Francis Sartorius the Elder stands as a significant figure in the rich tapestry of British sporting art. Active during the latter half of the 18th century, he carved a niche for himself and his family dynasty through his dedicated portrayal of equestrian life, capturing the vigour and elegance of horses, the thrill of the race, and the traditions of the hunt. His work provides a valuable window into the pastimes and passions of the British gentry during a period when such pursuits were central to social life.
As an artist emerging from a lineage already steeped in artistic practice, Sartorius the Elder built upon familial foundations while developing his own distinct, albeit sometimes considered straightforward, style. His contributions endure not only through his canvases but also through the continuation of the Sartorius name in the annals of sporting art via his descendants. Understanding his life and work requires placing him within the context of his family and the burgeoning genre he specialized in.
Early Life and Artistic Heritage
Francis Sartorius was born in 1734, reportedly in the city of Nuremberg, then part of the Holy Roman Empire. He hailed from a family with established artistic roots. His father, John Sartorius (c. 1695/1700 – c. 1780), was also a painter, specializing in animal subjects, particularly horses and dogs. This familial predisposition towards art, specifically the depiction of animals, undoubtedly shaped Francis's own artistic path from an early age. He represented the fourth generation of painters within the Sartorius family, a remarkable continuity of artistic endeavour focused primarily on the sporting life that was so integral to British aristocratic and country society.
The Sartorius family's engagement with sporting art placed them firmly within a developing tradition in Britain. While Francis was born on the continent, his career would become intrinsically linked with the British art scene. The move to England, likely following his father, immersed him in a culture where horse racing, hunting, and animal portraiture were gaining unprecedented popularity among patrons. This environment provided fertile ground for an artist with his skills and thematic interests.
A Career Focused on Sporting Life
Francis Sartorius the Elder dedicated his professional life to painting, establishing himself as a prominent sporting artist in England. His primary subjects were horses, reflecting the national obsession with thoroughbreds, racing, and hunting. He became particularly renowned for his horse portraits, capturing the likeness and spirit of celebrated racehorses and cherished hunters for their wealthy owners. These commissions often came from the highest echelons of society, who wished to immortalize their prized animals.
His oeuvre extended beyond simple portraiture to encompass dynamic scenes of the hunt and the racecourse. These compositions allowed him to depict animals in motion, showcasing his ability to render the energy and anatomy of horses and hounds. Works depicting hunting often included detailed landscapes and figures of riders, providing a comprehensive view of the popular aristocratic pastime. Similarly, his racing scenes captured the excitement and spectacle of the turf, featuring jockeys in colourful silks astride powerful thoroughbreds.
One notable patron mentioned in connection with Sartorius was the Duke of Grafton, for whom he painted the racehorse "Antinous." Such patronage was crucial for artists of the period, providing financial stability and enhancing their reputation. Sartorius's ability to secure commissions from figures like the Duke speaks to the quality and appeal of his work within the circles that mattered most for sporting art. He successfully navigated the art market of his time, catering to a specific but enthusiastic clientele.
Signature Works: Antinous and Hylas
Among Francis Sartorius the Elder's most recognized works are his portraits of celebrated racehorses. While specific details about the painting of Antinous for the Duke of Grafton are scarce in the provided information, its mention highlights his connection to prominent patrons and famous horses of the era. Such portraits were more than mere likenesses; they were status symbols for their owners and testaments to the prowess of the depicted animals.
A more detailed account exists for his painting Hylas. This work, executed in oil on canvas around 1775, portrays the chestnut racehorse Hylas with a jockey up. The painting commemorates Hylas's victory in the King's Plate, a prestigious race worth 100 guineas, held at Burford. Measuring approximately 62 by 75 centimetres, the work is a characteristic example of Sartorius's equine portraiture, likely commissioned by the horse's owner to celebrate this significant win.
Intriguingly, the background of the Hylas painting reportedly includes a smaller depiction of the race finish itself, adding a narrative layer to the portrait. This detail provides context for the horse's fame and offers a glimpse into the conventions of sporting art, where commemorating specific victories was a common practice. The painting's provenance and its sale at a Cheffins auction in 2022 for £3,600 attest to the enduring interest in Sartorius's work and the historical significance of the subjects he depicted.
