The Sculptors

David Geenty
One of the finest sculptors in Europe, with an ever increasing range of highly detailed horses and other animals.
Born in England in 1945 and brought up in South Africa, David's earliest impressions were formed on his father's ranch in the Gonarhezho; a vast wilderness in the south east region of present day Zimbabwe. As an art student in Johannesburg, David was greatly influenced by Moss Kotler, a South African sculptor of world renown. David believes that it is to Kotler's tuition that he largely owes his great animalier talents and technique. Primarily an accomplished wildlife sculptor, he has also acquired a respected reputation for his equine studies both here and in the United States of America, where his work can be seen in the acclaimed Kentucky Museum of Racing History.
David Geenty is well known in the giftware industry having been successfully associated with such luminaries in the field as Albany Fine China, Heredities, and Border Fine Arts. His abiding passion is for the creation of lifelike sculpture, and in this he freely acknowledges his indebtedness to such mentors as John Hammond of Border Fine Arts from whom he learnt so much in the past and for whom, during the ten year period of association with that company, he produced a series of 42 racehorses, dogs and country-life pieces, many of which have become collectors items in their own right.
Now manufacturing for himself, creating studies from life of the subjects that continue to hold and fascinate him, he hopes that his offerings will give others the same pleasure in owning these as he had in their making. David Geenty is widely regarded as one of Europe's leading horse sculptors and his work is collected and cherished by many.

Harriet Glen
Harriet's early childhood was spent in Australia, where she developed her love and affinity for animals. From a very early age, she was drawing the animals she saw in the bush and, at the age of nine, started making clay models of horses which she sold in order to buy her first pony! After a few years in New Zealand, where she spent most of her non-school hours in the saddle, she went to art school in New South Wales, Australia, before teaching art and sculpture in Sydney.
Soon she became bitten by the racing bug and rode track work for the legendary trainer Tommy Smith. In 1978 and 1979 she won the New South Wales Australian Lady Jockeys Championship, the prize for which was a trip to England.
Now she lives in the beautiful Dorset countryside with her husband, David and son, Simon.
Harriet can look out of her studio directly at the horses which provide the inspiration for most of her studies. A cat nestles gently on her shoulders like a living fur collar, and a lurcher dreams at her feet while she works.
"I try to convey more than just the physical aspect of the animals. Sculpture, being three dimensional, should incorporate the spiritual nature of the horse: how it feels when it is jumping, playing, shying, racing, at rest, the sense of urgency, the fear, the exertion, the will to race, the endeavour. These are the qualities that endear the horse to the human."
Her bronze sculptures are internationally recognised in prestigious collections throughout Europe, Scandinavia, Japan, Hong Kong, the Middle East and North America.

Michael Simpson
Although Mick studied fine art at Staffordshire Polytechnic it was the traditions of his home town of Stoke-on-Trent which inspired his love for sculpture. The famous towns forming the region have created some of the worlds finest works and respect for the craft of the sculptor and designer is well deserved.

There are few modellers who can produce accurate and detailed studies covering such diverse subjects as dogs, cats, African wildlife and the female form. Mick is one of the few who can achieve this goal working from reference books, his own drawings, photographs and observation. Like so many artists and sculptors, his studio walls are covered in this reference.

Mick is unusual in another way in that he is one of the few sculptors preferring to model in clay. Mostly wax is used for its versatility but Mick loves the freedom clay offers and is quite content to work around its limitations.