The Gallery

93 pieces, every one cleared for reproduction and every maker named — filter by collection, era, medium, and publicity status.

93 of 93 pieces

WhistlejacketThe rearing Arabian against pure ground — no rider, no landscape, no excuse.George Stubbs, 1762Race Horses Before the StandsThe field wheeling before the off — Degas at the rail, painting nerves instead of speed.Edgar Degas, c. 1866–1868Steeplechasing — The StartThe field away over the first — Alken’s sporting England at full, reckless stretch.Henry Thomas Alken, graphite and watercolour, early 19th c.‘Elis’, Winner of the St Leger, 1836The champion in his loose box — Herring’s formula, repeated for decades because it was correct.John Frederick Herring Sr., 1836Fores’s National Sports — The Run InThe great mid-century sporting series at the finish — restored to museum grade.engraved by John Harris Jr., published by Fores, 1866The Trotting Mare Nancy HanksThe record-holder to her bicycle sulky — the American parlor’s favorite athlete.Currier & Ives, lithographed by John Cameron, 1892The Horse in Motion — 1878Twelve frames proving all four hooves leave the ground — the photograph that ended a century’s argument.Eadweard Muybridge, 1878Animal Locomotion — the Gallop GridThe stride laid out as a grid — motion made legible, one frame at a time.Eadweard Muybridge, Animal Locomotion (Plate 626), 1887The Jockey — Fred ArcherThe greatest jockey of the Victorian turf, admitted to Vanity Fair’s gallery at the height of his reign.Vanity Fair chromolithograph by “Spy” (Leslie Ward), 28 May 1881The Champion at StrideThe great American champion of 1919–20 at full run — the press record of a horse the century never stopped arguing about.press photograph by Brown Brothers, 1920Gimcrack on Newmarket HeathStubbs sets the little grey Gimcrack against the bare sweep of Newmarket Heath, the rubbing-down house small on the horizon behind him.George Stubbs, oil on canvas, c.1765The Horse FairBonheur drives the Percheron dealers' horses through the Paris fair in a thunder of muscle, the grandest crowd of horseflesh in paint.Rosa Bonheur, oil on canvas, 1852-1855Mr E. J. Irwin's Foig-a-Ballagh, Winner of the 1844 St LegerIrwin's Foig-a-Ballagh in his winning year, Herring dressing a champion in the plain honesty of the yard.John Frederick Herring Snr, oil on canvas, 1844PriamPriam stands to Herring in 1831, a champion painted with the plain authority of the parade ring.John Frederick Herring Sr., oil on canvas, 1831A Cossack Horse in a LandscapeA Cossack horse alert in open country, Ward reading the steppe breed with the same anatomist's respect he gave a thoroughbred.James Ward, oil on canvas, early 19th c.'The Duke of Grafton's Whisker in a Stable'The Duke of Grafton's Whisker in the stable gloom, Herring counting every muscle in the low light.John Frederick Herring Sr., oil on canvas, 1835'Memnon, 1825'Memnon stands in the year of his classic win, Herring's conformation portrait cool and exact.John Frederick Herring Sr., oil on canvas, 1825'Barefoot, 1823'Herring paints Barefoot in his classic year, the coat glossed and the eye steady in a Doncaster light.John Frederick Herring Sr., oil on canvas, 1823Lord Jersey's MiddletonLord Jersey's Middleton stands to Ben Marshall in his winning year, a champion painted with sober certainty.Benjamin Marshall, oil on canvas, 1825The Black HorseWard gives the black horse the Romantic weather Stubbs never sought, storm-light on a coat like poured pitch.James Ward, oil on canvas, early 19th c.Two Horses in a PaddockTwo horses stand easy in a paddock, Stubbs reading the whole animal in the plain light he trusted more than any flourish.George Stubbs, oil on canvas, late 18th c.The Racehorse 'Actaeon'Actaeon studied in profile, Herring's line as clean as a stud-book entry.John Frederick Herring Sr., oil on canvas, c.1826Two Horses Communing in a LandscapeStubbs lets two horses lean into one another in an open landscape, the anatomy exact and the temper unmistakable.George Stubbs, oil on canvas, late 18th c.Self Portrait on a White HunterThe anatomist mounts his own white hunter, painter and horse studied with the same unsentimental eye.George Stubbs, oil on panel, 1782A Bay Racehorse in a LooseboxA bay stands in the straw of its loosebox, Herring at home in the