Horse Figurative Paintings

This work is offered by CLAMP in New York City.

Oil painting“hunting scene with dogs and horse” attr. to Alfred De Dreux 19th Oil on canvas, restored and cleaned in good condition. Very nice painting for hunting scene art...

Signed and dated figures in cityscape oil on panel by French impressionist painter Amedee Marcel-Clement. The work depicts a view of the Pont Neuf bridge that runs over the River Sei...

This early 20th-century portrait of a Polo Pony by the esteemed English artist George Paice is an exquisite representation of equine artistry, showcasing Paice’s remarkable skill in ...

Title: Mid-Century French Pastel Drawing of Four Horses Grazing in a Meadow Landscape by Anne Marie Migette Perard (French 1902-1977) Signed: Yes Medium: Pastel on unframed paper stu...

Title: Le bruit des sabots Technique: oil on canvas Date: 2019 Size: 54 x 81 cm 490 euros

Signed oil on canvas by Spanish post impressionist painter Emilio Grau Sala. The work depicts beachgoers in Deauville, France taking the last of the sun as it disappears beyond the horizon. The pale yellow light reflects on the sea, illuminating the water. Two horse riders gallop across the sand. The piece is painted in beautiful shades. Signature: Signed lower right and further signed and titled verso Dimensions: Framed: 27"x36" Unframed: 20"x29" Provenance: Private Collection - France Emilio Grau Sala studied at the fine arts school in Barcelona, where he became friends with Antoni Clavé. While still very young he began exhibiting at the Humourists Exhibition. In Paris he exhibited at the major annual Salons. He also exhibited at many international group exhibitions and in 1937 received an important award at the Carnegie Foundation International Exhibition in Pittsburgh. He showed collections of his work in many solo exhibitions starting in Barcelona in 1929 and 1930. His first solo exhibition in Paris was in 1937 and he went on to exhibit in Madrid, London, Buenos Aires and New York. After three trips to Paris he finally settled there in 1936. In Paris he was influenced by the paintings of Marcel Gromaire and especially Julius Pascin. He created theatrical sets and costumes for several plays including The Woman of Easy Virtue ( La Demoiselle de Petite Vertu) by Marcel Achard. He also illustrated many literary works including Madame Bovary by Flaubert, Bel-Ami by Maupassant, Colette's series of four Claudine novels, Marcel Proust's In Search of Lost Time ( À la Recherche du Temps Perdu), and works by poets including Baudelaire's Les Fleurs du Mal...

ARTIST: MAREK OKRASSA. Born in 1975, he studied painting in the studio of professor M. Swieszewski and drawing in the studio of Maria Targonska. Okrassa was twice awarded a grant fro...

Frank Tenney Johnson 1874–1939 American The Lawless Frontier Signed, lower left: F Tenney Johnson A.N.A 1930 Oil on canvas Frank Tenney Johnson’s The Lawless Frontier exemplifies...

This painting depicts an elegant horse with a focus on its head and neck. The horse has a smooth, glossy brown coat that contrasts beautifully with the warm golden background. Its po...

NYC EL American Scene Social Realism Mid 20th Century Modern WPA Era Figurative Cecil Bell (1906 – 1970) Street Life Under the EL 22 x 30 inches Oil on canvas, c. 1930s Signed upper...

Pierre Louis De La Rive (1753 Geneva - 1817 Geneva). Two countrywomen with a donkey. Oil on canvas, mounted, 27 x 20 cm (visible size), 37 x 31 (frame), monogrammed "P.R." at lower right. About the artwork De La Rive has taken the typical scenes of Dutch landscape genre paintings...

Large American Orientalist oil painting of a courtyard by F. A. Bridgman American, c. 1900 Canvas: Height 69cm, width 91cm Frame: Height 95cm, width 108cm, depth 8.5cm Wonderfully p...

PLEASE NOTE: The frame will be shipped separately with the second package to reduce DHL's shipping costs. The fires that began in Moscow late on the eve of September 15 (3), 1812, c...

The pronounced technique is the first thing that strikes you when viewing the works of Jan Grotenbreg (1946). It is innovative and unique. The result of...

