Christie's /Jan 25, 2012
€313,087.04 - €469,630.56
Artworks in Arcadja156
Some works of George StubbsExtracted between 156 works in the catalog of Arcadja
George Stubbs - James Hamilton, 2nd Earl Of Clanbrassil (1730-1798), With His Bay Hunter Mowbray, Resting On A Wooded Path By A Lake
Auction: Christie's -Dec 3, 2013 - LondonLot number: 46
Other WORKS AT AUCTION
George Stubbs, A.R.A. (Liverpool 1724-1806 London) James Hamilton, 2nd Earl of Clanbrassil (1730-1798), with his bay hunter Mowbray, resting on a wooded path by a lake signed and dated 'Geo Stubbs / pinxit / 1765' (lower right); further signed and dated 'Geo Stubbs / 1769' (over the former signature and date, lower right); and with later inscriptions 'Mowbray a Hunter belonging / to James Earl of Clanbrassil (lower left) and 'J AMES 2 ND EARL of CLANBRASSILL, OBT1798.' (lower centre) oil on canvas 40 x 50½ in. (101.6 x 128.3 cm.) in a gilded hollow section frame of circa 1800, with composition lamb's tongue sight edge Commissioned by James Hamilton, 2nd Earl of Clanbrassil (1730-1798), who died without issue, and by inheritance to the children of his sister Anne, wife of Robert, 1st Earl of Roden, and by descent in the family to the present owner. THE PROPERTY OF A NOBLEMAN H. Walpole, ed. H. Gatty, 'Notes by Horace Walpole, fourth Earl of Orford, on the Exhibitions of the Society of Artists and the Free Society of Artists, 1760-1791', Walpole Society, XXVII, 1938-9, p. 79. E.G.S. Reilly, Historical Anecdotes of the Families of the Boleynes, Careys, Mordaunts, Hamiltons and Jocelyns, arranged as an elucidation of the Genealogical Chart at Tollymore Park, 1839, p. 95. Catalogue of the Paintings at Tullymore Park, 1880, pp. 10-11 (hanging in the long corridor). The Earl of Roden, Tollymore: The Story of an Irish Demesne, Belfast, 2005, p. 49, illustrated. J. Egerton, George Stubbs, Painter: Catalogue Raisonné, New Haven and London, 2007, pp. 244-5, no. 79, illustrated. London, Society of Artists, 1765, no. 128, as 'Portrait of a Hunter'. Belfast, Ulster Museum, on loan, circa 1970-2000. Fort Worth, Kimbell Art Museum; Baltimore, The Walters Art Gallery; London, National Gallery, Stubbs and the Horse, 14 November 2004-25 September 2005, no. 44. Newmarket, The British Sporting Art Trust Galleries at the National Horseracing Museum, on loan until 2013. This masterpiece from Stubbs' early maturity demonstrates his supreme skill at rendering the equine form, combined with his gifts as a portraitist and his dexterity as a landscape painter. Exhibited in 1765, during the decade described by Basil Taylor as 'in scope and productiveness the most fecund period of the artist's life' (Stubbs, London, 1971, p. 13), this picture dates to the same year as Stubbs' celebrated painting of Gimcrack on Newmarket Heath, sold at Christie's, London in July 2011. One of the artist's earliest commissions from an Irish patron, the picture is beautifully preserved having passed by inheritance in the sitter's family to the present owner. Stubbs' patronage from the great Whig aristocrats -most notably the Duke of Richmond, the Marquess of Rockingham, Earl Grosvenor and Viscount Bolingbroke - during this decisive early period of the artist's career is well-known. However, Clanbrassil would appear to have been one of the very first Irish patrons to recognise the painter's talents and to commission a horse portrait from him. Stubbs may have been recommended to Clanbrassil by William Cavendish-Bentinck, 3rd Duke of Portland, who was a cousin through his mother, Henrietta, daughter of William Bentinck, 1st Earl of Portland. His mother's younger sister, Barbara Bentinck, was married to Sir Francis Godolphin, 2nd Bt., who later married as his second wife, Anne FitzWilliam, a relation by marriage of Charles Watson-Wentworth, 2nd Marquess of Rockingham. Rockingham was arguably Stubbs' greatest patron, commissioning no fewer than twelve pictures from the artist during the 1760s, most significantly his majestic Whistlejacket (London, National Gallery; Egerton no. 34). Clanbrassil's brother-in-law, Robert, 2nd Viscount Jocelyn and later 1st Earl of Roden, was the first Irish patron to commission a portrait of a racehorse, Havannah, from Stubbs in 1765 (location unknown; Egerton no. 59); while Clanbrassil's cousin, William Henry Fortescue, 1st Earl Clermont, M.P. for Dundalk, commissioned portraits of a favourite pointer Phillis in 1772 and his bay thoroughbred Johnny in 1775. Other Irish patrons included George Brodrick, 3rd Viscount Midleton,who commissioned or purchased a Mares and Foals on a river bank from Stubbs in 1765 (London, Tate; Egerton no. 62); his son, George Brodrick, 4th Viscount Midleton, who commissioned or purchased Tygers at Play from the artist in circa 1770-5 (Private collection; Egerton no. 122); and Robert Maxwell, 2nd Bt. Farnham, Co. Cavan, who commissioned a portrait of a chestnut racehorse Conductor at Newmarket with jockey up (a horse owned jointly with Lord Clermont), in circa 1773 (UK, Private