working quiet of the yard.John Frederick Herring Sr., oil on canvas, mid 19th c.Newmarket Heath, with a Rubbing-Down HouseThe rubbing-down house on the empty heath, Stubbs painting the workaday ground of the turf with the gravity of a portrait.George Stubbs, oil on canvas, c.1765MarengoNapoleon's grey charger Marengo, Ward painting a small Arab horse into the weight of empire.James Ward, oil on canvas, c.1824A Chestnut Stallion in the Grounds of Powis CastleA chestnut stallion set square against the walls of Powis Castle, Ward turning conformation study into a portrait of rank.James Ward, oil on canvas, early 19th c.'Pyrrhus the First'Pyrrhus the First, held in Herring's steady hand — a champion granted the stillness of a state portrait.John Frederick Herring Sr., oil on canvas, c.1846'Amato'Amato, the one-race wonder, held still for Herring in the single season his name meant anything on a racecard.John Frederick Herring Sr., oil on canvas, c.1838'St Patrick'An early Herring portrait of St Patrick, the young painter already sure of a horse's build.John Frederick Herring Sr., oil on canvas, 1820'Foigh-a-Ballagh, 1844'Faugh-a-Ballagh painted in his St Leger year, Herring giving the Irish champion a stateroom stillness.John Frederick Herring Sr., oil on canvas, 1844Jockeys and Race HorsesDegas keeps his jockeys off the running, turning them at the rail in the loose light before the off.Edgar Degas, oil on canvas, c.1885'Mameluke', a bay racehorse, with Will Wheatley upBen Marshall sets Mameluke and Will Wheatley against Newmarket Heath, a groom at the head and the whole turf behind.Benjamin Marshall, oil on canvas, c.1827'Jack Spigot', a dark bay racehorse with jockey upJack Spigot mounted and waiting, the St Leger winner drawn taut under a Doncaster sky.John Frederick Herring Sr., oil on canvas, c.1821Memnon, with William Scott UpMemnon collected under jockey William Scott, Herring pairing horse and horseman as one considered line.John Frederick Herring Sr., oil on canvas, c.1825The Cambridgeshire Stakes, Newmarket, 1849The Cambridgeshire field pours down the Newmarket straight, Alken counting silks in the autumn light of 1849.Henry Thomas Alken, oil on canvas, 1849'Elis', Beating Colonel Peel's 'Slane', 300 Guineas, NewmarketAlken has Elis take the measure of Colonel Peel's Slane over the Newmarket turf, 300 guineas riding on a length.Henry Thomas Alken, oil on canvas, c.1837'Hambletonian' Beating 'Diamond' (after George Stubbs)Ward's account of Hambletonian's famous match over Diamond at Newmarket, the winner drawn straining under the whip.James Ward after George Stubbs, oil on canvas, early 19th c.The Dead Heat for the Doncaster St Leger, with 'Voltigeur' and 'Russborough'Voltigeur and Russborough lock together at the Doncaster post, Alken painting the dead heat before the run-off settled it.Henry Thomas Alken, oil on canvas, 1850Le Champ de courses, jockeys amateurs près d'une voitureAmateur jockeys drift past a carriage on the course, Degas building the picture from the idle minutes of a race day.Edgar Degas, oil on canvas, 1876-1887At the RacesDegas paints the racecourse as social weather, horses fidgeting at the rail while the crowd looks anywhere but the running.Edgar Degas, oil on canvas, c.1877Lord Rous's Racehorse Shrapnell, with his trainer and jockeyLord Rous's Shrapnell attended by trainer and jockey, Marshall grouping the whole racing establishment around one horse.Benjamin Marshall, oil on canvas, c.1820Matilda, the winner of the Great St. Leger Stakes at Doncaster, 1827Reeve's engraving after Herring carries Matilda's Doncaster win into the print-shop window, mane flat in the run-in.R. G. Reeve after John Frederick Herring Sr., hand-coloured engraving, 1828The Belvoir Hunt, Full CryThe Belvoir strung out in full cry, Alken catching horses flat and low over the shires grass.Henry Thomas Alken, oil on canvas, c.1830sThe Belvoir Hunt, Jumping into and out of a LaneHorses drop into a sunken lane and scramble out, Alken relishing the awkward geometry of a real hunting country.Henry Thomas Alken, oil on canvas, c.1830sThe Belvoir Hunt, The DeathThe run ends and the horses blow, Alken closing the Belvoir sequence with hounds baying at the kill.Henry Thomas Alken, oil on canvas, c.1830sSteeplechasers Jumping a FenceAlken freezes the