She was arguably one of the most photographed women in the world, yet few have ever seen Queen Elizabeth captured quite like this. For the first time, a series of behind-the-scenes images reveal the late monarch posing on a wooden “sawhorse” in full riding gear for American artist Arnold Friberg at Buckingham Palace. The 8ft by 5ft masterpiece, making its debut in the UK, not only captures the Queen in a rare, intimate moment but also hints at an almost mystical connection between artist and subject.
Arnold Friberg, who passed away at 96 in Salt Lake City in 2010, was widely known for his studies of horses and his artistic work in Hollywood, including an Oscar-nominated contribution to Cecil B. DeMille’s 1956 epic The Ten Commandments. His career had already intersected with royalty when, at just 24, he was commissioned to paint the Royal Canadian Mounted Police, the Mounties. In 1978, he painted a portrait of the then Prince of Wales, Charles, using his mother’s horse, establishing a precedent that would bring him back to Buckingham Palace years later.
Eighteen years on, the Mounties support group requested a portrait of the Queen herself, and she eagerly agreed. Her private secretary, Robert Fellowes, arranged for Friberg and his wife, Heidi, to move back into the palace for six weeks, creating a studio in the Yellow Salon that became their “home away from home.” The Queen chose to set the piece in the palace gardens, creating an air of serene elegance juxtaposed with the inherent power of the monarch.
Friberg recalled it as a “pinch me” moment: “Who am I, to be at Buckingham Palace, and I’m painting a royal portrait? I’m just that kid down the block that likes to draw.” Yet the Queen, then 64, immersed herself in the process, frequently checking on his progress and watching the depiction of her favourite horse, Centenial. Gifted to the Queen in 1972 to mark the 100th anniversary of the Mounties, Centenial was carefully named with a single “n” to make him stand out, and the Queen had no trouble mounting the majestic horse despite her petite frame.
Over time, the formalities between artist and subject melted away. Friberg fondly recalled their last sitting on July 4, 1990—American Independence Day—just after the Queen returned from an official visit to Canada. Their lighthearted exchanges revealed a side of the monarch rarely seen: playful, witty, and fully human. “She said, ‘If I fall asleep today, it’ll be jet lag.’ And I said, ‘You made me work on our national holiday… I know what you’re doing, you’re getting even for Bunker Hill,’” Friberg reminisced.
The series of photographs and the resulting painting now invite speculation and fascination, not just for their artistic merit, but for the subtle, almost eerie undertones captured in the Queen’s expression. Her poised demeanor on the wooden horse, combined with the intimacy of the setting, has led some observers to interpret the images as prophetic, a foreshadowing of the inevitable passage of time for a monarch whose life was defined by duty and ceremony. The attention to detail—from the folds of her riding gear to the calm strength of Centenial—creates an atmosphere that is both regal and hauntingly personal.
Today, the portrait and the behind-the-scenes images circulate widely, captivating audiences who are drawn to the tension between public grandeur and private vulnerability. The Queen’s connection with Friberg, her affection for Centenial, and the serene yet commanding energy of the sitting provide a rare glimpse into a life largely hidden behind palace walls. It is a moment frozen in time, intimate yet monumental, playful yet solemn, and undeniably etched into the lore surrounding one of the most iconic figures of the 20th century.
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