This year's Showcase Auction will be Juried.  The judges for this year will be Judith Forbis - co-founder of The Pyramid Society , Bill Cooke - International Museum of the Horse Curator, and Shelley Hunter - artist and the Kentucky Horse Park's representative of the American Academy of Equine Art. 
The following categories will be decided by our panel of judges:

Best In Show
Best Use of Color
Standout International Artist
Breakthrough Artist
Best Pastel
Best Watercolor
Best Acrylic
Best Oil
Best Alternative Medium
Best Mixed Media

The following categories will be decided by attendee vote. Each registered bidder will be allowed to vote once in each category.

Attendee Favorite
Most Original
Most Realistic
 

Premier Art Auction

Showcase Art Auction

Premier Artists

In her own words:
Many Arabian horses have inspired me, but if I had to mention just one, it would be my first horse, Rafaseen, aka “Bean.” Although a horse crazy youngster, I rarely dreamt of horses at night, but if I did, the horse was too small or too weak to ride.

So, I wasn’t surprised when I saw my Arabian “dream horse” for the first time. He was a little over a year old, infested with worms, with an upside down neck, and hips you could hang a hat on. But I also saw the beautiful horse he could be. His eyes were unforgettable: huge, black, and full of mischief and life. In fact, too much mischief for us to handle! Gelding didn’t help much, so we learned how to handle a lively gelding who thought he was a stallion. He enjoyed playing the intimidator: circling, dancing, snorting, and puffing-up as if he were 16-hands, even though he was only 14.2. Yet he would stand perfectly still to have his legs clipped. And he responded to our conversation with little nickers and ‘mumblings.’ In his late teens, he surprised us all by carrying the American flag at the county fair in his Arabian costume.

His was a beauty that not everyone could appreciate, yet he was the classic Arabian, with his white, speckled coat like satin, a wedge-shaped head with small, alert ears, and a fine throat. Prancing with springs in his hooves, arched neck, and tail veiled in white, he would say, ‘Here I am, alive and glad of it!’

Still dancing to the end, Rafaseen passed on in May 2002, at the age of 28. I like to think he lives on through my art. If you see a horse in one of my paintings with a special gleam in his eye, that’s my Bean.

From the April 2005 Pyramid Report - Article by Honi Roberts

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In her own words:
Describing how Arabian horses inspire me, is like trying to describe my deepest love and passion. The Arabian horse is truly one of God's greatest artistic gifts of beauty and grace. I started my artistic endeavors at an early age. Mom (an art teacher) kidded, saying as a child, I could always be found behind curtains with my crayons, drawing horses on the wall. Horses were, and always have been, my first and everlasting love.

Oil painting and bronze sculpture have an equal hold on me, one artistic form of expression helping improve the other. The knowledge of anatomy I've obtained from doing 3-dimensional work, aides my 2-dimensional work; just as the knowledge of beautiful line and form for my 2-D work, continually helps to better my 3-D creations.

I'm very proud that both my paintings and bronzes are so well received. My watercolors on Barkpaper, where ethereal images of horses are found and painted from the natural lines and shades of the paper (like seeing horses in clouds), are one of my most unique treatments. I exhibit my work at major horse and art shows around the country, and have participated in the American Academy of Equine Artists juried exhibits.

I owned, bred, and showed Arabian horses for many years. Although I no longer have them, I hope those personal experiences and my love affair with the breed are apparent in my art work, and that it adds a distinct character to it. Of course—I’ll be at the Egyptian Event with bells on! It’s one of my favorite shows in the world, and favorite groups of people!

Three words that describe my work? Unique, heartfelt, and captivating.

From the April 2005 Pyramid Report - Article by Honi Roberts

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In her own words:
Arabian horses don’t move, they dance. They are poetic. I love their eloquence, their fire and faithfulness, their devotion and intelligence. Their history lends itself to many expressions. They are so versatile. They are the perfect breed for equine art. I have owned my purebred gelding for 25 of his 26 years.

I remember as a child, I would draw only horses, even though my mother tried to persuade me to try other subjects. After doing a portrait of a friend’s purebred Arabian stallion, my career took off, and it has taken me on a fabulous journey around the world. I’ve had regular exhibits in Sydney, Melbourne, and Brisbane, and places in between.

I prefer to work in pastels, because it gives me the soft emotive…I love the hues, and the way it blends, and that they can be applied to achieve many effects. My best known works are ‘Timeout’ and ‘In the Night.’ ‘Timeout’ captures a moment in time, when a mare rests between classes, her rider still mounted, before the championship ride. I donated ‘In the Night,’ a study of a mare calling to someone or something, to last year’s art auction. The warm response was unforgettable.

It’s an awesome feeling, to have my work appreciated by The Pyramid Society. Donating to the Egyptian Event is one of the most exhilarating experiences of my life.   I am excited to be a part of it.

Three words to describe my art? Alive, emotive, personable. Visit Tara on the web at www.tarabrown.com.au.

