2017 Sporting Art Auction by Keeneland

KEENELAND / CROSS GATE GALLERY

THE

AUCTION

THE SPORTING ART AUCTION NOVEMBER 19, 2017

IN AFFILIATION WITH

Keeneland Sales Pavilion

Lexington, Kentucky

November 19, 2017

THE

AUCTION Sale No. 5 In sending written bids or making inquiries, this sale should be referred to as Sporting Art Auction No. 5.

Cover Illustration: Lot 137

Back Cover Illustration: Lot 98

Andre Pater (Polish/American, born 1953)

Alexa King (American, born 1952)

Heading Home

On Point

Oil on canvas | 30” x 40”

Bronze | 11” x 21 ½”

AUCTION Sunday, November 19, 2017 at 2 p.m. Keeneland Sales Pavilion Lexington, Kentucky Auctioneers: Walt Robertson and Ryan Mahan

ADVANCE VIEWING The works will be available for viewing in the Keeneland Sales Pavilion, September 11 – 23 and November 7 – 18 from 10 a.m. – 5 p.m. By appointment October 6 – 28: 859-233-3856. For additional viewing times visit: www.thesportingartauction.com

This auction and all information in this catalogue are subject to the Conditions of Sale printed in this catalogue and to reserves. THE SPORTING ART AUCTION

INTRODUCTION

he Sporting Art Auction, a collaboration between Keeneland Association and Greg Ladd’s Cross Gate Gallery of Lexington, Kentucky, has matured into one of the genre’s most anticipated annual events. In 2017, Keeneland and Cross Gate will again team to conduct the fifth annual Sporting Art Auction on Sunday, November 19, at 2 p.m. ET. The partnership between Keeneland and Cross Gate Gallery is a natural fit. Keeneland, recognized as the world’s premier Thoroughbred auction house, offers the perfect sale venue with its state-of-the-art sales pavilion and auctioneering expertise. Perhaps most importantly, many of its racing and sales clientele are avid collectors of sporting art. Cross Gate, the country’s leading gallery of fine sporting art, delivers a superb collection of paintings and sculpture. Each year, Ladd travels throughout the U.S. and Europe

to acquire important works that will capture the interest of ardent collectors. The success of the first four auctions, which have been characterized by large crowds and brisk bidding, confirms the strong demand for quality sporting art. LeRoy Neiman’s Flat Racing, a one-of-a-kind glazed ceramic tile mural, sold for $291,000 to top the inaugural sale in 2013. The following year the massive triptych Hercules, by American artist Ashley Collins, brought top price of $149,500. The 2015 auction was highlighted by the sale of Sir Alfred James Munnings’ signed painting Lord Astor’s Broodmare and Foal, which brought $207,000. And in 2016, Andre Pater’s Red Arrow topped the auction with a winning bid of $276,000. This year’s auction will feature 175 high-quality lots representing fine sporting art, American paintings, and sculpture from renowned artists. Lexington, Kentucky-based Andre Pater, whose Red

Arrow topped the 2016 auction, returns with Heading Home, a foxhunting scene set in a snow-tinged Kentucky landscape. The work appeared in a landmark Pater exhibition earlier this year at the National Sporting Library and Museum in Middleburg, Virginia. Sir Alfred Munnings is again represented, this time by Fancy Dress Party, a chalk on curtain piece the artist reportedly drew at 2 in the morning. It shows a clown talking to a pierrette. Though celebrated for his brilliantly colored expressive paintings, LeRoy Neiman shows a different dimension with a set of three bronze sculptures entitled Jockey Suite. And Paul Sawyier, the iconic Kentucky painter known for his landscapes, is represented by St. Clair Peddler, a street

scene in Frankfort, Kentucky. The auction will also feature works by such acclaimed artists as Edward Troye and John Frederick Herring, Sr., as well as contemporary pieces by Andre Pater, Larry Wheeler, Peter Howell, and Richard Stone Reeves. In keeping with Keeneland’s mission, both sporting and altruistic, the association’s portion of the auction proceeds will benefit its non-profit initiatives, including the Keeneland Library Foundation. The 2017 collection will be on display in the Keeneland sales pavilion, beginning with the September Yearling Sale (Sept. 11-23) and continuing through the art auction’s November date.

The Sporting Art Auction company welcomes inquiries through its website, www.thesportingartauction.com; by email, info@thesportingartauction.com; or through Cross Gate Gallery, (859) 233-3856. The Sporting Art Auction will accept bids from patrons in person, by phone through prior arrangement, and online via http://www.liveauctioneers.com/, www.invaluable.com, and www.bidsquare.com. The Conditions of Sale begin on page 194.

THE SPORTING ART AUCTION

ABOUT

KEENELAND

ocated in the heart of Central Kentucky’s horse country, Keeneland is an international leader in Thoroughbred racing and sales. RACING Created by its founders to be a model race track, Keeneland held its first race meet in the fall of 1936. Today, Keeneland’s racing program perennially ranks among the nation’s best in terms of purse money, field size, and quality competition. From 2-year-old races to events for classic contenders and veteran turf stars, Keeneland racing affords horsemen outstanding opportunities to showcase their talented stables. Keeneland conducts racing every April and October, drawing legions of loyal fans who come out to enjoy “racing as it was meant to be.” The nation’s leading trainers, jockeys, and stables converge at Keeneland to compete for some of the country’s richest purse money. The Spring Meet is anchored by such storied stakes as the $1 million Toyota Blue Grass (G2), and $500,000 Central Bank Ashland (G1), which are premier prep races for the Kentucky Derby and Kentucky Oaks, respectively. The Fall Meet opens with Fall Stars Weekend, featuring nine graded stakes led by the $1 million Shadwell Turf Mile (G1), $500,000 Claiborne Breeders’ Futurity (G1), and $500,000 Juddmonte

Spinster (G1). Through the years, numerous champion Thoroughbreds have graced Keeneland, and its spring and fall meets have served as springboards to success for many Triple Crown and Breeders’ Cup winners. In 2015, Keeneland successfully hosted for the first time the $26 million Breeders’ Cup World Championships, which was headlined by Triple Crown winner American Pharoah’s victory in the Breeders’ Cup Classic (G1). SALES As the world’s largest Thoroughbred auction house, Keeneland sets the gold standard for the industry globally, having sold more champions and stakes winners than any other sales company. Keeneland’s three annual sales attract buyers from nearly every U.S. state and more than 50 countries. Keeneland’s accomplished graduates include 95 Breeders’ Cup winners; 21 Kentucky Derby winners; 23 Preakness winners; 19 Belmont winners; 11 Horses of the Year; and five Epsom Derby winners. Thoroughbred auctions have taken place on the Keeneland grounds since 1938, and annual sales commenced in 1943. Prior to World War II, many Central Kentucky breeders sent their yearlings each summer to the sale in Saratoga Springs, New York. But a wartime restriction on rail transport

forced breeders to keep their yearlings at home, prompting the inaugural summer sale that was held under a tent in the Keeneland paddock. That sale produced Hoop, Jr., winner of the 1945 Kentucky Derby. The Breeders’ Sales Company held the sale at Keeneland in subsequent years, and that entity eventually merged with Keeneland. The success of Kentucky-bred racehorses in prestigious international stakes attracted buyers from Europe and Japan in the 1960s and ’70s, giving rise to Keeneland’s sustained position as the unrivaled source of the world’s best horses. Keeneland’s premier September Yearling Sale provides more winners of racing’s biggest events and more participants at the sport’s highest level than any other sale. In 2017, September Sale graduates Always Dreaming won the Kentucky Derby while Cloud Computing won the Preakness (G1). Sales graduates also performed exceptionally well on the world stage, winning group stakes in England, Ireland, France, Japan, Dubai, Australia, Singapore, Peru, and Turkey. HISTORY Keeneland’s iconic brand is rooted in the ideals of its founders, a determined group of prominent Central Kentucky breeders with a goal, outlined in the track’s original prospectus, “to create a model racetrack to perpetuate and improve

TEAM COYLE

the sport and to provide a course that is intended to serve as a symbol of the fine traditions of Thoroughbred racing.” As Hal Price Headley, Keeneland’s cofounder and first track president, put it, “We want a place where those who love horses can come and picnic with us and thrill to the sport of the Bluegrass. We are not running a race plant to hear the click of the mutuel machines. We want them to come out here to enjoy God’s sunshine, fresh air, and to watch horses race.” For generations Keeneland has fulfilled its founders’ vision, embracing the history and pageantry of the sport while offering its guests and participants an unmatched experience. With its ivy-covered limestone buildings, scenic vistas, and beautifully landscaped grounds, Keeneland is a National Historic Landmark and a source of community pride. The Keeneland Library, established in 1939, is a public research/reference

library that is one of the world’s largest repositories of information related to the Thoroughbred. Located in a 10,000-square-foot facility that opened in July 2002, the library houses nearly 30,000 books, approximately 1 million photographic negatives, and thousands of newspaper and magazine articles about the equine industry. Among its most prominent collections are the Daily Racing Form archives dating back to 1896; some 3,000 caricatures and equine cartoons by the internationally celebrated artist known as “Peb;” and the works of noted equine photographers Charles Christian Cook, Bert T. Morgan, Joel Clyne “Skeets” Meadors, and Katey Barrett.

money for horsemen during its race meets, and for the benefit of civic and charitable entities. Since 1936, Keeneland has contributed millions to the Central Kentucky community and the Thoroughbred industry. Funding is focused primarily on the areas of health and human services; education; arts, culture, and community; and initiatives that better the Thoroughbred industry. One hundred percent of Keeneland’s proceeds from the Sporting Art Auction will benefit its non-profit initiatives, including the Keeneland Library Foundation.

GIVING Keeneland’s tradition of giving is another hallmark. A privately held company with a not-for-profit mission, Keeneland reinvests earnings in purse THE SPORTING ART AUCTION

ABOUT

CROSS GATE GALLERY

ounded in 1974, Cross Gate Gallery is a leading source of the world’s finest sporting art. Lexington’s Cross Gate Gallery specializes in equine-related art, and its impressive collection ranges from 19th and early 20th century classic works to contemporary paintings and sculpture. Its Central Kentucky location makes the focus on sporting art a natural one. Cross Gate is also recognized as a leading gallery in contemporary British figurative painting. Sporting art has its roots in the early 18th century when British noblemen commissioned top artists to depict their favorite horses, dogs, and sporting scenes in paintings, drawings, and sculpture. The genre continues to the present, catering to the lifestyle of town and country ladies and gentlemen. Greg Ladd laid the cornerstone of what would become Cross Gate Gallery while still a student at the University of Kentucky. Working part-time for an upscale gift shop, he developed an appreciation for art and an eye for sporting art. His growing interest in the genre made him set aside initial plans to become an architect. Instead, he graduated with a bachelor’s degree in animal science, married his wife, Laura, soon after graduation, and rented two small rooms in

downtown Lexington with $1,000 in startup capital to start Cross Gate Gallery. College friends and their parents were among the gallery’s first patrons, and as Ladd traveled the world in search of inventory, Laura Ladd and her sorority sisters ran the shop. Early on, Ladd recognized that Lexington’s stature as the Horse Capital of the World made it an ideal locale to sell sporting art. His timing could not have been better as the 1970s and early ’80s saw tremendous growth in Kentucky’s horse industry. Buyers from around the world flocked to Kentucky to pay robust prices for Thoroughbred yearlings, and many developed showplace farms with houses filled with sporting art. In this environment, Ladd developed a loyal following of serious collectors of sporting art from around the world. He is recognized for his expertise in this genre and his gracious approach to selling art. In addition to top horse owners and breeders from around the world, Cross Gate’s clients include (but are certainly not limited to) Keeneland Race Course, Breeders’ Cup Ltd., and a wealth of other prominent equine organizations. Ladd is respected for his eye for young talent and over the years has nurtured and represented artists such as Andre Pater, Larry Wheeler, Sandra Oppegard, Jean-

Bernard Lalanne, Valerie Hinz, and many others. Cross Gate regularly exhibits their work in Lexington and at equine venues such as Saratoga Springs, New York; Aiken, South Carolina; and Wellington, Florida. Cross Gate is also well known for featuring the works of earlier luminaries such as Edward Troye, Sir Alfred Munnings, and Henry Stull. “Our focus is on quality artwork,” says Ladd. “We are confident that we’re offering the finest sporting art available anywhere in the world today. There is a limited supply of really good artwork out there, and the best part of our job is finding that quality work and offering it to our clients.” CROSS GATE HAS INTERNATIONAL STATURE In 1998, as Sotheby’s prepared to sell 10 paintings by Sir Alfred Munnings from Santa Anita Park’s collection, the venerable auction house chose Cross Gate to display the works on their journey from California to New York. This association with Sotheby’s led to a London exhibition of Andre Pater works in 2002 at Sladmore Gallery. Astoundingly, the 31 paintings in the show sold in 21 minutes while the large crowd waiting outside the gallery clamored to get in. Owner Greg Ladd’s frequent trips to

England and Europe in quest of sporting art introduced him to British nonsporting figurative painters, leading to an association with the New English Art Club and such artists as Thomas Coates, Benjamin Sullivan, Peter Brown, and the late John Ward. Cross Gate is the only gallery in the United States to host New English Art Club exhibitions. “We have made remarkable strides in gaining exposure for contemporary British

painters, and this has allowed us to grow our clientele and expand our market,” Ladd said. “The Federation of British Artists has a wealth of quality painters that we are honored to exhibit for our American clientele on a regular basis.” The gallery hosted an exhibition of works by Thomas Coates and his contemporaries in the spring of 2016. Cross Gate’s success has necessitated three moves over its 42 years in business.

Today the gallery operates from a pinkhued Greek revival mansion that spans 11,000 square feet. Its airy, light-filled rooms make the ideal setting to display the gallery’s broad range of artworks. Today Greg Ladd has found full expression for his youthful vision in the achievements and international influence of Cross Gate Gallery.

THE SPORTING ART AUCTION

| Auctioneer

alt Robertson, a longtime leader in the equine auction industry, retired in 2015 as Keeneland’s vice president of sales. Roberston, a graduate of the University of Kentucky, joined Keeneland in January 2011 after 35 years at the Fasig-Tipton Co. In addition to his vast experience in the Thoroughbred industry, Robertson also has been active in the Central Kentucky community for many years. He has served as chairman of the Kentucky Horse Park Commission, is a former director and past president of the Thoroughbred Club of America, and is a past member of the Sayre School and The Lexington School boards of trustees. He is president and auctioneer for Swinebroad-Denton Inc., a full-service real estate auction company in Lexington. Robertson lives in Lexington with his wife, Charlene (Corky). They have two children.

| Auctioneer

yan Mahan considered following his stepfather, Dr. Robert Copelan, into veterinary medicine. Instead, he finds himself in the auction stand at the leading Thoroughbred sales company in the world. Mahan initially had his own auction company but in 1977 he joined Keeneland as a bid spotter and later chief announcer. Promoted to auctioneer in the mid-1980s, he succeeded the late Tom Caldwell in 2001 as senior auctioneer. He has been involved with the Sporting Art Auction since its inception.

| Owner, Cross Gate Gallery

exington, Kentucky, native Greg Ladd founded Cross Gate Gallery in 1974 and has developed it into the world’s premier source of sporting art. While studying at the University of Kentucky, Ladd laid the foundation for what was to become Cross Gate, and he is now regarded as an expert in the genre of sporting art. Ladd has been on the advisory board of the Art Museum at the University of Kentucky, the Living Arts & Science Center, and the Kentucky Horse Park Museum. He has served as an Elder at the Second Presbyterian Church. He and his wife, Laura, have four children, two of whom — Catherine and Field — participate in the operation of Cross Gate Gallery.

The following are examples of the terminology used in this catalogue. Please note that all statements in this catalogue as to authorship, period, culture, source, or origin are qualified statements and are made subject to the provision of the Conditions of Sale printed in this catalogue. (The artist’s name, “Peter Biegel” is used here as an example, and the following expressions will apply to the artist’s name and the Lot number with which it is associated.) “Peter Biegel” In our opinion, a work by the artist. While this is the highest category of authenticity, no unqualified statement as to authorship is made or intended. “Attributed to Peter Biegel” In our opinion, probably a work by the artist, but less certainty as to authorship is expressed than in the preceding category. “After Peter Biegel” In our opinion, a copy of a known work of the artist. The term signed and/or dated and/or inscribed means that, in our opinion, a signature and/or date and/or inscription are from the hand of the artist.

■ CATALOGUE DESCRIPTIONS Statements made by us in the catalogue or any condition report, or made orally or in writing elsewhere, regarding the authorship, origin, date, age, size, medium, attribution, provenance, condition or estimated selling price of any Lot are merely statements of opinion, and are not to be relied on as statements of definitive fact. Catalogue illustrations are for guidance only, and should not be relied on either to determine the tone or color of any item or to reveal imperfections. Many items are of an age or nature that precludes their being in perfect condition. Estimates of the selling price should not be relied on as a statement that this price is either the price at which the Lot will sell or its value for any other purpose.

The abbreviations fl. and op. mean that the artist worked, “flourished,” and/or “operated” during this time span. The abbreviation A/C means Artist’s Copy. Unless otherwise stated in the description, all pictures are framed and all measurements are given with the height preceding the width. All sizes for sculpture are given with the height preceding the width.

■ ESTIMATES The estimated selling price of each Lot is printed beneath the Lot description and does not include the Buyer’s Premium. This sale will be conducted in U.S. Dollars. Bidders should bear in mind that estimates are prepared well in advance of the sale, are not definitive, and are subject to revision. ■ IMPORTANT NOTICE No reference to any imperfection is made in individual catalogue descriptions of property offered for sale. Notwithstanding any condition report or catalogue descriptions provided, all Lots are offered and sold “AS IS” in accordance with the Conditions of Sale.

■ EXAMINATION OF GOODS Prospective Buyers are urged to examine personally any Lots in which they are interested BEFORE BIDDING, as they accept any property purchased AS IS, with all faults. ■ REGISTRATION BEFORE BIDDING Prior to sale, all bidders must register and receive a bidding number. PLEASE NOTE: AT THE TIME OF REGISTRATION, DEALERS MUST COMPLETE A RE-SALE TAX EXEMPTION CERTIFICATE; OUT-OF-STATE DEALERS MUST PRESENT AN EXEMPTION FORM FROM THEIR STATE. A bidding number is required of the successful bidder at the fall of the auctioneer’s hammer for each Lot. For your convenience bidder registration can be completed at any pre-sale inspection and prior to sale. CONTINUED ON NEXT PAGE

THE SPORTING ART AUCTION

CONTINUED FROM PAGE 9

■ CONDUCT OF SALE All Lots will be sold subject to the Reserve, which will not exceed the low presale estimate printed in this catalogue, or as may be amended by the Announcements. Successful purchasers are responsible for all applicable sales taxes. ■ WRITTEN/ABSENTEE BIDS If you cannot attend the auction in person, KCG Enterprises, LLC (“KCG”) can bid for you according to your instructions. There is no extra charge for this service, which is known as commission bidding. If successful, the price you pay will be the final bid price plus the Buyer’s Premium, as set forth in the Conditions of Sale. Bids must always be made or confirmed in writing, using the form printed in this catalogue. Bank references may be requested and should be supplied with enough lead time to confirm before the auction. For further information please call (859) 233-3856, Monday-Friday, 9 a.m.–5 p.m. EST, before November 19, 2017. After November 19, 2017, call Keeneland at (859) 280-4724 • Fax (859) 2884249. Email info@thesportingartauction.com ■ TELEPHONE BIDS Bidders who cannot attend the auction and who wish to bid by telephone should make arrangements for this service at least two (2) days in advance of the sale as the number of telephone lines is limited. For further information please call (859) 233-3856, Monday–Friday, 9 a.m.–5 p.m. EST before November 19, 2017. On November 19, 2017, call Keeneland at (859) 280-4724. ■ AUCTIONEER’S DISCRETION The auctioneer has absolute and sole discretion with respect to bidding, to refuse any bid, to advance the bidding in such a manner as he may decide, to withdraw or divide any Lot, to combine any two or more Lots, and, in the case of error or dispute, whether during or after the sale, to determine the successful bidder, to continue or re-open the bidding, to cancel the sale or to re-offer and re-sell the item in dispute. If any dispute arises after the sale, KCG’s sale record is conclusive. ■ SHIPPING/REMOVAL OF PROPERTY If you are an absentee bidder, we can arrange for the shipment of your purchases as per your written instructions. Estimates for the shipping of any property can be obtained from our staff at KCG. If you are attending the sale and desire us to arrange shipping, this must be done immediately

after the sale. ALL PURCHASES MUST BE REMOVED FROM THE BUILDING NO LATER THAN WEDNESDAY, NOVEMBER 22, 2017 at 4:00 p.m. unless prior arrangements have been made with KCG to store property at a warehouse. TO COLLECT ITEMS IN PERSON YOU MUST PRESENT A PAID RECEIPT TO KCG STAFF. *Please note both Keeneland Association and Cross Gate Gallery offices will be closed on November 23 and 24 in observance of the Thanksgiving holiday. ■ INSURANCE Purchasers are requested to arrange clearance for Property as early as possible and in any event, no later than fourteen (14) days following the day of the sale, at which time KCG’s liability for loss or damage to sold property shall cease. Purchasers must arrange to insure the purchased property as of the time of sale, as they deem appropriate, and regarding which KCG shall have no obligation or liability whatsoever. Transit Insurance can be arranged by the shipper to cover your property from collection at the sales premises to arrival at your destination, if requested. You must notify us if you wish to arrange for this service or if you will be supplying it yourself. ■ STORAGE AND STORAGE CHARGES For a period after the auction, uncollected purchases and unsold Lots may be held at the Sales Pavilion. Thereafter they will be removed for storage and charges will be incurred. All uncollected and unsold property not collected from the Sales Pavilion by 4:00 p.m. on Wednesday, November 22, 2017, will be removed by KCG to a warehouse of their choice. The Seller and/or Buyer will not be entitled to collect the stored property until all outstanding charges are paid in full. Seller and Buyer grant KCG a security interest in all goods in our possession for payment of storage and other related charges due. PLEASE NOTE: KCG SHALL HAVE NO LIABILITY OR RESPONSIBILITY WHATSOEVER FOR DAMAGE OR LOSS DUE TO NEGLIGENCE OR OTHERWISE AS A RESULT OF THIS REMOVAL AND STORAGE. ■ PHOTOGRAPHS AND ILLUSTRATIONS/PRIVACY NOTICE KCG may record any or all portions of the Sale by video, audio or other means, which may be used by KCG in its sole discretion. All participants consent to the use, reproduction and distribution of such recordings, biographical and other information or descriptions, and images that may be provided, for inclusion in the catalogue or other marketing of the Sale or for any other advertising or promotional purpose as deemed appropriate by KCG.

