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
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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.
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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
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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
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(FIG. 1) GEORGE STUBBS, A GENTLEMAN UPON A GREY HUNTER (1781), PRIVATE COLLECTION
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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
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‘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. Stubbs’s paintings of horses are the front legs, with all their limbs off the ground. Stubbs’s paintings of galloping most accomplished equine sporting pictures of the eighteenth century horses such as Bay Malton with John Singleton up (Fig. 5) are much less prompting Judy Egerton, the foremost Stubbs scholar, to describe his works confident and impressive when compared to paintings such as Portrait of a as deceptively simple: ‘some of his subjects seem so ‘ordinary’ that their Gentleman upon a Grey Hunter. A horse’s gait was only properly interpreted extraordinary ability to move the spectator takes a second glance to manifest with the advent of photography and the 1878 study by Eadweard Muybridge itself. Portrait of a Gentleman upon a Grey Hunter is an exceptionally fine (1830-1904, Fig. 6). Until this time, Stubbs’s understanding of the mechanics example of a work by Stubbs that achieves this deceptive effect. and anatomy of the horse remained canonical and have still endured as incredibly important for the study and painting of horses. The momentous leap in equine portraiture and sporting pictures was the product of Stubbs’s exhausting work culminating in the publication of The Anatomy of the Horse in 1766. Having rented a farmhouse in Lincolnshire, Stubbs and his common-law wife, Mary Spencer (c.1741-1817), undertook the gruesome task of hanging corpses from the ceiling by using iron bars and hooks. According to Oziah Humphrey’s Memoir, or Particulars of the Life of Mr Stubbs, Stubbs injected ‘the muscles, the blood vessels, and the nerves
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(FIG. 2) GEORGE STUBBS, WHISTLEJACKET (C.1762), NATIONAL GALLERY, LONDON
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(FIG. 3) ANTHONY VAN DYCK, EQUESTRIAN PORTRAIT OF (FIG. 4) GEORGE STUBBS, PLATE FROM THE ANATOMY OF THE CHARLES I (C.1637), NATIONAL GALLERY, LONDON HORSE (1766)
“I am amazed to meet in the same person so great an anatomist, so accurate
a painter and so excellent6 an engraver”.
petruS camper, leadinG anatomiSt, 1776
(FIG. 5) GEORGE STUBBS, BAY MALTON WITH JOHN SINGLETON US, PRIVATE COLLECTION
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himself that nature was always superior to art whether Greek or NATURE AND Roman, & having renew’d this conviction he immediately resolved upon returning home’. However, it is quite clear that Stubbs was more appreciative of the artistic output of other artists than he INNOVATION would like us to think. Works by Italian Masters such as Titian, The only record of the first thirty-five years of Stubbs’s life is found Giorgione and Tintoretto were mentioned in the contents of his in Humphrey’s Memoir which was written following a series of studio following his death, clearly indicating his affinity for the Old conversations with the artist between 1794 and 1797. Stubbs Masters. These works were likely to have influenced Stubbs and would have already been over seventy years old and although certain features and components particular to the Italian Masters the details in Memoir cannot be accepted with unwavering can be seen in his own paintings. confidence, it is interesting to note the underlying messages Stubbs wanted to convey. For instance, throughout the biography, In the eighteenth century there was a strong feeling among Stubbs attempts to perpetuate the myth that he only ever learnt artists that the technique of the Old Masters was lost and should from nature; a somewhat romanticised outlook that can be proved be sought again. Reynolds is famously said to have methodically invalid. According to Humphrey, Stubbs ‘would look into nature for removed the layers of paint from pictures, essentially dissecting himself and consult and study her only and to this determination them, in order to determine the techniques of Italian painters. he steadily adhered during the course of his long life, for he never There is evidence to believe that Stubbs was interested in regaining copied one picture whatsoever for his own improvement – either this lost knowledge too. From the 1770’s onwards Stubbs’s in Italy or elsewhere’. Perhaps, Stubbs’s felt that this perspective materials changed drastically and although they continue to be would give his work an added air of originality or gravitas and labelled as oil on canvas or panel, this description is inadequate would aid in overcoming the complexities associated with being in explaining the complexities of his medium. Stubbs’s works on branded a horse painter. Stubbs believed that true beauty was panels post-1770, such as the present work, were often painted in to be found in nature and that rather than copying other artists, mixtures of beeswax and non-drying oils and fats even though this one should copy the natural world, thus, giving reason for why he is not apparent to the naked eye. Conservators have noted that chose to paint horses; it was not a question of skill, but rather the mixtures in these resin/fat or resin/wax paintings are always inspiration. different and that this indicates that Stubbs was constantly looking for a better medium to replicate the effects of the Old Masters. In 1754, Stubbs embarked for Italy, a destination that was well- Curiously, these panels have withstood the test of time and are in established as a rite of passage for artists who wished to improve very good condition while other artists’ experiments deteriorated their status and prestige. Italy was a stepping stone which provided quickly. Perhaps, this is a testament to Stubbs’s knowledge, networking opportunities with other artists and patrons, however, foresight and ability to methodically combine science and art in his Stubbs’s motive for going to Italy was apparently ‘to convince search for the technique of the Old Masters.
