Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 74 works by Abraham Cooper in our catalogue
In short
To the gallery's eye, Abraham Cooper's most famous painting is A fox (1817). Battle of Bosworth (1790) and Marshal Blucher at the Battle of Ligny, 16 June 1815 (1815) complete the trio every eye recognises. Of the 74 works by Abraham Cooper in our catalog, the gallery presents the 72 most famous below, each original with its year, its museum and what makes it unique.
A fox lies curled in sleep upon a rugged, rocky surface. The composition centers entirely on the animal, isolating it against a dark, undefined background that pushes the subject toward the viewer. Dramatic lighting catches the texture of the fur, casting deep shadows that define the contours of the body and the uneven terrain. This focused illumination creates a sense of depth within a relatively flattened perspective, emphasizing the immediate,…
In this oil on canvas, we find ourselves thrust into the center of a frantic cavalry engagement. The composition is built upon a series of energetic, jagged lines—the upward thrust of spears and the rearing postures of horses—that guide the eye through a crowded, diagonal arrangement. There is a palpable sense of violent movement here, a struggle captured in the midst of a turbulent sky. The palette relies heavily on…
Marshal Blucher at the Battle of Ligny, 16 June 1815 is a history painting by the British artist Abraham Cooper. The work captures a critical engagement during the Hundred Days campaign, specifically the Battle of Ligny. In this confrontation, Prussian forces under Gebhard Leberecht von Blücher faced defeat at the hands of Napoleon I.
'Scrub', a Shooting Pony, aged 30 and Two Clumber Spaniels1837
12
The First Of October,1856
13
Bosworth Field
14
The ferry crossing
15
Studies Of Sixteen Jockeys I
16
A Dog-fight
17
A Cavalry Skirmish
18
A Prize Ewe with monogram 'H', belonging to Mr J.A
19
Master Edward Coutts Marjoriebanks on his Pony
20
The Pheasant Shoot
21
Tam O'shanter
22
Our nell, published by j. moore
23
Marston Moor
24
A Huntsman On His Pony With His Gundogs
25
Daniel haigh, esq.
26
Richard I At The Battle Of Ascolan
27
Studies Of Sixteen Jockeys Ii
28
Saddled Grey Charger Frightened
29
Saddling Up; And Before The Meet
30
Oliver Cromwell Leading His Cavalry Into Battle
31
The Day Family
32
Cavalier On A White Horse
33
Cider For Lunch
34
Epsom Downs, Before The RaceMusée des Beaux-Arts
35
A Tabby With Her Litter
36
Tam O' Shanter
37
The Racehorse, 'camel'
38
Gentleman Shooting Partridge, With Pointers In A Landscape
39
Gypsy, A Black Horse In A Landscape
40
Two Mounted Cavaliers And Another Drinking Ale Outside An Inn
41
Studies of Sixteen Jockeys III
42
Draught Horses
43
A Bulldog And Bullterriers In An Outhouse
44
Waiting For Master
45
A Gamekeeper With A Grey Pony And A Dog In A Landscape
46
A good day's bag
47
Two Gentlemen on Grey Hunters
48
A Saddled Grey Hunter, With A Dog On A Stone Step, And A Robin
49
Charles Brett's White English Setter 'Sam'
50
Partridge shooting
51
A Huntsman Encouraging HoundsAnglesey Abbey
52
A saddled grey hunter in a landscape
53
Sir Trevisan Fleeing From Despair
54
A Grey Horse At A Stable Door
55
Portrait Of A Hunter And Groom, In An Extensive Landscape
56
Crib And Rosa By An Outhouse
57
Oliver Cromwell
58
Battle Piece
59
Hunters and terriers by a barn, in a river landscape
60
'Scrub', a Shooting Pony Aged 30, and Two Clumber Spaniels
61
Mr. Beardsworth And Birmingham With Patrick Connolly Up And His Trainer On A Hack At Doncaster
62
Oliver Cromwell At Marston Moor
63
The Favourite Dog Of Lord Charles Vere Ferrers TownshendBaddesley Clinton
64
The gamekeeper's stable
65
Portrait of Daniel Haigh
66
Study Of A Cat
67
Cromwell At Marston Moor
68
Mr A. W. Tudor (Master of Foxhounds), on HorsebackDepartment of Health
69
A Donkey And A Spaniel In A Stable
70
A Huntsman Encouraging Hounds
71
A Spaniel in a Landscape
72
'Elis' at Doncaster, Ridden by John Day, with his Van in the BackgroundYale Center for British Art
The four subjects that come back most often in these originals, each with its finest example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Abraham Cooper | Paintings from this list |
|---|---|---|---|
 Dallas Museum of Art |
Dallas | 1 | Battle of Bosworth |
 Petworth House |
Petworth | 1 | Marshal Blucher at the Battle of Ligny, 16 June 1815 |
 The Wilson: Cheltenham Art Gallery And Museum |
Cheltenham | 1 | The Morning of the First of September |
 Royal Collection |
London | 1 | Fleur-de-lis |
 Musée des Beaux-Arts |
Nîmes | 1 | Epsom Downs, Before The Race |
 Anglesey Abbey |
1 | A Huntsman Encouraging Hounds | |
 Baddesley Clinton |
1 | The Favourite Dog Of Lord Charles Vere Ferrers Townshend | |
 Department of Health |
London | 1 | Mr A. W. Tudor (Master of Foxhounds), on Horseback |
Pick a decade to see the original that defines it.
