Two Bay Mares and a Grey Pony - George Stubbs
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A classic oil painting by George Stubbs featuring two bay mares and a grey pony in a serene, open countryside setting.
George Stubbs is widely recognised for his scientific approach to animal anatomy, a discipline he refined through years of dissection and observation. This work, produced during the mid-eighteenth century, demonstrates his ability to combine precise anatomical study with the conventions of British sporting art. The composition features two bay mares positioned near a group of trees, while a grey pony stands apart, observing the pair. The animals are rendered with a focus on their muscular structure and physical proportions, reflecting the artist's deep understanding of equine form.
The setting is a calm, open expanse, typical of the period's interest in the English countryside. Stubbs employs a restrained palette, allowing the natural light to define the contours of the horses against the sky and the distant water. The sky occupies a significant portion of the canvas, with soft, atmospheric clouds that provide a sense of scale and quietude. Unlike many of his contemporaries who favoured dramatic action, Stubbs often chose to depict his subjects in moments of stillness. This approach allows the viewer to observe the subtle variations in coat colour and the individual posture of each animal.
Stubbs spent much of his career documenting the horses of the British aristocracy, yet his work transcends simple portraiture. His technical rigour, gained from his work on 'The Anatomy of the Horse', informs every brushstroke. The result is a balanced image that prioritises clarity and observation. The trees on the right provide a vertical anchor for the composition, framing the horses and guiding the eye across the scene. This print captures the artist's characteristic attention to detail, from the texture of the manes to the subtle shadows cast upon the ground. It remains a clear example of his contribution to the genre of animal painting in Britain.
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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
Two Bay Mares and a Grey Pony - 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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