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George Stubbs

United Kingdom (1724 -  1806 ) Wikipedia® : George Stubbs
STUBBS George  A Gentleman In Riding Clothes Standing Beside A Chestnut A Hunter

Lempertz /Nov 15, 2014
400,000.00 - 450,000.00
Not Sold

Find artworks, auction results, sale prices and pictures of George Stubbs at auctions worldwide.
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Artworks in Arcadja
210

Some works of George Stubbs

Extracted between 210 works in the catalog of Arcadja
George Stubbs - Portrait Du Chien Blanc Du Vicomte Gormanston

George Stubbs - Portrait Du Chien Blanc Du Vicomte Gormanston

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Lot number: 66
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Clocks and Barometers +44 20 7293 5538 jonathan.hills@sothebys.com George Stubbs LIVERPOOL 1724-1806 LONDRES PORTRAIT DU CHIEN BLANC DU VICOMTE GORMANSTON GEORGE STUBBS ; VISCOUNT GORMANSTON'S WHITE DOG ; SIGNED AND DATED LOWER LEFT GEO. STUBBS PINXIT / 1781 ; OIL ON PANEL Signé et daté en bas Geo : Stubbs. Pinxit / 1781 Huile sur panneau
George Stubbs - Two Hunters With A Young Groom And A Dog By A Lake

George Stubbs - Two Hunters With A Young Groom And A Dog By A Lake

Original 1778
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Lot number: 14
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Lot Description George Stubbs, A.R.A. (1724-1806) Two hunters with a young groom and a dog by a lake signed and dated 'Geo: Stubbs / pinxit 1778' (lower centre) oil on mahogany panel 31 ¾ x 38 7/8 in. (80.4 x 98.9 cm.) in its original frame Provenance (Possibly) Mr Parker; his sale, Christie's, London, 4 July 1835, lot 101. (see J. Egerton, op. cit.) George Herbert, 5th Earl of Carnarvon (1866-1923), Highclere Castle, Hampshire; his sale, Christie’’’’’’’’s, London, 3 June 1918 [=5th day sale], lot 188 (290 gns. to Arthurton). Sir Edward Hulton (1869-1925), and by inheritance to his daughter-in-law, Mrs Edward Hulton, by 1951. with Frank Partridge & Sons Ltd., by 1957, from whom acquired by the present owner. Pre-Lot Text PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION Literature B. Taylor, Stubbs, London, 1971, p. 211, figs. 78-79. J. Egerton, George Stubbs, Painter. Catalogue Raisonné, New Haven and London, 2007, p. 416, no. 209. Exhibited Liverpool, Walker Art Gallery, George Stubbs 1724-1806, 13 August-25 August 1951, no. 32, p. 16. London, Tate Gallery, on loan, c. 1955-6. London, Whitechapel Gallery, George Stubbs 1724-1806, 27 February-7 April 1957, no. 24, p. 17. London, Hayward Gallery; Leicester, Leicestershire Museum and Art Gallery; Liverpool, Walker Art Gallery, British Sporting Painting 1650-1850, 13 December 1974-25 May 1975, no. 49, p. 53. London, Tate Gallery and New Haven, Yale Center for British Art, George Stubbs 1724-1806, 18 October 1984-7 April 1985, no. 118, p. 160, illustrated. View Lot Notes >
George Stubbs - Selim, A Grey Hunter In A Paddock

