A detailed lithograph depicting a farrier at work, based on a design by Théodore Géricault, capturing the quiet labour of a nineteenth-century workshop.

This lithograph, titled 'Een paard wordt beslagen' (The Farrier), captures a quiet, utilitarian moment within a blacksmith's workshop. The composition focuses on the physical interaction between the farrier and the horse, a subject that reflects the broader interest in everyday labour and animal anatomy prevalent in early nineteenth-century French art. The work is based on a design by Théodore Géricault, whose fascination with the equine form is evident in the muscular rendering of the horse.

The print employs the lithographic medium to create soft, atmospheric shadows that define the interior space. The contrast between the illuminated horse and the darkened background creates a sense of depth, drawing the viewer's eye to the precise action of the farrier tending to the animal's hoof. The figures are rendered with a focus on naturalistic movement, avoiding overly stylised poses in favour of a grounded, observational approach. The texture of the horse's coat and the rough surfaces of the workshop are achieved through the varied tonal range of the lithographic stone.

François Jean Villain was a skilled lithographer who frequently collaborated with prominent artists of the period to translate their drawings into print. This piece demonstrates the technical proficiency required to maintain the expressive quality of the original sketch while adapting it for reproduction. The scene avoids unnecessary ornamentation, prioritising the clarity of the action and the physical presence of the subjects. It provides an insight into the working life of the era, documenting the essential relationship between the craftsman and the animal. The print remains a clear example of the collaborative nature of nineteenth-century printmaking, where the lithographer's hand was essential in disseminating the artistic vision of painters to a wider audience.