Fine Sporting Art, American Paintings and Sculpture Sunday, November 19, 2017 â&#x20AC;¢ 2:00 P.M.

Keeneland Sales Pavilion Lexington, Kentucky

THE SPORTING ART AUCTION

| John Beer (British, 1860–1930) DERBY DAY Watercolor, gouache, 14” x 22” Signed, inscribed $3,000. – 5,000.

THE SPORTING ART AUCTION

| John Beer (British, 1860–1930)

KING’S CUP DONCASTER 1910 and CAMBRIDGE STAKES 1908 (two works) Watercolor, 10” x 13” Signed, inscribed, dated 1908 and signed, inscribed, dated 1910 $3,000. – 5,000. (pair)

| Denes de Holesch (Hungarian/American, 1910–1983) ON THE TURF Oil on board, 7 ½” x 13” Signed $700. – 900.

| John Alfred Wheeler (British, 1851–1932) SANSOVINO Oil on canvas, 19” x 25 ½” Signed, inscribed

| John Beer (British, 1860–1930)

SANSOVINO WINNING THE LORD DERBY’S DERBY, 1924 Watercolor, 10” x 14” Signed, inscribed $4,000. – 6,000. (two works)

The 1924 running of the Epsom Derby delivered the very popular triumph of Lord Derby’s homebred bay colt Sansovino (by Swynford out of Gondolette), who galloped to the wire six lengths clear of the field through an epic downpour. Trained by the Honorable George Lambton, the favorite was ridden to victory over the rain-sodden turf by Tommy Weston in front of a record crowd that included Lord Derby’s competing owner and friend King George V. The correspondent for the Sportsman wrote: “After an interval of 137 years the head of the house of Stanley has won the Derby. It was in 1787 that ‘Sir Peter Teazle’ (owned by the 12th Earl of Derby) secured the prize, the eighth time it was run for, and since then, although various holders of the title have tried again and again to repeat the victory, it has been left to the present Earl of Derby to accomplish the feat, and to no more worthy member of the family which gave the race its name could the honour have fallen. Sansovino’s success yesterday was the most popular seen at Epsom since the late King Edward won the Derby with Minoru in 1909, and apart from the fact that the horse’s position as favourite necessarily caused the victory to be hailed with acclamation, the cheering was a sincere recognition of Lord Derby’s efforts to breed a winner of the Blue Riband of the Turf.”

THE SPORTING ART AUCTION

| John Frederick Herring Jr. (British, 1820–1907) FARMYARD SCENE Oil on canvas, 18” x 30” Signed $9,000. – 12,000.

Provenance: Frost & Reed, London Sportsman’s Gallery, New York

| John Frederick Herring Jr. (British, 1820–1907) BARNYARD SCENES (two works) Oil on canvas, 12 ¼” x 18 ⅛” Signed $12,000. – 15,000. (pair)

Provenance: Frost & Reed, London

THE SPORTING ART AUCTION

| George Derville Rowlandson (British, 1861–1928) STEEPLECHASE Oil on canvas, 20” x 36” Signed $9,000. – 12,000.

| Gustave Wertheimer (Austrian, 1847–1904) THE GRAND PRIX DE PARIS, 1895 Oil on canvas, 40” x 32” Signed $12,000. – 15,000.

Exhibited: Paintings from the Salon and Champs de Mars Paris, 1897, Jordan Art Gallery, Boston, Dec. 1897–1898 number 263 A Literature: Le Figaro. Figaro illustré. Paris: Boussod, Valadon & Cie., 1894, no. 50 Illustrated in Color L’Art Francais, Illustrated. June 16, 1894. No. 373 At the end of the 19th century, the Grand Prix de Paris was one of France’s premier turf events. It attracted the best horses of the day and often drew crowds in excess of 200,000 people. Despite the importance of the Grand Prix to horse racing, the main focus on the race day was decidedly social in nature. Most accounts of the Grand Prix de Paris written in the late 19th or early 20th century focused more on the fashion and beauty present at Longchamp than on matters of the turf. The Spirit of the Times, an American sporting magazine, offered an account of the Grand Prix in 1883 that did not mention the actual race until the 17th paragraph, which was preceded by the following statement: “The women, the location, and the crowd are the three great features in which Le Grand Prix de Paris differs from the great racing events of England and America. As for the racing, I will speak of that in due season.” Gustave Wertheimer’s depiction of Le Grand Prix de Paris mirrors the media coverage of the event in that the horses themselves are conspicuously absent.

THE SPORTING ART AUCTION

| Charles W. Waite (American, 19th Century) LATONIA, 1894 Oil on canvas, 36” x 72” Signed, dated 1894 $30,000. – 40,000.

Exhibited: Kentucky Governor’s Mansion, April–September 2011, The Race Is On: The Kentucky Equine Exhibition

This lot is a rare and important 19th-century Kentucky painting. Despite Kentucky’s status as the horse capital of the world and its importance to the sport during the 19th century, an extremely small number of Kentucky track or racing paintings have come to light that portray this period. Robert Brammer and Augustus von Smith’s view of the Oakland Race Course in Louisville done in the 1840s is the most prominent one, though it shows the clubhouse from the street and not a racing scene. That painting is in the Speed Art Museum’s permanent collection and has achieved an iconic status among Kentucky artwork, gracing the cover of Jessie Poesch’s book Art of the Old South. Apart from the Brammer and von Smith painting, 19thcentury Kentucky racing scenes are virtually never seen (and are sold on the open market even less frequently). Portraiture was by far the dominant form of painting in antebellum Kentucky. Edward Troye might have been the best conformation painter of the mid 1800s, but he never painted a racing scene. Henry Stull painted racing scenes in New York at the end of the 19th century but is never known to have painted one in Kentucky. Carl Brenner, Patty Thum, and Harvey Joiner became beloved landscape artists from Louisville while Paul Sawyier and Will Hunleigh did the same in Central Kentucky, but they never painted racehorses. Several less formally trained artists such as T.J. Scott and Wilhelm Eilerts attempted to follow in Troye’s footsteps with equine conformation paintings but never achieved the same quality of work or following. This painting of Latonia is possibly the only 19th-century Kentucky Thoroughbred racing painting in existence.

In 1883, just six miles south of Cincinnati, Ohio, on Winston Street in Latonia, Kentucky, the first Thoroughbred races were held at Latonia Racetrack. Hosting a spring and fall meet annually, Latonia became one of the premier racetracks in America, attracting as many as 100,000 patrons per year. Initially run as the Hindoo Stakes in honor of the Kentuckybred racehorse Hindoo, the Latonia Derby was a 1½-mile test for 3-year-olds. Kentucky Derby winner Leonatus won the inaugural running of the Latonia Derby, and the successful Lazzarone took the 1894 running. The Great Depression took its toll on Latonia, and on July 29, 1939, the track was closed, sold, and dismantled for a future shopping center in the city of Covington. In 1959, a few miles west in Florence, Kentucky, the new Latonia Racecourse opened. It was renamed Turfway Park in 1986. In this painting, Waite’s view would be from where the grandstand was, overlooking the judge’s stand and infield. The background shows the hills before the land drops down to the Ohio River. This painting was purportedly used by Waite to settle a tab in a riverfront bar on the east side of Cincinnati and the piece passed down through the family.

THE SPORTING ART AUCTION

10 | Henry Stull (Canadian/American, 1851–1913) ORNAMENT WITH TODD SLOAN UP Oil on canvas, 25” x 30” Signed, dated, 1898 $10,000. – 15,000.

Provenance: Kennedy Galleries, New York

Ornament was bred and raised in Kentucky by Hal Pettit Headley at his Beaumont Farm. He began his racing career for Charles T. Patterson but raced for Headley and his partner W. P. Norton in his last four starts. From his initial appearance on the turf in 1896, until his retirement after winning the Brighton Handicap, his racing career was nothing short of spectacular. Ornament won four Derbies, the Clark Stakes, Twin City Handicap, both ends of the Double Event, the Flatbush Stakes, Brooklyn Handicap, Brighton Handicap, the Himyar Stakes, and eight more races. Ornament recorded 20 wins from 32 starts, earning nearly $90,000 and only finishing out of the money three times. He was the best 2-year-old of his year, the 1897 champion 3-year-old, and at 4 was voted the best horse of the all-aged divisions. Ornament retired to stud at the familiar fields of Beaumont Farm in 1900. His retirement from the track did not mark the end of his usefulness for the Headley family, Ornament became an established sire and his progeny went on to have significant careers on the turf. Hal Pettit’s son, Hal Price, was watching and learning from his father and at an early age was on his way to becoming one of the greatest horsemen that the turf has ever known.

When Ornament passed in 1916, he was buried at his birthplace on Beaumont Farm. His gravestone is on a portion of the farm that is now part of Lexington’s South Creek Park and his headstone is still there, marking the resting place of one of the greatest horses of an era. The Thoroughbred Record reported the champion’s death in 1916, and the article rings with sincere emotion at the loss of the great champion. “He was retired absolutely sound and at stud his success was such that he occupied a prominent place on the Twenty List from the time his get were three-year-olds in 1903, until he was taken out of active service. Beautifully bred, endowed with extreme speed, possession of a matchless constitution and courage, capable of carrying any weight and winning at any distance over any kind of a track. Ornament embodied every requisite that goes to make the thoroughbred what he is and for which he is accorded pride of place over the horses of all other breeds.” Thoroughbred Record, Vol. 83–84, 1916

In 1904, at age 16, Hal Price Headley set out alone, loaded Ornament and a string of other Beaumont home breds onto a train, and entered his horses in the stock show at the Saint Louis World’s Fair. He stepped onto the country’s biggest stage and by the end of the show he had collected nearly every prize that the fair had to offer for Thoroughbred horses. Ornament took the top honor for Thoroughbreds at the fair, the Premier Championship Title. By the close of the Saint Louis World’s Fair, Headley had collected the top prize for Thoroughbreds in 12 of 19 categories, earning the budding turfman $3,535.58 in prize money — the modern equivalent of nearly $100,000.

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11 | Henry Stull (Canadian/American, 1851–1913) SIR FRANCIS WITH SAM DOGGETT UP Oil on canvas, 20” x 28” Signed, dated 1892 $9,000. – 12,000.

12 | Henry Stull (Canadian/American, 1851–1913)

REY DEL REYES WITH ISAAC MURPHY UP Oil on canvas, 22 ¾” x 30” Signed, dated 1891 $9,000. – 12,000.

In July of 1889, Frank A. Ehret and General Frederick C. McLewee attended a horse sale at Tattersalls, New York. They had not planned to buy, but when a beautiful filly went through the ring they bought her on the spot. Ehret was the son of the millionaire George Ehret, the owner of Hell Gate Brewery. Keen to start a stable, Frank Ehret formed a partnership with McLewee, who would manage the stable while Ehret would pay the bills. The enterprise was called Hell Gate Stable.

The partnership’s 1892 campaign ran under the name Ehret Stables, McLewee having transferred the horses back to Frank. To the astonishment of everyone, the newcomers improved on their previous success, taking the top spot on the owner’s list. They had three horses make the top 10 list, including Yorkville Belle, the co-champion 3-year-old filly. The future was bright for the pair. McLewee and Ehret were at the pinnacle of the racing world when George Ehret pulled the plug a final time.

The World reported the demise of Hell Gate Stable, which the partners may have brought about: Some time ago allusion was made in this column to the entrance into racing circles of Brewer Ehret. Almost an entire stable was bought out in the brewer’s name, and the expenditure of such sums as $30,000. All of this caused a great deal of talk. One day the newspapers announced the arrival from Europe of Mr. Ehret, the brewer, there upon it was discovered that the Hell Gate Stable was the creation of the son. When papa returned, however, it was shown with great rapidity and force that a difference of opinion concerning racing existed in the Ehret family. The stable has not yet won a race and it no longer exists.

A glance backward over the racing season of 1892 will bring to the recollection of every racing man the many disappointments and surprises encountered between May 15th and October 15th. The table of winning owners shows that Frank A. Ehret, son of the millionaire brewer of New York, is well in the lead, his horses having won the tidy sum of $156,448 in stakes and purses. Last Saturday the announcement was made that all the horses that had contributed to the success of the stable were to be sold this fall, and then the turf would know Mr. Ehret no more. — Breeder and Sportsman, Vol. 21, 1892

Despite the elder Ehret’s demands, the Hell Gate horses were simply registered under McLewee’s name after that point. McLewee hired trainer Matt Allen to help them further build the stable and train their horses. In 1891 McLewee and Ehret took the racing world by storm. In their first year on the turf, the partners finished fourth on the leading owner’s list, and two of their horses — Yorkville Belle, the 1891 2-year-old filly of the year, and Rey del Reyes (pictured in lot 12) — were among the top 10 earners.

Indeed the racing world never saw Frank A. Ehret again, and McLewee also disappeared from the racing scene. However, McLewee would come back when Diamond Jim Brady needed someone whose name he could race horses under. McLewee & Co. was back, and he soared nearly as high with Brady as he had with his old partner F. A. Ehret.

An article in The Sun titled “Mr. McLewee’s Profitable First Year” reads: Mr. F.C. McLewee is fourth on the list of winning owners, with $105,855 opposite his name. This is a remarkable showing for a first year on the turf, and one that might be envied by men who had passed a decade in endeavoring to build up a stable. When Mr. McLewee and his friend, Frank Ehret, first thought of going on the turf, they went about it in the right way.

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13 | Henry Stull (Canadian/American, 1851–1913) TOM KENNY Oil on canvas, 25” x 30” Signed, dated 1902 $9,000. – 12,000.

Tom Kenny was owned and raced by Thomas Lister Watt’s famed Osceola Stables, the same stable that raced Maid of Harlem. Tom Kenny won three races and was second in Morris Park’s Dixiana Stakes to J. B. Haggin’s Watercolor. Tom Kenny, a son of 1886 Belmont and Travers Stakes winner Inspector B., was foaled in 1898 out of a mare named Touch Not, owned by Belle Meade Stud in Nashville, Tennessee. Touch Not also produced multiple stakes winners Notasulga and Great Britain.

14 | Henry Stull (Canadian/American, 1851–1913) TENNY WITH SHELBY ‘PIKE’ BARNES UP Oil on canvas, 12” x 15” Signed, dated 1891 $6,000. – 8,000.

Provenance: Criswick Associates, New York “Tenny, The Swayback, was painted by Stull in black and white. A bay colt by Rayon d’Or, Tenny was foaled in 1886 and was the best horse of his day with the exception of Salvator. Tenny won 25 of 65 starts, including the 1891 Brooklyn Handicap, but in four races against Salvator — the Lawrence Realization, Suburban, Great Match, and Champion Stakes — he could not beat James Ben Ali Haggin’s chestnut colt.” — Frederick M. Burlew, The Blood-Horse, July 20, 1968 The black and white painting referred to here was owned by the National Museum of Racing at Saratoga in 1968.

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15 | Henry Stull (Canadian/American, 1851–1913)

TOURNAMENT WITH EDWARD ‘SNAPPER’ GARRISON UP Oil on canvas, 12” x 15” Signed, dated 1890 $6,000. – 8,000.

Provenance: Essex Gallery of Sport, New Jersey Tournament was bred in California by James Ben Ali Haggin, of Elmendorf Farm fame, and was raced by George Hearst, a wealthy businessman, U. S. senator, and father of William Randolph Hearst. He won the Great Eastern Handicap at 2 and at 3 won the Lawrence Realization, Jerome Handicap, Choice Stakes, and Omnium Handicap. He was considered the best 3-year-old male of the 1890s.

16 | Alfred de Prades (British, 1840–1895) BLAIR ATHOL Oil on panel, 24 ¾” x 18 ¾” Signed, inscribed $5,000. – 7,000.

Blair Athol, a foal of 1861, matured slowly and never raced at 2. In the spring of his sophomore year, he showed great promise, having been entered in nine races but never starting in any. His difficulties resulted from abuse, including kicks to the legs and genitals, by a stable lad being paid by bookmakers to prevent him from running. On May 25, 1864, Blair Athol

made his first career start in the Epsom Derby and, after eight false starts, drew clear at the finish to win. Between May and September he made seven starts, winning five, including the St Leger. Blair Athol was retired after the St Leger with a tendon injury. At stud he was champion sire in 1872, 1873, 1875, and 1877.

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17 | George Robert Leftwich (British, 1846–1929) JEDDAH’S DERBY Oil on canvas, 30” x 39 ¾” Signed, dated 1898, inscribed Newmarket $12,000. – 15,000.

Provenance: Property of Mrs. Dorothy Mason

The Epsom Derby of 1898 was thought to be a wide-open contest. Cyllene would have been a heavy favorite, but his owner, Charles Day Rose, had opted not to nominate his colt for the classics. There were 18 entries for the Derby that year, the largest number of starters in nearly two decades. Disraeli, the winner of the 2000 Guineas, became the favorite at 2-1, even amid concerns that he could not make the distance. The general mood was subdued throughout the grandstand, both on account of a heavy fog and the general lack of confidence that Disraeli could go the distance. While the punters and the bookmakers wrestled with their choices, the odds of several horses in the field remained at laughable heights. One outsider was being offered at 300-to-1, while Jeddah, having won only one race in his five prior outings, set unmoving at 100-to-1. As the horses made their way to the saddling paddock, the fog started to lift, and Jeddah’s owner, J. W. Larnach, a relatively new arrival to horse racing, was simply happy to be there and have a chance to win a classic. Though the bookmakers gave his horse no chance, Larnach decided to lay a modest wager on his longshot.

beasts that ever looked through a bridle. The result was received with solemn silence by the vast crowd gathered on the Downs; not because Mr. Larnach is unpopular, but simply because everybody was dumbfounded.” It is assumed that the silence of the crowd did not sour the moment for Larnach. He had just captured the most prized race in the Sport of Kings and a purse of £5,450. It was also noted in an article in Country Life, written in January of this year, that the wager Larnach had placed on his unlikely Derby winner paid over £5,000. The article is titled: How a 100-1 bet on the 1898 Derby led to a £2.5m charity windfall in 2017. The article explains that Larnach took his winnings and built a beautiful home for himself known as Lanwades Hall. The grand estate near Newmarket was completed in 1907 and remained Larnach’s home until 1948. It is reported that King Edward occasionally stayed at Lanwades Hall during trips to Newmarket. The house was then given over to Animal Health Trust and remained its headquarters until 2017. The trust, needing to raise some money to continue its mission, sold the house that Jeddah built for £2.5 million in March.