(FIG. 6) EADWEARD MUYBRIDGE, THE HORSE IN MOTION (1878)
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A GREY HUNTER WITH A GROOM AND GREYHOUND AT CRESWELL CRAYS - GEORGE STUBBS (C.1762-64), TATE BRITAIN, LONDON
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MOLLY LONGLEGS - GEORGE STUBBS (1762)
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London and would only have had limited opportunity to visit the SUBJECT-MATTER crags, however, the importance and influence of the cliffs cannot be overlooked. The background in Portrait of a Gentleman upon Portrait of a Gentleman upon a Grey Hunter is comparable to a Grey Hunter was likely to have been composed of elements a number of paintings in Stubbs’s oeuvre in subject-matter and from the area and reformulated into a dramatic yet harmonious composition and has a particular resemblance to Stubbs’s self- composition exemplary of Stubbs’s imagination and artistic ability. portrait on enamel of 1772 (Fig. 7). According to some scholars, The background is seen to the left and provides a distant horizon the similarity in the pose of the gentleman, the horse and the towards which our subjects seem to be heading. In contrast, the background suggests that the rider in Portrait of a Gentleman right-hand side of the composition provides a mid-ground to upon a Grey Hunter is a relative of Stubbs’s or at least a close suggest the scale of the gorge as it climbs above the scene. The friend; the open demeanour and informal pose suggests that the craggy bluff forms a strong dark backdrop for the pale grey horse sitter ‘belongs to a circle in which Stubbs felt at home’. In 1972, in the foreground, pushing the subjects to prominence, a device Basil Taylor proposed that ‘the man’s features show such a strong Stubbs had experimented with before and managed to perfect in resemblance to the artist’s, while being considerably younger, the present painting. that one is bound to consider the possibility that the picture may represent his natural son, George Townly Stubbs’. Unfortunately, no portrait of Townly Stubbs exists, so the theory is impossible to corroborate and must remain speculative. Nonetheless, the painting is considered as a highly significant embodiment of all the elements that Stubbs is famous for; an accurate depiction of a horse, a strong representation of a figure and a picturesque landscape acting as a harmonious backdrop.
