CrimsonLuna | The Trail of Painted Ponies | Series 15
The Trail of Painted Ponies
Series Fifteen ~ Released Winter & Holiday 2010
A wonderful first herd by Enesco. The quality and craftmanship are outstanding as well as the attention to detail. The herd itself has what I'm predicting
will become the hands down favorite model of the line, War Cry, in the debut of the brand new rearing mold. It is a varied group with a Native American
carousel horse, an Arabian mare and a couple of hidden imagery pieces in the running mold. Overall, not one of the best groups to come out but certainly
noteworthy. It should be noted that there are no ceramics in this offering. The four Christmas ponies are a bit of a disappointment with the exception
of Fab Leydecker's Country Christmas. The Trail seems to be leaning more and more towards the use of resin which suits most of the Native American ponies
quite well, however many of the Christmas ponies would look and present much better as ceramics.
- All of these figurines will have a brass name plate on the front of the base. This is a new & permanent improvement for the line.
- All ponies will have the artist's name stamped on the base. The Trail's designation is Inc.
- All of these ponies will have their edition numbers as well as "Handcrafted in China" stamped on their base.
- The Enesco logo is stamped on as well.
- The copyright date is 2009. *This is correct.*
- These ponies will all come in a crimson box with a picture of the pony on the front and a write-up by the Trail on the back.
- None of these ponies have been made into life size models.
- All of these ponies are still in production.
Still in Production
A magnificent piece in the new rearing form, War Cry is hands down the collector's favorite of this new herd. A stunning dark brown and white paint
horse with black mane and tail, four white socks and bi-colored hooves. The piece features a scultped buffalo skin saddle, red and tan shield emblazoned
with an detailed crow symbolizing the messenger of the spirits, hanging red resin sash as well as realistic feathers underneath. Feathers are also
embedded at the tail head and behind the ears. The opposite side of the model is accentuated with a sturdy spear encased in more of the sculpted resin
buffalo skin, while feathers adorn the top and bottom of the spear's sheath. The spear itself features colorful wraps both above and below the casing.
This side also has a bow and arrows in separate quivers. Again, these are sculpted resin with incredibly detailed fringes on both. The pony is painted
with traditional war paint including lightning bolts and hail stones on both back flanks. Blue handprints symbolizing ownership are on both shoulders.
The piece's head is white with red circles that signify clear vision around tri-colored eyes. Four coup marks in blue are across the nose as well as four
yellow coup marks across the raised left leg. Coup marks are earned by the warrior touching an opponent with either hand or staff, considered the
ultimate act of bravery. The base of War Cry has the realistic look and feel of rough ground with several scattered stones and a couple tufts of grass.
Also on the base is a red sash that wraps the end of the spear. The base itself has a wood look with colorful stripes running around it as a whole.
The front has the new classy brass nameplate riveted on. Overall, this is a superb piece which harks back to the roots of the Trail line of authentic
Native American models. Display carefully due to it's height and behind glass for safety. A direct light really brings out
the subtle shading the artist has used to define the bunched muscles of the pony.
Carries The Spirit
Still in production
Carries the Spirit is another model on the new rearing mold. The piece is certainly striking and the detail on it clearly illustrates the benefits of
switching to Enesco. The pony's base color is a lovely cream with dark tipped ears and muzzle and bi-colored eyes. The mane is cream with darker
creamy orange feathered tips, while the tail is darker beige with sculpted feathering. The hooves are black. The hackamore is a sculpted resin with a
braided leather like appearance across the nose, a hanging lead knot with feathers and superbly detailed beading on the cheek pieces. The front side of
the model features a sculpted resin Native American warrior in full head dress, a deerskin robe with feathers, fringes and handprints adorning it.
In his hand the warrior is clutching a red pipe. An interesting black circle sits on the rump with descending black lines and what appears
to be a sun in the horizon. The opposite side of the pony features a Native American woman with long, black braids. She is attired in a flowing red robe
that is detailed with beadwork and colorful fringe that flows down the flank of the model to the tail. The robe's fringe also feathers down the raised
right front leg, across the chest and down the left leg and shoulder as well. An exquisitely detailed beaded piece sits on the pony's tail head. It
spreads toward the back and down the tail with sculpted fringe in a buckskin color. A leather like piece with blue markings is tucked under the fringe
and drapes down most of the tail. The beadwork is a lovely, colorful patten of both flat and raised resin. Each cannon of the pony is wrapped in
more of the wonderful beading with the buckskin fringe extending down from the wrap to the top of the hoof.
