A life-size sculpture of The late Queen aboard her beloved Burmese is being auctioned this week, and is expected to sell for a six-figure sum.

BUDDS auction house is selling the bronze sculpture, which has an estimate of £200,000. It is one of only two in the world and features in a timed auction that ends on Sunday (21 December).

The sculpture is by equine artist Caroline Wallace. The original stands at the Royal Military Academy Sandhurst, and was created to commemorate The late Queen’s platinum jubilee in 2022. The copy piece is now for sale.

“We are honoured to have been entrusted with this sale,” said Graham Budd of the auction house.

“It represents a once in a lifetime opportunity to acquire the only other life-sized bronze of Queen Elizabeth II on her beloved charger Burmese – a companion piece to Sandhurst’s iconic original.”

Burmese was given to Her late Majesty in 1969 by the Royal Canadian Mounted Police. The late Queen rode her in Trooping the Colour for 18 years, from 1969 to 1986, after which the mare retired to Windsor.

She spent four years in retirement and died in 1990 aged 28. She is buried in the grounds of Windsor Castle.

For information and to bid, view the lot on the BUDDS website

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If you’re visiting the Royal Academy of Arts Summer Exhibition this year, you might notice a familiar sight.

One of the exhibits in the annual show, which has run since 1769, is a tiny tackroom, complete with mucking-out equipment, saddle and bandages – and miniature copies of H&H.

Sheila Kettle’s creation, of wood, stone, metal and leather, is built on a 1:12 scale. It stands 15cm high, and is the result of, she estimates, over 150 hours’ work.

Sheila told H&H her first miniature model was for her parents’ 50th anniversary. She took a dolls’ house and filled it with things relevant to her family and their lives.

“I gave it to them and they thought it was absolutely marvellous, because it was so personal,” she said, adding that she has created similar personal miniature displays, featuring everything from tiny replicas of photos to books the recipients have written, as well as more generic models.

“I’ve made about 12 of the generic ones, one being The Tack Room – and I know nothing about horses,” she said. “I was trying to come up with different ideas and felt equestrianism was one that might make people think ‘Oh, look at that!’”

Sheila’s first step in making such a model is an “awful lot of research” into what to include. This clearly paid off, as present in the tiny tackroom is just about everything a horse owner could need, including bandages and boots, supplements, a British Horse Society publication – and of course the copies of H&H, which are real covers Sheila downloaded then shrunk to the right size.

“I’ve tried to recreate something as close to reality as possible,” she said.

The finding and shrinking images takes a great deal of time, and just about everything else bar the chains, which are old necklaces, is made from scratch; the tack from kid leather as it is soft, supple and easy to work with on such a small scale. Even the hooks and clips on the tack are hand-made.

The Tack Room has already been sold, for £1,600.

“I went to see it the first week, never having been at the Royal Academy before, and that was really quite good,” she said. “I was disappointed not to see a red dot on it then! But it was exciting to see it there, then two weeks later, I got an email to say it had sold, and I had quite an acclaimed London artist call who was disappointed it had gone. It’s wonderful.”

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The life and work of famous equestrian artist Lucy Kemp-Welch – whose illustrations featured in the original 1915 edition of Anna Sewell’s Black Beauty – will be celebrated in a six-month exhibition.

Lucy, who died in 1958 aged 89, was highly regarded, known for her paintings featuring equines and landscapes. Some of her best known work included the 1894 painting Gypsy Horse Drovers, and the 1896 Foam Horses, and her Black Beauty illustrations.

The exhibition, In Her Own Voice, opens on 1 April at the Russell-Cotes Art Gallery and Museum in Lucy’s home town Bournemouth, in collaboration with the National Horseracing Museum. It is the first major exhibition of Lucy’s work in more than 20 years, and will feature more than 60 pieces from Lucy’s lifetime including those from national and regional museums and private collections – some which have never been on display to the public.

“As an expert horsewoman, Kemp-Welch held an innate understanding and love for equine subjects, with a special affection for working horses and other agricultural animals. Born in Bournemouth, Kemp-Welch was greatly inspired by the Dorset coastline and the New Forest, in her painted landscapes and environments,” said a spokesman for the exhibition.

“In Her Own Voice, is an exhibition which gives power to the painted visual language and spirit of Lucy Kemp-Welch through a major retrospective of her works.”

The exhibition will coincide with the launch of the biography In Her Own Voice, by art historian and author David Boyd Haycock. The book, which is due to be published next year, will focus on key works and moments in Lucy’s career, and highlight the influence of Hubert von Keromer’s teachings on her techniques.

“We are delighted to be able to host a major exhibition of Lucy Kemp-Welch’s work, in her home town, and we know that our founder, Merton Russell-Cotes, was a keen admirer of the artist and an advocate for female artists. He owned two of her works and in his autobiography, described how she ‘sprang up in a phenomenal way … making her mark instantly’,” said Sarah Newman, Russell-Cotes manager.

“The museum has subsequently acquired five more of her works, and we have several letters written between Kemp-Welch and the museum’s curators in our archive. Combining our collection with other significant Kemp-Welch paintings promises to provide a visually stimulating and insightful exhibition which we hope will captivate audiences as they journey through her life and paintings.”

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The Queen’s artist in residence for her Platinum Jubilee said the saddest part is that she will never see the full collection of work – but he hopes he has done her justice.

Freddy Paske, a former member of the Light Dragoons who was discovered thanks to the paintings he did from his tank in Afghanistan, was Her Majesty’s artist in the last year of her life, covering so many of the horses that were her passion. His work from this year is on display at Gallery Different, 14 Percy Street, Fitzrovia, London between 22-27 November.

Freddy told H&H he has always ridden, but also always wanted to go into the military.

“My father was in the Household Cavalry but I was in the Light Dragoons, which is similar, without the ceremonial role,” he said. “I played polo and hunted with them, which is the much better side of equestrian life in the military! I see how hard they work to produce and turn out those horses; it’s almost seven days a week in Knightsbridge, very different to hunting and playing polo.

“With the Army, I’ve always had this passion, it’s plagued me. My poor mother had a nightmare trying to get me to wear normal clothes; I remember at Pony Club junior camp, insisting on wearing camouflage, and her trying to get me into jodhpurs and a ratcatcher, but fancy dress was brilliant. We chopped down a bush and dressed the Shetland pony as a tank, with me on top dressed as a soldier.”

After university, Freddy went on tour, of Helmand province in Afghanistan in 2012, then Bosnia in a different role in 2014.

“It’s funny; it’s been said before that tours are 90% extreme boredom and 10% sheer terror, a bizarre mix, but I was very lucky,” he said. “Others weren’t but from a selfish point of view, that was probably the launch of my art career. In Afghanistan, a war artist came to visit us and I was chatting to her and showed her some of my sketchbooks. To decompress, normally before evening orders, I would get out of sketchbook and paint the scenery in front of me from my tank. It helped retain a bit of myself, and when the artist put on an exhibition, she said she’d love to exhibit some of my work as well. Amazingly, everything sold, and that was the start.”

Freddy started painting commissions of horses, then approached the Household Cavalry about being the regiment’s artist in residence for a year, a coveted role. He did the same for Tattersalls and the Jockey Club, neither of which, he believes, had had one before, then the Household Cavalry asked him to come back to the role for The Queen’s jubilee year.

“That was amazing as I don’t think they’ve had anyone back before and it was such a privilege,” he said. “I started at the Royal Mews and met the lovely Crown Equerry Toby Brown. He said it was a great plan but we needed to run it past the Queen. I wasn’t prepared but my poor printers turned round a portfolio the next day to be taken to The Queen and a week later, he said “You’ll be delighted to know, The Queen has approved the role”, and that’s how it was born. Gosh, what a year.”

Freddy went to Oman to visit the Royal Cavalry, and to Paris to see the Garde Republicaine; both took part in the Platinum Jubilee celebrations at Royal Windsor Horse Show. He covered the show and the celebrations there and the official jubilee weekend celebrations. He also, unexpectedly, covered Her Majesty’s funeral processions.

“There was pressure but I can’t convey how much of an honour it was,” he said. “To be approved by The Queen, going to places I’d never have been. The saddest thing is that it was all done in The Queen’s honour and she never got to see the full collection. It was such a privilege and I hope I’ve done it proud.”

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Mention “white horses” to most equestrians, and they’ll correct you that the vast majority of seemingly white horses are actually grey, typically born dark and growing greyer as they age. However, there is another type of white horse that has remained the same colour for millennia. Around Britain, the shape of horses have been carved into chalky hillsides, creating large white horses visible from miles around. The south-west of England has more white horses than anywhere else in the world, thanks to the chalky soil and rolling terrain that makes it so suitable for viewing this rural art. And contrary to oft-held opinion, most of Britain’s chalk horses are not prehistoric – the majority of the ones we can still see today were cut in the past 250 years.

Carved into Britain’s hills, there are 16 official white horse figures – known as geolyphs, large designs formed on the ground using elements of the landscape. There are also many more that have been lost over the years, as they require regular maintenance to keep their form, as well as small replicas. There’s even a word coined to describe the art of carving white horses into chalk upland areas: “leucipotomy”.

Uffington White Horse: the prototype

The oldest of all Britain’s chalk horses is the Uffington White Horse, situated in Oxfordshire on the Berkshire Downs near the Ridgeway, and now owned by the National Trust. The figure, which can be viewed from 20 miles away as a landmark in the centre of England, is an abstract stick horse cut into the chalk soil. It is 110m long, and in its abstract, stick-like form, is viewed as a masterpiece of minimalist art.

Archaeologists believe that the Uffington horse dates back to the Bronze Age, nearly 3,000 years ago. They knew it was ancient as it is mentioned in 11th- and 12th-century manuscripts, and the shape of the horse is similar to those on coins from 2,000 years ago and in Celtic art. However, archaeological dating – using a technique dating the layer of quartz in the trenches making up the shape – shows that it is more likely to be around the end of the Bronze Age to the beginning of the Iron Age.

No one knows exactly why these original horses were first made. Its strategic position on the Ridgeway, Britain’s oldest road which connects other Bronze Age landmarks such as forts and burial mounds, means it may be a symbol of an ancient tribe staking land rights. Legends abound, such as the horse’s continuing connection to King Arthur, an idea that the horse may move or dance during the night or some major life-changing event. And if you want to make a wish, you’re supposed to stand near the horse’s eye, close your own eyes and turn round three times…

It is some feat that the Uffington White Horse has endured for thousands of years. If left to themselves, grass and weeds will grow over the geolyph, as well as the weather gradually eroding the chalk. In bygone times, regular cleaning – or “scouring” – is likely to have had some religious or pagan significance or an excuse for a festival, and there is historical documentation pertaining to this from the 18th century. Nowadays, the National Trust and English Heritage organise an annual cleaning event with volunteers.

The eight white horses in Wiltshire

Some say 13 or 14, some say just seven, but the general consensus is that the county of Wiltshire has eight iconic chalk horses that we can still see today. This is many more than other county, and hence the white horse is known as Wiltshire’s unofficial symbol (the extinct bustard being the official one).

The “Westbury Horse”, on Westbury Hill, Bratton Down, is the largest and oldest, and probably dates from the 17th century although it was restored in 1778. It is realistically formed – apparently over the top of an older, more stylised horse that might have been originally carved at the same time at the Uffington one as this is a Neolithic site. This location may have had several chalk horse incarnations as historians believe that a horse was carved here in the 1600s to commemorate King Alfred’s victory in the Battle of Ethandun at Bratton Camp in AD 878, and its origins are obscure.

