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GEORGE STUBBS Stubbs Portrait of a Gentleman Upon a Grey Hunter, 1781 International Art Dealers & Advisors

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GEORGE STUBBS Stubbs Portrait of a Gentleman Upon a Grey Hunter, 1781 International Art Dealers & Advisors TRINITY HOUSE international art dealers & advisors GeorgeGEORGE STUBBS Stubbs Portrait of a gentleman upon a grey hunter, 1781 International Art Dealers & Advisors Trinity House Paintings Trinity House Paintings is an international art dealership. We specialise in Impressionist, Post-Impressionist, Modern British and 19th Century works, along with other exceptional pieces. We have a strong reputation for the quality of the artworks that we exhibit and offer to our clients, be they paintings, drawings or sculptures. Established in 2006 by Steven Beale, Trinity House has become a major player in the UK and global art world. Originating in the picturesque Cotswolds village of Broadway, we expanded into Mayfair, London in 2009, and in 2011 we opened our third gallery in Manhattan, New York, with our fourth gallery in San Francisco opening this year. Having these four locations, in addition to exhibiting at the major international art fairs in Europe and the US has allowed us to have personal relationships with our clients across the globe. At Trinity House, we act on behalf of private collectors, interior designers and museums, as well as other interested customers, advising on every aspect of sourcing, buying, selling and maintaining fine art. We recognize that clients need not only to be offered fine paintings and works of art, but also to be provided with expert, straightforward advice on buying art and building a collection. Our aim is to make the market approachable by acting as guides through the various aspects involved in buying and selling art. We have a strong reputation for the quality of the art that we exhibit and offer to our clients. We are committed to extensively researching our collection and we always provide our clients with the most up-to-date information and scholarship. This short book is dedicated to one of our highlights: Portrait of a Gentleman upon a Grey Hunter (1781) by George Stubbs, one of the 18th centuries greatest British artists. TRINITY HOUSE london the cotswolds new york san francisco TRINITY HOUSE | 20 HIGH STREET | BROADWAY | WR12 7DT | T: +44 (0)1386 859 329 WWW.TRINITYHOUSEPAINTINGS.COM SELF-PORTRAIT (1781) GEORGE STUBBS ENAMEL ON WEDGWOOD PLAQUE, 27 1/2 IN. X 20 7/8 IN. (697 MM X 531 MM) OVAL, NATIONAL PORTRAIT GALLERY, LONDON LONDON • THE COTSWOLDS • NEW YORK • SAN FRANCISCO International Art Dealers & Advisors GEORGE STUBBS (Liverpool, England 1724 - London, England 1806) a portrait of a Gentleman upon a Grey Hunter (1781) As a celebrated painter, accomplished dissector and man of science, George Stubbs (1724-1806) was always remarkably true to nature in his art, concerning himself with every aspect of his subject’s anatomy; ultimately, succeeding where contemporaries, such as Joshua Reynolds (1723-1792) and Thomas Gainsborough (1727- 1788), had failed. Yet, far from being a facsimilist, Stubbs injected his artworks with vitality, spirit and poetic lyricism. Portrait of a Gentleman upon a Grey Hunter (Fig. 1) is perhaps one of the best and most personal paintings in Stubbs’s entire oeuvre, demonstrating his accomplishments as a painter of horses, landscapes and people. In a moment of repose, a gentlemen, who scholars identify as Stubbs’s son, rides a beautiful grey hunter in an imagined variant of Creswell Crags, Stubbs’s favourite topographical location. Although the painting’s merit lies in its masterful execution and subject- matter, its provenance is equally significant. The painting was once owned by Paul Mellon who, according to the Yale Center for British Art, was ‘one of the greatest art collectors and philanthropists of the twentieth century. With an enviably discerning eye, Mellon was particularly fond of works by Stubbs, collecting his paintings and generously offering to present them at exhibitions. Mellon’s philanthropy together with a reassessment of Stubbs’s work contributed in elevating the artist’s status to that of Gainsborough and Reynolds as one of the greatest and most original artists of the eighteenth century. It is, therefore, unsurprising that at auction works by Stubbs command high prices and often feature as highlights of noteworthy sales. Indeed, it is very rare for a painting by Stubbs of such importance, execution and provenance to become available on the open market. “Thy pencil, Stubbs, no rival need to fear;1 Not mimic art, but life itself is here.” Horace Walpole, Historian, 1763 TRINITY HOUSE | 20 HIGH STREET | BROADWAY | WR12 7DT | T: +44 (0)1386 859 329 WWW.TRINITYHOUSEPAINTINGS.COM (FIG. 1) GEORGE STUBBS, A GENTLEMAN UPON A GREY HUNTER (1781), PRIVATE COLLECTION LONDON • THE COTSWOLDS • NEW YORK • SAN FRANCISCO International Art Dealers & Advisors a portrait of a Gentleman upon a Grey Hunter (1781) OIL ON PANEL 24 x 28 in / 61 x 71.25 cm Signed ‘Geo.Stubbs pinxit / 1781’ (lower right) PROVENENCE Robert Nesham (his administrators) Christies, 23 July 1928, Lot 153 Ackermann 1929 Mrs Robert Emmer, Paris Mrs