PLATE 22.
PANACRE (†). Brn. Horse, 1912, by Linacre (imp.)—Panara. Winner of the A.J.C. Epsom Hcap., etc. Retired to his owner’s (Mr. J. C. Wood) stud in 1921. From a painting of the horse, at the age of 5 years, in the possession of Mr. J. Campbell Wood.
PLATE 23.
EURYTHMIC (5). Ches. Horse, 1916, by Eudorus (imp.)—Bob Cherry. The largest stake winner of Australia, having won £33,066, including the Sydney Cup with 9 st. 8 lbs. Owned by Mr. E. Lee Steere, W.A. From a painting of the horse, at the age of 5 years, in the possession of the artist.
PLATE 24.
THE FINISH FOR THE A.J.C. CRAVEN PLATE, 1918, 1¼ miles, Randwick, N.S.W. Reading from the rails: Cetigne (A. Wood) first, Desert Gold (fourth), Wolaroi (second), Estland (third). From a painting in the possession of Mr. W. A. Crowle.
MARTIN STAINFORTH: AN APPRECIATION
By W. J. STEWART McKAY.
Next to a fine picture of a lovely woman there is nothing perhaps which more strongly appeals to the æsthetic sense than a picture of a splendid thoroughbred horse. This accounts, probably, for the vogue for pictures of racehorses by Herring and artists of lesser note, which existed in England during the last century.
These pictures, however, when scrutinised with the critical eye of to-day, are found to be full of inaccuracies and exaggerations. For example, many of us are more or less familiar with the style of picture frequently displayed in old English inns, and, more rarely, in our own country. The horse is almost invariably depicted as standing in a stable with a small feed-box in one corner, his muscles bulging out and his contour greatly accentuated by the aid of unaccountable lights and shades. Every animal was shown with a ridiculously small head, tapering legs and tiny feet. Again, the horse may be shown in action, galloping, his ears well back, legs stretched out to their fullest extent, and the animal a foot or more clear of the ground, while in the background a few spectators in top hats appear watching “The Devil doing his gallop.”
Still another phase in these sporting pictures was the introduction of the owner and trainer as in Hobbs’ painting of “Eclipse,” and Herring’s picture of “The Flying Dutchman,” or a number of horses racing in the familiar stretched-out attitude, the jockeys sitting bolt upright with arms fully extended. In the background are seen the winning post and a long line of excited spectators.