Digitized by the Internet Archive in 2015 https://archive.org/details/lifeofgeorgestubOOgilb Previous to destroying the Plates, One Hundred and Fifty Copie^ of this Edition have In-en printed. THIS COPY IS NUMBER ^7 LIFE OF GEORGE STUBBS R.A COMPILED BV Sir WALTER GILBKY Bart. WITH ILLUSTRATIONS The Steel Ejigravtngs hy J . B. Pratt ; the Wood Engravings by F. Bahhage. LONDON: VINTON & CO., 9, New Bridge Street, Ludgate Circus, E.C 1898 9 CONTENTS CHAPTER Dedication to the Earl of Rosebery ..... Introduction by the late Mr. George Redford I. Birthplace — Father's Business — Studied Anatomy when Eight Years old — Delicate Health when Fifteen — Father's Death — Engaged to Copy Pictures at Knowsley Hall — Great Success, and Jealousy of his Master — Determined Never to Copy Another Picture — Model of a Horse for Liverpool Society of Arts : Gold Medal Given — Account of His Life in Sporting Magazine for 1809 n. At Age of Twenty went to Wigan, afterwards to Leeds, where he Painted Portraits — Thence to York, where he Studied Anatomy of Human and Animal Subjects, Practised Fencing, and Learnt French — Illustrations for a Work on Midwifery — Engraved Same for Dr. Burton's Work, published 175 1 — Removed to Hull — Visit to Rome — Motive for the \'oyage — Palaces and Painters — Differs in Opinion from Brother Students HI. Return from Rome — Acquaintance with an African — Visit to Africa — In Close Quarters with the Lion Himself — A White Barbary Horse Attacked by a Lion — Painted Three Pictures of the Tragedy : " The Horse, with Lion in the Distance," "The Horse Affrighted," "The Lion Seizing the Prey" — His Mother's Death at Liverpool — ^'isit to Lincolnshire — Commission from Lady Nelthorpe — Correspondence with Sir Joshua Reynolds — A Farm- house Studio in Lincolnshire — Worked for Eighteen Months Dissecting for " The Anatomy of the Horse " VI. CONTENTS. CHAPTER PAGE IV. His Fellow Anatomical Students Failed to Assist — Came to London with His Drawings — Engravers in London had no Liking for the Task — Stubbs Decided to do his own Engraving : Occupied Seven Years, Karly Morn- ing, or after Working Hours — Never Broke into Regular Occupation of Painting — Studio at 24, Somerset Street, Portman Square — The Work Completed with Twenty- four Plates — Very Favourably Received by those to whom it Appealed . . . . . . . ■ I7 V. "The Anatomy of the Horse": Published in 1766 in Eighteen Tables, Illustrated with Twenty-four Engraved Plates — The Preface by Stubbs Describing the Object he had in Preparing the Work — A Comparison with Forty-eight Other Works by Different Authors — The Original Drawings Owned by Sir Edwin Landseer — Left by his Brother, Thomas Landseer, to the Nation — Now in the Library of the Royal Academy, Burlington House 23 VI. Early Patronised by the Duke of Richmond — Visited Good- wood to Execute Several Works — For the Marquis of Rockingham he Painted many Pictures, including a life-size Portrait of the Celebrated Racehorse Whistle- jacket 30 Vn. Visit to Eaton Hall, Cheshire — Executed many Works, in- cluding "The Grosvenor Hunt" — Recent Notes on this Picture and on Other Works by Stubbs, now in the Duke of Westminster's Collection ..... 33 VI II. The Society of Artists : Stubbs Chosen Treasurer in 1760 and President 1773 — Established on Co-operative Basis of Mutual Benefit for Exhibitors — For many Years Attended with Success — Royal Charter Granted 1767 — Seven Years afterwards the Society Ceased to Exist — Stubbs a Constant Exhibitor — Particulars of Many of his Exhibits Given . . . . , ... 36 IX. Painting on Tablets and Copper Plates — Cosway, the Minia- ture Painter — Stubbs Commences Experimenting — -Two Years' Study of Chemistry — Discovers Nineteen Tints — Delay in Making Plates — Wedgwood and Bcntley Com- missioned — Produced Earthenware Tablets of Large Size — -Lord Melbourne Purchases First Picture — ^Letters from the " Life of Wedgwood " referring to Stubbs — Stubbs Paints the Wedgwood Family .... 41 X. Stubbs Well Settled in London — Description of House and Furniture— Well-stocked Cellars — Stubbs Drank Water Only : Friends Not so Temperate — Works of Old Masters — Studio Behind House— Anatomical Objects, Lay Figures, Travelling Easel, Engraving Table — Picturesque Effect of Studio — The Stables ... 48 CONTENTS. vii. XI. Stubbs Elected Full Academician in 1781 — Quarrel with the Council on Diploma Picture — Seven Pictures sent in 1782 — AIJ .Badly Hung and Descriptions Cut Down — This Treatment Resented — Hanging Committee Pleaded Justification — Misunderstanding about "The Grosvenor Hunt " Picture — Recent Application to refer to Old Records — Extracts from Old Minute Books, Letters, and Orders in Council — Stubbs' Reputation Not Marred — He Contributes Fifty-two Pictures to the Royal Academy . . . . . • 5^ XH. Stubbs and His Critics — Thomas Landseer gives Stubbs Place of Honour in Animal Painting — Comparison with Rubens, Rembrandt, Rydinger, and Sir Edwin Landseer — Stubbs a Sworn Disciple of Nature — Chalmers re- marks, "His Tiger for Grandeur has Never Been Equalled " — M lyers says, " His Dogs and Horses are the Living Thing, the Highest Art" — In the King of Bavaria's Collection at Schleissheim, near Munich, is the " Spanish Pointer " — In Official Catalogue a Note of Eulogy is Given — Other Critics on the AVorks of Stubbs 62 XI 11. Commission to Paint for The Turf Review: Agreed Price £(),ooo — The Works to be Exhibited, Engraved, after- wards Published — Criticisms of the Pictures — Portraits of Stubbs — His Strength Prodigious — He Rose Early, .Ate Little, and Drank Water only — In His Seventy-fifth Year Walked from London to Watford— The Day before His Death Walked Nine Miles— Passed Away Calmly in His Armchair — Obituary Notices in T/m Sporting Magazine and T/ie Gentleman s Magazine — His Burial on the l8th July, 1806 74 Xl\'. His .Associations with Famous Men — ^Sir Joshua Reynolds within a Year the Same Age — ^" The Anatomy " pub- lished Same Year as Goldsmith's " \'icar of Wakefield " — Eighteenth Century English Art — Stubbs and Rey- nolds visited Rome — Founding of the Royal Academy — Reynolds Implicated in Treatment of Stubbs? — Stubbs' Horses in Comparison with Reynolds' Men and Women — Gainsborough's Quarrel with Royal .Academy — Hogarth and Wilson, with other Celebrated Eighteenth Century Men — Animal Painters who Preceded Him : Wyck, Seymour, AVootton, Sartorius — Later Day Men : Marshall, Ferneley, Gilpin, Garrard, Chalon, Cooper, Landseer, and Henderson — Still more recent Men: Davis, Hopkins, Charlton, Woodville, Palfrey, Sturgess, and Carter — .And Foreign Artists Known in England : Meissonier, Rosa Bonheur, and Emil Adam . . Si XV. The Original Plates from His Paintings — Names of the Various Engravers, George Townley Stubbs, WooUett, Benjamin Green, John Scott, and others — Prices Com- manded by His Paintings. ...... gi 2 viii. CONTENTS. APPENDIX A. Specimen Plates and Description ffom Stubbs' Work, "The Anatomy of the Horse." . APPENDIX B. List of the Works of George Stubbs in the following Collections, viz. : At Windsor Castle— H.M. the Q)ueen . . .113 At Marlborough House— H.M. the Queen . -115 At Cumberland Lodge, Windsor— H.M. the Queen 117 At the National Gallery, London . . .128 At the South Kensington Museum . . .129 At Eaton Hall — Duke of Westminster . .129 At Heatherton Hall— Col. Adair . . -131 At Queen's House, Lyndhurst— Hon. G. Lascelles 131 At the Jockey Club, Newmari : . . . -132 At the Durdans, Epsom— Earl of Rosebery 133 At Berkeley Square — Earl of Rosebery . .138 At Brocklesby Park— Earl of Yarborough . . 141 At Welbeck Abbey — Duke of Portland . .142 At Althorp — Earl Spencer i43 At Elsenham Hall— Sir Walter Gilbey, Bart. . 144 At 143, Piccadilly— Baron F. de Rothschild . 167 At Scorby Hall— Mr. R. N. Sutton-Nelthorpe . 167 At Wentworth House — Earl Fitzwilliam . .168 At Shirburn Castle— Earl of Macclesfield . 169 At Goodwood House — Duke of Richmond . . 171 At Wynyard Park — Marquis of Londonderry . 173 At Petworth Hall — Lord Leconfield . . 174 At Schleissheim, Munich— King of Bavaria . -174 At Osberton Hall— Right Honble. J. F. S. Foljambe 175 At Possingworth — Louis Huth, Esq. . . -175 At Belvoir Castle— Duke of Rutland . . .176 At Sunningdale, Ascot— Sir George Pigot, Bart. 176 fAGE 97 CONTENTS. IX. APPENDIX C. SdtN's' Contrihutions to the E.\hil>itions during the years 1762 to 1802. PACE At the Society of Artists . . . . -177 At the Royal Academy of Arts . . . .180 At the Turf Gallery . . . . . .184 APPENDIX D. Sale Catalogue after Stubbs' Death . . .190 APPENDIX E. Vokin's Exhibition in 1885 207 APPENDIX F. Snape's Anatomy 223 APPENDIX G. The Portraits of Stubbs , . . . . .226 APPENDIX H. "Further Particulars" from "The Sporting Magazine" 228 APPENDIX I. Stubbs' Last Will and Testament . . . .232 X. CONTENTS. ILLUSTRATIONS Portrait of George Stubbs Frontispiece. TO FACli Sir John Nelthorpe, Bart., Partridge Shooting . 14 The Grosvenor Hunt • 34 The Wedgwood Family . 46 Spanish Pointer .... • 94 Specimen Plates : The Anatomy of the Horse . 102 Hunting Piece : Welbeck Abbey 142 Racehorse Shark .... 164 Racehorse Hambletonian • 174 ILLUSTRATED HEADPIECES PAGE A Tigress V. Marske, the Sire of Eclipse .... xi. Racehorse Eclipse I Hack-hunter and Stud-hound .... 6 Hunters at Grass ...... 10 Racehorse Protector • 17 Racehorse Volunteer . . • 23 Old English Pointer ..... • 30 Spanish Pointer ■ 33 Bulls : The Combat • 36 Frightened Horse 41 Horse and Lioness . 48 Shooting : The Start • 52 Shooting : Killing over Pointers . . 62 Shooting : Sportsman at Rest .... • 74 Shooting : The Display 81 Racehorse Mambrino, the Sire of Messenger • 91 IIARSKE — AGED 26. TO THE RIGHT HON. THE EARL OF ROSEBERY K.G. T MUCH appreciate your kind permission to dedicate this book to you, knowing the deep interest which you take in the artistic merits of George Stubbs, and being acquainted with the valuable collection of his works which you possess. Its publication will, I hope, do something to revive the high position which Stubbs held in his life-time as the chief pioneer in the art of painting animals, especially the Horse. It will also have answered a useful purpose if it brings into prominence his laborious work "The Anatomy of the Horse," which has since its publication in 1766 been so frequently pirated by writers and artists, and the veterinary profession, too often without the slightest acknowledgment of the source of their information. For the introductory chapter I am indebted to my friend the late Mr. George Redford. In Xll. DEDICATION. this introduction will be found many details of great interest on the subject of the early career and subsequent work of George Stubbs. For the earlier facts in the life of Stubbs I am indebted to the memoirs of Thomas Dodd. William Upcott, and George Stubbs, by Mr. Joseph Mayer, F.S.A., from the pages of which I have freely drawn. WALTER GILBEY Elsenham Hall. Essex, 1898. INTRODUCTION HOSE who are familiar with the pictures of old English racehorses and hunters, and the larger pictures of fox- hunting in the good old days of sport, which George Stubbs painted, and which give such character and interest to the halls and dining-rooms of the country houses of England, must have constantly admired these capital paintings so many of which are indeed historical portraits of famous riders and of celebrated horses, the champions of the Turf. Yet few persons know what a very remarkable man this artist was, not only as a painter of animal life and character in which he surpassed all the artists of his day, but by reason of his endowment with the fine qualities of insight, invention, indomit- able perseverance and application, displayed with such martyr-like devotion in the great work of his life, "The Anatomy of the Mil. XIV. INTRODUCTION. Horse," which is a masterpiece of its kind. This, if he had never painted a picture, stands as his monument executed by his own hand, being invaluable as a teacher of authority to those who have to study the horse in its form and action, whether as artists, as trainers, or as veterinarians. The service thus rendered by George Stubbs to the wide-reaching cult of the horse is shown by his pictures, as well as by his book with his own engravings, to be found in every country house library and every veterinary college. More than this is the interesting testimony that his anatomical drawings of the horse were the treasured studies of the greatest animal painter of the age — Landseer — who be- queathed them to his brother, the able engraver of his works, by whom they were deposited in the library of the Royal Academy of Arts. Born painter that he was, young Stubbs soon showed what stuff he was made of by learning for himself how to use brush and palette so well that he surprised Winstanley with a copy of one of the j)ic- tures which that artist made from those in Lord Derby's collection at Knowsley. INTRODUCTION. XV. Indeed, his work must have been so good as to excite the jealousy of Winstanley, from whom Stubbs thought to gain some in- struction; for when the youngster proposed, with characteristic boldness and confi- dence in himself, to make a copy of a fine picture by Vandyck and Snyders, his would-be master objected that he meant to do this himself. So our ambitious young painter, baulked in his first spring, went for another and quite as difficult a picture by Paolo Veronese. But here he was stopped again, for this, too, was to be reserved for the master. Then young Stubbs' spirit rose ; he told Winstanley to do his copying him- self ; that for his part he would look to nature only as his master. All this will be read with interest in the strong, manly words of the young painter ; we shall also see how much he accomplished in his riper years, as related in the volume before us. That he was captivated with the beauty of the horse and chose this as the subject of his art was no wonder, for have not the greatest sculptors and painters from Pheidias and Polygnotus of old delighted to portray " the noble animal " ? While the greatest poet of all time has told his 3 xvi. INTRODUCTION. admiration of the horse and his rider in that fine line : " And witch the world with noble horsemanship." Had George Stubbs been of the poetic turn instead of the positive, practical student of nature that he was, he never could have seen the classic horse and horse- man in all the grace and grandeur of the Parthenon frieze. He probably did see the horses and lions which Rubens, that autocrat of the palette, cast upon his colossal canvases in such magnificence as we see in those tre- mendous apparitions, " The Conversion of Saul," and " Daniel in the Den of Lions " ; and a kindly smile of forgiveness must have passed over his keen face as he looked at those horses with their human eyes, and lions with ferocious mouths expressive of demoniac malice. These were not the real animals, and Stubbs knew it. They were horses and lions as Rubens liked them to look, in magnificent stage-struck atti- tudes, grand and imposing, if untrue to brute nature. Stubbs set his face against these extravagances of the painter's art, and asserted his faith in the teaching of nature. There was nothing of the imitator about INTRODUCTION. xvii. him, nor any of the vain conceit that leads such painters as Fuseli to think they can draw the bow of Michel Angelo. Yet when, in his determination to see all the wonders of art, he went to Rome, he must have stood to marvel and admire before those two colossal horses of ancient art that rear so proudly on theQuirinal Hill. With his anatomic eye he saw their faults, yet he could not but wonder at such prodigies of art and skill. Then, too, when in company with those fellow-students of his, those idealists and poets of the craft with whom he was always disputing, he was taken in triumph to see the great works of Raphael in the Vatican stanze, we can fancy his amazement at that wonderful group of the avenging horseman on his fiery charger trampling down the spoiler of the sacred treasures — Heliodorus. With all his en- thusiasm for the natural and the real, Stubbs was too good an artist not to admire these grand visions of the painter realised with such consummate art. Again, his admiration must have been evoked when he looked upon Aurora as Guido painted her guiding the horses of the sun upon the rosy clouds, on the ceiling of the Rospigliosi XVlll. INTRODUCTION. Palace. He laughed, no doubt, at the pretty piebalds pawing the clouds ; but it is impossible to think he was not impressed ^\'ith the beauty of the picture ; and his heart must have swelled as he felt that he, too, was a painter of horses. Perhaps it was this that led him to paint his fine imaginative picture of Phaeton daring to drive the flaming chariot of the Sun and straining every nerve with desperate grasp to hold the four fiery horses tearing madly through the threatening heavens stung by the lightnings of Jove. It must have interested him, as himself a painter of wild animals and great hunters, to see with what marvellous fancy and creative art the ancient sculptors repre- sented, in the Centaur, their renowned nation of hunters. He w^ould have won- dered while he admired the famous Centaur in the museum of the Capitol, carved out of the hardest marble, and with such amazing- fitness and adaptation of the man to the horse in all the wild grace of strength and ferocity, with such apparent naturalness that it must have delighted him. and almost led him to believe that such freaks of Nature, as described in ancient INTRODUCTION. XIX. mythology and art, really once upon a time existed. He painted the Centaur in his picture of "The Rape of Dejanira," from the ancient myth that tells how Hercules, trusting his wife Dejanira to be carried across the river Evenus by the Centaur Nessus, heard her screams and, shooting his arrow into the heart of the Centaur, rescued her. The landscape in this is described as very fine, but the picture has not been found, though it was in Stubbs' own collection sold after his death. The famous hero seems to have taken his fancy, for he painted other pictures of his exploits, one of which — " Hercules capturing the Cretan Bull " — is in the Elsenham Hall collec- tion, and will be found described in the Appendix B, page 150. This picture was evidently intended by Stubbs to show the Academicians that he could paint the human figure with as consummate a knowledge of the anatomy and living action of the wondrous form of man as he dis- played in portraying the horse and other animals. And it will be seen that he could do this without borrowing from the ancient sculptures of the Greeks or from the more modern works of Michel Angelo, XX. INTRODUCTION. as Fuseli and others of his fellow- Academicians borrowed. Others were "The Choice of Hercules" and " The Judgment of Hercules " ; both these pictures are among those which yet remain to be dis- covered ; among which should also be included his picture of " Hope nursing Love," also mentioned in the catalogue* of the sale of his collection. Besides these subjects of ancient myth- ology, which must have been inspired by study of the classic works of art in Rome, Stubbs must have been especially interested in that wonderful collection of sculptured figures in the Vatican, " The Hall of the Animals." Here he found his taste for wild animal nature met to the full — lions attacking horses and stags, Her- cules fighting the Nemaean lion, Diomedes and his horses slain by Hercules, and every wild animal that used to be seen so con- stantly in the barbaric sports of the ancieat Roman arena. All this, we may be sure, confirmed and enlarged his view of animal painting, and with that remarkable experi- * See Appendix D, page 205. According to Leslie and Taylor's Life of Reynolds (i, 442), this work was exhibited with seven others in 1772 at the Incorporated Society of Artists. INTRODUCTION. xxi. ence which befell him on his journey home of actually seeing a lion steal upon the horse, enabled him to paint pictures of this class with far more natural and vivid expression than any artist of his time. George Stubbs came away from Rome, after seeing all that Art could conceive and create, a more determined naturalist than ever. He made no copies of the great pic- tures ; the Beautiful was not his ideal, but the Natural. Perhaps he would have admitted that Art would be nothing with- out its great fictions, though these ideal truths w^ere not the kind of truth in which he believed ; and such was his indepen- dence of opinion, with a spice probably of native combativeness, that on his return to old England he threw himself again with increased ardour and determination into the work of dissection. We can recall few more impressive examples of self-help and the most strenuous exertion and abundant resource than this of Stubbs in the lonely farmhouse in Lincolnshire, with his de- voted young niece. Miss Spencer, his only companion, working away for many months at this anything but pleasant task. Then, the ingenuity with which he posed xxu. INTRODUCTION. the animal, choosing the attitude that would enable him to show the muscles in his drawing, was worthy of the best skill of an inventive genius, to say nothing of his artistic ability. What a picture of devoted pursuit and study it was to see him, after having made his dissections, intent upon hauling his cumbersome dead horse by pulleys and hooks up to the iron beam in the ceiling, with the legs and feet of the creature hanging in the natural attitude upon the plank below! We see in the engravings in his book, on which he laboured for years, with w^hat extraordinary truth to nature he succeeded in accomplish- ing this, employing to gain it, a method that had never before been even thought of, much less attempted. The drawings, which Landseer came to appreciate at their truly high value, are wonderful in respect of precision and completeness, and they dis- play the master that he was on every side. No anatomical detail w^as too minute for his untiring hand and eye; every bone, liga- ment, tendon, and muscle, every smallest articulation and distinctive form he not only indicated clearly, but marked with num- bers for reference upon the outline plates. INTRODUCTION. xxiii. With what sinQ:ular methodical skill he carried out all his anatomical processes and made the drawings from which he engraved the plates during several years of laborious work, up with the sun and often late into the night, will be learned from the volume before us. All the while he kept up his painting, in which the horse and the hound and the bold rider, with all the spirit and chivalry of the chase and the turf, were set off to advantage with all his unrivalled know- ledo;e of animal nature and his fine feelinsf for the picturesque in landscape and figures. Besides these works, in \vhich he proved so distinguished a master, there were those remarkable pictures of wild beasts engaged in savage attacks on peaceful flocks and herds. As if this were not enough for the most heroic soul and giant strength of body, when he was past middle life he took up the novel idea, suggested by Richard Cosway, of enamel-painting on a scale never attempted before, and, after making many experiments, actually succeeded, in discovering the colours that w^ould stand fire, and then in producing large pictures 4 xxiv. INTRODUCTION. in this indestructible and brilliant material. Several of these works are named in the catalogue. His contributions to the exhibitions could not fail to lead the Royal Academy of Arts to observe the great superiority of his works over others in the same line, and he was elected an Associate, though rather late in life, for he was then fifty-seven. This some- what tardy recognition of his merits was however amply atoned for by his advance- ment to the full rank of Academician in the following year. In this connection we find the one cloud of annoyance that over- shadowed his career, in the shape of a dis- agreement with the Council of the Academy as to the so-called diploma picture which every member has to present on joining the body. The circumstances are related by the author as fully as can now be ascer- tained ; and however regrettable they may be, they did not concern in any way the reputation of Stubbs as an artist, or as a man of honour and high character. The end of his long life came upon him suddenly, but happily without the suffering that is the common lot of mankind : and there is something ennobling as well as INTRODUCTION. XXV. pathetic in this fine old master of the brush, the graver, and the scalpel, dying as he sat looking at his last picture on the easel before him. So George Stubbs takes his place among the stars, with those gifted, if not with the poetic fire, yet with that backbone of genius, " the infinite capacity for taking pains." None have surpassed him, and few have been his equals in this admirable quality that begets so much : and in his case it was associated with such modesty and sincerity as led him to say, in completing his great work : " He will think his labour well bestowed if in any sort it may facilitate or promote so necessary a study." That a painter of such distinction as Stubbs should not be represented by any work in the National Gallery,* or in the South Kensington collection of the pictures of British artists, is very much to be regretted, and we can only hope that so serious a deficiency will speedily be supplied by the acquisition of some worthy example of his art. It remains to be said of the art of * Since this was written a fairly good specimen has been added. XXVI. INTRODUCTION. animal painting", which George Stubbs did so much to promote as a leader and discoverer, that it belongs peculiarly to the English school. What was done by some few of the later Italian painters, and all the capital works of the Dutch and Flemish painters, the very perfection of painting in their kind, amounted chiefly to a beautiful, picturesque rendering of pastoral scenes, with those fine pictures of hunting the wild boar and the wolf, and of battle scenes, in which the horse and the dog played their parts with such admirable effect so far as the intention of the painter prompted. It must be remembered, nevertheless, in comparing our English animal painters with the great masters of the Dutch and Flemish schools, that our James Ward, R.A., a later contemporary of Stubbs, in his grand picture in the National Gallery of an Alderney Bull, Cow, and Calf, in which the animals are full life size, with a fine sunny landscape, quite equalled the famous " Bull " of Paul Potter, which is considered the masterpiece of that eminent painter. And in point of fine artistic discernment of the different characteristics of animal nature, combined with the utmost technical per- INTRODUCTION. XXVU. fection of painting, Ward's picture even surpasses it. No other school in any country has clone, or even caught a glimpse of, what has been revealed in this branch of art by our Landseer, in such masterpieces as his " Man Proposes, God Disposes," — the bears tearing the precious relics of Franklin and his Arctic voyagers ; " The Monarch of the Glen " ; and the " Eagles attacking the Swans." Amongst French painters, Rosa Bonheur alone stands out pre- eminent with several masterly pictures, of which her first great work, " The Horse Fair," at once won for her fame and rank amongst the greatest masters in animal painting. Nor can any animal painters of the modern Continental schools be named in comparison with our Ben Marshall, Ferneley, Gilpin, Garrard, Chalon, Abra- ham Cooper, J. F. Herring, Sidney Cooper, H. B. W. Davis, Briton Riviere, Cooper Henderson, and Frederick Tayler, the two last-named who, though only water-colour painters, yet gave a charming view of old English sport in their pictures of coaching, hunting, and hawking in the olden days. George Redford. ECLirsE. GEORGE STUBBS CHAPTER I His Birthplace — Father's Business — Studied Anatomy when Eight Years Old — His Delicate Health when Fifteen — Father's Death — Copied Pictures at Knowsley Hall — Great Success, and Jealousy of his Master — Determined to look to Nature and never Copy another Picture -Model of a Horse for Liverpool Society of Arts: Gold Medal Given — His Life Given in Sporting Magazine for 1810. GEORGE STUBBS was born at Liverpool, on the 24th of August, 1724. His father, John Stubbs, a man greatly respected, was ex- tensively engaged in the craft of a currier, or what may be termed the business of dressing, in colours, leather after it has been tanned. In those days, when the craft was less mechanical than now, its practice required an accurate knowledge of art, so far as it went ; and from a boyish interest in the blending and manipulation of colours, as practised in his father's workshop, it may be assumed that the boy gained his first ideas of that higher art in which he was after- wards to attain such eminence. 2 CHARACTER AS A BOY. One incident, related by his son, calls up a pleasant picture enough of " honest John Stubbs," as the neighbours called him. On one occasion, during a Sunday walk, the boy met a party of his father's workmen, to whom he gave an unlimited order for refreshments at the ' Half-Way House,' near Liverpool. When John Stubbs heard of it, he hastened to the inn to satisfy himself that the score had been honourably settled ; and on finding that the boy's pocket money had sufficed for this, he never, to use his son's words, " from that moment mentioned a word of it." This episode was certainly characteristic of George Stubbs, and proves again the adage of the boy being father of the man. The boyish self-reliance displayed in this simple adventure marked him to the end. Throughout his career, indeed, he maintained an independence of character remark- able in days when it was thought almost im- possible to attain pre-eminence, in art especially, without the aid and countenance of patrons. When scarcely eight years old, his father being still resident in Liverpool, at Ormond Street, the boy began to study anatomy. Dr. Holt, a neigh- bour, lent him bones and prepared subjects from which he made drawings. His father does not ap- pear to have entertained the prejudice, so common at that time, against painting as a profession, but he naturally desired that his only son should suc- ceed to a business by which a comfortable income might be secured. Accordingly George stayed DEATH OF JOHN STUBBS. 3 at home, and being- of rather delicate constitu- tion, was excused from the manufacturing- part of the business, and principally employed as a clerk to the concern, for -which it will appear he had no great predilection. It seems likely, indeed, that he showed actual distaste for this employment, as from his childhood he had evinced a taste for the imitative arts. His deep study of nature, and his fine pencil, to- gether with his exquisite correctness, enabled him, before he had attained the age of fifteen, to produce many highly finished works, and to win the admiration of all the cultivated men in that part of the country. John Stubbs about this time fell into ill-health. Seriously concerned about his son's future, he reflected that to succeed in art a man has need of most careful education. He saw the importance of a good master, com- petent to set so young an artist in the way to fame and fortune ; and if considerations of the latter character were foremost in the mind of the good currier, it was very natural under the cir- cumstances. At this point, however, John Stubbs disappears from our history. He died, leaving his widow, fortunately, in comfortable circum- stances, long before the remarkable faculty of his son had had time to fully declare itself. At this time there lived in Liverpool an artist of repute, Hamlet Winstanley, who occupied himself in copying the pictures at Knovvsley Hall, the Earl, of Derby's seat. It seems, more- 5 4 GOES AS PUPIL TO WIN STANLEY. over, that of the most notable among these he made etchings which passed into the possession of the Walpole family. Hearing of Winstanley in his search for a master, George Stubbs made himself known by a successful copy of one of that artist's own pictures, taken from the Knowsley Gallery. This led Winstanley to en- gage Stubbs, who was not yet sixteen years old, to aid him in his work at Knowsley, and to offer his young assistant a choice of pictures to copy. In return he undertook to furnish all the mstruc- tion needed in his art, and to allow his pupil one shilling a day for pocket money. The engagement, however, did not last long. For his first copy, Stubbs chose the celebrated Cupid by Vandyck. In this picture, Cupid, who is of a more mature age than usual, is surrounded by the various symbols of War, Painting, Archi- tecture, Music and so forth, drawn with Vandyck's utmost skill. It is evident that Stubbs must have previously worked very hard and gained no small proficiency to think of venturing upon a copy of such a difficult piece of painting; so, too, Winstanley must have thought, for he objected, remarking that he wished to undertake the replica himself. His ambitious pupil, as we are told, quaintly enough, " paused and con- sidered this refusal with surprise and some con- cern." He then proposed to copy the Ruins of Rome, by Paolo Veronese, another die/ d'a^uvre of the Knowsley collection. But this also Win- EXCHANGES WINSTANLEY FOR NATURE. 5 Stanley wished to reserve for himself ; whereupon, without further consideration, Stubbs, with a characteristic outburst, recommended him to "Copy them all, if he would ; for, since neither his word nor his engagement could be depended on, his pupil would have nothing further to do with him ! Henceforward," added the in- trepid art student, "he would look into Nature for himself, and consult and copy her only." Stubbs persevered in the resolution so hotly- expressed. He never copied another picture throughout his long life, in Italy or elsewhere. Thenceforth Nature was his only study, and experience his only master. There is a memoir of Stubbs, which appeared in November, 1809, in the Sporting AIagazi)ic,^' which gives a sketch or outline of his life ; also a list of most of his celebrated pictures, and the persons in whose possession they were in the early part of this century. It has been recorded that he executed a model of a horse " which he presented to the Society for the Encourage- ment of Arts in the town of his nativity." This work so far gained the approbation of the members, that they awarded Stubbs the gold medal with a complimentary letter ; and an order was given to preserve this effort of youthful genius among their best specimens, with a modest eulogium on the base. See Appendix H, pages 228 to 231. CHAPTER II At the Age of Twenty went to Wigan, afterwards to Leeds, where he Painted Portraits— Thence to York, where he Studied Anatomy of Human and Animal Subjects — Practised Fencing and Learned French — Illustrations for a Worli on Midwifery — Engraved Same for Dr. Burton's Work, published in 175 1— Removed to Hull — \'isit to Rome — Motive for the \'oyage — Palaces and Painters — Differs in Opinions from Brother Students. NTIL he was nearly twenty years old, George ^ Stubbs remained in his mother's house. At that age he removed to Wigan, where he lodged with a Captain Blackbourne, who received him with almost fatherly affection, perceiving in him a strong likeness to a son lately lost. After seven or eight months' sojourn at Wigan, Stubbs removed again, this time to Leeds where he addressed himself to portrait-painting. From Leeds he went to York, having received some commissions for pictures, and there he began a regular study of anatomy in the dissection of human and animal subjects. Charles Atkinson, a surgeon of that city, procured him his first body for dissec- tion, and such progress did he make that before long he was employed in giving private anatomical FIRST ESSAY AT ENGRAVING. 