- 9
George Stubbs, A.R.A.
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Description
George Stubbs, A.R.A.
1724-1806
euston, a dappled grey racehorse, the property of william wildman, with jockey up in a river landscape
signed l.r.: Geo: Stubbs pin./1774 and inscribed l.c.: Euston
oil on panel, in a giltwood frame
86.5 by 99 cm., 34 by 39 in.
!4940000-6580000
painting of the dappled grey racehorse Euston, owned by Stubbs's friend and patron William Wildman, was the work chosen by the artist to represent his prowess as a horse painter when he first exhibited at the Royal Academy in 1775. The other three exhibits were Portrait of a Spanish Dog belonging to Mr Cosway, Portrait of a Pomeranian Dog belonging to Earl Spencer, and Portrait of a Monkey. By this date Stubbs had painted many of his greatest masterpieces for many of the leading families of the country, and it is not surprising therefore that this picture is of such superb quality, showing to best effect his abilities not only as an animal painter, but also as a painter of landscape and portraits. Strangely the identity of the horse was lost after Wildman's in 1787, and when it appeared both in a loan exhibition in 1876 and at a sale in 1891, it was described as an unidentified racehorse. When Basil Taylor illustrated the picture in his pioneering biography of 1971, the subject still remained unidentified and in the catalogue for the first major exhibition of Stubbs's works at the Tate Gallery in 1984, Judy Egerton noted that this important first exhibit remained untraced. Only when the picture was cleaned by Robert Shepherd was an inscription uncovered, identifying it conclusively as the missing Royal Academy exhibit. The artist had indeed chosen a masterpiece for this important event, not only capable of standing out amongst the best pictures exhibited that year, but also a worthy offering to his great patron, Wildman, who had owned pictures by Stubbs of Gimcrack and Eclipse, the two greatest racehorses of the eighteenth century.
Stubbs was an immensely versatile artist, as adept as a portraitist and a landscape painter as he was as a painter of horses and this painting shows him at the height of his powers in all these areas. The horse itself is shown as a well bred, noble animal with strong eyes, a shiny coat and an eager expression with its ears pricked. Its stature is emphasised by Stubbs's use of a low horizon and expansive sky, against which the form of the horse is silhouetted, giving it a powerful three-dimensional feel. The landscape has a fine soft light helped by the expanse of the water in the middle distance which reflects the light and gives the picture its magical airy quality, and this is further emphasised by the tree to the right which is not dense but transparent, letting daylight fill the whole composition. The fine red coat of the jockey helps to focus the eye on the centre of the composition and the portrait of the jockey himself, sitting slightly back with an almost disdainful expression, is a masterpiece of observation. The whole picture is a clear example of Stubbs's superiority over earlier sporting painters such as Wootton, Seymour and Morier with their somewhat formalised poses. It also illustrates why Stubbs had nothing to fear from rivals such as Francis and John Nost Sartorius and even Sawrey Gilpin.
By 1774, when this picture was painted, Stubbs was clearly established as the leading animal painter in Britain, patronised by many of the country's greatest families. In the previous decade he had achieved an astonishing amount within a short time and exhibited an unparalleled versatility. He had worked on every scale from enormous life size images such as Whistlejacket (National Gallery) and the pair of Lion Attacking a Stag and Horse Attacked By a Lion (Yale Center for British Art), all for the 2nd Marquis of Rockingham, to small landscape studies such as the two views of Newmarket Heath. He had been responsive to every demand of his many aristocratic patrons. He had produced great hunting pictures such as The Grosvenor Hunt for Lord Grosvenor in 1762 (Trustees of the Grosvenor Estate) and Huntsman setting out from Southill for George, 4th Viscount Torrington in 1763-8 (Bute Collection). He had painted great racehorses such as Gimcrack on Newmarket Heath for Lord Bolingbroke in 1765 (Private Collection) and Otho for John Fitzpatrick, 2nd Earl of Upper Ossory in 1768 (Tate Gallery).