From the April 2005 Pyramid Report - Article by Honi Roberts

Pictured above: "Flashdance" - Original Pastel to be auctioned as part of the 2006 live Art Auction.

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Ever since I can remember I wanted to draw horses. Most of my spare time as a child was taken up with riding lessons and drawing. As I grew older I became especially interested in dressage and showing and was fortunate enough to show horses up to and including International level, ridden and in-hand.

When I gave up active riding, and family commitments allowed more free time, I was able to experiment with pastel and oil painting. My own horses were patient models. Their presence was an inspiration, as the soul just shines from an Arabian horse's eyes.

As I built on years of studying horses and drawing, I became professional and began to do commission work, of all animals, but especially my first love the Arabian.

Acceptance for the annual Exhibition of the Society of Equestrian Artists in London was a major boost in my career, and I was very moved and honored to be presented with an award for a pastel study of the beautiful stallion 'Kazmierek'. This was one of two studies completed after a meeting with this influential and gentle stallion. This pastel was shown on Channel Four Television to help promote the prestigious Exhibition and was subsequently put out as a print by Sally Mitchell Fine Arts.

Many commissions followed, through a London Agent, from Middle Eastern Rulers and the British Aristocracy and lovers of the Arabian horse world-wide. I have been blessed to be asked to immortalize so many treasured champions and much loved best friends. Pastels and oil paintings are now in collections in Europe, America, the Middle East and Hong Kong.

It has been a great pleasure to send two pastels to The Pyramid Society to be auctioned at their prestige charity auction at the annual Egyptian Event held in Kentucky Horse Park. 'Pearl from the Desert' was the first to go and I was delighted that she raised $5,000 for the Society. 'A Distant Call', a smaller portrait of a black Arabian stallion, followed. This pastel raised $3,500. He was also chosen to appear on the front cover of the Event program.

Adapted from the artist's website - www.lesleyannhartman.com

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Valerie Hinz

Growing up a Canadian farm girl, Valerie Hinz has been drawing horses "ever since I could hold a pencil." Her father had horses on the farm, and the first stories she was told were always about horses.

Valerie attended the University of Saskatchewan, intending to major in veterinary medicine, but changed her mind when she had to watch surgery performed on her own horse. She switched her major to art, expecting her instructors to teach her to draw. Discouraged after two years, she dropped out before graduating and quit painting for a time. But after a few years, she again began to paint - as a favor to friends who wanted a good rendering of their horses. Her first large exhibit came in 1983 at the Arabian National Show. Then, in 1986, another important event took place, which she says improved her art.

Out shoveling grain one day, Valerie twisted her back and was suddenly "in the worst pain of my life." She had major back surgery and for the next five weeks she couldn't work, ride, or even paint. So she decided to read - mostly books on composition and color. Shortly after she started to paint again, she completed her first major work, titled Romancing the Stones. This is the painting that brought Valerie attention in the world of equine art.

Her use of composition, color and light has led many people to believe she has the potential for greatness. Said noted artist Mort Solberg, "She can go anywhere she wants: it just depends on how hard she wants to work."

Adapted from Cross Gate Gallery's website, www.crossgategallery.com

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Anneliese Muschler

Representative sample: Ansata Halim Shah

In her own words:

For many years, I have been showing my work at international art exhibitions, mainly portraits of Arabian horses whose incredible beauty, charm, and unique character have led me to choose them - almost to the exclusion of all others - as the subject of my art. From my first artistic endeavors as a child to this day, I've been trying to capture the individual personalities of these fascinating horses.

I have had many exhibitions internationally, including individual and group exhibitions at various galleries and horse shows in Europe.  I also exhibited at the Egyptian Event in 2002 as well as the Qatar Horse Shows in 2004 through 2006.

As for materials, I favor working with delicate chalk pastels or red chalk, but also enjoy working with oils. I'm probably best known for my portrait of RN Farida.

For the 2006 Egyptian Event Art Auction I am going to donate a picture of Ansata Ibn Halima, which I am doing in pastels as they allow me to bring out his marvelously delicate features.

Having derived such enormous pleasure from my visits to the Egyptian Events of 2002 and 2005, I certainly do hope to be back next year with some of my work. It always gives me great satisfaction to have one of my works of art at the auction. Three words to describe my art? Committed, passionate, delicate.

From the April 2005 Pyramid Report - Article by Honi Roberts

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In her own words:

It is said “the greater the challenge, the greater the reward.” If that is true, then this is a particularly rewarding year as I fulfill my original vision of casting The Vernet Bronzes. They are a collection of nine Arabian horse sculptures, portraying 19th century lithographs of the French artist Carle Vernet, and sculpted following the 18th century anatomy studies of British artist George Stubbs. My contribution to these works is incorporating the realism and details from my own experience and observations, studying actual horses that I have been privileged to portray. To date, I have accomplished more than seventy-five sculpture portraits, nearly all from life-studies. I now believe the purpose of these many portrait opportunities has been to prepare me for The Vernet Bronzes.