steeplechasers at the top of a fence, forelegs tucked and turf flying behind.Henry Thomas Alken, oil on canvas, c.1830sTwo Steeplechasers Clearing a Wall, with Two Steeplechasers in the Middle DistanceTwo steeplechasers rise at a stone wall with two more coming on behind, Alken's country hard and unforgiving.Henry Thomas Alken, oil on canvas, c.1830sFive Steeplechasers, with a River in the Middle Distance and a Red Flag on the HorizonFive steeplechasers race a red flag on the skyline, Alken driving them across country toward a distant river.Henry Thomas Alken, oil on canvas, c.1830sThree Steeplechasers Clearing a DitchThree steeplechasers stretch over a ditch, Alken pinning the exact instant before the landing.Henry Thomas Alken, oil on canvas, c.1830sThe Belvoir Hunt, The MeetThe field gathers for the Belvoir at the meet, Alken laying out horse, hound and hard frost in one cold morning.Henry Thomas Alken, oil on canvas, c.1830sDoncaster St. Leger - The StartThe St Leger field breaks at Doncaster in Alken's aquatint, a wall of silks let loose at the flag.Henry Thomas Alken, hand-coloured aquatint, c.1830sExtraordinary Steeple-ChaseAlken's comic-heroic steeplechase, horses and riders flung at every hazard the shires can offer.Henry Thomas Alken, hand-coloured aquatint, c.1830sDoncaster St. Leger - The FinishAlken brings the St Leger home at Doncaster, the leaders drawing clear as the crowd rises along the rail.Henry Thomas Alken, hand-coloured aquatint, c.1830sThe Celebrated Trotting Mares Maud S. and AldineMaud S. and Aldine paired to Vanderbilt's wagon at Morrisania, two record mares stepping as one.Currier & Ives, hand-coloured lithograph, 1883Trotting Cracks at Home, a Model StableCurrier & Ives take the trotting cracks home to a model stable, Thomas Worth's gentlemen fussing over their harness stock.Currier & Ives after Thomas Worth, hand-coloured lithograph, 1868Fast Trotting in the West - Lucy and Goldsmith MaidLucy and Goldsmith Maid head to head out West, Currier & Ives running two great mares stride for stride.Currier & Ives, hand-coloured lithograph, c.1874A Good Send Off - Goldsmith Maid, American Girl, Lucy and HenryFour cracks get a good send-off at Fleetwood Park, Currier & Ives catching the moment the field breaks even.Currier & Ives, hand-coloured lithograph, 1872Champion Trotting Stallion SmugglerSmuggler, the champion stallion of the Milton stud, shown at his trot in a Currier & Ives sheet.Currier & Ives, hand-coloured lithograph, c.1876American Trotting Stud - Mambino Pilot, Flora TempleA breeder's sheet of the American trotting stud, Currier & Ives lining up the sires that made the gait.Currier & Ives, hand-coloured lithograph, c.1872The Celebrated Trotting Mare Lucy, Passing the Judges' StandLucy sweeps past the judges' stand at Buffalo to take the fourth heat, Currier & Ives holding her at the wire.Currier & Ives, hand-coloured lithograph, 1872Celebrated Trotting Mare Lady ThorneLady Thorne, once the Maid of Ashland, drawn at her long low trot in a Currier & Ives sheet.Currier & Ives, hand-coloured lithograph, c.1869The Celebrated Trotting Mare Flora Temple, Driven by James D. McMannFlora Temple flying to McMann's hands, the bobtail mare who first broke 2:20 laid out at speed.Currier & Ives, hand-coloured lithograph, c.1859The Grand Trotting Stallion BonesetterBonesetter, son of the Brooks Horse, shown to the sulky as a stud sheet for the harness men.Currier & Ives, hand-coloured lithograph, c.1875Champion Trotting Queen AlixAlix, the trotting queen of 1893, laid flat to the sulky in her 2:07 record at Washington Park.Currier & Ives, hand-coloured lithograph, 1893The Celebrated Trotting Mare Goldsmith Maid Driven by Budd DobleGoldsmith Maid in Budd Doble's hands at Buffalo, the queen of the trotters beating Lucy in record heats.Currier & Ives, hand-coloured lithograph, 1871'Trotting Cracks' at the ForgeThe trotting cracks pull up at the forge, Currier & Ives resting the road horses under the smith's lamp.Currier & Ives after Thomas Worth, hand-coloured lithograph, c.1869'Trotting Cracks' on the SnowSleighs and trotting cracks fly over packed snow, Currier & Ives making a winter sport of the road-wagon match.Currier & Ives after Thomas Worth, hand-coloured lithograph, c.1858Animal Locomotion, Plate 614Muybridge lays a galloping