One way in which Stubbs added variety to his paintings was by placing them in different landscapes. Creswell Crags, on the Nottinghamshire-Derbyshire border, was a particular favourite of Stubbs’s and features in a number of his works such as A Grey Hunter with a Groom and a Greyhound at Creswell Crags (c.1762-64. Fig. 8). The crags were not particular well-known during Stubbs’s time, however, The Beauties of England and Wales (1801- 1815), a guide to Britain’s topography, noted that Creswell Crags are ‘curious and worthy of notice, consisting of rocks torn by some convulsion of nature into a thousand romantic shapes’, adding that they ‘are not often visited’, since they lie ‘out of the usual track of (FIG. 8) GEORGE STUBBS, A GREY HUNTER WITH A GROOM AND good roads’. Although some believe that Portrait of a Gentleman GREYHOUND AT CRESWELL CRAGS (C.1762- 64), TATE BRITAIN, upon a Grey Hunter is located at Creswell Crags, it must be noted LONDON that it is more likely to be an imagined, generalised landscape than a precisely identifiable topographical area. In his later works, Stubbs transitioned from painting specific areas to using a reliable picturesque formula, comprising of distant hills, water in the middle distance and a rocky outcrop in the foreground, to please contemporary taste. Perhaps, Stubbs heeded Reynolds’s advice delivered as part of his third discourse at the Royal Academy in 1770 when he urged that ‘nature is not to be too closely copied. A mere copier of nature can never produce anything great, can never raise and enlarge the conceptions. The whole beauty of the art consists, in my opinion, of being able to get above all singular forms, local customs, particularities and details of every kind’. After the 1760s, Stubbs chiefly worked out of his studio in
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(FIG. 7) GEORGE STUBBS, SELF-PORTRAIT ON A GREY HUNTER (1782) ENAMEL ON WEDGWOOD BISCUIT EARTHENWARE, MERSEYSIDE COUNTY COUNCIL, THE LADY LEVER ART GALLERY, PORT SUNLIGHT
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Stubbs continues to be incredibly collectable and it is rare for fine MARKET VALUE AND examples of his work to appear on the open market. Below is a list of noteworthy and record-breaking sales:
RECEPTION Gimcrack on Newmarket Heath, with a trainer, jockey and Stubbs’s enormous talents were recognised by patrons and stable lad (Fig. 9) although his subject- matter held him back, certain artists, such Oil on canvas, 76 1⁄4 x 40 in. (193.6 x 101.6 cm.) as Reynolds, greatly admired his work. According to Humphrey, Christie’s London: Tuesday, July 5, 2011, Lot 12, Old Master & Reynolds gave Stubbs his first commission after settling in British Paintings Estimate: £20,000,000 - £30,000,000 ($32,169,856 London in 1759. This is significant given that Reynolds was already - $48,254,785) considered the leading portrait painter in the city. Unfortunately, Sold: £22,441,250 with premium the painting, Portrait of a Managed Horse, is now lost, but we also know that in 1762 Reynolds wished to obtain another painting by Stubbs, on this occasion a painting depicting a mythical subject, Brood mares and foals the fall of Phaeton. This interesting fact demonstrates that Oil on canvas, 74.3 x 39.3 in. (188.6 x 99.7 cm) Reynolds held Stubbs in high regard from a technical and artistic Sotheby’s London: Wednesday, December 8, 2010, Lot 45, Old perspective, regardless of his choice of subject. Master & British Paintings Estimate: £10,000,000 - £15,000,000 ($15,787,811 - $23,681,717) In the twentieth century, one of the most famous collectors of works Sold: £10,121,250 with premium by Stubbs was Paul Mellon, a thoroughbred race horse owner/ breeder and co-heir to Mellon Bank. In 1957, his family were in the top eight richest families in America and were highly supportive Bay Malton with John Singleton up (Fig. 5) of causes that advanced the preservation of horses, including the Oil on canvas, 50 x 40 in. (127 x 101.6 cm) Grayson-Jockey Club Research Foundation which allocated grants Christie’s London: Wednesday, July 8, 1998, Lot20, Wentworth Sale towards specific research projects for the safety, welfare, longevity Estimate: £2,000,000 - £3,000,000 ($3,273,858 - $4,910,787) and improvement of life for race horses. Stubbs, perhaps the Sold: £3,026,500 with premium greatest painter of equine subjects to ever grace the art world, was an obvious choice for a philanthropist wishing to combine his taste for art with his interest in horses. In 1936, he bought his first British painting, Pumpkin with a Stable Lad by Stubbs, and in 1964, Mellon acquired the Portrait of a Gentleman upon a Grey Hunter. Paul Mellon was responsible for setting up the Yale Center for British Art, to which he donated a large proportion of his collection and has been intrinsic to the burgeoning popularity of Stubbs having generously supported the Tate’s landmark exhibition of the artist’s work in 1984.
(FIG. 9) GEORGE STUBBS, GIMCRACK ON NEWMARKET HEATH, WITH A TRAINER, JOCKEY AND STABLE LAD, PRIVATE COLLECTION
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picture hanging as seen at the Lainsborough hotel, london
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