He had showed his genius as a portrait painter with the great conversation piece of The Melbourne and Milbanke Families of 1769 (National Gallery) and the charming portrait of Colonel Pocklington with his Sisters of 1769 (National Gallery of Art, Washington). However he had also broadened the scope of his art in three areas where there was no precedent in British art. The first of these were the ten great pictures of Mares and Foals, all painted from life for particular patrons and often on a colossal scale - notable amongst these were those painted for Lord Grosvenor, the Marquis of Rockingham, Mr Shafto and Colonel George Parker. The second area in which he broke new ground was in his paintings of wild animal subjects, notably the celebrated Tiger (private collection) and various works in the early 1770s for John and William Hunter and Sir Joseph Banks. The third area was in his use of enamel, firstly from 1769 on copper and later, after his meeting with Wedgwood, on ceramic tiles. It seems to be this interest in enamel which led to the increasing use of panel, rather than canvas in the 1770s. This led to a change of technique with the body of pigment used often reduced to a very thin layer. This became much more pronounced after he worked with Wedgwood in the late 1770s and the panel pictures of the early 1770s, such as the portrait of Euston, combine the best qualities of his paintings on canvas from the previous decade with an added enhancement of tone and atmosphere derived from the use of panel.
The subject of the picture was a grey colt, foaled in 1769 by Antinous (painted by Stubbs in 1764) out of a grey mare by Brilliant. This grey mare produced four foals, all of whom were purchased by William Wildman. The name of the horse came from his breeder, Augustus, 3rd Duke of Grafton whose seat at Euston Hall was also the stud for the Fitzroy family. Euston is recorded in Pick's Register as 'fourteen hands three inches high, and allowed to be a very handsome boney horse'. His distinguished racing career began at Epsom on 20th April 1773 when he won the £50 Ladies Plate in three two miles heats beating Lord March's Miss Gibson and Mr Juke's Memorandum. On 21st July he won a four miles Sweepstakes of 200 guineas beating seven horses and on 11th August at Stockbridge he won a £50 Plate in two miles heats, beating Mr Beardmore's Matross and the Duke of Bolton's Chose. At Bath on 17th September he won a further race, his growing reputation being reflected by his very short starting price at odds of 1 to 10. By 1774, when he was painted by Stubbs, he was at the height of his powers, winning all of his eight races that year to maintain his unbeaten record. The first victory that year was at Newmarket's First Spring Meeting on 8th April, when he beat five horses over the four miles Round Course, including Lord Grosvenor's Pigeon and the Duke of Grafton's Porsenna. At Ascot Heath on 7th June he won a Sweepstakes over four miles and a £50 Plate at the same meeting two days later. On 26th July at Burford he won his first King's Plate (100 guineas) in three mile heats and two days later a Sweepstakes of 20 guineas each. He won his second King's Plate at Lichfield on 30th August and a four mile heat at Abingdon on 15th September. At Epsom on 9th November he beat Mr O'Kelly's Grecian in a match for 200 guineas over four miles. The next season, 1775, saw a further victory at Exeter on 5th July in the Great Sweepstakes for the Subscription Cup, valued at 200 guineas. Euston then suffered the first defeat of his career when he was beaten by Sir O. Paul's colt at Cirencester on 17th August in the 100 guineas Gentleman's Subscription Cup. He won two further races that season at Newport Pagnell on 21st August and at Bath on 17th September, but was defeated on the same course on 27th September, finishing third or fourth. His final season was in 1776 when he ran three times but without success, and he was afterwards sold to Thomas Brayshaw of Chapel Town, near Leeds, who employed him as a stallion.
