Name: Early 19th Century Oil Painting of Race Horse with standing Jockey
Brand: Abraham Cooper
Rating: 5 (7 reviews)

Early 19th Century Oil Painting of Race Horse with standing Jockey

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About the Item

Abraham COOPER RA (1787-1868) Racehorse with Standing Jockey c. 1830 Oil on canvas Framed 15 ¾ x 19 ¼ inches Cooper “must be admitted to the first rank of animal painters of his age”, according to J.C. Wood in his ‘Dictionary of British Animal Painters. The son of a tobacconist, Cooper was born in Greenwich, London. At the age of thirteen he became an employee at Astley's Amphitheatre, and was afterwards a groom in the service of Henry Meux, a brewer and later the first of the Meux baronets. When he was twenty-two, wishing to possess a portrait of a favourite horse under his care, Cooper bought a manual of painting, learned something of the use of oil-colours, and painted the picture on a canvas hung against the stable wall. His master bought it and encouraged him to continue in his efforts. He accordingly began to copy prints of horses, and was introduced to Benjamin Marshall, the animal painter, who took him into his studio, and seems to have introduced him to the Sporting Magazine, an illustrated periodical to which he was himself a contributor. Cooper worked mainly in oil and sometimes in watercolour and normally signed in monogram. The influence of Benjamin Marshall is particularly apparent in his racehorse portraits which are of very good quality and the subjects of the picture are always placed in well-painted landscape settings and these landscapes were soft and atmospheric which skilfully contrasted with the figurative and equine subjects of his work. He became greatly in demand to portray the winners of the Classic races. One of his most esteemed works is the portrait of “Adonis”, George III’s favourite Arab charger and many consider it the equal to James Ward’s dramatic portrayal of the same subject. In 1813 Cooper painted his first picture for the Duke of Portland who was to become one of his major patrons and over the course of his career, Cooper’s paintings commanded the highest patronage, including the Prince Regent, Queen Adelaide and Queen Victoria, and high prices for his scenes of combat, mostly involving horses. Cooper first exhibited at the Royal Academy in 1812 and his first painting exhibited at the British Institute: “The Battle of Waterloo” in 1816, was purchased by the Duke of Marlborough. In 1817 he won a prize of £150 at the Royal Academy for a painting of a battle scene and this encouraged him to paint a battle scene virtually every year for the rest of his life. In the Dictionary of Victorian Painters, Christopher Wood writes: ‘As a painter of battle-pieces he stands pre-eminent – holding an analogous position to Peter Hess in Germany and Horace Vernet in France’. He was elected an Associate Member of the Royal Academy in 1817 for his “The Battle of Marston Moor” and became a full member in 1820. He had several pupils of which the most renowned were J F Herring Snr and William Barraud and his influence and style is apparent in some of their works, most particularly in Herring’s. Cooper married Mrs Francis D’Ebro and they had two sons, one of whom, Alexander also became a painter of landscapes, figures and historical subjects. Cooper exhibited 74 times at the British Institute and 332 at the Royal Academy. including such titles as: “A Grey Horse at a Stable Door”, “Launcelot, the winner of the great St Leger, 1840”, “Returning from Deer Stalking”, “An Arabian, the property of Sir Philip Lee”, “Shooters on the Moors”, “Mocking Bird, a celebrated Greyhound, the property of a gentleman”, “My own Grey”, “Wellington’s First Great Victory - The Battler of Assye”, “The Death of Harold at the Battle of Hastings” and “Grouse Shooting”. Many of his works were engraved. He died at Woodbine Cottage Greenwich on Christmas Eve 1868 and his obituary, published in ‘The Sporting Life’ states that he was: “…a guileless, pleasant gentleman and a thorough sportsman who rode well to hounds, was a good shot and a clever fly fisherman”. Coopers works are held in The Tate Britain, Victoria & Albert Museum, Museum of London, Ashmoloean, Government Art Collection, Royal Academy, Harris Museum and Art Gallery, the Captain Christie Crawford English Civil War Collection, Cromwell Museum, British Sporting Art Trust, Cheltenham Art Gallery and Museum, University of Dundee, The Chequers Trust, English Heritage (Brodsworth Hall), National Trust (Stourhead, Baddesley Clinton, Anglesey Abbey) and the Paul Mellon Collection at the Yale Center for British Art. The British Museum has a folio volume which contains many engravings after Cooper.

Creator:
Abraham Cooper (1787-1868, British)
Creation Year:
c.1830
Dimensions:
Height: 15.75 in (40.01 cm)Width: 19.25 in (48.9 cm)
Medium:
Oil
Period:
1830-1839
Condition:
Gallery Location:
London, GB
Reference Number:
1stDibs: LU67334183501

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