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拍品专文
This impressively large stallion dwarfs his groom, who stands somewhat uneasily. Jemmy Jumps was undoubtedly at home on the racetrack as he is shod, which is not the case on the smaller stallion in the preceding lot. The white marks on the back and chest are perhaps scarring (which turns hair white on horses) from the racing saddle and girth. Similar marks can be seen on a bay racehorse painted by Shaykh Muhammad Amir sold at Sotheby's London, 27 October 2021, lot 6.
At the time the painting was acquired it was noted that the backboard of a previous frame, unfortunately no longer extant, was inscribed with information regarding the provenance and noting that “Alexander Hodges served in the 29th regiment of Native Infantry in Bengal, as lieutenant (1825-1834) and as captain (1835-1841).” The popularity of racehorse portraiture as a genre in Britain and by extension British Calcutta increased throughout the 18th century and the Calcutta Maidan racetrack was one of the city's most popular attractions (Harris 2019, p. 123).
The significance of horses to the likes of Captain Hodges went beyond simply leisure and were of practical military and official concern. Much as the Mughal emperors used hunting expeditions to ready an army for battle, a cavalryman could hone their technique and command of a stallion on the racetrack. The East India Company deemed Asiatic horses too small for their purposes and required thoroughbred stallions to be sent from England. For this purpose as stud farm in Essex was established between 1802-07 from which stallions, mares, colts and fillies were sent to India. A stud farm in Bengal was subsequently established in 1807 (Green 2025). On the aforementioned lost backboard Jemmy Jumps is identified as an Arab horse but is closer to an English thoroughbred in size and appearance. Although it is possible that Captain Hodges sent Jemmy Jumps to India from England, it could be that the stallion came from the Company stud in Bengal and is of the same stock that was originally bred in Essex.
At the time the painting was acquired it was noted that the backboard of a previous frame, unfortunately no longer extant, was inscribed with information regarding the provenance and noting that “Alexander Hodges served in the 29th regiment of Native Infantry in Bengal, as lieutenant (1825-1834) and as captain (1835-1841).” The popularity of racehorse portraiture as a genre in Britain and by extension British Calcutta increased throughout the 18th century and the Calcutta Maidan racetrack was one of the city's most popular attractions (Harris 2019, p. 123).
The significance of horses to the likes of Captain Hodges went beyond simply leisure and were of practical military and official concern. Much as the Mughal emperors used hunting expeditions to ready an army for battle, a cavalryman could hone their technique and command of a stallion on the racetrack. The East India Company deemed Asiatic horses too small for their purposes and required thoroughbred stallions to be sent from England. For this purpose as stud farm in Essex was established between 1802-07 from which stallions, mares, colts and fillies were sent to India. A stud farm in Bengal was subsequently established in 1807 (Green 2025). On the aforementioned lost backboard Jemmy Jumps is identified as an Arab horse but is closer to an English thoroughbred in size and appearance. Although it is possible that Captain Hodges sent Jemmy Jumps to India from England, it could be that the stallion came from the Company stud in Bengal and is of the same stock that was originally bred in Essex.