7 lectures to the pupils of the hospital. Nor did this engage all his time, for we hear that he practised fencing and learned French, v/hile assiduously working and maintaining himself by his profession. At York, Stubbs made his first important essay in engraving. Dr. John Burton, a prac- tising physician there, applied to him for illustra- tions for a new work on midwifery. For this commission Stubbs had to make special technical studies under great difficulties. The designs completed, the author was so well satisfied that he desired the artist to engrave them. To this Stubbs objected, on the ground of his incompe- tence to undertake a task so difficult. However, the doctor persuaded him to make the attempt, expressing confidence in the issue of the experi-' ment. As Stubbs had never seen anyone engrave, his reluctance to undertake the commission was only natural, and it is not wonderful that he should have felt dubious as to the result. In Leeds, he had known a house-painter, who sometimes practised engraving in a small way, and to him Stubbs went now to learn its rudiments. This primitive instructor taught him to cover a half- penny with etching varnish, then to smoke it, and so, with a common sewing needle stuck in a skewer, to etch after a fashion. Nothing beyond this could the house-painter impart, and Stubbs had no further help in this branch of his art. Putting his newly-gained knowledge to the 8 ENGRAVES PLATES FOR DR. BURTON. test on his own account, he found the varnish so hard, that when he crossed his lines the wax flew off. Not to be daunted, however, he succeeded, on a second attempt, after warming his plate, covering it with wax, melting it to a smooth surface, and smoking it at a candle, in making an etching of a very simple kind. Working under such disadvantages, he so far failed that his plates did not at all satisfy him. Many of them were on too small a scale to be finished without the graver, an instrument quite strange to his experience until he borrowed one of a clockmaker. Dr. Burton, however, was very well pleased, for, with all their imperfections, he found the plates anatomically exact, and sufficient for his purpose. The work, which appeared in 1751, entitled: "An Essay towards a complete, new System of Midwifery, theoretical and prac- tical," contains eighteen copper-plates so en- graved by Stubbs. Beyond these, and their bearing on his anatomical studies, the book calls for no further comment at our hands ; it can be seen in the Library of the Royal College of Surgeons in London. Stubbs remained at York for two or three years longer. Removing thence to Hull, he painted portraits and dissected assiduously. Then, after a visit to his native Liverpool, and feeling, no doubt, the artist's desire for a wider horizon and foreign life and colour, he embarked for Italy in the year 1754. A voyage of two STUBBS' WORK AT ROME. 9 months carried him to Leghorn, whence he proceeded to Rome. It does not appear that while in Rome Stubbs ever copied a picture, designed any composition in the grand style, or made a single drawing or model from the antique ; although he, un- doubtedly, executed many landscape sketches of Italian scenery. His motive for the voyage, according to his own account, was mainly to decide if Nature were superior to Art, whether that art were Greek or Roman, ancient or contem- porary. There is an old debate, as we know, con- cerning the relation of nature and art, and it says much for Stubbs' ingenuousness that he should have undertaken such a voyage to clear up his doubts in the matter. Once convinced in his own mind he immediately resolved, with characteristic promptitude, to leave Rome. Very characteristic, too, was it, as we read, that "whenever he accom- panied the students in Rome to view the palaces of the Vatican, Borghese, Colonna, etc., and to consider the pictures there, he differed always in opinion from his companions, and when it was put to the vote, found himself alone on one side, and his friends on the other." But George Stubbs was an Englishman of the stalwart type, and not a man to be alarmed by isolation in his opinions, nor to be silenced by a majority. ML N 1 ERS AT GRASS. CHAPTER III Return from Rome— Acquaintance with an African— \nsit to Africa— In Close Quarters with the Lion Himself— A White Barbary Horse Attacked by a Lion— Painted Three Pictures of the Tragedy : " The Horse with Lion in the Distance," "The Horse Affirighled," "The Lion Seizing the Prey"— Return to England— His Mother's Death at Liverpool— Visit to Lincolnshire— Commission from Lady Nelthorpe— Correspondence with Sir Joshua Reynolds— A Farm- house Study in Lincolnshire— Worked Eighteen Months Dissecting for "The Anatomy of the Horse." ONCE Stubbs had decided, for good and all, that Nature must henceforth be sole mis- tress of his ambition, he was not long, as we have seen, in turning his back severely upon the art of Rome, with all its accumulated treasures. And Nature, now, as if willing to repay the preference, was not slow in giving him opportunities of study. He was, on his return journey from Rome to England, fortunate enough to become acquainted with an African travelling companion, whose tastes and pursuits were similar to his own. Well educated, and speaking the English language fluently, this new acquaintance was able to tell much about wild life in Africa, and " moving accidents by flood A DESERT TRAGEDY. and field." He asked Stubbs, moreover, to visit his father's house, near the fortress of Ceuta, opposite Gibraltar, on the north coast of Africa ; and the two landed there, Stubbs having long- had a desire, very natural in him of all men, to behold for once wild beasts of more tropical ferocity than are to be seen in English fields. As it proved, he was fortunate. They had not been long on shore when a chance occurred, and under peculiarly good circumstances, of making fairly close acquaintance with the lion himself at home. The small town in which Stubbs was staying was surrounded by a lofty wall and a moat, and nearly level with this wall a broad platform extended, whither the inhabitants occasionally resorted for the sake of the cool breeze after sunset. Hither, his friendly host had led Stubbs one evening when the brilliancy of the moon made the surrounding desert as clear as day ; and from this vantage point a lion was presently observed in the distance, stealing slowly towards a white Barbary horse. As the hapless beast was grazing not more than two hundred yards away from the moat, this was an extraordinarily good chance of observing what should happen — such a chance indeed, as the animal painter rarely obtains at a sufficient optique de theatre. The lion did not stalk the horse by a direct approach, but by many sinuous detours, drawing nearer and nearer, 6 RETURN TO ENGLAND. till at last, aided by the shelter of some rocks, he came suddenly upon his prey. At this junc- ture, the horse, as if conscious of his fate, and fascinated by the lion's gaze, threw himself into an attitude which Stubbs has admirably caught in the painting he afterwards made. Last of all, the lion, finding the horse in his power, sprang in a moment, cat-like, on the back of the defenceless beast, threw him down, and instantly tore out his bowels. The whole of this little tragedy of a horse lives in three fine pictures by Stubbs, vividly descriptive of what he had seen. The first shows the horse, with the lion in the distance ; the second, shows again the horse, affrighted at the lion's appearance from behind the rock; the third shows the lion seizing his prey. All three are in the artists' most characteristic manner, and won him, eventually, no small fame. On his return from his travels Stubbs landed in London where however he remained only a week although it seems to have been his first visit. Thence he went to his mother's house in Liverpool, where commissions in plenty soon poured in upon him. Whilst painting hard at these, he still pursued his studies in anatomy with unabated zeal. Eighteen months after his Italian voyage he lost his mother, and the settle- ment of her affairs detained him in Liverpool for many months. It is at this point in his history that his first success, gained by a picture of VISIT TO LINCOLNSHIRE. 13 a grey mare of his own, is recorded. The picture attracted the attention of a picture dealer from London, named Parsons, who advised our artist to go thither and tr}' his fortune. Stubbs finally left Liverpool in the year 1756. He appears to have gone first to Lincolnshire, where Lady Nelthorpe had given him commis- sions, prior to this, for a series of portraits. His fame as an animal painter was now undoubtedly well established, as we know his charge for painting the portrait of a horse was a hundred guineas, while at the same time Sir Joshua Reynolds only received thirty-five guineas for a head ; seventy for a three-quarter length ; and a hundred and fifty for a full length portrait.* Miss Eliza Meteyard, in her " Life of Josiah * This seems to have been the price of " The Managed Horse " painted by Stubbs for Sir Joshua Reynolds, to which the following letter apparently refers : "I am just returned from Blenheim [Palace] ; consequently did not see your letter till yesterday, as they neglected sending it to me. My price for a head is thirty-five guineas ; as far as the knees, seventy ; and for a whole length, one hundred and fifty. It requires in general three sittings, about an hour and a half each time ; but, if the sitter chooses it, tne face could be begun and finished in one day ; it is divided into separate times for the convenience and ease of the person who sits ; when the face is finished, the rest is done without troubling the sitter. " I have no picture of the kind you mention to me. When I paint anv picture of invention it is always engaged before it is half finished. " I beg leave to return my thanks for the favourable opinion you enter- tain of me, and am, with the greatest respect, " Your most obedient humble servant, "J. R." Reynolds only charged eighteen guineas for painting a portrait, to the knees, of Mr. Ralph Jenison, Master of the Royal Buckhounds, oi. February 5, 1757, as appears by a letter dated January 16, 1789, presenting 14 A FARMHOUSE STUDY. Wedgwood," published in 1866, remarking on Stubbs' great perseverance and determination, observes that he took his place at fifty-three years of age as " the most noted animal painter in the kingdom. He painted horses on the canvases for' Sir Joshua Reynolds, and others that had won on the racecourse and in the hunting field " {sic). It is hot clear why the lady should have fixed 1.777, when Stubbs would have' attained the fifty- third year of his age, as the date which saw him reach " the top of the tree." It seem.s likely that the artist's name and fame only came within her knowledge when his correspondence with W-edgwood began, which it did in the year named. - In 1758 we find Stubbs at a farmhouse near Horkstow, adjoining Barton, Lincolnshire, ener- getically preparing for his great work on the " Anatomy of the Horse." The house appears to liave been lonely, for we are told that he engaged it to avoid inconveniencing neighbours by' his dissections. Here Stubbs worked for eighteen months, with one companion only, his niece, Miss Mary Spencer. This lady was the posthumous child of Captain Spencer, of the Guinea trade, who was killed by his favourite the account, long left unpaid, for that and two other pictures, including the one referred to in the following postscript to a previous letter to the same- lady, dated May 21, 1781. " I beg leave to add that Mr. Shafto's picture, which is a half-length, comfs to twenty-four guineas, after the rate of twelve guineas for a head, which was the price I begun (izc) with when I came from Italy. I have at present a hundred guineas for that size." / DISSECTING WORK. 15 slave in a mutiny. She was born near the painter's house in Liverpool, and from the first had shown great interest in his studies. On his death Stubbs requited her sympathy by appoint- ing her his sole legatee.* Some interesting details have come down to us of the manner in which the dissections and drawings for the " Anatomy of the Horse" were made in the farmhouse near Horkstow. Stubbs himself tells us how, from the ceiling of his room, he suspended a bar of iron by a " teagle," with hooks of various size and length fixed to it. Under this bar swung a plank about eighteen inches wide, on which to rest the horse's feet. The body of the beast was fastened to the bar by the hooks, which Stubbs fixed firmly in the ribs and under the backbone upon the further side of the animal. The horse was thus set in the attitude and posi- tion represented in the plates, and so remained for six or seven weeks, until, for obvious reasons, it became no longer tolerable. Like some other dissectors, Stubbs appears to have been quite indifferent to the evil odours of the dissecting room, and even unconscious of them. The horse to be dissected was usually bled to death by opening the jugular vein, after which the arteries and blood-vessels were injected. The artist began by dissecting and making drawings of the muscles of the abdomen, proceeding * See Appendix I, pages 233 and 234. i6 DISSECTING WORK. through fine layers of muscles till he came to the peritoneum and the pleura, through which ap- peared the intestines and the lungs. Next he proceeded to dissect the head, by first stripping off the skin, when, having cleaned and prepared the muscles, he made careful drawings of them and wrote the explanations, which usually em- ployed him a whole day. Then followed another layer of muscles, which he prepared, drew, and described in much the same manner ; so pro- ceeding till he came to the skeleton. It is to be remembered that by means of the injection the muscles, the blood-vessels and the nerves retained their form to the last without under- going any change. And thus, by slow and most painstaking degrees, he proceeded day by day till the whole was completed. PROTECTOR. CHAPTER IV His Fellow Anatomical Students Failed to Assist — Came to London with His Drawings — Engravers in London had no liking for the Task — Stubbs Decided to do his own Engraving : Occupied Seven Years Early Morning, or after Working Hours — Never Broke into Regular Occupation of Painting— Studio at 24, Somerset Street, Portman Square — The Work completed with Twenty-four Plates — Very Favourably Received by those to whom it Appealed. IT appears that Stubbs had not, at first, any intention of carrying- out his great labour upon "The Anatomy of the Horse" at his own expense or single-handed : the idea of it had been broached amongst the anatomical students at York, and it is clear that the artist expected aid from some of them. But they all failed in their engagements, whatever these were, and Stubbs then resolved to carry his enterprise through without help from anyone. Eighteen months of untiring industry passed now before he took his completed drawings to London, where he seems to have arrived in 1758 or 1759, probably the latter. In London he hoped to find an engraver to aid him in his precious work ; but the celebrated engravers of the day 17 1 8 "anatomy of the horse" published. declined the commission, not, apparently, with- out some contempt. For such work as the reproduction of anatom- ical details, which figure largely in Stubbs' plates, Grignon, Pond, and their fellow-engravers had neither habit nor liking. Their unanimous re- fusal obliged the artist to do his own engraving once more, and he set about the task with his usual resolution. What great success he achieved is well known ; but the publication was neces- sarily retarded ; for Stubbs never broke into the time devoted to his regular occupation of painting, and his etchings were made early in the morning or after working hours. Often, indeed, he worked late into the night. In some six or seven years, the plates were completed, and the "Anatomy of the Horse" appeared at last in 1766. The book was published by subscription, for Stubbs desired to make himself known, and, as he tells us, this seemed the best means of achieving his purpose. " More than any other thing," we are told, naively enough, " the book tended to throw him into horse painting, and to this he ascribes entirely his being a horse painter." Stubbs worked hard at his plates for the "Anatomy of the Horse" while he was at Goodwood painting for the Duke of Richmond, as we shall see later on ; and on his removal, in 1763, to his new studio at No. 24, Somerset Street, Portman Square, he devoted all THE BOOK APPRECIATED. 19 his spare time to the plates of his magnuui opus. Nevertheless, three years actually elapsed from this date ere the book was issued from the press. Its appearance was at once hailed with pleasure by those to whom it especially appealed. It was, of course, a technical subject ; and except those people directly interested in horses, or indirectly associated with the study of comparative anatomy, there were few in those days who could justly appreciate the labour bestowed upon the book, the difficulties it had surmounted, or the exact measure of its achievement. Those who had any practical knowledge of the subject, however, could not but be immensely struck by the work. The Medical Reviav of 1767, in noticing- the book, says it " not only reflects great honour on the author, but on the country in which it was produced. France may reap great credit from the veterinarian school lately established in that country ; but what praise is not due to a private person, who, at his own expense, and with the incredible labour and application of years, began, continued and completed the ad- mirable work before us ? But it is impossible to give our readers an adequate idea of Mr. Stubbs' performance without placing the book before their eyes. . . . His original drawings were all his own, and the plates were likewise en- graved by his own hand. In short, we are at a loss whether most to admire the artist as a dissector, or as a painter of animals." 7 20 PROFESSOR CAMPER's OPINION. We may add here a delightful foreign tribute from a learned Dutchman, Professor Petrus Camper, whose unaccustomed English, in its quaintness of expression, has an eloquence of its own. The letter serves to show how foreigners who were specialists regarded Stubbs' performance. Sir, If ever I was surprised to see a performance, I was it surely, when I saw yours upon the anatomy of the Horse ! The myology, neurology, and angiology of men, have not been carried to such perfection in two ages, as these horses by you. How is it possible a single man can execute such a plan with so much accuracy and industry ? You have certainly had be- fore you the scheme of the great Albinus ; but even his plates have not that delicacy and fulness, nor the expression of yours. Give me leave to ask you, was you the engraver ? for you do not mention the engraver's name. I once had a plan to offer to the public, a subscription for the like ; but I am sure I could not have obtained the elegancy and exactness of yours. I dissected many horses ; but I especially examined the head and all the different sections of the inside, the bowels, and so on. I made figures as large as the life. I dare venture to say they are beautiful, mostly done by different means upon the life itself. My intention was to reduce them to one eighth, and to have them engraved ; but after having seen and admired yours, I dropped all hopes of succeeding. This favour I hope you will grant me, to inform me whether you still go on to finish this beautiful undertaking, and whether or not we may flatter ourselves to see the internal parts of this useful creature and something about the disorders and internal diseases of a horse. You will be curious to be acquainted with a Dutchman who admires with so much extacy your Tables. I'm public Professor of Medicine, Anat., and Surgery, at Groningen, and HE DESIRES CORRESPONDENXE WITH STUBBS. 21 I have published some figures on the Human Arm, Pelvis, I'm actually publishing the Brain and the organs of Hearing, Smelling, &c., in different animals. I dissect, but I do not love horses, though I keep them for proper use and for my family. I'm sure my acquaintance can be of little use to you, but yours to me of great consequence. I desire to have two copies of your performance, one for me, and one for a gentle- man who admires as well as I, your book. I do not know whether your bookseller has any correspondence with us ; if so, he may send them to any in Holland, and they will be sent to me, and which was perhaps more easy. Direct them to Mr. Fagal, Jun., Greffier de leurs H. Puissances les Etats Generaux, a la Haye, and our ambassador will send them to the Hague. I'll get you paid by my banker in London, Mr. Andrew Grote and Company. Nothing shall be easier than to establish a correspondence with little or no expences on both sides betwen us. I'm with the greatest veneration. Sir, your most obedient and most humble servant, PETRUS CAMPER, F.R.S., Member of the R. Acad, of Surgery at Paris, of Edinburgh, and of the Societies of Haer- lem, and Rotterdam. At Groningen, 28 July, I77i. In another letter, the worthy Doctor and Professor ingenuously announces : "The Uuke of Wolfenbiittel, the Baron du Tour, and I, are the only owners of your elegant performance in these pro- vinces, though it is much wondered at by others. I'm amazed to meet in the same person so great an anatomist, so accurate a painter, and so excellent an engraver. It is a pity you do not like to pursue the viscera of this useful animal." Of the oricrinal edition of this remarkable 22 DR. HENRY CLINE. work a copy, once the property of the famous surgeon, Dr. Henry CHne, is in the Elsenham Hall Library. Dr. Cline's opinion of the work appears in his own handwriting on the fly-leaf ; the note runs as follows : " This work, which is executed with extraordinary accuracy, was begun and completed by the author without the assistance of any other person, as he informed me in a conversation with him on the subject. He injected and dissected the horses, then made the drawings, and afterwards engraved them himself ; so that he was unassisted in the work from the beginning to the end. The skeleton was taken from a blood mare. One horse which he had injected for the blood vessels, he worked on for eleven weeks. " He first studied the anatomy of the human subject, in which he received some practical instruction from Mr. Charles Atkinson, surgeon at York. "(sd) Henry Chne, 21st May, 1788." Cline, the reader perhaps may be reminded, was born in 1750, and died 1827. When sixty years old his practice brought him about ^10,000 per annum, and Sir Astley Cooper expressed the opinion that it would have been much more had Cline been less fond of politics and farming. In 1808, he bought some land at Bounds' Green, Essex, and, becoming greatly interested in agri- culture, spent much time visiting this property and much money on various agricultural experi- ments. He published in 1805 " Form of Animals," four editions of which were reprinted between 1806 and 1829. Sir Astley Cooper was a pupil of Cline's. CHAPTER V " The Anatomy of the Horse," PubHshed 1776 in Eighteen Tables, Illus- trated with Twenty-four Engraved Plates — The Preface by Stubbs Describing the Objects he had in Preparing the Work — A Com- parison with Forty-eight Other Works by Different Authors — The Original Drawings Owned by Sir Edwin Landseer — Left to the Nation by Thomas Landseer — Now in the Library of the Royal Academy, Burlington House. HE famous volume that won the tribute of Professor Petrus Camper, and played so great a part in the history of Stubbs, was first published as an oblong folio, entitled in full : THE ANATOMY OE THE HORSE, in- cluding a particular Description of the Bones, Cartilages, Muscles, Eascias, Ligaments, Nerves. Arteries, Veins, and Glands. In Eighteen Tables (Illustrated with 24 large engraved Plates), all done from Nature By George Stubbs, Painter. London : Printed by J. Purser for the Author, 1766." It has now gone through two editions, the latest of which is that of 1853 ; the latter, however, only being a reprint of the first edition with the original plates. The folio of 1766, if it may not 2 4 PREFACE TO " THE ANATOMY OF A HORSE." be ranked as a book-hunter's prize with the rare folios of Shakspeare which occasionally find their way into the sale-rooms, is yet a book that is regarded as a high prize by collectors of first editions. Certainly, if Stubbs had done nothing else, it would have marked him for ever among " the past masters of the horse." In his preface, Stubbs characteristically de- scribes the objects he had in preparing the work. "When I resolved," he says, " to apply myself to the present work I was flattered with an idea that it might prove particularly useful to those of my own profession, and those to whose care and skill the horse is usually entrusted, whenever medicine or surgery becomes necessary to him. I thought it might be a desirable addition to what is usually collected for the study of comparative anatomy, and by no means un- acceptable to those gentlemen who delight in horses, and who either breed or keep any con- siderable number of them. " The painter, sculptor, and designer know what assistance is to be gained from the books hitherto published on this subject, and, as they must be supposed best able to judge how fitly the present work is accommodated to their purpose, any address to them is superfluous. " As for farriers and horse doctors, the Veteri- narian School lately established in France, shows of what importance their profession is held in that country ; amongst us they have frequent STUBBS DESCRIBES HIS AIMS. 25 opportunities of dissecting, and many of them have considerable skill in anatomy ; but it were to be wished that this, as well as other parts of medical science, were as generally attended to by them, as by those gentlemen who treat the diseases and wounds of the human body. If what I have done may, in any sort, facilitate or promote so necessary a study amongst them, I shall think my labour well bestowed. " I will add that I make no doubt but gentle- menwho breed horses will find advantage, as well as amusement, by acquiring an accurate knowledge of the structure of this beautiful and useful animal. " But what I should principally observe to the reader concerning this my performance, is, that all the figures in it are drawn from Nature, for which purpose I dissected a great number of horses ; and that, at the same time, I have con- sulted most of the treatises of reputation on the general subject of anatomy. " It is likewise necessary to acquaint him that the proportions which I have mentioned in several places of the book are estimated from the length of the head, as is usually done by those who have treated on the proportion of human figures ; this length is taken from the top of the head to the ends of the cutting teeth, and is divided into four equal parts, each of which is again divided into twelve minutes." Although as recorded by Aristotle, Xenophon, and some forty-eight other authors, including 26 COMPARISON WITH OTHER WORKS. Markham in 1611, Sollerpel in 1664 (translated by- Sir William Hope), and Snape in 1683, had pre- viously written on the Natural History, Anatomy, and Physiology of the Horse, it was not until George Stubbs devoted himself to what may be called his monumental task that the structural form of the horse was clearly defined. It may be true as stated that, since 1766, there have been some two hundred and sixty-four other publica- tions in various languages, treating of the subject ; but the work of George Stubbs is still to-day an acknowledged authority for the veterinarian, painter, sculptor, and designer, and for use in all colleges and schools. Out of the forty-nine authors prior to George Stubbs only one attempted anything like an exhaustive description of the horse, accompanied by anatomical drawings. This was Andrew Snape, jun., farrier to His Majesty Charles II., in his " Anatomy of an Horse." * In the introduction to his book Snape signifi- cantly remarks, "There is nothing gives a greater check to the progress of an Art than to believe that it is already perfected by those that have gone before us, and so to content ourselves with their determinations ; for had our ancient artists been thus supinely credulous, and thought it sufficient to have traced their predecessors, limiting their wits within other men's bounds, never had time brought to light such discoveries in our pro- * See Appendix F, page 223. ANDREW SNAPe's BOOK. 27 fession, nor had the mysteries of our art been so far communicated to posterity as they already are." This quotation may serve to define the dif- ferent points of view from which Snape and Stubbs have treated their subjects. By " the mysteries of our art," Snape meant only the art of Farriery, and his book is mainly a manual, and a very ex- cellent one, let us add, of Farriery. But Stubbs, as his preface shows, had in view not only farriers and veterinarians, but artists and " gentlemen who breed horses." He had, in short, an artistic, as well as a veterinary, interest in his subject. As the works of Stubbs and Snape are very differently arranged, it would be tedious to compare them page by page ; and it will there- fore be sufficient if we glance at some of the salient features contained in each. In Stubbs' work the first double plate is the skeleton of a horse, shown in two side views. These are explained anatomically in the following divisions : Bones of the head, vertebrae of the neck, bones of the spine from the neck, and bones in the thorax, shoulder-blades, right and left upper limbs, and pelvis and lower limbs. The second plate shews the skeleton of a horse in another position, with accompanying explana- tions of the head, spine, thorax, and shoulder- blades, pelvis, upper limbs, and the lower limbs. The third plate is a hind view, showing the bony structure of the head, spine, thorax, shoulder- blades, pelvis, and upper and lower limbs. The 8 28 PLATES IN " THE ANATOMY OF THE HORSE." fourth plate shows the muscles, fascias, ligaments, nerves, arteries, veins, glands, and cartilages of a horse ; the text explaining the various references to the muscles, and so forth. In addition, Stubbs gives six side views, whole length, from the tail to the nose of the horse ; one of the bones and two different layers of the muscles ; six of the breast or front view, and six of the posterior view. These two latter plates differ from the first in that the posture of the first is motion- less, whereas the two latter represent the horse in the act of trotting. The ensuing fourteen plates depict the same subjects from different points of view. Every part is numbered or indicated by letters corresponding with similar numerals and letters in the accompanying letterpress, in which the anatomical properties of each are clearly and truly explained. As to the engravings, they are simply marvels of accuracy and art combined, and present upon the whole a monument of genius and labour that it is impossible to overrate. Against the twenty-four large engraved plates which illustrate Stubbs' work Snape has lorty-nine illustrations ; but the quality of Snape's drawings is far inferior. While Stubbs is so precisely accurate in every particle of his delineations, Snape is crude and in many respects mistaken, or misrepresented, by his engraver alike upon essential and upon subordinate points. Snape again devotes considerable labour to producing illustrations of the intestines, which CONTENTS OF THE BOOK. 29 have not been attempted by Stubbs. Only in plates xxiii. and xliv. of Snape's book can the faintest comparison between him and Stubbs be made; and even then the most cursory glance at once testifies to the immense superiority of Stubbs in every particular, description and detail. The arrangement of the letterpress is, we may add, entirely different in the two works. Thus, Snape divides his into five books and an appendix. Book I. relates to and describes " the lowest belly or paunch," and is subdivided into twenty- nine chapters. Book II. contains a description of the middle venter or chest, and is subdivided into nine chapters. Book III. treats of the upper venter or head and is subdivided into fifteen chapters. Book IV. contains a description of all the muscles of the body and is subdivided into twenty-two chapters. Book V. describes the bones and is subdivided into nineteen chapters. The appendix contains two discourses ; one on the generation of animals ; the other on the motion of the chyle, and the circulation of the blood. It may be of interest here to state that, at his death, the original drawings from which the plates were engraved were left by Stubbs to Miss Spencer, and afterwards found their way into the possession of Sir Edwin Landseer, from whose hands they passed into those of his brother, Thomas Landseer, who left them by will to the Royal Academy. They are now preserved in the Library at Burlington House, OLD ENGLISH 10IN1 EK. CHAPTER VI Early Patronised by the Duke of Richmond — \^isited Goodwood to Execute Several Works — For the Marquis of Rockingham he Painted Many Pictures, including a Life-size Portrait of the Celebrated Race- horse Whistlejacket. THE first commission of importance that Stubbs is reported to have received after settling in London, came from the Duke of Rich- mond. In order to execute it, the artist was obliged to leave town again and take up his resi- dence for a time at Goodwood, in Sussex. Within nine months several pictures had been painted by him there, among them a large hunting piece, nine feet by six, and many portraits. One of these was a portrait of the Earl of Albemarle, painted while he sat at breakfast, the day before embarkingon "the ever-memorable and successful expedition to Havannah, when it was taken."* * This was in the year 1762, when France and Spain attacked Portugal, as the ally of Great Britain. By virtue oi this "Family Compact," and her alliance with France, Spain lost the Havannah. The British fleet of twenty-nine sail, under Admiral Pocock, with a body of 14,000 soldiers under Lord 30 VISITS GOODWOOD AND WENTWORTH HOUSE. 