This early 20th-century portrait of a Polo Pony by the esteemed English artist George Paice is an exquisite representation of equine artistry, showcasing Paice’s remarkable skill in ...

This large figurative oil painting is a reinterpretation of a painting by Rembrandt, Portrait of Frederick Rihel on horseback, 1663. A unique oil painting on the finest quality Belgi...

Morgan Cameron’s (US based) “Carousel” is an oil painting on panel that depicts a white carousel horse with bridle and saddle with gilded gold accents. This painting is framed and ...

"Christmas Morn" Sleigh in the Snow after W.C Bauer, London Oil on Linen 1937 Christmas Morning and a sleigh ride by Mrs. J.B. Anthony (American, 19th-20th C.)...

Orientalist Scene European artist, late 20th century possibly a copy of an earlier work judging from the style oil on canvas, unframed canvas : 24 x 20 inches provenance: private col...

Large German Orientalist oil painting of horse riders by Schreyer German, Late 19th Century Canvas: Height 59cm, width 96cm Frame: Height 85cm, width 122cm, depth 8cm This outstandi...

Artist/ School: Norman A.Olley, inscribed verso Title - October Manor Farm Surrey Medium: gouache/watercolour/ ink/ pencil on thin board, unframed Paint...

The pronounced technique is the first thing that strikes you when viewing the works of Jan Grotenbreg (1946). It is innovative and unique. The result of his idiosyncratic working method can be compared to Roman and Medieval murals, the so-called fresco in which people paint directly in wet lime. At the time, fresco technique was a decorative art form in Europe. However, it is not the decorative element that inspires and interests Jan, but the weathered appearance of the surviving fresco paintings. That is what he wanted to see in his own work. In 2000 he started experimenting with cement on linen. This technique is so special, because cement is a building material and does not stick to canvas. After many attempts, Grotenbreg has found a solution to this problem with modern binders. An impressive series of animal studies followed. Jan Grotenbreg only paints animals he has an affinity with. Animals such as the horse, the cow and the bull, as well as lesser-known animals such as the protected bird of prey, the black-capped vulture, the Egyptian Nile bird Ibis and the endangered house sparrow, have been laid down on linen by Grotenbreg in a layer of gray cement with acrylic paint in black-brown color nuances. The texture and composition of the applied cement is a very important part of his work. That's what makes it intriguing. The way in which the cement is applied determines the decisiveness of the work even more than the image. The animals, especially the sparrows, sometimes only cover a very small part of the canvas. It is clear that the emphasis is on technology. The charm of Jan Grotenbreg's work lies in the imitation of that weathering. But the animals portrayed also play a role in this and are not exempt from rendered weariness. They give a beautiful antique impression...

Morgan Cameron’s (US based) “Hallowed Ground” (2024) is an original handmade oil painting on panel that depicts a surreal portrait of a woman and a horse in a dark forest. About the...

Artist/ School: Charles Thomas Burt (British, 1823-1902), signed lower corner Title: Haymaking in Surrey Medium: oil on canvas, framed in a fine antique gilt frame. Framed: 36 x ...

Heywood Hardy British, (1842-1933) The Arrival of the Coach Oil on canvas, signed Image size: 19 inches x 29 inches Size including frame: 25.75 inches x 35.75 inches A superb paint...

Artist/ School: English School, circa 1870's, circle of Charles Cooper Henderson (British, 1803-1877) Charles Cooper Henderson was one of th...

Indistinctly signed. Presented in an ornate gilt-effect frame with swept rails and elaborate corner and centre mouldings. On canvas on stretchers.

This Western Landscape by New England Impressionist painter Richard Edward Miller is a 12.5 x 23.5 inches, oil on board painting from 1931. A plein-air and impressionist painter as ...

Travellers, Horse Drawn Carriage, Impressionist Oil Painting, Signed By French artist J.Dubois, Mid 20th Century Signed and dated '1958' by the ar...

