Horse Figurative Paintings

Medium: Oil on Board Dimensions: 14.50" x 12.50" Signature: Signed Lower Right J.T Edson, Dell Books

"Wild horses - the race" is a painting by Maestro Vlado Vesselinov. About the painting: Style and Technic: POP ART, Contemporary, Acrylic paint, oil on canvas The painting is unfra...

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...

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...

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...

Edward William Cooke RA (1811–1880) Dutch Beach at Scheveningen, oil on canvas, circa 1850 This sweeping coastal scene by Edward William Cooke, painted circa 1850, captures the bust...

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...

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

Fabian Jean graduated with a Bachelor of Fine Arts from Concordia University. He has had solo exhibitions in Montreal, Toronto and Halifax and has been included in several group exhibitions throughout Canada including, recently, Rideau Hall, Ottawa. Jean’s work can be found in public and private collections, including the Department of External Affairs (Canadian Embassy – The Hague), Musée du Québec, Royal Bank of Canada, Summit Maritime and the Royal Victoria...

Sarah van der Helm's "Brave Heart" is an oil painting depicting a white horse with a flowing white mane. Devoting herself full-time to her art, Sa...

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...

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

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...

St. Giorgio e il Drago Oil Painting on Canvas Saint Georges and Dragon In Stock Giovanni Tommasi Ferroni (1967, Rome) descended from an artistic Tus...

The majestic animal and confident rider blend in perfect harmony, capturing the essence of freedom, trust, and partnership. The brushstrokes convey dynamic movement, while the bond b...

Orientalist oil painting depicting the trade of a horse by Pilny Swiss, 1913 Canvas: Height 80cm, width 121cm Frame: Height 102cm, width 142cm, depth 6cm This beautiful Orientalist...

Nanci France-Vaz's "Majestic Arabian, Thoroughbred Golden Brown" is an original, handmade oil painting that depicts a regal horse with a dark coat and wearing a leather bridle.

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...

People in watercolour 13 H x 30 W cm (5.12 x 11.81 in) Sold unframed Image size: Height: 29cm (11.42 in) Width: 45.5cm (17.91 in) Artist Biography: Trevor Waugh was born in 1952 a...

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...

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...

Hunter's funeral is a modern artwork realized in the early 20th Century. Tempera painting on board. Hand signed on the lower margin. Includes frame: 60 x 86 cm

The Rural Lane Henry Cooper (British, late 19th century/ early 20th century) signed oil painting on canvas, framed framed: 25 x 35 inches canvas: 20 x 30 inches condition: very good ...

Andre Renoux: 1939-2002. Listed French artist with auction results over $5000, but sells for much more in galleries. This is a truly wonderful mid century...

Georges Washington 1827-1910 American Le Voyage - Halte au bord de l'Oued Oil on canvas Signed lower right Canvas: 16 7/8" high x 23 5/8" wide Frame: 29...

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 ...

Giclee on canvas. Hand signed lower right by Doug Bloodworth. Hand numbered 17/150 lower right. Canvas size 44 x 55 inches. Canvas is not stretched. Artwork is in excellent co...

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...

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...

Additional information: 24 H x 29 W x 3.5 D cm (9.45 x 11.42 x 1.38 in) Sold framed Image size Framed Size: Height: 24cm (9.45 in) Width: 29cm (11.42 in) Depth: 3.5cm (1.38 in) Ar...

Paul Emile Perboyre 1826-1914 French Calèche au Bois de Boulogne, Circa 1880 Oil on panel Signed lower right Panel: 12 5/8" high x 18 1/8" wide Fame: 19...

