Horse Art

"Nautilus II" A braided mane adds to the perfection of this horse in this classic, detailed equestrian portrait. The print series Equus: Light & Form focuses on the details of so...

Oriental scene is an orientalist artwork realized by Giulio Rosati (1857 – 1917) . The artwork depicts an oriental palace with lady and horse rider in l...

The artwork is in simple black frames behind glass. The full signature is on the back of the drawing. Monogram signature with date is on the front Hanna Banaszczyk is a graduate of ...

Cowboy Hunting Pronghorn Deer ("American Antelope") in Watercolor and Gouache Detailed western scene by H. Rich (American, 20th Century). A cowboy is on a ridge, with two horses, ha...

Mind Screen (Last Picture Show), 2005, Edition 2/10, digital C-Print based on a Polaroid, Certificate and Signature label included artist Inventory Nr. 1043.11 not mounted LIFE’...

George Wright (1860–1944) was a British painter renowned for his equestrian art, particularly hunting and coaching scenes. Born in Leeds, England, he was the eldest of seven children...

"The Circus Horse" by Fernand Audet (French, Tarascon 1923- Mulhouse 2016) oil painting on canvas, unframed painting: 13 x 8.5 inches Condition report:...

Sila Sehrazat Yucel is a talented artist based in Istanbul. Her background in landscape and interior architecture shapes her creative vision. With experience as an art director in ci...

A fine 19th century oil painting on canvas depicting a Mail coach outside the Swan Inn, in the snow, signed, inscribed and dated 'Bath 1878' lower left, The size being 36cm x 66cm,...

Nora Othic Marceline, Missouri Signed recto Nora Othic is a painter whose work draws from close observation of rural life and the rhythms of the Midwestern landscape. She is widely r...

Equestrian, mid century horse racing painting, watercolour on paper by Henry Farion. The painting is signed bottom right and is presented in a distressed period gilt frame under glas...

Oil on canvas Canvas size: 24 x 18 inches Framed size: 35.5 x 30.5 inches Signed lower right

Portrait of a Pekingese Dog English artist, late 19th century Watercolour drawing on paper stuck on card card: 10 x 8 inches paper: 5.5 x 4 inches Provenance: Private collection, UK ...

Morgan Cameron’s (US based) “Dust Storm” is an oil painting on panel that depicts a red and white horse galloping with it's mane flowing. This painting is framed and ready to hang. ...

Jim Rey b. 1939. Original oil on canvas painting with custom frame. 24 x 36 canvas size. This work was painted in 2004, at a most expressive time in Rey's career. From the art...

Michael Grimsdale (b. 1936) Michael Grimsdale is a British painter known for his refined portrayals of horses, sporting subjects, and commissioned portraits. Born in London in 1936,...

The Haycart by Wilfred Wilson (English, 1920 - 1978) signed oil on paper (laid on board), framed framed: 12 x 14 inches painting : 8 x 10 inches Provenance: private collection, Eng...

Ancient Roman statue of a horse, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Carlo Nolli in the 18th ce...

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....

Antique Gelatin Silver Print Photograph of 13th Calvary Soldier - 1913. This photograph shows a member of the 13th Calvary Regiment, Company H of the United States Army, sitting ato...

A highly important Flemish Old Master oil painting by Peter Van Lint (1609-1690), titled "Preparing for the Hunt", the painting is dated & signed by the artist, 1620. The painting wa...

Molly Luce Fire in Tobacco Barn, 1938 Signed lower right Oil on canvas 16 x 20 inches Provenance Childs Gallery, Boston Private Collection, Massachusetts (acquired from the above) ...

Here for your consideration is a wonderful original etching on archival paper by the well known American artist, Ralph Fabri. Strong impression; signed in pencil by the artist lower right margin. Titled and dated bottom left of the sheet “1947-Americana”. Condition of the etching is excellent. Top corner of sheet and bottom right corner of sheet have tiny creases. Not visible, under the mat. Sheet size is 12 by 15 inches. Image size is 8 by 9.75 inches. Matted but not framed. Provenance: A Long Island, New York collector. Painter and printmaker, commercial artist, writer, and teacher, Ralph Fabri was born Fabri Reszo in Hungary in 1894. He was educated in Budapest, first studying architecture at the Royal Institute of Technology from 1912 to 1914. He then enrolled in the Royal Academy of Fine Arts, from which he graduated in 1918 with a Professor's Diploma (M.A.) "for teaching drawing, painting and geometry – including descriptive and projective geometry – in schools of higher education." Fabri arrived in New York City in 1921 and soon adopted the anglicized version of his name, Ralph Fabri. He began doing commercial design work and during the academic year of 1923/24 was enrolled as an evening student at the National Academy of Design. After becoming an American citizen in 1927, he traveled extensively in Europe. Upon returning to New York that same year, Fabri decided his financial situation was stable enough to allow him to focus his attention on fine art. During the Great Depression, Fabri's already inadequate portrait commissions and art sales further declined and he returned to commercial work. He established a workshop known as the Ralph Fabri Studios, that designed theatrical and movie sets, window displays, and retail interiors. But Fabri found the workshop dirty and distasteful, and eventually was able to concentrate on advertising work which could be done from home. The largest clients for his pen and ink drawings were The Stamp and Album Co. of America, Inc. (for which he designed covers for stamp albums and produced illustrations for envelopes housing sets of stamps sold to collectors), Geographica Map Co., and Joseph H. Cohen & Sons (for whom he designed and illustrated mail order catalogs). Another source of income during this period was the design and construction of an addition to "Iroki," Theodore Dreiser...