Exhibited: Salon, Société des Artistes Français, Paris, 1879 (no. 647)

Fine 19th century oil painting of a bustling Austrian/Germanic village with horse, rider and various figures outside an Inn, attributed to Arthur Georg Ramberg (1819-1879), well known for figurative genre paintings. The rider is carrying a bugle, apparently announcing news to the people; men are sitting by the table drinking, one with a raised stein. Women walking by stop to listen, a man carrying a sack has stopped to watch the rider, people are in the Inn doorway, and one is looking out the window. Children pause their playing. The scene is under a large tree beside the Inn; a whole community waiting for news. There is a great deal of detail in the scene, tree and Inn house...

Raimond Louis Lecourt French ( b.1882 - d.1946 ). Chevaux À L'Abreuvoir, 1908. (Horses At The Trough). Oil On Canvas. Signed & Dated 1908 Lower Left. Image size 14.2 inches x 17.3 in...

This superb Dutch Old Master oil painting is attributed to Pieter Bodding van Laer. Painted circa 1635 during the Dutch Golden Age the composition depicts a number of figures and ani...

Working Horses is an original oil painting on canvas realized by Alessandro Lupo in 1913. Hand signed and dated lower right. Good conditions, slightly stretched canvas, slight mark...

Paul-Emile Perboyre French, (1851-1929) The Surrender Oil on canvas, signed & dated 1916 Image size: 20.5 inches x 25 inches Size including frame: 26.25 inches x 30.75 inches Paul-E...

The thrill of traversing the beautiful spring countryside rushes color to their cheeks, tightens their calves, lowers their heels and steadies their hands as they ready for the hunt. The horn is sounded, the hounds begin chase and the riders reassure their horse while urging them forward. The scent of the fox, the chase, the jumping across the creeks and over downed branches has come to an end for another equestrian hunt shared with the other highly regarded club members. They walk their horses for a while as the horses and hounds cool down and the riders are waiting on brandy to mellow out the day's excitement. With pristine riding gear intact they let their minds wander to both family and club hunts and events of times gone by. Artist Joseph Sundwall...

Julius von Blaas (1845-1923) At The Gallops circa 1905 Oil on canvas Signed and dated “Julius von Blass / 1905” (lower left) 110 x 200 cm (140 x 230 cms framed ish) This enormous and grand depiction of horses exercising is an iconic image not only of the edwardien era but also of today’s racing elite. Julius von Blaas was taught by his father Carl von Blaas (1815-1994) and trained in Venice, Florence and Rome. He was also influenced by his celebrated brother Eugen von Blaas...

Work on canvas

Oil Painting of Country Harvest Scene with Horses & Figures by British Artist. Oil on Board, Signed. Framed in a high quality distressed ornate moulding. Art measures 20 x 16 inche...

Work on canvas

James Seymour (1702–1752) Feeding Time in the Stables Oil on canvas 32 x 38 inches inc. frame Provenance: Private Collection, Lambourn James Seymour (1702–1752) was an English painter, widely recognized for his equestrian art. Seymour was born in London. His father was an amateur artist and art dealer, whose other business dealings (as a banker, goldsmith, and diamond merchant) afforded young Seymour the leisure time to study art on his own, either his father's or the art at the Virtuosi Club of St. Luke - a gentleman's club his father belonged to, specializing in art. In a short time the boy was a self-taught artist, familiar with many of the prominent artists of the period. Seymour's love of art was matched only by his love of horses. He began spending time at racetracks early on, and before long found himself absorbed in the sport - drawing, painting, owning, breeding, and racing horses. His art proved popular among the prominent sporting families of the day, eventually garnering Seymour patrons in Sir William Jolliffe and Charles Seymour, 6th Duke of Somerset...

J.A.Terry, A scene of the London to Exeter Mail Coach and a road in a landscape. This charming oil painting of the iconic London to Exeter mail coach, by English painter J.A. Terry ...

Jill Soukup's "Reverie" (2024) is an original, handmade oil painting that depicts a horse kicking up dirt while in motion on an abstracted background. About the artist: Jill Soukup...

Alan King (British 20th century) signed oil on canvas, framed framed: 19 x 23 inches canvas: 16 x 20 inches provenance: private collection, England conditio...