There are others at Cherhill, Marlborough, Alton Barnes, Hackpen, Broad Town, Pewsey and – the most recent – Devizes. The latter was carved in 1999 in celebration of the millennium, and is the only horse in Wiltshire to be facing to the right.

The largest white horse

While these chalk-cut hill figures are predominantly in the south-west, Yorkshire’s Kilburn White Horse is the most northerly version. Unlike most of its southerly cousins, the Kilburn horse is cut into limestone not chalk, and therefore needs artificial whitening (either with whitewash or chalk chippings).

Kilburn holds the title of the largest white horse in surface area. It was carved into a hill in 1857 at Roulston Scar in the North York Moors National Park thanks to a local businessman, Thomas Taylor, who designed and financed it after being inspired by the Uffington prototype. It was cut out by the village schoolmaster John Hodgson and his team of volunteers. On a clear day, the Kilburn horse is visible from as far as 45 miles away in North Lincolnshire.

Another limestone horse was sculpted into the hills near Weymouth, Dorset, in 1808, the Osmington White Horse. This depicts King George III riding his horse Adonis, and some say that as he is shown riding away from Weymouth, he was not welcome there. Others say he was a regular visitor to the town and made it Britain’s first resort. Either way, the hill-cut version needed a major spruce-up before Weymouth hosted the sailing events at the 2012 Olympics.

Although the white horses are seen as identity badges, proud landmarks in Britain’s rolling hills, during the war most of the horses were covered over with branches and greenery to prevent them from being used as a navigation aid for German bombers.

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An exhibition of art celebrating the role of horses in The Queen’s life is opening this summer to mark Her Majesty’s Platinum Jubilee.

The collection of paintings by British artist Jeremy Houghton will be on display at the Osborne Studio Gallery in London from 6-11 June.

The show, titled All The Queen’s horses, covers Her Majesty’s passion throughout her life, from her first pony Peggy to her racehorses, with more than 60 paintings. There will be three private views, in support of Retraining of Racehorses (RoR), World Horse Welfare and the British Racing School. A percentage of sales at each will be donated to the charity, “to aid in the shared goal of improving access to equestrian sports and improving horse welfare not only on a national, but international scale”.

Mr Houghton, who was commissioned to paint a portrait of The Queen in 2009 and has been artist in residence to Her Majesty at Windsor Castle and Prince Charles at Highgrove, said: “Horses have played such a significant role in Her Majesty’s life since childhood, and the image of Her Majesty riding is one that is so iconic.

“It was important that in this exhibition, I not only put a spotlight on the kinds of horses we have become so accustomed to seeing alongside The Queen, for instance military horses or those pulling royal carriages during important royal events, but the horses behind the scenes that have given Her Majesty the ability to take a moment of peace from the pressures of public life as we celebrate her remarkable 70 years on the throne.

“I am also delighted that the exhibition will support a number of equestrian organisations, all of which work so hard to improve the lives of horses from a range of disciplines, all over the world.”

RoR chief executive Di Arbuthnot said the charity was “delighted” to be involved, and that funds raised will “contribute to our work of highlighting the thoroughbred’s versatility and increasing the demand for former racehorses in a variety of second careers”.

World Horse Welfare chief executive Roly Owers said the charity was “hugely grateful” for the opportunity to be involved in this “wonderful celebration”.

British Racing School chair of trustees Julia Budd added: “We are very grateful.

“The British Racing School is a charitable organisation which inspires and supports young people, from all backgrounds, to achieve their dreams and potential in the racing industry.

“Through our Newmarket Pony Academy, we also connect children to horses who would otherwise not have the opportunity. We want all young people with a passion for working with horses to have this opportunity, and we are thrilled to have this platform to share their stories.”

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A painting by the great Sir Alfred Munnings that was given as a gift to a lifelong friend, who he met through their mutual love of hunting, has sold for a six-figure sum.

The oil painting, “View from Selworthy”, was estimated to reach between £6,000 and £8,000 at Gildings Auctioneers’ online fine and decorative arts and antiques sale (27 April).

But the artwork far surpassed its valuation, to sell for almost 18 times its estimate, £105,000.

“After being exhibited in the Leicester Gallery in London in November 1947, ‘View from Selworthy’ has remained in the family ever since, and so the sale gave collectors a chance to acquire a truly fresh-to-market work by one of Britain’s most celebrated 20th century artists,” said Gildings’ director and 20th century decorative art specialist, Will Gilding.

“As a vocal critic of modernism, Munnings’ fine depictions of hunting scenes and rural landscapes such as the one seen here represent a deep affinity with a traditional rural way of life.”

The story behind the painting captures a snapshot of hunting history, hinted at through a plaque on the frame, which reads: “Presented to Miss Sybil Harker from members of the Norwich Staghounds as a token of their appreciation for all the work she did for The Hunt during her thirteen years of Mastership 1932-1945.”

Sir Alfred and Miss Harker became friends as a result of Munnings’ frequent rides out with the Norwich Staghounds, where he was given unofficial status as “artist to the hunt”.

Reflecting on this, he wrote: “I could fill a volume if I began to recount the many adventures and doings when following hounds in Norfolk.”

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Sir Alfred is one of the UK’s most distinguished modern equine and rural landscape artists, and Miss Harker is also the subject of one of his most famous paintings, “Sibyl Harker on Saxa, with the Norwich Staghounds”. This is a portrait of his friend riding side-saddle on her bay hunter, with her favourite hound in the foreground and Wymondham Abbey in the distance.

While “View from Selworthy” was presented to Miss Harker for her service to the hunt from 1932-1945, she returned to the role after the Second World War and was a master for more than 30 years in total.

Horse & Hound magazine, out every Thursday, is packed with all the latest news and reports, as well as interviews, specials, nostalgia, vet and training advice. Find how you can enjoy the magazine delivered to your door every week, plus options to upgrade to access our H&H Plus online service which brings you breaking news as it happens as well as other benefits.

Stay in touch with all the news in the run-up to and throughout the major shows and events during 2026 and beyond with a Horse & Hound subscription. Subscribe today for all you need to know ahead of these major events, plus online reports on the action as it happens from our expert team of reporters and in-depth analysis in our special commemorative magazines. Have a subscription already? Set up your unlimited website access now

A welder who carries out his day job almost on autopilot allows himself free rein in his spare time to create beautiful sculptures.

Using horseshoes to create artworks is not new, but William Moulton-Day takes it a step further. His most recent creation is the result of over 110 hours of hard work.

William told H&H he works full-time as a welder, and that when he was learning his trade, he picked up some old shoes from his best friend, a farrier.

“I welded up a little reindeer and it went from there,” he said. “That was about three years ago, and it’s blossomed; I think now I can call myself an artist rather than a welder.”

William said he fits his art round his job so he rarely has a day off.

“But I love doing it,” he said. “At work, I zone out a bit and do what I’m told, like a robot, but as soon as I’m finished, I can be let loose to create what I feel like.”

William makes no sketches or maquettes in advance. For this piece, he asked horsey friends to take some detailed pictures of eyes, downloaded some pictures from the internet and took two measurements; the length of the face and the distance between the ears.

With his second-hand forge and anvil, he heated every shoe, straightened it and fitted it into shape.

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“I pride myself on being as detailed as possible; down to things like the little dent above the horse’s eye,” he said. “One thing that was harder than I thought was the pile of shoes; there are about as many in that as in the head, as I needed them to balance the weight, and I wanted them to look as if they’d just been poured out of a bucket, but it was very hard to weld them without making a pattern.”

He added: “It’s just sitting outside my workshop at the moment; it’s the first thing I’ve made in about two and a half years that isn’t a commission, and the first horse head, and it will be up for sale, but I just like looking at it at the moment.”

Horse & Hound magazine, out every Thursday, is packed with all the latest news and reports, as well as interviews, specials, nostalgia, vet and training advice. Find how you can enjoy the magazine delivered to your door every week, plus options to upgrade to access our H&H Plus online service which brings you breaking news as it happens as well as other benefits.

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Having your favourite steed immortalised in a painting is up there on most horse owners’ wish lists. We find out how to go about it — and the pitfalls to avoid

1. Research your artist thoroughly 
and, if possible, go and see some of 
their paintings

It sounds obvious, but take time to choose the right artist. Make a close study of their work and find examples that are closest to what you are hoping for. If you can, go and see the work hanging on the wall. Susan Crawford, Britain’s grande dame of equestrian art says: “Look at the artist’s work and see if it would suit you. Then go and have a chat.”

2. Have a good idea of what you want from the commission

Consider the location, the feel, if you would like to be in the picture, what you would like to be wearing. How big do you want the picture to be? The more information you can give the artist, the better.

3. Listen to the artist’s advice about what will or won’t work

Your idea may pose artistic problems which you haven’t identified. The initial conversation is vital says sporting artist Charles Church.

“Most people have an idea in their mind of how this would work and it’s always a toss-up between getting it right artistically and what the client wants,” he says.

4. If you are being depicted as well, question whether you have a rapport with the artist — this can have a bearing on the success of the picture

Charlie Hemsley already knew Charles Church and was an admirer of his work when her husband commissioned Charles to paint her and her horse, Crinan, at home in Dorset (pictured, above).

“I did view the whole thing with a certain amount of trepidation, but Charles made the process painless,” she says. “It was a beautiful, sunny morning. We picked our spot on the farm and I rode around a bit while Charles did sketches and took hundreds of pictures.”

“Having your portrait painted is such a personal thing, so try and find an artist who you click with,” she recommends.

5. Be aware that sittings from life might be time sensitive

Will you want your horse painted at peak fitness? When is that most likely to be? If it is a hunting picture with a landscape, you may have to wait for winter so that the artist can capture the country in that state.

Continued below…

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6. Don’t expect the painting to be produced overnight

You will probably have several months to wait before you can hang it on your wall. When Susan Crawford painted The Queen on her Highland pony, Jingle, at Balmoral in 2009 she had less than an hour to photograph and sketch the figure of horse and rider but she confides: “The entire painting took nearly a year because of the detail in the landscape.”

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A plea has been made for the safe return of a stolen painting of the late Roaring Lion.

Artist Tania Still spent eight months on the oil painting, studying videos of the four-time Group One winner and speaking to Tweenhills owner David Redvers to get a feel for the horse’s character.

She dropped the painting off for Mr Redvers and the team to exhibit as part of their “Lion’s Den” hospitality area at Tattersalls’ December sale in Newmarket last week (27 to 30 November).

But when David went to take a photo of the painting hanging in the hospitality area for Ms Still on Wednesday morning (27 November), he discovered it had been taken along with some sweets.

“After the devastation of loosing Roaring Lion this year I am heartbroken for David and his team at Tweenhills at this senseless theft,” she said.

A week on from the theft, there is still no sign of the painting, but all involved are hopeful of its safe retun.

“We ask that horse lovers and racing fans keep an eye out for it and a reward will be given to anyone finding it and enabling its return,” added Mr Redvers.

“The Tweenhills office number is 01452 700177, or it can be dropped into Tattersalls.”

Article continues below…

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Roaring Lion, the 2018 Cartier Horse of the Year, retired to stud last year aged following a dazzling career on the track under trainer John Gosden.

But shortly after arriving to stand in New Zealand this summer, the Qatar Racing-owned stallion (by Kitten’s Joy) suffered a severe bout of colic.