With former champion Herbert “Otto” Madden in the saddle, Jeddah worked steadily from the back of the field and began to make his challenge about two furlongs out. As they came to the wire, the unthinkable happened — a 100-to-1 shot had just captured the most important race of the year. Lanarch and Jeddah were Derby winners. The Auckland Star summed up the sentiment of just about everyone except Larnach when it reported: “To see two horses, quoted at 100 to 1 when the flag went up, finish first and third was something we did not anticipate. Lucky Mr. Larnach! He has only been racing a couple of years, and has won the Derby at the first time of asking with the rankest outsider that ever finished first in the race for the blue riband, and, judging by its past career, one of the most unreliable

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18 | Major G.D. Giles (British, 1857–1941)

EARLY BIRD WITH OTTO MADDEN UP Oil on canvas, 30” x 36” Signed, dated 1907 $12,000. – 15,000.

Provenance: Christie’s, London May 1, 1997 A foal of 1900, Early Bird was at best a modest winner of at least six races. He was bred by E. H. Leach at his Hamilton Stud and campaigned by A. H. Ruston. Early Bird won with Otto Madden in the 1904 Atherstone Welter Handicap at the Birmingham autumn meeting. Trainer A. N. Sadler came from a multigenerational family of Newmarket trainers. This depiction is dated 1907, and for champion jockey Otto Madden that was an infamous year. Madden was roundly blamed for Wool Winder’s loss in that year’s Epsom Derby; however, Madden claimed the horse stumbled.

19 | Isaac Cullin (British, 1859–1942) CYLLENE 1900 Oil on canvas, 20” x 27 ¼” Signed, dated 1900 $10,000. – 15,000.

Provenance: Arthur Tooth & Sons, London Sir John Musker, Shadwell Park, Near Thetford Cambridge Fine Art In hindsight, owner and breeder Charles Day Rose probably regretted not entering his colt Cyllene in the 1898 British classics. Foaled in late May and small to boot, Cyllene appeared unlikely to mature enough to compete at that level. And yet some regarded Cyllene as one of the best of his generation. As a juvenile, he won the most valuable race for 2-year-olds — the National Breeders’ Produce Stakes. At 3, he won the Newmarket Stakes in the spring and the Jockey Club Stakes at Newmarket in the fall. Cyllene stood at Hardwicke Stud and Egerton Park in England before being exported to Argentina in 1908. He was champion sire in England and Ireland in 1909-10 and in Argentina in 1913. THE SPORTING ART AUCTION

20 | Major G.D. Giles (British, 1857–1941) THE FINISH OF THE DERBY, 1893 Oil on canvas, 60” x 108” Signed, dated 1894 $50,000. – 70,000.

Provenance: Painted for Harry McCalmont, then by family descent Sotheby’s, Mount Juliet - The Estate of Major Victor McCalmont, October 21, 1987 Acquired from the above sale by Arthur Ackermann Private Collection Exhibited: Annual Exhibition of English Sporting Paintings, Arthur Ackermann and Son, Ltd., London; October 5–29, 1988, catalogue no. 43, illustrated in color on pages 86 & 87

Isinglass was by Isonomy, who sired two Triple Crown winners in Common and Isinglass. In 1878 Isonomy won the stayers’ Triple Crown (Ascot Gold Cup, Goodwood Cup, Doncaster Cup) a feat achieved by only four other horses. Isinglass’ dam Deadlock was purchased by Captain Machell from Lord Alington for £20. Machell sold Deadlock before her son Gervas was proven to be a runner. Machell searched for the mare, but his efforts were futile. Two years later, while looking at horses at Sefton Stud, a farmer happened by on a cart and Machell was astonished to see Deadlock in the harness. The farmer eagerly traded Deadlock for a young cart colt. Machell sold Deadlock, who was in foal, to Col. Harry McCalmont for £500. The foal was Islington, a full brother to Isinglass. Isinglass went undefeated in his 2-year-old season, going three for three and winning the Maiden and Middle Park plates at Newmarket and capturing the New Stakes at Ascot. Owner Harry McCalmont, racing manager Captain Machell, trainer James Jewit, and jockey Tommy Loates all had lofty expectations for Isinglass during his 3-year-old season. After racing in the Middle Park Plate in October, Isinglass did not make his first start as a 3-year-old until May 3, when he won the 2000 Guineas, run over the Rowley Mile in Newmarket. Two weeks later Isinglass won the 10-furlong Newmarket Stakes by three lengths. He would go on to win the Derby Stakes at Epsom — just two weeks after his victory in the Newmarket Stakes — and the Great St. Leger Stakes, making him the sixth horse ever to win the British Triple crown. Isinglass also won the Ascot Stakes, Princess of Wales’s Stakes, Eclipse Stakes, Ascot Gold Cup, and the Jockey Club Stakes and held the world record for the most money earned in a career — £58,655 — a mark that stood for 57 years.

In a New York Herald article dated June 1, 1893 with the headline “Isinglass a Derby Winner,” the scene is described: Thousands flock to Epsom — London, May 31, 1893. This was Derby Day, the greatest day in the yearly annals of the British sporting world, when every Londoner and resident of the provinces

who could possibly do so made his way to Epsom Downs, there to witness the short but always exciting race for the Derby Stakes. The day dawned dull, with occasional sunbursts. At times it was threatening, but on the whole the weather was fine. The usual immense crowds were present at the course, and the familiar scenes of bustling, hustling, and good-natured crowds on the road to the Downs were enacted as in years gone by. The favorite in front — As they entered the straight Isinglass, who was running on the inside of the track, went to the front, closely followed by Raeburn, Royal Harry, Peppercorn, and Ravensbury. When the distance post was reached, Ravensbury had passed Royal Harry and Peppercorn and was running third. Coming on, Ravensbury gradually overhauled and headed Raeburn, but could not get near Isinglass, who was making a beautiful race… Isinglass maintained his lead from Ravensbury, and coming on, won the race by a length and a half. There was two lengths between Ravensbury and Raeburn. McCalmont commissioned G. D. Giles to “have the victory of Isinglass in the Derby celebrated on canvas in grand style,” according to the Worcestershire Chronicle of July 1, 1893. The commission was the most ambitious work of Giles’ career, both in scale and complexity. The size of the painting is nearly double the next-largest recorded painting by Giles, and significant effort went into the composition. Giles created great depth in the painting from right to left by gradually reducing the horses in size. He also uses the grandstands, people, tents, and flags to give added depth to the piece. Giles also took great care in his arrangement of the horses to reflect the finish of the race accurately and put forth great effort in depicting the colors of the horses and their racing silks. The reflections on the silks, the sheen of sweat on the horses, the look of concentration on Tommy Loates’ face all speak to Giles’ ability as an artist and his care for detail. Giles also included McCalmont in the painting. If you look at the group of somewhat stern looking gentleman in the grandstand, presumably other owners, you will notice McCalmont raising his walking cane above his head as he cheers on his Derby winner.

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21 | Harry Hall (British, 1814–1882)

MR. JOHN GULLY’S ANDOVER, A. DAY UP, WINNER OF THE 1854 DERBY Oil on canvas, 23” x 30” $10,000. – 15,000.

Provenance: Arthur Ackermann and Son, Ltd., London; Christie’s, New York, December 3, 2008 Private collection, Northern California Literature: Charles Lane, Harry Hall’s Classic Winners, London, 1990, illustrated pl. 54, Pg. 45

Inscribed: ‘Andover/Bay Colt Foaled in 1851., Property of John Gully Esq./by Bay Middleton out of Sister of Aegis/ going back to Godolphin Arabian’s Regulus 1757./Derby 1854 won £5950 ridden by A. Day (7-2)’ (on a label affixed to the reverse).

Andover was bred in the English county of Hasting by William Etwall and named for the nearby town of Andover. As a yearling, he was purchased by prizefighter-turned-politician John Gully. Andover was trained by leading British trainer John Day and most often ridden by Day’s younger brother Alfred “King Alfred” Day. They were the sons of famous jockey and trainer John Barnham Day (1793-1860). Third first time out, Andover won seven straight races, including the 1854 Epsom Derby. He stood only two years in England before being exported to Russia.

22 | Adrian Jones (British, 1845–1938)

PRINCE SOLTYKOFF’S SHEEN, F. WEBB UP, WINNER OF THE CESAREWITCH, 1890 Oil on canvas, 28” x 36” Signed, inscribed, dated $9,000. – 12,000.

“Sheen was, I think, one of, if not the best horse that ever carried Prince Soltykoff’s colours. His success in the Cesarewitch un 9 st. 2 lb. stands out as a record performance.” — To-Day, a Weekly Magazine-Journal, edited by Jerome K. Jerome, London 1895

of racing and the first Russian to become a member of the Jockey Club, Prince Dimitry eventually became a respected steward for the organization.

Prince Dimitry Soltykoff was a member of the famed Imperial Russian Soltykoff family. Born in 1827, he was the son of Prince Peter Soltykoff, a famous art and antiquities collector, and the nephew of Prince Alexis Soltykoff, whose trip to India inspired artwork still collected today. Devoted to the sport THE SPORTING ART AUCTION

23 | Henry Alken Sr. (British, 1785–1851)

START FOR THE DERBY, 1847 and COSSACK WINNING THE DERBY, 1847 (two works) Oil on canvas, 15” x 21” signed with the artist’s initials HA, dated 1847 $60,000. – 80,000. (pair)

Provenance: Sotheby’s London, February 13, 1935 with The National Sporting Gallery, c. 1965 Private Collection, Virginia acquired from above Sotheby’s New York, December 5, 2008 Private Collection, California to present Exhibited: Les Courses en France: Exposition Rétrospective, Château de Maisons-Laffitte, 1926 Masterpieces of European and American Sporting Art: 19th and 20th Century, National Sporting Library, Middleburg, VA April, 2006 – March, 2007

In 1847 Cossack won the Derby stakes at Epsom, ridden by Simeon “Sim” Templeman. At odds of 5-to-1, Cossack defeated Mr. Bouverie’s War Eagle (second), Lord Eglinton’s Van Tromp (third), and 29 other entries. With 33 entries it was the second-largest field in Derby history. The famous 19thcentury sporting journalist Henry Hall Dixon, who wrote under the pen name “The Druid,” reported: “Cossack was a delightful horse to ride, never pulling, and always as ready as a shot, when he was wanted. A strong pace was his delight, and he could make it for himself, and except when War Eagle headed him coming down the hill, he led in the Derby from The Warren to the winning-post.” (Dixon, Henry Hall. (The Druid), Scott and Sebright. London: Rogerson & Tuxford, 1862. Print.)

Alken executed many “start” paintings of the 2000 Guineas, the Derby, the St. Leger Stakes, and other important races. However, the painting Start for the Derby, 1847 depicts the most horses and jockeys that ever appeared in any of Alken’s start scenes. When this impressive pair was sent to auction in 2008, it received a presale estimate of $150,000 to $250,000, the highest estimates ever to accompany a Henry Alken pair. “Cossack was a chestnut horse standing fifteen hands high, with a neat blood-like head, very clean neck and shoulders, well drawn back, round body, with very large ribs, good back, and very muscular quarters, a little drooping towards the tail; capital thighs and arms, sharp from the hocks and knees to the ground not very large bone, but very wiry, clean sound legs and feet. He has no white beyond a few grey hairs in the forehead. Cossack was bred by Mr. R. C. Elwes, of Billing, Northampton, in 1844, by Hetman Platoff, out of Joannina, by Priam. Castor.”

The article The Derby Day printed in Spirit of the Times, 26 Jun. 1847, p. 204 reads: “Sir Gilbert Heathcote’s paddocks, where a great number of persons were permitted to scan their respective appearances, and, according to the opinion of the best judges, Cossack was decidedly the flower of the Flock, reflecting the highest credit upon his trainer…The horses were then led forth by their respective grooms to the front of the stand, where saddling commenced, a vast number of persons still remaining to take a last glimpse at their symmetrical frames. No sooner mounted than the jocks commenced their preparatory gallops, and, passing in review in front of the Grand Stand, finally cantered round to Tattenham Corner to the starting place…Those who possessed glasses quickly announced that Cossack was in the front, with Conyngham and War Eagle lying behind. “Cossack wins,” burst with exulting shouts from his backers. Shortly afterwards Conyngham was seen to give way, and War Eagle to take his place, Van Tromp well up. From thenceforth, however, the race lay between Cossack and War Eagle, but it was never doubtful as to the success of the former, although about the half distance War Eagle made a gallant effort to reach his opponent’s quarters. In this he did not succeed; Cossack gallantly maintained his vantage, passing the judge’s chair first by a clear length…The Great Event of the Day having thus been decided and all uncertainties having been removed, those who had not already indulged in the luxuries of well-stored baskets proceeded to seek “creature comfort”… judging from the consumption of champagne and other agreeable beverages, the love of racing was at least equaled by the love of good living. The health of Mr. Pedley, his horse, and his trainer were drunk with enthusiasm.”

(Cossack, Winner of the Derby, 1847,” The Sportsman, Jun. 1847, 14-15)

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24 | George Wright (British, 1860–1942)

MRS. HAWKINS ON SATYLITE, MAJOR H. HAWKINS OBE ON THE BISHOP, WITH THE ATHERSTONE HOUNDS, MFH 1920-1922 Oil on canvas, 24” x 38” Signed $9,000. – 12,000.

Provenance: Sotheby’s, London, The Racing Sale, November 13, 1996

25 | George Wright (British, 1860–1942) FOXHUNTING (two works) Oil on canvas, en grisaille, 24” x 12” Signed $4,000. – 6,000. (pair)

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26 | George Derville Rowlandson (British, 1861–1928) TAKING A FENCE Oil on canvas, 16” x 24” Signed $3,000. – 5,000.

27 | Charles Walter Simpson (British, 1885–1971) THE CORONATION STAKES, ROYAL ASCOT, 1928 Watercolor, gouache, 21” x 30” Signed $3,000. – 5,000.

Toboggan was bred and owned by Edward Stanley, 17th Earl of Derby who owned the Knowsley Stud in Lancashire and Stanley House stud and stable at Newmarket. Derby also owned the Hurry On colt Hunter’s Moon. Frank Butters, Toboggan’s trainer, propelled Lord Derby to the top of the leading owners lists in 1927 and 1928. Toboggan wasn’t started until August of her 2-year-old year. She ran third in her first effort, a maiden plate at Kempton, and then went on to win her next three races: the Champion Breeders’ Foal Plate, the Boscawen Stakes, and the Dewhurst Stakes and she was rated the top filly in the Two Year Old Free Handicap. Toboggan wasn’t ready for her first race at age 3, the One Thousand Guineas, and finished last of four runners.

Between the Guineas and the Epsom Oaks, she improved dramatically and in the Oaks she was never headed, winning by many lengths ahead of the rest of the field of 13 fillies. She ran second in her next race, the one-mile Coronation Stakes, then had a walk over in the Welsh Oaks. In the stud her best racehorse was Bobsleigh, her son by Gainsborough who won the Richmond Stakes and Newmarket Stakes. He later sired a Grand National winner, Oxo. Toboggan’s daughter Hydroplane was purchased by Warren Wright in 1941, one of two Hyperion daughters he bought that year for Calumet Farm. At Calumet, Hydroplane produced two modest winners in her first two foals, but her third foal was the dark bay colt Citation, a great stayer and winner of the Triple Crown.

28 | William Henry Buck (American, 1840–1888) THE START and THE RUN (two works) Oil on canvas, 23 ¾ ” x 34 ¼” “The Start” signed Wm. H. Buck 1881 “The Run” signed Wm. H. Buck N.O.81. $15,000. – 20,000. (pair)

Provenance: Descended in the family of the New Orleans subjects of these works.

Exhibited: Kentucky Governor’s Mansion, April–September 2011, The Race Is On: The Kentucky Equine Exhibition These scenes derived from John Frederick Herring Sr.’s paintings The Start and The Run, which were printed in London earlier in the century. William Henry Buck evidently accepted a commission from New Orleans residents Samuel Henry Buck and his wife, Ann Fleming Buck, to use their likenesses riding the two prominent horses in both paintings. Samuel Buck was born in Versailles, Kentucky. After service in the Confederate Army, he became a successful cotton merchant in New Orleans.

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29 | Isidore Jules Bonheur (French, 1827–1901) JOCKEY À CHEVAL Bronze, 18 ½” x 18” Signed, stamped “Peyrol Editeur” $9,000. – 12,000.

A rarely seen model, this lot closely resembles Retour au Pesage (a model exhibited at the Salon in 1886) and another unidentified horse and jockey. There has been speculation that this could be Jument Anglaise Montée Par un Jockey, exhibited at the Salon in 1863; Un Jockey, an 1864 piece; or another, later Un Jockey from 1879.

30 | Pierre Jules Mêne (French, 1810–1879) VAINQUEUR DU DERBY Bronze, 16” x 16” Signed $8,000. – 10,000.

Additional brass plaque inscribed “Vainqueur du Derby.” Cast in 1863, this piece appears as #16 in Mêne’s catalogue. Illustrated: Jane Horswell, Les Animaliers, 1971, Pg. 152

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31 | Pierre Jules Mêne (French, 1810–1879) MARE AND FOAL Bronze, 17 ½” x 23 ½” Signed $6,000. – 8,000.

This model was first exhibited at the Salon of 1868 in wax before being exhibited again at the Salon of 1869 in bronze. This piece was also included in the Exposition Universelle 1878 and was listed as #30 in Mêne’s catalogue of works. A rare piece, it is seldom offered at auction. Illustrated: Jane Horswell, Les Animaliers, 1971, Pg. 147 (another example illustrated).

32 | Alfred Jacquemart (French, 1824–1896)

HOUND AND TORTOISE Bronze, 6” x 7” Signed, foundry mark of Auguste Maximilien Fontaine $4,000. – 6,000.

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33 | Gustav Muss-Arnolt (American, 1858–1927)

10 HAND-PAINTED PLATES DEPICTING FOX TERRIERS Oil on ceramic plates, 11” diameter Eight inscribed, five signed en verso $16,000. – 20,000.

Provenance: August Belmont Jr., 1886 William Brainard, MFH

American Fox Terriers depicted: Rachel, Tiaya, Fandango, Bacchanal, Blemton Verity, Marqurrito, New Forest Ethataer, Regent Vox, and two others. These plates were commissioned by August Belmont Jr. and portray terriers from his famed Blemton Kennels. Each known dog appears in the stud book of the American Fox Terrier Club. Belmont served as the fourth president of the American Kennel Club from 1888 through 1915. He also was president of the American Fox Terrier Club from 1886 until 1893. He formed his Blemton Kennels (Blemton being an anagram of Belmont) at his estate in Babylon, New York, and imported terriers from the United Kingdom and Europe. The most influential president of the club’s early years, he took an organization formed only in 1884 and led it into the 20th century. He formed the AKC Gazette, the official magazine of the AKC, published continuously since 1889. Belmont had put up his personal money against any of the magazine’s monetary losses, but the venture proved so successful that his money was not necessary.

Muss-Arnolt was one of the top sporting dog painters of the era, along with Percival Rosseau and Edmund Osthaus. Besides painting the animals, he was close to the dog show routine and the field trial circuit and served on the board of the AKC from 1906 to 1909. Belmont employed Muss-Arnolt, who had 170 illustrations published in the Gazette through 1905. These works were sold to William Brainard sometime before 1940. Brainard was a fox terrier breeder in northern New Jersey and later at Glen Oak Farm in Marshall, Virginia. Brainard also served as a AKC judge and judged Best in Show at the Westminster Kennel Club Dog Show. After Belmont’s death in 1924, his widow sold most of his estate to developers before the central part of the grounds, including the mansion, were taken over by New York state to form Belmont Lake State Park.

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34 | John Emms (British, 1844–1912)

A SPORTSMAN WITH HIS SPANIELS Oil on canvas, 24” x 20” Signed $14,000. – 18,000.

