Roaming Horses

Landscape with Horses c.1760-70 British Catalogued until 1880 as Zuccarelli. Work nationality British Acquisition method Bourgeois, Sir Peter Francis (Bequest, 1811) Medium Oil Provenance London, Sir Francis Bourgeois, 1811; Bourgeois Bequest, 1811. Support Canvas
van Calraet, Abraham Writing in 1843, when the picture was attributed to Cuyp, William Hazlitt commented of DPG71 that 'Nature is scarcely more faithful to itself than this delightfully unmannered, unaffected picture is to it'. Bredius first attributed DPG71 to Calraet in 1919, but it was not until 1953 that this attribution gained widespread acceptance. More Inscriptions AC Medium Oil Work nationality Dutch Acquisition method Bourgeois, Sir Peter Francis (Bequest, 1811) Provenance London, Noel Desenfans, 1804-1811: 1804 Insurance List, either no. 102 or 103 (as Cuyp); London, Sir Francis Bourgeois, 1807-1811; Bourgeois Bequest, 1811. null Beresford, 1998, p. 59: 'Until 1953 catalogued as Cuyp. The attribution to Calraet was proposed by Bredius in 1919. Copies or versions are recorded in the De Fursac sale, Brussels, 1 December 1923, lot 50 and with R. Zomer, Wageningen, 1953.'Engraved by R. Cockburn.Not in Smith. More Support Panel
Horses Grazing: Mares and Foals in a Field 1830 Francis Calcraft Turner Inscription No inscription Inscription: Signed and Dated Signed and dated in brown paint, lower right: "F. C. Turner | 1830" Subject field, mare, foal, grazing, figures, cottage, pasture, hills, rural, landscape Location Not on View Materials Technique Oil on canvas Rights Information Yale Center for British Art, Paul Mellon Collection
Horses Grazing: a Grey Stallion Grazing with Mares in a Meadow 1830 Francis Calcraft Turner Inscription No inscription Inscription: Signed and Dated Signed and dated in black paint, lower left: "F. C. Turner | 1830" Subject clouds, field, mares, grazing, pasture, hills, rural, landscape Location Not on View Materials Technique Oil on canvas Rights Information Yale Center for British Art, Paul Mellon Collection
Figures with Horses by a Stable 1647 Paulus Potter, Dutch (active The Hague, Delft, and Amsterdam), 1625 - 1654 Medium Oil on panel Rights Information The William L. Elkins Collection, 1924 Image Rights © 2011 Philadelphia Museum of Art. All rights reserved.
Exercising the Royal Horses between 1847 and 1855 John Frederick Herring Inscription No inscription Inscription: Signed and Dated Signed and dated, lower right: "JF Herring [?Ser?] | 1847-55" Subject dog (animal), women, animals, travel, dress, men, walking, water, food, exercise, cottages, trees, rural, path, hat, jacket, trousers, bridle, saddle, baskets, view, genre subject, landscape Location Not on View Materials Technique Oil on canvas Rights Information Yale Center for British Art, Gift of Reeve & Elizabeth Boies Schley
Landscape with Three Horses and a Tree in the Foreground undated James Ward Inscription Inscribed in gray ink, lower left: "J. Ward" Inscription: Signed and Dated Signed in gray ink, lower left: "J. Ward" Subject horses (animals), tree, landscape Location Not on View Materials Technique "Gray wash over black chalk and brown chalk on medium, slightly textured, cream laid paper" Rights Information Yale Center for British Art, Paul Mellon Collection
John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hounds 1779 Francis Sartorius Inscription No inscription Inscription: Signed and Dated Signed and dated, lower left: "FS | 1779" Subject hounds (dogs), dogs (animals), greyhounds (breed), sky, animals, horses (animals), reins, "Kynaston, John (1728–1783), author and literary scholar", "Corbet, John", "Leighton, Robert", men, hunters, huntsmen, riding (horseback riding), hills, trees, grass, tailcoats, hats, buttons (fasteners), riding breeches, riding boots, harnesses, saddles, group portrait, conversation piece, landscape, portrait, sporting art More Location Not on View Materials Technique Oil on canvas Rights Information Yale Center for British Art, Paul Mellon Collection
Horses and a Cart at a Sandpit between 1785 and 1790 Thomas Rowlandson Inscription Inscribed in graphite, lower left: "Rowlandson" Inscription: Signed and Dated Not signed, not dated Location Not on View Materials Technique "Watercolor with pen and gray and black ink on moderately thick, moderately textured, blued white, laid paper" Inscription: Marks watermark: Strasburg Lily (Churchill no. 416) Subject bushes, horses (animals), workers, men, sand, shovel, cart, sand pits, genre subject, landscape Rights Information Yale Center for British Art, Paul Mellon Collection
Horses and Cattle by a River 1777 George Barret Inscription No inscription Inscription: Signed and Dated Signed and dated, lower left: "G.B.' | 77" Subject cattle, cows, horses (animals), people, rocks, trees, landscape Location Not on View Materials Technique Oil on canvas Rights Information Yale Center for British Art, Paul Mellon Collection
White horse (1889 - 1933) Gao Qifeng This work is one of the best examples of Gao Qifeng who was noted for painting animals. A scene of a white horse turning its head under an autumn tree with falling leaves and a colour-washed background, creates a romantic, poetic and dream-like visual impact. The tail, mane and eyes of the horse are exquisitely executed, capturing not only a transient moment of nature but also the spirit of the animal. The artist has successfully combined the poetry of Chinese painting, Japanese plein-air painting and Western techniques to develop a style that is uniquely his own. More School Lingnan School History of Acquisition Acquired by the Museum in 1980 Theme Horse Artist's Biography Gao Qifeng (1889 – 1933), original name Weng, was a native of Panyu in Guangdong province. In his early years, he learnt painting with his elder brother Gao Jianfu (1879 – 1951) but in 1907 went to Japan to study under Tanaka Raisho (1868 – 1940). He is credited as one of the "Three Masters of the Lingnan School".
