Ideal American Stock Horse Artisan's Hall #5 "Providence" from The Peter Stone Co.

Artisan's Hall Series, #5
Painted by Carol Williams
Run Size: ~200
Issued: March 2000
(sold out)
Photo Credits: Rio Rondo

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Variations

Semi-Gloss Providence	Red Providence	Gold Providence	Dark Providence
The above photos depict a few of the variations that can be found within the run.

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Artist's Notes:

This run is a series of similarly colored and marked models of the Ideal American Stock Horse mold. The common theme being:

golden-red shaded bay color, with a bit of metallic in the paint

tobiano pinto patterning with four white leg markings and some type of face marking

The white on the mane was painted with pearlized white

Short mane and short tail mold variation

Eyes featured a little bit of white in the front corners, eye color primarily black with some brown/copper-brown coloration. Most of the eyes were painted by the artist, a few were painted by factory workers.

Chestnuts were painted grey where they fell on dark color, pink or pink/grey on white areas.

In spite of the basic parameters, the entire edition as a whole is a series of similar variations on the basic theme, in keeping with the artist's original intent. It was noted by an observer at the factory, that viewing numbers of pieces at a group, it appeared more like a "breed" as opposed to a run of nearly-identical copies.

Approximately 60 copies tend to fall in the "middleground" of the specifications and variances, although each remains individual and unique.

Some of the more notable variances include . . .

• Four colors were used in the process to paint this run. Two of the colors were specially mixed by the artist for this run, two were standard factory colors.
  
  
• Most copies have light, natural colored hooves. Approximately 10 or so have black/grey hooves
  
  
• Approximately 15-20 copies were a noticeably dark variation in overall body color
  
  
• Approximately 20-30 pieces were lighter and more golden in coloring
  
  
• Approximately 15-20 copies had a dorsal stripe. The dorsal stripe is most commonly found on the lighter-colored copies.
  
  
• The initial group painted (about 38-45 copies) were painted with masks that were hand-made by the artist. There were about 6-8 copies of those masks. While these masks were all similar, there was variance in the exact shape and placement. As a result, the initial group of copies tend to have softer edges to the patterning.
  
  
• The initial group copies also had face markings applied with a resist method using rubber cement, with the markings on each applied individually by hand. For the most part, these markings consist of a star and disconnected wide strip or blaze, extending to between the nostrils. Some of these were later altered by hand to be more individual or unusual by the artist.
  
  
• The initial group also had hand-made "bootie masks" used for leg markings, and there were 3 different sets employed.
  
  
• Later copies used masks of the new crisp-marking style for facial markings. There were three variations used
  
  
  • a narrow blaze
  • a star and disconnected strip
  • a star, disconnected narrow strip, and disconnected snip
    
    These face marking masks were used in both vertical orientations at random, and some copies had "parts" mixed up for further variety. One copy features a full masked blaze extending over the nostrils and lips.
  
  
  
• Some copies with crisp-marked body patterning have resist-type facial markings.
  
  
• Leg markings in later copies were individually masked by hand using masking tape. The intent was that each copy would be individual, and leg markings were applied at random, some high, and some low. All copies have four white leg markings though.
  
  
• Using the new crisp masking technique, a single masking design was adapted from one of the original hand-made masks. While most of the copies are relatively consistent in terms of mask shape, exact placement of the mask varied. (Some copies feature the masked body markings farther forward on the body than others).
  
  
• A few copies had their patterning masks both intentionally and unintentionally modified. One copy features a small disconnected strip of white extending out from under the mane on the right side. A very few copies had their body masks put on backwards. One copy has no white extending onto the neck. A number of copies were just simply "altered" in the masking process in some manner.
  
  
• In addition to color and masking variances, the artist also hand-customized the patterning on some copies randomly. White markings may have been extended or added to the body... on approximately 15-20 pieces.
  
  
• The semi-gloss coating used on this edition varied (unintentionally) and some copies are noticeably glossier than others. Only one copy (artist's proof) was coated with full gloss.
  
  
• One artist proof was painted on a long-tail mold variant

The Artist wishes to thank those persons involved who helped with the run and assisted at the factory: D'Arry Jone Frank, Karen Gerhardt, Laurie Jo Jensen, Wendy Galbreath, Elaine & Peter Stone, Gary Deal, Leon, Lorraine, Mickey, Julie, Dena (and others at the factory).

Viva leftovers!