Colonel Pocklington with His Sisters - George Stubbs
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Beskrivning
A fine art print of George Stubbs's eighteenth-century portrait featuring Colonel Pocklington, his sisters, and a horse in a natural setting.
George Stubbs is widely recognised for his meticulous observation of anatomy, a skill honed through years of rigorous study and dissection. In this work, he applies his scientific precision to the genre of the conversation piece, a popular form of group portraiture in eighteenth-century Britain. The composition features Colonel Pocklington, positioned centrally alongside his horse, flanked by his two sisters. The figures are situated beneath the boughs of a large, spreading tree, which provides a natural frame for the group while casting soft shadows across the foreground.
Stubbs demonstrates a particular sensitivity to the relationship between the human subjects and the animal. The horse is rendered with the same anatomical accuracy that characterises his more famous equine studies. The sisters, dressed in period attire, interact with the animal, creating a sense of domestic harmony. The background opens into a gentle, atmospheric vista, typical of the period's interest in integrating portraiture with the natural environment. The lighting is warm and diffused, suggesting the late afternoon sun, which softens the contours of the figures and the foliage.
This painting reflects the social conventions of the landed gentry, where the ownership of horses and the presence of a well-maintained estate were markers of status. Stubbs avoids excessive ornamentation, preferring a balanced arrangement that allows the individual characteristics of the sitters to emerge. His palette is restrained, relying on earthy tones and subtle variations in light to create depth. The work remains a clear example of the artist's ability to combine technical rigour with the requirements of commissioned portraiture, producing an image that is both a record of identity and a study of form.
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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
Colonel Pocklington with His Sisters - 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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