Zebra - YCBA Collections Search

George Stubbs, 1724–1806, British, Zebra, 1763

Creator:: George Stubbs, 1724–1806
Title:: Zebra
Former Title(s):: The First Zebra Seen in England
Portrait of a Zebra, standing, turned to the left, in a park
Date:: 1763
Materials & Techniques:: Oil on canvas
Dimensions:: 40 1/2 × 50 1/4 inches (102.9 × 127.6 cm), Frame: 47 1/2 × 57 1/4 inches (120.7 × 145.4 cm)
Credit Line:: Yale Center for British Art, Paul Mellon Collection
Copyright Status:: Public Domain
Accession Number:: B1981.25.617
Classification:: Paintings
Collection:: Paintings and Sculpture
Link to Frame:: B1981.25.617FR
Subject Terms:: animal art | forest | landscape | zebra (mammal)
Associated Places:: Africa
Access:: Not on view
Link:: https://collections.britishart.yale.edu/catalog/tms:5009
Export:: XML
IIIF Manifest:: JSON

The zebra in this painting was owned by Queen Charlotte and was the sole survivor of a pair brought back from Southern Africa in 1762 by Sir Thomas Adams, the commanding officer of HMS Terpsichore. Though it wasn’t the first zebra on British shores—Prince Frederick had kept zebras at Kew in the 1740s—it was certainly the most visible. Charlotte’s zebra lived in a paddock near Buckingham House, where it was made available to a public with a thirst for exotic animals, spawning several, sometimes bawdy, tributes to “the Queen’s she-ass.” Beyond satire and public curiosity, the zebra was the subject of great scientific interest, as evidenced by Stubbs’s meticulously painted portrait, which may have been made with the assistance of the anatomists William and John Hunter. Stubbs’s incongruous setting (more forest glade than tended paddock) creates an air of melancholy, suggesting both the wonder and the costs of the Enlightenment.

Gallery label for installation of YCBA collection, 2016

This was the first zebra to be seen in Britain and was sent from the Cape of Good Hope (South Africa) aboard hms Terpsichore as a present for the young Queen Charlotte. It is not known why Stubbs painted her—the picture was still in the artist’s studio when he died in 1806—but he may have gained access to the queen’s menagerie at Buckingham House through the influence and interest in exotic animals of his friend Dr. William Hunter, who was accoucheur to the queen. By this date the zebra or African “she-ass” was a London celebrity and not only attracted widespread interest, but inspired the following rude song, which survives in a printed broadsheet:

Ye Bucks and ye Jemmies who amble the Park,

Whose Hearts and whose Heads are as lightsome

as Cork,

Through Buckingham Gate, as to Chelsea you pass,

Without Fee or Reward, you may see the Q
's A--.

See the Q
's A--. See the Q
's A--,

Without Fee or Reward, &c.

A Sight such as this surely never was seen.

Who the Deuce would not gaze at the A— of a Q——n?

What Prospect so charming — What Scene can surpass

The delicate Sight of her M——’s A—?

Her M——’s A—. Her M——’s A—,

The delicate Sight, &c.

Gallery label for An American's Passion for British Art - Paul Mellon's Legacy (Yale Center for British Art, 2007-04-18 - 2007-07-29)

This is one of the earliest in a long series of paintings of exotic animals, many of which Stubbs produced for his friends William and John Hunter, the Scottish anatomists and men of science. Stubbs may have met John Hunter in connection with the procurement of cadavers that the older, more socially established, and more medically experienced William dissected for his pupils and other interested people in the basement of his London town house. We do not know why Stubbs painted Queen Charlotte's zebra, or African "she-ass," nor why the painting was still in his studio at his death, but it has long been presumed that access to the animal was arranged by William Hunter, who served regularly as accoucheur to the queen.

This was in fact the first zebra to be seen in England. It was brought from South Africa in 1762 by Sir Thomas Adams, the commanding officer of H.M.S. Terpsichore, as a gift from the governor for young Queen Charlotte. Two live specimens were dispatched from the Cape of Good Hope in what Malcolm Warner has described as "Noah's-ark fashion," but only the female survived the voyage. As soon as she reached London, the zebra was installed in the menagerie at Buckingham House (Buckingham Palace) and became an instant celebrity. "The Queen's she-ass," wrote one observer, "was pestered with visits, and had all her hours employed from morning to night in satisfying the curiosity of the public. She had a sentinel and guard placed at the door of her stable. . . . The crowds that resorted to the Asinine palace were exceeding great," (MacClintock, 1992, p. 4). In fact, she also inspired a number of rude songs.-. including this one that circulated in broadsheets:

Ye Bucks and ye Jemmies who amble the Park,

Whose Hearts and whose Heads are as lightsome

as Cork,

Through Buckingham Gate, as to Chelsea you pass,

Without Fee or Reward, you may see the Q
's A--.