The new work I am donating to this year’s art auction is the first piece of a new limited edition titled “Promises,” portraying two Arabian foals in spirited play. It contrasts a filly’s flirtatiousness with a colt’s bravado, as they teasingly show off to each other.

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Ali Al Mi’Mar, whose art work, “Desert Son,” from the 2004 Egyptian Event fundraiser, graced to the cover of the 2005 February Pyramid Report, will also donate two original works this year, "In A Mother's Eyes" (pictured above) and "Beauty Blossoms". This globe-trotting talent was unavailable for comment at press time, but we could not imagine leaving him out of our profiles.

Ali Al Mi’Mar was born in Baghdad, Iraq, in 1965, and graduated from the Institute of Fine Arts and the College of Fine Arts, both in Baghdad. He had his first solo exhibition at just 20-years-of-age. Today, his work graces private collections around the world, and his exhibitions have entranced a wide and appreciative audience. Ali Al Mi’Mar makes his home in the United Arab Emirates, where he is the Fine Arts Supervisor at the University of Sharjah.

From the April 2005 Pyramid Report - Article by Honi Roberts

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Deborah Rush, with 24 years of experience as an artist, continues to build upon her creative repertoire of portraying the splendor of the Arabian horse. Her deep personal bond with her own two Koheilat-Ajuz mares, as well as an abiding interest in Bedouin culture, provide both the personal and historical background which makes her artwork unique. She also deeply admires the breeders around the world who are devoted to the natural beauty, charm, and uniqueness of this desert horse.

Deborah realizes that the art of the Arabian must now be viewed in a global perspective. “I have long recognized,” she explains, “how this magnificent creature, a gift from God, unites diverse people in fulfilling a great passion.” It is Deborah’s dream, just as her beloved mares enrich her own life, to enrich the lives of others by portraying her passion for the Arabian breed.

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Since 1978, award-winning artist Thomas Allen Pauly has portrayed some of the finest horses and jockeys in the country. Born and raised in Chicago, his love of the sport emerged in Sportsman's Park winners’ circle.

Working primarily in oils and watercolors, Pauly travels extensively throughout the world to observe his subjects in their natural settings and has photographed the Royal Ascot, the Arc de Triomphe, the Velka Pardubicka Ceske Pojistovny Steeplechase in Prague and numerous Breeders’ Cups, Preaknesses, Belmonts and Kentucky Derbies. He depicted the who’s who in Thoroughbred racing in a portrait series commissioned by Arlington International Racecourse.

His artwork has appeared on the covers of many international equine publications. Pauly was commissioned by the Bloodhorse to illustrate a piece for the 2002 Breeders’ Cup Magazine. He is a frequent contributor to the Shoemaker Foundation and the New York Jockey Club charity auctions.

Pauly attended the prestigious American Academy of Art and has studied with equestrian artists Sam Savitt, Else Tuckerman, Larry Wheeler and portrait artist Julian Gilbert. Pauly’s portraits are known for their accuracy, their energy, their sentiment and their celebration of achievement.

Adapted from the artist's website at www.horseartist.com.

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Showcase Artists

As one of only a handful of Dutch sporting artists, Cary J. van Dansik specializes in equine bronze portraiture and bronze sculpture. By the age of three, van Dansik was already drawing horses in such a special way, that it was noticed by his. His parents were informed of Van Dansik’s special talent, and it was suggested that he be given special training. However, coming from a long line of butchers, van Dansik’s father decided it was better to provide his son with a solid and secure trade and nothing could change his mind. So for several years van Dansik labored as a butcher. Van Dansik said, "When my Father decided not to send me to the Academy of Art, I was both sad and angry, but now I’m grateful he didn’t. The lessons I have learned individually, by analyzing and studying, can not be taught at through any formal education!” The famous English painter, George Stubbs, was an excellent role model for van Dansik. “George Stubbs used to take his dead horse into his studio and study its anatomy. It was easy for me to understand why he did so, because it has been essential for me to learn the structures and the function of all the bones, muscles and what makes the movements of this wonderful creature possible!”

Being self-taught, van Dansik learned the hard way. Over time, he discovered his own strengths and eventually developed his own style. In addition to Stubbs, other classical artists such as Rodin and Mene were of import influence. Since the early eighties, van Dansik has produced over thirty bronze editions of horses from desk size sculptures to life-size statues. Van Dansik’s limited bronze editions of six to fifteen horse sculptures are all genuine collectors’ items, ensuring that his clientele throughout the U.S.A, Europe and the Middle East are guaranteed valuable pieces with lasting beauty. To the very discerning customer, his one-of-a-kind bronze pieces are of special value and timeless beauty. Van Dansik’s work is often referred to as classic, precious, and timeless, the very same qualities as his favorite subject, the Arabian Horse.

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In her own words:

Horses are my life and inspiration and they pervade all areas of my life. I suppose it was inevitable that this passion which started to grow in early childhood would become my life path, matched only by a thirst for art that would lead me to my eventual career as an equine artist.

My aim is to try and portray some of the untamed spirit and ethereal beauty of one of God’s most magical creations, the horse.