David Bates British, (1840-1921) The Plough Team, Bredon’s Norton Oil on canvas, signed & dated 1908, further inscribed verso Image size: 15.5 inches x 23.5 inches Size including frame: 21.5 inches x 29.5 inches A lovely landscape painting of a plough team on a country track near Bredon’s Norton by David Bates. Bredon’s Norton is a village located in the Cotswolds, on the slopes of Bredon Hill in South Worcestershire. The America women’s rights activist Victoria Woodhull Martin moved to the village in 1901 and by 1908 had set up an agricultural school for women at her Norton’s Park estate. The Antarctic explore Raymond Priestley also lived there. Although Bates was living in Surrey at the time of this painting, he would have been familiar with the area after having lived and worked in Worcestershire for some considerable time. He would have also most likely been aware of Victoria Woodhull Martin and the school. David Bates was born in March, Cambridge in 1840 to Benjamin Bates a shoe maker and Sarah Bates. By 1851, the family had moved to Upton upon Severn in Worcestershire and from 1855 Bates became an apprentice at the Royal Worcester Porcelain Works in Worcester. There he developed his artistic talent, painting flower decorations onto vases and plates. At some point after 1861, he became a full time artist and made his debut at the Royal Academy in 1863, continuing to exhibit there until 1893. He also exhibited at the Royal Birmingham Society of Artists, Suffolk Street and the Grosvenor Gallery. He married Elizabeth Higgs from Worcester in 1867 and they lived at Cherry Orchard, Bath Road in Worcester where their children were later born. Their second child John Bates Noel (1870-1927) became a landscape artist and their younger son David Samuel...

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 ...

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

"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...

Nicolas Edward GABE (Paris, 1814 - Paris, 1865) The death of General Négrier on Place de la Bastille on June 25, 1848 Oil on canvas Signed and dated lower right 82 x 101 cm 1849 Nicolas Edward Gabé is a 19th century artist who is still little studied to this day and yet seems to have enjoyed, according to the artistic press of the time, a certain notoriety, in particular for his seascapes. The few bibliographical elements that we have come from the Salon booklets and tell us that the artist was born in Paris in 1814, therefore shortly before the end of the Empire. No elements on his artistic training are mentioned in the booklets, we just know that Gabé exhibited at the Paris Salon from 1835 to 1864 where he first practiced miniature then then approached easel painting, risking himself as well in still life that the seascapes, the landscape, the portrait or the hunting. According to press articles, he also took part in various exhibitions in the provinces such as Boulogne-sur-Mer and Marseille. Notably, Gabé did not exhibit at the Salon his large historical canvases on the revolution of 1848, which today are of obvious documentary and iconographic interest; probably for political reasons which are easily understandable to us today in view of the historical events of then. Gabé died in Paris at the age of 51 on January 4, 1865 with a mention in the January 7, 1865 edition of L'Union des Arts: “The death of Mr. Gabé, painter, well known in the export trade in paintings as well as to the auctioneers' hotel, whose sales it supplied through its numerous navies. “ "On June 25, 1848, in front of the barricades erected in the Bastille by the insurgents of the Red Republic, General Négrier fell to death, while he was uttering words of order and conciliation". Here are the opening lines of the tribute paid by Colonel Borgarelli d´Ison, friend of General Négrier. General Négrier belonged to a family from Maine, brought back by Marshal Lannes from emigration. Born in Le Mans on April 27, 1788, François Marie Casimir de Négrier entered, barely 18, as a volunteer in the 2nd Light Infantry Regiment. He began in 1806 with the campaigns of Prussia and Poland, during which he earned, through his bravery, the rank of sergeant and the decoration of the Legion of Honor. He made the following campaigns in Spain and Portugal, and left, with his regiment, only for the campaign of France, in 1814, after having risen successively, by actions of brilliance and by a serious wound, to the ranks of head of battalion and officer of the Legion of Honor, with which he was provided from October 1813. The Restoration retained his rank in his regiment. After having fought and wounded a second time seriously in Waterloo, Négrier was recalled in 1816 under the second Restoration. He was appointed, in 1825, lieutenant-colonel, then colonel in 1830, brigadier general in 1836, and of division in 1841. From March 1837 he participated in the conquest of Algeria. The Revolution of 1848 found Negrier in possession of the important command of the 16th Military Division in Lille. Quaestor of the Assembly in these times which promised to be troubled, Négrier reviewed the Place de la Concorde on June 23 at around noon various mobile guard battalions. He then took the head of 2,000 men provided by the 10th and 11th legions of the national guard and bivouacked on the Place du Palais until the next day 24. On Sunday 25 at nine o'clock, the Négrier division resumed the fight towards the Saint suburb. -Antoine. The troop gains continual advantages. At around two o'clock the column of Négrier had seized the Pont Marie: it had removed the barricades from the Quai Saint-Paul, the rue de l'Etoile, the rue des Barres...

