A Sleeping Leopard - George Stubbs
Archival giclée
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Description
A detailed stipple engraving by George Stubbs, depicting a leopard resting in the shade of a tree, rendered with anatomical precision.
George Stubbs, a master of animal anatomy, produced this stipple engraving in 1791. The work captures a leopard in a state of repose, curled beneath the base of a large, gnarled tree. Stubbs was known for his scientific approach to art, often dissecting animals to understand their musculature and skeletal structure. This technical rigour is evident in the precise rendering of the leopard's form, where the weight of the animal and the texture of its fur are conveyed through meticulous dot-work.
The composition relies on a stark contrast between light and shadow. The leopard is illuminated against a dark, atmospheric background, which draws the viewer's eye to the animal's spotted coat and relaxed posture. Unlike many of his contemporaries who depicted animals in dramatic, predatory poses, Stubbs here chooses a moment of quiet stillness. The tree trunk provides a solid, grounding element, framing the subject and adding a sense of natural environment to the scene.
Stubbs published this print himself from his address in Somerset Street, London. His mastery of the stipple technique allowed for subtle gradations of tone, which mimic the softness of fur and the rough bark of the tree. This print reflects the eighteenth-century fascination with exotic animals, which were often viewed in menageries or private collections. By focusing on the leopard as a biological subject, Stubbs avoids the sentimentality often found in later animal art. The work remains a clear example of his ability to combine anatomical accuracy with artistic sensitivity, resulting in a composition that is both observational and quiet in its execution.
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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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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
A Sleeping Leopard - 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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