Rudolf Schulz-Borek Animal Paintings

Oil on canvas Canvas size: 20 x 30 inches Framed size: 25.25 x 35.25 inches Signed in lower right

George Turner British, (1843-1910) Near Tonge, Leicestershire Oil on canvas, signed Image size: 15.25 inches x 23.25 inches Size including frame: 22.75 inches x 30.75 inches A cha...

This piece, "Chester", is a 22x32 equine oil painting on canvas by artist Marie Channer. Featured is a portrait of a dark brown horse in the warm light of stable, illuminating the bo...

William M. Hart (1823 - 1894) Interior of a Stable Oil on canvas 17 x 12 inches Provenance William Macbeth Gallery, New York Mrs. Mabel Brady Garvan Collection Christie's New York, Sporting Art, November 28, 1995, Lot 116 Ann Carter Stonesifer, Maryland Estate of above Brunk Auctions, Asheville, North Carolina, January 27 2018, Lot 777 Exhibited New York, The Metropolitan Museum of Art, Life in America, April 24 - October 29, 1939, no. 123, illustrated. New York, Macbeth Gallery, 1892: Sixtieth Anniversary Exhibition, April 1952, p. 5, no. 18. Literature Turner Reuter Jr, Animal and Sporting Artists in America, Middleburg, Virginia, 2008, p. 306. Gary Stiles, William Hart: Catalogue Raisonné and Artistic Biography, no. 1126, illustrated. It should be noted that the Francis Patrick Garvan and Mrs. Mabel Brady Garvan collection, of which this painting was a part of, was one of the foremost American Art collections and now makes up a large part of the Smithsonian American Art Museum and the Yale University Art Gallery collections. Born in 1823 in Paisley, Scotland, William Hart emigrated with his parents to the United States at the age of nine and settled in Albany, New York. It was here that Hart first began his artistic training when he was placed under the tutelage of Messrs, Eaton & Gilbert, the prestigious coach-makers from Troy, New York. During this time, Hart learned how to decorate coach panels, covering them with either landscapes or figurative compositions. At the age of seventeen, he was eagerly contemplating an artist’s profession. Consequently, he left the mechanical trade of coach-making and began expanding his artistic pursuits to more refined endeavors. Hart followed coach-making with decorating window shades and later developed an interest in portraiture. Around 1840, he established his first formal studio in his father’s woodshed in Troy. There, he created many likenesses of individuals, affording him a nominal income. Once, he remarked that he felt prouder over his first fee of five dollars for painting a head then for the larger sums he would command later in his career. Nevertheless, his wages from portraits during this early period proved insufficient. Thus, he expanded into landscape painting, allowing him to barter his works or sell them for modest prices. In 1842, Hart moved to Michigan in an attempt to further his success; portraiture remained his primary means of support. Unfortunately, his experiences in the West were disappointing. Hart spent three years living a rough existence until he finally returned to Albany in 1845. Upon his return, he fully devoted himself to the art of landscape painting. Despite his failing health, he worked diligently to perfect his skill until 1849 when he traveled abroad to his native land of Scotland. This trip was made possible through the generosity of his patron and advisor, Dr. Ormsby of Albany. For three years, he studied in the open-air, creating brilliant sketches of the Scottish Highlands and the surrounding British Isles. Returning to Albany once more in 1852, Hart enjoyed improved health and was reinvigorated with purpose. The following year, he moved to New York and opened a studio, promoting himself as a specialist in landscape painting. Hart became a regular contributor to the National Academy of Design. His works received a great deal of attention from artists and connoisseurs alike, all of whom praised him for his fresh, self-taught style. In 1855, he was designated as an associate of the National Academy of Design; three years later he was elected to Academician. In 1865, he was unanimously chosen to be the first president of the Brooklyn Academy of Design. It was during his tenure there that he delivered his famous lecture The Field and Easel, which emphasized the distinguishing principles of landscape art in America. Hart argued that landscape painters should express the “look of the place” being depicted.Critics during the 1870s noted his sensitive balance between capturing a strict “real” interpretation of nature and that of a more “ideal” sentimental tone. For instance, in 1869, Putnam Magazine noted that Hart brought back “exquisite studies” of the surrounding Tappan...

Signed and dated, lower right: EL / Nov 34 Provenance: Barbara and Ernest Kafka, New York.

Woman & Dog, 2017 Christopher Mudgett In Woman & Dog, 2017, Mudgett delivers a visually, mentally, and emotionally invigorating tour de force that explores the profound and unspoken...

This equine racing painting "Irad Ortiz" by artist Anne Wolff is a 24x18 original oil painting on canvas. Featured is the back view of famous jockey Irad Ortiz on horseback. He is ...

This vibrant and realistic equine piece, "Dressage", by artist Dahl Taylor is a 22x36 oil painting on canvas featuring a This scene depicts an equestrian rider atop her horse during ...

Oil on canvas Canvas size: 12 x 10 inches Framed size: 20.5 x 18.5 inches Signed lower right

This equestrian piece, "Indigo", by artist Jessica Leonard is a 36x24 oil painting on canvas featuring a horse in black and white with cool tones th...

David Shepherd’s At Rest, Yet Alert - Watchful Tiger, 2001 is a masterful example of wildlife art, capturing the raw power and quiet intensity of one of nature’s most formidable pred...

This equestrian piece, "#3", is a 16x20 oil painted portrait of a dark brown horse dressed in a saddle and blinkers. About the artist: The artwork of Janet Crawford depicts the equestrian lifestyle. Working from her studio in the Berkshires, Janet focuses on classic portraiture of horses, dogs and people. Her original artwork captures the candid moments of the horse world. A trademark of the artist's work is the portrayal of the true nature of the horse. Education: Bachelor of Fine Arts, Cum Laude Concentration: Painting Rhode Island College, 1991 Press: 2000 - Featured artist in Equine Image article, Aug/Sept issue, 2000. Selected Awards: 2012 - National Distinguished Service Award, American Hackney Horse Society 1995 - Horse World Magazine Morgan Artist of the Year 1993 - Harness Tracks of America Art Competition, 2nd Place 1991 - AMHA Art Contest 1st Prize, Morgan Art 1990 - Special Talent Award, Rhode Island College Special Projects: Present - Designer and Painter, Berkshire Carousel Project Present - Program Cover and Horse Show Poster Artist for the Fleet Jumper Classic, Sept. 2000. Present - Poster Artist for the Hampton Classic, Aug. 27-Sept. 3rd. Present - Program Cover Artist since 1996 for UPHA Spring Premiere Present - Illustrator, Horse World Magazine 2012 - Artist for the American Hackney Horse Society Logo 2011 - Cover Artist for the Pfizer Million Dollar Grand Prix Horse Show Program 1999 - Cover Artist, The Chronicle of the Horse 1999 - Cover Artist, Horse America (Horsemen's Yankee Pedlar) 1999 - Exhibition "The Horse in Art" Hartford Fine Art & Frame 1997 - Opening of the Equestrian Collection Gallery 1996 - New England Morgan Horse...