48 Maddox StreetLondon, W1S 1AY, United Kingdom Saturday, May 3, 2014Saturday, June 7, 2014
silence (horse at water series) by nic fiddian-green

Nic Fiddian-Green

Silence (Horse at Water Series), 2014

field day i (kouros horse) by barry flanagan

Barry Flanagan

Field Day I (Kouros Horse), 1947

chinese horse iii (standing) by elisabeth frink

Elisabeth Frink

Chinese Horse III (Standing), 1989

horse by nicola hicks

Nicola Hicks

Horse, 2014

anatomy of horse (close detail image) by sir eduardo paolozzi

Sir Eduardo Paolozzi

Anatomy of Horse (Close detail Image), 1997

horse with anatomy by sir eduardo paolozzi

Sir Eduardo Paolozzi

Horse with Anatomy, 1997

etain ii (garden) by anthony scott

Anthony Scott

Etain II (Garden), 2014

48 Maddox Street
London, W1S 1AY, United Kingdom
Saturday, May 3, 2014Saturday, June 7, 2014


Beaux Arts London unveils a collection of equine sculptures and drawings. Elisabeth Frink, Barry Flanagan and Eduardo Paolozzi will be joined by new talented artists Nic Fiddian Green, Nicola Hicks and Anthony Scott.

A deep connection with the horse has been influencial to their artistic inspiration and practise.

“When I think of (Elisabeth) Frink, it is first and immediately of heroes and their beasts: huge men standing and running, their cannonball heads impassive, or riding blank eyed under obsessive horses..’ ‘Over and over again I thank Frink for these images of power. Power infused with gentleness: the twist of suffering deep through the metal.” Peter Shaffer, Elisabeth Frink Sculpture, Catalogue Raisonne, Harpvale, 1984.

Barry Flanagan’s (...) splendid horses are also, of course, presences; they live in our heads.” Barry Flanagan Sculpture 1965-2005, Irish Museum of Modern Art / Dublin City Gallery the Hugh Lane, edited by Enrique Juncosa. Mel Gooding, First Catch your hare: An essaying in four unequal parts and a coda, with a salutation. Part 4, p. 179.

‘ Nicola Hicks’s practice is rooted in the study of anatomy and observation from life. But she is not concerned solely with mimetic representation. At times realistic, at other times fable-like, her creatures capture something of the physical and psychological power of living beings, animalistic in form and body yet uncannily human in character.’ Yale Center for British Art, Center invites works by British sculptor Nicola Hicks into conversation with its collection, Sculpture by Nicola Hicks. Press Release, March 2014

‘Ever since he (Nic Fiddian-Green) saw a fifth-century B.C. carving of the head of a horse of Selene from the Parthenon at the British Museum he has worked at perfecting the form of the horse’s head, as well as mastering the ancient ‘lost wax’ technique.’ The Cool Hunter, Art. The Horse Sculpture. November 2012.

‘The tendency of the human soul to emerge in animal form is an ongoing theme in the work of Anthony Scott. His horses, and there have been many of them, are not real horses. They have been drawn from Celtic mythology where human characters are likely to appear as animals, and where beasts may have human souls. Elegant of line and proud of bearing, his horses represent the feminine and inhabit the slippery boundary between the earthly and the magical. Each is given the name of a character from the ancient tales’. Dr Eleanor Flegg.