William Wildman, who owned the racehorse Euston and who commissioned this painting by Stubbs, was one of a small group of remarkable self-made men who owned racehorses in the eighteenth century. A grazier and meat salesman, he built up a very prosperous business at Leadenhall Market and made many important contacts as a result of his business dealings with various estates. He owned Gimcrack and Eclipse, two of the most important racehorses of the eighteenth century. Wildman was the owner of Gimcrack in 1765 when the horse won its first victory at Newmarket. He subsequently sold it to Frederick, 2nd Viscount Bolingbroke, who appears to have been a racing partner of Wildman's. To celebrate the horse's success Wildman commissioned from Stubbs the great portrait of Gimcrack with John Pratt up (Fitzwilliam Museum, Cambridge -see Fig. 4). In the same year he bought Eclipse for 75 guineas at a bloodstock sale conducted by Richard Tattersall for the estate of William Augustus, Duke of Cumberland. In 1769 he sold a half share to Colonel Dennis O'Kelly, another self-made racehorse owner, and eventually sold out to O'Kelly. Wildman commissioned from Stubbs a portrait of Eclipse at Newmarket (Jockey Club, Newmarket) which appears to have been sold with the horse to O'Kelly. Stubbs also painted Eclipse with Wildman and his two sons, a picture formerly in the celebrated Gilbey collection and now at the Baltimore Museum of Art (see Fig. 3). Wildman was not only a celebrated owner of racehorses but also a close friend of Stubbs and a discerning buyer of his work. He commissioned the portraits of Gimcrack and Eclipse, mentioned above, directly from the artist. He also owned another of the artist's greatest works, the set of four shooting scenes exhibited at the Society of Artists between 1767 and 1770 (Yale Center for British Art). Judy Egerton believes that he probably commissioned the first of these (which almost certainly includes a portrait of Wildman himself) and that he acquired the other three from Thomas Bradford, publisher of the engravings made of the subjects. Wildman showed his discernment as a collector by buying from Lord Torrington's sale in 1778 all three of Stubbs's pictures of hunt servants, gamekeepers and brickmakers at Southall. Wildman died in 1784 and three years later a two day sale was held by his sons which included fifteen works by Stubbs, amongst which was the portrait of Euston.
At William Wildman's sale in 1787 the picture was recorded as being bought by 'Sladen' who is so far unrecorded. By 1876 it was in the collection of George Cavendish-Bentinck, son of General Frederick Cavendish-Bentinck and his wife Lady Mary Lowther. Cavendish-Bentinck owned a wide ranging group of pictures including works by or attributed to Berchem, Canaletto, Cuyp, Giorgione, Murillo, Palma Veccio, Teniers, Tintoretto and Veronese. Notable amongst his English pictures were a fine portrait of Fanny Kemble by Reynolds, four landscapes by Gainsborough (one of which is now in the Tate Gallery) and two landscapes by Wilson. He lent his picture by Stubbs and four other works to the Royal Academy's Winter Exhibition in 1876, joining a distinguished list of lenders, which also included the Marquis of Bath, the Duke of Devonshire, the Marquis of Lansdowne, the Earl of Radnor and the Duke of Sutherland. Apart from its appearance in the substantial sale held following Cavendish-Bentinck's death, the picture has remained unseen in two private collections and has never been exhibited.
It is generally accepted that Stubbs is the greatest animal painter that the world has ever seen, and through his study of anatomy he achieved an understanding of the horse which has never been equalled. However his greatness lies in the fact that at his best he was able to transcend the limits of mere sporting or animal painting and reach the realms of great art. This portrait of Euston is certainly an example of this, a painting executed for a friend and one of his most discerning patrons, and rightly chosen to represent his art when he first exhibited at the Royal Academy.
Provenance:
Commissioned by William Wildman (c.1715-1784);
Sold by his executors, Christie's, 20th January 1787, lot 65, bt. Sladen;
George Augustus Frederick Cavendish-Bentinck, M.P. (1821-1891), sold by his executors, Christie's, 11th July 1891, lot 542 (as 'Portrait of a Horse and Jockey with Lake Scene in the Background'), bt. Agnew for £360;
Edward Cecil Guinness, 1st Earl of Iveagh (1847-1927);
Thence by descent to his grandson, Arthur Guinness, 3rd Earl of Iveagh (1937-1992) from whose collection it was bought in 1996
Exhibited:
Royal Academy, 1775, no.301 ('Portrait of a Horse, named Euston, belonging to Mr Wildman');
Royal Academy, Exhibition of Works by the Old Masters, 1876, no.258 (lent by G.A.F. Cavendish-Bentinck)
Literature:
Sir Walter Gilbey, Life of George Stubbs, R.A. (sic), 1898, Appendix C, p.181;
Basil Taylor, Stubbs, 1971, p.54 & 214, plate 84 (as 'Grey horse with jockey up');
Constance-Anne Parker, Mr Stubbs, The Horse Painter, 1971, pp.115, 179, 118;
Judy Egerton, George Stubbs 1724-1806, catalogue for the exhibition at the Tate Gallery, and Yale Center for British Art, 1984-1985, p.138;
Christopher Lennox Boyd, Rob Dixon and Tim Clayton, George Stubbs The Complete Engraved Works, 1989, pp.180, 182
Engraved:
A copy of the picture was produced in 1787 by the Polygraphic Society entitled 'The Famous Racehorse, Euston, with a Pleasing Landscape'.
