Shelli Langdale

"My Only Grey... Please Stay" Oil Painting

Shelli Langdale's "Leaving" is an original, handmade oil painting that depicts a white horse in a green field with a red balloon hovering above its form. Artist Bio: Shelli Langdal...

Shell Langdale's (US based) "Broken Christmas" is an oil painting that depicts a white horse figurine on its side with a vivid red and green background. Currently residing in Chatta...

Shell Langdale's (US based) "Morbidity" is an oil painting that depicts a white horse figurine on its side with a vivid red horse figurine running to it in a dark interior setting. ...

Shell Langdale's (US based) "Spring" is an oil painting that depicts a white horse figurine in motion and seeming to fade with every step it takes into the pastel pink and green back...

Shelli Langdale's "Languishing" is an original, handmade oil painting that depicts a white horse fading into an abstracted quilt pattern. Artist Bio: Shelli Langdale is an oil pain...

Shelli Langdale's "Submergence" is an original, handmade oil painting that depicts a human figure reclining in long grass with a white figurine of a...

Bernard-Edouard SWEBACH (Paris 1800 – Versailles 1870) Squire training the horse of King Louis XVIII Oil on canvas H. 24.5 cm; L. 33 cm Signed and dated lower left, 1819 Origin : – Office of Mr. de Villers – Sale of June 19, 1992, Drouot, Couturier-de Nicolaÿ study, catalog No. 68 – Price excluding fees: 225,000 Francs, the equivalent of €34,300 excluding fees – Mark Brady Gallery, New York – American private collection Sometimes reduced to a simple imitator of his father Jacques-François Swebach-Desfontaines (1769-1823), Bernard-Edouard demonstrates an astonishing artistic maturity in this true little masterpiece produced at only 19 years old. Even if his name has remained quite famous among lovers of old painting, few biographical elements are known to us. Le Bénézit specifies that Bernard-Edouard entered the Beaux-Arts in Paris on February 28, 1814, but without indicating in the studio of which master; his true mentor remaining his father, both from a technical point of view and for the inspiration of the subjects treated: horses, hunting scenes, stables... When in 1815 the father was called by Tsar Alexander 1st to direct the manufacture of St. Petersburg porcelain, the son accompanies him; however, this Russian stay, which lasted until 1820, was interrupted by frequent returns to Paris, as evidenced by our painting dated 1819 and executed in France, and another (representing a battle of oriental horsemen) from the same year. Note that these two paintings are signed "Ed. Swebach", thus avoiding any confusion with the father and a sign of an already asserted artistic personality, while later works will simply be signed "Swebach", i.e. to indicate a two-handed realization. , or to maintain some ambiguity as to the author. Bernard-Edouard, while in Russia he had already enjoyed an excellent reputation since 1820, made himself known to the French public on the occasion of his first participation in the Salon in 1822; he will exhibit there, irregularly, several paintings until 1838. He also had a fairly important activity as an engraver and lithographer: for example the Disagreements of the hunt with hounds, a series of 12 plates published in Brussels in 1840, La Chasse au cerf, another series of 12 plates, a series on the Revolution of July 1830... Swebach owned a country residence in Aulnay where he regularly received friends. He ended his life in Versailles, dying at n° 84, rue Royale, in the presence of his wife Jeanne-Julie d'Astier, whom he had married in 1850. As we have mentioned, art historians or critics of the time (such as Augustin Jal) did not fail to underline the stylistic proximity to his father; yet Bernard-Edouard represents rather a mix between Carle Vernet and the English equestrian painters of the time, while his father is more a synthesis between a 17th century Dutch side (Wouwermans, Berchem…) and contemporary artists like Demarne or Taunay. In our painting there is even a romantic and somewhat fiery side that we find in works of the same period by Géricault or Horace Vernet, and which will not necessarily be present in his later creations. Our painting illustrates the young Swebach's closeness to royal power; this will be confirmed for example by the painting of the Salon of 1824, which represents a horse race where the royal prize is awarded by Louis XVIII. The subject is therefore that of a squire from the Maison du Roi mastering Louis XVIII's own horse, as indicated by the handwritten inscription on the frame, the scene probably taking place in Versailles, in view of the landscape, and not in the Parisian stables of the King, place du Carrousel. The school of Versailles, made up of the Grande and the Petite Écurie, had closed in 1810 and was reopened in 1814 by the Grand Ecuyer of France, the Vicomte d'Abzac (1744-1827). Beyond the teaching of riding to the military nobility, the Stables housed the King's war and hunting horses, which were trained and ridden there. The squire represented here is very probably the young Antoine Cartier, Viscount of Aure (1799, Toulouse – 1863, Saint-Cloud). A former student of the Prytanée de La Flèche, then a graduate of the military school of Saint-Cyr in 1815, Aure joined the King's bodyguards in Versailles in 1816, then followed an instruction course at the Grande Écurie. He was named student squire by d'Abzac in 1817. At the time of our painting, he was already Louis XVIII's cavalcadour squire, i.e. he had command (choice, training, exercise) of the stable of horses serving in the person of the King. Close to Louis XVIII, who appreciated his social ease and his salient mind, Aure gave riding lessons, among others, to Charles X, the Duke of Angoulême and the Duchess of Berry, then to the sons of Louis-Philippe. When the school of Versailles was finally closed in 1830, AurHe held positions of responsibility at the cavalry school in Saumur, at the Haras du Pin, and ended his career under Napoleon III as director of the Emperor's stables, then as Inspector General of the stud farms in 1861. The trainer in our painting may correspond to the physical description of Aure given by André Montheilet: "... tall, well made, elegantly built, expressive face, mobile, almond-shaped eyes, charming a tad mocking lips very delicate, nose a bit strong…”. The confrontation between the man and the irritable stallion does not prevent the squire from displaying his mastery of the situation, a mixture of authority and tact towards the animal. As for King Louis XVIII, it is not certain that in 1819 he could still ride on horseback because of his very overweight and poor health; he had however succeeded in 1818 in organizing a court hunt (the only one of his reign) in the forest of Rambouillet. It is even said that from 1815, from his Parisian palace in the Tuileries, he no longer traveled beyond Saint-Cloud. We may have a doubt about the identity of the first owner of this painting, mentioned on the back of the canvas as belonging to the "Cabinet of M. de Villers". The first hypothesis, the most attractive and altogether quite coherent, would go to the collection of the architect Michel Jean Maximilien Villers born in Saint-Martin du Parc in the Eure, a pupil of Percier, who married in 1794 Marie-Denise Lemoine (1774-1821), female painter like her sister Marie-Victoire and her cousin Elisabeth Gabiou (future Chaudet). The element of doubt concerns the absence of a particle in all the written sources concerning him. However, Maximilien Villers was a well-known collector, whose dealer Lebrun organized a sale in 1812: alongside works by old masters, there were paintings by Gauffier, Bidauld, Thibault, Carle Vernet, Demarne, and his wife. . Moreover, Villers was close to royalist circles. He thus worked for the Duchess of Angoulême: restoration of the gardens of the castle of Villeneuve-l'Etang in Marnes la Coquette...

