Mare, chestnut, with foal
Reproduction
Object numberRCSSC/P 283
Scientific nameEquus caballus
CollectionSpecial collections
CategoryVisual works
Object nameAnimal subjects (visual works), Oil paintings
TitleMare, chestnut, with foal
DescriptionPainting of a chestnut arab mare with foal, by Jacques Laurent Agasse, unsigned, 1821.
The mare stands almost profile to left, nuzzling the back of its foal which stands three-quarters to the right side from the front, under the neck of the mare. In landscape.
This animal was part of an experiment carried out by Lord Morton that aimed to demonstrate the principles of telegony. This is the idea, now discredited but widely believed until the late 19th century, that offspring can inherit the characteristics of a previous mate of the female parent. In 1815 Morton bred an seven-eighths Arabian mare with a quagga sire, producing a hybrid female foal. The mare was subsequently sold or given to Sir Gore Ouseley, and was bred with a black Arabian stallion. This produced two foals - a filly and a colt - both of which had, according to Morton, a 'striking resemblance' to the quagga. The mare and the female foal are shown in this painting. He reported his observations in a paper to the Royal Society in November 1820, and William Hyde Wollaston submitted a postscript to the published version to confirm that he too had seen the filly and colt and could confirm their quagga-like appearence.
Production date 1821
commissioned
Related objectsRCSSC/P 278RCSSC/P 279RCSSC/P 280RCSSC/P 281RCSSC/P 282
Physical Location
LocationNot on public display: contact museum for access conditions
Physical Information
Physical descriptionOil on canvas, 48cm by 58cm. In gilt wooden frame, glazed, 62cm by 72cm.
54MARE (CHESTNUT) WITH FOAL
Bibliography
SourceLe Fanu 1960
91
NotesLe Fanu described Morton as the 15th Earl: in fact he was the 16th.
TranscriptLord Morton's Experiments
Telegony: can the womb be influenced by its past progeny?
Six paintings: Oil on canvas, unsigned. Each 48 x 58cm. Painted from the living animals for the College in 1821 by Jacques-Laurent Agasse, who was paid 60 guineas on 19 September and 12 guineas on 26 December 1821. George, 15th Earl of Morton F R S mated a male quagga with an Arab mare, and their progeny had "some of the marks and colour of both parents." The mare was subsequently mated with an Arab stallion, and three successive foals showed markings which appeared to be like those of the quagga. See Philosophical Transactions 1821, 111, 20-22: 'A communication of a singular fact in Natural History.'
Keith commented in his list of these pictures: 'The stripes and black band along the back may be due not to quagga influence, but to a reappearance of atavistic characters derived through sire or dam.' [...]
283. The Arab mare with her third foal by the Arab stallion The whole animals; the mare shown profile to the left, the foal three-quarter view of the right side from the front, standing under the neck of its dam, in a landscape. Clift 1820 # 48; Keith # 54. Clift notes: "Some of the marks are already very apparent; and will probably become much more distinct as the foal's coat becomes smoother, as was the case in [the other two foals]. So said Sir Gore Ouseley at the time I saw the Animals at his seat in Hertfordshire, in company with Sir Everard Home about fourteen or sixteen Miles from London; of the Distance or direction I was no great Judge inside of a Chariot. I can however recollect that I made my Sketch before Dinner, and that the Animals appeared to me much more distinctly and strongly marked than Mr Agasse thought himself warranted in doing in the pictures.
"Sir Gore Ouseley showed us his beautiful Turning-Lathe, with concentric Chucks; and various specimens of Ink-stands, and Snuff-Boxes, of his own Manufacture:- and gave us some delicious Shiraz Wine which pleased Sir Everard (and perhaps myself), more than the Turnery, and made him poetical: 'Wine of Shiraz that gives .....' (I have the lines somewhere). W.C."
SourceKeith 1908
NotesThe following entries relating to the quagga paintings are recorded in Arthur Keith's abstract of the minutes of the Board of Curators:
November 1821: Paid Mr Agasse £12.12 to prepare drawings of Lord Morton's hybrid experiments.
June 1873: Agasse's oil drawing of Lord Morton's Mare is restored, cost of repairs £10.
June 1905: Lord Morton's pictures again restored by Kemp, Modeller, paid £10.7.6.
SourceClift MS. diary
NotesThe following extracts from William Clift's diary relate to the commissioning of the paintings in this series.
Transcript1821
8th July. Mr Agasse brought home the last of the 5 paintings of the Quagga Family.
20th July. From Sir Everard Home. Received a small drawing of the Mule animal produced between the Quagga and Lord Morton's Mare. Sent by Lord Morton to Sir Everard Home. The drawing was made from the Animal in Scotland. To form part of the Series, if Mr Agasse will undertake to paint a picture from the Drawing. Had it away for that purpose on the 26th September 1821. Returned it and the Picture, Monday October 8th 1821. 1059
11th September. Mr Agasse took away & varnished, and returned the 5 pictures of the Quagga Family, this day.
24th September. Paid Mr Agasse for the 5 pictures of the Quagga family. WC. £63.0.0.
8th October. Received the 6th Picture of the Series of the Quagga family from Mr Agasse.
22nd October. Mr Agasse sent home the 8th [of October] the Picture of the Mule Quagga.
10th December. Mr Agasse brought back the Painting of the Mule of the Quagga (and the drawing) quite finished.
1822
26th February. Hanging the Six Pictures of the Quagga family. Six yards of red cord 1/3. Screws for hastenings to ditto 1/6, Brass ring plates for ditto 1/4.
11th March. Bd of Curators. Reported that Mr Callahan's men had put up a Brass rod for the Pictures of the Quagga family.