1724-1806
euston, a dappled grey racehorse, the property of william wildman, with jockey up in a river landscape
signed l.r.: Geo: Stubbs pin./1774 and inscribed l.c.: Euston
oil on panel, in a giltwood frame
86.5 by 99 cm., 34 by 39 in.
!4940000-6580000
painting of the dappled grey racehorse Euston, owned by Stubbs's friend and patron William Wildman, was the work chosen by the artist to represent his prowess as a horse painter when he first exhibited at the Royal Academy in 1775. The other three exhibits were Portrait of a Spanish Dog belonging to Mr Cosway, Portrait of a Pomeranian Dog belonging to Earl Spencer, and Portrait of a Monkey. By this date Stubbs had painted many of his greatest masterpieces for many of the leading families of the country, and it is not surprising therefore that this picture is of such superb quality, showing to best effect his abilities not only as an animal painter, but also as a painter of landscape and portraits. Strangely the identity of the horse was lost after Wildman's in 1787, and when it appeared both in a loan exhibition in 1876 and at a sale in 1891, it was described as an unidentified racehorse. When Basil Taylor illustrated the picture in his pioneering biography of 1971, the subject still remained unidentified and in the catalogue for the first major exhibition of Stubbs's works at the Tate Gallery in 1984, Judy Egerton noted that this important first exhibit remained untraced. Only when the picture was cleaned by Robert Shepherd was an inscription uncovered, identifying it conclusively as the missing Royal Academy exhibit. The artist had indeed chosen a masterpiece for this important event, not only capable of standing out amongst the best pictures exhibited that year, but also a worthy offering to his great patron, Wildman, who had owned pictures by Stubbs of Gimcrack and Eclipse, the two greatest racehorses of the eighteenth century.
Stubbs was an immensely versatile artist, as adept as a portraitist and a landscape painter as he was as a painter of horses and this painting shows him at the height of his powers in all these areas. The horse itself is shown as a well bred, noble animal with strong eyes, a shiny coat and an eager expression with its ears pricked. Its stature is emphasised by Stubbs's use of a low horizon and expansive sky, against which the form of the horse is silhouetted, giving it a powerful three-dimensional feel. The landscape has a fine soft light helped by the expanse of the water in the middle distance which reflects the light and gives the picture its magical airy quality, and this is further emphasised by the tree to the right which is not dense but transparent, letting daylight fill the whole composition. The fine red coat of the jockey helps to focus the eye on the centre of the composition and the portrait of the jockey himself, sitting slightly back with an almost disdainful expression, is a masterpiece of observation. The whole picture is a clear example of Stubbs's superiority over earlier sporting painters such as Wootton, Seymour and Morier with their somewhat formalised poses. It also illustrates why Stubbs had nothing to fear from rivals such as Francis and John Nost Sartorius and even Sawrey Gilpin.
By 1774, when this picture was painted, Stubbs was clearly established as the leading animal painter in Britain, patronised by many of the country's greatest families. In the previous decade he had achieved an astonishing amount within a short time and exhibited an unparalleled versatility. He had worked on every scale from enormous life size images such as Whistlejacket (National Gallery) and the pair of Lion Attacking a Stag and Horse Attacked By a Lion (Yale Center for British Art), all for the 2nd Marquis of Rockingham, to small landscape studies such as the two views of Newmarket Heath. He had been responsive to every demand of his many aristocratic patrons. He had produced great hunting pictures such as The Grosvenor Hunt for Lord Grosvenor in 1762 (Trustees of the Grosvenor Estate) and Huntsman setting out from Southill for George, 4th Viscount Torrington in 1763-8 (Bute Collection). He had painted great racehorses such as Gimcrack on Newmarket Heath for Lord Bolingbroke in 1765 (Private Collection) and Otho for John Fitzpatrick, 2nd Earl of Upper Ossory in 1768 (Tate Gallery).
