Thomas Butler (British fl. 1750-1759) and studio, Bucephulus a Hunter of Sir John Frederick’s Baronet. Taken from the Life at Hampton 1756; Syphax a Horse of Sir John Frederick’s Baronet, Taken from the life at His seat in Hampton 1756 (2)

Thomas Butler (British fl. 1750-1759) and studio
Bucephulus a Hunter of Sir John Frederick's Baronet. Taken from the Life at Hampton 1756; Syphax a Horse of Sir John Frederick's Baronet, Taken from the life at His seat in Hampton 1756
Oil on canvas, a pair
Each signed, titled and and inscribed Thos Butler, Pall Mall, London along the lower edge
Each 62 x 74cm (24¼ x 29 in.) (2)

Painted at Thomas Butler, Pall Mall, London, 1756.

Thomas Butler was a reputable businessman who owned a shop in Pall Mall selling prints and books. He stated in his advertisements that he and his assistants would paint, 'Horses, dogs, living and dead game, views of hunting, etc., in order to compose sporting pieces for curious furniture in a more elegant and newer taste than has been yet'. It is not known how many of the paintings were painted solely by Butler as he worked closely with his studio and assistants. It is believed that Thomas Spencer (1700-1763) possible pupil of James Seymour, worked for Butler as one of his assistants. Between 1751 and 1755 Thomas Butler published a number of Spencer's works.

Thomas Butler is known to have painted a view of Sir John Frederick's stable of hunters in 1756. The work came up for sale at auction on 10th July 1990 at Phillips London, Lot 73.

Condition Report:
Bucephulus: Relined. Light surface dirt and craquelure throughout and a few spots of isolated cupping to the sky but this is not particularly noticeable. Small pinhole to the lower left corner and a very small spot of flaking 1.5mm to the horse's back leg and again lower down to the opposite back leg. There is also a very small area of loss to the sky above the back of the horse. Some light rubbing to the framing edges. Inspection under UV reveals scattered retouching throughout. Syphax: Relined. Light surface dirt and craquelure throughout. Rubbing to the framing edges. Some fading to the inscription and the lower edge. Stretcher marks partially visible. Inspection under UV reveals scattered retouching throughout.