See the Q
's A--. See the Q
's A--,

Without Fee or Reward, &c.

(THE QUEEN'S ASS. A NEW HUMOUROUS ALLEGORICAL

SONG. . . By H. Howard, To the Tune of Stick a

Pin There. Broadsheet, British Museum)

Stubbs's grasp of the anatomical differences between zebras and horses is, of course, masterly, and in the present work the backward direction of the ears, the dewlap on the underside of the neck or the front, and the "gridiron" pattern of the stripes on the nether regions, immediately above the tail.-.all these are exactly consistent with zoological verisimilitude and, in fact, identify the present animal as the smallest of three subspecies of zebra, the Cape Mountain. "The Queen's Ass" survived until 3 April 1773, perhaps in spite of sharing its accommodation in due course with an elephant and being moved to the Tower of London.

Angus Trumble

John Baskett, Paul Mellon's legacy: a passion for British art : masterpieces from the Yale Center for British Art, , Yale Center for British Art, New Haven, CT, 2007, pp. 1, 6, 252, no. 23, fig, 1, pl. 23, N5220 M552 P38 2007 OVERSIZE (YCBA)

The Zebra is possibly the first, and arguably the most beautiful, of the documentary studies of exotic species that Stubbs painted alongside his better known sporting pictures and fantastic scenes of horses attacked by lions. Typically, he brought to the subject the detailed anatomical knowledge he had gained through his dissections of horses, as well as habits of painstaking inquiry, observation, and drawing from nature. The result is an image of objectivity and precision, recording special characteristics of the animal such as the particular backward lean of the ears, the dewlap on the underside of the neck, and the "gridiron" pattern of stripes on the back immediately above the tail. By comparison, the efforts of contemporary engravers to represent it appear absurdly crude and conventional, showing merely a horse or donkey with stripes added. This was the first zebra to be seen in Britain. From Stubbs's painting it can be identified as a Cape Mountain Zebra, the smallest of the three distinct zebra types. It was brought from the Cape of Good Hope (South Africa) by Sir Thomas Adams, captain of hms Terpsichore, for presentation to Queen Charlotte, who was a keen collector of unusual animals. In Noah's-ark fashion, Adams took on board a male and a female, but only this, the female, survived the voyage, arriving in Britain in the summer of 1762. The "painted African ass" (as it was sometimes called) was installed at Buckingham House, the royal residence recently bought by the queen and her husband George III, and became the object of much public interest. "This animal," the London Magazine of July 31, 1762, reported, "from her majesty's good natured indulgence, has been seen by numbers of people, and is now feeding in a paddock near her majesty's house." As a biographer of the Queen later noted: The Queen's she-ass…was pestered with visits, and had all her hours employed from morning to night in satisfy ing the curiosity of the public. She had a centinel and guard placed at the door of her stable…The crowds that resorted to the Asinine palace were exceeding great. The zebra was the talk of the town, even the subject of a bawdy song entitled "The Queen's Ass." Later it was joined at Buckingham House by an elephant and eventually moved to the menagerie at the Tower of London. It died on April 3, 1773, after which its skin was preserved, stuffed, and displayed with other animal curiosities in a touring exhibition. By portraying the royal zebra against an obviously British rather than African landscape, presumably representing the park at Buckingham House, Stubbs underlines the idea of the scene as directly observed rather than imagined. Here is the animal just as it appeared to him and the rest of its British audience-incongruous almost to a comic degree, with its stripes acting as the opposite of camouflage. Surprisingly, he seems to have painted the work without a commission, whether from Queen Charlotte, George III, or any other interested party, and it remained in his possession throughout his life, appearing in his studio sale in 1807. Perhaps he always intended to keep the work with him, to serve as a kind of advertisement, recognizing such an entirely foreign, "virgin" subject as the ideal showpiece for his abilities as a naturalist-painter.

