Portrait of Isabella Saltonstall - George Stubbs
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A striking and enigmatic portrait by George Stubbs featuring Isabella Saltonstall alongside a lion and a donkey in a dark, atmospheric setting.
George Stubbs, primarily recognised for his anatomical precision in animal painting, presents a curious and enigmatic composition in this portrait of Isabella Saltonstall. The work depicts the subject in a white gown, accompanied by a lion and a donkey within a darkened, wooded setting. The oval format, a common choice for eighteenth-century portraiture, focuses the viewer on the interaction between the human figure and the animals.
Stubbs applies his characteristic attention to biological detail to the lion, which occupies a significant portion of the foreground. The contrast between the pale, flowing fabric of Saltonstall's dress and the dark, textured fur of the lion creates a visual tension. The inclusion of the donkey adds a layer of narrative ambiguity, as the scene does not align with standard portrait conventions of the period. The lighting is dramatic, with the figures emerging from a deep, shadowy background that suggests a nocturnal or twilight environment.
This painting reflects the artist's interest in the exotic and the natural world, themes that occupied much of his career. Stubbs spent years studying the anatomy of horses and other animals, and this expertise is evident in the rendering of the lion and the donkey. The portrait remains one of the more unusual examples of his output, moving away from the typical equestrian subjects that defined his reputation. The composition invites speculation regarding the relationship between the sitter and the animals, as well as the symbolic intent behind such an unconventional grouping. The work is a fine example of the artist's ability to blend rigorous observation with a sense of theatrical mystery, resulting in an image that continues to provoke curiosity among viewers and historians alike.
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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
Portrait of Isabella Saltonstall - 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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