George Stubbs, A.R.A.

The artist's studio sale, London, Peter Coxe, 26th May 1807, lot 89 (bt. for 13.13 gns., possibly by Isabella Saltonstall);
Harry T. Peters, Jr., Virginia, his Estate Sale, New York, Christie's, 4th June 1982, lot 52 (bt. by T.M. Evans for £35,000):
Thomas Mellon Evans Collection, his sale, New York, Christie's, 3rd December 1998, lot 14 (bt. for $140,000)

London, Turf Gallery, 1794, no. 9

The Sporting Magazine, Vol. III, January 1794, p. 213 (illus.);
C.A. Parker, Mr. Stubbs the Horse Painter, London, 1971, p. 138;
J. Egerton, George Stubbs, Painter. Catalogue Raisonné, New Haven and London 2007, no. 318, pp. 549 & 559

STRUCTURE The canvas has a firm relining. PAINT SURFACE The painting appears to be in good condition with no apparent visible extant damage or loss of paint. ULTRAVIOLET Examination under ultraviolet light reveals the presence of an uneven varnish overall which has been selectively cleaned in places, most noticeably to a small area in the lower right, as well as in the sky. There is still a slightly opaque and discoloured varnish in places, particularly in the body of the horse, and in much of the lower foreground. There has been an old campaign of strengthening in the sky, predominantly lower down on the left had side, though it extends throughout, as well as some retouching and infilling to craquelure overall. There is some minor retouching to craquelure along the line of diagonal upper left stretcher bar, and the outline of the horse's muzzle and neck have been strengthened. There are a small number of more recent scattered minor flecks of retouching, predominantly centre right FRAME Held in a carved gilt wood frame, To speak to a specialist about this lot please contact Julian Gascoigne on +44 (0)207 293 5482, or at julian.gascoigne@sothebys.com, or Emmeline Hallmark on 44 (0)207 293 5407, or at emmeline.hallmark@sothebys.com.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

ENGRAVED
In etching and stipple by George Townly Stubbs, published by Messrs. Stubbs, Turf Gallery, Conduit Street, 30th July 1796

A dark bay colt foaled in 1786 Sweet William was bred by William Cornforth of Barforth, near Richmond, Yorkshire, by Syphon out of a Cade mare. He was of a distinguished blood line, with a pedigree that included Bloody Buttocks and Partner, and went back to Place's White Turk, a famous Arabian stallion imported in the mid-seventeenth century. Stubbs's portrait of Sweet William accentuates the horse's distinguished profile and the full, beautifully arched neck characteristic of the Arabian origins of the thoroughbred horse.

Sweet William was bought by Lord Bolingbroke, for whom he won his first race in 1772 at the New Market Spring Meeting. His success brought him to the attention of Richard, 1^st Earl Grosvenor¹, a celebrated breeder and racehorse owner, and one of Stubbs's most important patrons, who promptly bought Sweet William, and the horse remained in Lord Grosvenor's ownership thereafter. Under his new colours he won at Burford and Shrewsbury in that same season, and went on to race throughout 1773-6 at Newmarket. His notable successes include winning the Craven Stakes in 1774, the Whip in 1775 and, by default, the Cup in 1776. In all Sweet William was only beaten four times during his racing career, taking a total of 6,705 guineas in winnings. In 1778 Sweet William was retired to stud and stood as stallion until 1786 at Grosvenor's stud at Oxcroft Farm, near Newmarket. His most notable progeny include Lord Grosvenor's Ceres and Wheatsheaf, the Duke of Queensberry's Sweet William, Mr Paton's Superb, and Mr Stanley's Honeysuckle. Grosvenor had a fondness for naming horses after flowers and in his portrait of Sweet William Stubbs includes the eponymous flowers in the foreground, in tribute to his patron's practice.

The present painting is a replica, larger than the original, of a portrait painted in 1779 for Richard, 1^st Earl Grosvenor. Though it is itself dated 1779, in reference to the earlier portrait, it was in fact painted in circa 1793-4, one of sixteen paintings which Stubbs executed for the Turf Gallery project. Exhibited at the gallery in Conduit Street in circa 1794, at Stubbs's death in 1806 all sixteen paintings were returned to his studio and were sold by his executors the following year.

1. See J. Egerton, "The Painter and the Peer; Stubbs and the Patronage of the 1^st Lord Grosvenor," Country Life, 22^nd November 1979, pp. 1892-3