3 I It has not been possible to discover the possessor of these works. At any rate they are not at Goodwood House now, as only four paintings by Stubbs are to be found there. The descrip- tion * of these four is copied from the catalogue of the Goodwood collection, and is interesting as giving an idea of Stubbs' painting at the beginning of his mature period. The present Duke of Richmond and Gordon kindly lent this private catalogue for the particulars of these interesting works of art. For the Marquis of Rockingham, at Went- worth House, Stubbs painted several pictures. For the life-size picture of Whistlejacket f the Marquis had intended to employ some eminent portrait painter to add a likeness of George III. mounted on his back, and some prominent land- scape painter to fill in the background, the intention being that this picture should be a pendant to the one by Morier hanging in the hall at Wentworth House. The Marquis was Albemarle, carried the city of Havannah, with a district of i8o miles to the westward, in August, 1762, and obtained possession of three millions sterling, twelve sail of the Bourbon fleet, and a quantity of naval and military stores. The aggressive policy of the Duke de Choiseul soon after ended in the humiliation of France and Spain, so much so that Lord Bute was enabled to dictate his own terms to the enemy, and peace was once more restored by the definitive treaty signed at Paris in February, 1763. * See Appendix B, page 171. t See Appendix B, page 168. 32 PICTURES FOR LORD ROCKINGHAM. SO pleased with the painting of the horse itself that he would not allow a single touch to be added, but framed and hung the picture with- out the King's portrait or the background. Another version of this story is given in the "Life of George Ticknor," an American who visited Lord FitzWilliam in September, 1835, viz. : " On one side of it hangs the famous picture of Lord Rockingham's "Whistle Jacket," by Stubbs, nearly as large as life, and one of the most striking pictures of an animal I ever saw. It is nothing but a painting of a horse — no trappings, no background, no earth — yet it does not leave any feeling of deficiency. I was told that when the horse was painted, Lord Rocking- ham at first intended to have put George IIL upon him, but being offended at the King, he altered his mind, and would not have him there.*' In London Stubbs painted several pictures for the Marquis of Rockingham, viz. : A Lion Devouring a Horse (an engraved picture) ; A Horse Affrighted by a Lion.* The white horse in this picture belonged to George III. The expression of terror was produced by pushing a bush along the ground towards the horse. Signed and dated, 1770. It was engraved and published by the artist, September 25th, 1777, and the demand was so great that the plate became defective, and Stubbs had to re-engrave it. The latter plate is dated ist May, 1788. * See Appendix B, page 156. SFANISH FOINTEK. CHAPTER VII Visit to Eaton Hall, Cheshire — Executed Many Works, including " The Grosvenor Hunt " — Recent Notes on this Picture and on Other Works by Stubbs in the Duke of Westminster's Collection at Eaton Hall. TN 1760 Stubbs went to Eaton Hall, the ^ Cheshire seat of the then Lord Grosvenor, to fulfil an engagement of long standing. During a sojourn there of many months he painted a favourite horse, Bandy, engraved and published by J. Bennett, 53, Fleet Street, June 2nd, 1777. The large hunting piece, entitled " The Grosvenor Hunt," was painted in 1762. In it were introduced portraits of Lord Grosvenor, mounted on Honest John; his brother, the Hon. Thomas Grosvenor, Sir Roger Mostyn, Mr. Bell Lloyd, and ser- vants. A view from the drawing-room windows of Eaton Hall forms the background of this picture. In the foreground is a pond in which the quarry, a stag, is at bay, surrounded by the hounds. The latter are mostly white and tan, and are graphically rendered in the artist's happiest vein. An engraving of this historical 33 34 THE " GROSVENOR HUNT PICTURE. painting, on a very reduced scale, is preserved in the Print Room, British Museum. A correspondent has sent me some notes of a recent visit to Eaton Hall, which I may quote here with reference to the pictures of Stubbs, still notably figuring in the Duke of West- minster's famous collection. He notes that "the old oak, which enters with such admirable effect into the composition of 'The Grosvenor Hunt,' and which Stubbs, more suo, peculiarly fond as he was of using trees in his backgrounds, had evidently chosen with great care, is still standing in a meadow near Heron Bridge, on the Eaton Hall estate. The distant undulating landscape, too, which completes the background, is very characteristic of both the scenery of this part of Cheshire, and of Stubbs' feeling for landscape, denied him by the undis- criminating Peter Pindar. In the same room hangs a very masterly piece of equine portraiture, in a study of Mares and Foals. Here again, two oaks are picturesquely used to enhance the effect of the subject. There are three mares, and two foals, in all ; — a chestnut mare with white hind feet, and chestnut foal ; a dark bay mare, and lighter bay foal ; and an old grey mare, white with age. In another room is a second striking study of Mares and Foals, which gives us yet another of the Eaton oaks, a huge, contorted tree nearly filling the background, and disposed very effectively in the scheme of the picture. PICTURES AT EATON HALL. 35 The brown mare and roan filly, grey mare in middle, and black mare and colt, standing below, are treated in Stubbs' best manner. One of the many portraits of Gimcrack is also to be seen at Eaton Hall ; but need not, perhaps, be described again, since it is already so familiar. Mambrino is described in connection with another portrait ;* but the head in the Eaton Hall portrait is so finely painted, as to be in itself evidence of the painter's genius ; and the characteristically alert attitude of the animal, is wonderfully caught on the canvas. Yet another memorable painting by Stubbs hangs in the same room. This is the portrait of Sweet William, f a dark brown horse, very finely painted, with groom attending. This, like the two previous portraits, appeared in the ' Turf Gallery' collection ex- hibited by Stubbs in 1794." ^ Appendix B, page 137. t Appendix C, page 187, Pictures al Turf Gallery. 9 CHAPTER VIII The Society of Artists — Stubbs Chosen Treasurer in 1760, and President 1773 — Established on Co-operative Basis of Mutual Benefit for Exhibitors — For Many Years attended with Success — Royal Charter Granted, 1767 — Seven Years afterwards the Society Ceased to Exist — Stubbs a Constant Exhibitor — Particulars of Many of his Exhibits Given. IT seems to have been about the year 1760 that Stubbs was appointed treasurer of the first (Incorporated) Society of Artists, which held its exhibition in the Great Room (now pulled down), Spring Gardens, near Charing Cross, London. The Society was founded in 1759, but it does not appear that Stubbs exhibited any of his works there prior to the exhibition of 1762. As may be seen by referring to the extracts from its catalogues, given in the second part of this volume, he showed pictures at every subsequent exhibition. Eventually, in consequence of the discontents which the painter Paine had occa- sioned, Stubbs was chosen president of the Society for one year, and his name appears as such in the Catalogue for the year 1773. But he fell the interruption caused in his 36 THE SOCIETY OF ARTISTS. 37 work by the duties of his new office ; and the ex- perience, perhaps, was not without its effect in his subsequent dispute with the Royal Academ)-. He must, nevertheless, be accounted one of the prime movers in the success of the Society of Artists, in which he always evinced great interest, as he certainly contributed to its independent attitude, in promoting" and fostering art on its merits, independent of clique and patronage. In view of the part taken by Stubbs in the history of the Society, it is interesting to follow its fortunes out to the end. Apart from Stubbs, moreover, its history has a certain significance for us still, since the fashion of the hour and the spirit of patronage are as apt as ever to interfere mischievously with the fortunes of art. In the Preface to the Catalogue of the Society of Artists of Great Britain, May 17th, 1762 (the third year of their exhibition), the public were informed inter alia that the artists " who were themselves first projectors of an exhibition in this nation," intended their exhibitions, not for the purpose of enriching the artists, but to advance art. The eminent were not to be flattered, nor the obscure artist to be insulted and overlooked ; consequently those who cherished the stirring hope of public favour were invited to send in their pictures without fear or prejudice. In short, " a fair field and no favour! " might very well have been taken as its motto by this most vigorous and well-meaning of }Oung societies. ■38 THE .ROYAL CHARTER NO BENEFIT. As to the price put upon exhibits, it was decided that- in cases where artists were unable to sell their works at " their due price," an annual sale was to take place. In other ways, it would appear that the Society was founded on a healthy GO-operative basis of mutual benefit for the exhibitors. The career of the Society was, consequently, one of unalloyed success, until the majority of the executive had the misfortune to decide to apply to George III. for a royal charter of incorporation. This charter was obtained from the 1' a commission from which he expected both further fame and fortune. It was pro- posed to him to paint for The Tnrf Revieiv a series of pictures, portraits of celebrated horses, which had been famous on the turf, from the Godolphin Arabian era to the most renowned horses of his own time. These pictures were to be exhibited first, then engraved, and finally published in numbers, with -a letterpress which should describe the races and matches of each horse, together with anecdotes and other appro- priate mattejj-. The sum offered for this commis- sion was ^9,000, deposited in a bank, from which fund the artist could draw as his work 74 THE " TURF GALLERY." 75 progressed. It appears that Stubbs completed a great part of his engagement, but the outbreak of the war, in the opinion of the projectors, militated against the undertaking, and eventually it was rather abruptly abandoned.* Sixteen pictures were painted, exhibited, and engraved ; fourteen, if not all, in duplicate; large ones for framing, and small to accompany the letter- press. Thirteen of the latter were engraved. The Spoiiiiis^ Ulagazine for January, 1794, contains a long and interesting notice of the scheme, when it had so far reached completion that the sixteen pictures referred to were placed on exhibition in the Turf Gallery, in Conduit- street. This notice, it is interesting to remark, speaks of the artist as " G. Stubbs, R.A.," and it cites, inter alia, Stubbs' own preliminary address to his work, from which we may cjuote, if only to show a certain humour on his part. " It may be deemed extraordinary," he says, to submit a work of so unusual a kind to " the public consideration ; where the chief merit consists in the actions, and not in the language, of the Heroes and Heroines it proposes to record, and with whom, possibly. Literature, may ex- claim, ' She neither desires connection or {sic) allows utility.' " The criticisms of the pictures given by the * See Appendix C, p. 185 to 189, for catalogue of pictures at " The Turf Gallery." 14 76 PORTRAITS OF STUBBS. Magazine, are in some cases highly entertaining. A note on No. 13 in the Exhibition, the portrait of a horse called Pumpkin," is of special interest because of its reference to Old South, the jockey. "The portrait on his back," says the writer, " is that of Old South, the most celebrated jockey of his day, and particularly in matches of crossing and jostling." As we draw near to the end of our history, and in doing so try to realise Stubbs as he was in his later years, we cannot do better than turn to one of his portraits* taken within a few years of his death. Fortunately, we have an excellently true likeness in a half-length in crayons, by Ozias Humphrey, R.A., which represents a stout old man, with resolute features and severe expres- sion. The forehead is slightly wrinkled, and the head is bald from the temples to nearly the top of the cranium, where flowing locks of grey hair fall in bushy curls over the ears and back of the neck. He wears a neckerchief and a loose white shirt having a copious frill projecting in front of the waistcoat. The coat is cut in the "Newmarket" style, with prominent turn-down collar, straight lappets, with buttons (usually brass-gilt), on either side, extending from the collar to the knees. Another half-length by Humphrey has been re-engraved, and appears as * See Appendix G, pages 226-7, for Stubbs' various portraits. ACTIVITY IN OLD AGE. 77 the frontispiece to these pages, so that it may be easily referred to. The portraits of Stubbs are enough in them- selves to tell us that he was a man of sturdy English build. Elsewhere we learn, indeed, that his muscular strength was prodigious. We are told, no doubt with some exaggeration, that he more than once carried a dead horse on his back up two or three flights of a narrow staircase to the dissecting room. It is evident that he did his best to preserve this unusual energy and strength. He rose very early, ate little, and drank only water for the last forty years of his life. On the 31st of August, 1803, Samuel Daniel, a nephew of the Academician, and Upcott, having called at Stubbs' s studio, they "found him engaged in engraving his series of anatomical plates, of which he had just com- pleted his first number." This day, the account continues, " he will have attained his seventy- ninth year, and still enjoys so much strength and health that he says, within the last month, having missed the sta^e-coach, he has walked two or three times from his house in Somerset Street to the Earl of Clarendon's at the Grove, between Watford and Tring, a distance of sixteen miles, carrying a small portmanteau in his hand." Ozias Humphrey, R.A., bears wit- ness to the same feat, which it appears was performed before ten in the morning. But there is an end to the strongest energy ; 78 DEATH. and Stubbs, as we gather by such reminiscences, though he observed a notable temperance and regard for health, especially in his later years, did not spare himself. In 1 806, only the day before his death, he walked eight or nine miles, returning in very good spirits. At three o'clock on the fol- lowing morning, July 10, 1806, he awoke, "as well as ever he was," but on sitting up, a dreadful pain seized his chest. He dressed him- self, however, and went downstairs, moving with his accustomed ease. But at nine o'clock, sitting alone, "in his armchair, wrapped in his gown," he passed calmly away. We cannot do better than add to our account of the last scene in our artist's history another account, in the ripe manner of the old school, from the Sporting Magazine of eighty-three years ago, which recounts something of his indefatigable old age, unabated in enterprise, as well as of his death. " Mr. Stubbs," says the writer, " was in himself the most abstemious person of his day, wisely thinking that the way to protract life was to avoid excesses of every description, and by keeping this sentiment in full practice he appeared as strong and florid at eighty years of age as most healthful men do at fifty ; and so fully persuaded was Stubbs of the possibility to prolong his own existence to the patriarchal age of one hundred and fifty, that he most cheerfully began his Comparative Anatomy , after the plan of Professor Blumenbach, at the THE CIRCUMSTANCES OF HIS END. 79 period of eightyj promising a complete classifi- cation of the animal world, as an addita7nentiuii to an undertaking so laborious ; a work that would require at least thirty years of good health and perfect memory to accomplish. But, alas ! in the too eager pursuit of this speculation, poor Stubbs was arrested before he could attain his ninetieth year, by the hand of him who sports with princes, and whom the mightiest men of the earth shall not resist with impunity. " After his usual early morning's walk, Mr. Stubbs, as was his constant way, took some simple refreshment, and then mounting to his chamber to prepare for his easel, he felt a sudden sensation come over him, and throwing himself back in his great armchair, without uttering a sigh, his spirit escaped from its case of life. Thus, like a full- ripe acorn from its shell, dropped to earth one of the brightest and most industrious men of genius that ever graced our country ; a cheerful com- panion, a fast friend, liberal without ostentation, yet prudent without meanness." The GentlemarC s Magazine for 1806, in an- nouncing the death of Stubbs, makes the com- mon mistake of citing Upper Seymour Street, instead of Somerset Street, as his place of resi- dence. Its pages give us, however, some in- teresting further particulars of his last work in Anatomy, three parts of which were, it seems, actually published : — " At the time of his death he had completed all the anatomical prepara- 8o HIS LAST WORK, tions, and prepared the finished drawings for an elaborate work which he had very much at heart, and of which he lived to publish only three parts out of six, under the title of ' A Comparative Anatomical Exposition of the Structure of the Human Body, with that of a Tiger, and Common Fowl, in Thirty Tables.' The First Number contained an Explanation of the Skeleton ; the Second, a View of the External Parts of the Human Body, and an enumeration of the parts lying under them, with a description of the Com- mon Integuments ; and the Third, the Common Integuments taken off, with the Membrana Adiposa and Fat, In the Fourth, Fifth, and Sixth Numbers, Mr, Stubbs meant to have described the first, second, and third lays of the muscles taken off," As his burial certificate shows, Stubbs was buried at St. Marylebone, on July i8th, 1806, thus finding his last resting-place in the parish where he had lived for the last forty years of his life, and done so much for English art. SHUOTING : DISl'LAY OF CAME CHAPTER XIV His Associations with Famous Men — Sir Joshua Reynolds within a Year the Same Age — " The Anatomy " Pubhshed Same Year as Goldsmith's "Vicar of Wakefield " — Eighteenth Century English Art — Stubbs and Reynolds visited Rome — Founding of the Royal Academy — Query Reynolds Implicated in Treatment of Stubbs — Stubbs' Horses in Comparison with Reynolds' Men and Women — Gainsborough's Quarrel with Ro3'al Academy — Hogarth and Wilson, with other Celebrated Eighteenth Century Men — Animal Painters who Preceded Him : Wyck, Walker, Seymour, Wootton, Sartorius — Later Day Men : Marshall, Fernley, Gilpin, Garrard, Chalon, Cooper, Landseer, and Henderson — Still more recent Men : Davis, Hopkins, Charlton, Woodville, Palfrey, Sturgess, and Carter — And Foreign Artists Known in England : Meissonier, Rosa Bonheur, and Emil Adam. 'T^HE middle of the eighteenth century, when Stubbs settled in London, is associated with so many famous names and interesting figures, that it would be leaving his history in- complete if we did not turn, for a moment, to his greater contemporaries. It was the period of Sir Joshua Reynolds and Boswell's "Johnson"; and Stubbs was, let us remem- ber, an exact contemporary of Reynolds, born, as he was, within a year of the most cele- brated of all our eighteenth century English painters. Reynolds, in turn, leads us on to the 8i 82 STUBBS' CONTEMBORARIES. brilliant little coterie immortalized in Boswell's pages, of which the great doctor was the bright particular star. Into that side of the artistic life of his day, Stubbs, it is true, does not directly take us. Although he must have seen Boswell's unmistakeable hero occasionally in London, he probably never exchanged so much as a word with "the great Cham" of literature, and knew less about him than if he could have studied him, as we do now, in Boswell's "Life." Nevertheless, if we wish to realise the older London that Stubbs knew, in his daily coming and going to and from his house in Somerset Street, we shall do well to remember our Boswell, and many other such books, which vividly picture social life in the last century. It is curious, for instance, to find among the books of 1766, side by side with Stubbs' " Anatomy of the Horse," so different a master- piece as Goldsmith's " Vicar of Wakefield," which was produced in that year, after almost as many hindrances and difficulties as had beset our artist in completing his book. If Boswell suggests Goldsmith, the " Vicar of Wakefield," carrying us from town, suggests the English country life which Stubbs, too, knew so well, if from a different point of view to Goldsmith's. We can gather up, if we please, from many such sources, and from others, none the worse for our purpose if they are not formal in their literary art, an abundant suggestion of the period when " The horse was king on Enghsh roads." SIR JOSHUA REYNOLDS 83 A file of old newspapers, a set of old sporting magazines, and a few books, some familiar, some half-forgotten, which date back to that time, make the best of all commentaries upon the life and works of George Stubbs. Here, of course, it is only possible to touch briefly upon the subject, keeping to the salient lines that define eighteenth century English art in particular, so as to include those contempo- raries of Stubbs whose paintings helped to give character to what is known as the " English School." This leads us again to Sir Joshua Reynolds, who in his life and art forms in many ways so suggestive a contrast to Stubbs. Reynolds, too, in his youth went to Rome as Stubbs had clone; but with what a different effect upon his mind and art ! In the famous pictures in the "grand style," at the Vatican and other galleries, Reynolds found, indeed, the decisive impulse of his genius. Ever afterwards he upheld, as strenuously as did Stubbs, the opposite view, that art, to be fine art, must not merely copy nature, but transcend her, as Raphael and Michael Angelo had done in their designs. Reynolds preceded Stubbs by but a very few years at Rome. When, yet a few years later, Stubbs settled in London, Reynolds had so far profited by his studies of the works of the great masters of painting of the Italian and other schools as to be at the head of his profession and climax of his fame In 1761 he settled at "the 15 84 REYNOLDS AS P.R.A. fine house in the west side of Leicester-square," which became historical in Boswell's pages, being, as he told Dr. Johnson, about this time in the way of making six thousand pounds a-year by his painting. Here, at his table, Johnson, Gold- smith, Sterne, Burke, and, as often as any, the actor Garrick, whom Reynolds painted so many times, were entertained with the most refined and cordial hospitality. And with these dei ma/orcs were again others whose reputation stood high in Society, and whose titles have long since been merged in their successors. We pass on a few years, and come to the founding of the Royal Academy, in whose history Sir Joshua, in his agreeable role of first P. R.A., plays so different a part again to that of Stubbs. One is tempted, perhaps, to speculate a little as to Sir Joshua's exact official implication in the Royal Academy's treatment of Stubbs, as before noticed and criticised ; but we refrain from re- opening at this point a dispute so unedifying. If the President was of questionable service to some of his fellow painters, he did not fail to serve other friends ; and he used his influence at the beginning to compliment both Dr. Johnson and Goldsmith, who were appointed professors of ancient literature and of history — purely honorary offices, since the professors were not given any salary. Goldsmith expressed himself naively enough about it. He said : "I took it rather as a compliment to the institution than any GAINSBOROUGH. 85 benefit to myself. Honours to one in my situation are something like rufiles to a man who wants a shirt." It was on his election to the President's chair, it may be recalled, that Reynolds was knighted. There is no need here to attempt any tech- nical comparison between the art of Reynolds and that of Stubbs. Both were masters in their totally different ways. George Stubbs may be said to have done for the English horse what Sir Joshua Reynolds did for English men and women. The portraiture in both kinds gained inestimably by what they did ; and in the case of Stubbs, this service stands out the more clearly since he had no compeers, as Sir Joshua had, to help him in forming the new standard of his particular school. Gainsborough is always associated in the English school of portraiture with Reynolds ; but who among the contemporaries of Stubbs may we place by his side as co-equal in original and invaluable services to the art and science of horse-portraiture ? Sir Joshua Reynolds died in 1792, some twelve years before Stubbs. Gainsborough, who in his fine rustic scenes with horses and country-folk had more in common with Stubbs than Reynolds, had died four years before his great rival. It is interesting to remember that Gainsborough too, like Stubbs, had his quarrel with the Royal Academy. In 1784, he sent to its annual exhibition a whole-length portrait, 86 HOGARTH. with instructions to hang it as low as the floor would allow. Acting on some bye-law, the council remonstrated ; Gainsborough desired them to return the picture ; and he never sent another. The praise that Cunningham, in his " English Painters," has given to Gainsborough, might be extended, with some slight modification, to Stubbs. " All his works," says Cunningham, "are stamped with the image of Old England. His paintings have a national look. He belongs to no school ; he is not reflected from the glass of man, but from that of nature. He has not , . . borrowed the postures of his portraits from the old masters, like Reynolds. No academy schooled down into uniformity and imitation the truly English and intrepid spirit of Gains- borough." The then Lord Grosvenor, who gave Stubbs so many commissions, became, we may add, the fortunate possessor of Gains- borough's famed " Blue Boy " and his rural masterpiece of "The Cottage Door." Among the earlier contemporaries of our artist, we must not forget Hogarth, who in 1759, when Stubbs was newly arrived in London, was painting his much-discussed "Sigismunda" for the same patron, at that time still simply Sir Richard Grosvenor, who refused, as it may be recalled, to take the picture when finished. Five years later, and Hogarth too passed away, another of the most sturdy and uncom- promising of all our English artists. There is RICHARD WILSON. 87 some evidence that Stubbs was particularly in- terested in Hogarth's art of the human face ; as, indeed, may be testified by the fact of his having, in one instance at least, painted the incidental figures of a picture quite in Hogarth's manner. Yet another of the greater artists of last century, Richard Wilson, who was much younger than Hogarth, and much older than Reynolds, deserves a word of high praise. While Stubbs was gradually building up his reputation and improving his worldly position at his house in Somerset Street, Wilson was living, neglected and poor, in a small room somewhere about Tottenham Court Road. Paul Sandby, men- tioned earlier in our history as an intimate friend of Stubbs, was, it is pleasant to know, one of the few who remained faithful to an old acquaintance- ship with Wilson at this time. He found out the hapless artist in his shabby quarters, where an old easel, a chair and a table, a hard bed, and a scanty meal, with a pot of porter as sole luxury, were all the comforts that Wilson could call his own. Wilson was at this time in such need that he made sketches for half-a-crown, and was grateful to Paul Sandby for offering him an increased price. Shortly afterwards, the death of a brother brought Wilson a small estate near Llanberris, in North Wales, among his native hills, where he retired, broken in health, but happy. He died there, a few years later, in May, 1782. Into the history of certain other great artists, 88 ZUCCARELLI. such as the romantic Romney, it is beyond our province to enter here, interesting as it would be to recall and compare them as fellow-contributors with Stubbs to eighteenth century art. Wright of Derby, and the hot-tempered Barry, and later, Morland, one of the best landscape, figure, and animal painters who succeeded Stubbs, and whose full praise some great writer on art has yet to give us, must in this way be passed over with only this brief reference. Such foreign invaders of English art as Zuccarelli, Wilson's unworthy, but at the time successful rival, and Zoffany, call for perhaps even less mention here. Zuccarelli, who came to England from Italy in 1752, it may be well to remember, however, very seriously inter- fered with native art at the time of Stubbs, and must have been indeed a bete Jtoire to our artist, as well as to Wilson and others. His paintings, " a compound of facile insipidity and theatrical prettiness, with little nature and less art," to quote an able critic, are at the very opposite pole to the downright, natural and native work of Stubbs. But Zuccarelli, nevertheless, was the most fashionable and successful painter in Eng- land, feted everywhere, and acclaimed even by Royal Academicians like Penny, while the thoroughly English art of Stubbs was as yet known only to " the knowing few." If the lives of the painters afford the best commentary on the life and art of Stubbs, let us not forget that he had other contemporaries too, THE PERIOD-CHARACTER OF STUBRS' WORK. 89 whose lives, if less famous, are not less interesting. To many of these, reference has been made in passing, in the earlier chapters of this volume ; and it is clear no account of his life would be complete, which left out the names of Paul Sandby and of such coUaborateurs and patrons as Wedg- wood and others. One is tempted, too, to recall the long list of his acquaintance with patrons like Lord Grosvenor, and others famous on the turf, or in society, a century ago ; but " Harper cries, 'tis time, 'tis time " ; and we must end our dissertation. George Stubbs is, and will be, associated for all time with the old coaching days, with the sturdy, old-fashioned, English country life, and the days of the old-school country squires, taking us back now to our great-grandfathers. The very atmosphere of the eighteenth century, in truth, lives in some of his pictures. They help to complete the artistic record of the period, and on a side that, to make the record faithful, needed immense painstaking, where none had taken adequate pains before. It is true he was preceded in the art by such well-known men as Wyck, Seymour, Wootton, and Sartorius. The famous horses and horsemen on Stubbs' canvases stand out by themselves in their last century style ; and the artist and his pictures constitute the best possible illustration of the history of that noble animal, without which, indeed, the history and romance of England itself would be very different to what 90 LATER HORSE PAINTERS. they are to-day. In many an historical EngHsh country house, the walls bear eloquent witness to the pencil of our artist, and to his profound knowledge of his favourite subject. The art of a later day has added, it is true, the work of horse painters like Ben Marshall,. Ferneley, Gilpin, Garrard, Chalon, Abraham Cooper, Landseer, Herring, and Cooper Henderson, or, still more recently, Davis, Charlton, Hopkins, Woodville, Palfrey, Sturgess, and Carter — and not omitting the foreign artists, well known in England, Meissonier, Rosa Bonheur, and Emil Adam — to hang by the side of the paintings of George Stubbs. But, as the exhibition of his collected works in London, in 1885, proved to admira- tion, his art still holds its own ; even as the art of Reynolds and Gainsborough more than compares with the best of our nineteenth cen- tury art. CHAPTER XV The Hngnived Plates from his Paintings — Names of the various Engravers : George Townley Stubbs, Woollet, Benjamin Green, and others — Prices commanded by his Paintings, ' I "^HE names of many different engravers appear on plates from Stubbs' works : his own, that of his son, those of Benjamin Green, William Woollet, Benjamin Smith, H. Birche, E. Fisher, John Murphy, J. Scott, R. Laurie, R. Houston, and C. H. Hodges, among others. The auc- tioneer's catalogue of the works, etc., belonging to Stubbs, sold after the artist's death, contains among the lots offered on the first day three (Nos. II, 12, and 13), each consisting of "one set of capital Prints, engraved by Mr. George Stubbs from subjects designed by himself, being seventeen, under the following descriptions : The Farmer's Wife and Raven, with its companion, The Labourers ; The Haymakers and Reapers ; A Horse Affrighted by a Lion, with its com- panion, Tigers at Play ; A Lion Devouring a Horse ; A Horse Affrighted at a Lion ; Two Tigers ; A Lion ; A Tiger ; A Tiger and Two 92 ENGRAVINGS BY G. T. STUBBS. Dogs ; and three Prints of single Dogs." We may assume that the auctioneer's clerk failed to discriminate between tigers and leopards when compiling the catalogue, and described as a pic- ture of "Two Tigers" that of "Leopards," the original of which is in the Brocklesby collection, and which Stubbs certainly engraved (see No. 36 in the catalogue of his works exhibited at Messrs. Vokins' Galleries in 1885, Appendix E). These "lots" were not complete sets of Stubbs' engrav- ings from his own paintings ; for they do not include impressions of his plate from the portrait of Marske, the sire of Eclipse, to mention one prominent example that occurs to mind. It would not be safe to assume that the col- lection got together by Messrs. Vokins represents the true proportions of the work done by the several engravers to whom from time to time pictures from Stubbs' easel were entrusted ; but the preponderance in this list of plates which bear the name of George Townley Stubbs seems to prove, if no other evidence were forthcoming, that the lion's share of work went to the artist's son. The list contains the names of sixty-nine engravings ; seven of these appear to have been unsigned, and may be left out of count, and of the remaining sixty-two just one half bear the name of the younger Stubbs. Twenty-nine of the thirty-one were published between the years 1770 and 1798 inclusive; and the majority of these were plates from the equine portraits ENGRAVINGS BY BENJAMIN GREEN. 93 painted for the " Turf Gallery," done in the years 1794 to 1796 inclusive. Considering the work of G. Townley Stubbs in the light of this catalogue we may be tempted to infer that the father made the young man prove his ability upon wild beast pictures before he entrusted him with the task of engraving the portrait of any of the famous horses on which his brush was so fre- quently employed. The earliest of George Townley Stubbs' published plates mentioned in this list is No. 27, that of the " Lion and Stag" (1770); next in chronological order comes his engraving (No. 55) of the " Lioness and Lion," in 1774; and next "A Lion" (No. 45), which was published in August, 1776, followed about five weeks later by the appearance of "Jupiter" (No. 48). Of the engravings by Stubbs himself this exhibition included eight, in four of which wild animals figured : " Horse Attacked by Lion," "The Leopards," and two from his pictures of "A Horse Frighten'd by a Lion " ; " The Farmer's Wife and Raven," " Labourers," and " Reapers," with the engraving of Marske, complete the list. Of the thirty remaining engravings shown at this exhibition Benjamin Green was responsible for eight; his plates of "A Lion and Horse" (No. 29 in catalogue) and of " Lord Pigot " (No. 66) were published in 1769; "The Lion and Stag" (No. 5) and " Phaeton " (No. 16) in 1770 ; " Phyllis, a pointer," in 1772; and "Horse and 94 PLATES BY OTHER ENGRAVERS. Lioness" (No. 46), in 1774. Another "Phaeton (No. 9) and "Brood Mares" (No. 20) are not dated, Five of William Woollet's plates were among the collection, four of shooting subjects (Nos. 4, 8, 15, and 19), published in the years 1769—71, and his engraving from the picture of "The Spanish Pointer" (No. 68), published in 1778. Birche engraved two which were pub- lished in 1790 — "Labourers" (No. 26) and " Gamekeepers " (No. 33). Examples of the work of other engravers are found in No. 10, " Dog and Butterfly," by E. Fisher ; " A Tiger" (No. 12), by J. Murphy, published in 1791 ; " The Frightened Horse " (No. 34), by Robert Laurie, 1788; a " Mambrino " (No. 64), by C. H. Hodges, 1788; "The Spanish Pointer" (No. 32), by J. Scott, 1 801 ; and Nos. i and 2, " Sancho " and " Fidele," both of which were published in 1825. Reference to the volumes of the Spoi^ting Magazine for the years 1808 to 1823 reveals six plates of famous racehorses which were engraved by John Scott from Stubbs' portraits. These may be briefly enumerated : (i) Ambrosio, pub- lished in the volume for 1808 ; (2) Marske, the sire of Eclipse, 1820; (3) Mambrino, 1821 ; (4) Shark, 1822 ; (5) Gimcrack and (6) Eclipse, both of which adorn the volume for 1823. Mr. F. P. Seguier, in his invaluable Dic- tionary of ihc Works of Painters (1870), remarks VALUE OF STUBBS' PICTURES. 95 of Stubbs' pictures that they "appear to be rising rapidly in estimation " ; and gives the following particulars of sales during the present century : 1802 Portraits of a Horse and a Pointer (a pair) 1803 Portrait of a Horse .... £ s. d. 7 17 6 I 14 0 5 5 0 18 0 0 42 0 0 42 0 0 15 15 0 2 ID 0 241 0 0 388 ID 0 181 2 Portrait of Eclipse . 1813 A Tiger . Horses Fighting . [- (bought in Bulls Fighting 1830 A Lioness in a Cave ; and, A White Horse starting at the view of a Lion 18 1 3 A Lion and a Panther .... i860 A Landscape with figures, the Brick-cart . A Landscape with figures, the Keeper and Steward ...... There is indeed more than sufficient margin between the price first quoted and the last to justify the observation. That the rise in value of Stubbs' paintings has been maintained within more recent years — at all events, in so far as his horse portraits are concerned — seems to be fully established by the following details, which Messrs. Christie, Manson & Woods have been kind enough to supply : £ s. d. 1878 Landscape, with Horses (on panel) . . too 16 o 1891 Portrait of Horse and Jockey. (Cavendish Bentinck collection) . . . 378 o o 1892 Portrait of Saltram. (Maguire collection) 105 o o Portrait of Grey Horse, and Jockey. (Watts collection) . . . . 514 10 o Horses Fighting . . . . .5200 Carting Hay (a pair) . . . . 105 o o 96 TURNER AND STUBBS IN COLLABORATION. The diversity between the figures paid for horse " portraits," so described, and those for other works wherein horses occur incidentally, cannot be overlooked in reviewing these prices ; it almost goes without saying that the identity of the horse limned and the anxiety of an individual purchaser to possess a picture of a particular animal are frequently factors which do more to determine price than the actual value of a work from an artistic point of view. At the same time the handsome sums paid for two landscapes in i860 indicate that some purchasers, at least, attach a high value to Stubbs' contributions to this school of painting. On April 25th, 1863, at the sale of the late Mr. Henry Bicknell's collection, an interesting picture was sold. This was a water-colour draw- ing, entitled, " Grouse Shooting on the Moors," with a portrait of Stubbs ; it was the joint work of J. M, W. Turner, R.A., and of Stubbs, the latter having painted the dogs. The picture brought 430 guineas. APPENDIX A. Reduced specimen ptif;es /win Stubb's " Anatomy of the Hone," puhlnlied 1766. Containing 18 plates and 47 pages of letterpress, describing the bones, cartilages, muscles, fascias, ligaments, nerves, arteries, veins and glctnds. THE SECOND ANATOMICAL TABLE OF THE SKELETON OF A HORSE EXPLAINED. IN THE HEAD. \ a a b b c c d d e effgg The os frontis, or forehead bone divided into two by the continuation A of the sagittal or longitudinal suture ; b b the superciliar foramina, or holes transmitting each a small artery and nerve, out of the orbit, to the frontal muscles ; c c sutures which conjoin the frontal bone with the zygomatic or jugal processes of the temporal bones ; d d sutures common to the os frontis with the temporal bones, which are squamose parts of the coronal suture ; e e those parts of the coronal suture which make a true suture, and are common to the frontal bone with the parietal bones ; //sutures common to the frontal and nasal bones; sutures common to the frontal bone with the ossa unguis. h h i i k k I The vertical or parietal bones ; / / the squamose or scale-like sutures, which are formed by the con- junction of the parietal with the temporal bones ; k k the lambdcid suture formed by the conjunction of the parietal bones with the occipital bone ; / the sagittal or longitudinal suture, formed by the union of the two parietal bones. Ill n n The occipital bone ; m the large protuberance which is marked / in table the first, and which, in a horse is called the nole bone ; n ii appendixes or additions to the lambdoid suture formed by the union of the occipital bone with the emporal bones. 97 98 APPENDIX A. ooooppqrr The temporal bones -,0000 the zygomatic or jugal processes of the temporal liones ; r sutures common to the zygomatic processes of the temporal bones with the ossa jugalia or cheek bones. s s 1 1 II u The ossa nasi, or bones of the nose ; betwixt s and J is a suture common to the two nasal bones ; 1 1 sutures common to the nasal bones with the ossa unguis ; u u sutures common to the nasal bones with the upper jaw bones. IV w X X y y z z The ossa unguis; x sutures common to the ossa unguis with the ossa jugalia ; v y sutures common to the ossa unguis with the ossa maxillaria, or great bones of the upper jaw ; 2 z small protuberances or roughnesses, from which arise the orbicular muscles of the eye-lids. I I 2 2 3 3 The ossa jugalia, or cheek bones ; 3 3 sutures formed by the union of the cheek bones with the upper jaw bones. 44556677889 The ossa maxillaria, or great bones of the upper jaw ; 5 5 the foramina, or holes of the channels, which pass along the bottoms of the orbits of the eyes ; 6 6 parts of the upper jaw bones which belong to the bottoms of the nostrils and arch of the palate ; 77889 the anterior parts, which are joined to the posterior parts of these bones by sutures marked 14 in table the first of the skeleton ; 7 7 parts belonging to the bottoms of the nostrils and to the arch of the palate ; 9 a suture common to the upper jaw bones. 10 II 12 13 14 15 The six dentes incisores, cutting teeth, or nippers, of the upper jaw. 16 16 18 18 Maxilla inferior, the lower mandible or jaw bone; 18 18 the coronoid apophysis IN THE SPINE a a The transverse processes of the atlas or uppermost vertebra of the neck. THE ANATOMY OF THE HORSE. 99 1 d The transverse process of the fifth vertebra of the neck. 2 b c d d e e f g The sixth vertebra of the neck ; b the anterior and lower part of the body of this vertebra, which receives the superior part of the body of the seventh vertebra ; c the superior part of the body of this vertebra, which is received by the fourth vertebra ; d d the transverse process ; e the anterior obHque process which is peculiar to this vertebra, and marked z & in table the first, / the upper oblique process ; g the lower oblique process. 2, b c dfg The seventh or last vertebra of the neck ; 3 the body ; b the anterior protuberance of the body of this vertebra ; c the head or upper part of the body of this vertebra, which articulates with the vertebra above it ; d the transverse process ; ^the upper oblique process ; g the lower oblique process. li h h h i k k &c. / / &c. The vertebrae of the back ; h h h h the bodies ; / the upper oblique process of the first vertebra of the back ; those of the rest are not seen in this table ; k k&zc. the transverse processes ; / / &c. the spinal processes. I m nop The first vertebra of the loins ; m the upper oblique process ; n the lower oblique process ; / the transverse process ; o the spinal process. The same explanation will do for all those of the loins. q r r r r The os sacrum, or great bone of the spine ; q the upper oblique process, by which it articulates with the lower oblique process of the lowest vertebra of the loins ; r r r r the spinal processes. s s s s The bones of the tail. IN THE THORAX AND SHOULDER-BLADES. a a a a a b The sternum, or breast bone, of which the parts a a a a a are bony, the rest b is chiefly cartilaginous or ligamentous and connects the bony parts together. 17 lOO APPENDIX A. C The ensiform cartilage. \ c d e The first rib on the right side ; c the head, by which it is articulated with the transverse process of the first or upper- most vertebra of the back ; d the anterior or former part of the said head which is connected to the bodies of the seventh vertebra of the neck, and first of the back ; e the cartilaginous end by which it is continued to the sternum. — This explanation will serve for the rest of the ribs on both sides, which are figured according to their order from the first or uppermost. f g h i i k k 1 1 m n o, f g h k k p the scapulae, or shoulder blades ; / the neck ; g the spine ; h the coracoide or crow's-bill process ; / / the inferior costa ; k k the superior costa ; / / the basis ; ni fossa sub-spinalis ; n fossa supra-spinalis ; o a cartilaginous continuation of the basis scapulae ; / the internal and concave side of the left scapula. IN THE PELVIS. abcddddeeee ff The innominate or bason bones, including three others ; a b c the os illium or flank bone ; h the anterior part of its spine ; c the posterior part of its spine ; d d d d part of the ichion or hich bone, seen betwixt the ribs ; e e e e part of the os pubis, seen also betwixt the ribs ; f f the foraminse or holes of these bones, seen likewise betwixt the ribs. IN THE UPPER LIMBS. a h c d e f g h i k I m ft, a b c d e h i k I in n the humeri, or bones of the arm ; /; denotes a protuberance into which the teres minor is inserted ; c d e f g h the upper head ; c d e three protuberances which form two sinuses or grooves, which are incrusted with a smooth cartilage ; they serve to confine the heads of the biceps muscle of the arm from slipping THE ANATOMY OF THE HORSE. lOI sideways, but suffer them easily to slide up and down ; h that part of the head which is covered with a smooth cartilaginous crust, and articulates with the scapula; i the external condyle of the lower head ; k I the lower head covered with a smooth cartilage with which the radius is articulated ; k the round articular eminence ; / the double articular eminence ; /// the anterior fossula or sinus that receives the upper head of the radius when the cubit is bent as much as it can be 3 n the internal condyle. 0 p cj, 0 p q r r The radii, or the radius of each arm ; 0 a protuberance in the upper head, into which the biceps and brachialis are inserted ; / denotes a sinus, or groove, in the lower head, through which goes the tendon of the extensor carpi radialis ; q a sinus, through which goes the tendon of the extensor digitorum communis ; r r a smooth cartilaginous incrustation of the lower head, where it articulates with the bones of the carpus. s s The olecranons of the ulnai. w X y \ 2 \ u 2 u u IV t X t y 'i'he bones of the carpus; IV t OS scaphoides, or naviculare ; t the part which articulates with the radius, covered with a smooth cartilaginous incrus- tation ; X t OS lunare, or the lunar bone of the carpus, or wrist ; t the part incrusted with a smooth cartilage by which it articulates with the radius ; y the cuneiform or wedge-like bone of the carpus ; i u the trapezoid, cubical, or least of the mult- angular bones of the carpus, at tt incrusted with a smooth cartilage for its articulation with the navicular bone of the carpus ; 2 OS magnum, or the great round-headed bone of the wrist ; u the part which articulates with the os magnum and OS lunare, incrusted with a smooth cartilage ; 3 u Jfhe unciform or hook -like bone of the wrist, at u incrusted with a smooth cartilage, by which it articulates with the lunar and cuneiform bones of the carpus : these cartilaginous in- I02 APPENDIX A. crustations do not appear in the left carpus, the joint being fully extended. 45678, 45689 The metacarpal bones, called, in the skeleton of a horse, the shank bones ; 4 5 the shank bone which is equal to the metacarpal bone of the middle-finger, and that of the ring-finger both together ; 4 the upper head ; 5 the lower head, incrusted, in this place, with a smooth cartilage for its articulation with the great pastern or first phalanx of the fingers ; 6 7 an imperfect metarcarpal bone, in the place of that which, in the human skeleton, belongs to the little finger ; 6 the upper head by which it articulates with the unciform bones of the carpus ; 7 the lower head which is very small, and (the bones of the little finger being wanting) forms no articulation ; 8 9 an imperfect metacarpal bone in the place of that which, in the human skeleton, belongs to the index or first finger ; 8 the upper head, by which it articulates with the trapezoid bone of the carpus ; 9 the lower head, which is very small, and (the bones of the first finger being wanting) forms no articulation. 10 II Sesamoid bones. 12 13, 12 13 Bones which are equal to the bones of the first phalanges of the middle and ring-fingers in the human skeleton : in a horse these are called the great pasterns. 14 15, 14 15 Bones of the second phalanges ; the Uttle pasterns or coronary bones. 16 16 The bones of the third phalanges or coffin bones. 17 A sesamoid bone, lying over the posterior part of the articulation of the coronary bone with the coffin bone, or the two last phalanges. IN THE LOWER LIMBS. (J d c d e, a f f The thigh bones ; a the greater trochanter or spoke ; b the less trochanter ; c the protuberating part of the THE ANATOMY OF THE HORSE. 103 linea aspera, into which the external glut.xus is inserted along with a part of the niusculus fascia lata ; d the outer condyle ; e the inner condyle ; // the anterior part of the lower head of the right femur covered with a smooth cartilage for its arti- culation with the patella, and its internal-anterior and internal- lateral ligaments. g, g g The patellse or knee-pan bones. h The outer semi-lunar cartilage in the joint of the knee. / k I III, i in The tibis, or great bones of the legs \ k I the upper head ; k a protuberance, into which is fixed the anterior ligaments of the patella ; / that part which belongs to the joint of the knee and is covered with a smooth cartilage ; m the lower head, which articulates with the bones of the tarsus. M The fibula. n 0 p p, nop The astragali, or cockal bones ; n 0 the part which forms the juncture with the bone of the leg, covered with a smooth cartilaginous crust. q r The os calcis, or heel bone ; r the projecting part which sustains the astragalus. J The cuboid, or cubical bone of the tarsus. 1 1 The navicular bones of the tarsus. 11 u The middle cuneiform bones of the tarsus. tv The small cuneiform bone of the tarsus. X y z 6^, X y z The metatarsal, or instep bones ; x y a bone which is equal to the metatarsal bones, of the second and third small toes both together in the human skeleton ; x the upper head, which articulates with the three lower bones of the tarsus ; y the lower head, which, in this place is incrusted with a smooth cartilage, and articulates with the upper head of the first phalanx or order of the small toes ; z z the imperfect metatarsal bones. I I The bones which are equal to the first phalanges of I04 APPENDIX A. the second and third small toes, in the skeleton of a horse these are called the great pasterns. 2 2 The bones of the second phalanges, called in the horse the little pasterns or coronary bones. 3 3 The bones of the third phalanges, or coffin bones. 4 4 The sesamoid bones, lying over the posterior part of the articulation of the coronary bone with the coffin bone, or the two last phalanges. THE THIRD ANATOMICAL TABLE OF THE SKELETON OF A HORSE EXPLAINED. IN THE HEAD. A A That part of the os frontis which helps to form the orbit of the eye. abbe The occipital bone, of which abb is that which, in the skeleton of a horse, is called the nole bone ; c a suture common to this bone with the os sphenoides. d e f The temporal bone ; d the zygomatic or jugal process ; e a suture common to the temporal bone with the os sphenoides ; / the bony meatus or entrance of the ear. g h h GG Ossa palati ; g the orbitary part ; betwixt g and A is a suture common to this bone with the orbitary part of the frontal bone ; // h the portia palatina, or part which com- pletes the arch of the palate ; betwtxt h and // is a suture formed by the union of these two bones. i i k 1 1 m m n n Os sphenoides ; i i denote roughnesses into which the anterior recti muscles of the head are inserted ; 771 771 the pterygoid apophyses ; 1 7t, 1 7i the large lateral pro- cesses of the multiform or sphenoidal bone. p q O?, jugale or cheek bone ; betwixt p and d is a suture common to this bone with the zygomatic process of the temporal bone ; q a suture common to this bone with the upper jaw bone. r r s t u zv, i w The ossa maxillaria, or great bones of the upper jaw ; r r s t the posterior part of this bone ; ^ the jugal 105 io6 APPENDIX A. apophysis ; / the apophysis palatina of the posterior part of this bone ; betwixt t and ^ is a suture formed by the union of these two bones ; u w the anterior part of this bone ; betwixt r and n is a suture, formed by the union of the anterior with the posterior part of this bone ; w a process belonging to the anterior part of this bone, which helps to form the arch of the palate. :v; _y Os vomer ; y that part which forms the posterior part of the septum narium. 1 2 2 2 3 Os ethmoides ; i the part which helps to form the orbit ; 2 the labyrinth of the nostrils ; z conchee narium superiores, the upper turbinated, or spongy bone, or the upper shell of the nostrils 6^ Conchse narium inferiores, the lower turbinated or spongy bones, or the inferior spongy laminje of the nose. 333 Dentes molares, or grinding teeth of the ui)per jaw. 4 One of the canini of the upper jaw. 5 One of the dentes incisores, cutting teeth, or nippers of the upper jaw. 6678 Maxilla inferior, or the lower mandible, or jaw bone ; 8 its condyle or head, by which the mandible is arti- culated to the temporal bone. 9 Dentes incisores, the cutting teeth, or nippers of the lower jaw. IN THE SPINE. a bb c de The atlas, or uppermost vertebra of the neck ; a the protuberance, tubercle, or inequality on the posterior part of this vertebra, which seems to be in the place of a spinal apo- physis ; b b the transverse process ; c the superior and posterior notch ; d the transverse hole ; e a large tubercle on the anterior part of this vertebra. fg g h h i i k I The epistrophaeus, or second vertebra of the THE ANATOMY OF THE HORSE. 107 neck ; / the spinal process ; at ^ ^ the spine is divided into two, and continued to the lower oblique processes ; h h the lower oblique processes ; / / the transverse processes ; k the superior part of its body, which is received by, and sustains the atlas ; / the transverse hole. kl Im in n 71 p The third vertebra of the neck ; k the spinal process ; / / the upper oblicjue processes ; m m the lower obliqueprocess.es; nn the transverse processes ; / the internal side of the body of this vertebra. — This explanation will serve for those of the neck which are below this ; only it is to be observed, that o marks the upper j^art of the body of the fifth vertebra, where it articulates with the fourth at / ; r denotes the anterior oblique process of the sixth vertebra, and q q those parts of the oblique processes which are incrusted with smooth cartilages. r r ike s s &:c f f &.C The vertebrae of the back ; r r &c the spinal processes ; s s tkc the bodies ; ^ ^ Szc the ligaments inter- posed betwixt the bodies of the vertebra;, tying them to each other. II a &c IV w X X &c j> y z z &c The vertebra of the loins ; u 2( &c the spinal processes ; iv iv w the bodies ; x x &c the transverse processes ; y y the ligaments interposed betwixt the bodies of the vertebrae, tying them to each other ; s s &c the openings betwixt the transverse processes through which the nerves come from the medulla spinalis. 111111222223333344 &c 5555 The OS sacrum, or great bone of the spine ; i i i 1 i i the rough part, com- posed of the transverse processes of this bone ; 22222 the spinal processes ; 33333 the anterior part, which, in a young horse, is divided into as many bodies as there are spines, betwixt which, in the parts 5555, are bony lines that were formerly ligaments. 6 6 «&c 7 7 &c 8 8 &c 9 9 &c The bones of the coccyx or tail 18 io8 APPENDIX A. 6 6 &c the transverse processes ; 7 7 &c the spinal processes ; 8 8 &c the bodies ; 9 9 &c the Hgaments interposed betwixt the bodies of the bones of the tail. IN THE THORAX AND SHOULDER-BLADES. a a The sternum. b The ensiform cartilage. ccSzc ddSzce e Sicf/SzcggSic The ribs cc&c the parts by which they articulate with the bodies of the vertehnx ; dd&zc the cartilages by which they are continued to the sternum, eight on each side ee&c the external side of the ribs ; //&c the internal side of the ribs ; g o;8zc the cartilages of the false ribs which are ten on each side. hiikl The right scapula ; h its spine; ii its basis; k a cartilaginous continuation of its basis ; / its fossa subspinalis. m 7)1 n 0 The internal side of the left scapula ; n the cora- coide apophysis 0 a small part of its neck. IN THE PELVIS. a l> c d efgg h h h h i i, Kbcfghh The innominate or bason bones, including three others; ahcd the os illium on the right side ; h c its spine ; d a protuberance, from which arises the rectus muscle of the leg ; ef the os ischium or hich l)one ; c the acute process ; / the tubercle ; gg the os pubis ; lihliJi the great foramen of the ischium and pubis; // the external margin of the acetabulum. IN THE UPPER LIMBS. abed, A The humeri or bones of the arm ; ab the upper head ; b the part of the head which is joined to the cavity of the scapula, covered with a smooth cartilaginous crust ; c a protuberance into which the teres minor is insetted; d the external condyle of the lower head ; A a small part of the head of the right humerus. THE ANATOMY OF THE HORSE. ICQ efgg, g The uliiK ; e the olecranon; / the part which articulates with the humerus; gg the lower part of the ulna, which, in aged horses, becomes one bone with the radius. hi k I III nop, kl III n op The radii ; h i the upper head of the radius : k I in ii o the lower head ; k a sinus, through which goes the tendon of the extensor minimi digiti in the human body ; in the part which articulates with the os sj^henoides, or naviculare, incrusted with a smooth cartilage ; n the part which articulates with the os pisiforme or orbiculare, incrusted with a smooth cartilage ; o a sinus which receives the os lunare when this joint is bent as much as it can be. V p q r stuiv xy z, '^pqrstuw xy z The bones of the carpus ; P os pisiforme or orbiculare ; p q o% sphenoides or naviculare ; / the part covered with a smooth cartilage for its articulation with the radius ; r os lunare ; s os cuneiform ; t u OS trapezium ; / the cartilaginous incrustation by which it articulates with the os sphenoides ; iv x os magnum, or the great round-headed bone of the wrist ; iv the round head covered with a smooth cartilage for its articulation with the OS lunare ; y z the unciform or hook-like bone of the wrist ; y the smooth cartilaginous incrustation for its articulation with the cuneiform or wedge-like bones of the wrist. 12234567, 134567 The metacarpal bones ; i 2 2 3 a bone which is equal to the metacarpal bones of the middle and ring-fingers both together in the human skeleton ; i the head, by which it articulates with the three lower bones of the carpus ; 2 2 3 the lower head, incrusted with a smooth cartilage for its articulation with the ossa sesamoidea ; 4 5 an imperfect metacarpal bone in the place of that which in the human skeleton, belongs to the fore-finger ; 4 the upper head, which articulates with the os trapezium ; 5 the lower head, which is very small, and (the bones of the fore-finger being wanting) forms no articulation ; 6 7 an imperfect metacarpal bone in I lO APPENDIX A. the place of that which, in the human skeleton, belongs to the little finger ; 6 the upper head, by which it articulates with the hook-like bone of the carpus ; 7 the lower head, which is very small, and (the bones of the little finger being wanting) forms no articulation. 8 9, 8 9 Ossa sesaraoidea, two bones which are always to be found in this joint ; they serve to throw the bending tendons farther from the centre of motion in this joint, and form a proper groove for them to slide in. 10 10 The bones of the first phalanges or order of bones in the fingers, in the horse called the great pasterns. 1 1 1 1 The bones of the second phalanges, called in the horse, the little pasterns or coronary bones. 12 12 The bones of the third phalanges, or the coffin t)ones. 13 13 Sesamoid bones, lying over the posterior parts of the articulations of the coffin bone with the coronary bones, or the two last phalanges of the fingers. IN THE LOWER LIMBS. ah c d d ef g hi k, acddefgliik Ossa femorum, or the thigh bones ; b the head, incrusted with a smooth cartilage for its articulation with the acetabulum ; c the less trochanter ; d d the great trochanter ; e a very prominent part of the linea aspera, into which the external glutajus is inserted along with part of the fascia lata ; / a large fossa or notch, out of and from the borders of which, the external head of tlie gemellus and the plantaris muscles arise ; g a roughness from which arises the internal head of the gemellus ; h the outer condyle of the lower head, covered with a smooth cartilage ; / k the inner condyle, at / incrusted with a smooth cartilage. / / The patellar, or knee-pan bones. THE ANATOMY OF THE HORSE. I I I in The outer semi-lunar cartilages, which are interposed in the joints of the knees. n n The inner semi-lunar cartilages, which are interposed in the joints of the knees. o pq r, 0 p q r The tibae, or great bones of the legs ; o p the upper head ; r the lower head. s t, s t The fibute, or small bones of the legs ; s the upper head ; t the lower extemity which ends here almost in a point. uwxxyz&'i, II IV X X y z er» i The bones of the tarsus. u w, II w The calcanei, or heel bones. XX XX The astragali, or cockal bones. y y The cubical bones of the tarsus. 0 z The navicular bones of the tarsus. 6^ The middle cuneiform bones of the tarsus. 1 I The less cuneiform bones of the tarsus. 234567, 234567 The bones of the metatarsus, or instep ; 2 3 a bone which is equal to the metatarsal bones of the second and third little toes, both together, in the human skeleton ; 2 the upper head, which articulates with the three lower bones of the tarsus ; 3 the lower head, covered with a smooth cartilaginous crust; 4 5 an imperfect metatarsal bone, in the place of that in the human skeleton, which belong to the first of the small toes ; 4 the upper head, by which it articulates with the less cuneiform bone of the tarsus ; 5 the lower head, which is very small, and (the bones of the first of the small toes being wanting) forms no articulation ; 6 7 an imperfect metatarsal bone in the place of that which in the human skeleton, belongs to the little toe ; 6 the upper head, by which it articulates with the cubical bone of the tarsus ; 7 the lower head, which is very small, and (the bones of the little toe being wanting) forms no articulation. 8 9, 8 9 Ossa sesamoidea, they are bones which are always 112 APPENDIX A. to be found in these joints, two in each, they serve to throw the bending tendons farther from the centre of motion, and form a proper groove for them to shde in. loio nil I2I2 The bones which are in the places of the three phalanges or orders of bones in the human skeleton : with farriers the first are called the great pasterns ; the second the little pasterns or coronary bones and the third the coffin bones. 1313 Sesamoid bones lying over the posterior parts of the articulations of the coffin bones, with the coronary bones. APPENDIX B. A LIST OF THE KNOWN WORKS BY GEORGE STUBBS, May, 1896. at windsor castle. The Property of H.M. The Queen. (Descriptions copied from the catalogue.) (No. 974.) Equestrian Portrait of a Soldier, in blue coat with yellow facings, trimmed, with white breeches, black gaiters and black shako, holding drawn sword in his hand, mounted on a chesnut horse with yellow saddle-cloth trimmed with scarlet, green and white, with the Prince of Wales's feathers embroidered. A Bugler, Corporal and Private in front of him. George Stubbs. Size, 3.4IX4.2A. 114 APPENDIX B. Remarks : George Stubbs, R.A., did not exhibit at the Royal Academy between 1 791 and 1799. Two Corporals, a Private and a Trumpeter of the loth Regt. of Light Dragoons. 6/7/75. See New Catalogue, 1816. No. 480 in the Armoury. See Quarto Catalogue 18 19. No. 522. Armoury, Carlton House. 50 Guineas. (No. 1 22 1.) Portrait of a large Black AND White French Poodle Dog, lying on the ground with his legs stretched out. Rocks back- ground. Trunk of Tree on left. George Stubbs. Size, 3.4^X4.2. Remarks : This Picture has a hole in it, over the Dog's head. 1 8/2/71. See Quarto Catalogue 18 19. 405. (No. 1227.) Portrait OF A Black AND White Fox Dog and a Brown Spaniel. George Stubbs. Size, 3.4IX4.2. Remarks : This Picture has been burst through in the middle and a patch put on the back. 18/2/71. See Quarto Catalogue i8ig. No. 415. Store Room, Carlton House. ^63. APPENDIX B. AT MARLBOROUGH HOUSE. The property of Her Majesty the Queen. The small collection of pictures of horses ivhich hmig for so matiy years at the Stud House, con- tained four pictures by Stubbs, besides three by his contemporary Sawrey Gilpi?i, R.A., and others by Benjamin Marshall ; by James Ward, R.A. — by whom there is a very fine portrait of " Orthey,''^ a bright chestnut horse; by Abraham Cooper, R.A. ; and a stnall picture of the Godolphin Arabian by an artist whose name is unknown. In consequence of the dispersal of the Royal Stud, however, all these pictures have been removed to Cumberland Lodge with the exception of three, two of which, by Stubbs, are described below. I. A Portrait of the Prince of Wales riding A Dark Chestnut Horse. (On canvas, 40 inches in height by 50 in width. Signed G. Stubbs, pinxit 1791.) The prince looks out of the picture to his left ; he is represented as a young man of twenty-nine, with small features and clean shaven face ; he wears his hair long and powdered, in full bunches under his broad brimmed high black hat. He has a white cravat and is dressed in a long 19 ii6 APPENDIX B. blue coat with orjlt buttons, havino- the star on the left breast. He wears brown leather gloves, white leather breeches with a bunch of laces at the knee buttons, boots with brown leather tops, and spurs. The prince sits his horse well, and raises his right arm holding a light cane with a tassel to it, and holds in his left hand the single bridle to a snaffle bit as he trots along by the Serpentine in the Park, with two terrier dogs — — one white with brown face, and the other brown — running in front of the horse. The landscape shows the water, under a warm, cloudy sky with a peep of blue in the upper part, and a group of slender trees at the right side of the picture. 2. " Baronet," ridden by the elder Chifney. (On canvas, 40 inches in height by 50 in width. Signed and dated 1 79 1.) " Baronet " is going full gallop to the left, past a winning post and stand, though without any judge or spectators, on Newmarket course. He is a bay horse with dark tail cut as a bang, and legs so dark as to be nearly black. The jockey wears the royal colours, scarlet and blue, and dark blue waistcoat, with gold lace, scarlet sleeves, and close black jockey cap. The saddle cloth is red and blue. Chifney looks out to his left with a bright, intelligent, and confident APPENDIX B. 117 face ; he holds the bridle with both hands and does not use his whip : the heel of his top-boot comes in front of the girths, and he sits quite upright and steady as if he had won the race. AT CUMBERLAND LODGE, WINDSOR GREAT PARK. Co/kctio)! at the residence of H.R.H. Prince Christian, the Ranger. These pictures are interesting examples of the artistes ability as a portrait painter of gentlemen of the tifne riding their favourite horses, or out walking with their dogs. Such are the pictures of Sir Sydney Medows, who was Knight Marshal to the King, George III. ; of Sir William Meadowe, also on horseback ; and of Mr. J. C. Santhagul, page to H.R.H. the Prince of Wales, walking out with his three dogs. There is also a very spirited portrait of a handsome lady managing a fiery chestnut horse, whose name appears to be an undecided question, as it is stated on the label to be either Airs. Hills or ii8 APPENDIX B. Lady Ladd. The horses are painted in the iuost finished style of the master, and are remarkable for the life-like actio?t and expression in the heads, especially in the picture of a fine grey galloping iyNo. 8), and another very fine grey horse trotting \No. 12). These pictures are hung round the Dining Room ; the large one of the Royal page and the dogs being over the fireplace in the centre place, and the others on the opposite side and on the end wall. The pictures are exceedingly well placed for examina- tion, as the apartment is lit by a fine large window looking out upon the Royal park. They are the property of the Crown, and most of them probably were commissions to Stubbs by the Prince of Wales, afterwards Kijig George IV. I. Sir Sydney Medows, Knight Marshal to the King. (On canvas, 27 inches in height by 38 in width. Signed and dated 1778.) Mounted on a long-tailed white horse which is curvetting playfully and facing to the right, the rider looks straight out of the picture. Sir Sydney is dressed in a long grey coat, white breeches and waistcoat, three cornered black hat, with white wig, white stockings and buckle shoes. The saddle has the old-fashioned square cut Haps. The landscape background is grey in colour, with APPENDIX B. hills and water in the middle^round, and some o slender trees. 