Horse Figurative Paintings

‘Last Resort’ (White Horse) by Georgie Dowling [2021] original and hand signed by the artist Oil paint on canvas Image size: H:40 cm x W:40 cm Complete Size of Unframed Work: H:40 c...

Adolf Schreyer's "Arabian Rider at Dusk" is a stunning oil painting on canvas that depicts an Arabian rider in a golden sunset. By Adolf Schreyer 8.5" x 15.5" Oil on Canvas Framed...

George Turner British, (1843-1910) Crossing the Ford Oil on canvas, signed, further signed & inscribed verso Image size: 15.5 inches x 25.5 inches Size including frame: 21.5 inches...

Horse is an original oil painting on canvas, realized in the 2000s by the emerging artist Anastasia Kurakina. Very good conditions. This beautiful artwork represents a crawling hor...

Antique Orientalist equestrian oil painting by Wordsworth Thompson American, 1896 Canvas: Height 30cm, width 46cm Frame: Height 42cm, 57cm, d...

As we gaze upon at this artwork, our eyes are immediately drawn to the foreground where a comical spectacle unfolds before us. A carriage, stubbornly stuck in the midst of a ford, se...

Artist: Michael Knigin, American (1942 - 2011) Title: Guilded Native Year: 1988 Medium: Acrylic on Canvas, signed and dated in pencil Size: 84 x 45 inches

Americo Makk is an internationally acclaimed master painter and portrait artist of two United States Presidents. Over the past five decades, the importance of Americo Makk’s work has been recognized with numerous awards and honors, including American Ecclesiastic Award, European Banner of the Arts, Oscar d’Italia, Alfred Nobel Medal for Peace (Einstein International Academy Foundation) and Outstanding Achievement Award for Western Paintings (American Biographical Institute). Paintings by Americo Makk - powerful scenes of city life, character studies, historical and western paintings - have been the focus of numerous major public exhibitions, including Carnegie International Center (NY), U.S. Senate Rotunda (Washington, D.C.), Monaco Intercontinental Exhibition (Paris), St. Stephen Museum (Hungary), and many other museums and galleries in the United States, Canada, Europe, South America, and Japan. Regarded as one of the world’s most respected portrait artists, Americo Makk was selected to paint portraits for the U.S. White House of President Ronald Reagan in 1984 and President Jimmy Carter in 1979. He has also painted a portrait of Cardinal Mindszenty for the Vatican and many celebrities including Eva Gabor, Barbara Carrera and Ray Price. Americo Makk’s wife, Eva, and their son, A.B., are also accomplished painters whose works are exhibited and collected internationally, giving rise to the Makks’ reputation as “the first family of the art world”. Americo Makk has been called a “modern-day Michelangelo”. Working together with Eva Makk...

Enrico Vizzotto Alberti (Oderzo 1880 - Padua 1976) - The 7th regiment of Milan lancers. 25.5 x 35 cm without frame, 51.5 x 57 cm with frame. Ancient...

Jean Richard Goubie French, 1842-1899 A Travers Bois Oil on canvas 25 ½ by 39 ¾ in. W/frame 30 ½ by 45 in. Circa 1892 Jean Richard Goubie was bo...

This artwork "Horseman with Cattle" c.1990 is an oil painting on canvas by noted American artist John Stanford. It is signed at the lower right corner by...

David Bates British, (1840-1921) Early Morning on the Glaslyn Oil on canvas, signed & dated 1895, further inscribed verso Image size: 23.25 inches x 35.25 inches Size including fra...

"Sysonby" Edward Herbert Miner (American, 1882-1941) Depicting the champion thoroughbred horse Sysonby (1902-1906) Oil on canvas, signed "E H Miner 1905" 24 x 32 inches (31 1/4 x 39...

In "Escapee", a huge ceramic figure of a bambi runs away from its owner in the middle of a strange and threatening landscape. This painting depicts a completely absurd situation that...

John Charles Maggs British, (1819-1896) Bristol, Bath & London Coach Outside The Crown Inn, Bath Oil on canvas, signed & dated 1882 Image size: 17.5 inches x 29.5 inches Size includ...