Waikato Equine Vets and the team at Cambridge Stud, where he was preparing to stand, put in a “superhuman effort” to save the four-year-old. He underwent two colic surgeries, but sadly could not be saved and was euthanised on welfare grounds in August.

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The equine heroes of the First World War are being justly celebrated in a new exhibition at the National Army Museum (NAM). For the first time in a 100 years, Sir Alfred Munnings’ paintings of the horses of the Canadian Expeditionary Force, created in 1918 to record the battles fought and logistical work done by the soldiers and their horses is being shown in the UK, on loan from the Canadian War Museum.

Munnings is of course famous for his impressionistic paintings of horses that capture the character of the creatures with bold brush strokes and surprisingly ingenious use of colour. Look out for the greens and blues he uses to indicate the way light and shadow hits the figure of a horse and you won’t be able to stop seeing these colours that you would not think to use in depicting your equine companion. (Unless you’re painting a grey after a particularly vigorous roll in the grass and dirt, of course.)

In terms of Munnings’ subject matter, The Charge of Flowerdew’s Squadron shows what you might expect from a war artist; an evocatively shown charge towards enemy lines. The tragedy of the horses galloping towards certain death by superior enemy firepower is effectively captured through by their pinned back ears, their stumbling and the fact that some of them are riderless. But most of the equine paintings show the downtime between battles and what the horses were used more effectively for once it was realised that the days of horseback warfare belonged to a different time – transportation and logging.

The cavalry in fact ended up using the horses to get them into a battle whereupon they would dismount and fight on the ground. Even more usefully, the horses served as a means of transporting supplies and also helping with logging. As one caption next to a painting points out, the Canadian Forestry Corps that came over as part of the Canadian Expeditionary Force “helped to defeat the submarine… more surely than a fleet of ships”. Effectively by being able to log their own wood with the help of the Forestry Corps, the British were able to save valuable space on North American transport ships for the import of food and munitions.

Munnings’s eye for detail and sensitivity to the character and breeds of the horses captures perfectly the patient, hardworking attitude of the stockier horses, faithfully hauling supplies and wood, compared to the more flashy, agile and noble look of the cavalry horses.

To help flesh out these horses for exhibition attendees, the NAM has dug out of its stores gear used for these war horses. You can see a bridle trimmed with velvet for an officer’s horse, the nose bags these horses had to eat from to avoid getting ill from the bacteria-filled French farmland and the branding iron for the hoof, among other bits of memorabilia. (Gruesome fact: the branded horse hoof would be cut off and sent back to England after the horse died so the government could keep a tally of its equine property.)

Munnings’ work is a joy to view for anyone who loves horses, so it is definitely worthwhile visiting the new exhibition at the NAM for that alone. If you’re interested in history and the military too, there’s just no excuse not to make a trip to see these works while they are over here from Canada.

Behind the Lines: Alfred Munnings, War Artist, 1918 is on at the National Army Museum, London until 3 March 2019 before it moves to the Munnings Art Museum in Dedham, Essex where it will be on show from 23 March – 3 November.

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For the first time in 100 years, 41 of Sir Alfred Munnings’ works, painted on the Western Front in 1918 are going to be exhibited in Europe at the National Army Museum (30 November – 3 March). They tell an evocative story of the service and sacrifice of both soldiers and horses and Munnings’ career was largely established as a result of this work with the Canadian Expeditionary Force.

Here, Brough Scott (whose grandfather General Jack Seely was riding ‘Warrior’ in one of Munnings’ most iconic images — pictured below on the front of this week’s Horse & Hound magazine) lists a few things

people may not know about Sir Alfred.

1. Munnings wanted to go to war but was refused because he was blind in his right eye. It had been pierced by a thorn hedge when he was just 20.

2. It was Lord Beaverbrook who sent him to the front as a war artist in January 1918. The then Max Aitken had organised a group of painters to commemorate the Canadian War effort.

3. On his way to the front he was challenged as to what he was by a blimpish colonel. “Back home,” said Munnings from behind the eye patch, “they say I am a genius.”

4. The famous warhorse Warrior was the first picture Munnings painted at the front. He had been dispatched to the Canadian Cavalry commended by Warrior’s rider Jack Seely, a close friend and former Cabinet colleague of Winston Churchill.

5. The Canadian Cavalry came from all across the nation and really did include what we used to call Cowboys and Indians. When they were deployed in the trenches the Germans were scared by a rumour of scalpings in No Man’s Land.

6. The original Winnie The Pooh was part of the Canadian Cavalry. Winnipeg-based vet Harry Colebourne bought a little bear cub en route to embarkation, but when the regiment crossed to France Winnie went to the London Zoo and became very popular. Especially to an author called A.A. Milne and his son called Christopher Robin!

7. Munnings was a fine horseman himself and rode Warrior and many other horses before having to leave the regiment after the big German breakthrough in March 1918.

8. The Canadians were so impressed with his cavalry paintings that they then switched him to the Canadian Forestry Corps who in 1918 produced 750,000 tons of timber for roads, railway sleepers, huts, hospital and plain steam engine fuel. So Munnings also painted the ‘lumberjacks’.

Continued below…

Remembrance Day: how were horses transported during World War One?

9. The Royal Academy Exhibition of Canadian War Paintings in January 1919, and in particular the painting of Jack Seely on Warrior, was the springboard to Munnings’ later fortune as an equestrian painter to the rich and famous. To my mind, those later pictures weren’t a patch on the front-line work!

10. His well-wined President’s speech at the 1949 Royal Academy was broadcast live on the BBC with disastrous results. His slurred rubbishing of modern art ruined his reputation. This exhibition may go a long way to repair it.

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There’s no denying that horses are beautiful creatures, that is partly why equestrians are crazy about them, and why horses have been a popular subject of artwork for centuries. So if you’re looking to indulge your passion for horses through a more creative channel, treat someone who is mad about horses, or are perhaps looking for an equestrian-related investment that doesn’t require feeding, buying a statement piece of horse art could be for you.

If you’re looking to buy art for the first time and don’t know where to start, going to an exhibition such as the annual one put on by the Society of Equestrian Artists with over 100 exhibitors could be a good start. Art dealer Sally Mitchell also suggests buying a print of a work by an artist first “as a cheap way into the market and a way to learn whether you can live with an artist’s works or not”. In fact she cautions against buying a piece of art that immediately hits you “as it can get tedious, but if a work has subtleties, you’ll find the longer you live with it, the more you like it”.

From an investment point of view, historic paintings by famous artists such as Cecil Aldin are a safe bet. It’s important to note though that if you’re going to invest in an antique, maybe get an expert eye to look over it for you make sure it hasn’t been over-cleaned – this can often lead to a lot of the original paint being removed and fixed with new paint.

If your chequebook doesn’t extend to antique however, keep an eye on upcoming, living artists. Go for something with good colour and good use of light – “you should be able to tell the temperature of the day by looking at the picture” Sally advises. With the artist still living though, don’t expect the painting to go up in value within a year or two, as sadly their death could actually cause values to go up.

Given the unpredictability of the art market, it is unsurprising that Sotheby’s Robin Cawdron-Stewart’s advice is to ask yourself when considering a piece of art; “do I love it?”. His tip is to attend pre-sale exhibitions at auction houses, which are free, open to everyone and you can talk to the specialist about the works up for auction.

Once you’ve got the piece, whether it’s bought as an investment or just because you love it and horses, remember to take care of it. “Try to avoid placing paintings in rooms with fluctuating temperatures that might impact the paint surface,” says Robin. “If it’s a room with an open fire, put it behind the glass”. Acid-free mounts and UV glass to prevent fading and discolouration must also be considered for any works on paper.

Now, with all this in mind, here are some great artists and artworks to consider…

Jane Braithwaite — Canal Turn, £2,250

After choosing to devote more time to family life after she lost her home-bred eventer, Jane fed her passion for horses through painting. Thoroughbreds particularly interest Jane and are a common subject in her paintings where her style emphasises their movement and energy. “I want to achieve correctness of conformation, gait etc, but at the same time maintain a certain looseness in the way the paint is laid on.”

Price range: Charcoal drawings are around £300 – £400, while oil paintings range from £700 – £2,000.

www.janebraithwaitefineart.com

Sally Martin — Grey Andalusian II, £4,000

Sally’s gorgeous paintings are formed from “a combination of memory, observation, imagination and photographic reference gathered at equestrian events and abroad”. The fact that she never starts with a fixed-outcome in mind, just a basic drawing before going on to layer in large areas of colour no doubt all contribute to the dream-like quality of her horses.

Price range: £400 – £8,000

www.sallymartinfineart.com

Bénédicte Gelé — Equine Nude 91t, €450

Bénédicte takes a minimalist approach to capturing the figure of the horse, inspired by a love of drawing human nudes at art school. “What is important to me is to keep the motion in the line, to have the minimum of details to keep the dynamism of the body. Actually, to say more with less.” Note that in many of her works she does not paint in ears as she believes it is to obvious to read a horse’s expression from them – “I prefer to let the spectator imagine what he feels in front of a head”.

Price range: Her works start at €20 for a sketch and can up to €2,500.

www.saatchiart.com/benedictegele

Malcolm Coward — Crossing the brook, SOLD

Malcolm is a much-lauded member of the equestrian artist community and his paintings don’t remain unsold for long, particularly the hunting ones, so you’ll have to be quick to snap one up. He’s very much an impressionist with a preference for light versus detail.

Price range: £350 – £6,000

www.sallymitchell.com/artists/malcolm-coward-sea

Heather Jansch — A driftwood original and the bronze, POA

Heather is world famous for her sculptures of horses made from driftwood, a now much copied trend. She is still the original and the best though; “observation is what sets my work apart from mass-produced driftwood horses”. It can take years for her to complete a sculpture as she waits until she finds the offcut “that suddently gives a radiant vibrancy, bringing the work alive”. Driftwood sculptures don’t last well outside, so Heather only sells the driftwood originals for for display inside. She immortalises them with bronze copies that are hard to tell apart from the original, which can be displayed outside.

Price range: Small desk top sculptures start from £4,250

www.heatherjansch.com

André Brasilier — Grande Fantasia Marocaine, POA

French artist André Brasilier’s equestrian works are extremely sought after, as is evidenced by the fact his horse paintings have increased in value by 500% over the past six years. Bright pallets and a joyfulness to the motion of the horse marks out André’s works. Now in his late 80s, he’s currently exhibiting in London, his first return to the English capital in 12 years at the Opera Gallery.

www.operagallery.com

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Sir Alfred James Munnings — ‘Soldier and Sailor Painted in the Park at Catton Hall, Norfolk’, estimate £20,000 – £30,000

If you’re looking to get your hands on less contemporary pieces of equine art, you should get yourself down to Sotheby’s on 13 December as a beautiful Munnings watercolour, ‘Soldier and Sailor Painted in the Park at Catton Hall, Norfolk’ is up for auction. Munnings is of course one of Britain’s most famous turn of the century artists who focused on horses, employing an impressionist style to depict them.

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In his new book, The Allure of Horses: A Very British Lifestyle, photographer Uli Weber shows his prowess behind the lens, mixing fine portraiture and reportage with animal and sport images in a wide spectrum of fine photographic craftsmanship.

