Lord and Lady in a Phaeton - George Stubbs
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A refined equestrian portrait by George Stubbs, depicting a couple in a phaeton carriage with the artist's characteristic anatomical precision.
George Stubbs, a master of animal anatomy and British sporting art, captures a refined moment of eighteenth-century leisure in this work. The painting depicts a couple seated in a phaeton, a light, open carriage popular among the aristocracy for its speed and style. The horses, rendered with the anatomical precision that defined Stubbs's career, command the foreground. Their dark coats contrast against the lighter, muted tones of the carriage and the expansive sky.
Stubbs spent years studying the musculature and skeletal structure of horses, a pursuit that allowed him to achieve a level of realism rarely seen in his contemporaries. Here, the horses are not merely decorative elements but are central to the composition. Their posture and the tension in the reins suggest a controlled, steady movement. The figures in the carriage are painted with a similar attention to detail, reflecting the social standing and fashion of the period. The woman wears a wide-brimmed hat, while the man is dressed in practical yet elegant riding attire.
The background features a soft, atmospheric treatment of trees and open space, typical of the English country house aesthetic. This setting provides a calm, orderly environment that complements the controlled nature of the carriage ride. Stubbs avoids unnecessary ornamentation, allowing the relationship between the human subjects and their transport to remain the focus. The light is diffused, casting gentle shadows that give the scene a sense of quietude. This work offers a glimpse into the social habits of the British landed gentry, presented with the technical rigour of an artist who viewed the natural world through a lens of scientific observation. It remains a fine example of the intersection between portraiture and the sporting traditions of the era.
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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
Lord and Lady in a Phaeton - 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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