BIPLANE (3). Brown Horse, 1914, by Comedy King (imp.)—Air Motor. Winner of £13,596, including A.J.C. and V.R.C. Derbies, Craven Plate, etc. Retired to the stud in 1922. Raced by Mr. G. D. Greenwood (N.Z.) and now owned by Mr. T. A. Stirton, Dunlop Stud, Merriwa. From a sketch of the horse, at the age of 3 years, in the possession of Mrs. H. Gordon. ] [Illustration: THE WELKIN (19). Brown Horse, 1904, by Flying Fox—Woodbury. Imported in 1910. A brilliant sprinter and a phenomenal stud success. Premier sire of Australia for 1921–22. Among his progeny are Gloaming, Furious, Thrice, Rosina, Isa, Three, etc. Standing at the Melton Stud, Victoria, the property of Mr. E. E. D. Clarke. From a sketch of the horse at the age of 16 years in the possession of the artist. ] [Illustration: CAGOU (13). Brown Horse, 1909, by Ayr Laddie (imp.)—Tartar. Winner of £15,514, including A.J.C. Metropolitan Handicap (twice). Owned by Mrs. O. C. Flemmich, and now at the stud in Queensland. From a painting of the horse at the age of 7 years, now in the possession of Mrs. Flemmich. ] [Illustration: GREENSTEAD (4*). Brown Horse, 1914, by The Welkin (imp.)—Tuning Fork. Winner of £12,450, including A.J.C. Epsom Hcap., etc. Now at the stud in N.S.W. From a painting of the horse, at the age of 6 years, in the possession of Mrs. F. Body. ] [Illustration: BEAUFORD (18). Brown Gelding, 1916, by Beau Soult—Blueford. Winner in 1922 of 8 races and £11,390 up to the date of publication. One of the most brilliant horses of recent years. Raced by his breeder, Mr. W. H. Mackay, Sydney. From a painting of the horse, at the age of 6 years, in the possession of the artist. ] [Illustration: MARTIN STAINFORTH sketching the famous Poitrel. The artist when preparing for a painting, inspects the horse and makes written notes and slight sketches. ] [Illustration: A couple of pages reproduced actual size from Martin Stainforth’s note-book. He makes detailed notes of outstanding features and carefully preserves the general character of the horse. ] [Illustration: At his studio he makes a memory sketch of the horse as it impressed him. On a second visit he corrects various parts and paints these separately until the character is secured. ] [Illustration: With his note-book, his rough sketch and careful studies of various parts, the artist proceeds to paint the finished picture, using the rough sketch as his main guide. ] [Illustration: By this method the artist obtains freshness, virility and truth that could not be secured if a complete painting were attempted from an animal in training. ] [Illustration: