A Bay Hunter With Two Spaniels - George Stubbs
Archival giclée
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Description
A classic equestrian portrait by George Stubbs, featuring a bay hunter accompanied by two spaniels in a quiet, atmospheric field.
George Stubbs is widely recognised for his precise observation of animal anatomy, a skill honed through years of rigorous study and dissection. In this work, the bay hunter occupies the centre of the composition, rendered with a calm, steady posture that contrasts with the playful energy of the two spaniels at its feet. The horse is depicted with a focus on muscular structure and coat texture, reflecting the artist's scientific approach to his subjects.
The background features a soft, atmospheric sky at dusk, casting a warm light over the open field. A single tree frames the right side of the image, providing a vertical balance to the horizontal orientation of the animals. Stubbs avoids unnecessary ornamentation, allowing the natural forms of the horse and dogs to dictate the visual narrative. The muted palette of the earth and sky ensures that the focus remains on the physical presence of the animals.
Stubbs was a master of the equestrian portrait, a genre that gained popularity among the British landed gentry during the eighteenth century. His ability to capture the individual character of a horse, rather than a generic representation, set his work apart from his contemporaries. This piece demonstrates his command of light and shadow, which he used to model the volume of the horse's body against the expansive, quiet horizon. The interaction between the spaniels and the horse adds a sense of life to the scene, suggesting a moment of domestic harmony within the rural setting. The painting remains a clear example of the artist's technical discipline and his dedication to the accurate portrayal of the natural world.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
A Bay Hunter With Two Spaniels - George Stubbs
Artist Biography
George Stubbs
He was born in Liverpool, the son of a currier (a leather worker). He was largely self-taught. In his twenties he spent eighteen months in a farmhouse in Horkstow, Lincolnshire, dissecting horses. He suspended the carcasses from the ceiling using hooks and pulleys, peeled back the layers of skin and muscle, and drew every stage. The results were published as The Anatomy of the Horse (1766), one of the most accurate anatomical studies ever produced by an artist. The book established his reputation.
His horse portraits are commissioned works: wealthy landowners wanted their racehorses painted. Stubbs obliged, but his understanding of equine anatomy gave the paintings a presence that other sporting painters could not match. Whistlejacket, a life-size portrait of a chestnut stallion rearing against a plain background, is among the most striking animal paintings ever made. There is no landscape, no rider, no context. Just the horse.
He also painted dogs, exotic animals (a zebra, a rhinoceros, a moose), and rural scenes with labourers and haymakers. He experimented with enamel painting on ceramic tablets made by Josiah Wedgwood. He was elected to the Royal Academy but refused to submit a diploma piece, which meant he was never made a full Academician. He died in 1806, at eighty-one.
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