The base is black with Carries the Spirit's brass name plate riveted on. This model is eyecatching, no doubt about that, and worthy of any collection.
Displays best under direct lighting.
Janee Hughes and Rod Barker - TOPP
Still in Production
Bonanza is the third rearing model in this new series. The piece at first glance appears a bit gaudy but take the time to study the designs, the history
etched on the pony and hopefully give it the appreciation it merits. All of the designs on this model are sculpted, raised resin. The pony's base color
is flat black with interesting dark blue highlights throughout the mane and on the ends of the tail. The dominant side is adorned with
a cow that sports hanging feathers, vining red roses with blue leaves, a classic accoustic guitar in blue and red, a lime green cactus on the rump and
flank and a wagon wheel. Whee! A golden lasso twines from the top of the neck, around the skull, among the rose vines, through the guitar and behind
the cactus. Small flowers and horse shoes as well as multi-colored stars are scattered throughout the icons. An eagle with spread wings spans the chest
of the model. The flip side of the pony features a rearing golden palomino with a western rider and tack. The mid-section of the horse has a beautifully
detailed covered wagon in cream, red and blue. More of the vining red and cream roses twines across the shoulder. A branching tree covers the rump
and flank on this side. Colorful spurs and more stars are scattered on this side. The golden lasso again encircles many of the the western icons.
A red rose with cream edging sits on the top of the rump. An aqua colored star is between the eyes, dark pink stars rest on the cheeks. The base is
black with red and blue stars encircling the edge. The brass nameplate is in it's place on the front. Overall, Bonanza is quite nice. Maybe not
for every collector but certainly fits right in with any collection. Would this piece have been better as a shiny ceramic? You decide.
Display under direct lighting.
Trail of Painted Ponies
Still in Production
A Native American carousel horse, oh my! This is a pretty piece in the walking mold. The pony's base coloring is a beautiful sun-kissed golden brown
with a dark brown mane and tail with golden highlights. The elegant head has a stark white blaze that goes all the way down her muzzle. The eyes are a
subtle tri-color. All four legs have darker brown socks, cream fetlocks and brown hooves. All embellishments on this piece are made of sculpted resin.
A braided bridle in a dark leather like coloring is adorned with flowing feathers high up on the cheek of each side. Colorful strings of beads are draped
from the head dress feathers on either side dangling down to the chest of the pony. An interesting collar like adornment gracefully encircles the neck.
The collar itself is cream with a red trim and fringe. The sculpted cream colored saddle rests on a light tan animal skin blanket with tattered edges.
A gray textured breast collar is held in place by a loop that rests at the base of the neck. More colorful strings of beads extend from the junction of
the breast collar and loop, draping close to the collar itself. Bunches of feathers held together with red twine appear to be attached to the breast collar
and rest right at the shoulder on both sides. Yet more beads drape the neck and shoulders. A tan colored saddle belt encircles the barrel of the piece. It
is decorated with Native American symbols and icons that are incredibly detailed and textured in darker tan with turquoise beading. The symbols do not
repeat. A fringed band rests on the pony's rump just behind the saddle and disappears under the saddle blanket. It sports turquoise double triangles.
The front side of the piece has a crimson and blue fringed quiver bristling with arrows attached at the hip. The opposite side has a fringed and decorated
scabbard complete with the black handle of a knife protruding from it. The tail is raised and flowing on this model, attached to the left rear leg and
adorned with red wrapped rope with feathers intertwined. The base is a muted brown, the carousel poll is shiny gold toned and the nameplate is brass riveted.
A beautiful intricate piece that displays best under, surprisingly, indirect lighting.
Some questions were raised regarding the originality of this piece.
Best of Show
Still in Production
Best of Show is another Lori Musil classic using her hidden imagery technique. A striking piece using the sculpted, raised resin to depict the different
horses showcased on the form. The head of the model is a beautiful liver and white Leopard Appaloosa. Actually the Appy markings continue down the
chest, front left leg on the inside as well as the inside of the right back leg so this breed appears to be the base model of the piece. The front side
features a blood bay Trekhener Warmblood's head tacked in a black #7 bridle on the neck. The palomino colored Belgian is next on the front
shoulder bridled in a black harness with red and blue ribbons steaming from the headstall, with the coloring continuing down the right raised leg to
a white feathered fetlock and low gray hoof. The barrel on this side is the Belgian with harnessing which is interesting considering the Belgian's
head is facing the barrel. The hip's horse is the Andalusian in a lovely shaded gray with a lovely flowing mane and forelock and dark shaded muzzle.