Provenance: Burlington Paintings, London

35 | John Emms (British, 1843–1912)

PORTRAIT OF TERRIERS ‘JACK’ & ‘BOB’ Oil on canvas, 9” x 15” Signed, inscribed “Jack” & “Bob” $6,000. – 9,000.

36 | Henry Rankin Poore (American, 1859–1940) BEAR DOGS Oil on canvas, 12” x 15” Signed, inscribed $8,000. – 10,000.

Provenance: The Sporting Gallery, Middleburg, Virginia To be accompanied with an original Winchester Rifles advertisement measuring 32” x 42”

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37 | Maud “Alice” Earl (British/American, 1864–1943)

STUDIES OF GREYHOUNDS COURSING (four works) Oil on board, 8” x 4 ½” Signed $9,000. – 12,000. (set of four)

Provenance: The Sporting Gallery, Middleburg, Virginia

38 | Eloise Harriet Stannard (British, 1828–1915) A RABBIT IN A TURNIP FIELD Oil on canvas, 11” x 16” Signed, dated 1894 $9,000. – 12,000.

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39 | August Friedrich Albrecht Schenck (German, 1828–1901) SHEEP IN A MEADOW Oil on board, 36” x 57” Signed, dated 1865 $5,000. – 7,000.

Sold to benefit Old Friends Farm

40 | Harold von Schmidt (American, 1893–1982) A COUNTY FAIR RACE MEETING, 1933 Oil on canvas, 24” x 50 ¼” Signed, dated $12,000. – 15,000.

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41 | Scottish School (19th Century) PAP Oil on canvas, 24” x 18” $3,000. – 4,000.

42 | Franklin Voss (American, 1880–1953) HORSE IN A LANDSCAPE Oil on canvas, 18” x 24” Signed, dated 1916 $3,000. – 4,000.

Provenance: Arthur Ackermann & Son, Inc., New York Private Collection

43 | John Clymer (American, 1907–1989) AFTER THE WORKOUT Gouache, 13” x 23” Signed $6,000. – 8,000.

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44 | William Smithson Broadhead (British, 1888–1960) BROWN JACK IN THE PADDOCK Oil on panel, 17” x 26” Signed $10,000. – 15,000.

Provenance: Richmond Gallery, London Brown Jack, a bay gelding by Jackdaw out of Querquidella, ran over hurdles, winning the Cheltenham Champion Hurdle in 1928. On the flat he won the Queen Alexandra Stakes at Ascot an impressive six consecutive years (he was 10 when he won his sixth). He is the only horse to accomplish this feat, and to mark this great achievement a bronze of him by Alfred J. Munnings can be found in the paddock at Ascot. Brown Jack was held in such high esteem his skeleton was displayed at the Natural History Museum in London. He was known as a horse who won with style and thus won the public’s adoration.

45 | Ignac Konrad (Hungarian, 1894–1969) HIGH TIME Oil on canvas, 27 ¾” x 35 ½” Signed, inscribed Lexington, dated 1929 $6,000. – 8,000.

Leading sire of 1928 and twice leading broodmare sire, High Time sired two-time Horse of the Year Sarazen and champion 2-year-old High Strung. His daughters produced champion 2-year-old filly Now What and top sire Eight Thirty. High Time, who won Aqueduct’s Hudson Stakes setting a five-furlong track record, was a hard horse to place at stud, owing to his intense inbreeding to Domino. High Time first stood at Elizabeth Daingerfield’s Haylands Farm and was sold in its dispersal to Charles Fisher’s Dixiana Farm. High Time died at 21 in 1937 and is buried at Dixiana.

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46 | William Hounsom Byles (British, 1872–1916) THE STEWARDS’ CUP, GOODWOOD, 1920 Oil on canvas, 20” x 32” Signed, dated 1920 $6,000. – 9,000.

In 1840 the first Stewards’ Cup was officially run as a race. Over the prior decade Goodwood’s senior steward had awarded a cup in the race of his choosing. Lord George Bentinck proposed the perpetual six-furlong sprint now known as The Stewards’ Cup in 1839. In the 1920 edition Western Wave and Plymouth Rock nearly collided close to the wire. And in a race named for the stewards, they made the call for Western Wave. Western Wave shared something in common with the previous year’s winner, Irish Elegance. Both carried a horse by the name of May Day in their pedigrees, which meant their pedigrees were not completely Thoroughbred, and they were therefore ineligible for entry into the General Stud Book.

47 | Lionel Edwards (British, 1878–1966) FIGHTING STALLIONS Pencil, watercolor, bodycolor, 15” x 22 ½” Signed, dated ’04 $4,000. – 6,000.

Provenance: Christies, South Kensington, 1996

48 | Richard Stone Reeves (American, 1919–2005)

DOGTOOTH VIOLET Oil on canvas, 16” x 20” Signed, inscribed, dated ’76 inscribed verso: Brownwood Farm, 1974 Orchid Stakes Winner $3,000. – 5,000.

Barbara Hunter’s homebred graded stakes winner Dogtooth Violet was named for a species of spring-flowering bulb native to the western United States and Canada. Miss Hunter was raised on a cattle ranch in Montana. Dogtooth Violet, the mare, won Hialeah’s Grade 2 Black Helen Handicap and Gulfstream Park’s Grade 3 Orchid Handicap. She won or placed in nine stakes and earned more than $190,000 between 1972 and 1975.

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49 | Richard Stone Reeves (American, 1919–2005) DONERAIL EXTERMINATOR (two works) Oil on board, 11” x 14”, 10” x 14” Signed, inscribed $9,000. – 12,000. (set of two)

DONERAIL winner of the 1913 Kentucky Derby. Donerail holds the distinction of being the longest shot to win the Kentucky Derby. Donerail provided his supporters with a $184.90 payoff for a $2 wager. Jockey Roscoe Goose kept Donerail in contention as the early lead changed hands and in the stretch took aim on the favorite, Ten Point, to win in a track record of 2:04 4/5. Donerail was bred in Fayette County, Kentucky, by Thomas P. Hayes and named for a nearby depot community on the Cincinnati Southern Railway. Hayes remains the only breeder, owner, and trainer of the same Kentucky Derby winner.

EXTERMINATOR winner of the 1918 Kentucky Derby, 1922 Horse of the Year. Exterminator was never confused with a beauty queen. He passed through the Saratoga yearling sales with little fanfare and was described by his purchaser, trainer J. Calvin Milam, as “too lean and growthy.” Even though his sire McGee had sired the Kentucky Derby winner Donerail just two year before Exterminator’s birth, Exterminator was so lanky and coarse as a 2-year-old he was gelded. By the end of his eight-year career, Exterminator had earned the nickname “Old Bones” because of his bony, aged appearance. But beauty is as beauty does, and Exterminator won 50 of his 99 starts, including the Kentucky Derby. Exterminator was elected to the Hall of Fame in 1957. He retired in 1924, kept company by a series of ponies, all named Peanuts.

50 | Richard Stone Reeves (American, 1919–2005) MAN O’ WAR, CLARENCE KUMMER UP Oil on canvas, 18 ¼” x 21 ¾” Signed, inscribed, dated ’75, signed, inscribed verso $15,000. – 18,000.

Illustrated: Richard Stone Reeves, Classic Lines, Pg. 97 When Man o’ War sold at the Saratoga sales for $5,000, the man bidding that day on behalf of Samuel D. Riddle was Ed Buhler, the uncle of Richard Stone Reeves. Reeves said that bit of knowledge when he was young — “My uncle bought Man o’ War” — led directly to his association with Thoroughbreds. “It was,” Reeves says, “a very special thrill when the publishers commissioned me to paint Man o’ War for Classic Lines. I had gathered reference material since I was a boy. It was almost

as if I had been practicing all my life for that one painting.” — Richard Stone Reeves, Classic Lines, page 95. Johnny Loftus had been Man o’ War’s jockey when the colt was a 2-year-old but was denied his jockey’s license in 1920. Rumors have persisted that this was due to his loss in the Sanford Memorial Stakes to Upset. Clarence Kummer then took over as Man o’ War’s main rider.

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51 | Richard Stone Reeves (American, 1919–2005) CALUMET FARM’S BARBIZON Oil on canvas, 20” x 30” Signed, dated 1957 $20,000. – 25,000.

Pictured is Barbizon with Bill Hartack up after their victory in the 1956 Garden State Stakes with Amarullah, Federal Hill, and Iron Liege in the background. The 1956 edition of this race for 2-year-olds had a purse of more than $300,000, making it the richest race in the world at that time. Hartack opted to ride Barbizon over his Calumet stablemate Iron Liege, who was ridden by Hedley Woodhouse. In a race down to the wire, many in the crowd thought Federal Hill riding the rail had won, but Barbizon edged him on the outside. Amarullah came down the

stretch right between them, finishing third. The win helped solidify Barbizon as the champion 2-year-old-male, but it was Iron Liege who would have the superior 3-year-old season. Hartack was the regular rider for Gen. Duke, but trainer Jimmy Jones pulled Gen. Duke from the 1957 Kentucky Derby. Eight hours before the race, Hartack got the mount on Iron Liege and won the first of his five Kentucky Derbies and secured the sixth of Calumet’s eight Derby wins.

52 | Richard Stone Reeves (American, 1919–2005)

“AFFIRMED AND ALYDAR, US RACE OF THE YEAR, 1978, THE BELMONT STAKES” and “RACE OF THE YEAR IN EUROPE, 1978, SHIRLEY HEIGHTS WINNING IRISH SWEEPS DERBY” (two works) Oil on board, 14” x 20” Signed, dated 1978, signed, inscribed verso $12,000. – 15,000. (pair)

AFFIRMED “Affirmed inched ahead and held that lead to the wire. Near the finish, one could see Alydar thrusting his neck forward, straining with every muscle to catch his rival. But he missed by a head as Belmont Park erupted in an explosion of fervor. Some in the stands weren’t certain about the outcome, but Cauthen rose in his irons, a stride or two past the finish line and waved his whip in exultation.” — Joe Hirsch, 1978 Racing in Review, The American Racing Manual, 1979 Edition. Illustrated: Richard Stone Reeves, Decade of Champions, Pg. 154

SHIRLEY HEIGHTS “Instead, Greville (Starkey) grimly drove Shirley Heights on the swerving line the colt himself dictated. They switched sharply behind Remainder Man, right across to the rails, and rocketed on to challenge Hawaiian Sound on the inside. “So fast was the attacker advancing, in that dramatic burst up the final hill, that even dour-battling Hawaiian Sound was overwhelmed. All-the-way triumph came so agonizingly close for Shoemaker and his gallant partner, but it was Starkey and Shirley Heights who snatched the ultimate glory by a head.” — The Bloodstock Breeders’ Review, 1978

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53 | Richard Stone Reeves (American, 1919–2005) SHUT OUT GO FOR GIN (two works) Oil on board, 11” x 14”, 12” x 15” Signed, inscribed, dated 1991 Signed, inscribed $9,000. – 12,000. (set of two)

SHUT OUT In 1942 James M. Gaver Sr., trainer for Greentree Stable, offered jockey Eddie Arcaro his choice of Devil Diver or Shut Out to ride in the Kentucky Derby. Arcaro opted for Devil Diver, the crack 2-year-old of 1941, and he finished sixth. Wayne D. Wright rode Shut Out and won the Kentucky Derby by 2¼ lengths. By Belmont Stakes day Arcaro had switched mounts and rode Shut Out to victory in New York. Shut Out was retired to Greentree Stud and had a respectable stallion career, siring champions Evening Out and Social Outcast, as well as the dams of two-time leading sire Exclusive Native and champion The Axe II. Illustrated: Richard Stone Reeves, Belmont Park, A Century of Champions, Pg. 34

GO FOR GIN “Hung over, cut up, dazed and confused, the survivors of the 120th Kentucky Derby (gr. I) woke up the next morning feeling like victims of the world’s wettest barroom brawl. Holy Bull, knocked off his pedestal, was full of beans and anxious to get even. Massive Strodes Creek catnapped in the center of his stall and tried in vain to remember what happened. Valiant Nature sulked in a corner, glad to be alive. Blumin Affair cursed his luck and cooled his tender heels. Brocco attacked his hay rack and looked for someone to smack. Then there was Go for Gin, not a scratch on him, looking smug as a thief who had just robbed Ft. Knox.” — Jay Hovdey, The Blood-Horse, May 14, 1994

54 | Richard Stone Reeves (American, 1919–2005) SEATTLE SLEW Oil on canvas, 20” x 24” Signed, inscribed, dated 1991 $15,000. –20,000.

Seattle Slew embodies the American Dream — a $17,500 yearling purchase who became a Triple Crown winner and an earner of more than $1,200,000. His story threads its way from his colorful Kentucky breeder Ben Castleman to the two young couples who owned and raced him — Mickey and Karen Taylor and Dr. Jim and Sally Hill — then finally to the stallion operations of Spendthrift and Three Chimneys farms, where he achieved renown as a major sire.

“I saw Seattle Slew all three years that he raced, and I painted him three times. I painted him for the first time for Karen and Mickey Taylor. It was at Belmont Park in the fall of 1978, and he was about to retire. He had matured by that time into a pretty big horse. I also painted him for jockey Jean Cruguet, one of the few jockeys who have commissioned a painting. I later saw him at Spendthrift, where he posed for another portrait — as a stallion.” — Richard Stone Reeves, Royal Blood, Fifty Years of Classic Thoroughbreds

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55 | Peter Biegel (British, 1913–1989)

BRAVE MEN & NOVICES, THE OLD OPEN DITCH CHELTENHAM Oil on canvas, 20” x 24” Signed, inscribed verso $5,000. – 7,000.

Provenance: Roland Ward, London Sold in 1997 to benefit the Injured Jockeys Fund

56 | Peter Biegel (British, 1913–1989)

THE CAMBRIDGESHIRE 1949, THREE FURLONGS TO GO Oil on canvas, 20” x 36” Signed, dated ’49 $5,000. – 7,000.

Provenance: Sotheby’s, London, The Racing Sale, November 13, 1996 Established in 1839, the Cambridgeshire Handicap is a 1⅛-mile open handicap run at Newmarket. It was founded along with the Cesarewitch Handicap as the “autumn double” of the Newmarket fall meeting. Two years’ running, 1948–49, saw a bright bay colt named Sterope wait for the stewards’ decision before getting his win. In 1948 the rider of the runner-up lodged a complaint, and in the 1949 running, depicted here, the photo finish determined Sterope’s win.

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57 | Peter Biegel (British, 1913–1989)

HOME, THE HUNT BALL, GOOD NIGHT CHARLIE (three works) Watercolor, gouache, 12 ½” x 16”, 2 - 10 ½” x 14 ½” Signed, inscribed: “Home,” “Good Night Charlie ’67,” “The Hunt Ball” $4,000. – 6,000. (set of three)

58 | Michael Lyne (British, 1912–1989)

THE DUKE OF BEAUFORT (two works) Watercolor, 13 ½” x 20 ½” Signed, inscribed, dated 1946 $4,000. – 6,000. (pair)

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59 | Michael Lyne (British, 1912–1989) FOXHUNTING Watercolor, 16 ¼” x 23” Signed $4,000. – 6,000.

60 | Michael Lyne (British, 1912–1989) THE HEYTHROP Watercolor, gouache, 13” x 19 ¾” signed $4,000. – 6,000.

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61 | Sir Alfred James Munnings (British, 1878–1959) FANCY DRESS PARTY White chalk on black linen, 50” x 42 ½” Signed with initials, dated 2 a.m., Nov. 29, 1907 $60,000. – 80,000.

Provenance: Norwich City Club Christie’s, 1978 Phillips, Modern British Paintings Drawings and Sculpture, June 28, 1982, lot 44

Literature: Eastern Evening News, November 18, 1977 On a November evening a liquored-up Munnings got into an argument with a fellow member of the private Norwich City Club. The member had alleged an artist needed every comfort and a proper studio in which to create works of art. Never known to hold back from voicing his opinion, Munnings insisted the man was wrong, probably using some choice words along the way. To prove his point, he ripped down some of the curtains and grabbed a piece of billiard chalk and went to work. By the time he was finished he had produced two pieces and in an added flourish noted the time the memorable works were finished. The works completed in less than ideal conditions were of a steeplechaser on one curtain and a clown talking with a saucy pierrette on the other, and thus Munnings demonstratively won the argument. After that night, the works were placed in a drawer and forgotten until the club moved. At the time they were executed, Munnings was an unknown, far from his legendary status, and so the club didn’t take much notice. By the time they were finally pulled out to be thrown away, Munnings’ name was well known and their importance realized. They were framed and hung in the billiard room until the club had to move buildings once again. At this point they would not fit in the new premises and were sold.

Norwich became the artist’s home starting at the age of 14 when his father apprenticed him to the lithographers Page Brothers. During his time in Norwich before the Great War, his work featured many of the interesting people of the area such as gypsies and fair workers. At Page Brothers he churned out advertisements featuring odd characters. In his autobiography he recalled a fondness for the circus and clowns and frequently he would work with his close friend Dame Laura Knight, a noted artist whose own work featured the circus. Munnings frequently would use what he could find in order to produce work. He would sketch on racing programs, and Cross Gate Gallery once sold a party invitation he received that had been sketched on and on which was written “Beer is Good.” He was also known for voicing his opinion, whether welcome or not. Combined with a penchant for a drink or two, he could find himself in some interesting situations such as this creative night. Perhaps the most famous example of his spontaneity occurred during his presidency of the Royal Academy when he gave a speech in a 1949 BBC radio broadcast that was heard by millions. A clearly inebriated Munnings attacked modern art and claimed that Winston Churchill had once asked him: “Alfred, if you met Picasso coming down the street would you join me in kicking his… something something?” “Yes, yes I would,” was Munnings’ answer.

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62 | Sir Alfred James Munnings (British, 1878–1959) CANADIAN OFFICER Graphite, 8 ¾” x 11 ½” Dated May 20, 1918, inscribed: “In the Jura, Monday, May 20, 1918 Gordon Smith” $5,000. – 7,000.

Provenance: Frost & Reed, London Gordon Smith was a war correspondent who accompanied Munnings to the Jura mountains in eastern France to meet with the Canadian Forestry Corps, where records indicate they were placed May 18, 1918, two days before this work was done. Munnings tried to join the army during World War I but was rejected due to loss of sight in one eye, but he eventually found a job at a depot testing horses for mange and other parasites before they were shipped off to the front lines. He later was given the opportunity to join the Canadian Cavalry Brigade in France under the command of General Jack Seely as an artist to record their maneuvers. Seely later became a close personal friend of Munnings. He recounted their time on the

front in his memoirs, describing the civilian Munnings out in the cold standing in the mud painting the general on his famed horse Warrior, the far background of the painting being German territory. The Canadian authorities never had any intention of allowing Munnings that close to the front lines, but he produced his best work to that point. His reputation grew so that the Canadian Forestry Corps demanded he join them to document their efforts in supplying lumber. Munnings recalled in his autobiography An Artist’s Life that “They not only persuaded me — they assured me, in spite of more orders from London to return, that they were going to kidnap me and all of my paraphernalia.”

63 | Sir Alfred James Munnings (British, 1878–1959)

PORTRAIT OF CANADIAN OFFICER, LT. MACLACHLAN, LA BERGEMENT Graphite, 11 ½” x 8 ¾” Dated June 17, 1918 $5,000. – 7,000.

Provenance: Frost & Reed, London Illustrated: Sir Alfred J. Munnings Pictures of Horses & English Life, Pg. 187 This work would have been done during his time with the Canadian Forestry Corps and their work in the Malbusson Forest, Labergement. The Labergement Mill was instrumental in providing timber for aircraft, and parts of the Corps were in place here until the armistice. Munnings regarded his war years as perhaps the most important of his career. Following the war, 45 of his works were exhibited

at the Royal Academy and earned him an associateship with the important organization he would one day lead as president. Not only did he feel his Canadian War Memorials Exhibition help him gain this step into the academy, but the works he did of officers mounted on horseback were precursors to the commissions of the upper class on horseback that would make him famous and define his career.

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64 | Sir Alfred James Munnings (British, 1878–1959)

STUDY OF YOUNG PIGGOTT WITH MACDONALD BUCHANAN Graphite, 4 ¾” x 6 ⅞” Inscribed $5,000. – 7,000.