2. Pumpkin, foaled 1769. (On panel 27 inches in height by 39 in width.) A chestnut horse ridden by South, the jockey, who wears a dark blue striped white jacket and cap ; facing to the left. This picture is a replica of the one in Lord Rosebery's collection, but on a smaller canvas. 3. A Buck and Doe. 1792. (On canvas, 39I inches in height by 49? in width.) In a park-like landscape under a cloudy sky, with bits of blue here and there, a group of trees on the right and water seen in the distance, the young stag is leading the way, with his favourite doe following ; he is looking back towards her in his glance round to see that all is safe and quiet. Stubbs did not paint the stag often, but he shows in this his great faculty as a painter of animals. 4. Mr. J. C. Santiiagul, Page to H.R.H. the Prince of Wales. 1782. (On panel, 36 inches in height, by 52 in width.) This is a capital picture, painted with all the fine perception of portraiture and of animal life and I20 APPENDIX B. character of which Stubbs possessed so large a share, and with the utmost technical excellence. Mr. Santhagul is taking his morning walk with his three favourite Pomeranian dogs towards a ravine of high wooded cliffs, with a stream flowing below. He is a young man, dressed in a long grey coat, drab breeches and waistcoat, white cravat and black beaver hat, white stock- mgs and buckled shoes. He points with his left hand to a white long-haired dog as he looks down at a big brown long-haired dog near him, while a smaller black one, with curly tail and brown legs, is frisking about, and jumping up at his master, who stands with his right hand on his hip, holding his walking-stick. The landscape is very picturesque ; and the hazy sky with summer clouds and peeps of pale blue, and deep-toned shady foliage filling the left side of the picture, give great brilliancy to the figures. Signed " G. Stubbs, pinxit 1782." 5. The Royal State Coachman "Thomas," with the Phaeton Horses and the Phaeton and Groom of H.R. H. the Prince of Wales. Signed " G. Stubbs, pinxit 1793." (On canvas, 39 inches in height by 49 in width.) The State Coachman, a very portly, well-fed personage, in all the importance of his office : he wears his laced cocked hat and wig, and the APPENDIX B. I 21 royal livery coat of scarlet and gold, which is unbuttoned to show his buff waistcoat ; white stockings and buckle shoes. He holds one black horse by the bridle, the other, foreshortened, standing ready in the bright silver-mounted har- ness, on his left hand. These horses are jet black, with only a little white on the hind fet- locks, and are a very fine, well-matched pair, full of character and breeding. The one whose bridle the coachman holds arrests special atten- tion ; he looks every inch a good one as he stands with limbs on the stretch, head up, and short, scrubby tail cocked : his attitude betrays pluck and spirit in every line. Stubbs evidently enjoyed painting a horse of some character like this, and has touched him off to the life. The black harness with silver mountings and crimson silk ornamental headgear, and the phaeton with scarlet wheels and black body, the pole of which is being put in by a coatless groom, are painted with the utmost care in every detail, from the crown 'and cipher on the blinkers to the smallest buckle. A pretty touch of animation is imparted by the white and black dog jumping up in friendly recognition of the horse, who bends his head slightly in acknowledgment. The back- ground is a pleasant landscape with water near and a distant hillside, under a blue sky with light clouds ; in the foreoround a slender silver birch is seen above the phaeton. This picture has an interest beyond its artistic merits, affording us 122 APPENDIX B. as it does a capital idea of the distinguished figure H.R.H., "the first gentleman in Europe," made in the Park when driving his phaeton with this dashing pair of blacks. 6. A Bay Horse and "Gascon" the Groom. (On canvas, 39 inches in height by 49^ in width.) Signed "G Stubbs, pinxit 1791." A fine bay without a spot, with black legs and bang tail. He stands facing to the right, quietly waiting the approach of the groom, who ap- proaches holding a sieve with both hands. The head of the horse is alive with expression, his ears cocked and his nostrils twitching as he sniffs the tempting corn. Gascon wears a long grey coat and red waistcoat, yellow leather breeches and top boots, and a black hat. In the near grassy foreground are trees, one of which throws branches right across the picture and above the shed ; more trees in the middle ground ; a pale blue sky with fieecy clouds. 7. Two Saddle Horses of H.R. H. the Prince OF Wales, and Anderson the Groom. (On canvas, 39 inches in height by 49-| in width.) The groom is riding at a brisk trot a bay horse with white face and four white legs : he leads the other, a chestnut with white face and APPENDIX B. 123 Star on his forehead and white hind fetlocks, who canters a Httle in the rear, so that the spirited action of both horses is well seen. They are admirably well drawn. They face to the right ; the groom looks very smart in his scarlet coat with royal blue facings and gold lace, black hat, gold laced brim and cockade. The landscape background is flat grassy country, with water in the distance, and pale bluish grey sky with light clouds. 8. A Grey Horse Galloping. (On canvas, 39 inches in height by 50 in width.) This is a picture of a fine stallion, remarkable for the life-like expression of the head of the horse who rushes wild with fright or temper, foaming at the mouth, with the bridle broken short off at the bit, leaving only the head-piece. He has no saddle, and there is the mark on his back where the saddle has been painted out : which would lead us to conjecture that the artist originally intended to paint him as he bolted with his rider, who broke the reins in pulling him. Or perhaps the horse was waiting saddled and secured by his bridle at the hook or ring in the stable wall, when he was suddenly frightened and broke away. Stubbs, dissatisfied with his attempt to accomplish the difficult task, painted out the saddle, but left the bridle for fear of spoiling the head, of which he was no doubt proud enough. 20 APPENDIX B. This horse resembles the trotting grey (No. 12), having the same white tail, and high crest, though his fine shape is not so well seen as in the trotting horse. The landscape is flat, with trees on the left and the foreground grassy with a thistle ; the sky is blue in the upper right corner of the picture, with big dark clouds coming up, and a gleam of sunlight on the lower clouds. The picture is signed " G. Stubbs, pinxit 1793." 9. Sir William Meadows. (On canvas, 39 inches in height by 49I in width. Signed and dated 1791.) Mounted on a spirited, bright bay horse, approaching cream colour, which prances with fore-legs raised ; Sir William sits his horse well, holding the bridle in his right hand as he looks out of the picture. He is dressed in a long-tailed, greenish-grey coat with flap pockets, a black three-cornered hat, and wig, long grey woollen riding leggings and buckle shoes. The interior appears to be a riding school in which Sir William is trying his mount with the snaffle bit. The horse is a showy one, but his ears are laid back and he has a wicked eye : his face white with a fleshy nose, his legs black with white off hind fetlock, and black tail. He faces to the right. APPENDIX B. 10. Portrait of Mrs. Hills or Lady Ladd on a chestnut horse. (On canvas, 39 inches in height by 49^ in width.) Signed " G. Stubbs, pinxit 1793." The dashing, handsome lady, in a blue habit with gilt buttons, open frilled shirt-front and high white cravat, a high black hat with a dark grey ostrich feather, and her curly hair flowing on her neck, is holding with a tight rein her prancing, fiery chestnut, whose ears are laid back and eyes flash. She has both hands on the snaffle and curb reins, and an extra curb rein lies on his neck. The landscape is park-like, with trees and water ; a bright sky with light clouds, and a big tree on the right spreading branches overhead. H.R. H. Prince Christian has a small coloured print in which the same lady is seen riding this chestnut horse, but at present it is not decided whether the portrait is that of Mrs. Hills or Lady Ladd, who were probably rivals amongst "the pretty horse-breakers " of the day. 11. George HI. Returning from Hunting. Windsor Castle in the background. 12. A Grey Horse. (On canvas, 39 inches in height by 49^^ in width.) This is a beautiful portrait of a splendid horse with proud head and lofty crest, trotting in APPENDIX B. grand style in his grassy paddock. His form is superb, he has a fine shoulder, is well ribbed up, with tremendous power in the hind quarters. Every muscle is in strong action, and the carriage of his raised off fore leg shows what a high stepper he is ; every joint is supple and free. He looks the very monarch of the field. In colour his coat is nearly white, the legs dark grey with white hind fetlocks, and white tail. He is moving to the left. The landscape is simple ; water in the distance and a group of slender trees in the middle ground ; a blue sky, with grey clouds catching the sunlight here and there. This fine picture of a noble animal, is signed " G. Stubbs, pinxit 1793." The resemblance in some points to the galloping horse (No. 8) has been noticed, and it may be pointed out that there is a certain similarity between this grey and " Gim- crack " the famous racer, foaled in 1760, described in the account of Lord Rosebery's collection at the Durdans, and in that of Sir Walter Gilbey's pictures by Stubbs at Elsenham Hall. ( The two folloiving are from the Stud House Collection.) 13. A Horse AND Groom. (On panel, 22^ inches in height by 29 in width. Signed and dated 1761.) This is a brown horse, with short docked tail and white hind fetlocks, standing saddled, facing APPENDIX B. 127 to left and held by the groom with the bridle brought over his head. The groom belongs to the royal stables, and probably is one of the whippers-in of the hunt, as he wears the scarlet and gold laced coat and jockey cap and holds a hunting whip. The land- scape has trees in the left foreground, which is grassy, with a pretty distance and warm, cloudy sky. 14. A Horse. (On canvas, 15 inches in height by 19 in width.) This little picture is interesting as being the joint work of Stubbs with two French artists of eminence — Joseph Vernet, the famous marine painter, who painted the landscape, and Boucher, who painted the two figures (peasant girls mind- ing sheep), with a dog in the middle ground. This is recorded by a written note on the back of the canvas as follows : " Ce tableau a ete donne a M. Monnetdans un dernier voyage dans I'annee 1776 par Lord Bolinbroke. Le cheval a ete peint par Stubbs, actuellement a Londres, le fond du tableau par Vernet, celebre peintre de marine, et les deux figures, le chien et les moutons par Boucher, premier peintre du Roy de France." How the picture came back to England is not stated. 128 APPENDIX B. The horse is a brown with a long tail and white near hind fetlock ; it stands facing to the right. The landscape is a pretty country, green and flat with bluish distance, and the peasant girls with their sheep occupy the middle ground. AT THE NATIONAL GALLERY, LONDON. No, 1452. Landscape : with a Gentleman hold- ing his Horse. (On canvas, 1 foot 5^ inches high by 2 feet 2^ inches wide.) Purchased at the sale of Lord Clifton's Collection in .895. On the left of the picture a man, clad in a hunting suit, leans on a rock holding the bridle of a white horse, from which he has dismounted ; a greyhound stands by his side. In the back- ground rises a steep and partially wooded cliff, along the base of which a river winds. APPENDIX B. AT THE SOUTH KENSINGTON MUSEUM. Lions and Lioness : with rocky background. (Canvas, 52X71^, oblong. Signed, and dated 1776.) Goose with Outspread Wings. (Canvas, 30X43?. oblong.) AT EATON HALL, CHESHIRE. The Collection in the possession of his Grace the Duke of Westminster, K.G. 1. Bandy. A favourite horse. An engraving of this picture was published by J. Bennett, 53, Fleet Street, 2nd June, 1777. 2. The Grosvenor Hunt. This picture contains the portraits of Lord Grosvenor on "Honest John"; his brother, the Hon. Tomas Grosvenor, Sir Roger Mostyn, Mr. Bell Lloyd, together with their servants. A view of the drawing-room windows of Eaton Hall forms the background. hi the foreground is a pond in I30 APPENDIX B. which the quarry, a stag, is at bay, surrounded by the hounds. There is an etching of this painting on a very reduced scale preserved in the Print Room of the British Museum. The picture was painted in 1762. 3. Mares and Foals. This picture contains the portraits of a chestnut mare with a chestnut foal ; a dark bay mare and a bay foal ; and an old grey mare white with age. 4. Mares and Foals. A brown mare and a roan filly foal, a grey mare in the middle, and a black mare and colt standing below. 5. Mambrino, a grey horse by Engineer from a Cade mare, was foaled in 1768. He was bred by the first Lord Grosvenor, and was a good horse over a long course. His chief title to fame, however, is that he was sire of Messenger, who went to America in 1786. There is not a single tcotting horse of note, including the cele- brated trotter, Maud S , which does not date its origin back to Messenger, the son of Mambrino. 6. Sweet William. A dark brown race- horse, with groom attending. This, like the two previous portraits, appeared in the Turf Gallery collection, exhibited by Stubbs in 1794. APPENDIX B. AT HEATHERTON HALL, SOMERSET. In the possession of Colonel Adair. I. Snap. In 1771 Stubbs painted at New- market Snap, a brown race- horse by Snip out of a Fox mare, the property of Jenison Shafto. This picture is painted on canvas, and comprises landscape, the horse in a paddock, with trees on the left, and a shed in the middle distance. Snap, we may add, was bred by Cuthbert Ruth, of Northumberland, and sold to Jenison Shafto, well known for his equestrian match against time, in which he backed himself to cover fifty miles in two hours, and accomplished the feat on the 27th of June, 1763, making use of ten horses, in one hour and forty-nine minutes. Snap was a first-class race-horse and was never beaten. His two most famous matches were against the Duke of Cumberland's Marske, the sire of Eclipse, whom Snap beat twice over the Beacon Course, each match being for 1,000 guineas. Snap was the sire, in twenty-one years, of 261 winners. AT queen's house, lyndhurst. In the possession of the Hon. Gerald Lascelles. I. Game Cock, trimmed with spurs. 21 132 APPENDIX B. AT THE JOCKEY CLUB, NEWMARKET. I. GiMCRACK. Painted about 1766-7. This famous race-horse, a grey standing fourteen hands and one inch high, was bred by Gideon Elliot, of Murrill Green, Hants, in 1764, and passed through the hands of Wildman, Lord Boling- broke, Count Lauraguais, Sir Charles Bunbury, and Lord Grosvenor. He was one of the best and stoutest horses of his day, and, until recently, the only one in the history of the Turf who gave his name to a race which is still run for, viz., the Gimcrack Stakes for two-year-olds, run annually at the York August meeting. Gimcrack was taken to France by Count Lauraguais, where he galloped twenty-two miles in an hour. This portrait of Gimcrack is undoubtedly by Stubbs. It was bequeathed to the Jockey Club by Admiral Rous, who was under the impres- sion the picture was painted by Hogarth. But Hogarth died in 1764, the year in which Gim- crack ran his first race. There are other paint- ings by Stubbs of this horse at different periods of his life, and there is no doubt that Hogarth could not possibly have executed the work. One man holding the bridle, another kneeling down, and horses and jockeys cantering down the course are carefully executed, as well as the landscape and sky. APPENDIX B. AT THE DURDANS, EPSOM. The Collection in the possession of the Earl of Rosedery, K. G. I. Eclipse. 1770. (On Canvas. Size, 39 inches in height by 49 in width. Signed.) A chestnut horse, with a white face, and the off hind leg white from just below the hock to the fetlock joint, all the hoofs being brown ; a short bang tail, chestnut brown ; mane of the same colour, plaited with lead. He is saddled, with a blue saddlecloth, and faces to the right, being held by a groom, close to whom stands the jockey holding his whip and pre- paring to mount, as he looks towards the horse and appears to be speaking to the groom. The jockey wears white buckskin breeches, white stockings, and black high-low boots, a scarlet jacket with white cuffs, white neckcloth, and soft black cap which differs from the modern jockey shape in having a soft brim all round. The groom is dressed in a long blue coat with red collar and cuffs, white breeches, black stockings and buckle shoes, and a soft felt black hat. The background is a flat landscape, with low trees in the distance ; grassy foreground, the sky sunny blue, with big clouds, the light striking from the left. The figures are relieved against a grey stone building, square in form, like a stable with a high pitched roof. 134 APPENDIX B. 2. Anvil. (Canvas. Size, 39 inches in height by 49 in width. Signed.) A dark bay, with a high crest, black legs, mane and tail (long) ; white star in the fore- head, and three small white spots on the withers. He stands in a grassy paddock in front of a stable, with a wall going right across the picture ; landscape beyond, with a warm sky and bright, hazy clouds, and three trees on the left side of the picture which the horse faces. 3. DuNGANNON. 1793- (On Canvas. Size 39 inches in height by 49 in width.) A bright bay, with black legs, mane, and tail, the two hind fetlocks white ; facing to the right, in company with a white pet lamb which stands just in front of him, looking out of the picture. The background is a bright morning sky with- out clouds, the horse being relieved against a barn with grey tiles and grey wall, above which are seen some good trees, with a grassy fore- ground. Dungannon was bred by Dennis O' Kelly, Esq., in 1780. He was by Eclipse. In connection with horse a singular circum- stance is recorded. A lamb in a flock of sheep when near the paddocks became unable to pro- ceed, and was left there by the drover. Dun- gannon attached himself to the animal, and it was afterwards his companion. APPENDIX B. 4. Volunteer. (On Canvas. Size, 39 inches in height by 49 in width. Signed.) A chestnut horse trotting up to the groom, who stands on the right of the picture, holding a bridle towards him. The horse has chestnut mane and tail, white spots on the withers and on his right side near the girths, and his feet are brown. The groom wears a blue livery coat, with red waistcoat and cuffs, drab breeches and white stockings, with buckle shoes, and a black soft hat. The background is a pretty landscape, with a lake near, and a village church amongst trees beyond, under a blue, hazy sky with fleecy clouds. Two trees are in the right foreground, some distant trees in the middle-ground to the left, and m the near foreground docks, below which is the signature. 5. GiMCRACK. (On Canvas. Size, 33 inches in height by 43 in width.) Gimcrack won very many races in the years 1764 to 1 77 1. This work was executed after his racing career, which will account for his being painted nearly white. A grey horse, inclining to white, with white swish tail and dark legs. A groom standing in front, on the right of the picture, holds him by the bridle, which he has brought over his head, and holds at the end with one hand, the other higher up nearer the bit. The groom is dressed 136 APPENDIX B. in a long light-drab coat, black soft cap, white stockings, and buckle shoes. The landscape has trees right across the picture, with stables on the left in a grassy foreground, and a good summer sky. Another painting of Gimcrack by Stubbs is at the Jockey Club, Newmarket. A full description of Gimcrack accompanies this picture. There is also a third work, probably the first which was painted, as the colour of the horse in this one is dark grey. 6. Pumpkin. 1770. (On Canvas. Size, 39 inches in height by 49 in width.) A chestnut horse, with a white face : in the saddle the jockey South who wears a white jacket with broad dark blue stripes, and cap of the same, breeches, and top boots. The horse stands facing to the left ; his legs are chestnut, as also is the short bang tail. The landscape is the Downs, under a blue sky with clouds ; on the left are white posts and rails. 7. SwEETBRiER. 1779- (On Canvas. 39 inches in height by 49 in width.) A horse of slaty black colour all over, the tail, which is a swish, being a shade lighter. He stands facing to the left, near some farm buildings, with a row of white rails, relieved against a light. APPENDIX B glowing sky, reddish towards the horizon, Hght clouds and blue in the upper part ; a glimpse of distant country seen on the right, and trees above the buildings on the left. In the fore- ground is a briar rose in blossom. 8. Mambrino. (On Canvas. 32 inches in height by 42 in width.) Mambrino, by Engineer, from a Cade mare, was foaled in 1768 ; he was a grey with a high crest, white tail, and dark legs, the shoulder large and powerful ; he stands facing to the left in a park-like landscape, with distant blue mountain, and hill in the middle-ground, with fine trees and a lake, the foreground grassy with a bit of road, near which stands the horse ; the sky is cloudy. This is a second picture by Stubbs of Mambrino ; the first work is in the Eaton Hall collection. 9. ScRUBB. Foaled 1785. (On Canvas, 8 feet by 8 feet. The horse life-size.) A fine rich bay horse, with black mane, tail, and legs, the two hind fetlocks white : he prances on the bank of a lake, in a sunny landscape, with a Cuyp-like sky, glowing with sunlight spreading over grey and silvery clouds. The figure of the horse shows with fine effect against the brilliant sky and the trees on the banks of the lake, forming altogether a very life - like and 138 APPENDIX B. beautiful picture. The horse is remarkable as one of the painter's most masterly pictures repre- senting the animal in strong action, with wonderful spirit and naturalness ; he is full life - size. The horse, in his playful gambols, is moving towards the left. The right side of the picture is filled with foreground trees, which complete the composition of this very striking picture. This portrait of the celebrated racehorse Scrubb was painted for the Marquis of Rocking- ham, but some dispute arose, and it was sold to Miss Saltonstale, of Hatchford, Cobham, Surrey. 10. Eclipse. (On Canvas, Oval. 14 inches by 17 inches.) In this very pretty little picture, which is painted with all the verve of the master, the famous horse, clothed in his stable gear, is taking his morning gallop on the Downs, ridden by a boy. The foUoiving picture is at the Earl of Roseherfs house in Berkeley Square, London. 11. Portrait of Warren Hastings, riding an Arabian Horse, in a landscape. (On Panel. Size, 35 inches in height by 26\ in width. Signed and dated, 1791.) The famous first Governor-General of India is mounted on a dark bay Arab with very APPENDIX B. arched crest, brown legs, mane, and long brown tail, facing to the left, in a landscape. He sits very upright, and holds his horse steady with both hands raised on the bridle, the handle of the whip seen in the right, and looks towards the spectator, the head being turned three quarters to his left. The face is close shaven, the nose aquiline, the eyes grey, and the hair light brown turning grey, seen at each side under the brim of a black soft hat with rather low crown, and a buckle in front on the band. The figure is tall and spare. Hastings is dressed in a black cutaway coat, buttoned close but showing a bright red waistcoat, a frilled shirt-front, and white neck- cloth. He wears grey breeches, with top-boots and spurs, and has grey gloves. In the landscape there is a lake in the middle-ground, with fine mountains on the further side and in the dis- tance, a cloudy sky clear blue at the upper part, a grassy foreground with docks and other weeds, and a group of slender trees on the right. Warren Hastings will always be remembered for the great State Trial in Westminster Hall of his impeachment for tyranny and extortion in India, by the House of Commons in 1787, in which Edmund Burke took the leading part with his celebrated speeches, supported by Fox, Sheridan, and Pitt. This resulted in his acquittal by the House of Lords, after seven years' deliberation, by a large majority upon 22 I40 APPENDIX B. every charge, April 23rd, 1795. The cost to him- self was ^71,000, and to the nation of ^100,000. He was afterwards raised to the dignity of a Privy Councillor, and some further amend was made by a Government grant of ^4,000 a year, which he enjoyed until 1818, when he died, aged 85. We owe this very interesting portrait to the fact that Stubbs was called upon to paint the favourite Arab which had been ridden in India by the Governor-General. The picture is as excellent a portrait of the great man as it cer- tainly is of the horse. It must have been painted, according to the date, before the great trial ended. The landscape may be taken from the place in Worcestershire — Daylesford — which once belonged to his family, and to which he eventually retired having accomplished the great desire of his life in purchasing the estate. Warren Hastings was a Westminster scholar, and in 1750 was, like the famous Lord Clive, sent out as a writer in the India Company's service. After the death of Clive by his own hand, at his house in Berkeley Square, in 1774, Warren Hastings was appointed Governor-General of India. APPENDIX B. 141 AT BROCKLESBY, LINCOLNSHIRE. The collection in the possession of the Earl of Yarborough. 1. Thomas Smith, huntsman, and Thomas Smith, Jun., first whipper-in to the Brocklesby Hounds. On horseback. (On Panel. 3 feet 4 inches by 2 feet 9 inches. Signed and dated 1776.) 2. " Bashaw," a white German Poodle. (On Canvas. 4 feet 2 inches by 3 feet 6 inches. Signed and dated 1804.) The life-like pose and the texture of the white curly coat of the dog are exquisite. 3. Lemon and Whife Spaniel. (On Panel. 3 feet 4 inches by 2 feet 9 inches. Signed and dated 1784.) 4. A Favourite White Pony and Hound. View of Brocklesby in the distance. (On Panel. 2 feet 6 inches by 2 feet. Signed and dated 1 2th January, 1777.) The pony a present to Master Anderson from Mr. Vyner, of Gautby, Lincolnshire. Age of pony 28 years. 5. Foxhound " Ringwood." (On Canvas. 4 feet 2 inches by 3 feet 4 inches. Signed and dated 1792.) The trunk of a tree to the right, with a 142 APPENDIX B. large foxglove blooming beside it. A beautiful picture, in good preservation. 6. A Bay Hunter. (On Panel. 2 feet 4 inches by 2 feet. Signed and dated 1777.) Landscape, with horse in foreground, tree on the right, and wild flowers in bloom, growing up the tree. 7. A Chestnut Hunter. (On Panel. 2. feet 4 inches by 2 feet. Signed and dated 1776.) Landscape with horse in foreground nibbling a thistle, cottage on left, water in distance. 8. Leopards. (On Panel. 4 feet 8 inches by 3 feet 2 inches. Signeid and dated 1776.) AT WELBECK ABBEY. In the possession of His Grace the Duke of Portland. 1. A Hunting-piece, with East View of THE Riding. School AT Welbeck Abbey. Build- ings and trees on the right, man on white horse in centre, groom leading bay cob ; on the right, figure in green coat, hunting crop under arm ; on the left, harriers coupled. APPENDIX B. 2. Portraits of William, Duke of Portland, AND Lord Edward Bentinck : Landscape with black horse held by bridle, and groom leading cob to a leaping bar, saddle and dog on ground, trees on left. The portraits of the Duke and his brother were pronounced by contemporaries to be " the very spit of the subjects portraid." The artistic merit of the work is patent to the most casual observer. 3. Young Swiss, 1772. A bay horse led by a groom. AT althorp. In the collection of Earl Spencer, K. G. I — "Scape-Flood" — The horse, dark brown in colour, is a splendid specimen of a weight- carrying yet well-bred hunter. He is standing in a field, held by a stable boy in coloured striped jacket. The landscape, with a river in the distance, is elaborately painted. (On Canvas, 4 feet I inch by 3 feet 3 inches.) 144 APPENDIX B. 2—" MouTON " — A brown Pomeranian dog with a thick but fine coat. He has one of his forelegs resting on a crust of bread. The back- ground of the picture is a wooded landscape. This was a favourite dog of the first Earl Spencer, who is said to have drawn his sword in Piccadilly on someone interfering with " Mouton." (On Canvas, 3 feet 3| inches by 2 feet 8| inches.) AT ELSENHAM HALL, ESSEX. The Collection in the possession of Sir Walter Gilbey, Bart. 1. Portrait of Warren Hastings. (Enamel Painting on a china tablet manufactured by Wedgwood. Oval, 34 in. by 25^ in. wide.) Signed and dated 1791. Sold in Stubbs' sale, lot 68. This is a replica of the portrait belonging to the Earl of Rosebery. but painted in enamel on a tablet made by Wedgwood. A replica portrait is described in the Earl of Rosebery's collection (see page 138). The colour of the coat is a lighter blue, and the landscape APPENDIX B, background does not stand out so clearly as in the oil painting, having no doubt failed in the firing of the enamel work. This is, however, an interesting picture on account both of the like- ness and the durable nature of the material. 2. Hunter and Arab. (On Canvas. 39^ in. in height by 49 in. in width.) The two horses are surprised at an inquisitive white curly dog who wants to make their ac- quaintance and stands looking up at the hunter, a dark bay thick-set horse with bobtail, white hind fetlocks and hoofs, whose ears are laid back as he stretches his head towards the snarling dog. The Arab mare is a larger horse and lighter bay in colour, with fine head and neck, long black tail tipped with grey, and the legs black. She cocks her ears as she approaches the dog. The land- scape background is on the banks of a river with a tree on the left, towards which the horses are walking, and near the root of which stands the dog. The sky is clear blue, with big clouds of warm white. 3. A Bay Arab Horse. 1799. (On panel, 32^ inches in height by 39^ in length.) He faces to the left nibbling a thistle which grows on a bit of rocky ground. His tail is long and brown ; the feet also brown ; some white spots on the body. The landscape is rocky in the foreground, with a sea-view of a harbour and 146 APPENDIX B. lighthouse tower upon a flat shore of an Eastern character. A large group of trees fills the left side of the picture, the sunlight striking from the left through the foliage, showing a mass of dark foliage coming with good effect against the bright yellow and brown of the farther trees. This Barb is evidently painted from a sketch he made from nature when in the East. (See Chapter III.) 4. Jupiter and Mare. (On canvas. 39 inches in height by 49 in width.) Signed and dated 1789. Jupiter, by Eclipse, a chest- nut horse, the property of Col. Thornton, winner of the Newmarket 1,000 guineas in 1778. This is a very fine, spirited and life-like picture of a remarkable horse. The chestnut has changed into a bright cream ; he has a black mane and tail, which is a full, bushy swish,' dark legs, with licrht-brown hoofs and a white off hind fetlock. He is prancing gaily up to the mare, his fine tail waving with courtly delight, while she stands towards him, turning her head a little away. She is a rich bay, beautifully painted, with black legs, mane and tail, which is long. The landscape is finely composed and very rich in colour, with trees in full foliage under a blue sky, fine grey clouds lit up with the rays of the evening sun, and in the middle distance a APPENDIX B. river crossed by a bridge of several arches amongst the trees of a well-wooded country, with distant hills beyond. In the right foreground there are posts and rails, and on the left more trees and a thatched stable or barn. Jupiter belonged to Col. Thornton, and was the winner of the Newmarket 1,000 guineas in 1778. 5. Partridgp: Shootinc;. (Enamel painting on a china tablet manufactured by Wedgwood. Oval, 18 inches in height by 24-I in length.) Signed and dated 1781. Ex- hibited at the Royal Academy in 1782. A young gentleman very sprucely dressed in a long blue cloth coat with brass buttons, red collar with white facings at the lappels, a white neckcloth, white waistcoat, tight white breeches, white stockings and high black lace-boots coming half up the leg. He has thrown off his hat, which lies on the ground near the dead bird, and shows his light-brown hair curling thickly round his hand- some face ; he is in the act of reloading his flint- lock gun, with the ramrod held nearly at arm's length. His pointer sits looking up at him, ready for another beat after the birds. The landscape is very picturesque, with silvery-grey distant hills, water, a country church steeple seen amongst trees and houses in the middle distance, and a big tree trunk in the right 23 148 APPENDIX B. foreground, with smaller ones which spread thin branches with foliage across the sunny sky. Near some docks and thistles in the foreground is the signature, " G. Stubbs, pinxit, 1781." It will be observed of this enamel painting how pure and harmonious is the colouring of the landscape, showing with what success Stubbs conquered the great difficulties of the firing process. The only appearance of failure, and this is very slight, is in the colour of the dead bird, which is obviously too light. 6. Haymakers. (On panel, 36 inches in height by 54 in width.) Signed and dated 1783. In a pleasant landscape, with trees on the right and a pretty distance of Hat country under a summer sky flecked with fleecy clouds, a group of haymakers are at work — two prettily dressed women, one in light blue gown, holding her rake, the other in grey raking up the hay, while a man is forking it up to another who reaches over amongst the hay on the loaded cart ; which, with the two stout farm-horses, complete the picture. 7, Reapers. (On panel. A companion picture of the same size as the " Haymakers," both having been exhibited at the Royal Academy Exhibition of 1786.) Seated on his stout bay cob, the farmer wears brown coat, top-boots and spurs, and low black APPENDIX B. 149 hat, under the brhii of which peeps his white wig. He is speaking to the pretty woman who stands twisting two wisps of wheat ready to bind the sheaf a man is holding to her. Another bends over the ripe corn as he plies his sickle, while the sheaves are being stacked together by a third. These reapers are all very spick and span, in their white shirts, breeches, and white stockings and shoes, and the artist has taken the greatest pains in painting them in this picture, — as in that of the "Haymakers," — to please the taste of the day for pictures of rural felicity with pretty country people. The landscape is especially good, although it has lost some of its original bright colouring. Fine elm trees rise against the summer sky, and "hedge row elms" are seen upon the hillside in the distance. 