Other Notable Paintings
Beyond the celebrated racehorse portraits, Francis Sartorius the Elder produced a variety of works within the sporting genre. His painting Two Carriages Horses in a Stable, now held in the collection of The National Trust in Britain, showcases his ability to depict horses in a more tranquil, domestic setting. This work likely focuses on the form and character of the horses, perhaps emphasizing their strength and conditioning even at rest. Its presence in a major public collection highlights the recognition of Sartorius's contribution to British art.
Another work mentioned is Fully Cry, which has appeared at the prestigious auction house Sotheby's. The title suggests a hunting scene, likely capturing the moment when the hounds are in full pursuit of their quarry. Such paintings were popular for their dynamic action and evocation of the sounds and excitement of the chase. The appearance of his works at major auction houses like Sotheby's and Cheffins underscores their continued market value and appeal to collectors of sporting art.
While specific details of many other works may be lost or less documented, the general themes remained consistent: portraits of horses and hounds, bustling hunting scenes, and depictions of race meetings. His output was considerable, catering to the demand for such imagery throughout his long career. Each piece, whether a grand racing scene or a simple study of a hound, contributed to the visual record of British sporting life in the 18th century.
Artistic Style and Technique
Francis Sartorius the Elder worked primarily in a realistic style, aiming for accurate representations of the animals and scenes he depicted. His paintings are often characterized by careful attention to the anatomy and conformation of horses, a crucial element for patrons who were knowledgeable breeders and owners. He captured the sleek coats, muscular builds, and distinct markings of individual animals, giving his portraits a sense of specificity.
His depiction of movement, particularly in racing and hunting scenes, was vital. While perhaps not possessing the revolutionary anatomical insight of his contemporary George Stubbs, Sartorius conveyed the energy and dynamism of horses in motion effectively according to the conventions of his time. His compositions often feature clear, bright lighting and a focus on narrative detail, making the scenes accessible and engaging for the viewer.
Some assessments of his style describe it as occasionally "old-fashioned" or possessing a "slightly naive" quality, particularly when compared to the more sophisticated techniques of leading portraitists or landscape painters of the era like Sir Joshua Reynolds or Thomas Gainsborough. However, this straightforwardness can also be seen as a strength, lending his work an honest charm and directness suited to its subject matter. His style was well-aligned with the expectations of his patrons, who valued accurate documentation of their sporting world. He also exhibited works, likely at venues such as the Society of Artists or the Free Society of Artists, and potentially the Royal Academy of Arts, placing his work within the mainstream exhibition culture of London.
The Sartorius Artistic Dynasty
Francis Sartorius the Elder was not an isolated figure but part of a notable artistic family that specialized in sporting subjects for several generations. His father, John Sartorius, established the family's presence in England as an animal painter. Francis carried this tradition forward, achieving considerable success and recognition in his own right. The artistic mantle was then passed down to his son, John Nott Sartorius (1759–1828), who became arguably the most prolific and well-known painter of the dynasty.
John Nott Sartorius continued to paint horses, hunting scenes, and racing subjects, closely following his father's thematic concerns but developing his own nuances in style. The similarity in subject matter and sometimes style between the Sartorius painters, coupled with the fact that they often signed their works simply "Sartorius," can create challenges for art historians in definitively attributing specific paintings to individual family members. John Nott's son, John Francis Sartorius, also continued the family tradition, sometimes signing as "J. F. Sartorius" or even, reportedly, using "J. N. Sartorius junior" to distinguish himself, indicating an awareness within the family of potential confusion.
This continuation of a specific artistic specialization across generations is remarkable. The Sartorius family collectively created a vast body of work documenting British sporting life from the early 18th century well into the 19th century. Francis the Elder played a crucial role in this legacy, bridging the work of his father and mentoring his successful son, ensuring the family name remained synonymous with sporting art.