A fox lies curled in sleep upon a rugged, rocky surface. The composition centers entirely on the animal, isolating it against a dark, undefined background that pushes the subject toward the viewer. Dramatic lighting catches the texture of the fur, casting deep shadows that define the contours of the body and the uneven terrain. This focused illumination creates a sense of depth within a relatively flattened perspective, emphasizing the immediate,…
A fox (1817). Battle of Bosworth (1790) and Marshal Blucher at the Battle of Ligny, 16 June 1815 (1815) come next.
30 years old: A fox dates from 1817, and Abraham Cooper was born in 1787.
A fox, Battle of Bosworth, Marshal Blucher at the Battle of Ligny, 16 June 1815, Crib And Rosa By A Barrel, The slipper,, The Morning of the First of September, Portrait of a Favourite Bay, The Battle of Marston Moor in, Fleur-de-lis and Draught Horses. The ranking above gives each one's year and museum.
Our catalog holds 74 works by Abraham Cooper, dated from 1810 to 1856.
Mostly in Dallas Museum of Art (Dallas), Petworth House (Petworth) and The Wilson: Cheltenham Art Gallery And Museum (Cheltenham). The museum table above lists them all.
In 1810s: 6 of the 72 works on this page were made then, A fox among them.
On this page, the earliest is Portrait of a Favourite Bay (1810) and the latest The First Of October, (1856).
Landscape (9), Rural life (5) and Hunting (5), across the 72 works on this page.
Oil On Canvas, for 2 of the 72 works on this page.
Romanticism, judging by the originals on this page.
Born in Greenwich, London, Abraham Cooper rose from humble beginnings to become one of the most respected British animal and battle painters of his era. The son of a tobacconist, his path to artistic greatness was far from conventional. His early years were defined by labor rather than leisure; at thirteen, he found employment at Astley's Amphitheatre, and later served as a groom under the care of Henry Meux. It was this intimate connection to the equine world that would ultimately shape his creative destiny. Driven by a desire to capture the likeness of a favorite horse, the young groom took it upon himself to learn the complexities of oil painting through a manual, practicing his craft on canvases hung against stable walls.
This raw, instinctive passion soon blossomed into professional mastery. Encouraged by his master and introduced to the established animal painter Benjamin Marshall, Cooper began to refine his technique by copying prints of horses. His talent for capturing the anatomical precision and spirited energy of animals quickly caught the attention of the art establishment. By 1814, he was exhibiting works such as Tam O'Shanter, and his prowess in depicting historical conflict led to significant recognition, including a prize for his Battle of Ligny in 1816. His ascent within the prestigious Royal Academy was swift, moving from an associate in 1817 to a full Academician by 1820.
Cooper’s oeuvre is characterized by a profound dedication to the drama of the battlefield and the quiet dignity of animal portraiture. He possessed a unique ability to breathe life into his subjects, particularly through his mastery of equine anatomy. While some critics noted a certain flatness in his coloring, none could deny his skill in rendering the muscular tension and dynamic movement of horses in the heat of combat. His works often revisited historical themes, showing a special fondness for the era of the Cavaliers and Roundheads, which allowed him to blend historical research with artistic imagination.
His contributions to British art are marked by several notable achievements and enduring works that continue to resonate in major collections:
Through his transition from a stable groom to a celebrated Royal Academician, Abraham Cooper left an indelible mark on the nineteenth-century art world. His life serves as a testament to the power of self-directed study and a deep, lived connection to his subject matter. He remains a vital figure for those studying the intersection of historical narrative and the romanticized depiction of the natural world.
