Eclipse - George Stubbs
Archival giclée
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Description
A classic equine portrait by George Stubbs featuring the undefeated racehorse Eclipse, captured with anatomical precision and calm, naturalistic detail.
George Stubbs remains the pre-eminent painter of horses in the eighteenth century. His scientific approach to anatomy, informed by his own dissections and studies, allowed him to capture the physical presence of his subjects with unparalleled accuracy. This work depicts Eclipse, a legendary racehorse who remained undefeated throughout his career. The horse is shown in profile, a common compositional choice for Stubbs, which allows for a clear view of the animal's musculature and proportions.
The horse stands in a calm, controlled environment, held by a groom. The background features a simple structure and a muted sky, which ensures the viewer focuses entirely on the animal. Stubbs avoids unnecessary ornamentation, preferring to let the natural form of the horse dictate the composition. The lighting is soft, casting gentle shadows that define the horse's coat and the texture of the ground.
Stubbs was not merely a painter of animals, but a meticulous observer of nature. His work reflects the Enlightenment interest in classification and empirical study. By documenting the specific features of Eclipse, he provides a record of a celebrated animal that dominated the racing world during the 1760s. The groom, dressed in period attire, provides a sense of scale and context, grounding the scene in the reality of eighteenth-century stable life. The print captures the quiet dignity of the horse, reflecting the artist's deep understanding of equine behaviour and anatomy. This image is a fine example of the intersection between sporting art and the rigorous observation that defined Stubbs's career.
Return policy
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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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
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
Eclipse - 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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