Spectate from the chicane at the Revival to see plenty of classic cars going sideways as they exit this infamous point of our Motor Circuit.
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.
Testament to the 19th-century fascination with ancient Egypt and decorative opulence. The room is richly detailed with gilded cartouches, sphinxes, birds and crocodiles.
The famous fighter ace, who flew his last sortie from Goodwood Aerodrome, formerly RAF Westhampnett has a statue in his honor within the airfield.
After a fire in 1791 at Richmond House in Whitehall, London, James Wyatt added two great wings to showcase the saved collection at Goodwood. To give unity to the two new wings, Wyatt added copper-domed turrets framing each façade.
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!
A huge variety of glassware is available for each wine, all labelled by grape type to give the best flavour profile.
Our gin uses wild-grown botanicals sourced from the estate, and is distilled with mineral water naturally chalk-filtered through the South Downs.
From 2005 to present there has been a demonstration area for the rally cars at the top of the hill
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".
Nick Heidfelds 1999 (41.6s) hillclimb record was beaten after Max Chilton in his McMurtry Spéirling fan car tore it to shreds at 39.08s in 2022!
FOS Favourite Mad Mike Whiddett can be caught melting tyres in his incredible collection of cars (and trucks) up the hillclimb
A 20m woodland rue, from Halnaker to Lavant, was planted by our forestry teams & volunteers, featuring native species like oak, beech, & hornbeam
For safety reasons F1 cars can no longer do official timed runs so instead perform stunning demonstrations!
Sir Stirling Moss was one of the founding patrons of the Festival of Speed, and a regular competitor at the Revival.
The first ever horsebox was used from Goodwood to Doncaster for the 1836 St. Leger. Elis arrived fresh and easily won his owner a £12k bet.
King Edward VII (who came almost every year) famously dubbed Glorious Goodwood “a garden party with racing tacked on”.
The first ever horsebox was used from Goodwood to Doncaster for the 1836 St. Leger. Elis arrived fresh and easily won his owner a £12k bet.
King Edward VII (who came almost every year) famously dubbed Glorious Goodwood “a garden party with racing tacked on”.
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 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
Leading women of business, sport, fashion and media, take part in one of the most exciting horseracing events in the world.
FOS Favourite Mad Mike Whiddett can be caught melting tyres in his incredible collection of cars (and trucks) up the hillclimb
The iconic spitfire covered almost 43,000 kilometres and visited over 20 countries on its epic journey and currently resides at our Aerodrome.
One of the greatest golfers of all time, James Braid designed Goodwood’s iconic Downland course, opened in 1914.
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 famous fighter ace, who flew his last sortie from Goodwood Aerodrome, formerly RAF Westhampnett has a statue in his honor within the airfield.
Ray Hanna famously flew straight down Goodwood’s pit straight below the height of the grandstands at the first Revival in 1998
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 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.
The famous fighter ace, who flew his last sortie from Goodwood Aerodrome, formerly RAF Westhampnett has a statue in his honor within the airfield.
Ray Hanna famously flew straight down Goodwood’s pit straight below the height of the grandstands at the first Revival in 1998
Flying training began at Goodwood in 1940 when pilots were taught operational flying techniques in Hurricanes and Spitfires.
The Duke of Richmond holds the title of Duke of Richmond and Gordon. This title reflects the historical association with both the Richmond and Gordon families.
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 first ever horsebox was used from Goodwood to Doncaster for the 1836 St. Leger. Elis arrived fresh and easily won his owner a £12k bet.
One of the greatest golfers of all time, James Braid designed Goodwood’s iconic Downland course, opened in 1914.
Flying training began at Goodwood in 1940 when pilots were taught operational flying techniques in Hurricanes and Spitfires.
As the private clubhouse for all of the Estate’s sporting and social members, it offers personal service and a relaxed atmosphere
The famous fighter ace, who flew his last sortie from Goodwood Aerodrome, formerly RAF Westhampnett has a statue in his honor within the airfield.
The iconic spitfire covered almost 43,000 kilometres and visited over 20 countries on its epic journey and currently resides at our Aerodrome.
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.
The iconic spitfire covered almost 43,000 kilometres and visited over 20 countries on its epic journey and currently resides at our Aerodrome.
Goodwood’s pigs are a mix of two rare breeds (Gloucester Old Spots and Saddlebacks) plus the Large White Boar.
Testament to the 19th-century fascination with ancient Egypt and decorative opulence. The room is richly detailed with gilded cartouches, sphinxes, birds and crocodiles.
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