Very fine, large scale original Victorian oil painting on canvas, depicting a traditional shooting party, "The Return of the Guns". The painting is ...

Coach and Four Horses By Philip Henry Rideout, British 1960-1920 Signed oil painting on board, framed framed: 7.5 x 12 inches board: 6 x 10 inches provenance: private collection, Eng...

Elin Siân Blake. Welsh ( b.1981). War Horse. Lest We Forget. Oil On Artist’s Canvas Board. Signed Lower Left. Image size 23.4 inches x 19.5 inches ( 59.5cm x 49.5cm ). Frame size 28...

Provenance: Dr. James Henry Lancashire, Manchester-by-the-Sea, Massachusetts, by 1925; probably by descent to: Private Collection, Cumberland Foreside, Maine, until 2018 This unpublished panel is a characteristic work of the Master of the Apollo and Daphne Legend, an anonymous Florentine painter in the circle of Bartolommeo di Giovanni, Domenico Ghirlandaio, and Sandro Botticelli. The artistic personality of the Master of the Apollo and Daphne Legend was independently recognized by Everett Fahy and Federico Zeri at roughly the same moment in time. Fahy originally dubbed this artist the Master of the Ryerson Panels but later adopted Zeri’s name for the artist, which derives from his eponymous works from the Samuel H. Kress collection (Figs. 1-2). Fahy posited that the artist was most likely a pupil of Ghirlandaio active from roughly 1480 to 1510, and that he may be identifiable with one of Ghirlandaio’s documented pupils to whom no works have been securely attributed, such as Niccolò Cieco, Jacopo dell’Indaco, or Baldino Baldinetti. The present painting was first attributed to this master by Everett Fahy in 1989, who became aware of its existence only after publishing his definitive studies on the artist. The surviving body of work by the Master of the Apollo and Daphne Legend is largely composed of series of panels treating the same theme. In addition to the works illustrating the legend of Apollo and Daphne, there are also series on the themes of Susanna and the Elders and the story of Saint Joseph, among others. The subject of the present panel is drawn from Genesis 24, the story of Isaac. It is possible that our painting relates to another work by the artist depicting the Sacrifice of Isaac formerly in the collection of E. A. McGuire in Dublin, Ireland (Fig. 3), and that these two panels were originally part of a decorative scheme based on the story of Isaac. Although the Master’s paintings of this type have traditionally been considered painted fronts of wedding chests, known as cassoni, the scale of these paintings and the fact that they are often part of a series indicates that they are more likely spalliera panels—paintings set into furniture or the wainscoting of a room. The biblical episode depicted in this painting centers on the theme of marriage, which suggests that this work was likely commissioned for the domestic interior of a newly married couple. The Master has transcribed into paint even the minute details of this Old Testament story, in which Abraham sends a servant to travel by camel to the land of his father and seek out a wife for his son Isaac. The servant is here shown at the well...

A vintage watercolor capturing a daily scene in the Spanish colonial town of Taxco, Mexico by Theodore Ernest Langguth (German-American, 1861-1952). Titled, dated and signed lower ma...

