broad muscular back. Baronet began racing in 1789, but his best year was 1791 when he won the hotly contested Oatland Stakes, and everything else that he ran for. Commenting on this print, 'The Sporting Magazine' states: "Mr Stubbs has taken great pains to give the character and style of riding of this celebrate jockey, and the horse upon which he gained so much fame. There is something very singular in this picture; the horse's legs are all off the ground, at that moment when raised by the motion of muscular strengh - a bold attempt, and as well perfected; this attitude has never been yet described but by Mr. Stubbs". (Lennox-Boyd 238-239)

Lennox-Boyd, George Stubbs 100, ii/iii; Slater, Engravings and their Value p.610; Siltzer, The Story of British Sporting Prints p.271; Snelgrove, British Sporting and Animal Prints 1658-1874 no.14

#4149$7,000.00
 
 
STUBBS, George engraved by George Townly STUBBS

Josiah Wedgwood Esquire

London: Published by George Townly Stubbs, 1795. Stipple with roulette work. State ii/ii, with the title in closed letters and the engraved inscription: "George Stubbs pinxt. *** Geo: Townly Stubbs Sculpt. Engraver to His R.H. the Prince of Wales / JOSIAH WEDGWOOD ESQR. / Done from an original Picture Painted in Enamel as large as Life. / London, Published, Feby. 10, 1795, by Geo Townly Stubbs, No. 86 High Street, Marybone". Sheet size: 12 7/8 x 7 1/2 inches.

A wonderful portrait of the famous potter, Josiah Wedgwood 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 print-making. It was through this ambitious project that Stubbs met Josiah Wedgwood, the celebrated potter. Wedgwood became one of Stubbs' greatest patrons and collaborated with him in the search for a suitable ceramic base for enamel painting. There were apparently two painted versions of the present portrait, one of which appeared in Stubbs' studio sale in 1807. It is believed that this engraving was made after the portrait on enamel which remained in Stubbs's studio.

Lennox-Boyd, George Stubbs, 97, II/II; O'Donoghue, Catalogue of Engraved British Portraits...in the British Museum; Wedgwood, no. 6; Slater, p. 610.

#4134$1,500.00
 
 
STUBBS, George engraved by George Townly STUBBS

Marske

London: Published by Edward Orme, June 4, 1817. Colour printed stipple with etching. State iii/iii, with engraved inscription: "George Stubbs pinxt. *** Geo: Townly Stubbs sculpt. Engraver to H.R.H. the Prince of Wales./London Republished June 4, 1817 *** MARSKE *** by Edwd. Orme. Bond Street.". Sheet size: 8 x 10 inches.

A magnificent portrait of the famous racehorse Marske, by the master equine painter George Stubbs.

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. 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 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' 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.

Stubbs was often commissioned to paint accurate portraits of specific racehorses for proud aristocratic patrons, who wished to highlight their horses' racing success. This practice is expertly exemplified with this magnificent print of the stallion Marske. Marske an impresseive brown stallion was the son of Squirt, and was foaled in 1750. He won the Jockey Club plate at Newmarket in 1754, but was beaten twice in 1756 by Snap. He achieved fame as a stallion, siring Eclipse and a remarkable number of other winners. This beautiful print demonstrates that, with subtle atmospheric effects and complex compositional structure, Stubbs succeeds in raising the genre of equine portraiture to a poetic level.

Lennox-Boyd, George Stubbs 121, iii/iii; Siltzer, The Story of British Sporting Prints p.272

#4903$4,000.00
 
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