Equine Art For Sale

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Browse 144 Equine artworks for sale. Contemporary artists: Karin L. Ruoff, Tammy Fleetwood Moody, Marcia Collins, Katherine Taylorgreen, Dana Zivanovits, Sergio Gaspar, Laura Imhoff, Painter Artdiem, Barbara Busch, Daniel Janssens, Andrea Mackey, David Works, Eleanor Hartwell, Sonja Tellison, Gary Whitley, Ivan Kosta, Tom Lund-lack offering Equine artworks. Links to more artworks by these contemporary artists and 5 pages for and further artists at the bottom of this page. To view a work by any of these contemporary artists simply click on the image or browse the artist's portfolio. To buy any Equine art simply click on the image to go to a more detailed page about this work of art.


Contemporary Art / / Previous / Next
Karin L. Ruoff: 'Perseid Wishes', 2007 Watercolor, Equine.  A dark horse in deep violets with stylized background ...
Equine - Watercolor
8 x 10 inches (20.3 x 25.4 cm)
Tammy Fleetwood Moody: 'Wild and Free', 2007 Giclee, Equine.  This is a giclee poster print of an acylic painting of three wild horses. ...
Equine - Giclee
16 x 20 inches (40.6 x 50.8 cm)
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Marcia Collins: 'Sary Albadeia', 2006 Pastel, Equine.  Soft Pastel on Le Carte Pastel BoardSary Albadeia of Albadeia Arabian Horses, Cairo, Egypt Prints Available- Contact Artist...
Equine - Pastel
12 x 15 inches (30.5 x 38.1 cm)
Marcia Collins: 'Farid Albadeia', 2006 Pastel, Equine.  Soft Pastel on Le Carte Pastel BoardFarid Albadeia of Albadeia Egyptian Arabians, Cairo, EgyptPrints Available- Contact Artist ...
Equine - Pastel
15 x 12 inches (38.1 x 30.5 cm)
Katherine Taylorgreen: 'Sunset Bay', 2006 Pastel, Equine.  Playing with bright sun drenched color was the objective behind this Arabian horse.Painting is on black sanded paper. ...
, 2006
Equine - Pastel
22 x 19 inches (55.9 x 48.3 cm)
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Dana Zivanovits: 'HORSE SHOW', 1981 Watercolor, Equine.  Watercolor and ink on sketch paper- a early work. A signed and dated [ 1982] Zivanovits original. ...
, 1981
Equine - Watercolor
17 x 14 inches (43.2 x 35.6 cm)
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Sergio Gaspar: 'Luna Nueva', 2006 Oil Painting, Equine. Realistic oil painting of a horse...
, 2006
Equine - Painting
80 x 80 cm (31.5 x 31.5 inches)
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Laura Imhoff: 'Untitled', 2006 Acrylic Painting, Equine.
, 2006
Equine - Painting
42 x 56 inches (106.7 x 142.2 cm)
Painter Artdiem: 'White Horse', 2006 Acrylic Painting, Equine.
Equine - Painting
24 x 18 inches (61.0 x 45.7 cm)
Barbara Busch: 'Magestic', 2006 Pencil Drawing, Equine. This is a Print of a pencil drawn picture of one of my horses. ...
, 2006
Equine - Drawing
8 x 10 inches (20.3 x 25.4 cm)
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Barbara Busch: 'First Filly', 2006 Pencil Drawing, Equine. This is a Print of a pencil drawing of my first filly. ...
Equine - Drawing
10 x 8 inches (25.4 x 20.3 cm)
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Barbara Busch: 'Insight', 2006 Pencil Drawing, Equine. This is a Print of a pencil drawing of one of my horses. ...
, 2006
Equine - Drawing
8 x 10 inches (20.3 x 25.4 cm)
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Daniel Janssens: 'Rider', 2005 Bronze Sculpture, Equine.
, 2005
Equine - Sculpture
5 x 40 cm (2.0 x 15.7 inches)
Andrea Mackey: 'Friend', 2005 Pastel, Equine.
, 2005
Equine - Pastel
22 x 16 inches (55.9 x 40.6 cm)
David Works: 'Race 1', 2002 Other Photography, Equine. Race Horse and Jockey in the race.  Derived from original photograph.  Printed with archival inks on 13x19 inch watercolor paper....
, 2002
Equine - Photograph
16 x 12 inches (40.6 x 30.5 cm)
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Eleanor Hartwell: 'White Horses', 2003 Watercolor, Equine.
Equine - Watercolor
16 x 12 inches (40.6 x 30.5 cm)
Sonja Tellison: 'Red Horse ', 2002 Other Photography, Equine.
, 2002
Equine - Photograph
16 x 16 inches (40.6 x 40.6 cm)
Gary Whitley: 'whitehorses', 2001 Oil Painting, Equine.
Equine - Painting
24 x 18 inches (61.0 x 45.7 cm)