He had showed his genius as a portrait painter with the great conversation piece of The Melbourne and Milbanke Families of 1769 (National Gallery) and the charming portrait of Colonel Pocklington with his Sisters of 1769 (National Gallery of Art, Washington). However he had also broadened the scope of his art in three areas where there was no precedent in British art. The first of these were the ten great pictures of Mares and Foals, all painted from life for particular patrons and often on a colossal scale - notable amongst these were those painted for Lord Grosvenor, the Marquis of Rockingham, Mr Shafto and Colonel George Parker. The second area in which he broke new ground was in his paintings of wild animal subjects, notably the celebrated Tiger (private collection) and various works in the early 1770s for John and William Hunter and Sir Joseph Banks. The third area was in his use of enamel, firstly from 1769 on copper and later, after his meeting with Wedgwood, on ceramic tiles. It seems to be this interest in enamel which led to the increasing use of panel, rather than canvas in the 1770s. This led to a change of technique with the body of pigment used often reduced to a very thin layer. This became much more pronounced after he worked with Wedgwood in the late 1770s and the panel pictures of the early 1770s, such as the portrait of Euston, combine the best qualities of his paintings on canvas from the previous decade with an added enhancement of tone and atmosphere derived from the use of panel.
The subject of the picture was a grey colt, foaled in 1769 by Antinous (painted by Stubbs in 1764) out of a grey mare by Brilliant. This grey mare produced four foals, all of whom were purchased by William Wildman. The name of the horse came from his breeder, Augustus, 3rd Duke of Grafton whose seat at Euston Hall was also the stud for the Fitzroy family. Euston is recorded in Pick's Register as 'fourteen hands three inches high, and allowed to be a very handsome boney horse'. His distinguished racing career began at Epsom on 20th April 1773 when he won the £50 Ladies Plate in three two miles heats beating Lord March's Miss Gibson and Mr Juke's Memorandum. On 21st July he won a four miles Sweepstakes of 200 guineas beating seven horses and on 11th August at Stockbridge he won a £50 Plate in two miles heats, beating Mr Beardmore's Matross and the Duke of Bolton's Chose. At Bath on 17th September he won a further race, his growing reputation being reflected by his very short starting price at odds of 1 to 10. By 1774, when he was painted by Stubbs, he was at the height of his powers, winning all of his eight races that year to maintain his unbeaten record. The first victory that year was at Newmarket's First Spring Meeting on 8th April, when he beat five horses over the four miles Round Course, including Lord Grosvenor's Pigeon and the Duke of Grafton's Porsenna. At Ascot Heath on 7th June he won a Sweepstakes over four miles and a £50 Plate at the same meeting two days later. On 26th July at Burford he won his first King's Plate (100 guineas) in three mile heats and two days later a Sweepstakes of 20 guineas each. He won his second King's Plate at Lichfield on 30th August and a four mile heat at Abingdon on 15th September. At Epsom on 9th November he beat Mr O'Kelly's Grecian in a match for 200 guineas over four miles. The next season, 1775, saw a further victory at Exeter on 5th July in the Great Sweepstakes for the Subscription Cup, valued at 200 guineas. Euston then suffered the first defeat of his career when he was beaten by Sir O. Paul's colt at Cirencester on 17th August in the 100 guineas Gentleman's Subscription Cup. He won two further races that season at Newport Pagnell on 21st August and at Bath on 17th September, but was defeated on the same course on 27th September, finishing third or fourth. His final season was in 1776 when he ran three times but without success, and he was afterwards sold to Thomas Brayshaw of Chapel Town, near Leeds, who employed him as a stallion.
William Wildman, who owned the racehorse Euston and who commissioned this painting by Stubbs, was one of a small group of remarkable self-made men who owned racehorses in the eighteenth century. A grazier and meat salesman, he built up a very prosperous business at Leadenhall Market and made many important contacts as a result of his business dealings with various estates. He owned Gimcrack and Eclipse, two of the most important racehorses of the eighteenth century. Wildman was the owner of Gimcrack in 1765 when the horse won its first victory at Newmarket. He subsequently sold it to Frederick, 2nd Viscount Bolingbroke, who appears to have been a racing partner of Wildman's. To celebrate the horse's success Wildman commissioned from Stubbs the great portrait of Gimcrack with John Pratt up (Fitzwilliam Museum, Cambridge -see Fig. 4). In the same year he bought Eclipse for 75 guineas at a bloodstock sale conducted by Richard Tattersall for the estate of William Augustus, Duke of Cumberland. In 1769 he sold a half share to Colonel Dennis O'Kelly, another self-made racehorse owner, and eventually sold out to O'Kelly. Wildman commissioned from Stubbs a portrait of Eclipse at Newmarket (Jockey Club, Newmarket) which appears to have been sold with the horse to O'Kelly. Stubbs also painted Eclipse with Wildman and his two sons, a picture formerly in the celebrated Gilbey collection and now at the Baltimore Museum of Art (see Fig. 3). Wildman was not only a celebrated owner of racehorses but also a close friend of Stubbs and a discerning buyer of his work. He commissioned the portraits of Gimcrack and Eclipse, mentioned above, directly from the artist. He also owned another of the artist's greatest works, the set of four shooting scenes exhibited at the Society of Artists between 1767 and 1770 (Yale Center for British Art). Judy Egerton believes that he probably commissioned the first of these (which almost certainly includes a portrait of Wildman himself) and that he acquired the other three from Thomas Bradford, publisher of the engravings made of the subjects. Wildman showed his discernment as a collector by buying from Lord Torrington's sale in 1778 all three of Stubbs's pictures of hunt servants, gamekeepers and brickmakers at Southall. Wildman died in 1784 and three years later a two day sale was held by his sons which included fifteen works by Stubbs, amongst which was the portrait of Euston.
