Estimate

28.000 - 40.000

Session 1

13 October 2020

Hammer Price

Description

Oil on canvas
Signed and dated 1740

Provenance:
Sotheby’s auction of 14 November 1990 “British paintings 1500-1850”
Collection of W. H. Wilmer II
Dealer Ackermann, London, 1971
Sotheby’s London November 1971
Sold at Christie’s at Elsenham Hall, 11 June 1915Collection of Sir Walter Gilbey, Elsenham Hall
Collection of Hugh Andrew Johnstone Munro of Novar

72,5 x 60,5 cm

Category

Paintings

Additional Information

In early 18th century Britain, horse breeders crossbred Arabian stallions with native English mares, in a process that gave origin to Thoroughbred racehorses. Contemporary artists such as James Seymour (ca.1702-1752), George Stubbs (1724-1806) and Benjamin Marshall (1768-1835), began portraying those horses in racing competitions. In doing so, they became focal in a new artistic movement defined as “Sporting Art”, that specifically observed the relationship between humankind and the natural world in such events as hunting and horseracing. In many ways, and similarly to a Thomas Gainsborough (1727-1788) or Joshua Reynolds (1723-1792) society portrait, these paintings reflect in equal measure 18th century English aristocratic life.
In his work “Sporting Art in Eighteenth-century England: A social and political history”, Stephen Deuchar explains that, although these sporting practices were adopted by the upper classes, they seemed simultaneously to encourage a type of conduct that went against their own moral and social ideals. Some artists, such as George Stubbs, would hence attempt at portraying these sports under a positive and implicitly conscious light that would favor their own wealthy patrons. Others, encouraged by their trust in the sport and its growing popularity, would openly favour the promotion and dissemination of the costumes that were at the root of the controversy. In the long term these artists prevailed, contributing to the diversion of this current from the traditional and more conventional art world.
The late acknowledgment of George Stubbs talent would however promote a certain level of curiosity for this artistic genre. This interest went well beyond the topic portrayed, becoming above all a major source for understanding the relationship between 18th century art and its contemporary society.

James Seymour (c.1702-1752)
A George Stubbs (1724-1806) contemporary, James Seymour (ca.1702-1752) is considered one of the first artists to depict equestrian sports. The son of James Seymour, a wealthy banker, silversmith, diamond trader and amateur artist, it was through his father that the younger Seymour was introduced to the main artists of the age. Although he never received any formal painting training, he learned how to draw by studying his father’s print collection. His first signed racehorse painting is dated 1721, a time of prolific production, suggesting that he had by then established considerable professional reputation. By the 1740s and 1750s, when the present work was produced, some of his hunting and racing paintings were already being sold as prints.
From amongst Seymour’s wealthy patrons stand out Sir William Jolliffe (1660-1759) and the 6th Duke of Somerset (1662-1748), who commissioned him a series of racehorse paintings for the decoration of a room in his Petworth country house. Sadly, due to a disagreement between patron and artist this commission would never be completed.
Contrary to other artists, such as John Wotton (ca.1686-1764) or George Stubbs (1724-1806), Seymour focused solely on portraying horses, horse racing and hunting scenes, such as is the case with the present work. Albeit the existing similarities between Seymour’s work and that of the two former artists, it is possible to determine that the character of his production suggests an interest in the animal’s temperament, a particularity absent from Wotton’s production. Through George Vertue (1684-1756) account it is discernible that Seymour lived a rather eccentric life. As a child it was quite perceivable that he was an innate horse drawing genius. However, the facts that he was the son of a wealthy man and that he never studied enough to become a qualified artist, drove him to a life of eccentricity spent in between parties, horse racing meetings, gambling and the greatest English country houses. As he grew older, he became increasingly more dependent on his painting to survive, his later years eventually spent in poverty in London, where he died in considerable debt in 1752. His work can be seen at the British Museum, where it is possible to observe a considerable number of horses, dog, hare and deer studies as well as various hunting drawings and prints. At the Tate Britain collection we were able to find four oil paintings dated ca.1740, albeit one of them simply attributed to Seymour. The Metropolitan Museum in New York also owns one of his paintings dated 1748. The present work was included in the 14th November 1990, Sotheby’s London sale “British Paintings 1500-1850”.

Literature: Deuchar, Stephen - “Sporting Art in Eighteenth Century England: A Social and Political History”, Paul Mellon Centre BA, 1988; “Vertue Note Books III”, Walpole Society, vol.22, 1934, p.8