I consider myself so very fortunate that I am able to combine my passions, and now run a small stud farm in partnership with my husband, here in rural West Wales in the UK. I am endlessly inspired by the constant supply of inspiration for my work. My fear is that I won’t have the time to paint them all, as I would need several lifetimes!

Working mainly in oils I always try to capture the light and atmosphere as well as the dramatic forms and colours of the horse in my pieces. Whether a peaceful tranquil scene of a mare and foal or the fine dash and fire of an Arabian stallion. Oils have a superbly rich texture and quality to them that I love. When I paint I sometimes feel that I am almost sculpting with colour and light. I liken it to getting into the picture and modelling the horse in three dimensions. When I am painting hours can drift by so absorbed do I become in feeling the texture of the coat, looking at the way the muscles move, capturing the soul in the eye. What is he thinking? Which way will he move next? How does the light play on the colour of his coat?

Ultimately, I would like the observer of my work to feel as drawn into the scene as I have been, to have a sense of the moment in life that is there. Whether I succeed in this mission or not there is no doubt that I will continue to try as I cannot imagine my life without my horses or my art!

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Wendy Morris-Tank, born in Long Island, New York; raised in Scottsdale, Arizona; has had a love and passion for horses before she ever saw one. Wendy is more than just an artist admiring horses from a far, she has lived amongst them since she was 8 years old. She has spent every day of her life studying the characteristics and behavior of individual and groups of horses. Wendy's art depicts the character, personality, and the soul of a horse. She often shares her admiration for the professional photographers she works with. Not only does Wendy study a photograph of a horse for a long period of time, but she also often examines the horse in person to get the true personality of the horse. She admires all artists in their interpretation of what they see, but you can tell a true "horseman" by the detail in which a horse is truly made. Living with horses most of her life, has given Wendy the gift to look at a horse as a piece of artwork. She takes the time to admire the horses on her property, focusing on their personality and facial expressions.

Wendy's daily routine includes time in the saddle, painting, and raising her two wonderful young sons; Wesley and Wyatt, who everyday are showing more interest in a lifestyle of horses and art. They truly inspire Wendy to produce the beautiful artwork she makes. Wendy feels extremely blessed to have her life surrounded by her children and horses. Their innocence and simplicity has taught her volumes in her life, and brought appreciation for her everyday blessings.

Adapted from the artist's website at www.wmtart.com.

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Tracing ancestral roots from near Louisville, Kentucky, Diane Fitzgerald comes by her love of equines quite honestly. She is basically a self taught artist, painting horses, dogs, wildlife and rural art since childhood. She has won awards in many showings and has done illustrations for magazines and books. Diane has also bred, raced and shown many breeds of horses and hounds with much success. Currently, she has a Paint stallion and a Crabbet Arabian stallion standing at COLORS Farm. Diane works in Acrylics, Oils, Watercolors, Pastel and leather mediums, as well as outdoor artworks for ranch and farm. Diane distributes her time in life now with her four grandchildren, her artwork and her horses.

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I was born with a strong attraction to horses. As a child, I never liked dolls. Instead I had over 60 Breyer toy horses. Every December, I would give my mother a Christmas wish list and the only thing on it, "a HORSE!". Unfortunately, growing up in the city, and to a family that had a difficult enough time just trying to make ends meet, I knew that owning a horse would never be a reality. Therefore, all I could do was draw them.

As I grew, so did my longing to be around horses. I became every horse owner's nightmare. I was the kid that wouldn't go away always asking, "Can I pet your horse?", "Can I ride your horse." and so on. I cleaned stalls in exchange for riding lessons and I would borrow any horse I could. When I wasn't around horses, I would be fantasizing about them or sketching them.

When I reached age 18, a unique opportunity crossed my path. I heard from a friend, a woman was selling a gelding and rumor had it that she had even considered the meat market. I was horrified at the thought! I went to see him and instantly I knew he was "the one". I didn't have much money but I offered $500 plus artwork.

Shockingly she agreed and I took the beautiful red bay home. Finally a horse of my own.

Eventually I moved to Florida where I became even more motivated with my art. Over the years, I have won countless awards for my art, I am also honored to have one of my pieces displayed at the Downtown Milwaukee Museum of Art and two pieces (One of them an Arabian Watercolor) in the 2006 Deland Museum’s juried fine art exhibit Celebrating the horse. I have had my art used by major breed associations such as the IALHA and PFHA. I also have my art displayed in restaurants and private collections all over the world yet I also regularly contribute for Equine related events and charities.

I feel I have been blessed. I now own 2 stallions and I currently work as Art Director for Southeast Print Programs, fine artist and Equine Photographer. I never would have guessed that all of my dreams would come true!!! Special thanks to New Vision Arabians for allowing me to borrow & show all of their amazing horses along the way.

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In her own words...

I have drawn horses all of my life and loved them since I was small, always dreaming of having one of my own. As I look back at my beginning work, I see I always seemed to draw horses that looked like Arabians. Then one year I was in Scottsdale with my sister and we went to an Arabian farm and I fell in love. The grace, beauty, power, and affectionate attitudes of the horses was all I thought a horse should be.