8. Phyllis, a Pointer Dog. (On canvas, 19I inches in height by 23 in width.) This dog was the property of Lord Claremont, and is the type of the English pointer of that date. A liver and white dog, in the act of pointing, towards the right, the background being a wooded hill side which fills the greater part of the picture and brings out the figure of the dog, which is drawn with admirable spirit and naturalness. This picture has been engraved. APPENDIX B. 9. Fanny, a Favourite Spaniel of Mrs. Musters. 1778. (On panel, 23^ inches in height by 27I in width. Signed and dated 1778.) The dog, white with brown spots, is seated near a big tree trunk, on the bank of a lake, with distant hills seen beyond, and pleasant sky above. In the foreground is a primrose plant in flower. This pet spaniel is the same dog painted in the famous portrait of Mrs. Musters by Sir Joshua Reynolds. 10. Fanny. Another portrait of the same spaniel as No. 9. (On panel, 23^ inches by 27^ inches.) Signed and dated 1777. The . dog in this picture is standing in a dark, woody landscape, and looks towards the spectator. 11. Hercules Capturing the Cretan Bull, (On canvas, 59 inches in height by 95I inches in width — sight measure — or 5 feet high by 8 feet long.) Hercules, entirely nude, has seized the bull as he charged at him, and holds him by the horn with both hands, twisting the head of the furious creature, in whose rough shaggy white face, fierce flashing eyes and foaming mouth are seen all the wild ferocity of the brute. The bull's black leg is thrust across the thigh of the heroic giant, and he lashes the air with his angry tail. The figure APPENDIX B. of Hercules is very finely painted, in tremendous action, with his left leg bent and planted firmly on a huge tortoise, emblematic of strength, while, with his right leg stretched out, he has made his spring upon the bull and gripped him at once, without striking him with his club which lies where he has thrown it on the ground. The picture is rich and brilliant in colour, with the deep-toned foliage and rocky cavern, from the mysterious gloom of which the awful bull has rushed. On the opposite side of the picture the ruggedness of the rocky foreground is relieved by a calm lake ; from amongst the trees on the distant banks silvery torrents fall into the lake, under a sky of blue, lighting the massy clouds below with warm glow of gleaming sunshine. This picture may be considered the masterpiece of the painter in his figure subjects. The Hercules is an example of figure-painting of the nude displaying as it does all the energy of the strongest muscular action ; it will bear comparison with any work of its kind. The ancient story of Hercules and the Cretan Bull was, that amongst the labours or feats of strength, which he achieved for the benefit of humanity in those mythical ages of the race, he captured this bull which had been sent out of the sea by Poseidon (Neptune) as a sacrificial present to Minos, King of Crete, who was the son of Zeus and Europa. Minos, however, was so captivated with the beauty of this bull that he kept it and APPENDIX B. sacrificed another in its stead, Poseidon was offended at this and drove the animal mad, causing it to commit great havoc in the Island of Crete. Hercules was ordered by Eurystheus to catch the bull ; and as the hero dared not kill the animal he caught it and carried it on his shoulders to Greece, where he set it free. The bull roamed through Greece and at last came to Marathon, where it figures again in the stories of Theseus, a later hero. By some this bull is said to be the one whose form Zeus took when, enamoured by Europa's beauty, he mingled with her herd to win her. 12. Haymakers. 1794. (Enamel painting on a china tablet manufactured by Wedgwood. Oval, 28I inches in height by 40 in width.) Signed and dated 1794. A group in the hayfield ; a pretty woman in the centre neatly dressed in blue gown, with long white apron and a black sun-bonnet, standing holding her rake, a girl in grey and a straw hat, and three men in breeches and white stockings and shoes forking the hay, while two other men are mowing the fresh grass. This is a bright picture in Claude-like colour, with groups of trees near, and a lake in the distance under a summer sky of blue and light grey clouds, a tree in the right foreground spreading its branches across. A picture as wonderfully fresh in colour as a water- colour painting ; and so it will remain for as APPENDIX B. many centuries as the solid block of Wedg- wood's stone holds together. 13. Hay-carting. 1795. (Enamel painting on a china tablet manufactured by Wedgwood. The companion picture, of the same shape and size.) Signed and dated 1795. In this picture the cart is nearly loaded up ; two men in the hay are packing it and two are fork- ing it up to them, while two pretty country girls, up to their knees in the hay, are raking. One horse is nearly hidden under the overhanging load, his head and fore legs only being visible, while the other stands sideways. The sky is hazy blue, with light fleecy clouds, and there are some trees in the left side of the picture. This picture is remarkable also for its purity and freshness of colouring. 14. A Hunting Piece: The Riding School at Welbeck Abbey. (On canvas, 27^ inches in height by 37^ in width.) William, Duke of Portland, dressed in a brown riding-coat, closely buttoned, drab breeches and top boots, mounted on a white horse, is CTivinor some orders to the huntsman dressed in hunting garb who stands near, while a stable-boy is leading a bay horse, saddled, towards the Duke from the gateway of the buildino- which forms the backcjround of the picture. The horse the Duke rides is evidently an 154 APEENDIX B.. old /avourite^ and a very clev.ei: horse he looks, with his short cut tail. Two harriers, coupled, are in the left corner of the picture. This picture is a replica of the one in the possession of His Grace the Duke of Portland. 15 Eclipse.. Full-size sketch for the portrait, on canvas without any background (24^ inches in height, by 2g^ in width). The horse measures 22 inches from nose to • flank: • This is a very fine study of the famQus horse, full of spirit and character in the head. It Jias .the unique distincfion of being, probably, the: only genuine . portrait taken from life of the most farnous race-horse on^ record, of whom pictures, engravings and illustrations derived from, this study are extant in thousands. He stands facing to the right, the direction of the light from' the left shown by slight shading on the ground. From the similarity of attitude, this appears to be the study from which the portrait of the horse in the Earl of Rosebery's collection was painted. (See. p." 133. for description) It was formerly in the collection . of Mr. H. A. J. •Munro, of Novar,. : .. Eclipse -was foaled on the ist of April, 1764, about the .time when the memorable eclipse of the sun on that date was in. progress, and it was owing to this coincident event that the colt by Marske, out of Spilletta, received his name. APPENDIX B. Concerning the place where he was foaled con- trary opinions are entertained, but the general belief is that he first saw light in the Isle of Dogs, where the " Butcher" Duke of Cumber- land, his breeder, had a stud farm. In 1765, the Duke of Cumberland died, and Eclipse became the property of William Wildman, a Smith- field salesman. Wildman sold a half interest to the notorious Captain O' Kelly, who soon after bought Wildman's half, and thus became sole owner of the colt, for which he is said to have subsequently refused 10,000 guineas. Eclipse's races were confined to the years 1769 and 1770, during which he started sixteen times. He was never beaten, never had a whip flourished over him, never was pricked with spurs, and was never required to put forth his utmost sjjeed. Eclipse was the sire of 334 winners, which earned, it is said, for their owners, in those days of small racing stakes, the large sum of ^160,000. 16. Labourers. (On panel, 35-I inches in height by 54 in width.) Signed and dated 1779. The labourers are four bricklayer's men who are enjoying" a gossip after unloading their cart which, drawn by one horse, stands at the roadside. An old man is with them, leaning on his stick, and one of the men is lifting up the tailboard of the 24 APPENDIX B. cart. The group is relieved against some thick foliaged trees and the entrance lodge to a park with a fence, seen across the road ; the background is a pretty view of distant hills and lake under a blue summer sky, with big and fleecy fair-weather clouds : the light strikes from the left and shows a large brown dog lying asleep in the right foreground. The details of the harness and the cart are most carefully painted. 17. Horse Seized by a Lion. (On canvas, 26 inches in height by 40 in width.) The lion has sprung suddenly upon a chestnut horse, biting and tearing him oh the back, and forcing the poor creature down in agony to the ground. The landscape is very finely conceived wild and rocky with a torrent near, and rich- toned foliage of stunted trees, the bright evening sky gleaming above and spreading a glow of colour through the picture. 18. Horse Affrighted by a Lion. The white horse in this picture belonged to George HI. (On canvas, 39^ inches in height by 54 in width.) Signed and dated 1770. In a beautiful mountain landscape, with a torrent rushing through the glen below, under a late evening sky with threatening clouds, the prowling beast lies crouching, about to spring APPENDIX B. 157 upon the horse starting at the sight and half dead with terror. 19. The Horse seized by the Lion. Signed and dated 1770. The companion picture, and of the same size. The landscape, which is a fine rocky mountain scene, full of gloom with a dark thundery sky, differs from the other picture. The white horse is writhing in agony under the lion bearing him down to death. This picture was painted for the Marquis of Rockingham. [See note at the end of Wentworth House collection.] It will be observed that Stubbs painted the highly- finished little picture (No. 20) from the same study as this. 20. A White Horse attacked by a Lion. (On panel of octagon form, 10 inches high by 1 1^ wide.) The lion has sprung upon his back, and the horse raises his head and seems to scream with agony, his fore leg contracted with spasmodic suffering. It would seem that Stubbs thought so highly of this representation of his favourite sub- ject, that he bestowed on this little picture the utmost care in the drawing and the painting, which is as fine and delicate as a miniature on ivory. \ 158 APPENDIX B. 2 1. The Farmer's Wife and the Raven. (Enamel painting on a China tablet manufactured by Wedgwood. Oval. 27^ inches in height by 37 in width.) Signed and dated 1772. (1782 ?). Exhibited at the Royal Academy, 1782. The old blind white mare, "poor blind Ball," she rides, with her panniers behind, has fallen headlong, and the goodwife tries to save herself glancing the while in mingled fright and anger at the raven, and raising her hand from which the stick has been shaken, while broken eggs are strewed upon the ground. The mischievous bird perched upon the branch of the oak-tree by the roadside is croaking. To meet a raven or a fox when going to market, according to rural superstition, is a sign of bad luck, and the farmer's wife fears this croaking raven bodes her no good. A group of trees rising by the road- side forms a good background to the figures ; we have a pretty glimpse of a windmill on the distant hill, while on the left is a village church near a river seen beyond the palings by the roadside. The fallen horse is admirably drawn, and the woman is a capital figure, handled with great humour ; altogether the picture is remarkable as an illus- tration of the fable. " That raven on yon left hand oak (Curse on his ill-betiding croak) Bodes me no good. No more she said. When poor blind Ball with stumbling tread Fell prone." — Gays Fables. APPENDIX B. The artistic finish of the picture in every detail shows us Stubbs as the thorough artist he was, while as a specimen of his enamel painting it is most remarkable. 22 The Farmer's Wife and the Raven. Signed and dated 1786. (Painted in oils on millboard, 26 inches in height by 38 in width.) This is the same figure and horse as in the enamel picture, but differing in its landscape background ; it has only trees on the left, with weeping willows, distant trees and blue hills ; and the oak tree on which the Raven croaks is a more prominent object. It will be remarked, however, that it is not so carefully painted as the enamel which was painted some four years earlier. 23. A Panther. (Enamel painting on China tablet, manufactured by Wedgwood. Size, 7^ inches in height by 1 1 in width.) Signed. This is another remarkable example of Stubbs' enamel painting. The panther is lying down under a tree in a wild Eastern landscape. The supple form of the creature and his velvety coat are wonderfully well painted, considering the technical difficulties of the method. i6o APPENDIX B, 24. A Lion and Tiger. (Enamel painting on China tablet, manufactured by Wedg- wood. Size, 8 inches in height by 13 in width ) Signed and dated 1779. The lion has come upon his enemy lying prostrate and helpless — perhaps dead — and placing his foot upon his neck, lifts his head in triumph proudly. The landscape is a hilly Eastern country with a grey sky. As a specimen of enamel painting this is even superior to the panther picture. 25. The Combat. 1781. (Enamel painting on China tablet, manufactured by Wedg- wood. Oval, 27^ inches in height by 37 in width.) Lot 96 in Stubbs' Sale Catalogue. Two stallions, a bay and a dark grey nearly black, are reared against each other struggling viciously for the mastery ; the one grips his foe by the neck, while the latter bites him on the chest. The cause of the fight is seen away down in the neighbouring meadow, where two mares, a bay and a grey, are quietly enjoying the pasture by the riverside under the shady trees beneath a sunny summer sky and fine white clouds. The horses are drawn with wonderful knowledge of the look of the animal when thus roused to put forth all his strength in mortal combat. APPENDIX B. l6l 26. A Portrait Piece of Lord and Lady Mel- bourne, Sir John Milbanke, and Mr. John Milbanke. (On canvas. 40 inches in height by 59 in width.) This picture is a contemporary copy by W. Best, signed and dated 1770. Lady Melbourne is seated in a pony carriage dressed in pink, and wearing a hat which allows her grey hair to be seen. She holds the reins of the grey pony and the whip, while Lord Melbourne dressed in a drab suit stands lean- ing by the farther side of the carriage. Sir J. Milbanke dressed in a blue coat and waist- coat, drab breeches, and top boots has dismounted, and stands by his grey horse. Mr. J. Mil- banke who is mounted on a bright bay horse, wears a blue coat, drab breeches, and top boots, and looks towards Lady Melbourne and Sir John, who is seen in full face. A setter is lying on the ground in the right corner of the picture. A large tree spreads across the picture, the trunk filling the left and giving relief to the figures of Lord and Lady Melbourne. On the right are high wooded cliffs with water in the distance, under a pleasant sky. 27. GiMCRACK. (On canvas ; size, 38 J inches in height by 49 in width.) Signed. A dark grey horse with white face and legs. The fore feet are dark, the hind lighter ; his tail. l62 APPENDIX B. which is shoi t and well carried, is also dark grey. He is ridden by a jockey in a red jacket, and stands facing to the left, his near hind leg being knuckled, so that he rests his weight upon the three. The jockey wears drab breeches and white stockings, with black highlow boots laced with red, peaked cap with round crown, and a white neckerchief The saddle-cloth is drab, bound with red. The landscape is flat and grassy, with a row of elm trees in the middleground, and a low shed ; a whit2 racecourse post is seen in the left fore- ground, and a grey, stable-like building is on the right, against which the horse's tail shows dark. The sky is warm grey, with lighter clouds towards the horizon. This is a portrait of the celebrated horse in his best days, before his coat had changed to the light grey, almost white, as he is painted in Lord Rosebery's picture at The Durdans (No. 5). _ The inscription on the frame tells us that Gimcrack was foaled in 1760, bred by Gideon Elliot, Esq., of Murell Green, Hampshire. He won twenty-seven races, value ^5,480. Ran a match against time in France for ^1,000, and won. The old Gimcrack Club of Yorkshire takes its name from this famous horse. This is the third known picture by Stubbs of Gimcrack, and is probably the first he painted. His colour in the other two pictures is nearly white. APPENDIX B. 163 The first picture painted is at the Jockey Ckib, Newmarket. The second is in the Dur- dans collection. 28. Havannah. (On canvas, 23 inches in height by 27 in width.) Signed and dated 1765- A brown horse with legs nearly black, the feet brown, mane and tail darker brown, tail cut short, a white spot on the withers. He stands quietly nibbling at a young tree in the foreground of a pretty landscape painted much in the style of Richard Wilson, with trees rising against the sky on the right side of the picture, hills in the middleground and distance, where a building like a country mansion is seen. The foreground is capitally well painted, with weeds and grasses, showing how close an observer and lover of nature was Stubbs. 29. Shark, with Price, his trainer. (On canvas, 39 inches in height by 49^ in width.) Signed and dated 1775. A dark-brown horse, walking up to his trainer, who holds a sieve to entice him ; the trainer stands in the right foreground under a group of trees, the leafy branches of which spread across the blue sky above the river in which the rosy clouds are beautifully reflected, giving much interest to the landscape whose picturesqueness is rendered 25 164 APPENDIX B. complete by the distant hills and the rising river-bank of the foreground, with its trees and Graceful wild weeds. The horse is full of character : his neck is long, his shoulder deep, and his fore legs well set on. His legs are nearly black in colour, as are the mane and bang tail. His coat is without a spot of any kind. This is a fine portrait of a remarkable horse, worthy of the renowned ancestor from whom Eclipse sprang, for he was by the same sire — Marske — and was foaled 1771, out of a Snap mare ; he was bred by Mr. Pigot. His record tells us that he won five matches of 1,000 guineas each, and in all more than ^20,000, besides winning one race for eleven hogsheads of claret. He was sold to go to America in 1786, and intro- duced the Snap blood into Virginia, where he died in 1796. Mr. Price, whose portrait is of great interest, is a tall man, dressed in a long drab coat buttoned close, drab stockings and buckle shoes, and a low-crowned black beaver cap. 30. Molly Longlegs. A bay mare foaled in 1753- (O" canvas, 38I inches in height by 49 in width.) Signed but not dated. A dark bay mare with black legs, mane, and bang tail, and white near hind fetlock, facing to the right, held by a jockey who stands facing APPENDIX B. 165 her holding the bridle with a whip in his left hand ; he is dressed in light blue jacket, black peaked cap, leather breeches, white stockings, and highlow boots ; the jockey is finely painted. The name of Longlegs describes her somewhat, she has a remarkably long body, a clever, wicked- looking head, with the ears laid back and the mouth a little open, showing the tongue as she champs the bit impatiently. The landscape is pleasant, with a lake in the middleground, distant hill, and grassy foreground, where a saddle and clothing lie on the sward. 31. The Prince of Wales' Park Hack on the Banks of the Serpentine in Hyde Park, 1789. A portrait of a horse and a spaniel dog. (On panel, 22\ inches in height by 32 in width). Signed and dated 1789. The horse in this pretty view of the Serpen- tine is a dark brown mottled cob without a spot, his neck short and thick, his tail dark and cut as a bang-tail. He stands on the grassy bank facing to the right, and the dog, a white and brown old English spaniel, is looking up at the horse. A group of trees fills the right corner with foliage, and trees grow on the farther bank, the picture being bright and sunny with a blue sky and rosy clouds. APPENDIX 1!. 32. The Duke oe Cumberland's Chargek, Signed. A dark bay horse, near fore and both hind fetlocks white ; dark brown flowing mane and sweeping tail. The rider sits upright in the saddle, holding the bridle in his left and the whip in his right hand. He is dressed in a blue unbuttoned coat, buff vest, through the front of which a white frilled neck-cloth pro- trudes ; buff breeches buttoned at knee, and top boots. He wears a flat three-cornered hat a la chevalier. In the background to the right, Vir- ginia Water appears through the vista, and Windsor Forest spreading in the distance. The picture is inscribed " The Duke of Cumber- land's Charger, ' Mameluke,' foaled 1801, by ' Volunteer.' Bred by Mr. Lake. His dam a Dungannon mare, and her dam ' Letitia,' by ' Highflyer.' " 33. Bandy. (On canvas, 39 inches in height by 49 in width.) Exhibited at the Society of Artists, Spring Gardens, 1763. A bay stallion, foaled in 1747 ; sire. Cade, who was by the Godolphin Arabian out of Roxana. Bandy was bred by Thomas Meredith, of Easby, Yorkshire ; he won several important races at Newmarket, Nottingham, York, and Lincoln, in the years 1752, 1753, and 1754. APPENDIX B. 167 He was purchased by Earl Grosvenor for stud purposes and proved a most successful sire. 34. Zebra. (On canvas, 39 inches in height by 49 in width.) Exhibited at the Society of Artists, Spring Gardens, 1763. Lot 88 in Stubbs' Sale Catalogue. The first zebra seen in England. The animal was presented to Princess Charlotte of Wales. An exquisite example, painted from life. AT 143, PICCADILLY. In the possession of Baron Ferdinand de Rothschild. PvRRiius, a racehorse, with jockey in the colours of the Hon. Charles James Fox. AT SCORBY HALL, LINCOLNSHIRE. Tlic Collection of R. N. Sutton-Nelthorfe, Esq. I. Portrait of Sir John Nelthorpe, 6th Baronet, Partridge Shooting with Pointer. (Upright picture, 4 feet i inch by 3 feet 3^^ inches.) APPENDIX B. An engraving by J. Pratt will be seen facing page 14. 2. Black and White Spaniel ; River and Bridge in the background. (3 feet by 3 feet 5 inches.) Signed "Geo. Stubbs, pinxit 1792." 3. Lion and Lioness. A Lion on a Rock in the background. (2 feet 3 inches by 3 feet.) Signed "Geo. Stubbs, pinxit 1772." AT WENTWORTII HOUSE, ROTIIERHAM, YORKSHIRE. and at 4, GROSVENOR SQUARE, LONDON. The collection in the possession of the Earl Fitzwilliain. 1. WiiiSTLEjACKET. The horse is yellow sorrel in colour. The picture is a marvellous work of art, the horse being life size. 2, 3, 4. Samson. These three portraits of Samson, the celebrated racehorse, represent the horse in three different positions, viz., front, back, and side view. 5. A Horse Attacked by a Lion. (9 feet 9 inches by 7 feet 7 inches.) APPENDIX B. 169 6. A Stag Attacked by a Lion. (10 feet 5 inches by 7 feet 8 inches.) The two pictures 5 and 6 are at 4, Grosvenor Square. In importance they are not to be sur- passed by any works of this celebrated animal painter. They were evidently painted from Stubbs' recollection of the sight of the tragedy of a lion attacking an Arabian horse, which occurred under such remarkably favourable cir- cumstances on his visit to Ceuta in North Africa. AT SIIIRBURN CASTLE, TETSWORTH, OXFORDSHIRE. The collection belonging to the Earl of Macclesfield. I. An Old Dun Mare, a Grey Barb Mare, AND A Bay Mare and Two Foals. (Height 3 feet 4 inches, width 6 feet 3 inches.) A very fine picture. The painting of the grey is a beautiful example of the art of foreshortening. The background consists of some rock and a few trees. This picture has been engraved. Signed. APPENDIX B. 2. Snap, a dark brown horse, and Gold- finder, a light bay horse, each led by a groom. A beautiful picture. The background consists of a large barn. (Size 4 feet 2 inches by 3 feet 3 inches.) Signed and dated 1776. 3. AsKHAM, a brown horse with groom at his head. Background, landscape, and the corner of a barn. (Size 3 feet 6 inches by 2 feet 4 inches.) 4. Gnawpost and Two other Bay Horses. Gnawpost is depicted gnawing a tree — a fine oak to the right of the picture. Rather a heavy background of dark trees and lumpy clouds. (Size 4 feet 2 inches by 3 feet 4 inches.) A replica of this picture was included in the sale of Stubbs' effects after his death (see Lot 93 of Sale Cata- logue, Appendix D.). 5. Hyena. A brown horse, in hard condition, with groom at his head, in a red jacket. Flat landscape, with windmill in the distance, and the corner of a barn much like that in the picture of Askham. (Size 4 feet 2 inches by 3 feet 4 inches.) Signed. 6. Two Bay Horses, beautifully painted, with groom feeding them from a sieve. Background, a green slope with clump of trees. (Size 3 feet 4 inches by 3 feet 3 inches.) Signed. APPENDIX B. 171 AT GOODWOOD HOUSE, CTHCllESTER. The collection in the possession of His Grace the Duke of Richmond and Gordon, K.G. I. Race-horses Training, with portraits of the third Duke of Richmond, Mary, his Duchess, and Lady Louisa Lennox ; all riding. (6 feet 8 inches by 4 feet 6 inches.) The duke and duchess, on grey horses, are in the centre of the picture ; Lady Louisa on a chestnut, close to them, on the duchess's left ; and following them, a mounted groom in the yellow and scarlet livery. The two ladies wear dark blue habits, with gold buttons, the waistcoats of a lighter blue, and the skirts so short as to show the foot ; black velvet hunting caps. The duke is also dressed in dark blue, with gold buttons and a three-cornered hat. He is pointing to three racehorses — a grey, a chestnut, and a bay — which are being galloped in their clothing ; boys riding them, wearing the scarlet and yellow livery and hunting caps ; on the left of the riders, standing at a stable door, is another racehorse, being groomed by three men in undress liveries, and a boy in yellow and scarlet is bringing an armful of straw. In the distance, behind, on their right, is the spire of Chichester Cathedral. A good many dogs of different breeds appear in the foreground of the picture. 26 172 APPENDIX 15. 2. Lord Holland and Lord Albemarle shoot- ing AT Goodwood. (6 feet 8 inches by 4 feet 6 inches.) Lord Holland was brother-in-law, and George, Earl of Albemarle, first cousin to the third Duke of Richmond. The two gentlemen are in the centre of the picture ; the elder in a blue coat, buff breeches, and high gaiters, and the younger in drab coat and breeches and top boots. They both carry guns, and a servant in a green livery and black hunting-cap carries two spare guns ; another servant in the same livery follows, riding a chestnut horse. In the foreground, on either side of the picture, a servant holds one of the gentlemen's horses ; the one in the rear is a chestnut, held by a groom in the Duke of Rich- mond's livery — yellow and scarlet, high boots and spurs, and a three-cornered hat. The other horse is a dark chestnut Arab, and is held by a negro servant in the same livery, with ear-rings in his ears ; he is seated and also holds a dog. There are various sporting dogs about the gentlemen. 3. The Third Duke of Richmond, with his BROTHER, Lord George Lennox, and General Jones, riding. (6 feet 8 inches by 4 feet 6 inches.) The duke is in the centre of the picture on a dark brown hunter ; Lord George on a bay advancing towards him from the left, while General Jones, on a grey, is jumping a gate on their right. APPENDIX B. Between the duke and the general is a hunt- servant in the duke's livery — yellow and scarlet — with a hunting horn round his body, and touching his cap with his right hand ; he is mounted on a black. Another gentleman, on a chestnut, is cantering towards the group, and in the foreground on their left, the huntsman, in yellow and scarlet, about to mount a grey horse, stands surrounded by the hounds of which there are ten couples, and a terrier. In the background are more mounted sportsmen, with hounds apparently running. 4. Lion and Lioness. (2 feet 6 inches by 2 feet I inch.) A good picture. The lioness lying down, the lion advancing towards her. AT WYNYARD PARK, STOCKTON-ON-TEES. The Marquis of Londonderry s Co/lecfion. HaMBLETONIAN RUBBING DOWN AFTEli THE RACE WITH Diamond. This large and important picture, which is reproduced in this book, is in size 13 feet 7 inches by 8 feet 2 inches, and hangs in the dining-hall at Wynyard Hall. The following inscription appears on a tablet under the picture : HAMKLETONIAN AND DIAMOND. There having been exhibited a printed proposal for pubhsh- ing by subscription two prints of the late race at Newmarket between the above horses, to which I give no sanction. I think it my duty to apprize the public that engravings 174 APPENDIX B. by the ablest artists will be made from two pictures of Hamble- tonian by Mr. Stubbs, drawn from life. The one represents Hambletonian winning the race, and is a remarkably fine likeness of the horse, and of Buckle, the rider. The other represents the horse " rubbing down " after the race, and is as large as life. These pictures are finished, and engravings will be made from them as soon as possible ; and I think it necessary to add that no artists whatever, exceptmg Mr. Stubbs, have had my permission to take any likeness of Hambletonian since he was in my possession. H. T. Vane. 31st May, 1799. AT PETWORTH PARK, SUSSEX. In Lord Lecoiisjield's Collection. A small portrait of Mrs. Angelo, wife of the celebrated fencing-master, on horseback, in a riding dress of the period. Sold in Stubbs' Sale (second day), Lot 54. AT SCHLEISSHEIM, MUNICH. In the King of Bavarians Collection. The Spanish Pointer. This picture is described in the catalogue of that superb collec- tion as "a faithful and spirited portrait of a Pointer, painted by an English artist at the latter end of the last century. Was famous for his pictures of sporting subjects, and for his portraits of the most celebrated racers of the times ; which he not only designed with correctness, but with a characteristic spirit, for which he was particularly APPENDIX B. distinguished. Though chiefly engaged in this branch of art, his talents were capable of higher exertions. As in the picture before us, his back- grounds often show considerable talent as a landscape painter." The picture is well-known in England from the engravings, one executed by William Woollett, and published by Thomas Bradford, in 1768; and again engraved by John Scott and published by Binney and Gold in 1801. AT OSBERTON HALL, WORSOP, NOTTS. I/i the Right Honble. F. J. S. Foljambe's Collection. Marske : the sire of Eclipse. (On canvas, 5 feet inches by 4 feet 3 inches.) AT POSSINGWORTH, SUSSEX. In the Collection of Louis Huth, Esq. 1. Labourers. The landscape painted by Amos Green. Signed and dated 1767. (On canvas.) Woody landscape, with horse and cart, and four figures, one in the cart, three others removing the tail-board; dog in the foreground on the right. 2. Gamekeepers. Signed and dated 1767. (On canvas. ) Interior of a wood, with gamekeepers — one on a pony, the other carrying a gun ; three dogs. 176 APPENDIX B. AT BELVOIR CASTLE. The Duke of Rutland. 1. The Dog Turk. A Life size portrait of a large sort of Collie : about 40 inches by 55 inches. 2. The Dogs Turk and Crab ; the latter a rough Terrier ; a fine landscape ; about 30 inches by 45 inches. 3. A Lion Devouring a Stag ; a landscape ; about 30 inches by 45 inches. There is a fine portrait piece by Sir Joshua Reynolds, in the picture gallery, of the young Lord Granby and his sister (children) playing with the dogs Turk and Crab. It is a question whether the dogs were not painted by Stubbs. AT SUNNINGDALE, ASCOT. Sir George Pigot. A Cheetah, painted for one of Sir George's ancestors, Lord Pigot, which bears the following inscription : " This cheetah was sent by Lord Pigot from hidia, in charge of two natives, as a present to George III." The cheetah was en- larged in Windsor Park before an immense crowd, but was so frightened by the noise that it would not look at the deer it was meant to chase. Size of painting, 10 feet by 7 feet. This picture was exhibited at the Indian Exhibition at Earl's Court, London, in the year 1895. APPENDIX C. The following were Stul>ds' contributions to the exhibitions of the Society of Artists of Great Britain, held at Spring Gardens, Charing Cross. May 17th, 1762. Being the Third Year of the Exhibition. 109 Phaeton. 110 A Brood of Mares. 111 A Portrait of a Horse, Tristram Shandy. 112 Its Companion, Molly Long Legs. May 4th, 1763. 119 A Horse and a Lion. 120 Its Companion. 1 2 1 The Zebra. 122 A Horse belonging to the Right Hon. Lord Grosvenor, called Bandy, from his crooked leg. In 1 764, the exhibition was removed to Somerset House, opposite North Audley Street, Oo^ord Street. April 9th, 1764. 1 10 * Phaeton. 111 *A Tiger and Lion. * Disposed of. '77 178 APPENDIX C. 1 12 A Hunting Piece. '^'^ ^ 113 A Lion seizing a Horse. 114 Brood Mares and Foals. Cj^-^ji^ v/ 115 Antinous, a Horse belonging to His Grace the Duke of Grafton. April 23rd, 1765. 126 Portrait of a Hunting Tiger. (' '^'^ ' 127 Brood Mares. 128 Portrait of a Hunter. April 2 1 St, 1766. Somerset Street. 163 Brood Mares. • 164 *A Lion and Stag. 165 Two Hunters, with Portrait of a Gentleman and Dog 166 An Arabian Horse. April 22nd, 1767.1 156 A Nobleman on Horseback. V157 Two Gentlemen going a Shooting, with a View of Cres- well Craggs, taken on the spot. April 28th, 1768. 165 Brood Mares and Foals. 166 Landskip with Cattle. 167 Two Gentlemen going a Shooting. May ist, 1769. 175 A Tiger. 176 A Lion devouring a Stag. 177 Two Gentlemen Shooting. * Disposed of. f In this year the Society was incorporated by Royal Charter, and alters its title accordingly. APPENDIX C. I 178 A Horse and Mare. 179 A Gentleman and Lady. 180 A Cat. April 1 6th, 1770. 132 Hercules and Achelous. 133 A Conversation. 134 A Repose after Shooting. 135 A Lion devouring a Horse, painted in enamel. April 26th, 1 77 I. 153 A Lion and Lioness. 154 A Lioness and Tiger. 155 A Horse and Lion, in enamel. •156 A P(irtrait of the Famous Horse, Eclipse. April 29th, 1773. {A/ their Neiv Room, 7iear Exeter Exchauge, Strn?id.) Mr. Stubrs, President, F.S.A. 314 A Lion and Lioness. 315 Portrait of a Greyhound. 316 Ditto of a Pointer. 317 Ditto of a Horse turning to Pasture. 318 Ditto of the Kongouro, from New Holland, 1770. 