Uli is best known for his celebrity portraits, photographing those from Sting and Kylie Minogue to Stephen Fry and Damian Lewis. However, he has also had a long-standing history in photographing distinguished riders and their horses including Zara Tindall, Lady Amanda Harlech, Martha Sitwell and William Fox-Pitt.

His latest book looks at the close relationship between humans and horses. It takes readers on a journey across equine communities — from the world of National Hunt racing to the Changing of the Guard by the Household Cavalry, to the thrill of the polo field to side-saddle riding through the countryside.

The Allure of Horses is a celebration of the “ever-so-British” passion, almost all of the stunning images were shot over the past six years at various manors and estates around Britain.

Here is a taster of the incredible photography featured in Uli’s book…

1. Harry Meade gets some air

2. The Household Cavalry Mounted Regiment, The Life Guards Squadron on Horse Guards Parade

3. Prolific side-saddle rider Philippa Holland jumps in front of Captain Billy Morley at Pylewell Park, Lymington

4. William Fox-Pitt at Barbury Horse Trials

5. Manuel de Almada Saldanha Pinto Ribeiro hunting with the Charlton at Goodwood House

6. Lady Amanda Harlech photographed in Shropshire

Publisher: Assouline, 2018

Buy: available from Assouline and from Amazon from £94.74

For all the latest news analysis, competition reports, interviews, features and much more, don’t miss Horse & Hound magazine, on sale every Thursday. 

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Shire horses are always a draw for the crowds at a county show — and anyone headed to Cheshire Show next week (19-20 June) might come across not only the real thing, but also an unusual life-size replica.

Sculptor Jane Foddy has spent more than 200 hours crafting a 16.2hh Shire out of willow.

The former primary school teacher took up the hobby after her retirement and while she creates a range of creatures — from chickens to stags — equestrian subjects remain her favourite.

“I just love horses. When I am making them I shut my eyes and feel the shapes round the head and hocks, I’ve been used to checking horses’ legs showing them as a child with my grandfather,” explained Jane, who has had to give up riding because of a bad back.

Shires are a particular passion, as her grandfather was a breeder, producer and judge.

“It’s in the blood,” she said. “The first horse I sat on when I was three was a Shire my grandfather was showing Bath and West — I remember it was like being on a mountain.”

The sculptures are constructed from willow sticks that are harvested in Somerset in the late autumn, January and February and come in different lengths. An 8ft stick has to be soaked for eight hours before it is pliable enough to use.

“I also get shorter pieces that I can make feathers or a blaze with that I can spray with a colour,” she said. “I like the willow, it looks subtle in a natural landscape. I didn’t want to work with a medium that was large and metallic.”

Usually working from commissions, Jane’s other equestrian subjects have included an Arab mare and foal for a stud in the New Forest, a 13.2hh palomino pony and an Irish cob constructed to go with a cart. More of Jane’s sculptures can be seen at www.gingercatwillow.co.uk

“Not everyone is into horses and I’ve made goats and highland cows as well, and stags have been popular with stately homes,” she said.

It’s her Shire, however, that has attracted the most interest.

“After I put a picture of the Shire on Facebook it had 64,000 shares and I have had a potential purchaser get in touch from the US, I’m just trying to find out if it’s possible to export it,” she added. “I’ve had enquiries from all over the world.”

Continued below…

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While a commissioned piece of this size usually sells for around £1,800, the Shire will be on offer at Cheshire Show for £1,595.

“We’re hoping it fits in the van to get there!” Jane added. “I do own a vintage Rice trailer and I’ve travelled horse sculptures in that before with their heads poking out of the back. People have hooted as they drive past — it was good fun!”

For all the latest news analysis, competition reports, interviews, features and much more, don’t miss Horse & Hound magazine, on sale every Thursday.

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The countdown is on for Royal Ascot 2018 (19-23 June) — five days of glamour, high drama and top class action. And to celebrate the meeting, the Osborne Studio Gallery in London’s Belgravia will be hosting the exhibition “Celebrating the Turf” (18 June-7 July), featuring a range of inspiring equestrian artists.

“This group exhibition showcases the best, internationally acclaimed equine artists the gallery has exhibited for many years,” says gallery manager Anna Rowlinson.

“Among the eight artists is the much coveted Susan Crawford and the up-and-coming young talent Freddy Paske. We are tremendously proud to host an exhibition of this quality and hope that visitors will be as impressed by this collection as we are.”

Susan Crawford

The doyenne of sporting artists now lives in the Scottish Borders, having studied classical drawing in Florence at the beginning of her career. Her portrait of Arkle, Red Rum and Desert Orchid, entitled ‘We Three Kings’, is still a best selling print worldwide.

Nichola Eddery

Following a solo exhibition with the gallery in 2016, Nichola has been focusing on high profile commissions, recently for Sheikh Fahad Al-Thani.

Charlie Langton

Charlie’s sculptures of Her Majesty the Queen, the dual Arc winning Treve and the iconic sculpture of Yates at Ascot are three examples of his extraordinary talent.

Alistair Little

Heavily influenced by American film in the 1950s, Alistair’s individual style is becoming increasingly sought after.

Michelle McCullagh

Working from her studio in Dorset, Michelle is known for her haunting and captivating depictions of racing scenes.

Katie O’Sullivan

Greatly influenced by sporting masters through the centuries, Katie continues to make interesting, vibrant work with extraordinary anatomical detail.

Freddy Paske

Following his first London solo show with the gallery, the former British Army Officer’s work has been much in demand and this year he has exhibitions in America and a residency in Sanlucar, Southern Spain, for the beach racing.

Mao Wen Biao

With paintings adorning walls in the Ritz and the RAC club, Mao is known for his ability to capture the dynamism of the racehorse.

The Osborne Studio Gallery is open from Monday to Friday from 10am-6pm and on Saturday from 11am-5pm.

For all the latest equestrian news and reports, don’t miss Horse & Hound magazine, out every Thursday

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Stunning stallions, majestic mares and gorgeous geldings have starred in a photographic project embracing the “beauty and magnificence” of horses.

German animal photographer Wiebke Haas‘ photo series Horse Style features horses and ponies tossing their silky manes for the camera.

Ms Hass told H&H he loves to photograph horses because of their “beauty and magnificent grace”.

“But there is another reason,” he said. “Horses can be hilarious and I love that too.”

She took the first image in the series, of Haflinger stallion Mozart, in 2011.

“During the photo session I recognised his whirling mane which I wanted to draw attention to,” Ms Haas said. “By tickling his ears he shook his head in this brilliant way.

“It’s my greatest passion to tease out nearly human expressions of my horse models.”

Since then Ms Haas photographed nine more horses for the series.

“I searched for other horses with impressive manes for a photo series,” she said. “It was really fun to work with such different horsey characters.”

Black Andalusian Allaus also features in Horse Style. He learned to shake his head at a hand signal in just five minutes before the photo session.

Fellow model, Arabian stallion Hafid, enjoyed neighing proudly in the studio while his portrait was taken.

“The most difficult part was to keep the horses straight to the camera,” said Ms Hass. “Most of the time they wanted to move their head to the side or downward.

“I focused on [capturing] a great face and harmonic choreography of the hair.

“This year I had the chance to work with the fastest compact flash lights by German producer Hensel. Getting every single hair really sharp was no problem any more.”

For all the latest news analysis, competition reports, interviews, features and much more, don’t miss Horse & Hound magazine, on sale every Thursday.

In this week’s magazine, out on Thursday 19 April 2018, don’t miss our special report from the British Dressage Winter Championships, plus full analysis from the Grand National — including expert comment, pictures and more. Read our report from the dressage and showjumping World Cup finals, and in this week’s ‘vet clinic’ we discuss the facts about fitness.

Stay in touch with all the news in the run-up to and throughout the major shows and events during 2026 and beyond with a Horse & Hound subscription. Subscribe today for all you need to know ahead of these major events, plus online reports on the action as it happens from our expert team of reporters and in-depth analysis in our special commemorative magazines. Have a subscription already? Set up your unlimited website access now

The Cheltenham Festival is over for another year and to combat our withdrawal symptoms, we’re hankering after one of sporting artist Freddy Paske’s masterpieces of the action, knocked up at breakneck speed after each of the four big races last week (13-16 March 2018).

Working in collaboration with personalised map company Atlas & I, Freddy took on ‘The Cheltenham Challenge’ to capture the big winners at Prestbury Park using watercolours against a backdrop of vintage maps of the area.

Watch Freddy’s paintings come to life

Nico de Boinville and Altior clinching the Queen Mother Champion Chase for Nicky Henderson on Wednesday (14 March)

Paul Townend and Penhill winning the Stayers’ Hurdle for trainer Willie Mullins on Thursday (15 March)

The big win: champion jockey Richard Johnson takes the Gold Cup on Friday (16 March) with Native River for Dorset trainer Colin Tizzard

“I’ve worked with tight deadlines in stressful situations for the past seven years as a British Army officer, so have relished the challenge,” says Freddy.

“It’s also been great having the fantastic response from everyone online. My work is known for it’s sense of urgency and capturing movement so the ‘The Cheltenham Challenge’ is the perfect way to show this.

“So far everything has sold straight away so I am creating a number of personal commissions for people too. Atlas & I have just had to send me another 15 vintage maps…”

Freddy painted the 21x27cm pieces from his studio in Hampshire (which also happens to be in a stable yard), having been firmly glued to the ITV coverage.

His passion for painting was developed throughout his previous career with the British Army, and in 2014 he exhibited and sold all his sketches from his tour in Afghanistan.

In 2017 he established residencies with the Household Cavalry, Tattersalls Auctioneers and The Jockey Club to create a body of work celebrating the horse.

For prices and more information visit freddypaske.com and atlas-and-i.com

Don’t miss the full report and analysis from the Cheltenham Festival in this Thursday’s issue of Horse & Hound magazine (22 March 2018)

Stay in touch with all the news in the run-up to and throughout the major shows and events during 2026 and beyond with a Horse & Hound subscription. Subscribe today for all you need to know ahead of these major events, plus online reports on the action as it happens from our expert team of reporters and in-depth analysis in our special commemorative magazines. Have a subscription already? Set up your unlimited website access now

A new exhibition of work by photographer Eadweard Muybridge at London gallery Beetles + Huxley, shows the photos that were used in the mid-19th century to prove that horses become airborne in gallop

As you break into a gallop, it’s unlikely that you’re focusing on the motion of your horse’s hooves — more likely you’re looking for the next jump, worrying about any uneven terrain, or alternatively wondering how you’re going to stop.

But in the mid 19th-century there was still some questions surrounding a horse’s gait. And so in 1872, the former Governor of California, Leland Stanford, hired photographer Eadweard Muybridge to photograph his horse galloping, to settle the debate about whether all four of the animal’s hooves were lifted off the ground at the same time.

In order to photograph the horse at speed, Eadweard engineered a system of multiple cameras with trip wire shutter releases to capture each stage of the movement — which proved conclusively, for the first time, that a galloping horse lifts all four hooves off the ground.

The exhibition at Beetles + Huxley in London (19 July-2 September) showcases 65 collotype prints made by the artist in 1887, from his influential series Animal Locomotion, which features images of animals and people captured mid-movement. Each plate in the series shows the same subject in sequential phases of one action, and his work from this time has been credited with contributing to the science of physiology and biomechanics.

Eadweard recorded varied forms of movement in a wide range of animals, mostly taken at Philadelphia zoo, from pigeons in flight to the subtleties of gait found in sloths, camels and capybaras. He also documented human subjects walking, running and descending staircases and engaging in boxing, fencing, weight lifting and wrestling.