The White Horse 1898 Paul Gauguin Provenance Bought in 1927 Credit Line © RMN (Musée d'Orsay) / Gérard Blot Description Gauguin painted this famous picture during his second stay in Tahiti. He liked to roam through the countryside and explore the mountains and forests of the interior. These out-of-the-way places swarmed with all sorts of wildlife and plants which enchanted him. But this scene is not taken from real life; it is an imaginary, synthetic vision of a Tahitian landscape. The contorted branches of a native tree called bourao, a sort of hibiscus, along with lilies and imaginary flowers in the foreground make a decorative frame for the main motif. The sky and the horizon are locked out of this enclosed space. A white horse, its coat tinged with the green of the vegetation, has given the painting its title. It is drinking, standing in the middle of a stream which flows vertically through the composition. The solitary animal probably has a symbolic meaning related to the Tahitians' beliefs about the passage of the soul into another world. In Polynesia, white is associated with death and worship of the gods. Behind the sacred animal, two nude figures are riding bareback into the distance. The tiered arrangement of these three animated motifs in the landscape accentuates the vertical, flat vision of the scene. To intensify the decorative effect, Gauguin has used a sumptuous palette. The greens – from grass green to emerald – and the deep blues contrast with orange and pink notes and the coppery colour of the riders' skin. An impression of paradisiacal serenity emanates from this canvas which has become a veritable icon. The pharmacist in Tahiti who commissioned the picture did not appreciate Gauguin's daring use of colour. He refused it on the grounds that the horse was too green. More Original Title Le Cheval blanc Image Rights © RMN (Musée d'Orsay) / Gérard Blot
Beach at low tide with cows and two horses 1640 Simon de Vlieger Medium Black chalk, washes in various tones of grey and in white Credit Line Text: © Kupferstichkabinett, Staatliche Museen zu Berlin / G.Seelig Photo: © b p k - Photo Agency / Kupferstichkabinett, Staatliche Museen zu Berlin / Jörg P. Anders More Description Although he is better known for his seascapes and beach scenes, Simon de Vliegher also created a handful of paintings of inland scenes. Among those drawings still known today, however, it is not only beach scenes – often studies of individual figures, several of which are housed in Berlin – but also detailed depictions of wooded landscapes that are most common. The wide angle of view is characteristic for his artistic practice, and is displayed in our sheet. The large-format drawing draws its viewer in through the wide-open space provided for only a handful of objects and through the subtle manner in which the tranquil group of animals manages to attract our attention.