319 Ditto of a Large Dog. 320 Portrait of a Gentleman on Horseback, with a Dog. 321 Ditto. ( A Landscape, a Farmyard with Cattle. \ Two views of the Torpedo, Male and Female. April 25th, 1774. Mr. Stubbs, Director, F.S.A. 269 Portrait of a Horse. i8o APPENDIX C. AT THE ROYAL ACADEMY. List of Stiibbs' contrihiitions to the Exliilntions of the Royal Academy. I77S- The numbers refer to the Academy catalogue numbers. [George Stubbs, Somerset Street, Portman Sqiiare?[ 301 Portrait of a Horse, named Euston, belonging to Mr. Wildman. 302 Portrait of a Pomeranian Dog, belonging to Earl Spencer. 303 Ditto, a Spanish Dog, belonging to Mr. Cosway. 304 Portrait of a Monkey. 1776. Cat., p. 24. 293 Tigers at play. 294 Mares and Foals. 295 Portrait of a Dog. 296 Ditto. 1778. 298 Portrait of a Horse. 299 Ditto Dog. 300 Ditto two Dogs. 301 Portrait of a Gentleman preparing to shoot. 405 Portrait of a Boy. 406 Ditto. 1779. 319 Portrait of a Marc and Dog. 320 Ditto of a Dog. 321 A Gentleman on horseback. 322 Labourers. APPENDIX C. l8l 1780. {^First Exhibition by the R.A. at Somerset House, Strand]. * 110 Portraits of Horses. 137 Portraits of two Heifers. 176 Portraits of Hunters. 183 Portrait of a Dog. 191 Portraits of Figures and Animals. 326 Portrait of a Horse. 1781. 1 7 Two Horses in Enamel. 1782. 32 Portrait of a Dog. R.A. Elect. [Engraved by Benjn. Sniith.^ * The following quaint puff is taken from a contemporary publica- tion : — " The President and Council of the Royal Academy have most liberally and becomingly given their opinion, that the proposed splendid Mart or Court Fair at the Pantheon, which is intended, by permission of the Lord Chamberlain, to be opened on the evening of St. George's Day next, will in no manner interfere with, or injure the Exhibition at the Royal Academy. This the only objection being removed, the public may expect to see such a display of the works of men of genius, as no country can produce, and which to describe would be vain to attempt. The imagination may, how- ever, conceive what effect specimens of the best performances of our most eminent artists, concentrated in so noble a building, will produce : it may contemplate with some degree of precision, how charmingly beauty will appear in the midst of such brilliancy : and the lovers of their country will no doubt exult in that superiority which, under the auspicies of a most glorious Prince, our artists and manufacturers are justly entitled to over our natural rivals — a superiority which the excellent administration of our laws, and the corresponding influence of a monarch, who delights to patronize genius and the arts, will establish in such manner as to lay the whole world under willing contribution to our country, and afford a never-failing genuine honest source of riches and national credit." The famous window at the Pantheon, painted af er a design by Sir Joshua Reynolds, and celebrated in verse by Thomas Wharton, was a great attraction, and deservedly applauded for its artistic merit. l82 APPENDIX C. 70 Portrait of a young Lady in the character of Una, from Spenser's Faerie Queen. R.A. Elect [p. 6]. 79 Portrait of a young Gentleman shooting. Enamel. R.A. Elect [p. 6]. 120 The Farmer's Wife and Raven (Gay's Fables). Enamel. R.A. Elect [p. 7]. 173 Portrait of an Artist. Enamel. R.A. Elect [p. 9]. 209 Portraits of a very old Horse and Dog. R.A. Elect [p. 10]. 363 Portrait of a Dog. Enamel. R.A. Elect 15]. 1786. 77 Reapers. G. Stubbs, A. [p. 5]. 94 Haymakers. G. Stubbs, A. [p. 5]. 1787. 83 Bulls fighting. G. Stubbs, A. [p. 5]. 95 Bulls fighting. G. Stubbs, A. [p. 6]. 116 Portrait of a Hunter. G. Stubbs, A. [p. 6]. 1789. 33 Carting of Corn. G. Stubbs, A. [p. 4]. 1790. 1 1 2 Portrait of the Lincolnshire Ox, now to be seen at the Lyceum, Strand. G. Stubbs, A. [p. 6]. 1791. 7 A Pomeranian Dog. G. Stubbs, A. [p. 3]. 91 Portrait of His Royal Highness the Prince of Wales. G. Stubbs* [p. 5]. {Sic.) * The letter A. omitted. In the index to the catalogue he is described Associate residing (as before) at Somerset Street, Portman Square. APPENDIX C. 183 275 A Shepherd's Dog, from the South of France. G. Stubbs [p. lo]. 391 A Buffalo. G. Stubbs, A. 1799. 41 .\ Trotting Horse. G. Stubbs, A. [p. 4]. 177 A Monkey. G. Stubbs, A. 1800. 222 Hambletonian beating Diamond at Newmarket. G. Stubbs, A. [p. 13]. 744 Hambletonian, rubbing down. G. Stubbs, A. [p. 30]. 1801. 120 Portrait of a Mare, the property of the Earl of Clarendon. G. Stubbs, A. [p. 8]. 175 A Park scene at the Grove, near Watford, Herts, the seat of the Earl of Clarendon. G. Stubbs, A. [p. 10]. 1802. 208 Portraits of two Horses, and Dogs, in the possession of G. Townley Stubbs. G. Stubbs, (s/c.) [p. 12]. 866 Portrait of an Indian Bull, in the possession of the Earl of Clarendon. G. Stubbs, A. [p. 33]. 1803. 183 Portrait of a Newfoundland Dog, the property of His R.H. the Duke of York. G. Stubbs, R.A. (wV.) [p. 10]. 184 APPENDIX C. Reprint of Turf Gallery Catalogue, 1794. A CATALOGUE OF PICTURES, NO IV EXHIBITING at tlje Curf #allerp. IN CONDUIT-STREET, PAINTED BY MR. STUBBS, FOR "THE TURF REVIEW." WHICH IS, BY PERMISSION, DEDICATED TO His Royal Highness the PRINCE of WALES. 1794. APPENDIX C. 185 A CATALOGUE, kc. No. I. THE GODOLPHIN ARABIAN, Was the property of the late Earl of Godolphin. — He was the mod valuable foreign horfe ever brought into this coun- try and juRly called Father of the Turf" from having con- tributed more to the improvement of the breed of horfes in this country, than any Rallion, before or fmce his time. He was particularly attached to the Cat which is intro- duced in his pi6ture. N.B. The Engraving fro7n this Picture ivill be prefented by Mr. Stubbs, to the Noblemen and Gentlemen, who have done him the honour to patronife and fuhfcribe to his Under- taking, and will be delivered as the Frontifpiece, tvith the firft number of the Work. No. II. MARSKE, The fire of the celebrated Eclipse ; on account of whofe fmgular performances, he covered marcs at fifty guineas ; a few feafons at one hundred guineas ; and one at two hundred guineas each. He was the property of the Earl OF Abingdon. i86 APPENDIX C. No. III. ECLIPSE, Was bred by H. R. H. the late Duke of Cumberland, Uncle to His Majesty. He was the mofl. capital, and allowed to be the faflefl. horfe, that ever darted. In training, and when a llallion, he was the property of the late Colonel O'Kelly. — The portraits introduced, are thofe of the Boy who looked after him, and Samuel Merritt, who generally rode him. No. IV. DUNGANNON, Esteemed amongfl the mofl famous, if not the very befl fon of Eclipse, was both bred and trained by the late Col. O'Kelly, and is now a flallion ; among the few of his get that have yet appeared, is Mr. Wilson's Lurcher. The great attachment of this horfe to a Sheep, which by fome accident got into his paddock, is very fmgular. No. V. VOLUNTEER, Was alfo bred and trained by the late Col. O'Kelly, and is likewife a favorite fon of Eclipse, and much approved as a flallion. The portrait is Mr. O'Kelly's Stud-Groom. No. VI. GIMCRACK, A little horfe, of great beauty, and for his fize, a capital runner ; was afterwards a flallion in the flud of Earl Grosvenor. The Landfcape reprefents his Lordfliip's Stud Farm-House, at Oxcroft, near Neivmarkei ; and the portrait is that of one of the affiflant Grooms. APPENDIX C. 187 No. VII. MAMBRINO, Was chofen by Mr. Stubbs, not only as a capital horfe, worthy to be inferted in fuch a work, but from his being fo beautiful and animated a fubje6l for the painter. No. VIII. SWEETBRIAR, Was a horfe of confiderable note, both as a racer and flallion. No. IX. SWEET WILLIAM, Was a good runner, and afterwards a flallion. No. X. PROTECTOR, Was a good racer, and alfo a flallion of fome note. N.B. The above fojir were alfo the property of Earl Grosvenor ; and the landfcapes are different vieivs of his Lordfhip's Far/n at Oxcroft. No. XI. SHARK, A most beautiful, as well as very famous horfe ; he won five fmgle matches for one thoufand guineas each, and up- wards of twenty thoufand guineas in flakes. He gave Laurel and Postmaster 71b. each, for a fweepflakes of a thoufand guineas, over the Beacon Courfe at Newmarket. The portrait is that of Price, who trained him. He was the property of Robert Piuott, Efq. 28 APPENDIX C. No. XII. BARONET, Was the property of H. R. H. the Prince of Wales, who purchafed him of Sir Walter Vavasour, Bart, from which circumflance he was named. He won the Oatlands Stakes of two thoufand guineas, or upwards, at Afcot Heath, and was rode by Chiffney, jockey to his Royal Highnefs, who gained much credit by the fliill and dexterity he fliowed in winning that race. — Mr. Stubes has taken great care to give the chara6ter and flyle of the riding of this celebrated jockey, and the horfe upon which he gained fo much fame. No. XIII. PUMPKIN, An excellent runner, was the property of Lord Foley. The portrait on his back is that of old South, the mod cele- brated jockey of his day, and particularly in matches of croffing and joflling. No. XIV. BANDY, Called fo from one of his legs being crooked, was, notwith- flanding this, one of the bell horfes of his day, and after- wards a capital llallion. He was the property of Earl Grosvenor. No. XV. A PICTURE of THREE COLTS, one of which gnawing the tree, was called GNAWPOST, who afterwards proved a very good runner, and won upwards of two thoufand guineas in Hakes. He was the properly of Jenison Shaftoe, Efq. APPENDIX C. 189 No. XVI. ANVIL, Was the property of H. R. H. the Prince of Wales, who purchafed him of the Right Hon. Lord Boringdon. He was a good runner, and is now a Ralhon in Mr. O'Kelly's aud. Repeated Applications having been made to Meffrs. Stubbs, to form fome mode, by which the Pubhc in general, might be accommodated with fuch favourite fubjefts of "The Turf Review," as they may chufe, without fubfcribing to the whole of the work, they have for that purpofe, adopted the following plan : Subfcribers to the whole work, as by s. d. propofals, per number ----- 220 Subfcribers to the work, with small prints only - -- -- -- - 0180 A fmgle number complete, to a non- fubfcriber -------- - 2126 A fmgle number, with fmall prints only, to a non-fubfcriber ------ i i o Single large prints, each ----- 0150 Single fmall prints, each ----- 060 N.B. Proofs, of which 100 only will be taken, are double price. APPENDIX D. THE CATALOGUE* Of all the remaining VALUABLE COLLECTION OF ©rtjmal f amtmjs. The Property and Performance of that Ingenious and Celebrated British Artist, GEORGE STUBBS, Esq., Dec, Whose Knowledge in the Anatomy And Figure of that Noble Animal the Horse, Is splendidly Illustrated by the Various Subjects that present themselves From his Incomparable Pencil, In faithful Portraits of almost all the Celebrated Racers, RenoundI on the Turf, For Half a Century Past, Portraits of Lions, Tigers, Elks, and other Wild Animals, * See Chapter X., p. 49. f Sic in original. Here, too, it has seemed best to give the catalogue exactly as it was originally printed. APPENDIX D 191 ^plcttiriii fpcrformanccs tn Snamcl, A Variety of Drawings, Sketches, and Studies from Nature, Valuable Prints engraved by Mr. Stubbs, Bartolozzi, &c.,&c., Including Six Lots of Mr. Stubbs' Engravings from Various Subjects, Painted by Himself. The Whole of Which MtU ht .^ol5 Ijij Ruction ( By Order of tJie Executrix ), By PETER COXE, On the Premises, No. 24, Somerset Street, Portman Square, Oil Tuesday, the 26th of May, 1807, and folloiviiig Day, At Twelve o'clock. May be Viewed on Friday, Saturday and Monday preceding the Sale, when Catalogues, at One Shilling each, may be had on the Premises, and of Mr. Peter Coxe, No. 33, Gerrard Street, and 33, Throgmorton Street, Royal Exchange. 192 APPENDIX D. C1^0ntriti0ns of ^aU, I. That the highest Bidder be the Purchaser ; but should any Dispute arise between two or more Bidders, the Lot or Lots to be put up again and resold. IL That no Person advance less than Half-a-Crown. Above Five Pounds, Five Shillings ; Ten Pounds, Half-a- Guinea ; Twenty Pounds, One Guinea ; and so on in proportion. in. That the respective Purchasers give in their Names and Places of Abode, if required ; to pay down immediately a proportionate Part of the Purchase Money after the rate of Twenty Pounds per Cent., and pay the Remainder on or before the Delivery of the Lots purchased. IV. That the Lots shall be absolutely taken away within Three Days after the Sale, with all Faults, by whom- soever they were painted, under any and every Descrip- tion, and at the Expense of the Purchasers. And Lastly. That upon Failure of complying with these Conditions, the Money deposited in Part of Payment shall be forfeited : all Lots uncleared after the Time limited shall be re-sold by Private or Public Sale ; and the Deficiency, if any, attending such Re-sale, together with all incidental Charges, be made good by the Defaulters at the present Sale. APPENDIX D. If ever the genius as well as practice of a Painter calculated to make him excel in any particular branch of Art he was pursuing, and bring that branch into complete perfection and beauty, and if ever an ardent mind was indefatigably exerted in carrying so laudable a purpose into effect, those principles were combined in the character of Mr. Stubbs, the whole course of whose life was one unremitting scene of labour and science, called forth by him to dignify and illustrate a favourite object to which he had attached himself. The Collection of Pictures now brought before the Public in consequence of his decease, is a convincing proof of his knowledge and extraordinary Powers. The study of animal Anatomy was his chief delight, and consequently laid the foundation of that excellence he attained in designing the noble Figure of the Horse, that useful and beautiful Animal, which he has so captivatingly pourtrayed, in a variety of interesting positions and active attitudes, the result of calm observation and deep judgment. But the talents of this admired Artist were not limited : he was equally attentive to the character, form, and habits of ferocious as well as domestic Animals : Familiarized with Natural History and having had frequent opportunities of contemplating many of the living species, he had proved himself equal to any Artist that has preceded him, and his Name and Works will be handed down to posterity with the same respect as Sneyders and Rubens. But as wild Animals are not the native Inhabitants of our Northern Regions, however great was his excellence in this point of view which is thus mentioned with so much respect, his pride and glory as a British Artist will perhaps be ultimately founded on the display of that generous and noble Animal, indigenous to our own Soil, the High Spirited Racer, 194 APPENDIX D. renowned in the annals of the Turf, the Sires of that useful and valuable Progeny, in which this Country at the present moment so distinguishingly abounds, and which were his great and constant objects of attention. The Sun rose more than half a Century on his labours, and those Noblemen and Gentlemen who are engaged in the animated pursuits of the Turf, will bring back to their recollection, in contemplating the rich assemblage of Portraits placed before them, all the celebrated contests in which those respective Horses were engaged, and render by that means the different Pictures offered for their choice the more interesting and covetable. Mr. Stubbs was no less an enthusiast in whatever he took in hand, and the zeal with which he followed another favourite pursuit, that of Painting in Ejiainel, in completing which he spared no expense ; is conspicuously discovered by the extraordinary Specimens now produced which are unique in point of size as well as merit, such as would have done honour to the State of Arts in any Age or Nation, and which are invaluable from their excellence : Neither did he omit, as his Works will show, to study and paint with success the human Figure. His Work upon Comparative Anatomy, the Drawings for which, the engravings, and the Letterpress were all his own, has ranked him a most distinguished Author, and this performance has been placed on an equal footing with the celebrated production of Albinus on the human Figure, and has been so acknowledged by all Europe. Excepting a few Specimens in Oil, from the hands of the Old Masters, and a few Drawings from Artists of the present Day (very few indeed in number), the chief contents of this Catalogue comprise the matchless Performances of this incom- parable Artist, the genuine efforts of his own unassisted and Masterly Pencil. Thrognwrton Street, I2th May, iSoy APPENDIX D. A CATALOGUE, &C. &.C. &c. -$«■ first Bag's ^aU, Tuesday, 26th May, 1807. Engravings by Mr. Sticbbs, Bartolossi, &c. 1 Twelve coloured Prints of the Passions. 2 Eleven ditto, ditto. 3 Four Shooting Pieces, engraved by Woollett from designs by Mr. George Stubbs. 4 Two Prints on blue paper by Van Assen, and 1 2 Land- scapes, drawn and etched by Thomas Morris, 6 coloured and 6 plain — Views at Harrow, &c. 5 Two Prints engraved by G. T. Stubbs from Van Assen, Consanguinary Love ; 6 coloured Landscapes drawn and etched by T. Morris, and a Print of the Oxfordshire Ox. 6 Portrait of Lord Mansfield, painted and engraved by Martin, and 6 other engravings ; the Tiger and Crocodile, View of the Stables of the Veterinary College, &c. 7 Five Numbers Fores Chalk Drawing Book, outlines of large Heads, 3 numbers Heads and Academy Figures; and 3 numbers of the human Figure, engraved by J. Tidd from Drawings by C. M. Metz. 29 196 APPENDIX D. 8 One of Travellers, 5 of Race Horses, Protector, &c ; 2 sketches of Horses, i print of the large Lincolnshire Ox, and 2 others. 9 Le Burn's Passions in 19 engravings, half bound. 10 Sixteen Views of Churches and other Buildings, drawn by J. C. Barrow, and engraved by G. J. Parkyns, with ex- planatory descriptions in letterpress. i I One Set of capital Prints, engraved by Mr. George Stubbs, from subjects designed by himself, being 1 7 under the following descriptions. The Farmer's Wife and Raven, with its companion, the Labourers ; the Hay Makers - and Reapers ; a Horse affrighted by a Lion, with its 2- companion ; Tigers at Play ; a Lion devouring a Horse ; a Horse affrighted at a Lion ; Two Tigers ; a Lion; a Tiger ; a Tiger and two Dogs, and three Prints of single Dogs. 12 One set of ditto. 13 One set of ditto. Drawmgs, Studies from Nature, Sketches, Src. 14 Nine Studies of Horses in the managed action. 15 Nine Studies of the Rhinoceros, in different attitudes. 16 A pencilled Drawing of a Lion, 3 ditto Pointers, and a study of a Cow. 17 Six Studies of the Reapers, and two unfinished drawings of ditto. 18 Two Studies of Landscapes and 4 ditto Academical Figures. 19 Two drawings of large Academical Figures. 20 Two ditto. 21 Two ditto. 22 Two Chalk Drawings of Landscapes. 23 Four ditto. 24 Four ditto. 25 Two Chalk Drawings of Females, and 2 ditto of Female Figures in a reclining position. 26 An upright Drawing of Two Females, and 2 ditto of Females and Children. APPENDIX D. 197 27 One Drawing of 2 Pointers in a Landscape, 3 ditto of Landscapes with Cattle, and 3 ditto Figures. 28 A capital Drawing, the original design for the Corn Field with Reapers. 29 Ditto, ditto, the original design for the Painting of Men loading a Cart, being a Scene from nature in Lord Tor- rington's Garden. 30 Ditto, ditto, the original design for the painting of the Hay Field and Men loading a Hay Cart. 3 1 Ditto, ditto, the original design for the Painting of the Far- mer's Wife and the Raven, from Gay's Fables. 32 A very high finished Drawing by Seydelman of Dresden, after Raphael Mengs, framed and glazed with plate glass. 33 Ditto by ditto, an Historical Subject after Ferdinand Bol framed and glazed after the same manner. 34 Ditto, ditto, the companion. Paintings by Ancient Masters. 35 Landscape with Figures, Sportsmen resting at the foot of a Tree. 36 Female Portrait, an upright. 37 Spagnoietto, An Old Man's Head. 38 Vandyck, Female Portrait. 39 Old Franks, Historical, the subject taken from the 14th Exodus, the flight of the Children of Israel into Egypt. Paintings in Oil and Enamel, &c., and Stiidies from Nature in Oil, the sole Performance of Mr. Stubbs. 40 Two Infant Bacchanalians, and Sketch of the Lay Figure of Alice Atkinson, who died at York, aged no, being the Study for the large Picture which Mr. Stubbs painted for Dr. Drake of York. 41 Fruit Pieces— a pair. 42 Two Embryos painted in Oil, 5 Views of the bones of the Pelvis, 2 ditto of Skulls, and 4 studies of Trees from Nature, in Oil. 43 Hercules' Choice, a study. 198 APPENDIX D. 44 Portrait of a Gentleman on Horseback attended by his Dog, a sketch, and a Black Horse in the Landscape, the first Horse painted by Mr. Stubbs. 45 Two Paintings in Oil (upon the prints) a Lion devouring a Horse, and a Horse affrighted at a Lion. 46 Three Ditto, ditto, a Lion and 2 sleeping Tigers. 47 Lion devouring a Stag — a small enamel. 48 The Infant Saviour treading on a Serpent. 49 Landscape with Man on Horseback and Pointer ; and a Horse — a sketch. 50 Landscape with Buildings and Figures, and a Light House in the distance. 51 Two Sketches of the conflict between a Lion and Tiger, in varied positions, and Three Portraits in ovals, in enamel. 52 Portraits of Two Mendicants painted at Rome, and a Fruit Piece with a Snake, an oblong. 53 Three Horses in a Landscape — a study. 54 Landscape with a Stag, a Scene from Nature in Goodwood Park, and a Sea View with a Light House in the dis- tance. 55 Three Fruit Pieces, Melon, &c. 56 Choice of Hercules, Study for a large Picture on that Subject. 57 A Magdalen. 58 Two Tigers playing. 59 Portrait of Two Hounds belonging to the late Duke of Richmond, in a small Landscape, painted from Nature, at his Grace's Seat at Goodwood, in 1791. 60 Landscape with two Horses and a Dog. 61 Landscape, with a Pointer. 62 Portrait of a Horse, formerly the Property of Sir Charles Q Bamfylde, introduced in a Landscape, with a distant Light House, being a view from Nature in Italy. 63 Portraits of Mr. and Mrs. Wa^ewood, ovals, in enamel. 64 Sleeping Tiger — in enamel. 65 Lion and Lioness — painted from Nature. APPENDIX D. 199 66 Tiger and Tigress, in enamel — -octagon. 67 Portrait of the managed Horse, originally painted by Mr. Stubbs for Sir J. Reynolds. 68 A Lion and Lioness reposing, under a venerable Oak, Q stripped from Age of all Foliage— admirably drawn and coloured throughout. 69 Lion devouring a Horse — a most spirited Picture. •V 70 Lion with a dead Stag in enamel — an oval. O 71 Landscape, with a Tiger in reclining position — in enamel. 72 Lion devouring a Stag, in a gloomy cavern. 73 Portrait of a Black and White Spaniel, belonging to Mr. Knightley. 74 Landscape painted from Nature, at the time of the Hay Harvest, with Mowers and Haymakers. 75 Portrait of Superb, the Property of the late Earl Pem- broke, with another Horse introduced to finish the composition. 76 Landscape, a view from Nature during the Corn Harvest ; Men loading a Cart with Corn, and Women and Children gleaning. 77 Lion and Lioness in their Den, with a distant Landscape in the background — an energetic performance, truly descriptive of this noble animal, justly entitled the Monarch of the Forest. The folloiving Portraits of celebrated Race Horses were pamted by Mr. Stubbs, for the Turf Gallery. 78 Baronet, belonging to the Prince of Wales — mounted by Chiffney. 79 Pumpkin, the property of the late Right Hon. Charles James Fox, and Lord Foley — mounted by South. 80 Protector, the Property of Lord Bolingbroke. 81 Dungannon, the Property of Capt. O'Kelly, painted with J) a Sheep — between these two Animals there was such an attachment that neither would stay in the Paddock without the other. 82 Mambrino, the Property of the late Earl Grosvenor. 200 APPENDIX D. 83 Shark, Bred by, and the Property of Mr. Pigot, of Chesterton Hall, Huntingdonshire. 84 Volunteer, the Property of Capt. O'Kelly, with a servant in Livery. 85 Anvil, formerly in the Stud of His Royal Highness the Prince of Wales, afterwards the Property of Capt. O'Kelly. 86 Sweet Briar, the Property of the late Earl Grosvenor. 87 Gimcrack, the Property of the late Earl Grosvenor, with the Portrait of his Groom. 88 Mask, Bred by Mr. Hutton, the Property of Lord Abing- don. 89 Sweet William, the Property of the late Earl Grosvenor. 90 Bandy, also the Property of the late Earl Grosvenor, with the Portraits of his Groom and Terrier. 91 The Celebrated Stallion, Eclipse, the Property of Henry Wildman, Esq., attended by a Jockey and Boy. 92 Two Colts and a small white Pony in a Landscape. 93 Three Portraits in an interesting Landscape, one of a Colt, named Gnaw Post, and two others — beautifully painted throughout, and highly finished. 94 The Godolphin Arabian, the Property of Lord Godol- phin, with a Cat at the Stable Door, to whom he was greatly attached. E?id of the First Day's Sale. Wednesday, May the 27TH, 1807. Engravings by Mr. Stubbs, Bartoiozzi, &'c. I Six Prints exhibiting the Race Horse in his various Stages, engraved by Jukes, from designs by Ansell and Walker, and 11 Prints fixed on pasteboard. APPENDIX D. 20I 2 Eight Prints, the triumph of Venus, &c. 5 Portraits by Houbracken and i other. 3 Portrait of Dr. Johnson, by Cooke, from Sir Joshua Reynolds, and 10 Prints from Engravings by G. T. Stubbs, Mortimer, Knight, &c., the Dancing Bear, Constable of the Night, JJncolnshire Ox, &c. 4 Eight Prints from Sketches by Morland. 5 Eight ditto. 6 Si.x coloured Prints, Landscapes ; 2 ditto Portraits, mounted, I of the Lincolnshire Ox, and i of a Tigress by G. Stubbs. 7 Ten engravings by Ryley from designs by Mortimer, i of the Lincolnshire Ox, and i of a Tigress by G. Stubbs. 8 Nine ditto by Bartolozzi, upon various subjects, and i of the Lincolnshire Ox. 9 Eight ditto, by ditto, &c., and i of the Lincolnshire Ox. ID Eight ditto, by ditto, G. T. Stubbs, &c.. Elvira, Roxalana, Perditta, &c., t of the large Lincolnshire Ox, and i of a Tigress by G. Stubbs. 1 1 A Copy of the Diploma, or appointment of Mr. G. Stubbs, as a Member of the Royal Academy. 1 2 Thirteen Engravings by Piroli from Drawings by Frederick Rehberg, of Lady Hamilton in different attitudes, copied from Nature at Naples, and dedicated by per- mission to Sir William Hamilton. 13 Fourteen capital Portraits engraved by Bartolozzi, from Paintings by Hans Holbein, in his Majesty's Collection, published by John Chamberlaine, F.S.A. 14 One set of capital prints engraved by Mr. G. Stul)bs, from subjects designed and painted by himself, being 17, under the following description —the Farmer's Wife and Raven, with its companion, the Labourers ; the Hay Makers and Reapers ; a Horse affrighted by a Lion, with its companion. Tigers at Play ; a Lion devouring a Horse ; a Horse affrighted at a Lion ; Two Tigers ; a Lion ; a Tiger and 2 Dogs, and 3 Prin[ts] of single Dogs. 202 APPENDIX D. 1 5 One Set of ditto. 1 6 One Set of ditto. Drawings, Drawmg Books, Studies from Nature, Sketches, cs'c. 1 7 Four blank Drawing Books. 1 8 Ten small Drawings in common Ink and nineteen Sketches in black lead and common Ink, Landscapes, &c. 19 Thirteen Drawings of Cattle in black lead, and Forty-six ditto of Landscapes, ditto. 20 Twenty-five Sketches in black lead. Landscapes, &c. 21 One Book with 13 Sketches of Foetus's, &c. 22 One Book with 200 Landscapes, Views and Sketches. 23 One Book with 22 Lions and Stags in black lead, and 2 Landscapes in black chalk. 24 One Book with 12 Monkeys, 14 Buffaloes, Bulls and Cows, in black lead, and 2 Tibet Bulls in black Chalk. 25 One Book with 14 Lions in black Chalk. 26 One Book with 22 Stags in black Chalk. 27 One Book with 34 Tigers in black Chalk. 28 One Book with 7 Cats, in black Chalk, and i boy in ditto. 29 One Book with 15 Sketches from Nature of Trees, in black Chalk. 30 One Drawing of 4 Horses' Legs, and i ditto of 2 Academy Figures. 31 A capital Drawing of the Hay Field and Men loading a Hay Cart. 32 A capital high finished coloured Drawing, framed and glazed, Hunters in a Landscape. 33 A ditto also framed and glazed^ Hacks in a Landscape. 34 A fine finished coloured drawing of the Mare and Stallion. 35 A capital high finished coloured drawing of Horses in a Landscape. 36 A ditto, ditto (the positions of the Horses varied). 37 A capital high finished coloured Drawing of the Farmer's Wife and Raven, from Gay's Failles. APPENDIX D. 203 38 A ditto of the Mare and Stallion— an oval. 39 A capital high finished coloured Drawing by P. Sandby, R.A. View up the River Neath from Britton Ferry, framed and glazed. 40 A Ditto by Ditto, part of the Town and Castle of Tun- bridge, framed and glazed. Paintings by Ancient Masters^ Qt'c. 41 Lion and Dead Tiger, a Sketch, and Savage War and Ancient Chivalry, a pair, not framed. 42 GiORGiONE, Man offering a Female a Rose. 43 Female Portrait with a Ruff. 44 Titian, The Angel with the Three Marys at the Tomb. 45 Tintoretto, Danae — in small. 46 Fruit Piece, an upright ; and Portrait of a Fe- male. Paintings in Oil and Enamel, &'c., and Studies frotn Nature in Oil, the sole Performance of Mr. Stubbs. 47 Six Paintings of Horses, not framed. 48 Portrait of Mr. Woollett the Engraver. 49 Portrait of Mrs. Hassen of Hassen Hall, on Horseback. 50 Grey Horse and 2 Dogs in a Landscape, and naked Infants, sketches, a pair uprights. 51 Birds of Passage, sketches, a pair, and ditto, a pair. 52 Hounds, sketches, a pair, and i Bird of Passage. 53 Studies from Nature, a pair ; and Sketches of Fruit, a pair. 54 Lady on Horseback, and Sketch of Mrs. Angelo, an upright. 55 Portraits of Birds, Green Wood Peckers, and Night Raven and Swallow. 56 Landscape with Buildings, &c. View of Crane Seat, be- longing to the Duke of Richmond, and a ditto, View near Bath House at Matlock. 57 Two Naked Infants in different reclining attitudes, and I ditto seated. 58 A Lion, in an oval enamel. 30 204 APPENDIX D 59 Landscapes with Buildings, &c., a pair, Views of the Race Ground at Newmarket. 60 Landscape with a River, Cattle and Figures, a View in Italy. 61 Two Paintings in Oil upon the Prints, Lion devouring a Horse, and Tigers at play. 62 Landscapes, Studies of Fir Trees, a pair : and a small Black Dog, uprights. 63 Auriculas, from Nature, painted as designed for a Lady to Work from, and 2 Studies from Nature, a Canary Bird's Nest, and Head of a Snake and a Bat, in one frame. 64 Mother with her Infant asleep. 65 Sketch of a handsome Setter. 66 Portrait of an Elk, not framed. 67 Portrait of a White Persian Cat, a particular favourite of Mr. Stubbs, and a white Horse. 68 The Portrait of Warren Hastings, Esq., on his celebrated Arabian, in enamel, an oval, painted in 1791. 69 Landscape at the time of the Hay Harvest, representing a Hay Field, with Hay Makers loading a Hay Cart — a Study for the same Subject, in enamel. 70 Portrait of a Monkey gathering Fruit — an upright, an ex- ceeding high finished Picture. 71 The Judgment of Hercules, a capital performance ; the Figure of Hercules does great Credit to Mr. Stubbs' Art as a Painter of the Human form — no Man knew Anatomy, and the knitting and marking of the Muscles Superior to this Artist. 72 Landscape, a Scene during the Corn Harvest, representing a Corn Field with Reapers, a Study from the same Sub- ject in enamel — painted from Nature. 73 Portrait of Benjamin West, Esq., President of the Royal Academy. 74 A Horse in a spirited action with the Portrait of a celebrated Dog, Carlo, the property of Sir Joseph Banks. 75 Rape of Dejanira — a grand Historical Subject, treated with great effect and propriety, the Scenery grand and appropriate. APPENDIX D. 205 76 The Portrait of a celebrated Racer, painted in an inter- esting Landscape with Buildings and Cottages, and Cows in the middle distance, the Horse was the Property of Mr. Ogilvie. 77 The Farmer's Wife and Raven, illustrative of that well- known subject in Gay's Fables — true to Nature and the Poet. 78 Lions — in enamel, a pair, ovals. 79 Lion and Lioness — in enamel, octagon. 80 Lion and Lioness, in a rocky Cavern — highly finished and extremely beautiful. 81 Hope Nursing Love, a small circular Painting, in fine enamel on Copper. 82 Lion and Dead Tiger — in enamel. 83 Head of an Old Man, a small oval, in fine enamel on cop- per, and a ditto, a small upright — in enamel. 84 Lion and Lioness, in square enamel — accomplished with great Spirit and Truth. 85 Portrait of a Lion seated on a Rock — in enamel. 86 Portrait of Scrub, a well-known Stallion in the Stud of the late Lord Rockingham — painted from Life, a mag- nificent representation of that noble Animal, who was sold for 1000 Guineas and sent to the West Indies. 87 Hope Nursing Love, seated in Landscape, the child beautifully foreshortened and admirably coloured — the whole expressive. 88 Portrait of the celebrated Zebra, that was presented to her present Majesty, some years since, and placed in the Royal Menagerie at Buckingham Gate, where it remained till its death — a correct likeness of the Animal, painted from Life and placed in a Landscape, singularly beautifully pencilled and equally valuable as a work of Art, and a faithful representation of this extraordinary Quadruped. 89 Phaeton, a beautiful enamel on copper, and very highly finished ; conceived with Poetic Fire, and the action of the ethereal Coursers in their rapid progress, highly characteristic of the celebrated Story. 2o6 APPENDIX D. 90 Mother and Child, a small circular enamel, on copper ; the Subject corresponding with the large Picture of that description. 91 Horse affrighted at a Lion — finely expressive of terror at the Lion's approach, highly finished in enamel — on cop- per. 92 Portrait of the Royal Tiger — the same size as the liv- ing Animal of that Species that died some years since in the Tower ; nothing can exceed the ferocious dignity and attitude of the Animal, or the Beauty and manage- ment of the Form — painted from Nature, — this noble Animal was in the Possession of the Duke of Richmond. 93 Landscape with Hay Field and Hay Makers, an oval in large enamel. This very extraordinary Performance, not only the longest as a Painting on enamel extant, but for finishing, beauty and perfection in all its Parts, is a wonderful effect of ingenuity and success — capital. 94 Landscape —The Hay Field with Mowers and Hay Makers, in large enamel, exquisitely finished and scientifically managed. 95 A Lion devouring a Stag — in a grand Rocky Scene- painted with singular energy and admirable effect. 96 Stallions Fighting — with other Horses in a Landscape, and a Bridge in the middle distance : an oval in enamel — the Spirited action of the Animals and the splendour of the whole stamps it as an unrivalled Performance. 97 Portrait of Mr. Stubbs seated on a white Hunter, an up- right oval in enamel — a most excellent Likeness of this great Painter, and accompanied in the very Perfection and beauty of his Art. 98 Scene from Nature in Lord Torrington's Garden, in Bedfordshire, with Labourers loading a Cart — highly finished, and extremely correct in the representation. FINIS. J. Smekton, PiiiNTiiK, 148, St. Martin's Lane. APPENDIX E. LOAN COLLECTION OF PICTURES BY GEORGE STUBBS, A.R.A., AND ENGRAVINGS FROM HIS WORKS At the Gallery of J. & W. Vokins, 146^ 16, Great Portland Street, IF., 1885. PICTURES. 