Provenance: Frost & Reed, London Lester Piggott was born in England in 1935 and by age 10 he was riding Thoroughbreds for his father’s stable. Piggott won his first professional race at the age of 12 and went on to collect 4,493 career wins — which includes nine victories in the Epsom Derby. By his teens, Piggott had become a sensation in the racing world, winning his first Epsom Derby at 18. He was known as the “housewives’ favorite” as he helped expand the popularity of horse racing across England. When Munnings executed this small study, Piggott was at the beginning of his meteoric rise, on the precipice of greatness.

65 | Sir Alfred James Munnings (British, 1878–1959) A MORNING’S WORK, NEWMARKET HEATH Oil on canvas, 15 ¼” x 28 ¼” Signed $200,000. – 300,000.

Provenance: Arthur Ackermann & Son, Ltd., London Wildenstein & Co., Inc,. New York Jacqueline Getty Phillips Exhibited: The Royal Academy, London, 1953 Wildenstein, New York, Alfred J. Munnings Images of the Turf & Field, April 28 – June 3, 1983, no. 90

This piece is related to a much larger work titled Early Morning, Newmarket that was exhibited at the Royal Academy in 1950. The Sir Alfred James Munnings Museum in Dedham, Essex, has two studies of the horse on the far right. Newmarket was unquestionably Munnings’ favorite course. He was allowed a studio in the old rubbing down house, and the course clerk let him drive right up to the starter’s post. As Munnings never painted horses actually racing, the early morning exercise became a favorite subject of his, something he loved to observe.

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66 | Gabriel Spat (American/French, 1890–1967) RACES IN PARIS Watercolor on racing program, 11 ½” x 8 ⅜” Signed $2,000. – 3,000.

67 | Camille Hilaire (French, 1916–2004) L’ARIVÉE, 1961 Oil on canvas, 12” x 31 ½” Signed, dated en verso $4,000. – 6,000.

68 | Claude Grosperrin (French, 1936–1977)

LE SALUTE DE LA CAVALERIE (CIRQUE) Oil on canvas, 28 ¾” x 36 ¼” Signed $8,000. – 10,000.

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69 | Paul Ambille (French, 1930–2010) LES ÉCURIES Oil on canvas, 22” x 18” Signed, dated ’97 $3,000. – 4,000.

70 | Paul Ambille (French, 1930–2010) CHANTILLY Oil on canvas, 32” x 23 ½” Signed, dated ’83 $4,000. – 6,000.

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71 | Abel Kesteven (British, born 1969)

ATTACHING THE SADDLE, CIRCUS HORSE Pastel, 25 ½” x 19 ¾” Signed $4,000. – 6,000.

72 | Abel Kesteven (British, born 1969) CIRCUS HORSE II, ZIPPOS !! Pastel, 19” x 18” Signed $3,000. – 5,000.

73 | Piet Klaasse (Dutch, 1918–2001)

RACING, JUNE ’85 Pencil, watercolor, body color, 30” x 40” Signed, inscribed, dated 1985 $5,000. – 7,000.

74 | Jeaneen Barnhart (American, born 1967) CHARGING Charcoal, 26” x 40” Signed $3,000. – 5,000.

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75 | Randall Davey (American, 1887–1964) COCKTAILS AT THE RACES Oil on canvas, 40” x 30” Signed $30,000. – 40,000.

Provenance: The Randall Davey Estate, Committee to Preserve, Santa Fe, New Mexico. Property of National Audubon Society Exhibited: C. W. Kraushaar Art Galleries, New York, Paintings and Pastels by Randall Davey, April–May, 1938 no. 13

Utah Museum of Fine Art, Salt Lake City, Utah, Randall Davey 1887–1964, A Retrospective Exhibition, Nov. 1973–Jan. 1974 (This exhibition later traveled to Santa Fe, Museum of Fine Arts Apr.–May 1974, Tucson, University of Arizona Museum of Art, Sept–Oct 1974) Carnegie Institute, Pittsburgh, Pennsylvania, n.d.; University of Arizona, Tucson, Arizona, and elsewhere, “Randall Davey Retrospective,” September 22–October 14, 1974

76 | John Skeaping (British, 1901–1980) THEY’RE OFF, NO. 1 Watercolor, gouache, 19 ½” x 27” Signed, dated ’63 $3,000. – 5,000.

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77 | Frank Wootton (British, 1911–1998) EARLY RESTRAINT Oil on canvas, 22” x 36” Signed, signed and inscribed en verso $6,000. – 9,000.

78 | Lee Townsend (American, 1895–1965) SADDLING UP Oil on canvas, 43” x 36” $6,000. – 9,000.

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79 | Ricardo Arenys Galdón (Spanish, 1914–1977) WARWICK Oil on canvas, 24” x 32” Signed, inscribed en verso $4,000. – 6,000.

80 | Stephen Mangan (Scottish, born 1964) THROUGH THE HOOP Oil on canvas, 20” x 36” Signed $5,000. – 7,000.

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81 | Theodore Waddell (American, born 1941) HIGH NOON #5 Oil on canvas, 72” x 72” Signed $30,000. – 35,000.

82 | Jo Taylor (British, born 1969)

MOONLIGHT DUEL Mixed media on paper, 34 ½” x 60” Signed $8,000. – 10,000.

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83 | Jo Taylor (British, born 1969)

MOOSE Mixed media on paper, 34 ½” x 60” Signed $8,000. – 10,000.

84 | Denes de Holesch (Hungarian/American, 1910–1983) AT THE RACES (three works) Oil on board, 8” x 10”, 10” x 8”, 8” x 10” Signed $1,500. – 2,500. (set of three)

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85 | Ashley Collins (American, born 1967) PLOW Mixed media, 84” x 96” Signed $80,000. – 100,000.

Plow, alternatively referred to by Collins as Grandfather’s Pocket Watch, is at first glance an homage to those that sacrifice for others, that have gone before us, tilling the soil, awakening before the sunrise, and ceasing work long after dark, day after day. The definition of toil. Collins’ grandfather, who farmed and worked in the textile mills, felt the yoke of that call, and pushed through, hour after hour, for his family and those that would follow. Yet from that sweat-filled toil, because of that sacrifice, others can leap to freedom. The sheer joy and power of the horse bursting through the words “plow,” unaccepting of a structured life with limits,

breaks free from all bonds to follow our dreams, our hearts. The figurative horse seems both to embrace and emanate from a concerted chaos of colors and layers. Among the many textured layers, sings a hidden heart — a drawing that in its simplicity embraces all. The toil, the strength, the leap, the freedom, the dreams. The soil indeed must be tilled, must be ripped from its peaceful slumber by muscle-draining strength, but the harvest of generations is that of chasing dreams.

Text courtesy of the artist

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86 | Mike Austin (British, born 1959) GUIDING LIGHT Oil on canvas, 42” x 42” Signed $9,000. – 12,000.

87 | Donna Howell-Sickles (American, born 1949) COWGIRL SALMON Pastel, 40” x 60” Signed $6,000. – 8,000.

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88 | Leroy Neiman (American, 1921–2012)

AT THE RACES Acrylic and mixed media on board, 30” x 40” Signed, dated ’69 $125,000. – 175,000.

100

89 | Leroy Neiman (American, 1921–2012) JOCKS ROOM COLORS Acrylic on canvas, 40” x 30” Signed $90,000. – 120,000.

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101

90 | Leroy Neiman (American, 1921–2012)

RACING SUITE (three works) Bronze, 12” x 4 ½”, 16 ¼” x 23 ½”, 12 ½” x 5” (plus bases) Edition 17 of 100 Signed $10,000. – 15,000. (set of three)

102

91 | Nic Fiddian-Green (British, born 1963) STILL WATER Bronze, 77 ½” x 11” Edition of 12 - 2 AP Signed $50,000. – 70,000.

THE SPORTING ART AUCTION

103

92 | Helmut Diller (German, 1911–1984) HORSE AND JOCKEY Bronze, 28 ¾” x 42” Signed, inscribed München $15,000. – 20,000.

104

93 | Carl Dahl (American, born 1952)

CHEVAUX MAGNIFIQUES (two works) Porcelain, 15” x 14 ¾”, 17 ½” x 14” Unique $7,000. – 10,000. (pair)

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105

94 | Stephanie Revennaugh (American, born 1973) MUTUAL Bronze, 52 ½” x 30” Edition 1 of 21 $18,000. – 22,000.

106

95 | Bernard Winskill (British, died 1980)

LESTER PIGGOTT AND THE MINSTREL Bronze, 15 ½”x 20 ½” Signed $9,000. – 12,000.

The racing world in 2017 celebrates the 40th anniversary of The Minstrel’s back-to-back wins in the Epsom Derby and Irish Derby, which gained him Horse of the Year titles in England and Ireland. “The Minstrel was Piggott’s choice of mount after his name had been linked, as usual before the Derby nowadays, with a variety of candidates, the most notable of them Blushing Groom. Even before he had ridden Empery to victory in 1976, Piggott had a record of winners in the Derby unequaled by any jockey

living and equaled by only two, Robinson and Donoghue, in history. He has now won eight times. Racing will be very much poorer when this brilliant, dedicated, and most knowledgeable jockey decides to retire. No one rides Epsom better or with a finish stronger, and his handling of The Minstrel was typical of the man. In just the sort of race in which many have failed their mounts over the years, Piggott gave him every chance and brought every ounce out of him in a desperately tight finish.” — Racehorses of 1977, a Timeform racing publication

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107

96 | Cindy Wolf (American, born 1946) ALYDAR Bronze, 15” x 21 ½” Edition 1 of 2 Signed $16,000. – 20,000.

“Never has a horse been so beloved for not winning a race. Or three races, in the case of Alydar. The gallant chestnut’s runner-up finishes in all three Triple Crown events — the Kentucky Derby, Preakness, and Belmont Stakes — of 1978 made him as popular as the winner, Affirmed, and forever linked his name with his rival’s. — Judy L. Marchman, Thoroughbred Champions, Top 100 Racehorses of the 20th Century

108

97 | Brian Maughan (American, born 1942) NAPI Bronze, 20” x 14” Edition of 15 $5,000. – 7,000.

Napi, or the Old Man, is the creator figure in the mythology of the Blackfoot Indian Confederacy. Napi is not human though he is often spoken of as a supernatural being with human traits. He created the Earth, the Indian race, and the buffalo, but he did not create Europeans. There are two types of stories told about Napi: those that portray him as good and those that paint him in a more mischievous light.

THE SPORTING ART AUCTION

109

98 | Alexa King (American, born 1952)

HONOR and ON POINT A PAIR (two works) Bronze, 11” x 21”, 13 ¾” x 16” Edition 1 of 14 Signed $14,000. – 18,000. (pair)

110

99 | Marilyn Newmark (American, 1928–2013) MAN O’ WAR Bronze, 10 ½” x 14 ½” Signed, dated 1977 $2,000. – 3,000.

In 1917, shortly after his foal by Fair Play out of Mahubah was born, 65-yearold August Belmont Jr. joined the United States Army to fight in World War I. His wife had taken to calling both her husband and the new foal “my Man o’ War,” but by the time the horse was registered the “my” was dropped. Due to Belmont’s age and uncertainty about how long the war would last, the couple decided to liquidate their stable. Sold at the Saratoga yearling sales, the Fair Play colt was purchased by Samuel D. Riddle for $5,000. The underbidder, Robert Gerry Sr., reportedly said “4,500 is enough to spend on any yearling,” but not more than two years later the New York Times reported Riddle turned down $400,000 for his famed Thoroughbred. Belmont reportedly never got over Man o’ War’s sale, and it is said to have haunted him until his final day.

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111

100 | John P. Cowan (American, 1920–2008) SANTA ANITA Watercolor, 22” x 30” Signed $6,000. – 9,000.

Set against a backdrop of the beautiful San Gabriel Mountains, Santa Anita was opened as a pari-mutuel racetrack on Christmas Day 1934 by the Los Angeles Turf Club. Santa Anita’s prominence has grown to the point that it has hosted the Breeders’ Cup a record nine times.

101 | John P. Cowan (American, 1920–2008) GULFSTREAM Watercolor, 18” x 20” Signed $6,000. – 9,000.

In 1939 a race meet lasting four days was held at Gulfstream Park in early February. Five years later James Donn Sr. reopened Gulfstream for a 20-day meet. Since those early days Gulfstream has grown and expanded into a racing, entertainment, and casino venue. In 2017 Gulfstream hosted the first running of the $12 million Grade 1 Pegasus World Cup Invitational Stakes, the world’s richest horse race. Juddmonte Farms’ Arrogate took the $7 million victor’s prize.

112

102 | Booth Malone (American, born 1950) BULLET WORK Oil on canvas, 36” x 48” Signed $6,000. – 9,000.

THE SPORTING ART AUCTION

113

103 | Peter Smith (British, born 1949) DEAUVILLE Oil on canvas, 20” x 30” Signed $7,000. – 10,000.

114

104 | Larry Wheeler (American, born 1942) EARLY MORNING ON THE TRACK Oil on board, 20” x 24” Signed $5,000. – 7,000.

THE SPORTING ART AUCTION

115

105 | Larry Wheeler (American, born 1942) SUN DAPPLES, KEENELAND Oil on canvas, 16” x 20” Signed $4,000. – 6,000.

116

106 | Larry Wheeler (American, born 1942) 7:30 AM Oil on board, 30” x 30” Signed $4,000. – 6,000.

107 | Susan Lyon (American, born 1969) WAITING TO RACE Oil on canvas, 14” x 18” Signed $4,000. – 6,000.

THE SPORTING ART AUCTION

117

108 | Susie Whitcombe (British, born 1957) BANYAN TREES, MAURITIUS Oil on board, 9” x 12” Signed $3,000. – 5,000.

118

109 | Susie Whitcombe (British, born 1957)

RIDING HORSE CLASS, ARELSFORD SHOW Oil on canvas, 10” x 13” Signed $3,000. – 5,000.

THE SPORTING ART AUCTION

119

110 | Jeaneen Barnhart (American, born 1967) 6.9.73 Charcoal, pastel on brown paper, 35” x 56” Signed $6,000. – 9,000.

120

111 | Lesley Humphrey (British, born 1957) CELTIC ECHOES Oil on panel, 36” x 24” Signed, dated 2016 en verso $7,000. – 10,000.

THE SPORTING ART AUCTION

121

112 | Jean-Bernard Lalanne (French, born 1952) FLYING TO THE FINISH Oil on canvas, 24” x 28” Signed $6,000. – 9,000.

122

113 | Jean-Bernard Lalanne (French, born 1952) ROCIO, 2017 Oil on canvas, 28 ¾” x 35 ½” Signed $9,000. – 12,000.

The Andalusian pilgrimage of El Rocío, or the Romería del Rocío, takes place annually to honor the Virgin of El Rocío, the patron saint of Almonte, a town in Huelva, Andalusia. While the celebration itself begins the Sunday before Pentecost, pilgrims typically travel one to seven days beforehand, often on horseback or in horse-drawn wagons. Many consider the travel to be the most important part of the pilgrimage. They wear traditional Andalusian dress — flamenco dresses for women

and traditional riding costumes for men. There are several routes taken by the pilgrims: the Seville way (through the Andalusian capital), the Sanlúcar way through Cádiz, the plains way from the countryside, and the Mogul way from Huelva. Each route is taken by different religious confraternities that carry their own emblems of the Virgin of El Rocío with them along the way. In recent years El Rocío has brought together roughly a million visitors. THE SPORTING ART AUCTION

123

114 | Peter Howell (British, born 1932) HORSES RACING Oil on canvas, 36” x 48” Signed $20,000. – 25,000.

124

115 | Peter Howell (British, born 1932) THE SEVERALS, NEWMARKET Oil on canvas, 24” x 30” Signed $12,000. – 15,000.

THE SPORTING ART AUCTION

125

116 | Peter Howell (British, born 1932)

THE PADDOCK AT KEENELAND Oil on canvas, 24” x 20” Signed $10,000. – 15,000.

126

117 | Scott Burdick

(American, born 1967) THE WINNER’S CIRCLE Oil on canvas, 16” x 20” Signed $7,000. – 10,000.

THE SPORTING ART AUCTION

127

118 | Scott Burdick

(American, born 1967) FINAL EFFORT Oil on canvas, 20” x 30” Signed $9,000. – 12,000.

128

119 | Joanne Mehl (American, born 1960) POST PARADE Oil on board, 12 ½” x 15 ½” Signed $3,000. – 5,000.

120 | Thomas Coates (British, born 1941) THE PINK HAT Watercolor, 10” x 14” Signed with monogram $3,000. – 5,000.

Reproduced as a limited edition print by Keeneland Race Course

THE SPORTING ART AUCTION

129

121 | Thomas Coates (British, born 1941) THE GAP (KEENELAND) Oil on canvas, 30” x 40” Signed with monogram $9,000. – 12,000.

130

122 | Quang Ho (Vietnamese/American, born 1963) TO THE WINNER’S CIRCLE Oil on canvas, 36” x 36” Signed $18,000. – 22,000.

THE SPORTING ART AUCTION

131

123 | Quang Ho (Vietnamese/American, born 1963) HARMONY IN WHITES Oil on panel, 30” x 40” Signed $18,000. – 22,000.

132

124 | Juli Kirk (American, born 1957) FIGHTING FOR THE RAIL Oil on canvas, 36” x 36” Signed, dated ’17 $6,000. – 9,000.

THE SPORTING ART AUCTION

133

125 | Pierre Bellocq a.k.a. PEB (French, born 1926)

ÉLIE LELLOUCHE (far left) and DANIEL, GUY, AND ALEC WILDENSTEIN plus the horses BIGSTONE, EPERVIER BLEU, WESTERNER, PISTOLET BLEU, AQUARELLISTE, PEINTRE CELEBRE, VERVEINE, DANSEUSE DU SOIR, LOST WORLD, BRIGHT SKY Watercolor, 18 ½” x 25” Signed $4,000. – 6,000.

134

Hall of Fame and Eclipse Award-winning jockey Gary Stevens was recruited by director Gary Ross to play jockey George Woolf in the 2003 movie Seabiscuit. Woolf replaced Seabicuit’s regular jockey Red Pollard, who had been injured in a horrible training accident. Stevens is depicted in the silks of highly successful California automobile dealer and Thoroughbred owner Charles S. Howard.

126 | Pierre Bellocq a.k.a. PEB (French, born 1926)

GARY STEVENS IN HOWARD SILKS (SEABISCUIT), JERRY BAILEY, and LAFFIT PINCAY JR. (three works) Watercolor, gouache, 17” x 12” Signed $8,000. – 10,000. (set of three)

Considered one of the great jockeys of all time, Jerry Bailey is the only rider to win the Eclipse Award seven times. He won the George Woolfe Memorial Jockey Award in 1992 and was inducted into the National Museum of Racing Hall of Fame in 1995. His mounts won 5,893 races, including two Kentucky Derbys, two Preakness Stakes, two Belmont Stakes, five Breeders’ Cup Classics, four Dubai World Cups, and many others. Retired from the irons, Bailey now serves as a Thoroughbred racing analyst for NBC Sports. The son of a jockey in his native Panama, Laffit Pincay Jr. came to America as a contract rider for prominent American owner Fred Hooper. He retired from racing in 2003 as the winningest jockey in history with 9,530 victories. Pincay was the leading U.S. money-winning jockey seven times and won the Eclipse Award for outstanding jockey five times. He was inducted into the Racing Hall of Fame in 1975.

127 | Pierre Bellocq a.k.a. PEB (French, born 1926) EDDIE ARCARO AND JIM FITZSIMMONS Watercolor, gouache, 21” x 16” Signed $3,000. – 5,000.

Racing Hall of Fame jockey Eddie Arcaro and Hall of Fame trainer James “Sunny Jim” Fitzsimmons teamed up to win three American classics. In 1955 the duo brought home Nashua in both the Preakness and Belmont Stakes. In 1957 Bold Ruler, bearing the colors of Gladys Mills Phipps’ Wheatley Stable (shown here), took Arcaro and Fitzsimmons to the Pimlico winner’s circle after the Preakness. Between them, Arcaro and Fitzsimmons collected 30 American classic wins.

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135

128 | Valeriy Gridnev (Russian, born 1956) TURF SKETCHES Oil on canvas, 28” x 35 ½” $10,000. – 15,000.

136

129 | Andre Pater (Polish/American, born 1953) YELLOW SCARF Charcoal, 22” x 16” Signed $6,000. – 9,000.