Ivan Kosta: 'Memory Riders', 1998 Steel Sculpture, Equine. Cast bronze on stainless steel background - horses with vague riders  galloping in the clouds. . . Viewers' imagination invited. ....
Equine - Sculpture
52 x 18 inches (132.1 x 45.7 cm)
Tom Lund-lack: 'energy 27', 2019 Pastel, Equine. Harder to do than they look, no mistakes allowed.  In this series of pastels the title reflects the energy of the sport of horse racing and the execution of the piece.  The support is 300GSM Mi Teintes pastel paper.  This is a somewhat disorganised field of scattred riders and horses.  ...
, 2019
Equine - Pastel
50 x 70 cm (19.7 x 27.6 inches)
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Tom Lund-lack: 'energy 25', 2019 Pastel, Equine. Harder to do than they look, no mistakes allowed.  In this series of pastels the title reflects the energy of the sport of horse racing and the execution of the piece.  The support is 300GSM Mi Teintes pastel paper. ...
, 2019
Equine - Pastel
50 x 70 cm (19.7 x 27.6 inches)
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Tom Lund-lack: 'Uninhibted Joy ', 2019 Pastel, Equine. The uninhibited joy of being a grey hound able to run like thewind.  Pastel on 300gsm Mi Teinte pastel paper...
Equine - Pastel
50 x 70 cm (19.7 x 27.6 inches)
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Tom Lund-lack: 'energy 21', 2018 Pastel, Equine. Harder to do than they look, no mistakes allowed.  In this series of pastels the title reflects the energy of the sport of horse racing and the execution of the piece. The support is 300GSM Mi Teintes white pastel paper. ...
, 2018
Equine - Pastel
50 x 70 cm (19.7 x 27.6 inches)
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Tom Lund-lack: 'jump a little higher please', 2019 Pastel, Equine. The athleticism of the greyhound is something elseThis piece aims to capture the essence of their agility.  The medium is Terry Ludwig soft pastels and charcoal on Mi Teintes 300 gsm pastel paper. ...
Equine - Pastel
50 x 70 cm (19.7 x 27.6 inches)
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Tom Lund-lack: 'galloping horses in blue', 2017 Oil Painting, Equine. When I bought this 100 x 30 cm canvas I was asked what I was going to paint onto it. Horses in the Chinese style was the answer. My daughter in law who is Japanese provided the characters which just had to be there, but they are very hard to ...
Equine - Painting
30 x 100 cm (11.8 x 39.4 inches)
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Tom Lund-lack: 'energy 16', 2017 Pastel, Equine. A pastel sketch, these are harder to do than they look, no mistakes allowed The title reflects the energy of the sport of horse racing and the execution of the sketch. The support is 300 GSM Mi Teintes white pastel paper. ...
, 2017
Equine - Pastel
50 x 70 cm (19.7 x 27.6 inches)
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Tom Lund-lack: 'Racing Colours 3', 2016 Oil Painting, Equine.  Contemporary racing painting painting was using thicj applications of oil paint to bring out the drama, colours and excitiment of racing.  ...
Equine - Painting
45 x 60 cm (17.7 x 23.6 inches)
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Tom Lund-lack: 'Racing Colours', 2016 Acrylic Painting, Equine. This very contemporary painting was completed very quickly about 4 hours the aim being to use simple shapes combined together to make a figurative image.  The subject matter - horse racing becomes obvious the further away from the painting one gets.  The energy I put into this piece I hope reflects ...
Equine - Painting
45 x 60 cm (17.7 x 23.6 inches)
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Tom Lund-lack: 'Odds On Favourite Four to Two', 2014 Oil Painting, Equine.  Pace, colourmovement of racehorses and jockeys are the subject of this oil on canvas.  Typical of my style, this time with a touch of humour the four to two being the obviously the numbers on the two visible horses. ...
Equine - Painting
70 x 50 cm (27.6 x 19.7 inches)
Tom Lund-lack: 'Energy 7', 2008 Pastel, Equine.  Pace, colour  movement of racehorse and jockey are the subject of these rapidly executed sketches using pastel on yellow paper. ...
, 2008
Equine - Pastel
50 x 70 cm (19.7 x 27.6 inches)
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(Page 3 of 5) - MORE ARTWORKS