A man, called Noel Desenfans on Horseback c. 1773-75? Bourgeois, Sir Peter Francis DPG488 is the only picture in the collection that could conceivably be identified with no.273 in the 1813 inventory ('Desenfans up on Horse' by Bourgeois). The attribution to Bourgeois, however seems impossible and the identity of the sitter indeterminate. Work nationality British Acquisition method Bourgeois, Sir Peter Francis (Bequest, 1811) Medium Oil Provenance London, London, Sir Francis Bourgeois, 1811; Bourgeois Bequest, 1811. Support Canvas
Sea Shore with Horse and Cart Before 1811 Bourgeois, Sir Peter Francis Work nationality British Acquisition method Bourgeois, Sir Peter Francis (Bequest, 1811) Medium Oil Provenance London, Sir Francis Bourgeois, 1811; Bourgeois Bequest, 1811. Support Canvas
Sea Shore with Rearing Horse c.1792 Bourgeois, Sir Peter Francis Work nationality British Acquisition method Bourgeois, Sir Peter Francis (Bequest, 1811) Medium Oil Provenance London, Sir Francis Bourgeois, 1811; Bourgeois Bequest, 1811. Support Canvas
Two Horsemen near a Fountain 1650-52 Wouwerman, Philips This picture has often been considered to be a companion piece to DPG77 due to their similar size, and their superficially similar subject matter (woman gives water to resting riders; dog in attendance). But they are certainly not of the same date: the use of the PHILS . W (PHILS in monogram) signature indicates that the picture was produced after 1646 (a dating of 1650-52 has been suggested). Stylistically, the piece can easily be seen as a transitional work on the road to the sophistication and mastery of the "Halt of a Hunting Party" (DPG78) - the same frieze-like arrangement of characters, the same slightly skewed horizontal panorama, even the careful balance of gesture. However, the gesture of the woman on the left looks stiff and studied in comparison to the theatrical posturing of the man with the hat in DPG78, and the horses have yet to achieve that Arabian perfection of form and movement. More Inscriptions PHLW Medium Oil Work nationality Dutch Acquisition method Bourgeois, Sir Peter Francis (Bequest, 1811) Provenance ?London, Noel Desenfans, ?1795-?1807: ?London, Skinner and Dyke, Desenfans sale, 27 Feb. 1795, lot 39; London, Sir Francis Bourgeois, ?1807-1811; Bourgeois Bequest, 1811. null F. Duparc suggests a date of 1650/2 (letter on file, 1997). Not, as stated by Hofstede de Groot, a pendant to DPG77.Mrs Jameson supposed this and her no. 125 were 'the same, I presume, which were sold from the collection of the Marquis de Brunoy, in 1749, for 216l.' Support Panel
Forest Road with Two Horse-Drawn Carts, c. 1638-1642 c. 1638-1642 Cornelis Hendrickszoon Vroom Rights Information Albertina, Vienna
The Infante Baltasar Carlos on Horseback After 1635 Velázquez, Diego Rodríguez de Silva y A reduced copy of Velázquez's original in the Prado, Madrid. Work nationality Spanish Medium Oil Acquisition method Bourgeois, Sir Peter Francis (Bequest, 1811) Provenance London, Sir Francis Bourgeois, 1811; Bourgeois Bequest, 1811. null Lot Sale Date 1810/03/21Sale Begin Date 1810/03/20Sale End Date 1810/03/24Lugt Number 7727Expert Authority Lebrun (Jean Baptiste Pierre)Sale Location ParisLot Number 0091Verbatim Artist Don Diego VelasquezArtist Authority VELçZQUEZ, DIEGO RODRêGUEZ DE SILVA YNationality SpanishTitle Un jeune Chasseur, vu en pied ; sur toile. N.o 131, gravŽ, t. 2.Materials sur toileVerbatim Seller LebrunSeller Authority Lebrun, Jean-Baptiste-PierreTransaction VenduPrice 722 frsVerbatim Buyer La BourdonnaisVerbatim Buyer PortalsVerb. Buyer Mod. [ou] PortalsVerb. Buyer Mod. [ou] La BourdonnaisBuyer Authority La BourdonnaisBuyer Authority Pourtals-Gorgier, James-Alexandre, comte deBuyer Auth. Mod. ou Pourtals-Gorgier, James-Alexandre, comte deBuyer Auth. Mod. ou La BourdonnaisNotes Les informations donnŽes ˆ la fin du titre font référence au Recueil de gravures au trait..., par J.B.P. Lebrun, Paris, 1809.Previous Sales 1809/11/00+ PALEB (0131)Post Sales 1817/04/19 PAHEN (0064)Present Location Budapest, Magyarorszag. SzŽpmŸvŽszeti Mœzeum (51.2828) comme Mazo, Portrait de Baltasar Carlos More Support Canvas
Horse-drawn Carriage and Child on the Beach (1908 - 1912) José Navarro Llorens Two works characteristic of this skilled exponent of preciosity from Valencia. Self-taught, solitary, embittered by his poor health and some failures, such as his abortive attempt to pass competitive exams for a Chair in landscape painting at the San Carlos School in Valencia, Navarro did not usually enter competitions or show his pictures in exhibitions, but nevertheless found a significant international market through art dealers. He travelled to South America (1908), where he triumphed in Río de Janeiro, but preferred to return to his native Valencia. Monreal describes his work as “from Fortuny to Sorolla”, since his painting spanned both the virtuosity of the tableautins characteristic of the painter from Reus and the luminous beaches of his great countryman. Traditional themes and the pursuit of brilliance, often accentuated by deft reflections of light on the skin of his figures, are representative of his style and appear over and over again in his very numerous works, which in recent years have increased in value, especially in price. The approximate dating of these two works has been done with the expert advice of Dr. Carlos González, specialist in nineteenth century painting, especially that of Fortuny. More Material Oil on canvas Credit Line Signed in the bottom right corner, “J. Navarro” Rights Information Fundación Banco Santander Image Rights www.fundacionbancosantander.com
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