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A Farrier's Shop

Paulus Potter1648

National Gallery of Art, Washington DC

National Gallery of Art, Washington DC
Washington, DC, United States

Farriers—blacksmiths who shoe horses—also served as veterinarians before that became a specialized profession. As the teeth of horses continue to grow throughout their lives, uneven wear leads to chewing problems, which in turn result in improper digestion and eventual malnutrition. As a remedy, farriers file down, or "float," the teeth, as seen in this painting of a terrified horse undergoing such a procedure.


A Farrier’s Shop, signed and dated "Paulus Potter f. 1648" on the lintel above the blacksmith’s forge, is an exceptional achievement for an artist only twenty-three years old. In a daring interplay of indoor and outdoor light effects, Potter contrasts the sparks flying from the red-hot forge inside the workshop with the sunshine streaming through the clouds and the morning fog lingering over the meadow.


Paulus Potter was trained by his father and quickly gained fame for his superb depictions of animal anatomy and psychology. He was a keen observer who never left the house without a small sketchbook in his pocket so that he could record interesting things he saw on his walks. Potter moved frequently, working in Delft, The Hague, and Amsterdam, where he died at age twenty-eight. He was a tireless worker who in his short life produced a considerable number of highly regarded paintings of animals in farmyards and fields.

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  • Title: A Farrier's Shop
  • Creator: Paulus Potter
  • Date Created: 1648
  • Physical Dimensions: overall: 48.3 x 45.7 cm (19 x 18 in.) framed: 71.12 × 68.58 × 7.62 cm (28 × 27 × 3 in.)
  • Provenance: Dominique Bertrand Clemens, Ghent; (his sale, Salle de la Confrerie de Saint George, Ghent, 23 September 1777 and days following, no. 49; bought in). his brother, Jacques Clemens, canon of St. Bavo's Cathedral [1713-1779], Ghent; (his sale, Maison Mortuaire, Ghent, 21 June 1779 and days following, no. 212); Neijman, Amsterdam. Johan Philip de Monté, Utrecht; his widow; (her sale, A. Lamme, Rotterdam, 4-5 July 1825, no. 1); (Lambert Jean Nieuwenhuys, Brussels).[1] Comte François-Alexandre-Charles Perregaux [1791-1837], Paris; (his estate sale, Galerie Le Brun, Paris, 8-9 December 1841, no. 26); George. Madame Autran, Marseille, by 1867. (Charles Sedelmeyer, Paris), in 1898. M. Rodolphe Kann [d. 1905], Paris and Marseilles, by 1900; purchased 1907 with the entire Kann collection by (Duveen Brothers, Inc., London, New York, and Paris); sold 1909 to Peter A.B. Widener, Lynnewood Hall, Elkins Park, Pennsylvania; inheritance from Estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park, Pennsylvania; gift 1942 to NGA. [1] An annotated copy of the De Monté sale catalogue states that Nieuwenhuys purchased the picture for 7,100 guilders. For a discussion of the sale and L.J. Nieuwenhuys' purchase of the work, see Charles J. Nieuwenhuys, _A Review of the Lives and Works of Some of the Most Eminent Painters_, London, 1834, 186-188.
  • Rights: CC0
  • Medium: oil on panel
National Gallery of Art, Washington DC

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