1. Portrait of Chestnut Hunter. PANEL. Landscape, with church in middle distance. Signed and dated 1779. Lefit by Win. Wells, Esq. 2. Group of Mares and Foals. CANVAS. Banks of a River, with three mares and two foals, large stem of tree to the left, weeds in foreground. The Bay Mare was the dam of Antinoiis. Signed. Lent by the Duke of Grafton, K. G. 3. Portrait of Eclipse. Study made from life (no background), from the Novar Collection. Lent by Walter Gilbey, Esq. 4. Labourers. CANVAS. Woody Landscape, with horse and cart and four figures, one in the cart, three others removing the tail board ; dog in foreground on the right. Signed and dated 1767. The Landscape painted by Amos Green. Letit by Louis ILuth, Esq. 207 20S APPENDIX E. 5- Portrait of a Bay Hunter. PANEL. Landscape, with horse in foreground, tree on the right. Signed and dated 1776. Lent by the Earl of Yarborough. 6. Sire, Dam and Colt. Horses the property of Jenison Shafto, Esq. PANEL. The Banks of a River, portraits of Goldfinder as a colt, with sire and dam in the foreground; trees on the right. Signed and dated 1774. Lent by Col. Adair. 7. The Farmer's Wife and the Raven. panel. Woody Landscape, illustrating Gay's Fable; woman on grey horse falling, eggs tuml)ling from pannier, raven in tree on right. Signed and dated 1788. Lent by Walter Gilbey, Esq. 8. Portrait of Snap. canvas. Horse belonging to Jenison Shafto, Esq. Landscape, horse in paddock, with trees on the left, and shed in middle distance. Signed and dated 1771. Letit by Cot. Adair. 9. Portrait of Chestnut Hunter. panel. Landscape, with horse in foreground nibbling a thistle, cottage on left, water in distance. Signed and dated 1776. Lent by t/ie Earl of Yarborough. 10. Mares and Foal, panel. Landscape, with mares and foal under a large tree, water on the right. Signed and dated 1773. Lent by Col. Adair. Ari'KNDIX E. 209 IT. Portrait of Sir John Nelthorpe, 6th Baronet. PANEL. Landscape, representing Sir John Nelthorpe partridge shooting with brace of favourite pointers, Hector and Tinker. Signed and dated 1776. Lent by Major R. N. Sutton Nelthorpe. 12. Gamekeepers. CANVAS. Interior of a Wood, witli gamekeepers — one on a pony, the other carrying a gun, three dogs. Signed and dated 1767. Lent by Louis LLuth, Esq. 13. Portrait of Mambrino. P.\NEL. Paddock, with cottage on left, church in distance. Signed and dated 1779. Lent by the Duke of Westminster, K. G. 14. Lion and Horse. CANVAS. Rocky scene, with River ; chestnut horse brought to the ground by attack of lion. Signed and dated 1788. Lent by Walter Gilbey, Esq. 15. Portrait of Sir John Nelthorpe, 6th Baronet. CANVAS. With boy and greyhound in a Landscape, river in distance. Lent by Major R. N. Sutton Nelthorpe. 16. Mares and Foals. PANEL Group of three mares and two foals in a park under an old tree. Signed and dated 1773. Lent by the Duke of Westminster. 17. Hercules overcoming the Cretan Bull. CANVAS. Woody Landscape, representing one of the seven labours of Hercules. Lent by Walter Gilbey, Esq. 2 lO APPENDIX E. 1 8. Bay Arab. PANEL. Landscape, with trees on left, rocky foreground, distant coast witii tower, horse smelHng a thistle. Signed and dated 1779. Lent by Walter Gilbey, Esq. 19. Phyllis, a Pointer Dog. CANVAS. Dog in the act of pointing, weeds in foreground. Lent by Walter Gilbey, Esq. 20. Portrait of Molly Long Legs. CANVAS. Landscape, with water, jockey in blue jacket and black cap, holding mare ; .saddle and clothes on ground at right. Lent by Walter Gtlbey, Esq. 21. Portrait of Black Hunter (Orinoco) and Dog. panel. The property of Christopher T. Tower. Landscape with River Scene, old horse and spaniel look- ing up, under a tree. Signed and dated 1780. Lent by Christopher J. H. Toiver, Esq. 22. Portrait of Jupiter and Mare. canvas. Landscape, horse and mare in foreground, shed and trees in centre, bridge in distance. Signed and dated 1789. ^ > Lent by Walter Gilbey, Esq. 23. Portrait of a Blenheim Spaniel. canvas. Landscape, dog in foreground, water and tower in distance. Lent by Miss St. John. 24. East View of the Riding School at Welbeck Abbey. CANVAS. Buildings, trees on right, and left, man on white horse in centre, groom leading bay cob, figure on right in green coat, hunting crop under arm, harriers coupled on left. Signed. Lejit by the Duke of Portland. APPFNnTY F Oil 25- Lions and Tigers Fighting. CANVAS. ■i^^jy^p^y st,cijc wiLu juiuiib ciiiu 1 igcib ngnLing over cnc QCtiu body of a stag. Ze/if by Joseph Mayer^ Esq., RS.A, 26. fry /~i ^ _ _ XT The Grosvenor Hunt. L- A IN V A 0 . Landscape with hill in distance, representing in foreground water with stag at bay, and hounds about. Portraits of Lord Grosvenor and Mr. Thomas Grosvenor with servants of hunt. Signed and dated 1762. Le/it by the Duke of Westminster, K. G. 27- CANVAS. Landscape, with stone bridge, portrait of " Faddle," favourite spaniel, with nose on ground, the property of Sir John Nelthorpe, Bart. Sie^npd and dntpd 1*70? Lent by Major R. N. Sutton Nelthorpe. 20. Portraits of His Grace William Duke of Portland AND Lord Edward. CANVAS. Landscape, with black horse held by bridle, and groo.m leading cob to a leaping bar, saddle and dog on ground, trees on left. Signed. Lent by the Duke of Fortland. 29. Portrait of Black Hunter. canvas. Landscape, portrait of horse, with saddle, and bridle hooked on to branch of tree, hounds in distance. Lent by fackson Lfunt, Esq. 31 2 12 APPENDIX E. 3°- Horse Frightened by a Lion. CANVAS. Rocky Landscape, with white horse and hon, water, and trees. Signed and dated 1770. Lent by Walter Gilbey, Esq. 31- The Horse and Lioness. CANVAS. Entrance to a Cave, white horse frightened on approaching Honess. Lent by Joseph Mayer, Esq., F.S.A. 32. Portrait of Antinous and Jockey. T inH c;pnDf rivpr in rl icitn x\C€^ iinrfrn it of A nti nous wi tli Jockey Pilkington, who was also his trainer. Landscape by G. Barrett. L.ent by the Duke of Grafton, K. G. 33- Lions and Lioness PANEL. rijiiLrciriLc lu ti cave, wilu iiuu cippruaciiJiiJ^ ici-uuiuciil Honess, another Hon in background. Signed and dated 1772. Lent by Major R. N. Sutton Nelthorpe. 34- Portrait of Gimcrack. CANVAS. A Paddock with groom holding grey horse by bridle, trees in background, and cottage on leit. Signed and dated 1770. Lent by Mrs. Courtney. 35- Sportsmen Resting. CANVAS. Woody Landscape representing sportsmen on right, one with gun laying down, the other with a hare, dog, and game on the right. Attributed to Geo. Stubbs, A.R.A. Lent by Henry Willett, Esq. - APPENDIX E. 213 Portrait of two Hunters. CANVAS. Landscape, river scene with grey and brown horses in foreground, trees on left. Lenf I)}' the Earl of Portsmouth. 37- A Bay Horse and Groom. PANEL. Landscape, with horse and man unsh'pping bridle, cottages on right, church on left, and trees overhanging water. Signed and dated 1772. Lent by the Earl of Fortsiiiouth. 38. Portrait of Mambrino. CANVAS. A Paddock, with trees, mountainous background, grey horse in foreground. Signed and dated 1770. Lent by Mrs. Courtney. 39- The Farmer's Wife and the Raven. ENAMEL ON WEDGWOOD PLAQUE. Woody Landscape, woman on grey horse falling, eggs tumbling from pannier, raven in tree on right, illus- trating Gay's Fable. Signed and dated 1782. Lent by Walter Gilbey, Esq. 40. A Panther, ENAMEL ON WEDGWOOD PLAQUE. Landscape, with panther lying down at foot of a tree. water in distance. Signed and dated 1778. Lent by Henry Wtllett, Esq. 41. Portrait of Patch, a Favourite Hack. CANVAS. Landscape park scene, horse saddled and bridled, walkmg. Lent by the Duke of Grafton, K. G. . . 214 APPENDIX E. 42. Lion and Horse. PANEL. Lion attacking White Horse. Zeni by T. Humphrey Ward, Esq. 43- Portrait of the Artist when young. By Thomas Chubbard, of Liverpool. Lent by Joseph Mayer, Esq., KS.A. 44. Portrait of the Artist (in Crayon), taken in Rome. By Ozias Humphrey, R.A. Lent by Joseph Mayer, Esq., F.S.A. 45- Enamel of the Artist. T^rom Pnrtrmf Hv 07iit; Hnmnhrpv A Tiv Hpnr\7 l-^/"in^^ T? A j_,e7ic uy ± iLc ijiirontss jj urcieii-x^oiiiis. "T* AT A \ f T AT 0 AT O O D "T* AT O ENGRAVINGS ON SCREENS. I. Sancho. Engraved by Beiijn. Smith Published by B. Smith, 21, Judd Place West, New Road, July 30th, 1825. 2. FiDELE. Engraved by Bejijn. Smith, Published by B. Smith, 21, Judd Street West, New Road, June iith, 1825. 3- Baronet. Engraved by G. T. Stubbs. Published by Edwd. Orme, Bond Street, June 4th, 181 7. 4- Shooting (plate). Engraved by IVm. Woollett. Published by Thos. Bradford, 132, Fleet Street, August I St, 1769. APPENDIX E. 5. The Lion and Stag. Engraved by Benjn. Green. Published by Benj. Green, Drawing Master to Christ's Hospital, and at the Print Shops, October ist, 1770. 6. Protector. Engraved by Geo. Townley Stubbs. Published by Messrs. Stubbs, Turf Gallery, Conduit Street, Feb. loth, 1794. 7. GiMCRACK. Etigraved by Geo. Toivnley Stubbs. Published by Messrs. Stubbs, Turf Gallery, Conduit Street, Hanover Square, Sept. ist, 1796. 8. Shooting (plate 2). Engraved by Wm. WooIIett. Published by Thos. Bradford, No. 132, Fleet Street, Aug. 30th, 1770. 9. Photon. Engraved by B. Green. Sold by Ryland & Bryer, at the King's Arms, Cornhill. 10. Dog AND Butterfly. Engraved by E. Fisher. Published by A. Fisher, No. 11, Ludgate Street, July 12th, 1782. 11. Jupiter. Etigraved by Geo. Townley Stubbs. Published by G. T. Stubbs, at Mr. Torrond's, No. 18, Well Street, Oxford Street, Jan. ist, 1777. 12. A Tiger. Engraved by John Murphy. Published by John Murphy, North Side, Paddington, July 27th, 1 791. 13. Sweet William. Engraved by G. T. Stubbs. Published by Messrs. Stubbs, Turf Gallery, Conduit Street, July 30th, 1796. i6 APPENDIX E. 4. SWEETBRIAR. Engraved by Geo. Towtiley Stubbs. Published by Messrs. Stubbs, Turf Gallery, Conduit Street, Dec, 1794. 5. Shooting (plate 3). Engraved by Win. Woollett. Published by Thos Bradford, No. 132, Fleet Street, Sept., 1770. 6. Photon. Engraved by Benj. Green. Published by Benj. Green, Drawing Master to Christ's Hospital, and at the Print Shops, March i8th, 1770. 7. Mambrino. Etched by Geo. Townley Stubbs. Published by G. T. Stubbs. 8. Equestrian Portrait. Attributed to Stubbs. 9. Shooting (plate 4). Engraved by Wm. Woollett. Published by Thos. Bradford, 132, Fleet Street, Oct. 25th, 1 77 1. 0. Brood Mares. Engraved by Benj. Green. Published and Sold by Benj. Green, Drawing Master to Christ's Hospital, and at the Print Shops. 1. Horse attacked by a Lion. Engraved by Geo. Stubbs. Published by Geo. Stubbs, No. 24, Somerset Street, Portman Square, 1788. 2. Phyllis, a Pointer of Lord Claremont's, from a Picture in 1772. Engraved by BejiJ. Green. Published by Benj. Green, Drawing Master to Christ's Hospital, December 5th, 1772. APPENDIX E. 217 3. Two Hacks, belonging to Henry W. Reay, of Burn Hall, Durham. Engraved by G. Toivnley Shibbs. Published by G. T. Stubbs, 14, John Street, Adelphi, January, 1792. 4. Mambrino. Engraved by George Toivnley Stubbs. Republished by Edward Orme, Bond Street, June 4th, 181 7. 5. An Arabian, belonging to Mr. Gregory. Engraved by Published by R. Sayer and J. Bennett, No. 52, Fleet Street, June 2nd, 1777. 6. Labourers, from a picture in the possession of Louis Huth, Esq. Engraved by Henry Birche. Published by B. B. Evans, in the Poultry, March 25th, 1790. 7. Lion and Stag. Engraved by G. Stubbs, fun. Published by J. Welson, in Lichfield Street, Soho, July 24th, 1770. 8. An Arabian, belonging to Lord Grosvenor. Engraved by Published by W. W. Ryland, No. 27, in Cornhill, February 20th, 1771. 9. The Lion and Horse. Engraved by Benj. Green. Published and sold by Benj. Green, Drawing Master to Christ's Hospital, and at the Print Shops, September ist, 1769. o. Labourers. Engraved by Geo. Stubbs. Published by Geo. Stubbs, No. 24, Somerset Street, Portman Square, January ist, 1789. 2 I 0 APPFNT^TV V 31. An Arabian, belonging to John Warde, Esq. Engraved by rublished by R. Sayer and J. Bennett, 53, Fleet Street, June 2nd, 1777. 32- Spanish Pointer. Engrnvcd by J. Scott, jTuuiisiicu uy jjinuey anu LjOIG, 103, onoe J_.ane, May I St, 1 00 1. 33- Gamekeepers, from a picture in possession of Louis Huth, Esq. Engraved by Henry Birche. Published by B. B. Evans, Poultry, March 25th, 1790. 34- The Frighten'd Horse. Engraved by Robert Laurie. Published by Robert Sayer, No. 53, Fleet Street, June 20th, 1788. 35- The Lion and Lioness. Efigraved by Rich. Houston. Published by Carington Bowles, 69, in St. Paul's Churchyard. 36. Leopards. Engraved by Geo. Stithbs. Published by Geo. Stubbs, Feb. 25th, 1780. 37- The Lincolnshire Ox. Engraved by G. T. Stubbs. Published by Colnaghi Sala & Co. (late Torre), No. 132, Pall Mall, Jan. 20th, 1798. GoDOLPHiN Arabian. Engraved by G. T. Stubbs. Published by Edwd. Orme, Bond Street, June 4th, 181 7. 39- Pangloss. Engraved by Published by R. Sayer and S. Bennett, No. 53, Fleet Street, June 2nd, 1777. APPENDIX E. 219 40. Baronet. Enf^raved by Geo. Townley Stuhhs. Published by Messrs. Stubbs, Turf Gallery, Conduit Street, Feb. 20th, 1794. 41. Horse Frightened by a Lion. En>^Taved by Geo. Stubbs. Published by Geo. Stubbs, London, Sept. 25th, 1777. 42. Horse Frightened by a Lion. Engraved by Geo. Stubbs. Published by Geo. Stubbs, No. 24, Somerset Street, Portman Square, May ist, 1788. 43. Volunteer. Engraved by Geo. Townley Stubbs. Published by Messrs. Stubbs, Turf Gallery, Conduit Street, Dec, 1794. 44. Equestrian. Engraved by Geo. Toivnley Stubbs. Published by G. T. Stubbs, No. 86, High Street, Marylebone, Aug. 3rd, 1793. 45. A Lion. Engraved by G. T. Stubbs. Pubhshed by G. Stubbs and sold at all the Printsellers in Town or Country, Aug. 12th, 1776. 46. The Horse and Lioness. Engraved by Benj. Green. Published by Benj. Green, Drawing Master to Christ's Hospital, and at most of the Print Shops, June 29th, 1774- 47. The Farmer's Wife and the R.aven. Engraved by Geo. Stubbs. Published by Geo. Stubbs, No. 24, Somerset Street, Portman Square, May ist, 1788. 32 2 20 APPENDIX E. 48. Jupiter. Engraved by Geo. Townley Stuhbs. Published by Geo. Townley Stubbs, at Mr. Torromrs, No. 18, Well Street, Oxford Street, Sept. 20th, 1776. 49. SWEETBRIAR. Engraved by Geo. Toivnley Si uobs. Published by Messrs. Stubbs, Turf Gallery, Conduit Street, Dec, 1794. 50. Reapers. Engraved by Geo. Stubbs. Published by Geo. Stubbs, 24, Somerset Street, Portman Square, Jan. ist, 1791. 51. An Arabian belonging to Mr. Gregory. Engraved by { ) Published by R. Sayer and J. Bennett, 53, Fleet Street, June 2nd, 1777. 52. Bandy, belonging to Lord Grosvenor. Engraved by { ) Published by R. Sayer and J. Bennett, 53, Fleet Street, June 2nd, 1777. 53. Eclipse. Engraved by Geo. Townley Siubbs. Published by Messrs. Stubbs, High Street, Maryle- bone, Sept. ist, 1796. 54. Mambrino. Engraved by Geo. Townley Stubbs. Published by Messrs. Stubbs, Turf Gallery, Conduit Street, May 20th, 1794. 55. Lioness and Lion. Engraved by G. Stubbs, Junr. Published by Robt. Sayer and John Bennett, No. 53 Fleet Street, June ist, 1774. APPENDIX E. 221 56. Sharke. Engraved />y Geo. Townley Stubbs. Published by Messrs. Stubbs, Turf Gallery, Conduit Street, May 20th, 1794. 57. Protector. Engraved by G. T. Shtbbs. Published by Messrs. Stubbs, Turf Gallery, Conduit Street, Feb. 20th, 1794. 58. SWEETWILLIAM. Engraved by Geo. Toivnley Stubbs. Published by Messrs. Stubbs, Turf Gallery, Conduit Street, July 30th, 1796. 59. DUNGANNON. Engraved by Geo. Toivnley Stubbs. Published by Messrs. Stubbs, Turf Gallery, Conduit Street, May 20th, 1794. 60. Horses Fighting. Engraved by George Totvnley Stubbs. Published by Benjamin Beale Evans, in the Poultry, May ist, 1788. 61. Bulls Fighting. Engraved by George Townley Stubbs. Published by Benjamin Beale Evans, in the Poultry, May I St, 1.788. 62. Marske, Sire of Eclipse. Engraved by G. Stubbs. Published by J. AVelson, in Litchfield Street, St. Anne's, Soho, Feb. 24th, 1771. 63. Bulls Fighting Engraved by Geo Toivnley Stubbs. Published by Benjamin Beale Evans, in the Poultry, May I St, 1788. 222 APPENDIX E. 64. Mambrino. E?igf-aved by C. H. Hodges. Published by John and Josiah Boydell, No. 90, Cheapside, Sept. ist, 1788. 65. Anvill. Etigraved by Geo. Toivnky Stubbs. Published by Messrs. Stubbs, Turf Gallery, Conduit Street, Dec, 1794, 66. The Right Hon. Lord Pigot. Engraved by Bettjamin Green. Published by B. Green, Drawing Master in Christ's Hospital ; Messrs. Ryland and Bryer ; Mr Parker, No. 87, in Cornhill; Mr. Brydell, Cheapside; Mr. Bull, Ludgate Hill ; Mr. Sayer, Fleet Street, and most of the Print Shops, May loth, 1769. 67. Two Hunters, belonging to Henry W. Reay, of Burn Hall, in the City of Durham. Engraved by Geo. Town/ey Sfubbs. Published by Geo. Townley Stubbs, No. 14, John Street, Adelphi, Jan., 1792. 68. The Spanish Pointer. Engraved by JVm. Woollett. Published by Thos. Bradford, 132, Fleet Street, Jan. ist, 1768. 69. Pumpkin. Engraved by Geo. ToW7ihy Stubbs. Published by Messrs. Stubbs, Turf Gallery, Conduit Street, Feb. 20th, 1794. APPENDIX F. snape's anatomy.* The full title of his book ran, "Anatomy of an Horse, containing an exact and full description of the Frame, Situation, and Connection of all his Parts (with their Actions and Uses). Exprest in forty-nine Copper-plates. To which is added an Appendix containing two discourses, the one on the Generation of Animals, and the other of the Motion of the Chyle and the Circulation of the blood. Printed by M. Flesher for the Author, and are to be sold by T. Flesher at the 'Angel and Crown,' in St. Paul's Churchyard, A.D. i683."t That the design of Snape's book is correctly described in the title may be seen also by a perusal of the " Dedication," which runs as follows : * See Ch. V. p. 26. t Advertisement. — All persons that have Subscribed to Mr. Snape's Book of the Anatomy of an Horse, are desired to take notice, That the said Book will be finished by the 14th of November Instant, and be ready to be delivered according to the Proposals (upon paying the remainder of their Subscrip- tion-money, and delivering in their receipts) at Mr. Fletcher's shop, at the " Angel and Crown," in St. Paul's Churchyard : And others that have not Subscribed, may be there furnished with the same. — The London Gazette, November 6 — 9, 1682, No. 1 77 1. 223 224 APPENDIX F. " To His Most Sacred Majesty Charles II., King of Great Britain, France, Ireland, &c. "Nothing- could have excused or induced me into the presumption of this address unto Your Majesty, if your Royal Bounty towards me had not made such an application my Duty. For being a Son of that Family that hath had the honour to serve the Crown of this Kingdom in the Quality of Farriers for these two Hundred Years, and being myself retained by Your Majesty's favour in that capacity ; As these hereditary and personal Engagements were the first Motives that put me upon dissecting of Horses, that I might be more capable of serving Your Majesty in my station ; so do they entitle Your Majesty to the Discoveries I have made as being but the effects of such Obligations, And I do the rather flatter myself with the hope of Your Majesty's Pardon in this Particular, in regard that this Essay has something in it that is new and withall of Publick and Conwion Benefit, which Your Royal Goodness hath been pleased upon all occasions to Honour with Your Princely Encour- agement and Approbation. For the Intention of publishing this Treatise being to instruct Farriers in the Frame, Situation, and Use of the Parts of an Horse, which is the Subject of their Care ; they will thereby, I hope, become more skilfull in applying and administering proper Remedies to the Distempers of that Generous Animal which APPENDIX F. 225 yields Your Majesty and Your Subjects that great service both in Peace and War. " May God Ahnighty long continue Your Majesty's Gracious Reign over a Loyal and Obedient People ; and that Your Majesty will vouchsafe Your Royal Pardon for the boldness of this Dedication, is the humble Petition of Your Majesty's Most Loyal and Obedient Subject and Servant. — A. Snape." Snape follows the dedication with the intro- duction to his work, in which he speaks of the impolicy of accepting without proper investi- gation the axioms of preceding writers upon the subject. After referring to the knowledge of the parts of the horse needed for discerning diseases, and after briefly defining the principles of anatomy and indicating how it is taught, he concludes by addressing himself to the work itself, "which is writ," he explains, "with the greatest plainness its nature is capable of," in order to attain his object, " namely, the benefit- ing of the reader." APPENDIX G. THE PORTRAITS OF STUBBS.* The most important of the portraits of Stubbs are the following, all of which have been engraved: (1) The crayon half-length by Ozias Hum- phrey, described in Ch. XIII., which was appa- rently taken when Stubbs was well advanced in years : probably about the end of the eighteenth century. (2) A half-length by Orde, which depicts Stubbs engaged in painting a horse. There is an etching of it by Bretherton, copies of which are very rare. (3) The half-length by Humphrey, also re- ferred to in Ch. XIII. ante, which was engraved by W. Nicholls, published ist December, 1809, by J. Well, Warwick Square, London, and re-engraved for the present volume. (4) A half-length from an original drawing by P. Falconet, engraved by B. Reading, pub- lished by E. Jeffrey, Pall Mall, London, 1792. This is known by collectors as the " Animalium * See Ch. XIII p. 76. 226 APPENDIX G. 227 Pictor" engraving- (tinted), in consequence of that inscription. It is extremely rare. (5) Portrait, by E. Martin. I have never seen this portrait, nor, if it has been engraved, a copy of it. Elias Martin was an Associate of the Royal Academy of Arts. He resided at No. 15, Trin Street, Bath, and was " Painter to the King of Sweden." He exhibited this picture at the Exhibition of the Royal Academy in 1790. It is No. 428 in the Catalogue for that year, and is entitled: "An Artist and a Horse." The person for whom the portrait was painted desired that it should be exhibited at the Royal Academy. Mariin, knowing the prejudice of the executive against .Stubbs, assured his patron that if it were submitted as a portrait of Stubbs, it would be rejected. Actuated in that belief, Martin substi- tuted the title above given, and by suppressing Stubbs's name, the work passed the ordeal of the committee of selection and was duly hung. There are, also, a portrait of Stubbs, when young, by Thomas Chubbard, of Liverpool, which was recently in the possession of Joseph Mayer, ti!sq., F.S.A., and an enamel from the portrait by Ozias Humphrey, R.A., by Henry Bone, R.A., now in the possession of Lady Burdett-Coults. (6) Portrait, formerly in the possession of Miss Spencer, engraved for, and published in, the Sporting Magazine, 18 10, p. 49. 33 APPENDIX H. " THE SPORTING MAGAZINE," NOVEMBER, i8og. FURTHER PARTICULARS RESPECTING THE MERITS AND LABOURS OF GEORGE STUBBS, ESQ., R.A., The Celebrated Painter of Horses and other Quadrupeds. In our Magazine for May, 1808, we gave a faint sketch or outline of the life of this incomparable artist : a gentleman to whose industry the lovers of the turf and of field sports are more indebted for their favourite gratifications than to all the imitative profession beside. To prove this, we shall first enumerate the productions of his unrivalled pencil. " And now kind Nature opened to his view Her fairest forms, streams, woods, flowers, and those With voice and active animation blest : From these his judgment formed a mimic life. Seeming to breathe, and fill the mind with wonder." Also the noble and honorable characters who were his early friends and patrons, and warmed him, as it were, into life ; continuing their favours and friendship till our artist could soar above adversity, and the malice that too often follows the meritorious. The portrait we have subjoined was taken from a picture in the possession of Mrs. Spencer, his executrix, and may, with the strictest truth, be called unique, there being no other engraving of him extant. We concluded this circumstance alone sufficient inducement to produce the painter's resem- blance for the portfolios of the collector, the sportsman, and all such as delight in the history of the race-horse, an animal so peculiarly our own, that England may defy the surrounding nations for speed, for courage, and for beauty, to produce its equal. The picture Mr. Stubbs exhibits in the engraving is his famous delineation of the ambitious Phaethon, who, according 228 APPENDIX II. 229 to the poet, asked the guidance of his father's chariot for one day ; but, unable to manage the horses, set fire to the world. We shall now proceed, for the information of Mr. Stubbs' admirers, to describe the noble cabinets where the prime efforts of his genius are deposited ; a task attended with no little difficulty, but which we humbly conceive must be highly acceptable to the rising artist, and equally gratifying to the man of taste, to all who delight in the performances of this noble creature, and to such as attach themselves to its pros- perity. A List of the most celebrated Pictures by Mr. Stubbs, and in whose possession they remain. His Royal Highness the Prince of Wales is in possession of many, and, we are assured, some of the happiest productions of this artist. One picture, particularly fine, painted about nine years ago, wherein two favourite hunters are described playing with a dog. A portrait of His Royal Highness' celebrated horse Baronet, with Chifney on his back, winning the Oatlands Stakes of 2,000 guineas on Ascot Heath. H.R.H. the Duke of York possesses a few; among the rest a large dog, exceedingly fine, and of course a favourite picture. His Grace the Duke of Richmond has many, painted by Mr. Stubbs for the late duke in the prime of life, and when the artist had reached the highest crisis of his studies. His Grace the Duke of Queensbery likewise possesses many, and some of them painted in the very acme of application. The Earl of Grosvenor has in his possession a greater collection of the prime works of this painter than any other gentleman in England. The Earl's father was Stubbs' first patron, and a most liberal encourager of the man whose interest he had undertaken, and whose kindness was ever regarded by the artist with gratitude and affection. The most prominent beauties of this collection are a Stag Hunt, Mares and Foals, Brood Mares, and several portraits of the Earl's running horses, among which are Mambrino, Sweet William, Sweet Briar, Dux ; Gimcrack preparing to start, a most 230 APPENDIX H. inimitable picture ; and another portrait of this horse when a stallion. The reason for painting two portraits of the same horse derives from a circumstance rather singular. When Gimcrack was a young horse he was of a complete iron grey colour ; but when he became a stallion he changed his com- plexion and became hoary, or what is called by some a ivhite grey. To enumerate the whole of this noble Earl's collection would be to war with patience. Lord Egremont has many. General Stibbert of Mount Bevis, possesses Mr. Stubbs' four pieces of Shooting, with Mr. AVordlet's copies, fine impressions, all in the same room. His Grace the Duke of Grafton has many. Thomas Hope, Esq., of Mansfield Street, has a few ; one very fine, a portrait of a horse going to drink, with some cows in the distance, etc. The late Sir John Trevelyan, Bart., had many. Sir Joseph Banks, Bart., possesses a few. John Graham, Esq., has a few. Christopher Willson, Esq., of Yorkshire, has a few. Colonel Thornton has several ; among them is a very sweet picture of three horses. The principal of this group is gnawing a tree, for which propensity he was named Gnawpost. He was a famous racer, the property of Robert Shaftoe, Esq. Colonel O'Kelly had the whole of his stud painted by Mr. Stubbs, and they were reckoned the prime adornments at Cannons, near Edgware. Miss Saltinstone, of Cobham, possesses a great many, which that lady purchased at the sale of the property after the artist's demise ; among them are several of his enamels, par- ticularly one highly esteemed for its execution in all parts — it is a portrait of himself on horseback ; also, the horse frightened at the lion's approach ; the royal tiger ; the leopard ; hay- makers and reapers ; horses fighting ; woman and child, etc., etc. Among these is the horse Scrub, a great favourite of the late Lord Bolingbroke, as large as life : this horse is described leaping over a brook. Miss Saltinstone has also a great collec- APPENDIX H. 231 tion of his sketches, and most of the horses Stubbs painted foi the Turf Gallery. Mrs. Spencer possesses a great many of his pictures for disposal : among the rest, the large picture of the labourers ; the farmer's wife and raven, from Gay's Fables ; and a very fine enamel of tigers fighting ; a leopard ; and many others ; beside all the plates of animals he engraved, and the work entitled The Anatomy of the Horse ; a work which, in itself, must hand the painter down to the latest posterity. Mrs. Spencer also possesses the work of Comparative Anatomy which he began a few years previous to his death — a most extraordinary undertaking. The expense attending the progress of it has been incalculable, and had he lived to finish what he so generously begun, posterity had found a resource inestimable. In the year 1794, the Turf Gallery was opened in Conduit Street, Hanover Square. The intention of the proprietors was to give a series of all the running horses of note, with a printed account of their pedigree and performances. To this end, they began with the "Father of the Turf," the Godolphin Arabian, a stallion allowed by all conversant in pedigree to have contributed more to the breed and improvement of horses in this country, than any horse before or since his existence. The undertaking, at the first blush of it, promised much success to all the parties concerned ; and Mr. Stubbs went to work with so much spirit, that many racers, the progeny of the Arabian, beautifully glowed on the canvas, in a space of time incredible to those unacquainted with his industry. But the tree was without a root, and the want of that nourishment necessary to keep it alive withered all the branches, and that which at first seemed to flourish so fair, fell to nought. The principal in the firm, from a cause I am not permitted to mention, deserted the concern, and of course stagnated an adventure that, had it been pursued to its intended completion, must have been an honour as well as an ornament to the British nation.* * See Ch. XIII., p. 75- APPENDIX 1. COPY OF WILL OF GEORGE STUBBS, R.A. Extracted from the Principal Registry of the Pro- bate Divorce and Admiralty Division of the High Court of Justice. IN THE PREROGATIVE COURT OF CANTERBURY. In the Name of God Amen. I George Stubbs painter in the Parish of St. Marylebone in the County of Middlesex make this my last Will and Testament this twenty-first day of June in the year of our Lord one thousand seven hundred and ninety- four. First I do hereby direct my debts to be paid and after the payment thereof then I do hereby give and bequeath all the rest residue and remainder of my Estates and Effects of what kind soever unto Mary Spencer for ever and I do appoint Mary Spencer and I. Saltonstall joint executors of this my last Will and Testament. GEO. STUBBS THOS. RICKETTS JOHN DEAN. lOth July 1806. IN THE PREROGATIVE COURT OF CANTERBURY. In the Goods oj George Stubbs deceased 14th July 1806. Appeared personally Thomas Ricketts of Lake Lane Portsea in the County of Southampton and made 232 APPENDIX I. oath that he is one of the subscribing witnesses to the last Will and Testament of the said deceased hereunto annexed contained in the following words viz. " In the Name of God Amen. I George Stubbs painter in the parish of Saint Mary Le Bone in the County of Middlesex make this my last Will and Testament this twenty-first day of June in the year of our Lord one thousand seven hundred and ninety-four. First I do hereby direct my debts to be paid and after the payment thereof then I do hereby give and bequeath all the rest residue and remainder of my Estate and Effects of what kind soever unto Mary Spencer for ever. And I do appoint Mary Spencer and I. Saltonstall joint executors of this my last Will and Testament " and thus subscribed " George Stubbs " and witnessed by Thomas Rickett loth July 1806 John Deane. And this appearer further saith that the said deceased being in the eighty-fourth year of his age or thereabouts and sub- ject to violent spasms and in his own house situate at No. 24 Somerset Street Portman Square on the tenth day of July instant the said deceased read over the said Will to the appearer with the obliterations and interlineations as thereon now appear and par- ticularly the words following written with a pencil between the eleventh and twelfth lines reckoning from the top of the said Will, viz. "and I. Saltonstall joint Executors " when the appearer observed to the said deceased that he had better write the same over again in ink to which he answered that he was then in violent pain and as soon as he was better he would then write it over again or words to that effect that the said deceased then acknowledged the same " to be his Will which is all of his hand- writing and subscription and desired the appearer to subscribe his name as witness thereto which he did accordingly the said Will was executed between six 234 APPENDIX I. and seven o'clock on the tenth day of July instant aforesaid and the said deceased died about nine o'clock the same morning without having been able to write with ink the aforesaid words so written in pencil aforesaid and the appearer lastly saith that the said Will with the several obliterations and interlineations which interlineations and obliterations appear to be written in pencil in manner aforesaid is now in all respects in the same plight and condi- tion as when the said deceased delivered it to the appearer in manner aforesaid save the jurate written thereon — ^Thomas Ricketts — Same day the said Thomas Ricketts was sworn to the truth of this affidavit before me S. Parson Sur. pst. J. G. Christian Not. Pub. This Will was proved at London on the sixteenth day of July in the year of our Lord one thousand eight hundred and six before the Worshipful Samuel Pearce Parson Doctor of Laws and Surrogate of the Right Honourable Sir William Wynne Knight also Doctor of Laws Master Keeper or Com- missary of the Prerogative Court of Canterbury lawfully con- stituted by the oath of Mary Spencer Spinster one of the Executors named in the said Will to whom administration was granted of all and singular the goods chattels and credits of the deceased having been first sworn duly to administrator a power reserved of making the like grant to Isabella Saltonstall Spinster the other Executrix named in the said will when she shall apply for the same. [iVote. — It does not appear that George Stiibbs was ever married, and it will be remarked that Mary Spencer is not described in the will as the testator's niece. The inference is obvious.] C4^