It was several years later that I actually became an owner of one of these magnificent animals and she is my pride and joy. She was there to listen to my worries when I discovered I had kidney cancer and the stables were the first place I wanted to go when I got out of the hospital. There will be more Arabians in my barn, but Sassy will always be my special favorite.

I try in my artwork to portray the Arabian and my love for them.

To me, there is nothing in this world more beautiful than a horse frolicking in the pasture, feeling good about life, and I think God put all of the best things into making the Arabian.

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My first encounter with the Arabian horse was simply love at first sight; no other creature is able to provide more inspiration and emotion for my art. If I had to describe a vision of my ideal Arabian horse, I would say he is a divine Pegasus flying over clouds and rainbows, or a mythical Unicorn galloping over fields of grass and ancient forests. The Arabian horse is in my mind, a wish for fantasy, a hope for a better world of endless beauty, a vision of perfection and a joy for eyes and soul. To represent such a perfect example of beauty, is a very challenging task for an artist and a difficult process of endless study and dedication, but nothing makes me feel happier and more proud than to realize I have reached my goal in representing Arabian horses at the best of my artistic skills, respecting their beautiful conformation and trying to express the charisma and fascination so typical of this breed. I like to compare Arabian Horses to Sighthounds; dogs are the other great passion of mine and in particular Sighthound breeds are my favorite subject. Similar relationships with mankind exist throughout history for both Arabian horses and the most ancient Sighthound breeds (such as Salukis).  Arabian horses and Sighthounds represent the greatest part of my artistic production and probably, the subjects in portraiture with which I have the most recognition.

My favorite techniques are the classic oil and watercolor. What I like in oils is the possibility to express with the highest level of realism, the beauty of Arabians, while watercolor is able to give a touch or romanticism and ‘’magic’’ I particularly love using one single pigment and letting the water create shadows and lights.

I continually strive to refine my technical skills, as well as improve my knowledge, through study and research, experimenting new frontiers of expression but always being faithful to my classic-realistic style, which I believe is a landmark of my artistic production. It expresses more my personality and my ideal image of this fascinating, unique, and wonderful creature.

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It is thanks to continual meditation that I manage to express the "je ne sais quoi" exuded by the great works of genius: Michelangelo and the Sistine Chapel, Leonardo da Vinci.

I have never looked for dream in reality or for reality in dream; I have allowed my imagination free play and till this very day, I have never been let down by it.

My work asserts the primacy of the visual and reminds us that pictures have the capacity to communicate aspects of human experience that cannot be put into words.

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I am a horse lover. Over the years the horse has crowded out all other imagery, and I find myself categorized as an equine artist. Abstract or representational, the imagery excites me. Certainly, in my work, the horse becomes a metaphor for human emotion and condition, yet my hope is that the vital force of the horse remain forefront, drawing the viewer into this mysterious mix of human and beast. Recently, a slogan came to me which sums up what many of us are looking for: “Set your spirit free with the image of a horse.”

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A few years ago a dear friend gave me a small coin and the story of a Celtic Queen to help me through a difficult time.

I learned to wire wrap, and to cast my own version of that coin, as a way to share Boudicca’s legend with my nieces, sisters, and with the special women that inspire me with the grace and strength with which they face their own life battles every day.

The Arabian horse on the other side of the coin is in honor of HiLoTsarraff, a very special bay stallion who was my best friend for nearly 20 years.

When I was 15 years old I fell in love with a wild little blood bay colt. My grandmother, after receiving much sound, informed advice on the dangers of trusting a untouched colt to a young girl, bought him anyway. He was on his way to my house before grandma broke the news to my parents.

I’m sure she never imagined how much her gift would mold my life. Nothing else teaches the really big lessons of teamwork, patients, trust, love, honesty and compromise like an Arabian.

Grandma passed on when I was 20, my beautiful bay passed on in 2001. It was during that time of struggle and search for a new passion that I was given that small coin, and the encouragement I needed to find new dreams and set new goals.

Grandma would have liked Boudicca’s story, they had a lot in common…as a matter of fact, there is a lot of grandma in both sides of my coin.

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In her own words:
When I was 13-years-old, I was given a book, Les Chevaux Arabes (“The Arabian Horses”) by Carl Raswan and Ursula Guttmann, and I have cherished it ever since! I’ve reread it many times, and it has traveled around the world with me. As a child, I painted a watercolor of an Arabian horse, that I have still. So, while much of my experience is with other breeds, the Arabian has always been in my heart.

I grew up in the French Alpine village of Villard de Lans, part of an artistic family. I competed in show jumping, 3-day-eventing, and became a certified riding instructor, eventually moving to Chantilly, near Paris, to work as an exercise rider for top racing stables. Of course, I also painted horse portraits! Later, I moved to the United States, and in California, worked for Hall of Fame race horse trainer, Charles Whittingham. In 1980, before the birth of my son, I retired from riding race horses, to devote myself to painting fulltime.

