A different form of art with a wider range of subject could confer a similar honour upon the whole scope of material property and the social returns it provided English painting in the first half of the century provides abundant evidence of its outgrowth. In the sixteenth and seventeenth centuries the portrait had uniquely served the interests of family, rank and ambition. The great era of country-house building was reaching its climax, and many foreign visitors to England in the eighteenth century were impressed by the attachment to country life they discovered here among moneyed and sophisticated people. ' not only field sports but the more informal conditions and pleasures of rural society had become so important in the life-style of the landed classes that the opportunity had emerged for the development of a distinctive iconography. Taylor described eloquently that world when he wrote: Nonetheless, the emergence of his talent on arrival in London in 1759 was well timed. In his day, Stubbs' pictures commanded prices on a par with those of other leading artists, yet money and commercial success do not appear to have been his guiding lights, and his output was not particularly large. An innate sense of nobility pervades each of the subjects in this work. Constantly pushing boundaries, throughout his life he was preoccupied with experimental studies, yet this pursuit was always combined with a deep empathy for his subjects. In many ways Stubbs embodied the values of the wide-ranging intellectual movement of the Enlightenment, or Age of Reason: his was the enquiring mind that demanded to know and understand through observation based on evidence and proof. With the exception of the great Whistlejacket, acquired by the London National Gallery through Christie's in 1997, no work by the artist of comparable importance has appeared on the market for more than a generation. Here, on the 'wide stage' of Newmarket Heath, Stubbs brings all his insight and inventiveness to bear on a scene the focus of which is a singularly popular racehorse which, at that moment, had no equal. In this canvas, a synthesis of advanced scientific study, precocious gifts of draughtsmanship and a profound sense of humanity, the artist created an image which was both immediately relevant to his audience, and of transcendental beauty.ĭescribed by Basil Taylor - who with Judy Egerton did more than any others to re-establish Stubbs' reputation in the 20th century - as 'one of his most beautiful pictures', the work is as epicentral to its epoch as any great masterpiece of Western Art. Painted circa 1765, and preserved in superb condition, Gimcrack on Newmarket Heath was commissioned by Frederick, 2nd Viscount Bolingbroke, one of George Stubbs' most important patrons, and has long been considered a supreme achievement of 18th century British painting. If the lot is not sold, the third party may incur a loss.Ĭhristie’s guarantee of a minimum price for this lot has been fully financed through third parties Where it does so, and is the successful bidder, the remuneration may be netted against the final purchase price. The third party may bid for the lot and may or may not have knowledge of the reserves. When a third party agrees to finance all or part of Christie’s interest in a lot, it takes on all or part of the risk of the lot not being sold, and will be remunerated in exchange for accepting this risk out of Christie’s revenues from the sale, whether or not the third party is a successful bidder. Christie’s may choose to assume this financial risk on its own or may contract with a third party for such third party to assume all or part of this financial risk. On occasion, Christie’s has a direct financial interest in lots consigned for sale, which may include guaranteeing a minimum price or making an advance to the consignor that is secured solely by consigned property.
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