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White Poodle in a Punt by George Stubbs

White Poodle in a Punt

George Stubbs·c. 1780

Historical Context

George Stubbs's White Poodle in a Punt, painted around 1780, is an unusual animal portrait by the artist celebrated for his horse paintings. Stubbs applied the same scientific observation and artistic precision to all animals, having dissected numerous species for anatomical study. This charming image of a poodle in a small boat demonstrates his versatility and his ability to capture animal character with the same penetrating eye he brought to equine subjects.

Technical Analysis

Stubbs's oil-on-canvas technique renders the poodle with characteristic anatomical precision and the smooth, refined finish of his animal paintings. The dog's white fur is modeled with subtle tonal variations, while the water and boat are painted with the descriptive clarity that characterizes his naturalistic approach.

Provenance

Possibly Sir Jarrit Smith or Smyth [1692-1783], Ashton Court, near Bristol, Somerset;[1] by descent in the family to his great-great-great-granddaughter, Esmé Smyth [née Edwards, 1863-1946], Ashton Court.[2] Lord de Mauley, Langford House, Lechdale, Gloucestershire; (sale, Christie, Manson & Woods, London, 8 July 1949, no. 131); (Frank Sabin, London); purchased 1951 by the 21st Earl of Shrewsbury and Waterford [1914-1980], Ingestre Hall, Staffordshire;[3] (sale, Sotheby & Co., London, 23 March 1960, no. 63); purchased by (Colnaghi, London) for Paul Mellon, Upperville, Virginia; bequest 1999 to NGA. [1] See Judy Egerton, _George Stubbs, Painter. Catalogue Raisonné_, New Haven and London, 2007: no. 259, 486 n. 1. [2] Esmé Edwards married the Hon. Gilbert Irby, but later took the name of Smyth when she inherited Ashton Court after her mother's death in 1914. Her mother, Emily Frances Way (1835-1914), was married twice, first to George Oldham Edwards, who died in 1883, then in 1884 to her cousin, Greville Upton (who became Greville Smyth by Royal License in 1859 in order to inherit the Smyth estates, and who died in 1901). See Anton Bantock, _The Inside Story of the Smyths of Ashton Court_, Bristol, 1980. The painting was not included in her estate sale, conducted at Ashton Court by John E. Pritchard & Co., 3-6 and 10-13 July 1947; see Egerton 2007, 486. [3] The full name of the 21st Earl was John George Charles Henry Alton Alexander Chetwynd Chetwynd-Talbot. The painting is listed in a January 1953 catalogue of his pictures, where the entry includes the information about the Earl's purchase from Sabin: Anthony Crofton, "A Catalogue of the Pictures at Ingestre Hall, Staffordshire, Belonging to The Rt. Hon. The Earl of Shrewsbury and Waterford," in _Collections for a History of Staffordshire Edited by The Staffordshire Record Society..._, London, 1954: 73, no. 46.

See It In Person

National Gallery of Art

Washington, D.C., United States

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Quick Facts

Medium
Oil on canvas
Dimensions
overall: 127 × 101.5 cm
Era
Neoclassicism
Style
British Neoclassicism
Genre
Portrait
Location
National Gallery of Art, Washington, D.C.
View on museum website →

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The Third Duke of Dorset's Hunter with a Groom and a Dog by George Stubbs

The Third Duke of Dorset's Hunter with a Groom and a Dog

George Stubbs·1768

Captain Samuel Sharpe Pocklington with His Wife, Pleasance, and possibly His Sister, Frances by George Stubbs

Captain Samuel Sharpe Pocklington with His Wife, Pleasance, and possibly His Sister, Frances

George Stubbs·1769

Lions and lioness: rocky background by George Stubbs

Lions and lioness: rocky background

George Stubbs·1776

Whistlejacket by George Stubbs

Whistlejacket

George Stubbs·1762

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