The Grosvenor Hunt - George Stubbs
Archival giclée
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Description
A detailed 1762 oil painting by George Stubbs depicting a hunting party in the English countryside, noted for its anatomical precision and balanced composition.
George Stubbs, a master of animal anatomy and British sporting art, produced this work in 1762 for the Grosvenor family. The composition depicts a hunting party gathered in a wide, open field, anchored by a large, mature tree that provides a natural frame for the figures. Stubbs demonstrates his precise observation of horses and hounds, capturing the tension and movement inherent in the hunt. The riders are positioned across the middle ground, while the pack of hounds occupies the foreground, their forms rendered with careful attention to individual posture and interaction.
The lighting suggests a late afternoon, casting long shadows and bathing the scene in a warm, golden hue. The background features a gentle, rolling horizon, typical of the English countryside settings favoured by the artist. Stubbs was known for his scientific approach to painting, having spent years dissecting horses to understand their musculature and skeletal structure. This technical rigour is evident in the anatomical accuracy of the animals, which possess a sense of physical presence and weight. The painting functions as both a record of the Grosvenor family's sporting activities and a study of the relationship between humans, horses, and hounds in a rural environment.
Unlike many of his contemporaries who focused on dramatic action, Stubbs often chose moments of relative stillness or controlled movement. This allows the viewer to examine the details of the tack, the clothing of the riders, and the varied breeds of the hounds. The work remains a primary example of the 18th-century British tradition of documenting landed estates and the leisure pursuits of the aristocracy. Through his disciplined application of paint and keen eye for proportion, Stubbs elevated the genre of sporting art to a level of academic seriousness.
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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
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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
The Grosvenor Hunt - 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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