Large Black Sow

by William Newton


Newton has accumulated a number of amazing achievements, including having one of his works, a life-size bronze sculpture of legendary jockey Lester Pigott, unveiled by the Queen at Epsom in 2019. William’s work includes bronze horses for Royal Ascot winners; typically unveiled by Her Majesty the Queen.

DIMENSIONS: 8.7 x 4.1 x 16.5 inches (22.0 x 10.4 x 41.9 cm)
SIGNATURE: Signed ’09 W. Newton’
MEDIUM: Bronze with a Green Patina


    Your Message

    Newton is primarily a portrait sculptor, who enjoys celebrating living form. He often creates preliminary sketches from a subject rather than a picture, as this allows him to work three dimensionally without distraction. From there, an armature is created to mould clay around. Many of his works are then sculpted in front of the subject itself. For instance, when making his study of Gold Cup winner, Denman, Newton was given free access to work with him, and was able to do at least half of the work from life. Newton believes that this allows him to forge an understanding of the finished work that it may otherwise not have.

    Direct from the Artist’s Studio

    Buy with confidence: our assurance to you

    Professional Associations

    We have built up a strong reputation for the quality of the paintings, drawings and sculpture that we curate, exhibit and sell. Our professional associations with bodies such as The British Antique Dealers’ Association (BADA) and the Association of Art & Antique Dealers (LAPADA) are as a result of our reputation for integrity, our wide knowledge of fine arts and the high quality of our stock. Our business standards and expertise are reviewed regularly to adhere vigorously to enforced Codes. Our memberships and commitment to its Code of Conducts gives our buyers confidence when purchasing a work from us.


    Condition reports and certificates of authenticity vary in their nature by artwork, for more information on your pieces of interest, please enquire with the gallery.

    Artwork images

    We take pride in the attention we give to our images of the artworks for purchase and invest in these to ensure outputs are aligned as closely as possible to the item in reality. We do not apply filters or modify images, we provide high-quality images to reflect the high quality of our artworks.

    Your purchase process

    Payment processing – You can be assured that payments are securely processed through Stripe’s trusted payment gateway.

    The Trinity House promise to you

    Shipping and packaging

    Shipping and packaging requirements are assessed per piece to ensure the most suitable protection for the artwork. Trinity House will therefore call following purchase to agree the recommendations and costs.

    Our After Sales services

    We offer the following services which we will be happy to discuss with you following your purchase, alternatively, you can enquire for more information.


    We offer insurance appraisals to protect your prised artwork and help you find the right cover and policy for you.


    We are able to advise on framing and have access to every type and style to suit any artistic period or room setting.


    The nature of the materials involved in a painting mean that on occasion some pieces are susceptible to movement and the effects of natural ageing. We are able to provide advice on practical measures to conserve the original condition of a piece and have relationships with restorers and framers to offer you a range of services to meet your needs.

    “One afternoon in 1972, the sculptor John Robinson, came to my school (Hazlegrove in Somerset) to help a small group of us make clay figures. I was twelve years old. The effect of John’s teaching was, for me, truly inspirational. It was as if a light had been switched on. I felt totally at ease and complete in what I was doing and, from that moment on, I knew that one day I would be a sculptor.

    In 1977, following a year at Art School, I went to work for a racehorse trainer in Wiltshire. I had ridden from an early age and the idea of becoming a jockey really appealed. As luck would have it, I rode a winner on my first ride. Two years later, following a spell in Ireland, I took out my professional license.

    Over the following years, I rode a handful of winners each season, but sadly did not make it to the top ranks as a National Hunt Jockey. I see this period of my life as a sort of apprenticeship for much of what I do now, for I was always thinking about sculpture and, although I loved riding horses, I found myself spending more and more time in my studio. Drawing upon my experience as a jockey, I made many small equine studies, most of which ended up in the bin. However, some were cast and sold to fellow jockeys, trainers and owners. I also made a series of bronzes for the company, Glen International who were heavily into race sponsorship at the time.

    For every jockey, there is a last ride; mine was in a novice hurdle at Chepstow in 1987. Having its first run, the horse ran well finishing third and, at the time, I felt frustrated that my racing days were over but the decision was made and a new and exciting phase in my life was about to begin.

    Jockey, Steve Knight, had won the Grand National that year on Maori Venture and he kindly introduced my work to Jim Joel, who liking what he saw, asked me to make a bronze study of his National winner. Two months later, Steve Cauthen won the Derby on Reference Point; he too liked my work and commissioned a bronze of himself and his Derby winner cantering to the start. The Derby was to play an important factor in my career ten years later, but for now these two high profile commissions together with other work that first year, set the seal on my future and I have been a full time sculptor ever since.

    I am, predominantly, a portrait sculptor, so whether it be human, such as my life size sculpture of Lord Oaksey or animal, my job is to record and celebrate living form in the best way I can.

    The first stage is to know my subject. Photographs may assist but, by their nature, two dimensions can be a distraction when working three dimensionally. I find quick pencil drawings a help in that they assist me in studying my subject intensely, forcing me to think about what I am looking at and recognising the gravity of what I am seeing.

    With my subject fixed in my mind, I start to think (if I haven’t decided already), how best to portray my observations. In the case of a horse, it may be standing, walking, jumping or whatever pace or stance I feel is most appropriate. In addition, my client may also wish to add their own ideas, which can often be of great assistance.

    Now loaded with all my thoughts and information, I am ready to physically start the sculpture. Firstly, I make an armature (the bones or skeleton of the sculpture) to which I add clay. At this point, I am in one of two places, either in my studio or with my subject, for, whenever possible, I do a proportion of the work from life. In the case of a bust study, sittings will be necessary however, these need not be long and drawn out for the process now is natural and well prepared and much can also be achieved in the studio. When making my study of Gold Cup winner, Denman, I was given free access to him so, as the weather was kind (he was turned out at the time), I was able to do at least half the work from life. This enabled me to forge an understanding which I believe gives the finished work an “edge” it may otherwise not have.

    In some cases, such as my posthumous study of Pinza and Sir Gordon Richards for the Derby Trophy 2003, working from life was, of course, impossible. In such situations, I gauge the best archive and photographic material I can find and draw upon knowledge from people who knew, or have known the subjects, in this case, Sir Gordon’s daughter, Marjorie.

    There is no specific time taken to create a study from scratch. It may be a week or several weeks, whatever the case may be. Once complete, I invite my client to view the progress I have made. At this point changes, if necessary, can be made. When all parties are satisfied, the work is taken to the foundry to be cast into bronze using the ‘Cire Perdue’ (lost wax) method. Unlike many sculptors, I have, over the years become more and more involved in this process, so much so that I now do much of this work myself; thus enabling me to achieve the very best results.”

    You may also like…

    Go to Top