KNIGHTS WARRIORS ON STALLION HORSEBACK SWORD FIGHT ~ 1880 Art Print Engraving

Description: THE RESCUE Artist: From a Painting by A. Cooper, R. A. NOTE: The title in the box above is also in the white border below this scene. PRINT DATE: This engraving was printed in 1880; it is not a modern reproduction in any way. PRINT SIZE: Overall print size is 7 x 10 inches, actual scene size is 5 by 6 1/2 inches. PRINT CONDITION: Condition is excellent. Bright and clean. Blank on reverse. Paper is quality woven rag stock paper. SHIPPING: Buyer to pay shipping, domestic orders receive priority mail, international orders receive regular air mail unless otherwise asked for. Full payment details will be in our email after auction close. We pack properly to protect your item! PRINT DESCRIPTION: Abraham Cooper RA (1787–1868) was a British animal and battle painter. The son of a tobacconist, he was born in Greenwich, London. At the age of thirteen he became an employee at Astley's Amphitheatre, and was afterwards a groom in the service of Henry Meux, a brewer and later the first of the Meux baronets. When he was twenty-two, wishing to possess a portrait of a favorite horse under his care, he bought a manual of painting, learned something of the use of oil-colours, and painted the picture on a canvas hung against the stable wall. His master bought it and encouraged him to continue in his efforts. He accordingly began to copy prints of horses, and was introduced to Benjamin Marshall, the animal painter, who took him into his studio, and seems to have introduced him to the Sporting Magazine, an illustrated periodical to which he was himself a contributor. In 1814 he exhibited his Tam O'Shanter, and in 1816 he won a prize for his Battle of Ligny. In 1817 he exhibited his Battle of Marston Moor and was made associate of the Royal Academy, and in 1820 he was elected Academician. Cooper, although ill-educated, was a clever and conscientious artist; his colouring was somewhat flat and dead, but he was a master of equine portraiture and anatomy, and had some antiquarian knowledge. He had a special fondness for Cavalier and Roundhead pictures. In both of the specimens which we give as representations of the kind of works by which Cooper obtained his reputation, the horse, his favourite animal, appears in different positions. In the Rescue we see that animal pulled up for the fight in which the riders are about to be engaged; and we see it also exhibited in what may be considered an ideal generic form, in which the animals are shown larger than ordinary, and in the supposed possession of the fullest vigour, both in health and strength. In speaking of the use of the terms ideal and generic, Ruskin says that it is hardly right to use the word ideal of the generic forms of such creatures as we have examples before us; but if we are to use it, then be it distinctly understood, that their ideality consists in the full development of all the powers and properties of the creature as such, and is inconsistent with accidental or imperfect developments, and even with great variation from average size, the ideal size being neither gigantic nor diminutive, but the utmost grandeur and entireness of proportion at a certain point above the mean size; for as more individuals always fall short of generic size than rise above it, the generic is above the average or mean size. And this perfection of the creature invariably involves the utmost possible degree of all those properties of beauty, both typical and vital, which it is appointed to possess. On examining the picture of The Rescue the principle here laid down will we think be found exemplified by Cooper. THIS IS AN ACTUAL ENGRAVING PRINTED IN THE 1880's! TAKEN FROM A PAINTING FROM A FAMOUS 1800S ENGLISH BRITISH UK ARTIST PAINTER!

Price: 12.79 USD

Location: New Providence, New Jersey

End Time: 2025-01-18T17:58:16.000Z

Shipping Cost: 7.95 USD