Born in 1830 in Kingston-upon-Thames, London, Eadweard emigrated to America as a young man and worked as a bookseller. After being injured in a runaway stagecoach crash in Texas, he returned to the UK for a five-year period where it is thought he took up photography. Upon his return to America, he quickly established a successful career as a landscape photographer, producing dramatic views of both Yosemite and San Francisco.

His reputation as being an adventurous and progressive photographer led him to work as both a war and official government photographer.

Eadweard Muybridge: Animal Locomotion at Beetles + Huxley, London, runs from 19 July-2 September 2017. For more information visit beetlesandhuxley.com

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Knowing what to give The Queen as a present is one of life’s stranger dilemmas. But a new exhibition at the Summer Opening of Buckingham Palace called Royal Gifts, shows that horses are a go-to solution for foreign dignitaries...

A reign of 64 years gives a lot of leeway for gift-giving and receiving on official visits around the globe. The Royal Gifts exhibition at the Summer Opening of Buckingham Palace (22 July-1 October), shows a selection of the presents The Queen has been given during that time, from a choice of over 2000, representing every continent — including an array with an equestrian spin…

1. A Portuguese saddle finished in blue velvet, silver thread brocade and silver was given by President Francisco Craveiro Lopes in 1957

2. Princess Elizabeth on horseback was given by President Arpad Goncz of Hungary in 1999. The first model of this porcelain horse was made in 1937 and was specially reissued in 1999

3. A bronze model of a Lipazzaner horse made by Dragica Čadež, was given to The Queen by the Prime Minister of Slovenia Janez Jansa in 2007

4. One of the largest official gifts ever presented to The Queen was this Australian State Coach, given to her in 1988 on an official visit to the country to mark the 200th anniversary of the arrival of the first fleet of ships from Britain in 1788

5. This imitation quartz, yellow and white metal desk clock was given to The Queen in 2010 by President HH Khalifa Bin Zayed Al Nahyan of the United Arab Emirates

6. In 2011 President Barack Obama gave these two Liverpool driving bits with the Presidential seal to Prince Philip

7. This bronze model of The Queen’s riding horse Burmese was a gift from the St John Ambulance in 1987, the year after Burmese was retired. Burmese was a gift from the Royal Canadian Mounted Police in 1969, and was ridden to every subsequent Trooping the Colour (where St John Ambulance provide first aid) until retirement 

8. Wansbeck District Council gave Her Majesty this sculpture of a pit pony in 2001

9. This bronze and wood model for the size-and-a-half sculpture of The Queen in Windsor Great Park, by Philip Jackson, was from the Crown Estate Commissioners in 2003

10. Cheshire County Council gave The Queen this silver presentation box with an enamel lid by Lowe & Sons, depicting The Queen’s racehorse Aureole (1950-75) in 1957

11. France’s President François Hollande gave this porcelain sculpture in 2014

As well as these gifts, The Queen has received her fair share of horses over the years, from polo ponies to Lipizzaners:

1953 – Arab stallion from King Faisal of Iraq, to commemorate the Coronation.

1953 – Arab stallion Alhehal (Crescent Moon) and Arab mare Al Masouda (The Lucky One) from the Imam of Yemen, to commemorate the Coronation.

1953 – Two polo ponies from President Perón of Argentina, to commemorate the Coronation.

1956 – Akhel-Teke golden dun stallion Mele-Kush (Dun Bird) from Chairman Bulganin and General Secretary Krushchev of the Soviet Union. They also presented Prince Charles with a Karabakh golden dun stallion Zaman and Princess Anne with a three-month-old bear Nikki, who was housed at ZSL London Zoo.

1957 – Lipizzaner stallion Buçaco from the Government of Portugal, along with a saddle, headcollar, bridle and martingale from President Lopes of Portugal.

1959 – Two polo ponies and a thoroughbred bay gelding Sultan from General Ayub Khan of Pakistan.

1969 – Black mare Burmese (pictured top) from the Royal Canadian Mounted Police (RCMP). Burmese carried The Queen to Trooping the Colour between 1969 and 1986. She otherwise served as a Metropolitan Police horse.

1969 – Two Haflinger ponies from President Jonas of Austria, sent to Balmoral Castle.

1973 – Black gelding Centennial from the Royal Canadian Mounted Police. Centennial was used as a riding horse, including by President Reagan of the United States during his official visit to the United Kingdom in 1982. He otherwise serveed as a Metropolitan Police Horse.

1977 – Bay filly Australia Fair from the government and people of Australia, born in 1977 to commemorate The Queen’s Silver Jubilee and presented to her in 1980 during an official visit to Australia. She was sent to Sandringham.

1978 – One Oldenburg horse and one Holsteiner from President Walter Scheel of the Federal Republic of Germany during The Queen’s state visit to Germany.

1979 – Danish horse from the Agricultural Council of Denmark, Copenhagen during The Queen’s State Visit to Denmark.

1980 – Thoroughbred bay filly Asnoura from King Hassan of Morocco during The Queen’s State Visit to Morocco, sent to Sandringham.

1982 – Bay gelding Valentine from Queen Beatrix of the Netherlands during her State Visit to the United Kingdom.

1983 – Swedish Warmblood horse from the Swedish Warmblood Society during The Queen’s State Visit to Sweden.

1998 – Black gelding James from the Royal Canadian Mounted Police, used as a riding horse.

2008 – Lippizaner grey stallion Favory Canissa XXII from President of Slovenia during The Queen’s State Visit to Slovenia.

2009 – Black gelding George from the Royal Canadian Mounted Police, to commemorate the 75th anniversary of the RCMP Long Service Medal, which was approved by King George V, after whom he is named.

2012 – Black mare Elizabeth from the Royal Canadian Mounted Police, to commemorate The Queen’s Diamond Jubilee. She is named for Queen Elizabeth The Queen Mother.

2016 – Black gelding Sir John from the Royal Canadian Mounted Police, to commemorate The Queen’s 90th Birthday. He is named for Sir John MacDonald, Canada’s first Prime Minister.

The Royal Gifts exhibition at the Summer Opening of Buckingham Palace runs until Sunday 1 October

Tickets cost £23 for adults

Visit royalcollection.org.uk for more information

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The hardy Exmoor pony is one of the most identifiable of the native breeds, with their distinctive mealy markings on the muzzle and around the eyes. But this Friday (26 May 2017) a new photography exhibition will open at Dunster National Park Centre in Somerset, promising to show the breed in a new light.

‘Running Wild’ is a collection of different genres, post-processing styles and quirky point of views, with curator and photographer Nina Dodd having brought together 10 Exmoor photographers.

The exhibition will run in Dunster Steep until 1 September, before moving onto the Lynmouth National Park Centre (1 September-31 October) and finally to Toucan in Minehead (13 November-24 December).

Take a sneak peak at the photographs on display

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A wire sculpture of Grand National legend Red Rum is to be unveiled at Aintree to mark 40 years since his third win in the iconic race.

Artist Paul Tavernor has spent three months creating the piece of art out of steel wire and mesh.

The artwork will be on display at the racecourse from the first day of the Grand National Festival (6 April) and is to be installed close to Red Rum’s final resting place.

“When I learned that Red Rum — this beautiful and superb racehorse — was celebrating the 40th anniversary of him winning his third Grand National, it took me straight back to my childhood memories of me and my family, huddled around a small TV in the 1970s, urging him on to win,” Paul told H&H.

“Horses are such magnificent and powerful creatures — I have often painted them.

“But I was really inspired to make a tribute to Red Rum and get my hands on to physical steel bars and wire to create this legendary racehorse.

“I have called him ‘To The Wire’ to reflect that poise, that grit, that determination of heading towards the winning post, that all racehorses and jockeys face as they race towards the finishing post.”

He added he has enjoyed working with the racecourse and is “very much looking forward” to seeing the sculpture at the Grand National.

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Red Rum is the most successful horse in the history of the race. He took top honours three times, in 1973, 1974 and 1977. He also finished runner-up in the two intervening years (1975 and 1976).

Christine Wheatcroft, the Jockey Club’s north-west regional marketing manager, said Aintree is always keen to add new features and showcase work that has a connection to the racecourse and its legends.

“When I discovered Paul’s work and his passion for capturing animals in poses depicting speed and motion, I was very intrigued to learn more about his Red Rum-inspired sculpture,” she told H&H.

“As an Aintree hero, Red Rum is the epitome of an elite athlete, being the only runner to have won the Grand National race on three separate occasions.

“This year, Aintree will mark the 40th anniversary since his last win in 1977 and therefore, as part of various tributes taking place across the festival, Paul Tavernor’s sculpture will be positioned close to ‘Rummy’s’ grave, located near the finishing post.

“Whilst there is artistic license in every artwork, I know Paul has spent endless hours studying Rummy to get as true a likeness as possible.”

There will also be a chance to meet Paul during the festival. Click here for details.

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When thinking about equestrian art, one usually conjures up images of elegant statues of horses, Stubbs paintings and traditional hunting scenes. But a new project is exploring the subject matter in a completely different way.

Under-Horse, a collection of photographs captured by Lithuanian-based photographer Andrius Burba, pictures horses from underneath a clear glass floor.

Mr Burba, who has photographed a variety of animals in this way, including, cats, dogs and rabbits, described Under-Horse as his “biggest project so far”.

“It required a way bigger glass, new solutions, a horse-friendly environment, beautiful brave horses, their helpful owners, lots of heavy equipment and an amazing crew to make this project come to life,” he said.

“It was a great challenge but the results were worth every second of any struggle.”

The images of a black, a liver chestnut and a grey, are set in front of a black background and show a striking new perspective of our four-legged friends.

“I’ve recently found a great interest in taking pictures of various animals from underneath,” said Mr Burba.

“As I’ve tried it I fell in love with the results and I wanted to show them in the best possible way.

“I am flattered that I can finally share my work with you.”

For more information visit www.underlook.org

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Publisher Riva, who has created books depicting Mr Burba’s cat studies has largely funded the work.

“Thanks to them the cat photo book has been recently published and soon to be followed by another photo book on dogs,” said the artist.

“These books can be bought both in Germany or online. Books are in German but the pictures are the ones that count, right?”

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The thrill of seeing Denman in action on the racecourse might be over, but fans of 'The Tank' will be glad to hear that he's been taking centre stage once again to pose for a new bronze (which has taken 300 hours to make already)...

The former giant of jump racing Denman, who retired from racing in 2011, is being immortalised as a bronze by sculptor Tristram Lewis.

The edition of 12 sculptures will be launched on 8 March at The Osborne Studio Gallery in London, the week before this year’s Cheltenham Festival (14-17 March 2017), where Denman found fame when he won the Gold Cup in 2008.

The creative process has so far taken Wiltshire-based Tristam 300 hours — and the maquette has already won the heart of owner Paul Barber (below). It is being cast in bronze at Castle Foundry in Stroud, Gloucestershire.

“I think the key to this story is that Denman really captured the public’s imagination, outside racing as well, partially due to his great rivalry with stable mate Kauto Star,” says Geoffrey Hughes, director of The Osborne Studio Gallery.

“However it was also due to him being an old fashion-style chaser — big and brave with a huge heart, he never gave up and was a superb jumper.

“He won over a million pounds in prize money and his ownership was also somewhat romantic. His owners could not have been more different; Paul Barber a well-known farmer and horse breeder (a true countryman) and Harry Findlay a maverick and professional gambler — they got on well together, but it all contributed to the story of Denman,” adds Geoffrey.