Artists Describing Their Art:

Karin L. Ruoff - Thank you for stopping in to view my work. I hope to capture some sense of my experiences of a lifelong love of horses. I paint them as I see them in my minds eye but intend to convey a deeper part of their affect on my life. Enjoy....

Marcia Collins - I taught myself how to draw portraits in charcoal about 6 years ago and started out with portraits of my son and his friends. I loved being able to give these one of a kind gifts to my friends and family members and seeing the looks on their faces!! I do commissions of people, pets and homes throughout the year and you can visit my website www.marcicollins.com for more information on ordering a commissioned portrait. I have recently taken lessons in soft pastel and love being able to offer this service as well. Thank you for looking and I would love to hear from you!!...

Katherine Taylorgreen - I am a self taught artist, working primarily in pastel. The world of animals and nature is my passion. The power and grace of an arabian hourse, the cool level stare of a wolf, the exuberance of puppies at play, all move me as other subjects haven't. I strive to portray these emotions to the viewer and give them a glimpse into the animal's soul....

Dana Zivanovits - Dana Zivanovits was born in 1958 in Columbus, Ohio and received his art training from the Columbus College of Art and Design (1978 to 1982). After art school, he went abroad for a year and studied the art of the old masters in London, Paris, Madrid, Rome and Venice. Returning to his studio in Columbus to develop these influences into a new body of work, he then traveled to Mexico and studied the sculpture and painting of that country for an extended period. The unique and vivid colors of Palenque and Vera Cruz intensified his palette. After a period in Ohio, he then moved to Venice Beach, California where the brilliant light of the region reinforced his desire to capture effects of sunlight and atmosphere. Returning to Ohio in 1995, he has continued to paint themes deriving inspiration form sources such as world mythology, classic and B-grade cinema, literature and dreams. However his primary inspiration is direct observation from nature, versus an approach based in art theories or cultural critique. Dana has been widely represented by galleries and exhibition projects including Julie Rico and Mega Boom in Los Angeles, the Venice Art Detour, Around the Coyote Festival in Chicago ...

Laura Imhoff - My name is Laura Imhoff and I am the owner and photographer of Perception Studio. I graduated magna cum laude from the Myers School of Art, University of Akron in 2006 with a BFA in photography, and minors in painting, art history, and professional photography. While in school, my goal was to practice as many disciplines and approaches to art as possible so that I could gain a true understanding of what it meant to be an artist. But what did that require? It meant, "eat, breathe, and sleep" art. So, that is exactly what I did. While my classes offered technical advice for each discipline I tried, I learned the most from the artists of past decades and my colleagues. Sharing my life and art with them, and vice versa, showed me a world of possibilities and gave me a real appreciation for art in all its forms (and people, too). I decided that art school really wasn't about learning how to BE an artist, but instead about how to defend why YOU are an artist. Being an artist isn't about being techinically the best, which is what I had always strived for...its about the ideas ...

Barbara Busch - Hi, I've been drawing most of my life. I live on a small horse ranch and get most of my inspiration watching and playing with my horses and other animals that we have. I hope that you enjoy my art, Happy Trails. Barb...