Today, I live in New Mexico, and continue to paint my favorite subjects: horses. I use oil on Belgian linen because it is a most versatile medium, brilliant, time-proven—it is classic. Perhaps my best known work is of Secretariat, galloping in his paddock. I am the most published artist on the cover of the Journal of the AVMA, my latest in January of 2005. This brings the total number of covers I’ve done for magazines, programs, and catalogues, to 70. I paint mostly commissioned portraits, and my work is found in museum and private collections worldwide.

It was my good fortune to meet another New Mexico resident, Cynthia Culbertson, who introduced to The Pyramid Society. I am thrilled to be included in this special art auction.

Describe my art? Alive! Emotionally moving.  Visit Christine on the web at www.christinepicavet.com.

From the April 2005 Pyramid Report - Article by Honi Roberts

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Janice McCafferty is a freelance natural history illustrator and photographer. Janice was born and raised in Maine, her work reflects her love of the outdoors and nature past and present.

Recreating details that otherwise might be overlooked, she portrays in her art and photography the smaller aspects of life with scientific accuracy but with an appreciation for the beauty also. Recently moving to Florida for winters, has given the artist a whole new wealth of nature to discover.

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"I've always felt I was born with a pencil in my hand, and for as long as I can remember my subject has always been animals, especially horses. There is something so beautiful and magical about the horse. Growing up in Staten Island, New York, I never had the opportunity to own one of these magnificent creatures. Capturing them on paper made me feel closer to them.

Although I studied some art in college, I feel my talent is mostly natural and self-taught. I spent many hours at the riding stables watching horses, learning how they moved and touching them to get a feel of how their muscles were shaped. I would study their faces, to see where the bones and veins were, and learn the tiny details of their eyes and muzzles. I think this is the most important thing an artist can do - really learn their subject. Learning each subject's personality and expressions is also important because every single animal is different. Drawing a chestnut thoroughbred with a white star does not make him Secretariat. Drawing the boldness in his eyes, the particular way he and only he holds his ears and arches his neck is what I think makes him Secretariat.

An artist is constantly learning. The learning process should never stop. No matter what subject an artist decides to draw, whether it be animals, people, still life etc. he or she must go out and learn everything about that subject or else their artwork will be missing that little something that brings it to life.

Aside from horses, I also draw pets and people. Sometimes it is impossible to be able to go and see my subject because they are living somewhere across the country. This is why getting as many good close-up photographs of them of all different angles is so important to me. From them I can get a feel of my subject. I also enjoy using my work to help raise money for different charities especially animal related ones. I feel animals have given me such pleasure in my life and this is one way I can give something back to them in return."

Adapted from the artist's website - http://hometown.aol.com/thebid/HorseArt.html

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Robbin Fassas grew up riding, training, and showing Arabian and gaited horses.  She and her family live in the Spout Springs area of Irvine, Kentucky where they live and breathe horses at their Domain Farm.  A lifetime of horses is the artists inspiration to capture equine and animal portraits on canvas and leaded stained glass.  When not in the saddle, she spends her time in the studio, which overlooks the pastures at the farm.

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Inge Manders

In her own words:
It’s like great music that moves one to tears. Imagine if you will, sitting astride a mighty Arabian stallion, sleek neck arched, dainty nostrils flaring in an attempt to catch a whiff of the distant desert breeze…my eyes brim with tears because I’ve felt something all powerful, beautiful, and consuming. That’s what inspires me to paint Arabians and other horses.
I have nearly always owned horses, and today have a black, Egyptian-related Arabian stallion named Yogi. I ran Hazelmere Stables and El-Hijr Arabian Stud for ten years, and with 86 horses, painting was a luxury I didn’t have much time for.

I started drawing as soon as I could hold a pencil...always horses on everything—much to the frustration of my teachers. I currently am exhibiting my works in Kwazulu Natal, South Africa, and have shown my work in Johannesburg. I work with oils, combining them with my new-found passion for gold, silver, and copper leaf. I’ve discovered a way to patinate the leaf with a variety of chemicals to create the most wonderful backgrounds for the oil paints.

I wanted my painting for the Auction to reflect the power and beauty of the straight Egyptian Arabian. “In Reverence of Amun-Ra” is painted on masonite board which has been guilded with 50 pure copper leaves, 23 karat gold, and composite gold leaf. It’s highlighted with liquid lead, and embellished with 38 turquoise stones, 23 lapis lazuli, 4 fire opals, and 3 faceted garnets. The painting depicts an Egyptian Nubian girl tending her royal charge. With closed eyes she feels his powerful muscles twitch under his silky coat as he sniffs the balmy gust of wind that carries the sweet scent of the Nile river.

Three words to describe my art? Sumptuous, seductive, and romantic.