Oil Painting after William Lara "Traveller's outside the Inn" exhibited 1862 - 1871 William Lara was one of the pseudonyms of Georgiana Lara who exhibited at the Royal Society of Br...

John Rabone Harvey ( 1966 - 1922) graphic and chalk deep green artist paper , unframed artist paper : 5.5 x 7 inches Provenance: private collection Condition: very good condition Ha...

"Luminary" In this award-winning photograph, the incredible features of the all-white horses of Camargue are on full display as they gallop through the water of their remote home. ...

Unsigned. On card. Image size: 38 x 46cm.

Title: White Horse Medium: Oil on canvas Size: 19"" x 19"" Frame: Framing options available! Age: 2000s Condition: Painting appears to be in excellen...

White Horse Animal portrait closeup. Technique: oil, acrylic, and ink on old book pages on wooden frame 40x40cm ■■ 15,8x15,8 inch Sustainability: Wooden frame is made by the arti...

Sila Sehrazat Yucel is a talented artist based in Istanbul. Her background in landscape and interior architecture shapes her creative vision. With experience as an art director in ci...

"Soul Mates" Running freely over the island's 13 square miles, the iconic wild horses of Sable Island are the perfect picture of freedom....

James Seymour (1702-1752) A Standing Leap at a Gate Mezzotint with hand colouring Image size 10 x 14 in Framed size 16 1/2 x 20 in James Seymour was an English artist renowned for h...

Raoul Dufy, After, French (1877 - 1953) - Le Paddock a Deauville, Year: 1964, Medium: Lithograph Poster, Size: 23.75 x 39 in. (60.33 x 99.06 cm), Frame Size: 32 x 47 inches, Pr...

A finely detailed oil painting of a horse and French military rider with bugle by French artist Edouard Jean Baptiste Detaille (1848-1912). Detaille was born in Paris, France into a...

Artist Comments
A horse stands still, exhibiting a relaxed character. Geometric shapes render the equine's form into a simplified, modern image. The bright color contrasts add ...

Sila Sehrazat Yucel is a talented artist based in Istanbul. Her background in landscape and interior architecture shapes her creative vision. With ...

Original Oil Painting signed by the Artist on the lower left.

Shell Oil poster, vintage wall art, French lithograph, color lithography, 1980 art print, Bibliothèque Forney exhibition, Paris poster, vintage advert...

Set Four Antique English Oil Paintings Equestrian Horses Hunting Sanderson-Wells British, c. 1900 Canvas: Height 41cm, width 62cm Frame: Height 51cm, width 71cm, depth 4cm This cap...

Louis Lozowick, 'Tanks #1', lithograph, 1929, edition 50, Flint 39. Signed, titled, and numbered '11/50' in pencil. Signed with the artist's monogram in the stone, lower left. A superb, richly-inked impression, on cream wove paper, the full sheet with margins (3/4 to 1 7/8 inches), in excellent condition. Matted to museum standards. Image size 13 15/16 x 8 1/16 inches (355 x 204 mm), sheet size 15 3/4 x 11 1/4 inches (400 x 286 mm). Exhibited: 'The American Scene: Prints from Hopper to Pollock', Stephen Coppel, The British Museum, 2008. Literature: 'Prints and Their Creators, A World History', Carl Zigrosser, Crown Publishers Inc, 1974; 'American Lithographers...

Jim C. Norton “Pipe Springs” Oil on Masonite Image: 12x16 inches Overall: 18x22 inches with frame Oil on Masonite Signed lower right and verso Up for sale is a wonderful Western pai...

Exquisite painting by Léolaf, the artistic name of León Lafourcade, a French-born artist active between the 19th and 20th centuries. He participated in various exhibitions, including...

