What characterises 19th-century British equestrian and narrative oil paintings?

Nineteenth-century British narrative and equestrian paintings focused on figurative storytelling, sporting scenes, and dramatic landscapes. Artists like Abraham Cooper RA depicted anatomical precision in horses, realistic natural lighting, and atmospheric weather effects, often framed in elaborate plaster or gilt wood frames.

What materials were traditionally used in 19th-century oil paintings?

Paintings from this era were created using oil-based pigments applied to linen canvas stretched over wooden stretcher bars. Frames were crafted from timber with molded gesso ornament and finished with applied gold leaf.

How do specialists verify the authenticity of 19th-century oil paintings?

Authenticity is evaluated through physical examination of age-appropriate craquelure, canvas oxidisation, period stretchers, artist signatures or inscriptions, and historical exhibition labels on the frame reverse.

How can a period framed oil painting be integrated into a modern interior?

A gilt-framed period canvas works well as a focal point above a fireplace mantelpiece, console table, or within a gallery wall, creating visual contrast against modern neutral paint tones or dark accent walls.

What are the essential care guidelines for preserving antique oil paintings?

Paintings should be kept in climate-controlled environments away from direct sunlight, dampness, and heat sources. Frames and canvases require dusting with a soft brush and professional conservator intervention for cleaning or varnish replacement.

for sale €8,424 $9,144

£7,200

Benton Fine Art

Sellingantiques Verified Since Sep 2012

View Dealers Stock Page

About Us

Specialists in 19th & early 20th century original oil paintings by listed artists
Trade Associations

Benton Fine Art is a registered member of LAPADA BADA CINOA

Relevant Links

Coastal Scene Oil Painting

Antique Fine Art Landscape

Id #SA1224555

PDF

SAVE

Oil Painting of Smugglers with Horses on a Coastal Path by Abraham Cooper Ra

Name: Oil Painting of Smugglers with Horses on a Coastal Path by Abraham Cooper Ra
Brand: Antique
SKU: SA1224555
Price: 7200 GBP
Availability: InStock

19th century

For Sale by Benton Fine Art

Description

Abraham Cooper RA

British, (1787-1868)

The Smugglers

Oil on canvas, signed with monogram & dated 1857

Image size: 19.5 inches x 23.5 inches

Size including frame: 27.5 inches x 31.5 inches

Exhibited at the RA in 1857, no. 124

A dramatic painting of smugglers travelling along a coastal path at night by Abraham Cooper. A man in a grey overcoat is shown riding a chestnut horse, whilst leading a white horse loaded with barrels up a secluded track beneath a cliff. As he makes his way along, he turns to check on his companions following behind him, exchanging a silent look. In the distance, the sails of a boat can be seen on the shore as another ship makes its way along the horizon. The play of moonlight on the night sky adds to the tension of the unfolding scene. This painting was exhibited at the RA in 1857, no. 124 under the title ‘Smugglers on the Northumberland coast in the early part of the present century, as often seen by the artist when a boy’.

Abraham Cooper was born in Holborn, London on 8 September, 1787 to Alexander and Susanna Cooper. His father was an inn keeper and the family lived at Red Lion Street in Holborn. Although little is recorded about his early education, he is known to have started working at Astley’s Amphitheatre at the age of 13 before becoming a groom for the brewer Henry Meux. His close work with horses inspired him to learn how to paint and he began producing paintings of the horses in his care. Encouraged by Meux, he became a pupil of the animal painter Benjamin Marshall (1768-1835) who took him into his studio.

Under Marshall’s tutelage he flourished as an artist and developed a lifelong interest in historical scenes particularly of battles, which earned him the nickname ‘Battle Cooper’. In 1812, he made his debut at Royal Academy in 1812, becoming a prolific exhibitor there. In the same year he also began exhibiting at the British Institute.

He married Maria Goom on the 23 April, 1813. The couple lived in Robert Street, Holborn and went on to have 3 children together. Their son Alfred William Cooper (1829-1916) studied at the RA and became a well-known artist and illustrator. By 1817, he had moved to New Millman Street in Holborn where he remained for over 30 years. In 1817, he was made Associate of the Royal Academy and in 1820 was elected fully Academician.

In 1853, a few years after the death of his first wife, he married Francis McArthy D’Ebro a widow and the daughter of an artist. The couple continued living at Cooper’s home in Millman Street until sometime after 1861 when they moved to Woodbine Cottage, Woodland Street, Greenwich.

Cooper died aged 81 at his home in Woodland Street on 24 December, 1868. He was buried at Highgate Cemetery. Examples of his work can be found in many public collections including the Ashmolean Museum, Cromwell Museum, English Heritage, Government Art Collection, Harris Museum, National Trust, The Wilson, V&A and Yale Center for British Art.

Presentation: The work is housed in its original gilt frame which is in excellent condition. The reverse of painting bears an old label for William Biggs a carver and gilder who became a partner at Harris & Pearce, the picture restorers, around 1834. The company was originally founded by John Harris in 1787 at 38 Dean Street, London moving to Conduit Street in 1805 and was continued by his partner Samuel Pearce after his death. When Biggs joined, the company became Pearce & Biggs and later William Biggs, Biggs & Son and W H Biggs & Co. During the 1850’s it also operated as a picture dealer. The business was located at 31 Conduit Street from 1810 to 1878 and at 7 Maddox St from 1879 until it’s closure around 1884.

Condition: As with all of our original antique oil paintings, this work is offered in ready to hang gallery condition, having been professionally cleaned, restored and revarnished.

© Benton Fine Art

Physical Dimensions

Height

70cm (27.56")

Width

80cm (31.50")

Depth

7.5cm (2.95")

Declaration

Benton Fine Art has dated this Antique Equestrian Oil Painting to the 1860s.