collection; Egerton no. 157). Clanbrassil is positioned centre-stage, holding the viewer in direct eye-contact, with his favourite bay hunter, Mowbray alert at his side, slightly on the turn, with his back left leg a little raised, in a subtly observed landscape. Stubbs' rendering of horse and rider, and the relationship between the two, is immeasurably more dynamic, perceptive and engaging than the comparatively static works of his predecessors such as John Wootton, which tend to show the horse in conventional flat profile. Stubbs' understanding of and ability to render the horse's anatomy, from its precise skeletal structure through layers of muscle and sinew to the silky coat, was also without parallel in sporting art. This extraordinary achievement was the outcome of an intense period of anatomical study through practical dissection between 1756 and 1758, resulting in his ground-breaking publication Anatomy of the Horse, which both revolutionised the genre and heralded Stubbs as a true exponent of the wide-ranging intellectual movement of the Enlightenment. Stubbs has masterfully captured the physiognomy of James, 2nd Earl of Clanbrassil. Described as 'notoriously stubborn' and 'sometimes given to melancholy', Clanbrassil's character was more generously summed up by the literary hostess Mary Delany, who remarked that he: 'looks old for his age (having lost all his fore teeth), but he is tall, genteel and very well bred, free from every vice in the world' (Life, 2nd series, II, 1862, p. 580). The only other recorded portraits of the sitter are pastels by Jean-Etienne Liotard, executed during the artist's second visit to London between 1773 and 1774 (see for example Fig. 1). When this painting was exhibited at the Society of Artists in 1765, Horace Walpole entered the words 'bad. Lord Clanbrassil' against the title in his copy of the exhibition catalogue. This brusque comment is more likely to be an indication of his bias against the sitter, rather than any reflection of his view of the picture's artistic merits, since Clanbrassil's father, the 1st Earl of Clanbrassil, had sat in judgement on Walpole's own father after he ceased to be Prime Minister, as chairman of the Committee set up to investigate allegations of corruption in 1742. The sitter was elected as the second representative member of the Irish House of Parliament for the seat of Midleton in County Cork in 1755, was appointed Sheriff of County Louth in 1757 and inherited his title on his father's death the following year, at the age of twenty-seven. Between 1757 and 1798, he held the office of Chief Remembrancer of the Court of Exchequer (Ireland) and was promoted a Privy Councillor in Ireland in 1766. His Irish title did not preclude him from sitting in the English House of Commons and he was elected a Member of Parliament for Helston in Cornwall, representing the constituency from 1769 to 1774. In 1783, he was appointed one of the founder Knights of St. Patrick, a chivalric order instituted by George III to mirror the Garter in England and the Thistle in Scotland. Clanbrassil was a member of the Society of Dilettanti and a founder member of the Royal Irish Academy in 1785. While his father had played a significant role in the redevelopment of Dundalk in the early 18th century, the 2nd Earl turned his attentions to the improvement of the family estate at Tollymore. An advocate of the new fashion for 'Gothick', Clanbrassil completed the house in 1777 with numerous bridges and gatehouses, and built a barn with an ecclesiastical-like tower, which remains one of the most idiosyncratic practical farming buildings in Ireland. His activities in forestry gained him recognition from the Dublin Society, which presented him with gold medals for his tree-planting both in County Louth and at Tollymore. Clanbrassil married Grace Foley, daughter of Sir Thomas Foley, 1st Bt. of Kidderminster, in 1774. When Clanbrassil died without issue in 1798, the title became extinct and the estates were inherited by his sister, Anne, wife of Robert Jocelyn, 1st Earl of Roden. An auction sale of the contents of his London mansion held in 1813 lasted four days. At once a penetrating portrait, sporting subject and landscape study, this picture ultimately transcends all three genres to constitute a new and distinct form of aristocratic en plein air portraiture. As Basil Taylor explained in his seminal work on the artist: 'In the sixteenth and seventeenth centuries the portrait had uniquely served the interests of family, rank and ambition. [Now] a different form of art with a wider range of subject could confer a similar honour upon the whole scope of material property' (op. cit., p. 12). Stubbs achieved a similar synthesis in two later works, in which the key protagonist also takes centre-stage: Captain Samuel Sharpe with his wife, Pleasance, of 1769 (Washington, National Gallery of Art; Egerton, no. 98), and Sir Peniston and Lady Lamb, later Lord and Lady Melbourne, of 1769-70 (London, The National Gallery; Egerton, no. 130).
