It is a working database that includes information compiled over the life of the museum. When she was a child growing up in England, she drew horses all the time, and loved them so much she thought she was one.

“Like a lot of girls, I was drawing horses and doing pretend gymkhanas and obstacle courses for them.

Now, it’s like ‘Here we are — we’re super-groomed, but saluting our history.’”

Ling is also saluting her own history. In 2011, the Victoria & Albert museum acquired more than 50 of her fashion drawings, of cool, leggy women in bright dresses, and still lives of colorful hats, shoes and bags.

Although her fashion illustrations and the new “Incitatus” works both feature lean, bold and energetic strokes, it’s clear Ling is now fully immersed in a world of abstraction.

In 2002, she created her first ready-to-wear collection, which was presented at London’s Mayor Gallery on Cork Street, and later showcased in the windows of Henri Bendel in New York.

In 2009, she became creative director of Veryta, a luxury fashion brand founded by Filippo Binaghi, head of the Italian silk mill Lorma, and Pilati to support the Veryta Foundation, a former charity helping children out of poverty.

All the while, she continued to create illustrations for ad campaigns, trend reports and makeup test cards.

“Marching Thunder”; “A Jet of Our Own,” and “Far Away West” are just some of the works that line the walls of the gallery space.

Ling even brought a horse — a gray gelding called Banner — to the opening.

“It was almost like a performance, but with a small ‘p.’ Lyndsey has restored the stable and made it into a beautiful gallery, and I think it was very romantic that the horse came back.

She has been making the shift over the past decade, and says it feels right.

“In the past, I was always working with fashion, art and creative directors and in teams with people, and I wanted to have a go at not being a team player. The paintings that feature bright streaks and swirls in red, orange, purple and blue hues are mainly oil on canvas.

“Oil is majestic — it’s a whole different creative process.

She adds that in the 19th century, the whole mews “would have been full of horses — the smell, the noise, the shouting, the changing of the harnesses, the noise of the wheels. The horse paintings, inspired by her years growing up in England, would come later.

“There was no logic to the work. We are committed to addressing these issues, and to review and update our records accordingly.

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