Reference Numbers

Sellingantiques Reference

SA1224555

Dealers Notes

Members of the British Antique Dealers Association (BADA) the London and Provincial Antique Dealers Association (LAPADA).

We use a professional, fully insured and tracked door to door service for our UK and international deliveries. Please contact us for further information and shipping quotes.

Viewing is by APPOINTMENT ONLY. However, we can also arrange for you to view the item in your home, depending on the location.

For a wider range of stock please visit www.bentonfineart.com.

If you would like to purchase this item or have any questions, please email us at pictures@bentonfineart.com or call 07710 540549.

© Benton Fine Art

Description

Abraham Cooper RA

British, (1787-1868)

The Smugglers

Oil on canvas, signed with monogram & dated 1857

Image size: 19.5 inches x 23.5 inches

Size including frame: 27.5 inches x 31.5 inches

Exhibited at the RA in 1857, no. 124

A dramatic painting of smugglers travelling along a coastal path at night by Abraham Cooper.

“

A man in a grey overcoat is shown riding a chestnut horse, whilst leading a white horse loaded with barrels up a secluded track beneath a cliff.

Benton Fine Art

As he makes his way along, he turns to check on his companions following behind him, exchanging a silent look. In the distance, the sails of a boat can be seen on the shore as another ship makes its way along the horizon. The play of moonlight on the night sky adds to the tension of the unfolding scene. This painting was exhibited at the RA in 1857, no. 124 under the title ‘Smugglers on the Northumberland coast in the early part of the present century, as often seen by the artist when a boy’.

fig 1. A nineteenth-century oil painting depicting smugglers leading pack horses along a rocky coastal path under dramatic clouds, encased in an ornate gold gilt frame. — fig 1. Oil Painting of Smugglers with Horses on a Coastal Path by Abraham Cooper Ra

Abraham Cooper was born in Holborn, London on 8 September, 1787 to Alexander and Susanna Cooper. His father was an inn keeper and the family lived at Red Lion Street in Holborn. Although little is recorded about his early education, he is known to have started working at Astley’s Amphitheatre at the age of 13 before becoming a groom for the brewer Henry Meux. His close work with horses inspired him to learn how to paint and he began producing paintings of the horses in his care. Encouraged by Meux, he became a pupil of the animal painter Benjamin Marshall (1768-1835) who took him into his studio.

fig 2. A nineteenth-century oil painting depicting smugglers leading pack horses along a rocky coastal path under dramatic clouds, encased in an ornate gold gilt frame. — fig 2. Oil Painting of Smugglers with Horses on a Coastal Path by Abraham Cooper Ra

Under Marshall’s tutelage he flourished as an artist and developed a lifelong interest in historical scenes particularly of battles, which earned him the nickname ‘Battle Cooper’. In 1812, he made his debut at Royal Academy in 1812, becoming a prolific exhibitor there. In the same year he also began exhibiting at the British Institute.

fig 3. A nineteenth-century oil painting depicting smugglers leading pack horses along a rocky coastal path under dramatic clouds, encased in an ornate gold gilt frame. — fig 3. Oil Painting of Smugglers with Horses on a Coastal Path by Abraham Cooper Ra

He married Maria Goom on the 23 April, 1813. The couple lived in Robert Street, Holborn and went on to have 3 children together. Their son Alfred William Cooper (1829-1916) studied at the RA and became a well-known artist and illustrator. By 1817, he had moved to New Millman Street in Holborn where he remained for over 30 years. In 1817, he was made Associate of the Royal Academy and in 1820 was elected fully Academician.

fig 4. A nineteenth-century oil painting depicting smugglers leading pack horses along a rocky coastal path under dramatic clouds, encased in an ornate gold gilt frame. — fig 4. Oil Painting of Smugglers with Horses on a Coastal Path by Abraham Cooper Ra

In 1853, a few years after the death of his first wife, he married Francis McArthy D’Ebro a widow and the daughter of an artist. The couple continued living at Cooper’s home in Millman Street until sometime after 1861 when they moved to Woodbine Cottage, Woodland Street, Greenwich.

fig 5. A nineteenth-century oil painting depicting smugglers leading pack horses along a rocky coastal path under dramatic clouds, encased in an ornate gold gilt frame. — fig 5. Oil Painting of Smugglers with Horses on a Coastal Path by Abraham Cooper Ra

Cooper died aged 81 at his home in Woodland Street on 24 December, 1868. He was buried at Highgate Cemetery. Examples of his work can be found in many public collections including the Ashmolean Museum, Cromwell Museum, English Heritage, Government Art Collection, Harris Museum, National Trust, The Wilson, V&A and Yale Center for British Art.

fig 6. A nineteenth-century oil painting depicting smugglers leading pack horses along a rocky coastal path under dramatic clouds, encased in an ornate gold gilt frame. — fig 6. Oil Painting of Smugglers with Horses on a Coastal Path by Abraham Cooper Ra

Presentation: The work is housed in its original gilt frame which is in excellent condition. The reverse of painting bears an old label for William Biggs a carver and gilder who became a partner at Harris & Pearce, the picture restorers, around 1834. The company was originally founded by John Harris in 1787 at 38 Dean Street, London moving to Conduit Street in 1805 and was continued by his partner Samuel Pearce after his death. When Biggs joined, the company became Pearce & Biggs and later William Biggs, Biggs & Son and W H Biggs & Co. During the 1850’s it also operated as a picture dealer. The business was located at 31 Conduit Street from 1810 to 1878 and at 7 Maddox St from 1879 until it’s closure around 1884.

Condition: As with all of our original antique oil paintings, this work is offered in ready to hang gallery condition, having been professionally cleaned, restored and revarnished.