The present print is one of several examples produced for Nathaniel Currier by his longtime collaborator Frances F. "Fanny" Palmer. Harry T. Peters wrote of her: "There is no more interesting and appealing character among the group of artists who worked for Currier & Ives than Fanny Palmer. In an age when women, well-bred women in particular, did not generally work for a living Fanny Palmer for years did exacting, full-time work in order to support a large and dependent family ... Her work ... had great charm, homeliness, and a conscientious attention to detail." One of a series of four prints showing American country life in different seasons, the image presents the viewer with a picturesque view of a successful American farm. In the foreground, a gentleman rides a horse with a young boy before a respectable Italianate country house. Two women and a young girl pick flowers in the garden and several farm workers attend to their duties. Beyond are other homes and a city on the coast. 16.63 x 23.75 inches, artwork 28.13 x 33.38 inches, frame Entitled bottom center "American Country Life - May Morning" Signed in the stone, lower left "F.F. Palmer, Del." Signed in the stone, lower right "Lith. by N. Currier" Copyrighted lower center "Entered according to Act of Congress in the year 1855 by N. Currier in the Clerk's office of the Southern District of N.Y." Inscribed bottom center "New York, Published by N. Currier 152 Nassau Street" Framed to conservation standards using silk-lined 100 percent rag matting and Museum Glass with a gold gilded liner, all housed in a stained wood moulding. Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Margaret Collyer, (1872 - 1945). A London painter of animal scenes, whether horse portraits or dramatic highland scenes such as her "Lord of the Isles". She exhibited at the Royal Ac...

Albert Clark British, (1843-1928) Worcester Oil on canvas, signed & dated 1899 Image size: 24.25 inches x 29.25 inches Size including frame: 30.75 inches x 35.75 inches A fine sport...

Sketch Of Three Horses Feeding, 19th Century circle of John Frederick II HERRING (1815-1907) 19th Century English School sketch of three horses feeding, oil on panel. Excellent qu...

Antique Pair of Russian Wolfhounds/Borzois Dog Portrait Sculptures by Scalini (aka Scali; Italian, 20th century) circa 1930's Patinated spelter 9 x 14 inches (on bases) Though rath...

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), dated 1990, signed to the front and inscribed verso Title - "Snow Bound" Road to the Green, Water Mill. English ...

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...

"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...

"Photograph of a Friesian horse in an abandoned church with light streaming in A beautiful Friesian horse with a flowing, silky black mane and tail photographed in an abandoned chur...

John Cordrey (c.1765-1825) A light chaise and four signed 'J.Cordrey/1793' lower left Oil on canvas Canvas Size 13 x 17 in Framed Size 15 1/2 x 20 1/2 in John Cordrey (active c. 179...

Story of the wooden horse (The Trojan Horse entering Troy) Percy Tarrant (1855 - 1934) British oil on board, unframed 4.5 x 5.75 inches inscribed in penc...

Cooper Seyken's photography is an estament to his ability to capture raw emotion and authenticity. His signature style attracted attention, leading people to request similar portrait...

This captivating circa 1980 screenprint by Richard McLean depicts the racing horse Satin Doll with the photographic accuracy and meticulous detail characteristic of American Photorea...

Listing includes framing with UV plexiglas (a $1,500 value) and a 14-day return policy. Shipping charged at a discounted rate worldwide via white glove delivery service. Please inquire if you would like to purchase an unframed print for a reduced rate. Available for local pick up at our Los Angeles gallery. Jim Krantz Epic Western III, 2019 40 x 68 inch chromogenic print Edition 5 of 5 Signed on signature label. Artist Biography - Krantz occupies a unique place in the history of contemporary art for his imagery blending western landscape photography with the figure of the cowboy as depicted and romanticized in American popular culture. The technical underpinning of his work was established when he studied with Ansel Adams and Paul Caponigro, but perhaps more importantly, Krantz’s work reflects a dictum that he learned from Adams: “Technical proficiency leads to artistic freedom.” His range and versatility are his forte, working with ease in demanding and ever-changing conditions. If Krantz’s work looks familiar, it is not surprising. Krantz, had been documenting the cinematic vistas of the American West for 20 years on commercial assignments and these much published images caught the eye of appropriation artist, Richard Prince, known for re-photographing advertisements and presenting the resulting images in a new “conceptual” context. Prince’s most famous series is his large scale reproductions of the cowboy images...

A set of four framed artworks, Ghost Rider Cowboy Blue, Purple Cyan and Mauve, pop art photograph by Natasha Heidler. Natasha Heidler’s seductive images are a playful collection of ...

'The Cavalry Division' Vanity Fair portrait of Field Marshall John French (1852-1925). He was an English commander who served in the Soudan, Boer War and World War I. Godfrey Doug...

This piece titled "Two Horses" is an original artwork by Scott Listfield and is made of oil on canvas. It measures 20"h × 16"w and is signed en verso by the artist. Scott Listfield ...

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...