His tack is slim golden yellow with black points. The shaded gray continues down the leg to the hoof. The opposite side begins with the white
Lipizzan on the neck featuring the sharply tucked head and black restraining tack. A striking black Arabian in the traditional black, red and gold
Bedouin tack rests on the shoulder with his coloring continuing down the front side of the leg to the gray hoof. The barrel is the Arab's black with more
of the traditional Bedouin colored saddle blanket and girth. Again the Arab's head is facing the barrel of the piece. On the left hip is a wonderfully
shaded Standardbred wearing the harness racing tack to which they are so well suited. The incredibly detailed black tack is artfully arranged not
only on the head but down the left back leg as well. This horse has the uniquely fitted bridle with a white padded noseband and blinkers. The last
horse is the American Paint Horse which is situated on the back of the model. If I have one tiny complaint with this pony it is this depiction. The head
of the black and white Paint is small and somewhat elongated wearing a slim fitting golden yellow bridle ending in a strange black snippet of a tied tail
resting on top of the model's tail. A bit odd looking actually. The pony's tail is the lovely warm brown on the Standardbred. All four hooves are gray.
A single dangling leather lead with a feather at the top drops down from the model's mouth. The base is black with the brass name plate on the front.
Overall a striking piece that displays well with other Musil ponies under direct lighting.
Karlynn Keyes & Bryn Wilkins Lawson - TOPP
Still in production
Who says real Arabians can't wear pink? This pony has it all, from her delicate, dished face to her slim legs and flowing mane and tail she's all girl.
The base coat color is a flat white that almost looks flea bitten which I suspect is very subtle shading. That long, smooth mane is a lightly shaded
white and gray as is the raised, arched tail. The head is classic Arab with small, alert ears that are dark on the inside, refined features, dished
face and flaring nostrils. The forelock is subtly shaded while the eyes are starkly rimmed in black and the muzzle is black as well. Those eyes are an
obvious flaw, too wide with a startled look that is unsettling. Her bridle is pink, black and gray of both sculpted resin and nylon. Okay, that nylon is
another flaw, better to have made it leather. The between the eyes resin tassle is pink and black, the muzzle loop is gray with hanging pink and gray
tassles. As mentioned, those pink nylon cheek straps, looping reins and hanging tassles are just tacky and should have been made of leather or sculpted
of resin. The traditional Arabian saddle seat is sculpted resin in pink and black patterned with stark black edging that is decorated with tiny silver studs.
A darker pink patterned circle adorns the middle and has an inset clear, gaudy gemstone. The saddle skirt and fender feature more of the black and
pink patterns with each piece coming to v-shaped point and edged in stark black piping. The high riding breast collar is pink and black striped and
features an abundance of layers of hanging tassles. The first layer is light gray, the second is pink and the third is black. The saddle fender has a
large fan of layered tassles in the same light gray, pink and black order which extends down past both the breast and saddle skirt tassles. The layered
tassles of the saddle skirt rest over the flank and circle under the tail to the opposite side, which is exactly the same as the front side with the
exception of the breast collar buckle that shows on the backside but not the front as it is covered by the long mane. The back side really shows off
the lovely arched neck of the piece. All four hooves are black. The base is a continuation of the dark pink and black pattern of the saddle in a
circular arrangement that gradually becomes smaller toward the center. Attached in the center is another clear gemstone. The edging of the base is white
with the brass nameplate in front. At first glance this model is not appealing, especially if you favor darker tack colors for Arabs, however as another
collector pointed out if you view the piece as feminine it works. So, yes...real Arabs can wear pink. Thanks Lucy, for showing us another side of this
Still in production
This piece is a bit of a disappointment. It's certainly colorful and very eyecatching but something seems to be lacking, perhaps a refinement or that
certain luminous quality that defines many of Lynn Bean's ponies. The base is a flat white with absolutely no depth. All the embellishments are again
in the raised, sculpted resin. The face and head are stark white with a dark gray muzzle that has a touch of blue stippling above the nostrils. The eyes
are considered bi-color black with a white reflection and shading around the entire eye. The ears are forelock are shaded gray and white. The mane of
the running mold is dark pink, green, blue and yellow. Okay, those dragonflies...incredibly detailed and colorful but too big, seeming to overpower the
model. With the exception of the coloring of the dragonflies, the sides are nearly identical. The shoulder dragonflies each have the head resting just below
the withers with the wings extending up the neck and down the shoulder to the bottom of the barrel. The eyes are stark dots while the slender, jointed body
of the insect flows down the shoulder and the leg, stopping just above the knee on each side. The wings feature tiny raised dots along the top edges
and flowing bands of color in the interior. All the wings are outlined in brown. The back of the piece has a large dragonfly resting on it's back with
the head right about where the saddle seat would be and the segmented body extending down the pony's spine then onto the flowing tail. The wings of this
dragonly drape down both sides of the pony with the top wings underlapping the shoulder fly's and the bottom wings covering the haunches. This dragonfly
again has the tiny raised dots on the outline as well as a bisecting interior segment of the wings with a bit less color and more white. All of the
dragonflies rest on a base of stippled and blended colors of the yellow, green, blue and dark pink of the mane and tail. The tail is painted in the
flowing bands of these same colors. The legs are the flat white base color with absolutely no texture or finish. All four hooves are striped golden brown.