Native American warriors often battled with the U.S. Cavalry in the years following the Civil War. Tokens of war were taken by both sides and the yellow scarf of the Cavalry uniform was particularly prized. Moreover, the Indians believed that by wearing a token captured from an enemy, you combined their power and bravery with yours. This figure’s face certainly looks like it has experience, and he has the scarf around his neck to prove it.

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137

130 | Andre Pater (Polish/American, born 1953) STUDY OF A LIPIZZANER Oil on board, 16” x 20” Signed $7,000. – 10,000.

138

131 | Andre Pater (Polish/American, born 1953) BLACK LAB Charcoal, 22” x 14” $6,000. – 9,000.

THE SPORTING ART AUCTION

139

132 | Andre Pater (Polish/American, born 1953) SNAP Oil on canvas, 14” x 18” Signed, dated ’93 $12,000. – 15,000.

140

133 | Andre Pater (Polish/American, born 1953) SUMMER Oil on canvas, 20” x 24” Signed $30,000. – 40,000.

THE SPORTING ART AUCTION

141

134 | Andre Pater (Polish/American, born 1953) SMARTY JONES Pastel, 25” x 19” Signed $10,000. – 15,000.

Exhibited: Andre Pater in a Sporting Light, National Sporting Library & Museum, Middleburg, Virginia. April–August, 2017

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135 | Andre Pater (Polish/American, born 1953) COOL SPOT Pastel, 25” x 32” Signed $15,000. – 20,000.

THE SPORTING ART AUCTION

143

136 | Andre Pater (Polish/American, born 1953) IN THE KENNEL Oil on board, 12” x 15 ½” Signed $12,000. – 15,000.

Exhibited: The Bluegrass Palette of Andre Pater, University of Kentucky, 2010

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137 | Andre Pater (Polish/American, born 1953) HEADING HOME Oil on canvas, 30” x 40” Signed $125,000. – 150,000.

Exhibited: Andre Pater in a Sporting Light, National Sporting Library & Museum, Middleburg, Virginia. April–August, 2017

THE SPORTING ART AUCTION

145

138 | Andre Pater (Polish/American, born 1953) BELGIAN IN A LANDSCAPE Oil on canvas, 24” x 30” Signed $60,000. – 80,000.

146

139 | Sandra Oppegard (American, born 1941) KEENELAND PADDOCK, ENTRY NO. 5 Watercolor, 23 ¼” x 30 ¼” Signed $4,000. – 6,000.

THE SPORTING ART AUCTION

147

140 | Sandra Oppegard (American, born 1941) CHECKING THE STOCK Watercolor, 12 ½” x 20” Signed $3,000. – 5,000.

148

141 | Sandra Oppegard (American, born 1941)

ABEL TASMAN and ALWAYS DREAMING (two works) Watercolor, 11” x 14” Signed $3,000. – 5,000. (pair)

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149

142 | Mike Austin (British, born 1959) SWISH Oil on canvas, 26” x 60” Signed $8,000. – 10,000.

Provenance: Cricket Fine Art

150

143 | Scott Christensen (American, born 1962) BIG SANDY AUTUMN Oil on canvas, 25” x 30” Signed $14,000. – 18,000.

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151

144 | Kelly Brewer (American, born 1970) TEXAS TWO STEP Oil on panel, 40” x 30” Signed $6,000. – 9,000.

152

145 | Mike Austin (British, born 1959) YOUNG ABU DHABI CAMEL Oil on paper, 36” x 25” Signed $4,000. – 6,000.

THE SPORTING ART AUCTION

153

146 | Hubert Pintrand (French, born 1967) CHEF DE MEUTE Oil and charcoal on canvas, 31 ½” x 31 ½” Signed $5,000. – 7,000.

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147 | Valeriy Gridnev (Russian, born 1956) COUNTING OFF Oil on canvas, 40” x 50” Signed $15,000. – 20,000.

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155

148 | Juli Kirk (American, born 1957) HOUNDS IN A KENNEL Oil on canvas, 30” x 40” $6,000. – 9,000.

156

149 | Charles Church (British, born 1970) LADY AURELIA STUDY Oil on panel, 11” x 14” Signed, inscribed, dated ’17 $6,000. – 9,000.

Precocious and talented, Lady Aurelia was named champion 2-year-old filly at the 2016 Cartier Racing Awards and was the top-rated European 2-year-old filly of 2016, as well as the highweighted juvenile filly on the English and French Free Handicaps. Bred in Kentucky by Barbara Banke’s Stonestreet Thoroughbred Holdings, Lady Aurelia races for Banke and partners George Bolton and Peter Liedel. Trained by Wesley Ward, the daughter of Scat Daddy had won five of six starts at 2 and 3 as of press time, including the group 1 Darley Prix Morny and the Group 1 King’s Stand Stakes.

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157

150 | Charles Church (British, born 1970) BLONDE AQUITAINE STUDY Oil on canvas, 16” x 24” Signed, dated ’17 $10,000. – 15,000.

158

151 | Julie Chapman (American, born 1963) WHITE LIGHT Oil on canvas, 18” x 24” Signed $3,000. – 5,000.

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159

152 | Alan Brassington (Irish, born 1959) FAIRYHOUSE, IRELAND Watercolor, 18 ½” x 22 ½” Signed, inscribed $5,000. – 7,000.

160

153 | Alan Brassington (Irish, born 1959)

THE SIDDINGTON POINT TO POINT Watercolor, 16” x 12” Signed, inscribed $4,000. – 6,000.

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161

154 | Peter Curling (Irish, born 1955) MORNING EXERCISE Watercolor, 16 ½” x 24” Signed $4,000. – 6,000.

155 | Milton Menasco (British, 1890–1974)

MORNING EXERCISE, SIR GAYLORD AND CICADA, HIALEAH Oil on canvas, 20” x 30” Signed $5,000. – 7,000.

Two of the homebred stars of Christopher Chenery’s Meadow Stables were Sir Gaylord and Cicada, both foals of 1959. Sir Gaylord won 10 of 18 starts at 2 and 3, including six stakes. At 3, Sir Gaylord won Hialeah’s Bahamas Stakes, equaling the sevenfurlong track record. He was very successful at stud, and his sons included leading sires Sir Ivor and Habitat. Cicada was even more acclaimed as a racehorse, being named champion at 2, 3, and 4. She won 23 of 42 starts, including 18 stakes, and placed in another 13 stakes. Cicada was not as successful at stud as Sir Gaylord. Her lone stakes winner was her first foal, Cicada’s Pride, her only foal sired by Sir Gaylord.

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157 | Booth Malone (American, born 1950)

156 | Suzy Smith (American, born 1951)

A SWING AND A MISS Oil on canvas, 21” x 18” Signed $3,000. – 5,000.

WATCHFUL EYE Pastel, 27” x 19” Signed $3,000. – 5,000.

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163

158 | Richard Firth (British, born 1954)

AMERICAN YACHT VIGILANT RACING AGAINST THE KING’S YACHT BRITANNIA ON THE SOLENT OFF THE ROYAL YACHT SQUADRON. Oil on canvas, 18” x 27” Signed, inscribed verso $12,000. – 15,000.

The Rhode Island-built Vigilant won the eighth America’s Cup in 1893 for the United States, defeating Valkyrie II. Owned by a syndicate including August Belmont Jr. and Cornelius Vanderbilt, she later was purchased by Howard Gould and became the first America’s Cup defender to sail in Europe during the British yachting season. HMY Britannia was built in 1893 for Edward, Prince of Wales, later to be crowned King Edward VII. In her first year of racing, she won 33 of 43 starts.

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The Britannia and Vigilant squared off in the Mount’s Bay Regatta on July 28, 1894, piloted by two brothers: Benjamin Nicholls aboard the Vigilant and Phillip Nicholls of Britannia. The Britannia won by seven minutes. In 16 races against each other, the Britannia won 12. After the death of King George V, Edward’s son, Britannia was towed near the Isle of Wright and sunk by the HMS Winchester, in accordance with the monarch’s wishes.

159 | Walt Spitzmiller (American, born 1944)

JACK HEMINGWAY - LITTLE WOOD, IDAHO Oil on canvas, 24” x 35” Signed $6,000. – 9,000.

Provenance: King Gallery Sportsman’s Edge Ltd., New York Jack Hemingway was an avid sportsman and conservationist, who claimed to outfish his legendary father Ernest. A profile of Jack appeared in the Nov. 5, 1984, edition of Sports Illustrated. Written by longtime SI journalist E.M. Swift and illustrated by Walt Spitzmiller, the article was accompanied by paintings of Hemingway in the rivers and fields he loved. In the article Hemingway discusses conservation and his father: “My father lived in a time when, if you didn’t like a place anymore, there was always another place you could

move to that was unspoiled. You can’t do that now. You have to make a stand somewhere. That’s why conservation issues are so important. In general, we’re getting better hunting and fishing than he ever got out here, but we have to work a helluva lot harder to get it.” It is because of this that Jack Hemingway donated almost 500 acres along the Little Wood River to the state of Idaho with the provision that only flyfishing be allowed. He also served as the Idaho Fish and Game commissioner, working to build the quality of fishing by encouraging catch and release.

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165

160 | Brett Smith (American, born 1958) OAK HILL COVEY Oil on canvas, 24” x 36” Signed $10,000. – 15,000.

166

161 | Roy Martell Mason (American, 1886–1972) POSITIONING Watercolor and ink, 22 ½” x 31” Signed $3,000. – 5,000.

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167

162 | David Quinn (British, born 1959) BARRED OWL AND KINGLET Acrylic on board, 22” x 16” Signed $5,000. – 7,000.

168

163 | Keith Shackleton (British, 1923–2015) LATE SEASON GROUSE IN WINTER Oil on board, 24” x 48” Signed, dated 1961 $9,000. – 12,000.

Provenance: Kennedy Galleries, New York Christies, London, April 24, 1998

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169

164 | Tony Henneberg (German, born 1966) RED-TAILED HAWK Watercolor, 22” x 30” Signed $4,000. – 6,000.

170

165 | Tim Allen Lawson (American, born 1963) CALLING MORE CROWS Oil on linen, 34” x 24” Signed $20,000. – 30,000.

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171

166 | David Quinn (British, born 1959) BALD EAGLE Acrylic on paper, 14” x 10” $5,000. – 7,000.

This cover illustration, completed in 2017 for the final edition of the National Geographic Field Guide to the Birds of North America, concludes the artist’s contribution to the last five of the seven editions. For 35 years the National Geographic Field Guide to the Birds of North America has set the standard for excellence in field guides. This expanded edition set the bar even higher and is considered the best guide available.

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167 | David Quinn (British, born 1959) SCOTTISH PTARMIGAN Acrylic on paper, 18” x 27” Signed $7,000. – 10,000.

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173

168 | John E. Banovich (American, born 1964) WHITE WALLOW Oil on canvas, 32” x 45” Signed $60,000. – 90,000.

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169 | Paul Sawyier (American, 1865–1917) ST. CLAIR PEDDLER Watercolor, 20 ⅞” x 10” Signed $20,000. – 25,000.

Exhibited: Paul Sawyier Exhibition, Northern Kentucky University, September 22–December 7, 2012 Named for Revolutionary War general and Continental Congress President Arthur St. Clair, St. Clair Street is one of the major commercial corridors of Frankfort, Kentucky. On the north end, the street runs into Gideon Shryock’s Greek Revival Old State Capitol building, while the south end turns into Frankfort’s famed Singing Bridge over the Kentucky River. Sawyier painted this area many times, but most of the scenes were on the south end, showing the old covered bridge in place during the 19th century along with various citizens and flower sellers milling about. Sawyier painted St. Clair facing north several times, the Old State Capitol placed toward the center of the painting with the main buildings on the street framing the capitol. Sawyier painted this scene one other time, that version being an oil.

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175

170 | Paul Sawyier (American, 1865–1917) YESTERDAY’S SUMMER Watercolor, 11 ½” x 18 ½” Signed $12,000. – 15,000.

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171 | Eyvind Earle (American, 1916–2000) THE GREAT RED BARN Acrylic on board, 24” x 48” Signed, dated 1969 $8,000. – 10,000.

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177

172 | Eric Sloane (American, 1905–1985) MOUNTAIN VALLEY Oil on board, 19” x 46” Signed $10,000. – 12,000.

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173 | Henry Faulkner (American, 1924–1981) RASTUS Oil on masonite, 20” x 16” Signed $9,000. – 12,000.

Black Rastus was Henry Faulkner’s favorite cat and was probably acquired sometime around 1962 when the artist moved back to Kentucky. (He also found his famed goat Alice around this time.) His love of animals was legendary, and he always kept an eclectic flock wherever he went. One time, while returning to Kentucky from Key West, he stopped in a Miami restaurant to grab something to eat. A policeman noticed he was parked in a no parking zone, and inspecting the car found 29 cats and dogs inside. Figuring this counted as some sort of violation,

the officer had the animals sent to the Humane Society and Faulkner to jail on animal cruelty charges. After being released, Faulkner vowed to unleash his wrath upon Miami and marched down to the Humane Society. After a lot of arguing with the staff there, he secured the release of his cherished pets for $93. According to a newspaper article, Faulkner promised to “visit his wrath” during his court appearance, set several weeks after the incident. What that may have entailed has been lost to history.

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174 | Henry Faulkner (American, 1924–1981) BUTTERFLIES IN TAORMINA Oil on masonite, 33” x 27” Signed $20,000. – 25,000.

In 1961 Henry Faulkner arrived in the town of Taormina on the island of Sicily. He quickly found lodging in a cottage on the grounds of Casa Cuseni, a villa owned by Englishwoman Daphne Phelps. The villa is famed for its views of the Bay of Naxos and Mount Etna, along the slopes of which Taormina is built. This painting depicts the view of the village from Casa Cuseni (albeit in an exaggerated fashion). Today, the villa is both an art museum and a hotel, with a Henry Faulkner room and several of his paintings.

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175 | Dede Gold (Irish, born 1971)

IN TRAINING (SHETLAND PONY) Oil on canvas, 39 ¼” x 27 ½” Signed with monogram $6,000. – 8,000.

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ARTIST

BIOGRAPHIES Alken, Henry Thomas, Sr. (aka Ben Tally Ho) British, 1785−1851 The finest artist of the Alken family of painters, Henry Sr. handled oil or watercolor with ease. He also was a superior engraver. His subjects were active foxhunting or racing scenes, sometimes depicting humorous occurrences. He was a prolific artist, producing thousands of works. Ambille, Paul French, 1930−2010 Paul Ambille studied at the Ecole National des Beaux-Arts in Paris and exhibited in France, Italy, the United States, Germany, Japan, China, and Australia. He won numerous prizes, including the 1955 Gold Medal at the Grand Prix de Rome. Ambille captured equestrian scenes, still lifes, seascapes, and marine themes in his unique impressionistic style. Arenys Galdón, Ricardo Spanish, 1914−1977 A native of Barcelona, Ricardo Arenys Galdón began specializing in equine art in the late 1940s. Arenys had his works exhibited in Barcelona, Madrid, Lisbon, Paris, London, and other major cities. He earned medals for top placings in the 1945 National Exhibition in Madrid and the 1955 National Exhibition of Fine Art in Madrid. Austin, Michael J. British, born 1959 Using a wet-on-wet oil painting method, Michael Austin has developed his technique of achieving a sculptural effect in his works. Austin began his professional career producing artwork for Marvel comics and 2000AD and was features artist for the Sunday Times from 1985-1992. Moving toward more serious themes in the 1990s, he achieved a one-man exhibition at the Jonathan Cooper Gallery in London in 1997. His talents have continued to be recognized, and he was named tour artist for the 2003 HRH The Prince of Wales’ official visit to India and Oman. Banovich, John E. American, born 1964 John Banovich is known for his wildlife portrayals done in grand and dramatic scale. A contemporary oil painter, Banovich gained recognition in his 30s with his life-sized elephant painting titled Once Upon A Time, a work done to draw attention to ivory poaching. Banovich combines his artistic ability with

his knowledge and commitment to conservation to raise awareness about endangered species. His works have been widely exhibited, showcased, and collected. Barnhart, Jeaneen American, born 1967 Barnhart’s progression to art was a natural one. With professional musicians, songwriters, and a comic book illustrator as grandparents and parents devoted to all aspects of artistic education, Barnhart and her twin sister Doreen started painting at an early age. With works primarily in charcoal and pastel, Barnhart has been commissioned to produce Kentucky Derby Festival posters, a PGA Golf Experience poster, and special artwork for the Woodford Reserve Bourbon Kentucky Derby bottle. Beer, John British, 1860−1930 Little is known about the life of John Beer, not to be confused with John AxelRichard Beer (1853−1906). He spent most of his life working in London, at one time occupying the studio formerly used by A. C. Havell over Fores Gallery. For a short period he is recorded as living on Goldsmith Street, Nottingham. Beer worked in oil, watercolor, and gouache. Flat racing and point-to-point racing were his main subjects. His other key works include a set of eight pictures of The Epsom Derby. He regularly painted racehorse portraits in oils and was one of several artists employed by racecourses to produce spontaneous renderings of race finishes. Beer’s drawings were hung at the racecourse so that late arrivals to the racetrack could see who had won the earlier races. Bellocq, Pierre (aka PEB) French, born 1926 American racing fans have been entertained, amused, and delighted for more than 50 years by the vividly colorful characters created by the fertile mind of Peb. Born into a family of French horsemen, Peb came to America in the mid 1950s, eventually landing at publisher Walter Annenberg’s Daily Racing Form and Philadelphia Inquirer, where he did both political and racing cartoons. The exhibit titled “Peb: The Art of Humor” ran 18 months at the National Museum of Racing. Biegel, Peter British, 1913−1989 Born to a heritage of both art and horses, Biegel studied with Lucy Kemp-Welch

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and, after being wounded in Normandy during World War II, at Bournemouth School of Art. An accidental meeting with Lionel Edwards led to his being Edwards’ pupil. His paintings are full of accurate action and life. Bonheur, Isidore Jules French, 1827−1901 Studying painting at first with his father, Raymond, Isidore then attended L’Ecole Nationale des Beaux-Arts de Paris, switching to sculpture. Exhibiting in both media at his first Paris Salon in 1848, he was a regular from then on. He routinely won medals and prizes, and his small groups of animals showed keen understanding of his subjects. Brassington, Alan Irish, born 1959 Born in Rhodesia, Alan Brassington grew up in his family’s native Ireland. He studied at the Northwich School of Art, Cheshire, and Stockport School of Art. Brassington’s acclaimed imagery of horse and rider led him to be the official artist at Ascot racecourse, where his works hang in the Racing Club rooms. As he has said, “I love painting horses and people. The racetrack is irresistible; it is an entire world of its own. If you see a special horse in the parade ring, it is easy to understand why one would be so inspired by this animal with its grace, its beauty, its intelligence, and its strength.” Brewer, Kelly Robertson American, born 1970 Kelly Brewer’s love of art formed her focus on the past, helping her to graduate from the University of North Carolina with an art history degree. Brewer has become an acclaimed Lexington, Kentucky, artist with a growing national reputation. Master painters Joaquin Sorolla, John Singer Sargent, and Nicolai Fechin greatly influence her impressionistic approach. Broadhead, William Smithson British, 1888−1960 World travel and work in magazine illustration dominated the life of this talented British painter. However, horses were a primary love, and he worked in England, Canada, New York, and Los Angeles, where he painted equestrian portraits along with doing magazine work. Living for a time in Cleveland, Ohio, and Middleburg, Virginia, Broadhead was regarded as one of the most esteemed equestrian painters in America. Buck, William Henry Norwegian/American, 1840−1888 Norwegian-born William Henry Buck migrated to Boston and settled in New Orleans around 1860. Employed in the cotton industry, Buck used his spare time to study with landscape artist Richard Clague Jr. Buck’s first exhibition was with W.E. Seebold’s Fine Art Gallery in the winter of 1877−78. By 1880 he had become a full-time artist. He was a founding member of the Southern Art Union in New Orleans.