At William Wildman's sale in 1787 the picture was recorded as being bought by 'Sladen' who is so far unrecorded. By 1876 it was in the collection of George Cavendish-Bentinck, son of General Frederick Cavendish-Bentinck and his wife Lady Mary Lowther. Cavendish-Bentinck owned a wide ranging group of pictures including works by or attributed to Berchem, Canaletto, Cuyp, Giorgione, Murillo, Palma Veccio, Teniers, Tintoretto and Veronese. Notable amongst his English pictures were a fine portrait of Fanny Kemble by Reynolds, four landscapes by Gainsborough (one of which is now in the Tate Gallery) and two landscapes by Wilson. He lent his picture by Stubbs and four other works to the Royal Academy's Winter Exhibition in 1876, joining a distinguished list of lenders, which also included the Marquis of Bath, the Duke of Devonshire, the Marquis of Lansdowne, the Earl of Radnor and the Duke of Sutherland. Apart from its appearance in the substantial sale held following Cavendish-Bentinck's death, the picture has remained unseen in two private collections and has never been exhibited.
It is generally accepted that Stubbs is the greatest animal painter that the world has ever seen, and through his study of anatomy he achieved an understanding of the horse which has never been equalled. However his greatness lies in the fact that at his best he was able to transcend the limits of mere sporting or animal painting and reach the realms of great art. This portrait of Euston is certainly an example of this, a painting executed for a friend and one of his most discerning patrons, and rightly chosen to represent his art when he first exhibited at the Royal Academy.
Provenance:
Commissioned by William Wildman (c.1715-1784);
Sold by his executors, Christie's, 20th January 1787, lot 65, bt. Sladen;
George Augustus Frederick Cavendish-Bentinck, M.P. (1821-1891), sold by his executors, Christie's, 11th July 1891, lot 542 (as 'Portrait of a Horse and Jockey with Lake Scene in the Background'), bt. Agnew for £360;
Edward Cecil Guinness, 1st Earl of Iveagh (1847-1927);
Thence by descent to his grandson, Arthur Guinness, 3rd Earl of Iveagh (1937-1992) from whose collection it was bought in 1996
Exhibited:
Royal Academy, 1775, no.301 ('Portrait of a Horse, named Euston, belonging to Mr Wildman');
Royal Academy, Exhibition of Works by the Old Masters, 1876, no.258 (lent by G.A.F. Cavendish-Bentinck)
Literature:
Sir Walter Gilbey, Life of George Stubbs, R.A. (sic), 1898, Appendix C, p.181;
Basil Taylor, Stubbs, 1971, p.54 & 214, plate 84 (as 'Grey horse with jockey up');
Constance-Anne Parker, Mr Stubbs, The Horse Painter, 1971, pp.115, 179, 118;
Judy Egerton, George Stubbs 1724-1806, catalogue for the exhibition at the Tate Gallery, and Yale Center for British Art, 1984-1985, p.138;
Christopher Lennox Boyd, Rob Dixon and Tim Clayton, George Stubbs The Complete Engraved Works, 1989, pp.180, 182
Engraved:
A copy of the picture was produced in 1787 by the Polygraphic Society entitled 'The Famous Racehorse, Euston, with a Pleasing Landscape'.