George Stubbs - Selim, A Grey Hunter In A Paddock

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Lot number: 53
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George Stubbs, A.R.A. LIVERPOOL 1724 - 1806 LONDON SELIM, A GREY HUNTER IN A PADDOCK signed and dated, lower right: Geo: Stubbs pinxit / 1802. oil on canvas 81.3 by 101.6 cm.; 32 by 40 in. Provenance Walter Hutchinson (1887–1950); His sale ('The Hutchinson Collection of Important Sporting Pictures, Sold by Order of Messrs. Hutchinson & Co'), London, Christie's, 20 July 1951, lot 130; Acquired by the family of the present owners in the early 1950s; Thence by descent. Exhibited London, Hutchinson House, National Gallery of British Sports and Pastimes, 1948, no. 114. Literature J. Egerton, George Stubbs, Painter, New Haven and London 2007, p. 636 (listed under untraced paintings). Catalogue Note Unknown to Judy Egerton when she compiled her catalogue raisonée of Stubbs’’ paintings, other than the reference in Christie’’s 1951 sale catalogue, this picture was first recorded in the Hutchinson collection in 1948. Walter Hutchinson, proprietor of the publishing house Hutchinson & Co., was an important collector of British sporting art and founder of the National Gallery of British Sports and Pastimes, housed in Stratford Street, off Oxford Street. His remarkable collection included no less than twelve works by Stubbs, including the famous Gimcrack on Newmarket Heath. 1 Hutchinson’’s Magazine was a popular monthly periodical in the 1920s famous for publishing many of the ‘spook stories’’ of E. F. Benson, as well as serialising the work of Rider Haggard, Agatha Christie and D. H. Lawrence. In 1929 Hutchinson stopped publishing magazines to focus on books, and in 1930 first published H. G. Wells' The Bulpington of Bulp, inspired by the life of Ford Madox Ford. 1. London, Christie’’s, 5 July 2011, lot 12.
George Stubbs -  A Gentleman In Riding Clothes Standing Beside A Chestnut A Hunter

George Stubbs - A Gentleman In Riding Clothes Standing Beside A Chestnut A Hunter

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Lot number: 1115
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Lot 1115: George Stubbs, A Gentleman in Riding Clothes standing beside a chestnut a Hunter Description: Signed and dated lower right: Geo Stubbs Pinxit 1768George Stubbs was the most influential painter of horses in Great Britain in the 18th century. He lived and worked in an era in which both horse breeding and the arts were in the midst of a considerable boom on the island. A genuinely British school of painting was developing, London was becoming an internationally renowned centre of the arts and institutions like the Royal Society of Arts and the Royal Academy were established. At the same time, breeding and riding horses was becoming a more popular pastime, especially for the aristocracy, for whom the famous races of Newmarket and Ascot rose to become important social events. George Stubbs' most important patrons, such as Lord Grosvenor or the Marquis of Rockingham, were avid admirers of both art and horses, and Stubbs masterfully combined these passions in his images, especially his equine portraits.This piece was painted in 1768, shortly after the publication of Stubbs' well-received work on equine anatomy. It shows a man standing beneath a tree who seems to have recently alighted from his chestnut brown horse and now looks out toward the viewer. In the background we see a river winding into the distance and the silhouette of a town. The present work is not an equine portrait in the classical sense, instead it belongs to a series of portraits of people which Stubbs painted in the 1760s. In his equine portraits, Stubbs usually placed the horses on their master's estates, together with their stable and hunt masters. Here he has depicted man and horse on the same level - the rider has alighted, apparently to enjoy the view.The painting combines the genres of portrait, horse painting and picturesque landscape. The work's provenance has provided researches with some clues regarding the identity of horse and rider. The painting was owned by the Brymer family until 1968, and according to family tradition it depicted Alexander Brymer (1729 - 1822), who made his fortune as paymaster general for the British army in Nova Scotia (exhib. cat. Munich 2012, p. 166). Due to the primroses in the foreground of the work, some researchers have suggested horse's identity to be "Polyanthus", a stud horse owned by the distinguished and wealthy Lord Grosvenor. He often named his horses after flowers, which Stubbs incorporated in his portraits of them (exhib. cat. London 1984, p. 128). Provenance: Probably commissioned by Alexander Brymer, Borthwick Manor, Bath, to his descendants. - Wilfred John Brymer, Islington House, Puddletown, Dorset. - Sotheby´s, London, 26.7.1968, lot 151. - Kunsthandlung Leggatts. - The Jack Dick collection, United States. - Sotheby´s, London, 23.4.1975, lot 137. - British Rail Pension Fund. - Sotheby´s, London, 14.3.1990, lot 130. - Private collection, Great Britain. - Private collection, South Germany. 61 x 71.5 cm George Stubbs Exhibited: Leicestershire Museum und Art Gallery (on loan). - Bowes Museum, on loan by the British Rail Pension Fund 1976 - 1987. - Tate Gallery, London 1984. - Bayerische Staatsgemäldesammlungen, Neue Pinakothek, Munich 2012. Literature: Exhib. cat. London/Yale 1984: George Stubbs 1724 - 1806. New Haven London 1984, p. 128. - Judy Egerton: George Stubbs, Painter. Catalogue raisonné. New Haven/London 2007, p. 314, no. 127. - Exhib. cat. Munich 2012: George Stubbs (1724 - 1806). Science into Art - Tiermalerei zwischen Wissenschaft und Kunst. Munich 2012, p. 166, no. 38. Medium: Oil on canvas
George Stubbs - Tygers At Play