Malcolm Warner, This other Eden, paintings from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1998, pp. 4, 114-115, no. 42, ND1314.3 Y36 1998 (YCBA)

In a New Light: Paintings from the Yale Center for British Art (Yale University Art Gallery, 2023-03-24 - 2023-12-03) [YCBA Objects in the Exhibition] [Exhibition Description]

William Hunter and the Anatomy of the Modern Museum (Yale Center for British Art, 2019-02-14 - 2019-05-20) [YCBA Objects in the Exhibition] [Exhibition Description]

Enlightened Princesses - Caroline, Augusta, Charlotte, and the Shaping of the Modern World (Yale Center for British Art, 2017-02-02 - 2017-04-30) [YCBA Objects in the Exhibition] [Exhibition Description]

The Critique of Reason : Romantic Art, 1760–1860 (Yale University Art Gallery, 2015-03-06 - 2015-07-26) [YCBA Objects in the Exhibition]

George Stubbs (Neue Pinakothek - Bayerische Staatsgemäldesammlungen, 2012-01-26 - 2012-05-06) [YCBA Objects in the Exhibition]

An American's Passion for British Art - Paul Mellon's Legacy (Royal Academy of Arts, 2007-10-20 - 2008-01-27) [YCBA Objects in the Exhibition]

An American's Passion for British Art - Paul Mellon's Legacy (Yale Center for British Art, 2007-04-18 - 2007-07-29) [YCBA Objects in the Exhibition]

Great British Paintings from American Collections: Holbein to Hockney (The Huntington Library, Art Collections, and Botanical Gardens, 2002-02-01 - 2002-05-05) [YCBA Objects in the Exhibition] [Exhibition Description]

Great British Paintings from American Collections: Holbein to Hockney (Yale Center for British Art, 2001-09-27 - 2001-12-30) [YCBA Objects in the Exhibition] [Exhibition Description]

George Stubbs in the Collection of Paul Mellon: a Memorial Exhibition (Virginia Museum of Fine Arts, 2000-02-14 - 2000-05-15) [YCBA Objects in the Exhibition] [Exhibition Description]

George Stubbs in the Collection of Paul Mellon: a Memorial Exhibition (Yale Center for British Art, 1999-04-30 - 1999-09-05) [YCBA Objects in the Exhibition] [Exhibition Description]

This Other Eden : British Paintings from the Paul Mellon Collection at Yale (Art Gallery of South Australia, 1998-09-16 - 1998-11-15) [YCBA Objects in the Exhibition] [Exhibition Description]

This Other Eden : British Paintings from the Paul Mellon Collection at Yale (Queensland Art Gallery, 1998-07-15 - 1998-09-06) [YCBA Objects in the Exhibition] [Exhibition Description]

This Other Eden : British Paintings from the Paul Mellon Collection at Yale (Art Gallery of New South Wales, 1998-05-01 - 1998-07-05) [YCBA Objects in the Exhibition] [Exhibition Description]

Stubbs - An Exhibition in Honor of Paul Mellon (National Gallery of Art, 1985-04-11 - 1985-05-04) [YCBA Objects in the Exhibition]

George Stubbs (1724-1806) Tate Gallery (Yale Center for British Art, 1985-02-13 - 1985-04-07) [YCBA Objects in the Exhibition]

George Stubbs (1724-1806) Tate Gallery (Tate Britain, 1984-10-17 - 1985-01-06) [YCBA Objects in the Exhibition]

Noble Exercise - The Sporting Ideal in Eighteenth-Century British Art (Yale Center for British Art, 1982-07-14 - 1982-09-19) [YCBA Objects in the Exhibition]

Painting in England 1700-1850 - From The Collection of Mr. and Mrs. Paul Mellon (Yale University Art Gallery, 1965-04-15 - 1965-06-20) [YCBA Objects in the Exhibition]

A Zebra, a tigress and a cheetah : new light on Geirge Stubbs's exotic animal subjects, British Art Journal, Vol. 15, Autumn 2014, pp. 99-100, 101, 107, pl. 1, N6761 B74 OVERSIZE (YCBA) [YCBA]

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John Baskett, Paul Mellon's Legacy: a Passion for British Art: Masterpieces from the Yale Center for British Art, , Yale Center for British Art, New Haven, CT, 2007, pp. 1, 6, 252, no. 23, fig, 1, pl. 23, N5220 M552 P38 2007 OVERSIZE (YCBA) [YCBA]