From the April 2005 Pyramid Report - Article by Honi Roberts

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Salina Ramsay’s works have been featured in magazines such as Equine Images and Keeneland. She has appeared numerous times on television and radio, once having been the subject of a documentary for Kentucky Educational Television. Her paintings have been purchased by collectors in England, Ireland and France and have been sold by Sotheby’s, Frost and Reed of London and many other horse related auctions and galleries. Many of her equine portraits have been commissioned and collected by people such as Penny Chenery, former owner of Secretariat, and William and Liz Shatner of Los Angeles, Ca.

Salina began studying contour and gesture drawing of the human figure at age twelve, by age fifteen she had sold her first drawing. Her life has always centered on the arts; she participated in choral and theatrical productions as a child and through college. Recently she performed onstage with the Kentucky Ballet Theatre in its 2004 production of the Nutcracker. Many of Salina’s works reflect a strong interest in dance as well as equestrian sports. An accomplished horsewoman, Salina rides and attends horse functions regularly.

Salina’s portraits have a powerful sense of vitality and presence. She believes that each portrait must exude the unique personality of its subject. She says, “In a way, each portrait is like a small Theatre, My job is to set the stage and to tell the story of who a person is on the inside beyond just what a person looks like on the outside. My goal is to make the painting crackle with life, to give the impression that the subject might step right out of the painting.” Often Salina prefers to keep the background abstract, she is equally at home, however, painting several figures engaged in activities, particularly those involving animals.

When approaching a portrait, Salina likes to work from photos and gestural drawings. Salina prefers to keep the photographic sessions as brief as possible. She believes that a series of unposed photos can best reflect the personality of its subject. Once the photos are developed, Salina meets with the client and discusses the possibilities of the portrait’s direction. From these photos, Salina will develop a working drawing on canvas, painstakingly drawing and redrawing until she has a comfortable understanding of the technical aspects of form and composition. At this point, Salina likes to send a digital email image of the drawing to the client and await feedback before proceeding further. Before final delivery of the finished painting, Salina will send an email image of the painting so that adjustments may be made if necessary.

Visit Salina on the web at www.equinefineart.com.

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Ivan Lloyd is a European artist whose oil paintings showcase Arabian horses in their natural environment. His work reflects a level of authenticity drawn from a wealth of experience gained from many years living among the people of North Africa, the Middle East and India where he studied the art and culture of the regions.



Lloyd settled in Tucson around 1972 when he accepted a tenure as the artist-in-residence for the Southern Arizona Light Opera Co. For several years, he worked in close collaboration with the original set designers of "The Wizard of Oz" and "My Fair Lady". As head of a select team of artists he created numerous stage sets for Community Theatres around the country, and for eight years, between productions, he designed Haunted Mansions for charitable organizations in Scottsdale, Las Vegas and Atlanta.

His work has been featured in many prominent Magazines and Equestrian Publications including Arabian Horse World, Equine Images , Horses in Art, The Fine Arts Magazine, and a new publication Art of the Horse. His paintings adorns the walls of many prestigious private collections, and several of his large original compositions are on permanent display at the Desert Rose Institute in Eloy Arizona.

Lloyd is a Member of the Equine Art Guild and the Association of Southwestern Authors and in 1997 he was included in the National Registry of Who's Who of Professional Artists in America.

Lloyd received his Bachelor of Fine Arts degree from St Martin's College of Art (1967) in London and a Royal Society of Fine Arts Diploma (1964) from the University of London Associated Examining Board.

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Donna sold her first picture as a third grader. Even as a young grade-schooler she would go to the library and check out every book available on equine art, horses and animal husbandry. She's been "animal crazy" all her life, drawing on her school papers, envelopes and scraps of paper. Originally Donna intended to become a veterinarian.

She's owned many animals, including several different breeds of horses and ponies, but here heart of hearts belongs to the Arab. Donna’s owned half Arabs, a Bay Shah gelding out of a champion Bask daughter and black bay Egyptian mare.

I remember the first time I was aware of the Arabian breed. I had seen an Arabian Horse World and on the cover was a painting of Geym & Nissam! First I was "wowed" by their beauty and then by all that they are.

Donna says "art is my passion, which will never change. Each piece of art is a joy to produce. I can feel each animal, feel it come alive. I love to look in it’s eyes and see it’s soul, see it come "alive". The Lord has been good to me."

The art is produced from life, photos, on location, pictures, inspirations and images from her mind, or her patron's commissions, their imagination, photos, verbal descriptions (as was the case with the historic painting of a Morgan war horse, Clifton) or memory. She works in colored pencil, conte crayon, pastel, oil, alkyds, mixed media, scratch board and bronze.

She's been commissioned to portray champions in a half dozen breeds, as well as the precious backyard friend, pets and wildlife, her art is all over North America as well as some in Europe and Africa. She has won awards for Best of Show, Peoples' Choice (the favorite) and others. Her art has appeared in several magazines. Most of her art is available as limited edition prints. Each is remarqued and they are reasonably priced.

She is married to one of the finest men that ever walked the face of the earth. They are committed Christians and were blessed with 7 children and their children.

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Canadian animal artist, Heather Anderson, has exhibited her paintings in galleries, art festivals, and art shows, as well as at horse and dog related trade fairs for many years.  Her paintings have appeared in various horse publications and equine art magazines, and have been chosen for several covers, including a cover for Arabian Visions magazine.