Context: British Sporting Art in the 18th Century
Francis Sartorius the Elder worked during a period often considered the golden age of British sporting art. The 18th century saw a surge in the popularity of horse racing, fox hunting, and shooting, particularly among the landed gentry and aristocracy. This created a strong market for artists who could skillfully depict these activities and the prized animals involved. Sartorius was part of a cohort of painters who catered to this demand, documenting a way of life that was central to British identity and social hierarchy.
Several key artists were active before or during Sartorius's time, shaping the genre. Early pioneers like John Wootton (c. 1682–1764) and James Seymour (1702–1752) laid the groundwork, establishing conventions for depicting racehorses and hunting scenes. Peter Tillemans (1684–1734), though Flemish-born, also made significant contributions to sporting and topographical subjects in England early in the century. These artists helped elevate sporting subjects from mere craft to a recognized branch of fine art.
The towering figure among Sartorius's contemporaries in animal painting was undoubtedly George Stubbs (1724–1806). Stubbs brought an unprecedented level of anatomical accuracy and artistic refinement to the depiction of horses, based on his rigorous studies. While Sartorius's work may not have reached Stubbs's scientific depth or artistic sophistication, he operated successfully in the same market, offering patrons reliable and pleasing representations. Other notable contemporaries included Sawrey Gilpin (1733–1807), known for his spirited animal paintings, often with dramatic or romantic elements.
The broader British art scene during Sartorius's lifetime was vibrant, dominated by figures like Sir Joshua Reynolds (1723–1792), the first president of the Royal Academy, and Thomas Gainsborough (1727–1788), masters of portraiture and landscape respectively. While their primary concerns differed from Sartorius's, their careers illustrate the flourishing artistic environment in which he worked. Landscape painting was also evolving, with artists like Richard Wilson (1714–1782) pioneering classical landscapes. The diversity of the era is further shown by Joseph Wright of Derby (1734–1797), known for his dramatic scenes of science and industry. Sartorius's specialization placed him within a specific, yet vital, niche of this dynamic period.
Later artists like Benjamin Marshall (1768–1835) continued to develop the genre of sporting art into the early 19th century, often bringing a greater sense of realism and immediacy. The tradition was carried further by painters such as John Frederick Herring Sr. (1795–1865), Henry Alken (1785–1851), and James Pollard (1792–1867), who documented the coaching era and the continued passion for racing and hunting. Francis Sartorius the Elder's work forms an important link in this chain, representing the solidifying of sporting art as a respected genre in the mid-to-late 18th century.
Exhibitions, Collections, and Legacy
Evidence suggests Francis Sartorius the Elder's work was recognized during his lifetime and continues to be valued. His paintings were likely exhibited at the public art exhibitions that became increasingly common in London during the 18th century, providing visibility and attracting patrons. While the provided text doesn't explicitly confirm Royal Academy exhibitions for him specifically, it was a common venue for successful artists of his time.
Today, his works are found in both public and private collections. The presence of Two Carriages Horses in a Stable in The National Trust collection ensures its accessibility to the public and affirms its historical importance. The regular appearance of his paintings at major auction houses like Sotheby's and Cheffins demonstrates a continued market interest among collectors of British art and sporting history. These sales, such as that of Hylas, provide benchmarks for his value and keep his name circulating in the art world.
His primary legacy lies in his contribution to the genre of sporting art and his role within the Sartorius family dynasty. He produced a substantial body of work that faithfully recorded the equestrian culture of his time. His influence is most directly seen in the work of his son, John Nott Sartorius, who built upon his father's success. While perhaps not an innovator on the scale of Stubbs, Francis Sartorius the Elder was a skilled and reliable practitioner whose paintings offer valuable insights into 18th-century British society and its passions.
Conclusion
Francis Sartorius the Elder occupies a respected place in the history of British sporting art. Born into an artistic family, he embraced the family specialization, becoming a sought-after painter of horses, hounds, and the pursuits of hunting and racing. His career spanned a significant period of development for the genre, and his works, characterized by their detail and earnest representation, captured the essence of British country and sporting life in the Georgian era. Through works like Hylas and commissions from notable patrons, he documented the prized animals and pastimes of the aristocracy. As a key figure in the Sartorius dynasty and a contributor to the broader narrative of British art, his paintings continue to be appreciated for their historical significance and artistic merit.
