#12206 - Resin.
Herd #6 - Fall, 2005. Retired - July 2006.
Artist: Jeanne Selby

Nobody seems to know the derivation of the term "horsefeathers." The most likely explanation is it began as a sanitized variant of "horse hooey", used to express the view that something is unlikely, about as improbable as that pigs might fly... or that horses should have feathers. By adorning her Pony with large, multi-colored feathers, this former art teacher from Texas has given the term a totally new form of expression.

Tropical Reef Horse
#12207 - Resin.
Herd #6 - Fall, 2005. Retired - July, 2006.
Artist: Laurie Holman

Seahorses come in an amazing variety of sizes and shapes, and have the ability to instantly change color, camouflaging themselves as seaweed or coral. By brilliantly covering her Pony with tropical fish, rendered realistically, overlapping and swimming in all directions, Laurie, a high school art teacher "in an isolated, dusty border town in far West Texas" who scuba dives as a hobby, has created a seahorse-of-a-different-color.

Reunion of the Family of Man
#12208 - Resin.
Herd #6 - Fall, 2005.
Artist: Cal Peacock

Artist Cal Peacock’s painted tin "Medicine Horses" have been displayed in such prestigious venues as the Smithsonian Museum. But she considers "Reunion" the "king of the herd." Intricately covered with amazingly detailed imagery and symbols that express empathy and compassion towards our fellow man, and carrying a medicine bundle stocked with bird feathers, Cal’s gorgeous Pony is an expression of the importance of soulfully connecting with Nature.

American Dream Horse
#12209 - Resin.
Herd #6 - Fall, 2005.
Artist: Bonny; Sponsor: International Guardian Angels Outreach

Asked by a Christian ministry that places Russian orphans in the homes of loving families to paint a Pony that captures the dream-come-true that awaits these children in America, Bonny incorporated the warm red and deep gold colors associated with Russian matruska dolls, along with children’s paces peering out with hopeful expressions, doves of peace, and flowers and leaves, into a spectacular artwork that makes a powerful statement about the great freedom in life’s journey.


Running with the Ancestors
#12210 - Resin.
Herd #6 - Fall, 2005.
Artist: Carole Adamec; Sponsor: Jardin de los Ninos

"The inspiration for this Pony comes from prehistoric imagery found on European cave walls, where the grand drawings of horses were both magical and beautiful," says this painter, gallery director and teacher who founded the 5,000 Flowers Project, a national commemoration of 9/11 for healing and harmony through art. Just as contemporary horses echo the drawings of Stone Age artists, so does Carole feel she is linked to Paleolithic artists. "They are my ancestors of creativity and self-expression."

Painted Lady
#12211 - Resin.
Herd #6 - Fall, 2005. Retired - January, 2007.
Artist: Barbara Quimby; Sponsor: Citizen’s Committee for Historical Preservation in Las Vegas, New Mexico

"Painted Ladies" is a term often applied to resplendent Victorian houses, brightly painted and expertly restored. Armed with this knowledge, New Mexico artist Barbara Quimby cleverly conceived of a Painted Lady Pony, a dolled-up equine celebration of the Victorian spirit as it lives today.

Fallen Heros Memorial Pony
#12212 - Resin.
Herd #6 - Fall, 2005.
Artist: The Trail of Painted Ponies

There could be no more deserving example, in modern times, of bravery and heroic conduct than the firemen and policemen who pay the ultimate price while keeping the rest of us out of harm’s way. Drawing on traditional imagery observed at the funerals of military heroes – a riderless horse with a pair of empty, high-top boots fitted in the stirrups backwards - The Trail of Painted Ponies, in collaboration with assorted artisans and craftsmen, created this emotionally stirring and uniquely American tribute to these Fallen Heroes.

Rodeo Dreams
#12213 - Ceramic.
Herd #6 - Fall, 2005.
Artist: Jim Knauf; Sponsor: Margot MacDougall

A cover artist whose Cowboy paintings massage, twist and tweak traditional concepts of Western art at the same time they embrace Western iconography, Jim lets his Painted Pony speak for himself: "I don’t want to plough or amble along a trail. I’m not built for dressage and I’m certainly nobody’s pet. Give me center stage and I’ll give you a show because I’m Rodeo Dreams."