George Stubbs - Tygers At Play

Original 1776
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Lot number: 22
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Presumably commissioned or purchased by George Brodrick, 4th Viscount Midleton (1754–1836); Thence by descent to his son George Alan Brodrick, 5th Viscount Midleton (1806–1848); By inheritance to his cousin, Charles Brodrick, 6th Viscount Midleton (1791–1863); By inheritance to his brother, William John Brodrick, 7th Viscount Midleton (1798–1870), Dean of Exeter and Chaplain to Queen Victoria; By descent to his son, William Brodrick, 8th Viscount Midleton (1830–1907); By descent to his son, William St John Fremantle Brodrick, 9th Viscount Midleton and 1st Earl of Midleton (1856–1942); By descent to his son, George Brodrick, 2nd Earl of Midleton (1888–1979); With Oscar & Peter Johnson, London, from whom acquired by the present owners in 1962. Probably London, Royal Academy, 1776, no. 293 (as Tygers at Play); London, Oscar & Peter Johnson Gallery, Pictures and Drawings from Yorkshire Houses, 1963, no. 15; London, Tate Gallery, George Stubbs 1724–1806, 17 October 1984 – 6 January 1985, no. 78; New Haven, Yale Centre for British Art, George Stubbs 1724–1806, 13 February – 7 April 1985, no. 78; Leeds, City Art Gallery, Whistlejacket & Scrub: Large as Life; The Great Horse Paintings of Stubbs, 12 September – 9 November 2008, unnumbered. PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION George Stubbs, A.R.A. LIVERPOOL 1724 - 1806 LONDON 'TYGERS AT PLAY' oil on canvas 101.5 by 127 cm.; 40 by 50 in. The following condition report is provided by Sarah Walden, who is an external specialist and not an employee of Sotheby's. This painting has a comparatively recent lining and stretcher, perhaps from the early middle of the twentieth century. The fine even texture of the surface is perfectly secure and undisturbed by any past damage. The exceptionally pure, intact quality of the painting throughout suggests that it had a calm, stable early history with scarcely any intervention perhaps until the cleaning and restoration presumably with the lining mentioned above. The subtle transitions in the landscape, paling as it recedes into the distance, are beautifully preserved, increasing the contrast with the strength of tone of the cubs themselves, which remain in extraordinarily perfect condition down to the slightest whisker. Under ultra violet light a single, quite small, recent retouching of any consequence can be seen in the shadow on the ground just to the left of the cubs. Elsewhere there is only a little surface scratch in the mid left background and a tiny surface touch or two at upper left. Along the base edge there may be old retouching in a few places. The old varnish has been thinned, with some uneven earlier varnish also visible in places under ultra violet. The fine brushwork remains exceptionally well preserved however almost throughout, even in the delicate darker detail of the foreground and the palm tree, as well as in the fragile tracery of the mountains against the sky. Just in the upper right corner of the sky the light ground can be seen emerging unevenly through a slightly thinner film of blue paint. It is rare to find a painting so beautifully preserved. "This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."
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