This is a framed painting on paper. Biography Creating paintings inspired by western movies and by Remington and Russell, he is a native of the West, having been born and raised in rural Colorado. He studied art at Baylor University in Waco, Texas; at the California Institute of the Arts in Valencia, and at the University of Colorado, Boulder where he earned a Master's Degree in 1979. For two decades he worked as curator at the Yellowstone Art Museum in Billings, Montana, before leaving in 1999 to begin work as a full-time painter and independent curator. His work is in the collections of the Buffalo Bill Historical Center in Cody, Wyoming; the Art Museum of Missoula; and the Yellowstone Art Museum; the Federal Reserve Bank in Helena, Montana; and the Deaconness Medical Center in Billings, Montana. Artist Statement For a long time, the images in my paintings have been identifiably, even iconically, western-stagecoaches and false-front main streets, poker games and gun battles, cowboys, Indians, cavalry troopers and horses, all suspended in a choreographed matrix of dancing paint. Distinct from the traditional western genre-which inventories the minutia of cowboy gear or tells sentimental stories of rangeland romance-my paintings embody something more elemental and timeless, animated and abstract. The images tend to be stark, graphic, and charged with painterly energy. Though they are derived from fugitive television images, the paintings, as paintings, are still, silent and non-ephemeral. They register the technological transfer of primal shadows onto the electroluminescent screens of our collective consciousness, a shimmering blur of perception and memory transposed in an interchange of gesture and description, painted marks simultaneously arresting and embodying movement. I've always liked what a painter friend, Marc Vischer, wrote in 1988 about an early group of my western paintings. Now, I'm fourteen years closer to actualizing my vision for this work, and his astute remarks seem more pertinent today than they did then. He wrote in part, "For McConnell, a searing light emanates from a new desert: that of television. And from that most desolate backdrop, he salvages fragments from a movie world that spoke of honor in a land that was lawless. In a romantic sense, McConnell's works are a visual seance. Figures, like specters distorted through intense heat waves, are captured from their eternity of 24 frames a second. Their shapes and shadows are brought back into a radically different world and given substance and texture. It is an impossible attempt to freeze them, to arrest the present's ceaseless molestation of the past, to close off the continuum. Sometimes this is done darkly and thickly as an emphatic gesture of permanence. In other works a few light strokes quickly applied suggest the ephemeral nature of film and perhaps the fleeting nature of our own lives." I have been examining new imagery in my paintings, drawing subjects from Mexican graphic novelas, modern women and men of romance and mystery from the mid-20th century, motorcycles and airplanes. The end titles of movies, stated in several languages, have inspired me to begin a new series of cross-media translations in both acrylic and watercolor. My paintings have long begun where the movies have left off. The elements of water and light co-mingle in some pieces from this series and in others which take the viewpoint of a swimmer, watching other swimmers from the wet side of this aqueous membrane, looking up toward the light. My arrival in Montana in 1982 brought me into intimate contact with some of the most storied places of the historic West and also gave me the opportunity to study the paintings of two of the most influential codifiers of western imagery, Frederic Remington and Charlie Russell...

Oil on canvas Canvas size: 28 x 36 inches Framed size: 36.75 x 44.75 inches Signed lower right

This large figurative oil painting is a reinterpretation of a painting by Francisco de Goya, Retrato ecuestre de Fernando VII, 1808. A unique oil painting on the finest quality Belgi...

This beautiful painting depicts a crowded scene of a watering hole at a well in the midst of a sunny, hot day, located on the street of a provincial village supposedly located somewh...

A naturalistic oil painting depicting two soldiers wearing regalia with a black horse. The scene is set in on a farm in a rural landscape. The paining measures 6.25 x 6.75 inches. ...

L' Abbatimento della Bandiera Oil Painting on Canvas Mythology In Stock Giovanni Tommasi Ferroni (1967, Rome) descended from an artistic Tuscan family. His grandfather, father, sist...

Artist/ School: British School, mid 20th century, signed lower corner Title: Huntsman on horseback with hounds. Medium: oil painting on canvas, framed. Size: framed: 18 x 26...