Heather works in watercolor, colored pencil, graphite, and acrylic in a style that could be described as "Romantic Realism".  Her chosen subjects are horses, dogs, and cats.  She specializes in horse show, pasture, and stable scenes, animals at work and play, and horses in a fantasy setting.

A love of the Arabian horse came early through the classic childhood books featuring Arabian horses and blossomed when she had the opportunity to have her first riding lessons on a beautiful, mischievous, Arabian mare.

In addition to original works of art, Heather Anderson's Kelpie Studio carries a full range of small gift items suitable for personal gifts or show trophies, all available through her website: www.kelpiestudio.com.

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Born in Savannah, Georgia of Seminole heritage, Susan did not start getting in touch with her Native American roots until she married and moved to New Mexico, in 1985. "The southwest is my heart, even though it is on the opposite side of the country from my mother's Seminole roots".

New Mexico is also where her love of horses bloomed. She quickly fell in love with the Arabian breed and has owned Arabians ever since. Some time later, Susan started studying Arabian pedigrees and the exhaustive search through the roots of the breed.

"I didn’t start beading until moving to Ohio in 1989 and, once I got started, I just couldn’t stop. My work started taking on a more southwestern look and feel, which seemed a very natural progression. Now, I have been studying Native American spirituality before beginning one of my projects so that it will carry in it a specific message or story." Susan's beading work has been exhibited throughout much of the United States and Canada.

Susan also specializes in researching and creating personalized pedigrees for Straight Egyptian horses as well as unique beaded pedigree bags.

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Growing up, Kathleen's father was a horse dealer in New Jersey and they owned everything from work mules to five gaited Saddlebreds and Hackneys. It was around these very different breeds that she honed her ability to paint horses. Currently, Kathleen does not make a living from her paintings, however she does take commissions regularly.  Kathleen entered her first art show, The Arabian Horse Fair Art Show, in October of 2003 in which her painting of The Great Mirage took first place acrylic.

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In January of 1989, Sherry began taking watercolor classes at Eastern Illinois University in Charleston, IL at the Tarble Arts Center.  Additionally, she has taken workshops with well known watercolorists Henry Bell, Joseph Fettingis, Maggie McClellen, and many others.  Sherry exhibited in the Kentucky Watercolor Society National Juried Aqueous USA Show in 1997, 1998, and 2000.

She grew up in Salem, Missouri where her father raised some American Saddle Bred horses.  Sherry loves paintings horses as their beautiful, magnificent heads, as well as their shapes and curves inspire her.

In 1995, Sherry made a trip to Lexington, Kentucky to the Horse Park for inspiration.  There, she fell in love with Egyptian Arabian horses.  Sherry has been a vendor at the Egyptian Event since 1997.

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As a child, Faik Haciyev quickly realized a love for sculpting.  In those early yeras, he would create plaster models.  From the time he entered primary school, Faik began taking sculpting lessons.  From 1974 through 1978, he received specialized art instruction, and from 1980 through 1985, Faik attended the Institute of Art in Baku, Azerbaijan.

In addition to sculpting, Faik also paints.  His favorite subject to create is the horse.  Not only does he attempt to recreate the beauty of the equine, but he also strives to add

Since I was a child I liked to model something from plaster.  Since primary school I attended sculptor's studio. After receiving specialized education, I've receive specialized art training in 1974-1978. Since 1980 till 1985 educated in Institute of Art in Baku.  I'm creating (making) sculptyres, painting. Best of all I like horses. I thing, I would not be a scuplter if I didn't like horses.  During creation a sculpteres I'm traing to make besides the buaty of horse to put a sence in my work. I have a lot of journals, books and another literature about horses.

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Award winning artist Anna Shaw spends her time looking after her two young children Cody 6 and Molly-Rose 5, working with her husband Mark on their small stud and creating beautiful artworks in her studio.
Anna has been creating Originals for over twenty years, selling them locally and internationally. Working with mixed media enables her to achieve the most realistic portrait work.  The subjects seem to be looking at you waiting for a whistle or a call to come bounding off the page to be at your side.  Her works are sought after by many owners and collectors.

Anna says "I take great pride in creating beautiful keepsakes for for owners and animal lovers, it gives me joy to see their faces when they receive a portrait so close to the subject that it causes tears of joy and starts them reminiscing.  I have decided that God must be wonderful, after all he gave us the Arabian Horse and we did not have to ask!"

Anna only has Originals she has yet to succumb to popular demand to have prints of her works preferring instead to keep them one of a kind, she has three exhibitions a year or you can visit her web site www.artbyannashaw.com.  Those that are looking for a realistic portrait to capture the true personality of their favorite ,or just to add a beautiful piece to their collection look no further than Anna Shaw, for exquisite realistic creations guaranteed to bring joy to all who own them.

Marcela has donated to the art auction twice since 1991 and will donate a painting of Ashaal Al Rayyan to the 2005 art auction.

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