Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 21 works by Henry Barraud in our catalogue
In short
'We praise thee, O Lord' (1850) is the Henry Barraud painting that draws the most eyes. After it, the eye goes to Horace Mayhew (1871) and Children with Horse and Dog (1836). Among the 21 works of Henry Barraud in our catalog, these 19 are the most famous, each a unique original presented with its year, its museum and the reason it endures.
'We praise thee, O Lord' is a painting by Henry Barraud, executed about 1850. The artist was a British painter specializing in portraits, subjects, and animals. Born in London in 1811, Barraud established himself within the mid-Victorian artistic community, eventually dying in London in 1874.
The oil on canvas painting titled Horace Mayhew features the subject of the same name. Henry Barraud executed this portrait, which measures 104 x 83 cm. The work was created about 1871. This specific piece is currently held within the British Library in London, United Kingdom.
In this 1836 portrait, we find ourselves within the serene confines of a 19th-century estate. The scene is composed with a deliberate, balanced grace, placing the viewer at eye-level as if we were standing on the manicured grounds ourselves. Three young girls, dressed in soft pastels of pink, lavender, and white, gather on the left, their presence lending a sense of innocence to the landscape. They are accompanied by a…
In this 1847 oil painting, a male figure occupies the central foreground, positioned against a dark and atmospheric background. He is dressed in hunting attire, featuring a scarlet jacket that provides a sharp contrast to the surrounding muted tones. Beside him, a horse and a pack of hounds are situated within the composition. The color palette relies heavily on earthy pigments, including ochre, deep browns, and muted greens. The lighting…
A dark bay horse moves through the tan and ochre of an open field. Its coat is sleek, catching a light that descends from the upper left. Atop the animal sits a man in a cream frock coat and matching trousers. He wears a black top hat, a sharp silhouette against the soft blues and whites of the sky. The rider faces right, his posture defined by a quiet, practiced…
Major General (later General, Sir) William Montague Scott McMurdo (1819–1894), Inspector General of Volunteers1860
12
Horace Mayhew1871 · British Library
13
Portrait Group of Members of the Marylebone Cricket Club Outside the Pavilion at Lord's, London1874
14
Untitled (The White Horse) Now thought to be "The Rabbit"Te Whare O Rehua Sarjeant Gallery
15
The Punchestown Winners, 1868
16
Group portrait of four children in a landscape, holding flowers and a flag
17
Lobby of the House of Commons, 1872 1873Parliamentary Art Collection
18
Sit Up Sir Ginger 1859
19
John Hilton (1805–1878)
The four subjects that come back most often in these originals, each with its finest example.
The 6 museums that hold the most of the paintings on this page.
| Museum | City | Works by Henry Barraud | Paintings from this list |
|---|---|---|---|
 British Library |
London | 3 | Horace Mayhew, William Abington (c.1770–1839), Clerk to the East India Company's Military Seminary (1809–1834), Horace Mayhew |
 Royal Collection |
London | 2 | Charles Davis (1788-1866), King Edward VII when Prince of Wales (1841-1910) on Horseback |
 Yale Center for British Art |
New Haven | 1 | Children with Horse and Dog |
 The National Trust For Scotland |
Forres | 1 | Black Horse in a Loose Box |
 Te Whare O Rehua Sarjeant Gallery |
1 | Untitled (The White Horse) Now thought to be "The Rabbit" | |
 Parliamentary Art Collection |
Лондон | 1 | Lobby of the House of Commons, 1872 1873 |
Pick a decade to see the original that defines it.
In this 1836 portrait, we find ourselves within the serene confines of a 19th-century estate. The scene is composed with a deliberate, balanced grace, placing the viewer at eye-level as if we were standing on the manicured grounds ourselves. Three young girls, dressed in soft pastels of pink, lavender, and white, gather on the left, their presence lending a sense of innocence to the landscape. They are accompanied by a…
In this 1847 oil painting, a male figure occupies the central foreground, positioned against a dark and atmospheric background. He is dressed in hunting attire, featuring a scarlet jacket that provides a sharp contrast to the surrounding muted tones. Beside him, a horse and a pack of hounds are situated within the composition. The color palette relies heavily on earthy pigments, including ochre, deep browns, and muted greens. The lighting…
'We praise thee, O Lord' is a painting by Henry Barraud, executed about 1850. The artist was a British painter specializing in portraits, subjects, and animals. Born in London in 1811, Barraud established himself within the mid-Victorian artistic community, eventually dying in London in 1874.
The oil on canvas painting titled Horace Mayhew features the subject of the same name. Henry Barraud executed this portrait, which measures 104 x 83 cm. The work was created about 1871. This specific piece is currently held within the British Library in London, United Kingdom.
'We praise thee, O Lord' (1850). Horace Mayhew (1871) and Children with Horse and Dog (1836) come next.
39 years old: 'We praise thee, O Lord' dates from 1850, and Henry Barraud was born in 1811.