ABOUT Born in 1967, Piussi was raised in Florence where he studied at the Istituto d’arte, majoring in sculpture and painting and completing his artisti...

Theodore E. Pine (1828-1905) was an American artist known for his portraits and genre paintings. Pine specialized in portraiture, capturing the likenesses and personalities of his su...

17th century, old master painting, oil on canvas, "The rest with the horses". Relined canvas. The stretcher was also renewed once. The painting is rather dark, like i.a. on photo n...

Henry Calvert (1798-1869) The 15th (The King's) Hussars: two chargers, one with an officer up, in a landscape, a camp beyond Oil on canvas Canvas Size - 32 x 36 in Framed Size - 37 x...

Henry Barraud British, (1811-1874) Horses & grooms at Mount Mascal Oil on canvas, signed Image size: 15.25 inches x 29.25 inches Size including frame: 21.25 inches x 35.25 inches ...

The Cavalry Skirmish Flemish School, mid 17th century circle of Lambert de Hondt (Flemish, 1620-1665) oil on panel, framed Framed: 21 x 27 inches Board: 16 x 22 inches Provenance: private collection, France Condition: very good condition, with old repairs and thinning in places. This painting, attributed to the circle of Lambert de Hondt (Flemish, 17th century), depicts an intense battle scene, typical of Flemish military compositions of the time. Lambert de Hondt was known for his battle scenes, landscapes, and hunting scenes, often filled with dynamic action and fine detail, and this work clearly reflects his influence. The artwork portrays a cavalry skirmish with soldiers in traditional 17th-century military dress, including red tunics...

Provenance: Private Collection, Palm Beach, Fl. AB Levy Gallery, October, 2019 Description: Experience the captivating artistry of Anna Richards Brewster (1870...

Greg Singley , born 1950- Artist Statement: When the sun sets in the desert South West, things appear. This is the nature of what touches me about that la...

In creating this piece, I was drawn to the dynamic intensity and elegance of polo, a sport of both tradition and thrilling moments. By using a circular frame, I isolated the scene, f...

Frederick Lester Sexton White Horse Signed lower right Oil on canvas 25 x 30 inches Provenance Part of a Collection received from the Lyme Art Association. Frederick Lester Sexton received a lot of reviews and exhibitions in the 1920s, 1930s, and 1940s, when he was at the height of his career. Because it captured the personal view of many people's wish to ignore national issues and simply live their lives in their homes, his work was favorably welcomed. The rise of modernist styles like Abstract Expressionism, which started to take over the American art scene in the 1950s, also contributed to Sexton's fall in popularity. As collectors and regular spectators discover once more that realism is a valid component of American art because it speaks directly and clearly to the beauty they perceive in their surroundings, many artists, like Sexton, are experiencing a renaissance. Cheshire, Connecticut, was the birthplace of Frederick Sexton in 1889. His father, J. Frederick Sexton, was the Rector of St. Peter's Church in Cheshire and a well-known Episcopal clergyman. The mother, Mary Louise Lester, was an amateur painter and came from a pretty well-known Hartford family. Frederick was killed in an open-hearth fire when he was eighteen months old. His right hand was badly burned and was never to be opened again. The father kept the family together after his mother passed away when he was nineteen. Sexton's mother taught him art, and he went to public schools in New Haven. He received the prestigious Winchester Prize for a year of study in Spain while attending the Yale School of Fine Art, where he studied under Augustus Tack...

A fine impressionist watercolor painting of a horse and rider by American artist Paul Sample (1896-1974). Sample was born in Louisville, Kentucky and went to school at Dartmouth Coll...

"Too Bright or Too Dark, The Effect is the Same, " is an original, handmade oil painting, by Michael Dowling that depicts a white horse running contrasted by a dark background. Bor...