“‘The Tank’, as he was fondly known was considered in the same vein as Red Rum, Arkle and Desert Orchid with his ability to be successful in the big races over many seasons. Quite a rare feat!”

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Tristram has hunted for 30 years and his horses at home in Wiltshire usefully double up as models. He has a particular understanding of the subtle differences in character and bone structure between one horse and another, and is also currently completing the first fully-illustrated biography of Sir Alfred Munnings.

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There's no doubting that Olympic dressage gold-medallist Uthopia is a much-loved personality in the equestrian world. But a new photo released of the KWPN stallion illustrates his unflinching — and striking — star quality

Fine art photographer Matthew Seed‘s latest piece of work pays homage to London 2012 dressage team gold-medallist Uthopia, whose future was secured to stay with Carl Hester in Gloucestershire by an anonymous donor earlier this year.

The image’s striking composition and use of light is inspired by legendary English painter George Stubbs.

“Painters such as Stubbs have the advantage of being able to interpret what they see and often paint in a beautiful light to highlight the horse’s powerful muscles and topline,” says Matthew.

“By using flash and sculpting the light around the horse I am able to emulate this style of painting, typical of the Old Masters, such as Stubbs, and in doing so I have captured the essence of Uthopia.”

Sculpting light provides an authenticity that is difficult to achieve using post production techniques, such as Photoshop, particularly when shooting outdoors.

“Horses are beautiful animals to photograph, but it often takes some time to earn their trust and my aim is to form a bond and understand each horse I photograph in order to capture their essence,” adds Matthew.

Connecting with the horse, understanding them and in turn capturing the horse’s personality is central to Matthew’s work.

“To ensure that I take time to connect with every horse I photograph and to truly present them in their best light is the most important factor in my work,” he says.

A limited edition print is being donated by Matthew Seed and Carl Hester to auction at the MDIRF’s ‘An Evening With The Stars’ on the 29 November.

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Matthew has over 25 years’ experience in fashion and fine art photography and his equestrian commissions include The National Stud, Zara Phillips, Sam Twiston-Davies, Trevor Breen and Laura Collett, as well as sports personality and racehorse owner, Michael Owen.

For more information about Matthew Seed’s work visit: www.horse-photographer.co.uk

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Racing fans will be able to catch a glimpse into the life of legendary racing commentator Sir Peter O’Sullevan next month.

Artwork and memorabilia from the private collection of “the voice of racing” are set to go on display at a London gallery.

Sir Peter, who called more than 14,000 races over 50 years, was also a dedicated art collector.

The Osborne Studio Gallery in Belgravia, of which he was chairman for 17 years, will host a celebration of Sir Peter’s life from 9 March until 1 April.

As well as paintings and sculpture, it will feature photographs and items such as racing commentary cards and his script from his appearance on the Morecambe and Wise show.

“Racing art was his great love but, beyond that, he collected works from his travels, particularly from North Africa, seeking out artists in remote places, said gallery director Geoffrey Hughes in a personal memoir.

“Interestingly, subjects incorporating Pierrot are well represented in his collection.”

Some of the artwork will be on sale, with some of the funds going to the Peter O’Sullevan Charitable Trust.

The six charities supported by the trust are Blue Cross, The Brooke, Compassion in World Farming, World Horse Welfare, Racing Welfare and the Thoroughbred Rehabilitation Centre.

Over the past 19 years, the trust has raised more than £4m for charity.

Sir Peter, who died peacefully at home in July at the age of 97, commentated on the Grand National 50 times for the BBC.

One of his most memorable moments was calling Red Rum home to his third Grand National victory in 1977.

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“[Sir Peter’s] natural modesty forbade it, but every indication I had from our conversations in the latter part of his life suggested he would love others to share some of these memories,” added Mr Hughes.

“I also think that he would have appreciated how appropriate it is that the period of the exhibition includes the four days of the Cheltenham Festival.

“It is no secret that this was his favourite time of the year.”

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Fans of Norman Thelwell can see previously unseen works by the artist, as a new exhibition opens in Hampshire.

The exhibition titled: “Thelwell: Ponies and places” opened at Mottisfont on Saturday (16 January) and runs until 10 April.

The celebrated artist is best known for his hilarious cartoons of little girls on plump little ponies.

First created in the 50s and published extensively ever since, Thelwell drew the endearing characters Penelope and her naughty pony Kipper in hundreds of hilarious scenarios.

His pony cartoons were joined by Thelwell’s other amusing observations of 20th-century country life.

“Selecting the work for this exhibition has been the most wonderful job — we were constantly laughing,” said the curator Louise Govier.

Displayed alongside the cartoons are the artist’s lesser-known landscapes.

He lived close to Motisfont, a country house now owned by the National Trust, and captured the landscape and villages of the surrounding Hampshire countryside on canvas.

“The breath-taking landscapes were the real revelation, and once you’ve seen them, you realise that Thelwell included similar scenes as beautiful, detailed backdrops in all of his large colour cartoons,” Ms Govier added.

Children visiting the NT property during half-term (13-21 February) can take part in ‘giddy gallops,’ an activity trail inspired by the exhibition.

Norman Thelwell was born on 3 May 1923 in Cheshire. His first pony cartoon was published in 1953 and led to a lifetime association with the little girl on the fat, hairy pony.

The success of the Thelwell pony enabled the artist to leave teaching in 1956 and become a full-time illustrator.

His 34 books have sold over 2m copies in the UK and his drawings have featured on merchandise from table mats to bedlinen.

Also on display in the exhibition at Mottisfont are a series of never-before-seen sketches and a selection of models which the artist created as prototypes for merchandise.

For more details about the exhibition visit: www.nationaltrust.org.uk/mottisfont

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Four sculpted horses and riders can be seen on the banks of the River Thames in an art installation entitled “The Rising Tide”.

The horses — which have oil well pumps instead of heads — are situated on the South Bank in London and will be on display until 30 September.

They have been created by British sculptor Jason deCaires Taylor and are concealed and revealed by the tide each day.

“These four proud horses and their riders highlight the role of the Thames as the lifeblood of London, shaping the city’s great history as an ever evolving centre for culture, industry and commerce,” said a spokesman for Totally Thames 2015, who commissioned the work.

“Taylor’s pioneering public art projects are not only examples of successful marine conservation but works of art that seek to encourage environmental awareness, instigate social change and develop an appreciation of the breath-taking natural beauty of the underwater world.”

The sculptures are situated at Vauxhall adjacent to Camelford House, and are fully visible from the riverside walkway for up to two hours either side of low tide.

The project is supported by the Nine Elms Vauxhall Partnership, Vauxhall One and Lumina Prime 8 Ltd.

For more information visit: http://totallythames.org/events/info/jason-decaires-taylor-rising-tide

Approximate daytime low tide times:

Saturday, 12 September (9am); Sunday, 13 September (9.45am); Monday, 14 September (10.15am); Tuesday, 15 September (11am); Wednesday, 16 September (11.15am); Thursday, 17 September (11.45am); Friday, 18 September (12.15pm); Saturday, 19 September (12.45pm); Sunday, 20 September (1.15pm); Monday, 21 September (1.30pm); Tuesday, 22 September (2.15pm); Wednesday, 23 September (3.30pm); Thursday, 24 September (5.45pm); Friday, 25 September (7pm); Saturday, 26 September (7.30am); Sunday, 27 September (8.45am); Monday, 28 September (9.45am); Tuesday, 29 September (10.30am); Wednesday, 30 September (11.15am)

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Building a life-size sculpture of a horse from wood is no mean feat. But this time-lapse video of sculptor Simon O’Rourke in action makes it look strangely easy…

The wooden masterpiece is modelled on Dexter (pictured below), a 12-year-old resident at the Anglesey Riding Centre, where he is a firm favourite among staff and customers.

“I wanted to find a horse that I liked the look of and could clearly see the muscle structure. Dexter fitted the bill perfectly,” says Simon.

“He’s an absolutely gorgeous horse and I hope those who know Dexter will see the likeness in my creation.”

The sculpture will be on showcase at the Sculpture in the Sanctuary exhibition in Southwell, Nottinghamshire for the rest of the month.

“It’s fitting that the model will spend August in Southwell, which is home to Southwell Racecourse, as Dexter was actually born at a racing yard,” adds Simon.

The exhibition marks the latest stop on a UK-wide tour of the horse, following appearances at Bolesworth International, Woodfest and The Big Art Show Shrewsbury.

“The horse took me more than 60 hours to create and is one of my finest works of art. It garners a lot of attention on social media when we publish posts about it so I know it’s popular, too,” says Simon.

“It’s fantastic to have exhibited him at several high-profile events, culminating in spending the last month of summer at the Sculpture in the Sanctuary.

“It’s a privilege to have been asked to showcase at the event.”

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Helen Barry, one of the organisers of the event, said: “We carefully select works from artists who use a variety of mediums such as bronze, ceramic, glass, wire, and wood.

“As soon as we came across Simon’s work we knew it would be perfect for the Sculpture in the Sanctuary event.”

For more information visit www.sculptureinthesanctuary.co.uk

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Equestrian sculptor Nic Fiddian-Green has moved from the classical depiction of horses to the ancient oriental for his next exhibition opening in June.

The sculptor was inspired by Chinese horses from the ancient Han and Tang dynasties.

The new works follow on from a new commission from Swire Properties for a sculpture for its headquarters in Hong Kong.

The 16ft bronze sculpture “Horse at Water” (pictured top) was installed at the landscaped garden Via Fiori at Taikoo Place Hong Kong on 28 November.

The Chinese sculpture is the same height as a double decker bus and rests on the surface of a water pool giving an illusion of the horse drinking.

The distinct cracks on the bronze surface are thought to emphasise elements of time and history.

It is the first public sculpture by Nic Fiddian-Green to be installed permanently in Hong Kong.

“I first saw images of the Horses of the Han and Tang Dynasties when I was a young student in London,” said Nic Fiddian-Green.

“Some 30 years later, inspired by the line, the grace and beauty of these ancient Chinese sculptures, I was invited to create my first interpretation for this site at Taikoo Place. The sculptures will to stand as a permanent reminder of the fragile past, an inspiration in the present, and a hopeful belief in the future for all those who may encounter this horse — the most noble of all animals — on their journey to and from their work.”

The sculptor has become known for carving colossal horse’s heads inspired by the Parthenon Horses of Selene, Goddess of the Moon, which he first saw as an art student.

One of his most famous pieces is the 33ft bronze “Still Water” at Marble Arch.

The exhibition opening at Sladmore Contemporary, 57 Jermyn Street, St James’s, London also features Arab stallions. It is runs from 10 June until 31 July.

For more information visit: www.sladmore.com

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The days of wallpapering your bedroom with pony posters (and your ceiling with boy band members — or was that just me?) have sadly gone, and in the interest of being grown-up, we’ve picked out the equestrian art that we’re lusting after to adorn our homes.

1. Kate Ward

Bath-based Kate specialises in painting racehorses and polo ponies — inspired by watching her professional polo-playing son Tim Ward in action across the globe.