Racing at Punchestown has been taking place for nearly 200 years, with the first meeting said to have taken place there in 1824. When the Kildare Hunt Club took over in 1850 they set out to erect a grandstand, which was completed in time for the first two-day meeting held in 1854. By the mid 1860s, when fences and hurdles were first introduced, attendance is said to have been upwards of 40,000. Amongst the masses in 1868 was the then Prince of Wales, Albert Edward. The feature race, the Prince of Wales Plate, was established that same year in honor of the Royal visit. Other featured races during that era included the Kildare Hunt Cup...

Strathspey was a horse foaled in 1878, a son of the great sire Glenelg. His grandsire was none other than the greatest American sire of the 19th century, the mighty Lexington. In 188...

When William Scott purchased French-bred champion Rayon d'Or as a stallion prospect in 1882, the $40,000 price tag seemed exorbitant. By the end of the decade, Rayon d'Or had sired three of the most notable racers of the 1880s in Banquet, Tenny, and Chaos. Scott's Algeria Stock Farm recouped the entire $40,000 investment made in Rayon d'Or when Chaos took the Futurity Stakes of 1889. The Futurity Stakes' inaugural running in 1888 was the richest race ever run on American soil, boasting a purse of $40,900. The $54,000 purse offered for the second running of the Futurity Stakes was won by Chaos and singlehandedly covered Rayon d'Or's purchase price. William Lawrence Scott was a United States congressman who also sat on the board of the Coney Island Jockey Club. Henry Stull is generally thought of as one of two major nineteenth-century painters of thoroughbred racehorses in America. The other is Edward Troye. While Henry Stull initially wanted to be an actor, his life and art ultimately revolved around racehorses, especially at Coney Island, New York. To make this point, it has been said he was born above a stable in Hamilton, Ontario, Canada in 1851, but this may be an item helpful to making his life story seem even more predestined. However, he did have close exposure as a child to horses because his father was the driver of a horse-drawn hack. Stull could have succeeded him, but instead went to New York City in 1873, hoping to be an actor. However, he failed, and in order to make money, took a job with an insurance company, "but the racetracks and considerable innate artistic talent liberated him." (Peluso, 18B) Hoping to become an illustrator, Stull did a portfolio of sketches that he submitted to Frank Leslie, owner and editor of Leslie's Weekly. Leslie hired him to do caricatures, cartoons and lampoons, a job he held for three years. Meanwhile, he attended horse races, and while watching one at Jerome Park in the Bronx, he sketched "Fiddlesticks", a horse owned by August Belmont. Copying the sketch to more high-quality paper, he submitted it to the editor of Sporting New Yorker, who published it. Belmont then saw the image of his horse, and used his influence to get Stull an illustration job with Spirit of the Times, a horse and sporting magazine, which in turn, attracted the attention of the editor of Harper's Weekly. With the title Race Horse Portraits at Monmouth Park, Stull's horse paintings were first published in Harper's on August 18, 1883. Meanwhile, he began the study of horse anatomy...

John Rattenbury Skeaping. English ( b.1901 - d.1980 ). Harness Racing, Arles, France, 1960. Gouache and Watercolour. Signed and dated. Image size 15.2 inches x 23.8 inches ( 38.5cm ...

John Rattenbury Skeaping. English ( b.1901 - d.1980 ). Guardian, Cowboy and Horseman of the Camargue,1970. Pastel on Paper. Signed and dated. Paper size 15.2 inches x 20.9 inches (...

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