Sir Stirling Moss was one of the founding patrons of the Festival of Speed, and a regular competitor at the Revival.
One Summer, King Edward VII turned his back on the traditional morning suit, and donned a linen suit and Panama hat. Thus the Glorious Goodwood trend was born.
The red & yellow of the Racecourse can be traced back hundreds of years, even captured in our stunning Stubbs paintings in the Goodwood Collection
...plan strategy in an ancient woodland, enjoy award-winning dining then drive around a racetrack?
A 20m woodland rue, from Halnaker to Lavant, was planted by our forestry teams & volunteers, featuring native species like oak, beech, & hornbeam
The famous fighter ace, who flew his last sortie from Goodwood Aerodrome, formerly RAF Westhampnett has a statue in his honor within the airfield.
Just beyond Goodwood House along the Hillclimb, the 2nd Dukes banqueting house was also known as "one of the finest rooms in England" (George Vertue 1747).
As the private clubhouse for all of the Estate’s sporting and social members, it offers personal service and a relaxed atmosphere
Extracts from the 4th & 5th Dukes diaries are on display with red ink used to highlight great things that had happened.
Whoa Simon! A horse so determined and headstrong, he not only won the 1883 Goodwood Cup by 20 lengths, but couldn't be stopped and carried on running over the top of Trundle hill
The Fiat S76 or "Beast of Turin" is a Goodwood favourite and can usually be heard before it is seen at #FOS
Our replica of the famous motor show showcases the "cars of the future" in true Revival style
Future Lab is Goodwood's innovation pavilion, inspiring industry enthusiasts and future scientists with dynamic tech
FOS Favourite Mad Mike Whiddett can be caught melting tyres in his incredible collection of cars (and trucks) up the hillclimb
Our replica of the famous motor show showcases the "cars of the future" in true Revival style
Legend of Goodwood's golden racing era and Le Mans winner Roy Salvadori once famously said "give me Goodwood on a summer's day and you can forget the rest".
The first public race meeting took place in 1802 and, through the nineteenth century, ‘Glorious Goodwood,’ as the press named it, became a highlight of the summer season
One Summer, King Edward VII turned his back on the traditional morning suit, and donned a linen suit and Panama hat. Thus the Glorious Goodwood trend was born.
One Summer, King Edward VII turned his back on the traditional morning suit, and donned a linen suit and Panama hat. Thus the Glorious Goodwood trend was born.
King Edward VII (who came almost every year) famously dubbed Glorious Goodwood “a garden party with racing tacked on”.
King Edward VII (who came almost every year) famously dubbed Glorious Goodwood “a garden party with racing tacked on”.
The first public race meeting took place in 1802 and, through the nineteenth century, ‘Glorious Goodwood,’ as the press named it, became a highlight of the summer season
Flying training began at Goodwood in 1940 when pilots were taught operational flying techniques in Hurricanes and Spitfires.
The first ever round of golf played at Goodwood was in 1914 when the 6th Duke of Richmond opened the course on the Downs above Goodwood House.
Inspired by the legendary racer, Masten Gregory, who famously leapt from the cockpit of his car before impact when approaching Woodcote Corner in 1959.
Easy boy! The charismatic Farnham Flyer loved to celebrate every win with a pint of beer. His Boxer dog, Grogger, did too and had a tendancy to steal sips straight from the glass.
Flying training began at Goodwood in 1940 when pilots were taught operational flying techniques in Hurricanes and Spitfires.
...plan strategy in an ancient woodland, enjoy award-winning dining then drive around a racetrack?
One of the greatest golfers of all time, James Braid designed Goodwood’s iconic Downland course, opened in 1914.
The first ever round of golf played at Goodwood was in 1914 when the 6th Duke of Richmond opened the course on the Downs above Goodwood House.
One of the greatest golfers of all time, James Braid designed Goodwood’s iconic Downland course, opened in 1914.
The iconic spitfire covered almost 43,000 kilometres and visited over 20 countries on its epic journey and currently resides at our Aerodrome.
The iconic spitfire covered almost 43,000 kilometres and visited over 20 countries on its epic journey and currently resides at our Aerodrome.
...plan strategy in an ancient woodland, enjoy award-winning dining then drive around a racetrack?
...plan strategy in an ancient woodland, enjoy award-winning dining then drive around a racetrack?
We have been host to many incredible film crews using Goodwood as a backdrop for shows like Downton Abbey, Hollywood Blockbusters like Venom: let there be Carnage and the Man from U.N.C.L.E.
The origins of the collection lay in the possessions of Louise de Keroualle, Duchess of Portsmouth, and Duchess of Aubigny in France, to whom some of the paintings originally belonged.
Ensure you take a little time out together to pause and take in the celebration of all the hard work you put in will be a treasured memory.