horse out in serial frames on Plate 614, the stride finally taken to pieces by the camera.Eadweard Muybridge, collotype, 1887Animal Locomotion, Plate 630Plate 630 runs the horse through its paces in a strip of exposures, motion pinned like a specimen.Eadweard Muybridge, collotype, 1887Animal Locomotion, Plate 632Plate 632 sets a ridden horse through the sequence, rider and mount dissected in the same instant.Eadweard Muybridge, collotype, 1887Animal Locomotion, Plate 625Plate 625 sets the horse's gait in a grid, Muybridge proving what no eye at the rail could ever hold.Eadweard Muybridge, collotype, 1887Animal Locomotion, Plate 635Plate 635 closes the horse series, Muybridge's camera settling forever the argument over the flying gallop.Eadweard Muybridge, collotype, 1887Animal Locomotion, Plate 633Plate 633 catches the horse and rider frame by frame, the whole gallop laid bare in a row of stopped time.Eadweard Muybridge, collotype, 1887Animal Locomotion, Plate 628Plate 628 walks the horse frame by frame, Muybridge cataloguing the machinery of the walk.Eadweard Muybridge, collotype, 1887Animal Locomotion, Plate 629Plate 629 holds the horse mid-stride across the sequence, the instant the turf never lets you see.Eadweard Muybridge, collotype, 1887Animal Locomotion, Plate 631Plate 631 breaks the canter into its parts, Muybridge's grid making a science of the stride.Eadweard Muybridge, collotype, 1887Sam Loates (Vanity Fair)Sam Loates in Spy's hand, another of the riding Loateses set down for the turf's picture gallery.Leslie Ward ('Spy'), chromolithograph, Vanity Fair, 1896Mr Arthur Coventry, 'The Baby' (Vanity Fair)The gentleman rider Arthur Coventry, 'The Baby', drawn by Spy with the ease of the amateur in the saddle.Leslie Ward ('Spy'), chromolithograph, Vanity Fair, 1884Lester Reiff, 'Lester' (Vanity Fair)Lester Reiff drawn by Spy, the elder of the American brothers who rode the English turf at the century's turn.Leslie Ward ('Spy'), chromolithograph, Vanity Fair, 1900James Woodburn (Vanity Fair)Spy sets down the jockey James Woodburn in silks, a working rider given his turn in the weekly gallery.Leslie Ward ('Spy'), chromolithograph, Vanity Fair, 1890Frank Wootton (Vanity Fair)The champion apprentice Frank Wootton set down by Spy in 1909, a boy already at the head of the riders' table.Leslie Ward ('Spy'), chromolithograph, Vanity Fair, 1909Tom Cannon (Vanity Fair)Tom Cannon caught by Spy in his silks, the stylist's seat that fathered a dynasty of riders.Leslie Ward ('Spy'), chromolithograph, Vanity Fair, 1885Arthur Templeman, 'A Rising Star' (Vanity Fair)Spy tips Arthur Templeman as 'a rising star', an Edwardian apprentice caught with the season ahead of him.Leslie Ward ('Spy'), chromolithograph, Vanity Fair, 1906John Reiff, 'Johnny' (Vanity Fair)The young American Johnny Reiff in Spy's caricature, a boy rider making his name on English courses.Leslie Ward ('Spy'), chromolithograph, Vanity Fair, 1900Arthur James (Vanity Fair)The turfman Arthur James set down by Spy in Edwardian day dress, the enclosure's easy authority in his stance.Leslie Ward ('Spy'), chromolithograph, Vanity Fair, 1904Mr George Thursby (Vanity Fair)The gentleman rider George Thursby in Spy's Edwardian caricature, the amateur who could hold his own among professionals.Leslie Ward ('Spy'), chromolithograph, Vanity Fair, 1907Fred Rickaby, 'Rick' (Vanity Fair)Fred Rickaby, 'Rick', in Spy's Edwardian caricature, first of a riding line that would run for generations.Leslie Ward ('Spy'), chromolithograph, Vanity Fair, 1901Frederick Barne (Vanity Fair)Spy sets down the turfman Frederick Barne, a fixture of the enclosure caught in his day dress.Leslie Ward ('Spy'), chromolithograph, Vanity Fair, 1882William Crawfurd Stirling-Stuart (Vanity Fair)Spy draws the owner-sportsman Stirling-Stuart in Edwardian tweeds, a familiar figure of the paddock rail.Leslie Ward ('Spy'), chromolithograph, Vanity Fair, 1904William Higgs, 'Top of the List' (Vanity Fair)William Higgs, 'top of the list' for the season, drawn by Spy in the fullness of his Edwardian form.Leslie Ward ('Spy'), chromolithograph, Vanity Fair, 1906Tom Loates (Vanity Fair)Spy renders Tom Loates trim in the paddock, a champion of the flat drawn with affectionate exactness.Leslie Ward ('Spy'), chromolithograph, Vanity Fair, 1890