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Burdick, Scott Patrick American, born 1967 Scott Burdick was born in 1967 in Chicago. Early on, his mother and father encouraged his interest in art. In high school Burdick began taking life-drawing classes at the American Academy of Art under the legendary Bill Parks. After finishing at the academy, Burdick continued his study informally with Richard Schmid at the Palette and Chisel Art Club, where he met his wife, painter Susan Lyon. “It’s a wonderful thing being able to paint together all the time and grow as artists together,” Burdick said. His ideas for paintings come from everywhere. Burdick notes that some paintings are as simple as stopping at the sight of something interesting while others might take more time to research than to actually paint. Byles, William Hounsom British, 1872−1916 A member of the Royal Society of British Artists (RBA), William Hounsom Byles was a highly regarded painter of horse racing, landscapes, portraits, and figurative works. He studied first at the well-known art school in St. John’s Wood and was later accepted in the Royal Academy Schools. A native of London, Byles traveled extensively, including New Zealand, Morocco, and Spain. He had at least eight paintings exhibited at the Royal Academy between 1894 and 1916. He was a member of the British Army Reserve regiment known as the Artists Rifles. Chapman, Julie T. American, born 1963 Growing up in central Ohio farm country, Julie Chapman dreamed of having her own horse. Chapman majored in computer engineering in college. Through her own exploration of graphic media, her art education came from books and observation. Chapman has explored the outdoors in South Africa and the great wilderness parks of America and Canada. Now residing in Montana, she is a regular observer of the modern American West and small-town rodeos. Christensen, Scott L. American, born 1962 A native of Wyoming, Scott Christensen was drawn to art through childhood memories of his wheelchair-bound grandfather painting. In college a football injury prompted him to take up painting as his grandfather had done. He paints outdoor subjects in the plein air manner. Largely self-taught, he has sought tutelage from Swedish impressionist Anders Zorn and from American artists Bob Barlow, Clyde Aspevig, and William Reese. Church, Charles British, born 1970 An internationally renowned painter of horses, landscapes, and country life, Church works from life to capture the moment. With more than 37 commissioned paintings of Grade or Group 1 winners, as well as hunting and polo scenes, the sell-out exhibition of his work prompted His Royal Highness the Prince of

Wales to write of Charles’ “profound understanding of his subject matter.” His commissions include The Royal Pageant of Horses for HM Queen Elizabeth II. Clymer, John Ford American, 1907−1989 Born in Washington state, John Clymer moved to Connecticut in 1937 and was a student at the Howard Pyle School in Wilmington, Delaware. N. C. Wyeth strongly influenced Clymer’s illustrations. His illustrations — including 80 covers for The Sunday Evening Post — and paintings were widely published,. In fact, the June 16, 1951, issue of The Blood-Horse reported Clymer’s being at Keeneland “making studies for an advertising series planned by Brown-Foreman Distillers” that was to include the summer yearling sales, a clocking scene, and other atmospheric subjects. Clymer earned the Prix de West from the Academy of Western Art and numerous medals from the Cowboy Artists of America. Coates, Thomas J. British, born 1941 At an early age, Coates won his first scholarship to study at the Birmingham College of Art. His work was again rewarded when he was invited to study at the Royal Academy Schools on scholarship. Now acclaimed and widely respected in the art world, he has been president of the Royal Society of British Artists, the Royal Pastel Society, the Royal Society of Watercolor Painters, and the Society of Equestrian Artists. Coates exhibits widely and keeps busy with commissions. Collins, Ashley American, born 1967 “Oversized” and “massive” are words usually used to describe the equine art works of Ashley Collins. Collins’ mega-sized contemporary pieces are achieved through a layering collage technique of equine painting with printed pages and obscured historical images. Collins was mentored by famed modern artist Robert Rauschenberg and has now achieved her own increased level of collectability. Cowan, John P. American, 1920−2008 One of America’s premier wildlife artists, John P. Cowan graduated from the Pratt Institute in Brooklyn, New York, having studied under Norman Rockwell. An avid outdoorsman, his works are recognizable by their accurate representation of landscapes that all sportsmen would appreciate. His paintings graced the covers of and were used as illustration in Sports Afield, Outdoor Life, Life, Look, Esquire, Fortune, and many other publications. Cowan was also honored many times over for his work as a conservationist. Cullin, Isaac James British, fl 1881−1936 Isaac James Cullen started his professional career as a portrait painter. However, his interest in horses and the adaptability of his skill led him to become one of the top equestrian artists. Cullen flourished as an artist between 1881 and 1920, producing racehorse portraits and watercolors of races, and equestrian

events. In 1883 he and J. A. Wheeler collaborated to paint the year’s Grand National winner. He later produced sporting illustrations for The Illustrated London News. Curling, Peter Irish, born 1955 Impressive early talent led this Irishman to fine schools and teachers, including a stint at Millfield, and one in Florence studying with Signorina Nera Simi. It was a brief period of study under John Skeaping, however, that most influenced Curling’s work. He learned a boldness and economy of stroke that are still apparent in his work. Curling lives in the quiet countryside of Ireland. Dahl, Carl American, born 1952 An American sculptor, Carl Dahl holds multiple degrees from Arizona State University, including an MBA and a master’s degree in fine arts. Even though his upper-level corporate positions allowed him to travel, experience, and learn about great things, art was his passion. With more than 20 years dedicated to art, Dahl has been exhibited in America, France, and Japan. Dahl states “In horses, I find beauty, power, and freedom; their legs, that seemed overly long to me as a child, rise to complete the perfect form. They remain one of life’s great joys.” Davey, Randall American, 1887−1964 Randall Davey studied architecture at Cornell University in 1905 and art at the New York School of Art in 1908. He also studied under art academics Robert Henri and Charles W. Hawthorne. He became Henri’s assistant instructor and traveled through Europe with him. By 1919 Davey and his wife had moved to Santa Fe, New Mexico, where he established his studio. Due to the expense of his polo hobby, Davey took numerous positions at major art institutes across the country. His works are collected by major museums nationwide. De Holesch, Denes Hungarian, 1910−1983 Denes de Holesch was born in northern Hungary to a family of professional architects. His interest in painting, music, and horses began at an early age, and he received his formal training at the Hungarian Academy of Fine Arts in Budapest. He traveled extensively throughout Asia and Australia before moving his family to Montreal, Canada, in 1946 and then to Boston in 1947. The subject matter of his works includes equestrian, bull fighting, landscapes, street scenes, and portraits. de Prades, Alfred F. British, 1840−1895 Little is known about this fine painter except that he showed his work at the major exhibitions. His subjects ranged from sporting, coaching, and military

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scenes to still lifes and portraits. Because he painted a number of Spanish and Russian subjects, it is thought he might have traveled abroad.

at 71 in Lyndhurst and is buried there. He created many paintings, mostly in oil, brimming with life and authenticity.

Diller, Helmut German, 1911−1984 Born in Stuttgart, German, Helmut Diller was the son of sculptor Fritz Diller. A student at the Munich’s Academy of Fine Arts, Diller went on to achieve success as both a landscape and portrait artist. However, he is most renowned as a woodcarver and sculptor. His ability to capture the anatomy and the poise of his animal subjects gained him great praise. The World Wildlife Fund chose some of his works for their fundraising efforts.

Faulkner, Henry Lawrence American, 1924−1981 A Kentucky original, Henry Faulkner was a painter, a poet, and a true Southern character. Born in Eastern Kentucky and orphaned as a toddler, Faulkner spent his early years in an orphanage and foster homes and grew up to travel the world and enjoy many different social circles. His colorful paintings depict a wide range of subject matter, from buildings, still lifes, florals, image collages, and animals…especially his beloved goat Alice.

Earl, Maud Alice British/American, 1864−1943 Maud Earl was born in London, the daughter of George Earl, one of the most prominent sporting and dog artists in England. She studied under her father learning the importance of canine anatomy. As a Buckingham Palace court painter, Maud Alice painted dog portraits for Queen Victoria and King Edward. In 1916 she immigrated to New York due to the ravages of the World War I. In America she continued to add to her extraordinary body of work.

Fiddian-Green, Nic British, born 1963 Working in his studio near the stables of Wintershall, Surrey, Nic Fiddian-Green is inspired by those horses as live models. His sculptures range in size from smaller to the much larger-than-life Still Water, a 35-foot tall portrayal of a horse’s head as it drinks. Still Water is on public display at London’s Marble Arch. In addition to bronze, Fiddian-Green works in clay, soapstone, marble, and riveted sheet metal.

Earle, Eyvind American, 1916−2000 Eyvind Earle is a noted American animator as well as a designer, painter, and illustrator. His parents had separated by the time of his birth, and he was kidnapped at age 10 by his father, the artist and movie director Ferdinand Earle. He had his first one-person show at age 14 in Ascain, France. That same year he ran away and rejoined his mother, who was living in Hollywood, California. During the Depression he worked as a sketch artist for United Artists Studios. He established an animation company and was known for backgrounds he created for such Disney films as Sleeping Beauty and Lady and the Tramp. He also created a popular line of greeting cards.

Firth, Richard M. British, born 1954 Producing only eight or nine paintings per year, Richard Firth is becoming one of the most sought after marine scene artists currently working. While mainly self-taught, Firth received instruction from well-known marine painter Brian May once he began painting marine subjects such as square riggers. He has exhibited at the prestigious Ferens Museum and Art Gallery in Hull, England.

Edwards, Lionel D.R. British, 1878−1966 Edwards combined his love of the hunt with drawing to create exhilarating paintings full of life. He became the youngest member of the London Sketch Club and was committed to earning a living from his art. He enjoyed a close working relationship with Country Life magazine and The Graphic and then progressed to traditional painting in watercolor and in oils. He ranks just below Alfred J. Munnings as an important 20th century painter of the hunting field. Emms, John British, 1841−1912 Son of an artist, Emms took up the life and focused on painting the horses and hounds of his foxhunting friends in Lyndhurst. Exuberant by nature, he tended to spend a commission check immediately when it arrived. When he fell ill and could not paint, he and his family became nearly destitute. He died

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Giles, Godfrey Douglas British, 1857−1941 Born in Karachi, Pakistan, to Royal Navy Captain Edward Giles, Godfrey Douglas Giles followed his father into military service and attained the rank of major in the British Army. Giles drew upon his experience serving in Afghanistan, Egypt, India, and South Africa to portray realistic military scenes and battles, especially the cavalry horses. He successfully exhibited at both the Paris Salon and the Royal Academy and his images were featured in such publications as Vanity Fair and Black & White Budget. His major works are collected by military organizations in Britain. Gold, Dede Irish, born 1971 A “life’s-too-short” moment led Trinity College-trained solicitor Dede Gold to follow her heart and devote her life to art. Inspired by four-legged subjects, Gold has worked in charcoal, oils, and bronze, capturing the essence and soul of her subjects. Her muses are generally the dogs, Cameo cattle, and cockerels found in the fields and kennels of her Irish countryside.

Gridnev, Valeriy Russian, born 1956 After studying at Sverdlovsk Art College, he enrolled at St. Petersburg Academy of Arts in 1983 and graduated in 1990. His graduation project, The Early Years, won The Gold Medal of the USSR Academy of Arts. Gridnev worked for four years from 1990 at the St. Petersburg Academy of Art’s postgraduate “creative” studio. Since 1999 Gridnev has lived and worked in England. He is a member of the Pastel Society, Royal Institute of Oil Painters, and Federation of British Artists and Royal Society of Portrait Painters. Grosperrin, Claude French, 1936−1977 A painter and lithographer, Claude Grosperrin trained at the Ecole Nationale Superieure des Beaux-Arts, Paris, the Ecole Nationale Superieure d’Art Plastique, and the Ecole Nationale des Arts Appliqués. Shortly after completing his studies, he exhibited his works in Paris at the Galerie A. Weil and at the Galerie Espace. Later he was exhibited widely in France and abroad, including at Wildenstein, Charpenetier, and Durand-Ruel. Various public galleries in France as well as galleries in Cologne, Los Angeles, and San Francisco contain his works. Hall, Harry British, 1814−1882 Exceedingly accurate in his portraits of horses, Hall was employed much as a present-day photographer, rendering lifelike images. He lived mostly in Newmarket but also did some work in London. Hall was extremely industrious, and much of his work was engraved and published. Turf historians rely on the validity of his work for conformational analysis of historic Thoroughbreds. Henneberg, Tony German, born 1966 Born in Kiel, West Germany, Tony Henneberg moved with his parents when he was young to his grandparents’ farm in Rhodesia. The African wildlife and the farm scenery inspired him to start painting. Henneberg works in both watercolor and oils, producing landscapes and wildlife portraits, especially birds. His ability to portray birds has given some to compare him to James Audubon. Henneberg currently lives and works in Pine Plains, New York.

worked in Andre Lhote’s studio. Hilaire was named professor of drawing at Ecole des Beaux-Art in Paris in 1958 after having taught at Ecole des BeauxArts in Nancy. His art won many prizes and was exhibited widely in Europe and he had one-man exhibits in New York in 1954 and 1956. His works vary from paintings, murals, tapestries, and stained glasses to mosaics. Ho, Quang Vietnamese/American, born 1963 Quang Ho came to America with his family at age 12 in 1975. His interest in art was apparent as early as age 3, and he graduated from the Colorado Institute of Art in 1985 with the Best Portfolio Award. He continues his interest in art and education as a teacher at the Denver Art Students League. After graduation, Ho was promoted by art dealer Mikkel Saks, and the artist’s clients have included Adolph Coors Company, Upjohn, Safeway, The Colorado Symphony, and the Chicago Symphony. Howell, Peter British, born 1932 Introduced to the world of racing at age 8, Howell spent his school holidays at Newmarket. He chose to pursue a racing career instead of art school, which actually helped the Welshman when he later made the switch to full-time painting in the 1960s. He lives in the quiet countryside of Devon when he is not traveling to racetracks and stables all over the world. Howell-Sickles, Donna American, born 1949 Donna Howell-Sickles is a cowgirl born in Gainesville, Texas, and raised on a 900-acre ranch. She earned a BFA at Texas Tech in Lubbock. A vintage postcard from circa 1930 with the title of “Greetings from a Real Cowgirl from the Ole Southwest” inspired her career. From the image of a cowgirl in period costume waving at the reader, she began producing works rich in symbolism and classical mythology. Working in mixed media, she often uses charcoal, pastel, and oils. Her works are in major collections, including the Cowgirl Hall of Fame in Fort Worth, Texas; the Buffalo Bill Historical Center in Cody, Wyoming; and the Booth Western Art Museum in Cartersville, Texas.

Herring, John Frederick Jr. British, 1820−1907 Known to his contemporaries as “Fred,” the junior Herring painted farm and equestrian scenes similar in subject matter and style to those of his father. His paintings are chiefly distinguished from those of J. F. senior by the intricate detail put into the appearance of straw and grass, such that the overall painting develops a “worrying appearance.”

Humphrey, Lesley British, born 1957 Being the daughter of a commercial artist and painter, Humphrey has always been involved with art. Her art has been influenced by Sir Alfred Munnings and the Russian itinerants — Nicolai Fechin and Wassily Kandinsky — and most recently Richard Diebenkorn. Humphrey has served as the official artist of the Kentucky Derby and has works in prominent collections throughout Britain and the U.S.

Hilaire, Camille French, 1916−2004 Born in Metz, Hilaire moved to Paris to study at L’Ecole des Beaux-Arts and

Jacquemart, Henri Alfred French, 1824−1896 Jacquemart studied both painting and sculpture at L’Ecole des Beaux-Arts de

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Paris as a pupil of Paul Delaroche. He exhibited at the Paris Salon from 1847 to 1879, winning numerous awards. Jacquemart produced major commissioned works in Egypt and Turkey but gained fame through his commissions of monuments in France. He became a Chevalier of the Legion d’Honneur. Jones, Adrian British, 1845−1938 A sculptor and painter of considerable renown, Adrian Jones specialized in animals, most notably horses. He studied at the Royal Veterinary College and served as a veterinary officer in the Royal Horse Artillery. After an extensive military career he set himself up as an artist and exhibited at the Royal Academy as early as 1884. His public works include the equestrian sculptures Peace Descending on the Quadriga of War on the Wellington Arch at Hyde Park Corner and the statue of Prince George, Duke of Cambridge, in Whitehall, both in London. Kesteven, Abel British, born 1969 Kesteven enjoys the challenge of capturing the interaction between people and horses, especially the challenge of the fast pace. While working almost exclusively from life using conte pastels, Kesteven finds he can gain maximum color and movement with that fast medium. His work has been selected for the annual Pastel Society exhibition held at the Mall galleries near Buckingham Palace. King, Alexa American, born 1952 King’s ability to capture the unique vitality and essence of her living subjects in bronze has brought her national renown and made her work some of the most sought after by discriminating collectors. Public and private commissions include a life-sized War Memorial bronze at Camp Atterbury in Indiana; a trophy, Going to the Post, for the Breeders’ Cup Limited; and the Dogwood Dominion Award presented annually by Dogwood Stables in Aiken, S.C. King’s most recent commission is the sculpture of Barbaro on display at Churchill Downs. She is an elected member of the National Sculpture Society. Kirk, Juli American, born 1957 Kirk’s affinity for animals is apparent in her equine and animal portraits, her specialty of choice. A cum laude graduate of Boston University’s School of Fine Arts, Kirk also attended Queen’s College and the New York Studio School in New York as well as Cabrillo College and the University of Santa Cruz in California. Kirk’s impressionist style has great exuberance and animation. Klaasse, Piet Dutch, 1918−2001 Piet Klaasse was a Dutch illustrator and professor. In addition to his illustrations,

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Klaasse also instructed drawing and illustration classes in Amsterdam. Klaasse won the 1980 Golden Brush Award for his children’s book illustrations. When he was not working as an illustrator, his favorite artistic subjects were horses and bulls. His first one-man exhibition, held in Utrecht in 1964, featured those subjects. Konrad, Ignac Hungarian/French, 1894−1969 Ignac Konrad was a painter, sculptor, and an engraver. He studied at the Fine Arts Academy in Budapest in his native Hungary. After serving seven years as a prisoner of war in Russia during World War I, he returned to Budapest and became a professor in 1921. He painted the Thoroughbreds of the foremost Hungarian stables. He was commissioned by American Thoroughbred breeder Ralph Beaver Strassburger to paint Man o’ War, Fair Play, High Time, Bubbling Over, Black Servant, and as many as five other stallions. Lalanne, Jean-Bernard French, born 1952 Born in Madagascar, Lalanne grew up in the southwest of France. He attended the Ecole Supérieure d’Art des Pyrénées de Pau. Lalanne painted while supporting himself as a policeman, the occupation of his father. Lalanne came to Colorado to work with American painter Kim English after winning a painting competition in the Paris suburb of Vincennes. His recent works have focused on life in the Pyrenees, including the racing bulls in Spain and Andalusian horses. He regularly exhibits at shows in Paris and Bayonne, France. Lawson, T. Allen American, born 1963 The American West is a part of T. Allen Lawson’s art and life, as he was born and raised in Sheridan, Wyoming. A lifelong student of art, Lawson studied professionally at the American Academy of Art in Chicago and the Lyme Academy College of Fine Art in Old Lime, Connecticut. He recreates his vision of the world of nature around him by building layers of texture and pigment. He has been widely exhibited in galleries in both the East and West. Leftwich, George Robert British, fl. 1875−1880 George Robert Leftwich was a British painter who hailed from Cheshire. He was known for depicting racehorses, street scenes, and landscapes. Leftwich Hall, which he painted in watercolor, was the family home until 1616. Members of the Leftwich family immigrated to America and became prominent across the South. Lyne, Michael British, 1912−1989 A precocious child, Lyne illustrated and dictated two small books at age 4. Lyne took a few lessons at the Cheltenham Art School but was mainly a self-

taught artist. His skillful portrayal of light ranges from razor-sharp contrast to muted, diaphanous glow. He held many exhibitions in London, New York, and elsewhere in the United States. Lyon, Susan American, born 1969 Susan Lyon grew up in Oak Park, Illinois. Her initial interest in art was sparked by a television show on Georgia O’Keefe. Lyon studied painting at the American Academy of Art in Chicago and the respected Palette and Chisel Club, where she first began exhibiting and selling her work. Lyon draws much inspiration from painters such as Richard Schmid, Nancy Guzik, Anders Zorn, John Singer Sargent, Joaquin Sorolla, and Cecelia Beaux. Lyon’s technique is to paint wet on wet with a balance of scratchy brushwork against thick, opaque strokes for the lights. Lyon lives in a rural area of North Carolina with her husband, artist Scott Burdick. Malone, Booth American, born 1950 A member of the American Academy of Equine Art, Booth Malone has been the official artist of numerous equestrian events, including the Breeders’ Cup and the Virginia Gold Cup. He is also a member of the Oil Painters of America and the Portrait Society of Atlanta (member of merit). A visual design major, Malone is influenced by Sir Alfred Munnings, John Singer Sargent, and N.C. Wyeth. Mangan, Stephen Scottish, born 1964 Born in Edinburgh, Stephen Mangan studied art at the Duncan of Jordanstone Art College in Dundee. Mangan has developed a distinctive style of figurative portrayal. His works include unique human forms in a variety of backgrounds, such as the racecourse, the beach, the train station, and more. His paintings are held in private and public collections, including the Metropolitan Museum of Art in New York and the Royal Scottish Academy. Mason, Roy Martell American, 1886−1972 Roy Mason’s knowledge of hunting, fishing, and the outdoors gave him the ability to portray not only sporting life but an endless backdrop of themes. Raised on a farm, Mason had early instruction in drawing from his father who was himself an engraver. Self-taught through correspondence courses, Mason won the gold Medal of Honor of the American Watercolor Society in 1961. He was also an illustrator for Reader’s Digest and True magazines. Maughan, Brian American, born 1942 Brian Maughan, a native of Calgary, Canada, had the direction of his life set in his 20s when he first saw Michelangelo’s David. He attended the San