Auction: Bonhams -Sep 19, 2012 - LondonLot number: 9
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George Stubbs, ARA (Liverpool 1724-1806 London) Labourers & Game Keepers (Lennox-Boyd 87, 88) Mezzotints, the pair, on laid, with wide margins, extensively hand coloured, published January 2nd and March 25th, 1790 respectively by Benjamin Beale Evans, engraved by Henry Birche, 440 x 650mm (17 1/4 x 25 1/2in)(PL) (2) (unframed)
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GEORGE STUBBS A Lion Devouring a Horse. Soft-ground etching and engraving printed in dark brownish black on cream laid paper, before 1788. 250x335 mm; 9 3/4x13 1/4 inches, with narrow margins outside the image. An extremely scarce, unrecorded working proof in soft-ground etching and engraving only. We have found only 4 other impressions from the published state at auction in the past 25 years; this is the first proof before the roulette additions to be offered at auction in the past 25 years. Lennox-Boyd 71. Estimate $40,000-60,000
Auction: Christie's -Jan 25, 2012 - New YorkLot number: 53
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George Stubbs A.R.A. (Liverpool 1724-1806 London) A black and white spaniel following a scent, in a landscape with a lake and country house beyond signed and dated 'Geo:Stubbs pinxit 1777[?]' (lower right) oil on panel 23½ x 27 7/8 in. (59.7 x 70.6 cm.) with Knoedler, London and New York, 1928, from whom bought by S.A. Ellis Jr., New York. PROPERTY FROM A PRIVATE COLLECTION R. Fountain and A. Gates, Stubbs' Dogs, London, 1984, p. 84, no. 4, illustrated fig. 52. J. Egerton, George Stubbs, Painter, London and New Haven, 2007, pp. 370-71, no. 170. Stubbs' brilliance in animal portraiture is far from limited to horses, and it is perhaps not surprising that dogs constitute a significant body of his work. The artist's working method is founded upon scientifically precise study of nature. Beyond this, though, he manages to convey the spirit and tension of his subject, who is crouched with head low on the scent. The addition of dogs to Stubbs's range of subjects from the mid-1760s contributed a lively and light-hearted note to his repertoire. Affection for one's own dog, whether a working dog or a pet, was common to all classes of British society, including 'the Great Commoner' and Earl of Chatham, William Pitt, who counted the companionship of a dog amongst 'the little-great pleasures of life'. Stubbs had already shown his gift for the close observation of hounds in details of The Charlton Hunt and The Grosvenor Hunt (Egerton, op. cit., nos. 11 and 29), and beginning in 1761 showed his portraits of dogs at the Society of Artists. The compact build of almost all of the various dogs painted by Stubbs presented compositional problems very different from those in painted horses, where he had filled the awkward space between their long legs with landscapes. Stubbs's dogs, much like this spaniel, fully occupy their space and dominate their settings. Stubbs repeated elements of the animal's pose and the picture's composition in portraits of two otherwise markedly different spaniels, with different backgrounds, in the 1770s: A black and white spaniel following a scent, dated 1773, in the Virginia Museum of Fine Arts, Richmond, and A brown and white spaniel following a scent, dated 1777, in a British private collection (Egerton, op. cit., nos. 171 and 172). In this example, a copse of spindly trees on the right is dominated by one tall, Claudian tree. On the left, partly below the spaniel's shoulders, Stubbs offers a distant view of part of an unidentified four-storeyed building behind a winding river. Recorded by Fountain and Gates as well as Egerton as being dated 1771, microscopic examination suggests that the last digit is more likely to be a '7'. Given the spaniel's enigmatic expression and the alignment of the trees on the left hand side of the painting, both of which are similar to the later picture, this later date is highly likely.
Auction: Bonhams -Jul 6, 2011 - LondonLot number: 127
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George Stubbs, ARA (Liverpool 1724-1806London) The Harrower oil on canvas 72.4 x 91.5cm (28 1/2 x 36in). Footnote: PROVENANCE: M. Knoedler and Company, London, 1929, where purchased by thecurrent owner's father, and thence by descent LITERATURE: W. Shaw Sparrow, George Stubbs and Ben Marshall , vol. 2 ofthe series The Sport of our Fathers (London and New York,1929), ill. pp. 34-35. A very similar work by Stubbs, A Draught-horse pulling a harrow,driven by a farm labourer (oil on panel, 1786, 53.5 x 73.5 cm.)is recorded in Judy Egerton's catalogue raisonn�, George Stubbs,Painter (New Haven and London, 2007), pp. 478-479. The scene isnearly identical to the present work, presenting the same horse andlabourer against the same background, but exhibiting minorvariations: the labourer is viewed in three-quarter profile in The Harrower , but he appears in simple profile in ADraught-horse . The whip in The Harrower is clearlyvisible against a blue sky, but it appears somewhat lost againstthe foliage in A Draught-horse . Moreover, the actual harrowin The Harrower , while tethered to a similar chain, appearscocked on to a 45-degree angle behind the horse, while in ADraught-horse the harrow is presented at a similar angle butwith a more skilful portrayal of perspective, appearing to lie moreflat upon the ground. X-ray examination of The Harrower has revealed that Stubbsfirst painted the harrow at a slightly more oblique angle, but thenpainted over the device to portray it in what would appear to bemore understandable detail to the viewer. His final choice ofperspective for the device in The Harrower was arguably apoorer one in terms of draftsmanship, but was perhapsunderstandable if his desire was to present an image more easilycomprehended by those unfamiliar with the farm device.