Visit: www.facebook.com/KateWardPaintings

2. Elizabeth Armstrong

After graduating from Goldsmiths Art College with a degree in painting, textiles and embroidery, Elizabeth lived in Spain for 10 years. During this time she worked as a portrait artist on the Costa Brava, where she acquired a fine reputation for her pastel and pencil sketches. Her equestrian art has been exhibited at Royal Ascot, Guards Polo Club, the Dubai World Cup as well at Newbury, Royal Windsor, Warwick, Stratford and Uttoxeter racecourses.

Visit: www.elizabetharmstrong.co.uk

3. Enrique Castro

Born in Buenos Aires, Argentina in 1938, Enrique bred polo ponies for 15 years as well as managing a racing stud. He then spent eight years with the great Argentinean painter Miguel Caride, which marked a turning point in his career. Enrique later moved to London and worked for the Tryon Gallery for 20 years.

Email: enriquecastro101s@fibertel.com.ar

4. William Newton

Sculptor William is a former National Hunt jockey, riding his last race at Chepstow in 1987. His sculpting career took off that year when jockey Steve Knight — who had won the Grand National on Maori Venture — introduced his work to the horse’s owner Jim Joel. Jim liked what he saw and asked William to make a bronze study of his National winner. Two months later, Steve Cauthen won the Derby on Reference Point and commissioned a bronze of himself and his Derby winner cantering to the start, securing William’s status in his new profession.

Visit: www.williamnewtonsculptor.com

5. Michelle McCullagh

Michelle works from her studio in Dorset, exploring the movement of animals in her paintings. “You cannot ask an animal to stand still like you can a human being,” says Michelle. “They are continually moving, swishing a tail, twitching an ear or scratching a leg. Drawings have to be quick, spontaneous and confident. The energy produced in a quick life study can be very exciting. I strive to repeat this energy and movement in my oil paintings by using dramatic, contrasting colours and very few lines.”

Visit: www.mccullagh.co.uk

6. Katie Scorgie

Born in 1969, Katie has been around horses from a young age, including a career as a point-to-point jockey. One of Katie’s most notable commissions was being one of three artists in residence to the Household Cavalry Mounted Regiment between 2011-2012, resulting in an exhibition at Hyde Park Barracks in April 2012.

Visit: www.katiescorgie.co.uk

7. Lydia Kiernan

Lydia’s love of horses stems from a childhood passion when she was drawn to her local stables. She went to Falmouth School of Art where she was able to combine her love of art and horses. Her work takes an orginal approach to drawing horses, making “abstract anatomical references that acknowledge the horse as a skeletal creature”.

Visit: www.lydiakiernan.co.uk

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A former jump jockey is paying his own tribute to the horses of World War I in the centenary year — with a new sculpture exhibition.

Philip Blacker — who rode 340 winners and was placed in the Grand National three times — retired in 1982 and turned his hand to art.

The exhibition combines sculpture and painting based on the horses — one of which was Warrior, who was recently awarded the PDSA Dickin Medal for bravery in combat.

The horse was ridden in the war by General Jack Seeley, grandfather of H&H columnist and Philip’s friend Brough Scott.

In 2013 Brough commissioned Philip to produce a sculpture that would immortalise Warrior.

Philip said his inspiration for friezes comes from a variety of sources including painting, poems, letters and songs.

“These words allowed my imagination to perceive them through the medium of relief panels,” he said.

“They are just my interpretation. I have not focused on the tragedy of the war itself, that having been well chronicled, but more of life behind the lines. Where the front line has been depicted it is usually in a moment of reflection.

“My love of creating horses in bronze on a large scale has led me to want to put them in context somehow. This led on to my interest in friezes where this aspect became possible. The friezes and the subject of the WW1 just seemed to work together.”

Modelling and casting takes two to three weeks. After casting the works are patinated by applying chemicals to the hot bronze.

The exhibition opens at Thompson’s Gallery, London on 5 November, ahead of Remembrance Day.

For more information visit: www.philipblacker.com

This news story was first published in Horse & Hound magazine (30 October 2014)

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Everyone loves a lucky horseshoe, especially one with a personal touch.

Army wife Jenny Naylor’s hand-crafted charms have been a big hit both in Cyprus, where she was stationed with her family for two years, and in the UK.

Jenny helped rekindle RAF Akrotiri military saddle club in 2010 and it was during this time that she noticed old horseshoes were being discarded in large numbers.

“After experimenting with a few different techniques I found a knack for painting on the surface of the shoe,”she explained.

Jenny raised more than €500 (£395) by selling the gifts, which she used to buy yard equipment.

“When I returned to the UK the requests kept coming,” she said.

Hoofing Horseshoes was born and Jenny now paints shoes for special occasions, including weddings and birthdays, and donates funds to various charities such as the Riding for the Disabled Association (RDA) and the Army Benevolent Fund.

More information on Hoofing Horseshoes

First published in Horse & Hound magazine 28 August 2014

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25 giant Clydesdale horse sculptures will adorn a Scottish town next month in a drive to attract tourists.

The READY STEADY GALLOP! collection of horses will be exhibited on the streets and open spaces of Hamilton, South Lanarkshire for 10 weeks from 25 June.

After that the sculptures will be auctioned off to raise funds for local charity The Kilbryde Hospice.

The 6ft sculptures have been designed and painted by local artists, with the aim of “putting the town of Hamilton back on the map”. Organisers are hoping that visitors to the Glasgow Commonwealth Games (23 July-3 August) — just 12 miles north-west of Hamilton — will visit the arts trail during their trip to Scotland.

The theme of Clydesdales was selected because of the town’s proximity to the Clydesdale Valley.

“We wish to celebrate the role of these mighty animals in the livelihoods of the people who worked the land in Lanarkshire,” said a spokesman.

READY STEADY GALLOP! runs from 25 June to 6 September.

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A life-size statue of the Classic-winning racehorse Makfi will be on display at the Gladwell & Patterson fine art stand at the RHS Chelsea Flower Show next month (20-24 May).

Animal sculptor Edward Waites will be working on a clay mould on the stand, ahead of casting a full bronze of Makfi.

The racehorse won the 2000 Guineas at Newmarket in 2010, trained by Mikel Delzangles and now stands at Tweenhills Stud in Gloucestershire. The horse is owned by the Qatari Royal family.

Mr Waites said he was inspired to sculpt Makfi as “he is a beautiful stallion with great presence.”

He said he was hoping to capture all aspects of the horse’s character in his sculpture including his “cheeky nature”.

“Exhibiting at the Chelsea Flower Show is a great opportunity for me to demonstrate the art of sculpture and how these big bronzes are created,” he added.

The initial clay structure will take two months to complete.

Gladwell & Patterson will be at stand SR10 and SR44 at the RHS Chelsea Flower Show 2014.

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Grand National winner Auroras Encore is to be immortalised in a 6x8ft painting.

Artist Liz Armstrong is to paint the giant canvas — which is the biggest she’s done —for Douglas Pryde, one of the horse’s three owners.

“Douglas said he wanted the canvas for the entrance hall of his new house,” she said. “He wants it in a ‘Picasso-like’ way, all black and white texture, with just the silks in his blue and yellow colours,” she said.

“I’m most looking forward to creating the feeling of speed, movement and emotion. I’ll be using horse hair, rubber and pure pigment paint.”

Liz visited trainers Sue and Harvey Smith’s Yorkshire yard to meet Auroras Encore.

“He had just finished his summer holiday so he was relaxed and very friendly,” she said.

This news story was first published in Horse & Hound magazine (15 August 2013)

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Work is getting under way on two giant sculptures of horses’ heads, to be installed in Falkirk, central Scotland.

‘The Kelpies’, by artist Andy Scott will tower 30 metres above the Forth and Clyde canal.

Each steel head will weigh over 300 tonnes. Once completed, they will be the tallest works of art in Scotland — a third taller than Anthony Gormley’s Angel of the North sculpture, which stands next to the A1 near Newcastle.

Kelpies are water spirits from Celtic folklore, that took the form of a horse.

Sculptor Andy Scott said his kelpies were modelled on two Clydesdales belonging to Glasgow City Council.

“They are the embodiment of the industrial history of Scotland and the Falkirk area. Heavy horses would once have been the powerhouse of the area, working in the foundries, the fields, farms and the canal,” he has said.

The Kelpies will be the centerpiece of a £43m regeneration project called The Helix, which will transform a 350-hectare swathe of wasteland near Falkirk’s football club, with a lagoon, parkland, café and children’s play area.

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A painting by the great sporting artist Lionel Edwards — with a fascinating provenance for readers of H&H — has come on to the market.

The Horse & Hound Cup (1961), depicting the final fence of that year’s champion hunters’ chase at Stratford, was commissioned by former H&H editor Walter Case.

“It is a classic piece and shows the fantastic movement that was Lionel Edwards’ trademark,” said Sheron Harris of Eggesford Studio, in Wembworthy, Devon, who is handling the sale.

“The jockeys are leaning back over the fence, as was the style then.”

The Horse & Hound Cup, an oil on canvas, is offered for sale by Walter Case’s grandchildren, who are seeking offers in the region of £25,000.

If the buyer mentions H&H, the sellers will make a donation to the Injured Jockeys Fund.

It will be sold with the artist’s notes and a black and white photo of the painting.

Email sheron@eggesford-studio.co.uk or tel: 01837 680021

This news story was first published in Horse & Hound magazine (30 May 2013)

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Some of the world’s finest sporting art — and some unusual artefacts — will go on show to the public during building work at the Jockey Club.

For the first time in the Jockey Club’s almost-300 year history, the major part of its collection of paintings and other items will be leaving its premises in Newmarket.

But it will only be moving next door, to the National Horseracing Museum, from 17 January – 23 March 2013.

William Gittus, of Jockey Club Estates Ltd, said: “The Jockey Club Rooms will be closed in the early part of 2013 during the installation of a biomass central heating system.

“Much of our collection will have to go into storage and it seemed like a perfect opportunity to work with the National Horseracing Museum and British Sporting Art Trust and show some of our collection to a wider audience.”

Items that will be on show range from the seminal image of Gimcrack by George Stubbs, painted in 1765, which normally hangs in the club’s Morning Room, to works by Wootton, Sartorius, Herring and Munnings.

The collection also includes the silver-gilt salver mounted with a snuff-box made from a hoof of the world-famous racehorse Eclipse, presented to the Club by King William IV in 1832; and the Newmarket Challenge Whip, reputed to have belonged to Charles II.

James Harvey of the British Sporting Art Trust said: “We are thrilled to be working in partnership with the Jockey Club and the National Horseracing Museum to show these treasures to the wider public.

“Some of the finest sporting art in the world will be included in this exhibition, enabling people to access a fascinating aspect of the UK’s cultural history as well as view some absolutely stunning works of art.”

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Two life-size horses made of horseshoes that were a focal point in Greenwich Park have been sold for £70,000.

The leaping horses, which decorated the final fence of the Olympic cross-country course at Greenwich, were sold at Christie’s in London on Tuesday (20 November)

The horses, made by sculptor Tom Hill from Hertfordshire, were constructed entirely from recycled horseshoes. H&H had reported the guide price was £50,000-80,000.

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The leaping horses that graced the final fence on the Olympic cross-country course at Greenwich are to be sold at auction in November.

Sculptor Tom Hill’s life-size animals – constructed entirely from recycled horseshoes – will be sold at Christie’s, South Kensington, London on 20 November, with a guide price of £50,000-80,000.

Tom, whose workshop is on a livery yard in Tewin, Herts – “ensuring a good supply of used horseshoes” – said the work had been the most exciting commission of his career.

