Melbourne and Milbanke Families - George Stubbs
Archival giclée
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Description
A group portrait by George Stubbs featuring the Melbourne and Milbanke families, set within a rural landscape with horses.
George Stubbs, a painter celebrated for his anatomical precision and mastery of equine subjects, produced this group portrait during the height of his career. The work depicts members of the Melbourne and Milbanke families, arranged in a manner that balances formal portraiture with the conventions of the conversation piece. The composition is anchored by the presence of horses, which serve as more than mere accessories; they are central to the narrative of the landed gentry and their connection to the rural estate.
To the left, a woman sits within a carriage, her figure illuminated against the dark, heavy foliage of a large tree. Beside her, a gentleman stands, while another man leans against a horse in the centre. To the right, a rider sits atop a bay horse, completing the triangular arrangement of figures. The lighting is dramatic, with a clear distinction between the shadowed foreground and the lighter, atmospheric sky visible in the distance. Stubbs employs a muted palette of earth tones, allowing the subtle variations in the horses' coats and the textures of the clothing to provide visual interest.
The painting reflects the social order of eighteenth-century Britain, where status was often communicated through the ownership of fine animals and the display of leisure in a natural setting. Stubbs avoids excessive ornamentation, focusing instead on the physical reality of his subjects. His ability to render the musculature of the horses and the posture of the human figures demonstrates his scientific approach to art. This work remains a clear example of his contribution to British portraiture, where the boundary between animal painting and human portraiture is effectively dissolved.
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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
Melbourne and Milbanke Families - 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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