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Details
Antoine Dubost (1769-1825)
Newmarket, Collection d'onze planches lithographiques... A collection of eleven plates, executed in lithography; representing a view of newmarket and the life of the race horse. Paris: printed by J.Smith for the author, [T.Barrois jnr. and others in Paris, and R.Ackermann in London], 1818. 2 parts in one volume, large oblong 2° (472 x 653mm). Parallel letterpress title and text in French and English. Lithographic frontispiece and ten plates by Dubost, extra-illustrated with 23 sheets of lithographs (6 glued at upper/lower margin to form 3 sheets, 17 mounted on 5 backing sheets), 2 by Victor Adam, 21 after Carle Vernet. (Seventh text leaf supplied in photocopied facsimile, final text leaf with lower outer corner torn away with no loss to text, some spotting and light old dampstainin, lacking the two ll letterpress suplement.) 19th-century purple/brown half morocco, original upper wrapper to part I bound at back (slight scuffing to extremities, cloth on covers faded).
A RARE work including portraits of a number of thoroughbreds descended from the Godolphin arabian. According to the frontispiece the plates include portraits of the 'most celebrated running horses in 1809', whilst also showing the 'life of the race horse from the moment of his entering the stud till that of his being put up for auction'.
Dubost, thanks to a substantial private income, was able to concentrate on both the painting and racing of horses. A friend and contemporary of Carle Vernet, he studied in Paris under Vincent whilst also owning and riding horses in a number of important races. After a period in the French army he went to England in 1806 apparently attracted by the lure of Newmarket and the high quality of the racing. In 1809 he painted the twelve canvases on which the present series of prints are based. Finally returning to France in 1813, he continued to paint and exhibit genre and allegorical works. In 1825 he became involved in a dispute over 'un pavillon' with his architect neighbour, the dispute reached a tragic conclusion with a duel on 6 September during which both protagonists were killed. The supplement (in French only) was probably a separate publication, it incorporates a drop-head title Addition ou il est traité de l'Origine des Chevaux anglais, de leur Education et des Soins à leur donner pour la Course and an illustration examining the proportions of 'Eclipse'. Mennessier de la Lance I, p.143.
Newmarket, Collection d'onze planches lithographiques... A collection of eleven plates, executed in lithography; representing a view of newmarket and the life of the race horse. Paris: printed by J.Smith for the author, [T.Barrois jnr. and others in Paris, and R.Ackermann in London], 1818. 2 parts in one volume, large oblong 2° (472 x 653mm). Parallel letterpress title and text in French and English. Lithographic frontispiece and ten plates by Dubost, extra-illustrated with 23 sheets of lithographs (6 glued at upper/lower margin to form 3 sheets, 17 mounted on 5 backing sheets), 2 by Victor Adam, 21 after Carle Vernet. (Seventh text leaf supplied in photocopied facsimile, final text leaf with lower outer corner torn away with no loss to text, some spotting and light old dampstainin, lacking the two ll letterpress suplement.) 19th-century purple/brown half morocco, original upper wrapper to part I bound at back (slight scuffing to extremities, cloth on covers faded).
A RARE work including portraits of a number of thoroughbreds descended from the Godolphin arabian. According to the frontispiece the plates include portraits of the 'most celebrated running horses in 1809', whilst also showing the 'life of the race horse from the moment of his entering the stud till that of his being put up for auction'.
Dubost, thanks to a substantial private income, was able to concentrate on both the painting and racing of horses. A friend and contemporary of Carle Vernet, he studied in Paris under Vincent whilst also owning and riding horses in a number of important races. After a period in the French army he went to England in 1806 apparently attracted by the lure of Newmarket and the high quality of the racing. In 1809 he painted the twelve canvases on which the present series of prints are based. Finally returning to France in 1813, he continued to paint and exhibit genre and allegorical works. In 1825 he became involved in a dispute over 'un pavillon' with his architect neighbour, the dispute reached a tragic conclusion with a duel on 6 September during which both protagonists were killed. The supplement (in French only) was probably a separate publication, it incorporates a drop-head title Addition ou il est traité de l'Origine des Chevaux anglais, de leur Education et des Soins à leur donner pour la Course and an illustration examining the proportions of 'Eclipse'. Mennessier de la Lance I, p.143.
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