A Water Spaniel - George Stubbs
Archival giclée
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Description
A precise oil portrait of a water spaniel by George Stubbs, capturing the animal's form and coat texture against a dark, minimalist background.
George Stubbs, a British painter known for his precise anatomical studies, produced this portrait of a water spaniel during the mid-eighteenth century. Stubbs spent much of his career observing animals, a pursuit that began with his detailed dissections of horses. This scientific approach to observation informs his depiction of the dog, where the texture of the coat and the muscular structure beneath the fur are rendered with careful attention to physical reality.
The composition is stark, placing the animal against a dark, featureless background. This choice removes any environmental context, forcing the viewer to focus entirely on the subject. The dog is shown in profile, its head turned slightly towards the viewer, with its mouth open in a naturalistic expression. The lighting is controlled, catching the curls of the spaniel's coat and the moisture on its nose and tongue, which provides a sense of volume and presence.
Stubbs was not merely a painter of animals, but a student of their form. His work often appeared in the collections of the British aristocracy, who valued his ability to capture the specific character and physical condition of their prized hounds and horses. This particular work demonstrates his mastery of oil paint, using subtle gradations of tone to define the spaniel's form against the void. The lack of a setting allows the viewer to appreciate the artist's technical skill in capturing the animal's posture and the specific quality of its fur. It is a clear example of the artist's disciplined approach to portraiture, where the subject is treated with the same level of seriousness as a human sitter. The painting remains a fine example of eighteenth-century British animal art, reflecting the period's interest in natural history and the classification of the animal kingdom.
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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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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 Water Spaniel - 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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