This captivating English Victorian 19th-century landscape by Henry Manders masterfully captures the timeless beauty and industrious spirit of rural life during the harvest season. Ma...

Jalal Gharbi, Tunisian/American (1920 - 2005) - Ready the Horses, Year: circa 1970, Medium: Oil on Canvas, Size: 24 x 30 in. (60.96 x 76.2 cm), Description: An oil painting of Co...

18th-Century Pastoral Scene Dutch School, 18th century oil on canvas, framed Framed: 22 x 25.5 inches Canvas : 18.5 x 22 inches Provenance: private collection, France Condition: very...

Mixed media on canvas Pascal Dabere is a French artist born in 1957 who lives & works in Amboise, Indre-et-Loire, France. At 17 years old, he was spotted by Dargaud Editions and wor...

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...

Medium: Oil on Canvas Dimensions: 24.00" x 32.00" Signature: Signed Lower Left

JOAQUÍN PALLARÉS ALLUSTANTE Spanish, 1853 - 1935 PORTE SAINT - DENIS signed "J. Pallares" (lower left) oil on canvas 10-1/2 x 15-3/4 inches (26.5 x 40...

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...

“Friends of Friends” explores a playful world where dreams and reality meld together to create surreal moments. When engaging with Piussi's work, we enter an arena where we are imme...

By Gustav Likan This piece depicts a couple on horseback followed by a man in a red military uniform. A dog runs by the group. This pieces is from the Eva Perón commissioned mural sk...

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...

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...

The Cattery by Orovida Pissarro (1893-1968) Oil and pencil on canvas 61 x 51 cm (24 x 20 ⅛ inches) Signed and dated upper right Orovida 1964 Provenance Estate of the artist G Hassel...

John Sanderson-Wells British, (1872-1955) Gone Away Oil on canvas, signed Image size: 15.5 inches x 23.5 inches Size including frame: 21.75 inches x 29.75 inches An animated sporti...

Village Landscape With Governor John Penn, Isle Of Portland, Dorset, 1805 John Penn (1760-1834) was the chief proprietor of Pennsylvania until 1776 when it was confiscate following ...

Enveloped by outstretched paintings, Gonzalo García reveals the ever-present ghosts of our past and present in a delicate swirl of color, light, and flesh. These deeply visceral disp...

Artist: Alexander Litvinov Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Canvas Style: Classic Figurative Year: 2007 Title: Antique Motive Size: 17" x ...

Good wholesome mid-century Americana is on full display in the joyous illustration that depicts a red horsedrawn sled of merrymaking folks being rreated at an inn. Signed lower left ...

This small painting, housed in an ornate gilt effect frame, depicts a rural scene with a lowly hill farmer, his donkeys and goats. The composition draws the eye across the horizontal...

Maximilien Luce (Fr. 1858 - 1941) Farm Scene Painting Maximilien Luce incorporates ink, crayon, and watercolor to create a large impressionistic and multifaceted social statement of...

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:...

Georgine Lara English Village landscape A painting by Georgina Lara depicting a 19th-century English village scene offers a charming and evocat...

"Taming Wold Horses" by Henni de Korte measures 23x27 and is available for $9500. A man in green rides with pride as he tames two brown wild horses. Wit...

Expressionist Figurative water color painting by Zhang Chunyang Series The Horse Whisper No.2-24 Dimension: 29 x 36 cm Material: Gouache, Watercolor on Paper Date: 2013 Artist Bi...