'We praise thee, O Lord', Horace Mayhew, Children with Horse and Dog, Charles Davis (1788-1866), King Edward VII when Prince of Wales (1841-1910) on Horseback, William Abington (c.1770–1839), Clerk to the East India Company's Military Seminary (1809–1834), Black Horse in a Loose Box, 'Lord, have mercy upon us', 'Lord, have mercy upon us' and Valentine Barford (1786–1864), with His Purebred Sheep. The ranking above gives each one's year and museum.
Our catalog holds 21 works by Henry Barraud, dated from 1836 to 1874.
Mostly in British Library (London), Royal Collection (London) and Yale Center for British Art (New Haven). The museum table above lists them all.
In 1850s: 4 of the 19 works on this page were made then, 'We praise thee, O Lord' among them.
On this page, the earliest is Children with Horse and Dog (1836) and the latest Portrait Group of Members of the Marylebone Cricket Club Outside the Pavilion at Lord's, London (1874).
Man (3) and Horse (3), across the 19 works on this page.
Oil On Canvas, for 4 of the 19 works on this page.
Horace Mayhew, William Abington (c.1770–1839), Clerk to the East India Company's Military Seminary (1809–1834) and Horace Mayhew: the British Library, London holds 3 of the works on this page.
Henry Barraud (1811-1874) wasn’t merely a painter; he was a conduit, skillfully translating the vibrant energy of the British countryside – its hunting traditions, its social rituals, and its beloved animals – into meticulously rendered portraits and captivating scenes. Born in London to a family steeped in artistic heritage—his grandfather a chronometer maker, his uncle a miniature artist—Barraud’s early life instilled within him a deep appreciation for craftsmanship and visual storytelling. His lineage, tracing back to French Huguenot refugees, added a layer of cultural richness to his already burgeoning talent, shaping his perspective on the world and informing his artistic choices.
His formative years were spent largely under the tutelage of Abraham Cooper, a prominent animal painter whose influence is readily apparent in Barraud’s early works. This apprenticeship provided him with a solid foundation in capturing the nuances of equine anatomy and behavior – skills he would later hone to breathtaking effect. However, Barraud's artistic journey wasn't solely defined by imitation; he quickly developed his own distinctive style, characterized by a remarkable attention to detail, a subtle use of light and shadow, and an uncanny ability to imbue his subjects with personality.
Barraud’s oeuvre is often perceived as divided into two distinct yet inextricably linked categories: animal paintings and portraits. While he excelled in both genres, it was the interplay between these seemingly disparate elements that truly defined his artistic vision. His depictions of hunting scenes – such as “The Pope Blessing the Animals” (1842), a remarkably detailed tableau capturing a grand event at Windsor Castle – are not simply illustrations of sporting activity; they’re imbued with social commentary and a celebration of British tradition. The figures, rendered with meticulous accuracy, represent the aristocracy and gentry who participated in these hunts, while the horses and hounds embody the wildness and beauty of the English countryside.
Conversely, his portraits – including “The London Season, a Scene in Hyde Park” (1853) and “Lord’s Cricket Ground” (1872) – are equally compelling. He didn't merely reproduce likenesses; he sought to capture the essence of his subjects, revealing their personalities through subtle gestures, expressions, and carefully chosen attire. His portraits were often commissioned by prominent figures of the day, solidifying his position as a respected artist within London’s social circles.
Barraud's artistic life was profoundly shaped by his relationship with his elder brother, William. Together they established a studio in 1835, forging a unique collaborative partnership that produced some of their most celebrated works. While William specialized in painting the animals – horses and hounds – Henry focused on capturing the human figures within these scenes. This division of labor allowed them to create complex compositions that seamlessly blended animal action with human interaction, resulting in paintings of remarkable depth and dynamism.
Their joint efforts culminated in “Sketches of Figures and Animals” (1850), a beautifully illustrated book showcasing their combined talents. The publication served as both a testament to their artistic partnership and a valuable resource for aspiring artists seeking guidance on composition, technique, and subject matter. The brothers’ shared studio was a crucible of creativity, fostering an environment where experimentation and innovation flourished.
Barraud's success extended beyond the confines of the Royal Academy and British Institution. He received numerous commissions from members of the royal family, including Queen Victoria herself, further elevating his status within the artistic community. His paintings – particularly “The Lobby of the House of Commons” (1872), a meticulously detailed depiction of Parliament’s central hall – became iconic representations of Victorian London and continue to be admired for their historical accuracy and artistic merit.
Beyond his individual achievements, Barraud's legacy lies in his ability to bridge the gap between different worlds—the world of sport and hunting, the world of aristocracy and social life, and the world of animal and human experience. His paintings offer a captivating glimpse into Victorian Britain, capturing not only its visual landscape but also its cultural values and traditions. His son, Francis Barraud, continued this artistic lineage, most famously creating the iconic image of “Nipper” for the His Master’s Voice record label, ensuring that his father's legacy would endure for generations to come.