Ensure you take a little time out together to pause and take in the celebration of all the hard work you put in will be a treasured memory.
The red & yellow of the Racecourse can be traced back hundreds of years, even captured in our stunning Stubbs paintings in the Goodwood Collection
Built in 1787 by celebrated architect James Wyatt to house the third Duke of Richmond’s prized fox hounds, The Kennels was known as one of the most luxurious dog houses in the world!
"En la rose je fleurie" or "Like the rose, I flourish" is part of the Richmond coat of Arms and motto
Inspired by the legendary racer, Masten Gregory, who famously leapt from the cockpit of his car before impact when approaching Woodcote Corner in 1959.
Inspired by the legendary racer, Masten Gregory, who famously leapt from the cockpit of his car before impact when approaching Woodcote Corner in 1959.
"En la rose je fleurie" or "Like the rose, I flourish" is part of the Richmond coat of Arms and motto
Just beyond Goodwood House along the Hillclimb, the 2nd Dukes banqueting house was also known as "one of the finest rooms in England" (George Vertue 1747).
We have been host to many incredible film crews using Goodwood as a backdrop for shows like Downton Abbey, Hollywood Blockbusters like Venom: let there be Carnage and the Man from U.N.C.L.E.
We have been host to many incredible film crews using Goodwood as a backdrop for shows like Downton Abbey, Hollywood Blockbusters like Venom: let there be Carnage and the Man from U.N.C.L.E.
The oldest existing rules for the game were drawn up for a match between the 2nd Duke and a neighbour
A 20m woodland rue, from Halnaker to Lavant, was planted by our forestry teams & volunteers, featuring native species like oak, beech, & hornbeam
For Suffolk-based painter Jelly Green, the countryside in all its manifestations, from cows and trees to mysterious landscapes, provides an abundant source of inspiration.
Words by Gill Morgan
Goodwood Magazine
art
painting
magazine article
While most artists of her generation talk – and work – in a language of video, found objects and spatial practice, Jelly Green chooses to quote Constable when explaining her inspiration to paint: “Still, Nature is the fountain’s head, the source from whence all originally must spring – and should an artist continue his practice without referring to nature he must soon form a manner.”
She is only 26, but a consummately assured painter of the old school. And just like her renowned 19th century antecedent, her roots lie in deepest rural Suffolk and her subject matter is the natural world. Green was just 15 when she won a painting prize judged by the acclaimed British artist Maggi Hambling CBE. “Are you serious about painting?” Hambling asked her, and suggested Jelly attended her weekly painting class at Morley College in London, to which people travel from all over the country. A decade on, Green still studies with Hambling (she also had a stint at the Royal Drawing School), and when we speak,she does so from the class’s annual painting trip to the Isle of Wight. “Maggi has a unique way of teaching,” she says. “It’s about training your eyes and your hands.”
It was Green’s engaging portraits of dairy cows (like the Sussex Charolais overleaf) that first caught the art world’s eye. The owner of the Rowley Gallery in Kensington was on holiday in Suffolk and saw one of Green’s cow paintings in a shop window for £50. He asked for her phone number and took her on when she was just 18. Why cows? “Well, my granddad is a dairy farmer. And I like the fact that they’re so curious and characterful, the way they pop their heads up and stare.” The cow paintings have the lush brush strokes and bold, direct gaze of much contemporary human portraiture, which Green has also done quite a bit of. “It’s a very special process,” she says. “Nerve-wracking beforehand, but then you spend all these hours together and you find people really talk and open up.” A little more chatty than the cows, perhaps.
Well, my granddad is a dairy farmer. And I like the fact that they’re so curious and characterful, the way they pop their heads up and stare.
It is landscape, however, to which she returns again and again. Her lightbulb moment came after periods of living in Brighton and London, and feeling estranged from her real source of inspiration – hence the importance to her of that Constable quote. She knew she had to get back to Suffolk and spend time immersed in nature, really absorbing what she saw and felt and translating it into paint. Woodlands are a particular passion and she has recently been painting in Puzzlewood in the Forest of Dean, where JRR Tolkien found his inspiration for Middle-earth in Lord of the Rings. “I love the way the light changes and the mysteriousness. In the summer, the light and richness and in the winter, these big, quiet skeletons.”
She has also spent some time recently in the jungles of Borneo, painting some of the biggest, most ancient trees imaginable, creating artworks that will be shown early next year at an exhibition at Blenheim Palace. But it is to Suffolk and her rural studio there that she always returns. “I’m a country girl,” she says. “I need to be outside with my easel. The light changes, the painting changes. It’s all about looking.”
This article was taken from the Autumn edition of the Goodwood Magazine.
Goodwood Magazine
art
painting
magazine article