St Clair Balfour, Hamilton, Ontario John Alistair Campbell, Alberta, Canada Mr. Paul Mellon, KBE, 1964 Christie’s New York, 1989 Private collection Private collection, United Kingdom, 2004 Trinity House Paintings EXHIBITED London Royal Academy, Painting in England 1700-1850 from the collection of Mr & Mrs Paul Mellon 12 December 1964 - 28 February 1965, no. 264 New Haven, Connecticut, Yale University Art Gallery, Painting in England 1700 - 1850 from the collection of Mr & Mrs Paul Mellon, 15 April - 20 June 1965, no. 176 Tate Gallery, London, George Stubbs 1724 - 1806, 13 February - 7 April 1985, no. 12.are for a painting by Stubbs of such importance, execution and provenance to become available on the open market. DETAIL OF SIGNATURE TRINITY HOUSE | 20 HIGH STREET | BROADWAY | WR12 7DT | T: +44 (0)1386 859 329 WWW.TRINITYHOUSEPAINTINGS.COM LONDON • THE COTSWOLDS • NEW YORK • SAN FRANCISCO International Art Dealers & Advisors ‘MR STUBBS THE HORSE PAINTER’ In his own lifetime, Stubbs was known as ‘Mr Stubbs the horse painter’, a [so that they] retain’d their form to the last without undergoing any change of somewhat derogatory label he challenged with dogged determination. position’. Stubbs would then strip away layers of skin, revealing the muscles Without doubt, Stubbs was recognised as the best in his field, yet the that were to be carefully drawn and accompanied by explanations. Stubbs eighteenth-century convention concerning the hierarchy of artistic subjects would continue in the same manner until he reached the skeleton and the tainted his work and status. Painting equine subjects generally meant that cadaver was no longer of any use. Notably, Stubbs’s anatomical studies lack an artist con ned himself to the standing of a craftsman and consequently, the limp, macabre quality associated with dead animals and instead have presented himself as an individual lacking true artistic talent. Nothing could been presented in such a way that the horse seems ennobled and full of be further away from the truth in the case of Stubbs; a perspective that spirit. It is abundantly clear from the outcome that Stubbs was a technically scholars began supporting in the 1930’s. Stubbs’s reputation as a painter gifted dissector, a professional skill he gained in his early twenties. While in of horses pervades today to the extent that it is scarcely mentioned that York (a period between 1745 and 1753), Stubbs was given permission to Stubbs only began painting horses in his thirties; previous to that, he was dissect and study his first human corpse by surgeon Charles Atkinson (1740- predominantly a portraitist. Why Stubbs turned to horses is unknown, 1783) and having impressed physicians at the university with his diligence, however, the importance of the horse to the fabric of the eighteenth century Stubbs was asked to present lectures to the pupils of the hospital. Stubbs and Stubbs’s interest in looking towards nature for artistic inspiration may demonstrated a keen intellect and strong interest in anatomy throughout his be suffcient an answer. Horses in all their incarnations were the eighteenth- life and was known to dissect small animals even as a child. Stubbs did not century versions of the tractor, tank, motorbike and racing car; the powerful only produce the drawings for the illustrations but also all of the engravings creature deserved detailed study, yet, no-one before Stubbs attempted the (Fig. 4) Portrait of a Gentleman upon a Grey Hunter is a marvelous example challenge. of the naturalism and accuracy that Stubbs was able to achieve due to his detailed anatomical studies. The difference between the horses painted before and after Stubbs are exemplary in illustrating his influence on the discipline. Anthony van Dyck Generally, Stubbs painted horses in moments of repose so that he could (1599-1641), an extremely influential portraitist, who was also known for make the most of his anatomical drawings and thus, achieve a precise his portrayal of horses did not have the necessary knowledge to paint the portrayal. Although Stubbs’s horses may sometimes seem idle, small gestural creature convincingly; in the Equestrian Portrait of Charles I (Fig. 3), the details create the sense of imminent movement. In Portrait of a Gentleman horse is unstructured, inaccurate and thus, cumbersome. In comparison, upon a Grey Hunter the horse’s ears are pricked, nasal passages dilated Stubbs’s horses, such as Whistlejacket (Fig. 2), are rendered with arresting and veins pumped; its muscles are clearly depicted as it pauses for breath. precision, accurate musculature and consequently, are full of life and Stubbs also attempted to paint pictures of horses galloping, however, these movement. So impressive was the depiction of Whistlejacket that the patron, were typically unsuccessful in capturing an accurate representation of the who initially envisaged turning the painting into an equestrian portrait of animal’s gait. A galloping horse is too fast to sketch, so many artists adhered George III, decided to leave the horse on a neutral background to function to the traditional sti - legged pose of painting horses with extended rear and as the sole focal point of the painting.
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