This is a framed original painting. Biography Creating paintings inspired by western movies and by Remington and Russell, he is a native of the West, having been born and raised in rural Colorado. He studied art at Baylor University in Waco, Texas; at the California Institute of the Arts in Valencia, and at the University of Colorado, Boulder where he earned a Master's Degree in 1979. For two decades he worked as curator at the Yellowstone Art Museum in Billings, Montana, before leaving in 1999 to begin work as a full-time painter and independent curator. His work is in the collections of the Buffalo Bill Historical Center in Cody, Wyoming; the Art Museum of Missoula; and the Yellowstone Art Museum; the Federal Reserve Bank in Helena, Montana; and the Deaconness Medical Center in Billings, Montana. Artist Statement For a long time, the images in my paintings have been identifiably, even iconically, western-stagecoaches and false-front main streets, poker games and gun battles, cowboys, Indians, cavalry troopers and horses, all suspended in a choreographed matrix of dancing paint. Distinct from the traditional western genre-which inventories the minutia of cowboy gear or tells sentimental stories of rangeland romance-my paintings embody something more elemental and timeless, animated and abstract. The images tend to be stark, graphic, and charged with painterly energy. Though they are derived from fugitive television images, the paintings, as paintings, are still, silent and non-ephemeral. They register the technological transfer of primal shadows onto the electroluminescent screens of our collective consciousness, a shimmering blur of perception and memory transposed in an interchange of gesture and description, painted marks simultaneously arresting and embodying movement. I've always liked what a painter friend, Marc Vischer, wrote in 1988 about an early group of my western paintings. Now, I'm fourteen years closer to actualizing my vision for this work, and his astute remarks seem more pertinent today than they did then. He wrote in part, "For McConnell, a searing light emanates from a new desert: that of television. And from that most desolate backdrop, he salvages fragments from a movie world that spoke of honor in a land that was lawless. In a romantic sense, McConnell's works are a visual seance. Figures, like specters distorted through intense heat waves, are captured from their eternity of 24 frames a second. Their shapes and shadows are brought back into a radically different world and given substance and texture. It is an impossible attempt to freeze them, to arrest the present's ceaseless molestation of the past, to close off the continuum. Sometimes this is done darkly and thickly as an emphatic gesture of permanence. In other works a few light strokes quickly applied suggest the ephemeral nature of film and perhaps the fleeting nature of our own lives." I have been examining new imagery in my paintings, drawing subjects from Mexican graphic novelas, modern women and men of romance and mystery from the mid-20th century, motorcycles and airplanes. The end titles of movies, stated in several languages, have inspired me to begin a new series of cross-media translations in both acrylic and watercolor. My paintings have long begun where the movies have left off. The elements of water and light co-mingle in some pieces from this series and in others which take the viewpoint of a swimmer, watching other swimmers from the wet side of this aqueous membrane, looking up toward the light. My arrival in Montana in 1982 brought me into intimate contact with some of the most storied places of the historic West and also gave me the opportunity to study the paintings of two of the most influential codifiers of western imagery, Frederic Remington and Charlie Russell...

JOAQUÍN DOMÍNGUEZ BÉCQUER Spanish, 1817 - 1879 RIDERS PASSING BY A TAVERN signed, located & dated "Joaq. D. Becquer. Sevilla, 1847." (lower l...

Owning a 19th century Victorian Highland landscape with pony and gun dogs with a gillie circa 1880, offers a unique opportunity to own a piece of art that encapsulates the pastoral beauty and tranquil charm of the Victorian era. Duvall's work is celebrated for its meticulous attention to detail, evoking a sense of serenity and timelessness. This painting not only serves as a stunning decorative piece but also represents a valuable object, given the historical significance and enduring appeal of Victorian art. Owning such a painting allows you to connect with the rich cultural heritage of the period, while enhancing your collection with a work that exudes both artistic merit and nostalgic elegance. John Duvall...

Sunset over a Frozen Landscape by George Augustus Williams British 1814 - 1901 Oil on canvas Canvas size: 13 x 20 inches Framed size: 17 x 24 inches Monogrammed lower left

Date: 1898 Medium: Oil on Canvas Dimensions: 21.00" x 34.00" Signature: Signed Lower Left Exhibited: The Triumph of Winter, National Arts Club, New York, December 16, 2013- January ...

Image dimensions: 46cm x 62cm / 18 inches x 24½ inches Framed dimensions: 55.8cm x 71cm / 22 inches x 28 inches Signed with fly insignia (lower left); further signed, inscribed and ...