The base is white with flowing bands of pastel colors the meander in and around the model's hooves. The edge of the base again features the stippled
look in pastel colors with the brass nameplate in front. The darker colors of the pony are at odds with the pastel of the base. Overall, as mentioned,
this piece is disappointing and feels incomplete. It displays well under direct lighting and most definitely clashes with the Native American pieces.
The Front Runner
Still in production
Front Runner should have been a ceramic. This is the overall consensus among the collector groups. The sculpted resin simply cannot give this pony the
glittering color and powerful flow that it needs to succeed. It's a great design, just the wrong medium. The base color of the piece is a muddy, flat
brown with minimal shading, darker brown mane and tail ends, as well as darker brown cannons, ankles and hooves. The head features a turquoise hood with
pink piping around the eye holes and edges, silver bit rings and straps made of leather from the bit to the neck of the horse, from there they are sculpted
resin. Should have used this technique with Arabian Nights. The sides are identical on this pony. Each side features a jockey riding low on the withers
wearing the turquoise and pink of the hood and gripping the reins at the leather end. His silks flow to the back of the model and form the saddle. The
shoulders have the same palomino head with a wide white blaze, pink nostrils, tri-colored eyes and a tan bridle. The jockey for this racer is wearing
crimson and yellow silks and helmet. The horse depicted on the barrel is another flat brown with lime green and yellow hood with dark blue blinkers. The
bridle is a cream color. The teeth are bared with red gums and flaring nostrils, which is a bit sinister looking. The jockey is decked out in lime green,
blue and yellow silks and helmet. His shirt extends down the flowing tail in the alternating stripes. As stated, the flip side of this pony is the same as
the front side. That's disappointing. The entire base is black with the brass nameplate on the front. Again, Front Runner would have been a stunner as
a ceramic but as a resin it's mediocre at best. Display under direct lighting and if possible alongside lighter colored models to somewhat help it's drab
appearance. This design was the winner in a national "Art of Horse Racing" TOPP competition so should have been given
the attention it deserved and produced accordingly. Another TOPP misstep in this collector's opinion.
Gold, Frankincense & Myrrh
Aloma Wolfington and Kami Cain
Retired July 2012
Last Model #
A pretty piece with intricate silhouttes on both sides. The demarcation line of the sand and the night sky is a bit stark and frankly looks odd as
the sand "floats" above the dark blue of the pony's legs. The nativity figures of the silhouttes are quite striking, slightly raised in flat black. They
appear predominately on the front side of the piece with three camels and riders on the back side. The lighter night sky has both larger sparkling stars as
well as smaller dots of stars. The radiant star on the neck is pretty but badly placed. The eyes are bicolor with stars sprinkled over the face while
the tail is both dark and light colored blue with small and large stars on it. The piece's hooves are coated, somewhat haphazardly, in gold
glitter. The base is actually nicely done with three beautifully detailed pots resting between the hooves. Slim lines of gold glitter trail from the pots
outward to the hooves and around to the edges. The base itself is a golden sand color with small stiples of a lighter red color on it. The front of the base
has the brass nameplate. Another piece that would have been much prettier as a ceramic. It does display well under lighting but doesn't "pop" at all.
Retired July 2012
Last Model #
The clear winner of this Christmas herd and the stellar debut of Fabienne Leydecker. Country Christmas is a charming folk art piece with a stunning array
of intricate details. From the quaint, snow covered, two story red barn to the Christmas berry vine head piece this pony has it all. The barn itself is a
deep crimson with black doors and loft covers and even a chimney poking from the top. Both sides of the model have red barns which are subtly different in
design but colored the same. The lovely snow drifts around the barns are wonderfully shaded and slightly raised giving the snow texture and nuance. A fence
trails along the front flank of the pony leading the eye nicely. The willowy, wispy, white trees could have presented as somewhat stark but somehow the
shading makes them softer, perhaps the green glitter tempers their appearance. The dark blue night sky is flat which allows the scattered stars to sparkle.