Daniel Janssens - "It is the woman's beauty and mystery that have made me paint and sculpt in the first place." The artist, who previously painted only one human figure per painting, has recently begun to represent several figures, and these figures are no longer exclusively women. In sculpture also, the single human figures of the beginning are gradually replaced by intertwined figures, that go by two, by couple, or even by trio or quartet. "Previously, it was the individual that questioned me. Now, increasingly, I paint and sculpt attitudes and relationships." Painting and sculpture are based on different relationships: that between the sculptor-painter and his painting or sculpture, that between colors and shapes, that between the spectator and the work of art, and finally, the possible relationship between the different spectators. "However, I have not become a narrative artist, even if the spectator can invent stories about the human figures they see depicted." - But why only one subject? - Because the more one concentrates on one - and only one - subject, the deeper one can go, and the more style and technique can speak freely. If one always seeks to change subjects, it becomes difficult to specialize in it." It is the...

Andrea Mackey - I draw and paint because I must. I am passionate about drawing and painting. Being able to look at a subject and sketch it accurately, as I see it, is a major factor in building the structure for each of my paintings. Executing a well-planned drawing is what keeps me motivated. The media and subject matter may vary, but the structure beneath is what I consider my true medium....

David Works - Our perception of the world is inherently creative. We are continuously assembling the world we experience by giving attention to events and appearances that have meaning. Out of the ever changing and infinite perceptual field, only a small subset of potential perceptions surfaces in our stream of consciousness. Doing art is my way of exploring this perceptual process, discovering new things, images and meaning. I am interested in the immensely complex and rich "perceptual field" from which we "abstract" meaningful shapes and events. The process is subtle, with order emerging out of chaos, with feedback loops involving the interaction between what is seen and what is "looked for", and a hierarchy of physical structures and culturally learned "realities". These works are more like discoveries where intention and chance interact in unexplainable ways (to me) -- a dialogue that teases order out of chaos. A number of my works involve the integration of traditional techniques with digital processes. For example, I paint over digital prints and then bring them back into the computer for additional work and final printing. Conceptually, I see much of my work in terms of traditional printmaking, but I'm working with a "digital plate" rather than traditional ...

Eleanor Hartwell - I am a self taught artist. I like to explore in all types of media, and try out a variety of style and type of work. I have a lot of fun doing what I do. I have done a series of drawings for a book on Harehunting, which will be published in the spring of 2002. "One Day at a Time" In October of 2002, New Hampshire Public Radio will be offering a "gift" of a mug to thier fall fund drive donaters, featuring my painting done specially for this project. ...

Sonja Tellison - More than simple faerie tales, myths can teach, heal, act as morality guides, or beacons of inspiration along a sometimes murky spiritual path. The myths of a culture are it's soul. They are what's left behind when the political border lines have changed and the people themselves are gone. Myth helps us to understand our own nature as well as that of the world around us. Joseph Campbell, noted scholar and one of the foremost authorities on mythology states, "Myth must be kept alive. The people who can (do this) are artists . . . . The function of the artist is the mythologization of the environment and the world." At a time when we, as a society, rely more on science and technology for answers to our various quandries, than a collective, traditional knowledge, refocusing on mythologization is more important then ever. Are you anxious? Here, take a new pill! Are kids more violent? Must be the video games! The adage "There's nothing new under the sun." is itself certainly not a new concept. If we delve deep enough, the answers are already existent, like diamonds in the dark. When we forget the stories of our ancestors, we forget our...

Gary Whitley - As Albert Einstein said, " The most beautiful thing we can experience is the mysterious. It is the source of all true art and science." I see mystery in everything: light and shadow, seen and unseen, real and imagined. It is more about vision and less what is seen. It is more about magic and less about scenery. It is more about emotion and less about technique. This is how I do art....

Ivan Kosta - My mission? To give some resemblance of our lives, to touch our fears,concerns, evoke dreams and give hope in time of dispair... ...

Tom Lund-Lack - I am an experienced artist whose work uses the power of imagination to find find the essence of the subject.A It is grounded in the need to celebrate life, and to portray the subject through the transforming power of colour and light. Arrangements of shape, line, pattern and colour are brilliant at conjuringA up powerful expressions, sometimes these can be dreamlike and at peace sometimes exciting and dramatic. My work does not always represent an actual moment, place or object in time, but they areA the result of a process of reflection, recollection and reinvention, a distillation of experience. Art is a very small word having the widest possible meaning appreciation is a subjective judgement and no artist or workA can please everyone.A My aim is to please at least some of you and I am very confident that this aspiration is achievable ...