The Hunters leave Southill - George Stubbs
Archival giclée
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Description
A classic sporting scene by George Stubbs, depicting riders and their horses preparing for a hunt at Southill Park.
George Stubbs, a master of animal anatomy and British sporting art, captures a quiet moment of departure in this composition. The scene depicts riders and their horses preparing for a hunt, set against the backdrop of Southill Park. Stubbs demonstrates his characteristic precision in the rendering of the horses, focusing on their musculature, stance, and individual temperaments. His scientific approach to animal anatomy, informed by his own dissections, allows for a level of realism that distinguishes his work from his contemporaries.
The composition is balanced, with the figures arranged across the foreground in a manner that suggests a narrative progression. To the left, a groom stands beside a horse, while two riders are mounted and ready to depart. The inclusion of the hounds adds a sense of activity and purpose to the scene. The architecture of Southill provides a solid, grounding element, contrasting with the fluid movement of the animals. Stubbs uses a restrained colour palette, favouring earthy tones and soft, natural light, which creates a sense of calm before the exertion of the hunt.
This work reflects the social customs of the British landed gentry during the late eighteenth century. Sporting art was a popular genre, commissioned by owners to document their estates, their horses, and their leisure pursuits. Stubbs elevates this genre through his technical skill and his ability to observe the subtle interactions between humans and animals. The painting remains a clear example of his ability to combine accurate anatomical study with the requirements of portraiture and estate documentation. The clarity of the light and the careful placement of each figure demonstrate his control over the pictorial space, ensuring that the focus remains on the subjects and their relationship to the environment.
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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.
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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
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- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
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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 Hunters leave Southill - 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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