Paul Emile Perboyre 1826-1914 French Le Marechal Ney passant ses Troupes en Revue (The Marshall Ney reviewing his Troops) Oil on mahogany panel Signed l...

Paul Emile Perboyre 1826-1914 French Revue à Longchamp, Oil on panel Signed lower right Panel: 27 1/2" high x 45 1/4" wide Fame: 40 1/8" high x 57 1/2" wide Paul-Emile Léon PERBOYRE: painter of battles born in Horbourg near Colmar in 1826, died in 1907. Painter of history, battles. He was a pupil of Leon Bonnat. He exhibited in Paris at the Salon of French Artists, in which one he became a member in 1909. He obtained an honorable mention in 1908. Perboyre was well known for his many paintings of...

Oil on canvas Canvas size: 19.5 x 24 inches Framed size: 25.75 x 30 inches Signed lower right

The Hunt English School, 20th century oil on canvas, framed inscribed verso framed: 17.75 x 13.5 inches board: 14 x 10 inches provenance: private collection, UK condition: very good ...

Title: French Impressionist Oil Painting of Onlookers Watching Harness Racing By Fanch Lel (French b. 1930) Size: 8.75 x 10.75 inches (height x width) Signed: Yes Oil painting on boa...

Governor John Penn Inspecting The Legion At the Isle Of Portland, Dorset, 1805 John Penn (1760-1834) was the chief proprietor of Pennsylvania until 1776 when it was confiscate follo...

Rudolf Schacht, oil painting, lively old town scene with carriage and horses. Age-related condition. The painting is damaged in places and in need of restoration. On request, we are...

Griffith Morgan, 1816-1890 In the Line of Fire, ca. 1860 Oil on canvas 30 x 25 inches Signed (lower left): G. Morgan

Georgina Lara British, (fl. 1862-1871) A Busy Village Oil on canvas Image size: 11.75 inches x 19.25 inches Size including frame: 16.25 inches x 24.25 inches Provenance: Cooling Galleries, Bond Street, London A pleasing village scene featuring figures, horse and other animals in a village square. To the left, a team of horses with a hay cart can be seen resting whilst a group of people chat outside a village store. In the foreground a group of children play marbles by a dog as two women chat by a log. Meanwhile, a horse and cart is shown entering the village alongside a barn. Georgina Lara also known as Edwina Lara was a London painter of rustic farmyard and village scenes. Her work also closely resembles that of Edward Masters...

Medium: Oil on Canvas Signature: Signed Lower Right Literature: W.L. Comfort, "Trouble in the Dust," The Saturday Evening Post, vol. 198, April 3, 1926, p. 13, illustrated. Notes:...

Painting of a returning crusader on horseback against a Mediterranean landscape backdrop. Horse and rider convey an exhausted impression. After the original by Karl Friedrich Lessing...

Wonderful mid 19th Century painting of a stable's interior with two horses, stable hand, two spaniels, a rooster and ducks from a follower of John Frederick Herring, Sr. (British, 17...

Camille Hilaire (1916-2004) Scène équestre Huile sur toile 50 x 150 cm / 19.7 x 59 inches With frame : 74 x 174 cm / 29.13 x 68.59 inches 2024 Camille Hilaire was born in Metz in 19...

Introducing a captivating oil painting by Johan Christoffer Boklund (1817-1880). The artwork depicts a young boy practicing his painting skills. Seated beside him is a wooden horse t...

Two hunters, one leaning against the cross and dogs on the left "halt in the forest" Oil on canvas, restored and cleaned in good condition. Very nice painting for hunting scene art...

Morgan Cameron’s (US based) “Rocking Horse Ornament” (2024) is an original handmade oil painting on panel that depicts a close up of a white rocking horse ornament hanging from a Chr...

Paul Emile Perboyre 1826-1914 French Le Marechal Ney passant ses Troupes en Revue (The Marshall Ney reviewing his Troops) Oil on panel Signed lower righ...

“The Gun-Runners” by Edwin Cole, published in The Youth’s Companion, May 6, 1926, pg. 343. Western illustration Literature: Schoonover, Smith & Dean 1450 Artwork Dimensions: 17.5...