The mane sports more of the subtle green sparkling as does the tail. Both sides of the tail also has a double twig of white Christmas vine with red berries.
As mentioned, the pony's face is draped with the white vine and dotted with bright red berries. Small hints of the green glitter peek in and around the vine.
A snowy fenceline trails around the breast of the piece. The underside and legs of the piece are a shaded blue gray leading down to dark blue ankles and hooves.
A small scattering of stars follows down the legs. The base of the model is a flat dark blue with trailing white vines and red berries on the front of both
sides. It has the brass nameplate. This piece displays best under direct lighting and looks wonderful in a tabletop Christmas display. The embellished
versions of this pony are quite lovely and well worth the investment.
Holiday S'mores & More
Cheryl A. Harris
Retired July 2012
Last Model #
This piece has merit. Having said that it must be noted that it is the weakest offering of this Christmas herd. The pony's base coloring is marshmallow
white and milk chocolate brown. The brown flows from the head down the neck and across the back. I'm assuming this is supposed to be the melted chocolate
of a s'more. Flat white extends from the bottom of the chocolate brown all the way down to the fetlocks of the pony.
Sitting saddlewise is a large green leaf with a cluster of red berries on the top. The leaf is surrounded by a red ruffly ribbon that has
evenly spaced, raised white dots. One the front side of the pony are two children dressed in green and red snowsuits with hoods. They are seated around a
campfire and each is holding a twig with an impaled marshmallow over the blaze. The faces of the kids are detailed but frankly, they look awkward and too
large for the setting. The flip side of the model has a black sled stacked with brightly wrapped presents. A couple of marshmallow snowmen are placed on
neck and back flank on this side. A large green sprig of holly with red berries is placed on either side of the tail, actually on the backside oddly enough.
Another large holly sprig appears on the breast with flowing green ribbons extending outward. The tail is a textured white as is the thick mane. The pony
wears a black and gold halter with yet more sprigs of green holly on the face piece. Hanging from the underside of the halter are two pieces of twisted cord
that have marshmallows hanging from them. The eyes are bicolor and appear to be looking up. The legs are white with poodle ruffs on each fetlock.
The ankles and hooves are black with gold trim on the bottom that look like boots. The base of the pony is the best part of the entire model. It's shaped
like a graham cracker! The sides are cut to look like an assembled s'more with the layers clearly visible. It's very cute. Two marshmallows are placed
on end between the hooves. The brass nameplate is in place. The idea behind this pony is clever, unfortunately it did not translate well to the figurine.
It really does not display well under lighting. Place in the back of a group Christmas display.
Retired July 2012
Last Model #
This pony is cute and has been well received. The base color of the model is flat white. All of the embellishments are raised on this piece.
Beautiful red and gold ribbons swirl down the pony and around the legs enticing these kittens to play. The front side of this running mold piece sports
a large gray kitten wearing a blue and gold bow. He is facing an orange tiger kitty who is crouched on the flank and clutching his pretty purple bulb. This
kitten's bow is green with raised golden bells. Colorful ornaments hang from the trailing ribbons and bows. The breast of the pony features a sleeping
orange and white feline with a blue and gold bow. The back side is not as pretty or well done as the front. One of the kittens is an upright black and
white that is so oddly colored as to be weird. The face is white with big, staring eyes that are surrounded by darker fur. The body has a green bow tied
around the front with a gaudy red jewel in the middle. The other two kitties are better but not by much. The small brown kitten has pretty blue eyes and a
matching blue bow. He is cuddled up next to his green and gold ornament. The last kitten on the rump looks more like a squirrel with a sharp face and
folded over ears. The bow is a tartan green and red. The ornaments scattered over pony are colorful and pretty. The mane and tail of this piece are a
beautiful Christmas gold. The forelock is also gold and flows nicely around the ears. The gentle eyes are bicolor with a smoky surrounding. The face is
actually beautifully shaded with pink nostrils. The legs are mostly white with just a tad of shading. The hooves are the same Christmas gold. The base
is white with a wonderfully tied and flowing red and gold ribbon. It is raised on the base. The edges of the base are red with a raised rim all the way
around. The nameplate is brass. This piece displays best under indirect lighting.
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