Late 19th century figurative painting of the battle of Trevilians Station and of the wounding of Colonel Sackett June 11, 1864. Oil on canvas in giltwood frame. Signed or notated indistinctly lower right. Image, 20.25"H x 36.25"W. Military History Prior to 1865 The 9th New York Cavalry contained two companies from Cattaraugus County. It was mustered into the service October 1, 1861 and, until mustered out in July, 1865, lost 619 officers and men out of a total enlistment of a little less than two thousand. It participated in many battles and skirmishes and lost its colonel, William Sackett, who was killed at Trevilian Station, Virginia, on June 11, 1864. From the Albany Evening Journal, July 20, 1864: Another name is added to the list of hero martyrs who have fallen in the service of their country. Col. WILLIAM SACKETT, of the Ninth New-York Cavalry, (son of Hon. W.A. SACKETT,) was mortally wounded in the engagement, under Gen. SHERIDAN, at Pavillion Station, Va., and died on the 14th ult. As he was left behind, the sad intelligence of his decease has but just been received. Col. SACKETT had seen much service. He entered the army on the 22d of April, 1861, was appointed Major of the Ninth New-York Cavalry in October of the same year, was promoted to Lieutenant-Colonelcy in August, 1862, and in March, 1863, became commander of the regiment. He was with Gen. MCCLEELAN in the Peninsula campaign, was in all the cavalry actions of the campaign which followed, was with the army in its advance after the battle of Antietam, and in almost constant conflict with the enemy until after the battle of Fredericksburgh. He participated in most of the cavalry engagements under Gen. HOOKER's command, was in all the principal cavalry actions during LEE's invasion of Maryland and Pennsylvania in 1863, and was among the first engaged in the terrible conflict at Gettysburgh, where he performed distinguished service in holding a rebel brigade in check a long time while our forces were getting into position on the crest of the hill. He was active in the cavalry skirmishes which ensued in the latter part of the Summer. During the present campaign he was with Gen. SHERIDAN in all his brilliant expeditions up to the time when he fell. He died while leading a charge against the enemies of his country -- died, as he wished to die, doing his whole duty. He was brave, he was generous, he was unflinchingly faithful to the cause of the Union. He loved the old flag with a love that was stronger than life, and esteemed it glorious to fall in its defense. He was born in Seneca Falls, and was 25 years of age. When the great civil war broke out [William Sackett] was practicing law at Albany, N. Y., having a short time previous been admitted to the bar. In December, 1861, he was commissioned Major of the 9th Regiment of New York Cavalry, and taking the field served with credit in several engagements in which that command participated. On June 27, 1862, his immediate superior, Lieutenant- Colonel Hyde, resigned and three days later Major Sackett was commissioned to fill the vacancy. On the 30th of the following May he was advanced to the Colonelcy of his regiment, with rank from March 15, 1863. It is stated in "Battles and Leaders of the Civil War" that the cavalry pickets commanded by Colonel Sackett fired the first shot at the battle of Gettysburg. He subsequently led his command, in a gallant manner, in numerous engagements, including the battle of Trevilians Station, fought June 10, 1864. There he received a mortal wound and died inside of the enemy's lines some three days later. The report that he had been severely wounded and was in the hands of the enemy soon reached his wife, who immediately determined to make an effort to reach and care for him, not knowing that he was already dead when the report reached her. The following correspondence, copied from Official Records published by the War Department, tells in most emphatic terms of her devotion. City Point, Va., July 7, 1864. General R. E. Lee, Commanding Confederate Army, Mrs. Sackett, the wife of Colonel William Sackett, who was wounded on the 11th of June, near Trevilians Station, Va., is here in deep distress and feeling great anxiety to learn the fate of her husband. Colonel Sackett was left at a house some two miles and a half from the station, in charge of...

Plough Horses Watering Circle of Samuel Joseph Clark (1841 - 1928) British oil painting on canvas, framed framed: 27.5 x 35 inches canvas: 21 x 28 inches provenance: private collecti...

This serene landscape painting is by James Howe Carse, a Scottish-Australian artist whose lineage and mentorship are deeply rooted in the artistic traditions of his time. Carse's wor...

The Cavaliers Rest English School, 19th century The painting is after Sir Edwin Landseer's earlier painting which hangs in the National Trust's collection. oil painting on canvas, fr...

Paul-Louis BOUCHARD 1853-1937 French Moscow in 1900 Oil on canvas Signed lower left Canvas: 41 1/2" high x 64 1/8" wide Frame : 57 1/8" high x 79 3/4" wide EXHIBITION: Salon de...

English School, circa 1950's The Riding Lesson oil on board, unframed 17 x 20 inches private collection, England The painting is in overall very good and sound condition. There is a...

Well painted late 19th century watercolor of the Duc De Chartres and Louis Philippe with their horses out Fox hunting. The piece is a fine quality watercolor, well framed in an Eng...

In this vibrant creation, I've harnessed the raw power and rhythm of a galloping horse, depicted in a kaleidoscope of fiery oranges, vivid reds, and pulsating yellows. The fluid expr...