“The course-builder [Sue Benson] called the jump the Olympic Horses, so I’ll stick with that for the title.

“It’s not very original, but it works,” he said.

For more information, visit www.christies.com.

This news story was first published in the current issue of H&H (20 September 2012)

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Click here for Runners, Tips and Free Bets on the Grand National 2012

Three British artists will be showing their work at a special exhibition hosted by the Household Cavalry later this month.

Over the past 12 months Daniel Crane, Tom Hoar and Katie Scorgie have been given behind the scenes access to the Household Cavalry Mounted Regiment.

And from 23-26 April the regiment will show the work at its London Hyde Park barracks.

The three artists captured the Regiment’s participation on some of the Nation’s most memorable days during last year’s ceremonial season – including the Royal Wedding and Trooping of the Colour.

In the week leading up to the anniversary of the Royal wedding the art is going to be exhibited at the London Barracks from 23-26 April.

“I focused not only on the ceremonial occasion itself, but also behind the scenes,” said Daniel Crane. “The suppressed air of orderly excitement as officers and troopers assemble and take their places, the Commanding Officer’s inspection before the Royal Wedding, or a warm moment between a trooper and his mount.”

“As a horseman I recognise the different characters in the ‘cavalry black’ horses and paint them as such, yet still retaining their soldierly uniformity.”

Tom Hoar added: “I focused on the immense individual and collective effort of regimental dailylife and the hardworking graft of the soldiers as they carried out their duties from the stables to the parade ground.”

Lieutenant Colonel Dan Hughes, the Commanding Officer, said: “For the first time in over 150 years, we have reinvigorated a great British tradition of martial art. Since the birth of the photograph and the introduction of tactical camouflage, artists and the military have become estranged.”

“This new exhibit will reincarnate and capture the glorious colours and movements of horse and soldier on canvas once more.”

This exhibition is being held to launch a new charity, The Household Cavalry Foundation. The Foundation has been set up to provide support to the regiment’s operational casualties as well as serving and retired Household Cavalrymen and their families. It will also provide support for horse welfare. All proceeds from the exhibition will go to the Foundation and make a significant impact on the lives of those the Foundation cares for.

The exhibition will be open 2pm-5pm and all attending need to present some form of photo ID.

For more information on the art or attending the exhibition, check out the Household Cavalry Art Exhibition Facebook page at http://www.facebook.com/pages/The-Best-of-British-The-Household-Cavalry-in-Action-Art-Exhibtion/198296050280400 or Regimental facebook page at www.facebook.com/hcmr

For more information on Child & Child which is sponsoring the event visit www.childandchild.co.uk

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An early version of the William Powell Frith painting The Derby Day, which hung in a New England beach hut for 50 years, has made a world record for the artist.

The painting of an 1850s horserace sold for £505,250 at Christie’s, London, on 15 December.

Frith’s completed The Derby Day hangs at the Tate Britain gallery in London.

The version just sold hung in the unlocked shed until a friend of the owner suggested it might be of value.

This news story was first published in the current issue of H&H (5 January 2012)

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A vast sculpture of a horse’s head – which has become a West Sussex landmark – is on its way to Australia where it will serve as a memorial at the grave of the entrepreneur and polo patron Kerry Packer.

The 30ft high bronze, Artemis, was created by the artist Nic Fiddian-Green and has been bought for £1m.

It originally stood on the South Downs, near Chichester, looking across the Selsey peninsula and was moved to Goodwood in July 2010 for the racing festival (news, 17 June 2010).

Mr Fiddian-Green told H&H he was “humbled” that his sculpture had been selected.

“It is quite an honour,” he said. “It is a rather wonderful end to a long journey, as it has taken me 30 years to have the confidence to make this.”

Artemis – which weighs four tonnes – is due to arrive in New South Wales at the end of December. It will go on the Packer family estate, in the Great Dividing Range of mountains.

Mr Fiddian-Green said he had been inspired by a trip to see the Elgin Marbles in the British Museum when he was a student and a horse’s head caught his attention.

“It has obsessed me,” he said. “It embodies a lot of emotions – hope, nobility and dignity.”

This news story was first published in the current issue of Horse and Hound (17 November, 2011)

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A painting of the 1852 Derby winner — who was owned by the 19th century stud owner and breeder, John Bowes — has been bought by the museum which bears his name.

Bought for £18,000 at Bonham’s auction, the Harry Hall painting of Daniel O’Rourke will be displayed at the John Bowes museum, near Bishop Auckland, alongside the existing collection.

The diminutive champion, who started at 25-1, was owned by John Bowes and painted after the race with winning jockey Frank Butler onboard.

Emma House, the museum’s keeper of fine art, said: “Whilst equine portraits regularly come up for sale, many of them were produced quickly after the finish of the race and therefore lack the quality of this painting.

“Hall has taken great care in the depiction of the horse, portraying in great detail Daniel O’Rourke’s markings and likeness.”

Director of the Art Fund, who helped purchase the painting, Stephen Deuchar said: “With the connection to John Bowes and his love of all things equestrian, this painting has found its natural home.”

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One of the most memorable racehorses at the Ebor festival (17-20 August) at York racecourse will not be the most fleet of foot, in fact it will not move from the weighing room lawn.

Entitled “An Edible Racehorse” the 18-hand art creation is made entirely from Yorkshire produce.

It was created by Yorkshire sculpture artist Emma Stothard and Royal Opera House set designer Caitlin Jones to be viewed by an estimated 100,000 race goers.

The “racehorse” is made up of:

• More than 300 Yorkshire puddings
• 20 punnets of Vale of York strawberries
• Five kilos of Sandhutton potatoes
• Four crates of mushrooms from Thirsk
• Four crates of Wakefield rhubarb
• Three sacks of Vale of York carrots
• Two barrels of Ampleforth apples
• Two sacks of freshly harvested Wistow wheat and barley.
• A heaped basket of Wetherby radishes

Speaking to local papers, managing director of York racecourse hospitality Keith Stewart said: “It’s a whimsical notion, making a racehorse from fruit, veg and 300 Yorkshire puds, but using local food as an art instillation does have wider significance.

“As caterers, we’re exceptionally proud of our commitment to seasonal, local produce. A sense of fun is part of a great race day out.”

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They are not the usual thoroughbreds you expect to see at Cheltenham, but 10 life-size horse sculptures will be positioned throughout the town from 1 August-15 October.

Each horse has been sponsored by a different organisation — including the University of Gloucestershire and Cheltenham racecourse — and decorated by artists, including PJ Crook, Sam Charles Hodgson, Alison Little, Lincoln Seligman and Carrie Reichardt.

Equestrian artist Sally Lancaster has decorated a horse (pictured) for the Racing Post.

“I’ve painted the horse a pale grey and then painted 12 individual images on it of Cheltenham legends — including Kauto Star, Best Mate, Desert Orchid and Arkle,” she said.

“It took 14 days straight and I’m really looking forward to seeing them all on display.”

The parade is being run by Cheltenham Art Gallery.

Sophia Wilson from the gallery said: “It’s Cheltenham Festival’s centenary and we wanted to celebrate that with art.”

This news story was first published in Horse & Hound (4 August, 2011)

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Riding fans visiting “The Finishing Line”, a photographic exhibition depicting athletes “expected to compete in the 2012 Olympics”, may be surprised by the sole equestrian portrait.

Exhibited alongside gold-medal winning Olympians such as rower Peter Reed, sailor Iain Percy and Commonwealth gold-winning diver Tom Daley, is dressage rider Natalie Allen, 24 — who does not rank as a 2012 contender with H&H.

Natalie is not a member of British Dressage’s World Class start or potential schemes.

Natalie told H&H: “The pictures were taken two years ago. But, no, I don’t expect a call-up for 2012 — my target is 2016.”

She returned to the UK in October after two years’ training with Marcus Gribbe in Germany.

“I was on the BD Start programme for six years before I went to Germany,” said Natalie.

“But at the moment I seem to be doing all right on my own. It was really exciting to be chosen [by the artists] for the exhibition.”

Natalie has three horses, Duke 77 and Domino D, currently competing at grand prix level and Little Rock 35 — her 2016 contender.

A spokesman for BD said: “Given her age, Natalie could well be in line for Rio in 2016.”

H&H wondered why other more obvious equestrian 2012 contenders weren’t chosen.

London-based artist Laura Woolnough, who took the portrait of Natalie, said: “We didn’t want to cherrypick the top riders. We wanted to portray athletes that people know and those who are emerging.

“It would have been easy to just photograph Laura [Bechtolsheimer] but we wanted to say something about the endeavour of aspiring athletes.”

She said they also hope to include a paralympic rider in the exhibition.

“The Finishing Line”, which is the work of Laura Woolnough and Ginny Jory, will be held at St Mary’s Church, Hackney Wick from two weeks before the Olympic Games until the end of the Paralympics — dates still to be confirmed.

This news story was first published in the current issue of Horse & Hound (28 July, 2011)

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Para-dressage rider Sophie Christiansen is the star of a new portrait and sculpture to be unveiled at Heathrow airport’s Terminal 5 Expo Fine Art Gallery later today (Wednesday, 27 July).

Both pieces are being launched to mark one year until the beginning of the London 2012 Olympics. They will be displayed in a free exhibition until 18 August.

The portrait, by Lesley Thiel, is of grade 1A para-dressage rider Sophie, and her 2010 World Equestrian Games gold-medal winning partner Rivaldo of Berkeley.

“Sophie’s Spirit of Sport” is a sculpture by Susan Leyland inspired by Sophie and her 2008 Beijing gold medal-winning mount, Lambrusco III

A spokesman for the gallery said: “Sophie is the most amazing athlete and an inspiration to so many.”

The artwork will form part of the cultural legacy of the 2012 Olympics and Paralympics.

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The Hound Welfare Fund is to hold a online fundraising auction tomorrow (4 June) featuring works by well-known sporting artists such as Andre Pater and Sandra Oppegard.

All proceeds will go towards helping the fund which retires foxhounds from the Iroquois hunt in Lexington, Kentucky.

With annual running costs of around $30,000 (£18,300) a year, the fund which has between 25-30 retirees at any one time and is run by volunteers is constantly in need of charitable donations.

Around 40 items will go under the hammer, including:

• A watercolour by Sandra Oppegard, dual past winner of the Washington Thoroughbred Breeders Equine Art Show award, who is from Lexington.
• A 12x9in limited bronze sculpture of Casanova Kip by Belinda Sillars the winner of The Society of Equestrian Artists Best Piece of Sculpture 2010 award.
• A charcoal and pastel piece by renowned artist Andre Pater entitled ‘Awakening.’
• An oil painting by Michael Lyne showing hounds being judged.
• A 14x18ins oil painting of a Wilton Hunt hound by Salisbury artist Hazel Morgan.
• A small bronze sculpture of a sleeping hound by Deborah Burt.More details about the auction can be found at http://houndwelfare.wordpress.comIf you wish to bid then please e-mail cgmoakford@hotmail.co.uk to register your bid before 8pm British time on Saturday 4 June.For more information about the Hound Welfare Fund please visit: http://www.houndwelfarefund.org/

Stay in touch with all the news in the run-up to and throughout the major shows and events during 2026 and beyond with a Horse & Hound subscription. Subscribe today for all you need to know ahead of these major events, plus online reports on the action as it happens from our expert team of reporters and in-depth analysis in our special commemorative magazines. Have a subscription already? Set up your unlimited website access now