John Baskett, Zebra by George Stubbs, , October 30, 2008, http://www.youtube.com/v/VVp_eX-JKRA [Website]

John Baskett, Paul Mellon's legacy : a passion for British art : masterpieces from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, p. 252, N5220.M552 P38 2007+ (YCBA) [YCBA]

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Christie's sale catalogue: Catalogue of a Valuable Collection of Sporting Pictures, Drawings, Engravings and Early English Mezzotints, the property of Walter Gibney : 25 May 1891, Christie's, Christie, Manson & Woods, London, May 25, 1891, p. 22, Lot 348, Fiche B51, Fiche # 0574 (YCBA) Also Avaialble online : Art Sales Cataalogues - Lugt # 50014 [YCBA]

Christie's sale catalogue: Catalogue of Early English portraits and Ancient and Modern Pictures and Drawings : 15 June 1923, Christie's, Christie, Manson & Woods, London, June 15, 1923, p. 14, Lot 58, Fiche B51, Fiche# 2127 (YCBA) [YCBA]

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Mark Laird, A natural history of English gardening, 1650-1800, The Paul Mellon Centre for Studies in British Art, New Haven, 2015, pp. 248, 250, pl. 222, SB457.6 .L35 2015 OVERSIZE (YCBA) [YCBA]

Dorcas Macclintock, Animals observed, a look at animals in art , Scribner, New York Toronto New York, 1993, p. 33, N7660 M25 1993 (YCBA) [YCBA]

Dorcas Macclintock, Queen Charlotte's zebra, 1992, p.5, front cover, V 0143 (YCBA) [YCBA]

Julia Marciari-Alexander, This other Eden : Paintings from the Yale Center for British Art, , Yale Center for British Art, New Haven, CT, 1998, pp. 4, 114-115, no. 42, ND1314.3 Y36 1998 (YCBA) [YCBA]

Joanna Marschner, Enlightened Princesses : Caroline, Augusta, Charlotte, and the Shaping of the Modern World, Yale University Press, New Haven, Conn, 2017, p. 481, 512, fig. 29.11, 29.50, NX543 +.E55 2017 Oversize (YCBA) [YCBA]

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Painting in England 1700-1850 from the Collection of Mr. and Mrs. Paul Mellon, The Royal Academy of Arts Winter Exhibition 1964-65., , Royal Academy of Arts, London, UK, 1964, p. 75 (v. 1), no. 267, pl. 53, N5220.M45 R69 1964 (YCBA) [YCBA]

Constance-Anne Parker, Mr. Stubbs, the Horse Painter, J. A. Allen, London, 1971, p. 88, NJ18 St915 +P37 Oversize (YCBA) [YCBA]

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Paul Mellon's Legacy : a passion for British art [large print labels], , Yale Center for British Art, New Haven, CT, 2007, v.1, no. 23, N5220 M552 P381 2007 OVERSIZE (YCBA) [YCBA]

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Sotheby's sale catalogue : Catalogue of Valuable Pictures by Old Masters of the Italian and Dutch Schools : 16 May 1928, Sotheby's, London, May 16, 1928, p. 33, Lot 130, Film B12, Reel 90 of 155 (YCBA) [YCBA]

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Basil Taylor, Stubbs, Phaidon, London, 1975, p. 209, pl. 56, NJ18 St915 T39 1975 (YCBA) + [YCBA]

Basil Taylor, Stubbs, Phaidon, London, 1971, p. 209, pl. 56, NJ18 St915 +T39 1971B (YCBA) [YCBA]

The afterlives of animals : a museum menagerie, University of Virginia Press, Charlottesville, VA, pp. 17-36, QL793 .A38X 2011 (SML) [ORBIS]

Thorvaldsens Museum, Aftenlandet, motiver og stemninger i dansk landskabsmaleri omkring êar 1800. , Thorvaldsens Museum, Copenhagen, 2011, pp. 173-75, ND1361.5 A47 2011 (YCBA) [YCBA]

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Marina Warner, The Analyst: Whether Painting Men or Horses, George Stubbs Knew What Made Them Tick, Connoisseur, v. 215,, March 1985, p. 134, N1 C75 + (YCBA) [YCBA]

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