Francisco Art Institute, earning a BFA and an MFA. His predominant medium is sculpture in ceramic clay, which is then cast in bronze. Maughan’s equine sculptures include Misty of Chincoteague on exhibit at the original Beebe Ranch at Chincoteague, Virginia, and at the Kentucky Horse Park. Other public works include statues of major league baseball players Hank Aaron and Robin Yount, radio announcer Bob Uecker, and Major League Baseball Commissioner Bud Selig at Miller Park in Milwaukee. Mehl, Joanne American, born 1960 A lifelong devotee of painting and riding horses, Mehl earned her fine arts degree in illustration from the Art Center College of Design in Pasadena, California. Since 1996 Mehl has painted full time, being commissioned from across the country to paint both horses and owners. Her works have been featured on the cover of many national publications, including Keeneland magazine, and are in the collections of many Thoroughbred farms. Menasco, Milton American, 1890−1974 Born in California, Menasco had a rich and full career as an artist before he devoted his rare genius to equestrian art. In 1948 he left his position with a large New York advertising agency and moved to Kentucky. His work is characterized by a sound understanding of anatomy. Many prominent names in American horse racing were among his clients. Mêne, Pierre-Jules French, 1810−1879 Son of a metalsmith, Mêne was a talented artist, especially in animal sculpture. He exhibited at the Paris Salon of 1838 while still in his 20s, and he became one of the most appreciated sculptors of the animalier school. Mêne enjoyed a fulfilling life in Paris, producing bronzes from his own foundry with his son-inlaw, Auguste Cain. Munnings, Sir Alfred James British, 1878−1959 One of the two great masters of sporting art along with George Stubbs, Munnings began as an illustrator after attending art school in Norwich. A keen sportsman, he hunted with both stag hounds and harriers, drawing and painting these events. Although he lost sight in one eye at age 21, his unique artistic vision and interpretation were unimpaired. Working in oils and watercolors and sketching wherever he went, Munnings documented racing and hunting horses, gypsies, and the sporting country life that he himself lived. Muss-Arnolt, Gustav American, 1858−1927 Born in Germany in 1858, Gustav Muss-Arnolt immigrated to New York

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City around 1890. He later made his home in Tuckahoe, New York. Along with fellow artists Percival Rosseau and Edmund Osthaus, he specialized in the portraiture of sporting dogs. Muss-Arnolt was not only an artist but a licensed dog judge as well. He had more than 170 illustrations published by The American Kennel Club Gazette. His works are in the collections of The American Kennel Club, The AKC Museum of The Dog, and The Genessee Country Sporting Museum. Neiman, LeRoy American, 1921−2012 Born in St. Paul, Minnesota, Neiman studied at the Art Institute of Chicago where he also taught for 10 years before moving to New York in 1962. He gained renown as official artist for ABC Television’s coverage of the Olympic Games of 1972 and 1976, and as CBS artist for the 1978 Super Bowl. In addition, he was an official poster artist for the Kentucky Derby. Neiman’s work is found in many museums and private collections. Newmark, Marilyn American, 1928−2013 Marilyn Newmark, who grew up in Long Island horse country, sketched horses as a child and began sculpting them as early as her teen years. After college she worked and studied with renowned horse illustrator and author Paul Brown. She first worked in ceramics and switched to bronzes in 1969. Her sculptures are not only widely collected but also used as trophies for major horse shows, including the Hacking Home sculpture at the Madison Square Garden. Her love of and devotion for the horse are obviously expressed in her works. Oppegard, Sandra Faye American, born 1941 A graduate of the Art Center College of Design in Los Angeles, Oppegard worked as a freelance illustrator for 23 years for clients such as Max Factor, Redken, Giorgio, and Mattel Toys. Her knowledge of Thoroughbred racing, gleaned from years spent watching her husband train race horses and traveling with him to tracks around the country, imbues her equine scenes with authenticity. Oppegard has exhibited widely and has won numerous awards. Pater, Andre Polish/American, born 1953 Now a resident of Lexington, Kentucky, the Polish-born artist received his master’s degree from the Academy of Fine Arts in Krakow. Arabian horses were his first subjects, and he was quickly one of the most sought-after painters of this breed. In the late 1980s he developed a love of the Thoroughbred and again has risen to the top of his field with racing scenes as well as portrayals of hunting dogs, cattle, and wildlife.

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Pintrand, Hubert French, born 1967 Trained as an art historian, Hubert Pintrand earned a degree in art history from the Ecole du Louvre and University Clermont II. Pintrand’s first works were decorative paintings and murals in private and public domains. He became acquainted with the hunting world through an exhibition at the castle of Bresse sur Grosne. Pintrand was fascinated with the relationships that existed within the hound packs. From his base in Burgundy, he draws inspiration by following local hunts. Poore, Henry Rankin American, 1859−1940 As a student at the University of Pennsylvania, Henry Rankin Poore gained recognition when the New York Times praised his illustration in a new edition of The Night Before Christmas. He later studied at the Pennsylvania Academy and the National Academy of Art. At age 30 he won the grand prize at the American Art Association exhibition. His works include rural landscapes, sporting art, and human and animal portraits. Poore was also a great arts educator, being a founder of the Old Lyme Art Colony and a teacher at the Chautauqua Art School and Pennsylvania Academy of Fine Arts. He was widely published as both an art critic and author. Quinn, David British, born 1959 A 1982 graduate with a B.A. First Class Honours in Graphic Design (illustration) from Manchester Polytechnic, Quinn won the 1987 “Bird Illustrator of the Year Award” from the British Birds magazine. Among the publications to feature Quinn’s illustrations are the Helm Identification Guides and the National Geographic Guide to New World Warblers. Reeves, Richard Stone American, 1919−2005 Quite simply, Richard Stone Reeves is among the very top of American equine portraiture artists, ranking him with such names as Edward Troye, Henry Stull, and Franklin Voss. A direct descendant of 19th-century portrait painter Thomas Sully, Reeves was trained at the Syracuse University School of Fine Art. His commissions included hundreds of the most famous racehorses from around the world. Revennaugh, Stephanie American, born 1973 Award-winning sculptor Stephanie Revennaugh delights horse lovers and art collectors alike with her works. Her lifelong affair with horses, from her childhood pony Clipper to show jumpers in South America to dressage horses in Colorado, has taught her well the equine anatomy that a classic equine sculptor needs. Revennaugh studied painting for three years in Colorado, Arizona, and Aix-en-

Provence, France; however, she knew she needed to sculpt as soon as her hands first dug into clay. Rowlandson, George Derville (G. D.) British, 1861−1928 A British painter and illustrator, G. D. Rowlandson covers a wide range of subject matter with his art. Born in India, he studied at the Gloucester Art School and later in London and Paris, starting his professional career as an illustrator working at The Illustrated London News and the English Illustrated Magazine. He exhibited both oil and watercolors at the British Institution and the Royal Institute of Painters in Watercolours. Sawyier, Paul American, 1865−1917 Kentucky’s most popular artist of the past, Paul Sawyier was born in Ohio and moved at a young age with his family to Frankfort, Kentucky, where his maternal grandmother lived. His father recognized his ability early on and hired an art tutor for his son. Sawyier studied art extensively, including stints at the Cincinnati Art Academy and the Art Student’s League in New York City. A stylistic eclectic, he often adapted aspects of Impressionism in his art but also painted in the moody, darker mode of American tonalism. Schenck, August Friedrich Albrecht German/French, 1828−1901 Born in Glückstadt, Germany, August Friedrich Albrecht Schenck moved to France as a young man to study with French history and portrait painter Léon Cogniet. Schenck studied at the École des Beaux-Arts in Paris and had his first exhibition at age 27. Schenck had a robust career, showing at the Paris Salon for more than 30 years. Well known for his landscapes and animal paintings, he was knighted into the Legion of Honour in 1885. Possibly his most famous work is Anguish, a depiction of a ewe standing guard over her dying lamb against a circle of waiting crows, which now hangs in the National Galley of Victoria in Melbourne. Shackelton, Keith British, 1923−2015 British painter Keith Shackleton concentrated on landscape views and animals. He also produced limited edition prints. He was a friend of the conservationist and fellow painter Peter Scott, and they visited Antarctica together. He was also a presenter on the BBC children’s television program Animal Magic. A retrospective exhibition of his polar art, depicting creatures and scenery from both the Arctic and Antarctic, was at the Scott Polar Research Institute in 2007. He published two books: Ship in the Wilderness: Voyages of the MS Explorer through the Last Wild Places on Earth in 2001 and Keith Shackleton: An Autobiography in Paintings, his 1998 memoir.

Simpson, Charles Walter British, 1885−1971 Charles Walter Simpson produced paintings in oil, watercolor, and tempera of landscapes, hunting scenes, marine scenes, and studies of animals and birds. He studied art in Paris at the Academie Julian and worked with both Sir Alfred Munnings and Lucy Kemp-Welch. Simpson was a member of the Royal Institute of Painters in both watercolor and oil. He was widely exhibited and recognized during his life. Skeaping, John R. British, 1901−1980 Skeaping began his formal artistic training at 13 and was successful from an early age. This individualistic artist also served as an intelligence officer, traveled extensively, and taught art, finally settling in the Camargue in France. His work is dynamic and experimental, exploring many media: oil, gouache, pastel, wood, and bronze, with subjects ranging from racing scenes to horse portraits to architectural sculptures. His range and skill made him one of the great artists of the 20th century. Sloane, Eric American, 1905−1985 Eric Sloane had an abiding interest in and love for New England life and folk culture, Americana, and daily Colonial life. He was both a landscape painter and a folk history author. He trained at the Art Students League of New York. Sloane first painted in the tradition of the Hudson River School and later spent time in Taos, New Mexico, which added another layer of interest to his works. A prolific artist, Sloane produced more than 15,000 works. He wrote many books on woodworking and the tools of that craft, on folk wit and wisdom, and volumes on Colonial era life. Smith, Brett James American, born 1958 His early introduction to sporting art came from his father, who worked professionally as an illustrator and moonlighted as a fine artist. Sportsmen nationwide collect Smith’s work because it is not only visually exciting, but also authentic and displays his intimate knowledge of the sporting experience. His preferred media are transparent watercolor and oil. Smith, Peter British, born 1949 While British by birth and parentage, Smith feels his artistic talent stems from his grandfather, who hailed from Portugal and painted for most of his life. Since childhood Smith has been passionate about both horses and art. His extensive knowledge of how a horse moves and his well-worn copy of George Stubbs’ Anatomy of the Horse yield the realistic results of his art. From his home five miles from Ayr Racecourse, he portrays the life of Thoroughbreds from training to race day.

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Smith, Suzy F. American, born 1951 Suzy F. Smith, a Kentucky native, grew up riding horses across a Thoroughbred breeding farm. She began to draw and paint as a child with an interest in horses, dogs, and people. Married to a cattleman who is an avid wing shooter, Smith has found inspiration in their cattle herds and hunting dogs as well as in the splendid horses and talented horsemen of the region. She has sought instruction from other notable national and international sporting artists and considers Alfred Munnings, John Emms, Edgar Degas, Rosa Bonheur, and Maud Earl some of her favorite animal artists. Her work has been juried into The Pastel Society of America’s annual competition in New York City and has been exhibited in venues such as the Birmingham Spring Home and Garden Show in Alabama. Her work can be seen through Cross Gate Gallery and Chisholm Gallery. Spat, Gabriel American/French, 1890−1967 Born in New York City, Gabriel Spat worked primarily in France, but on occasion returned to New York. Working in oils and watercolors with bright colors and loose brush strokes, he paints in the style of classic impressionism. His subject matter varies from still life to street life, from dancers to racehorses, but most all are done in a small-scale format he learned from his thrifty artistic beginnings. Spitzmiller, Walter “Walt” American, born 1944 Walt Spitzmiller has achieved renown as one of the foremost sporting artists in the world, especially the world of golf. He was commissioned by the PGA Tour for the portraits of lifetime achievement awards for the World Golf Hall of Fame in St. Augustine, Florida. His introduction to the Thoroughbred world was in the early 1980s at training centers in New York, Florida, and Chantilly in France. His first depiction of horses in art came when he followed American rodeo in the 1970s. Stannard, Eloise Harriet British, 1828−1915 A lifelong resident of Norwich, England, Eloise Harriet Stannard was the daughter of landscape painter and art teacher Alfred Coppin and the niece of painters Joseph and Emily Coppin Stannard. All were members of the Norwich School of painters, Britain’s first provincial art movement. Her painting style was obviously influenced by traditional Dutch still life painting. She is considered one of Britain’s finest still life painters. Stull, Henry American, 1851−1913 Son of an Ontario coach driver, Stull landed in New York to pursue a career as an actor, got a job with an insurance firm, began to sketch pictures of boats and horses, and found his way to the staff of Leslie’s Illustrated. There he began to produce commissions for Mr. August Belmont, Sr., and his career painting

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racehorses took off. Primarily an illustrator, his work is exceedingly accurate, especially regarding the color of the horse. He painted for many famous scions of the Turf, including his longtime patrons, Pierre and George Lorillard. Taylor, Jo British, born 1969 Born in Lancashire, Taylor studied at Leeds Metropolitan University from 1988 until 1991. She has exhibited in numerous one-woman shows throughout England, including The National Horseracing Museum at Newmarket. Her pieces were included in a show at the Royal Academy in London, and she was commissioned for works on several Cheltenham Gold Cup runners. Taylor has exercised racehorses in Newmarket and feels it is necessary always to work from life. Townsend, Lee American, 1895−1965 A horse lover from childhood, Townsend was fascinated with racing. After a short stint working in his brother’s livery stable and two years’ study at the Art Institute of Chicago, he became an illustrator in New York. After a trip to Paris in 1927, he gave up illustrating and devoted himself to horse racing, painting racing scenes at both well-known and obscure tracks. von Schmidt, Harold American, 1893−1982 Harold von Schmidt was a prolific illustrator and painter, with works appearing on the covers of the Saturday Evening Post, Sunset, Cosmopolitan, American, and other magazines for more than 20 years. A native Californian, von Schmidt first studied with F. H. Meyers at the California College of Arts and Crafts and later the San Francisco Art Institute and Grand Central School of Art in New York City. His works are in the collections of the National Cowboy Hall of Fame, Oklahoma City; California State Capitol, Sacramento; Montana Historical Society, Helena; United States Air Force Academy, Colorado Springs; and United States Military Academy, West Point, New York. Voss, Franklin Brooke American, 1880−1953 From a family of sportsmen and artists, Voss studied at the Art Students League in New York, foxhunted and rode races in New York and Maryland, and painted racehorses and hunting horses for his sportsmen friends. Completing more than 500 commissions in a period between 1920 and 1950, Voss died as he would have liked — foxhunting with the Elkridge-Harford Hounds near his Maryland farm. Waddell, Theodore American, born 1941 A cattle rancher and painter, Waddell lives on the Musselshell River northwest of Billings, Montana. He studied at the Brooklyn Museum Art School, Eastern Montana College, and Wayne State University, Detroit, from which he earned

his master’s degree. His works have been described as “sophisticated modernist paintings” and have been exhibited across the country, including the San Francisco Museum of Modern Art. Waite, Charles W. American, 1854−1919 Born in Illinois to an English-born doctor, Charles W. Waite moved with his family as a young boy to Latonia in northern Kentucky. Early on Waite was an educator by profession and served as the principal of the Latonia public school for eight years. He reportedly studied at the Ohio Mechanics Institute in Cincinnati and was a student of the famed art teacher Frank Duveneck. A member and an officer of the Cincinnati Art Club, Waite became well known as a local landscape artist. His most noted painting is The Mysterious Cross, which portrays Christ holding a cross that is visible only in certain lighting. His secret process for hiding images was used in many of his landscapes. Wertheimer, Gustave Austrian, 1847−1904 A native of Vienna, Austria, Gustave Wertheimer studied under Joseph von Fuhrich at the Academy of Fine Art in Vienna and Wilhelm von Diez at the Royal Academy of Fine Arts in Munich, Germany. Wertheimer moved to Paris, where he remained. He successfully exhibited in Europe’s major capitals as well as in America. Wheeler, John Alfred British, 1851−1932 Alfred Wheeler was born near Bath in Somerset to John Alfred Wheeler (1821−1877), who retired early from the army to pursue a successful painting career. Wheeler is thought to have studied under his father and to have worked closely with him. He married Catherine Muspratt in 1874 and moved next door to his father at Raglan Villas, Bath. Alfred then followed his father when he moved to Hanwell. Alfred and Catherine had six children, two of whom became artists: Walter Herbert and John Frederich. The Wheeler family specialized in sporting subjects such as horse racing and fox hunting. They were also commissioned frequently for animal portraits. Alfred Wheeler and his father are often confused due to their extremely similar styles and their signatures. Alfred’s work is thought to be less prolific, even though he contributed to many of his father’s paintings toward the end of the elder Wheeler’s life. Wheeler, Larry Dodd American, born 1942 This distinguished painter received his formal training at the Maryland Institute College of Art and the Institute’s Hoffberger School of Painting. Wheeler has served as the painting conservator for both the Corcoran Gallery and the Smithsonian Institution in addition to teaching at the Maryland Institute. His skilled work is in great demand and hangs in the Supreme Court Building and the Federal Building in Washington and in many private collections.

Whitcombe, Susie British, born 1957 Whitcombe studied at the Heatherley School of Art in London and has been painting portraits of horses and people in oil and watercolor for more than 30 years. She has exhibited in London, Tokyo, and Melbourne. A versatile sportswoman, she has ridden races as an amateur jockey and is also a pilot, handling Super Cubs and Tiger Moths with ease. Winskill, Bernard British, died 1980 Bernard Winskill had a childhood love for horses, working at Lord Dudley’s stud farm and even breeding horses on his own. Winskill attended both St. Martin’s School of Art in London and the Kennington School of Art, concentrating on sculpture. His incredible attention to detail led to numerous commissions for a series of famous military commanders on horseback. He worked in the traditional lost-wax casting method, and many of his models were cast in bronze by the Royal Worcester foundry. Wolf, Cindy American, born 1946 An accomplished horsewoman, Wolf attended William Woods College in Fulton, Missouri, graduating with a bachelor of arts degree in history. She apprenticed with a Colorado foundry before artist Chuck Quigley helped her set up her bronze studio in her home in Kentucky. Wolf is known for her expressive portrayals of horses, maintaining a fine balance between traditional and contemporary interpretation. Wootton, Frank British, 1911−1998 Frank Wootton was born in Millford on Sea, Hampshire, and was raised by his widowed father. He attended the Eastbourne School of Art at age 17. In the early 1930s he became a book illustrator. He authored books on art instruction, with his most successful being How To Draw Aircraft. He volunteered for the Royal Air Force during World War II and was commissioned official war artist to the R.A.F. and the Royal Canadian Air Force. His talent as a landscape and equestrian artist after the war led him to become the vice president of the Society of Equestrian Artists. Wright, George British, 1860−1942 The Wright family of Leeds, England, is known to have produced three noted artists. Brothers George and Gilbert Wright were respected equestrian-themed artist, and their sister Louise Wright was a fashion illustrator for catalogs and magazines. The subject matter for George Wright’s paintings included hunting, racing, and polo scenes; however; coaching scenes are his most appreciated work. George Wright was exhibited at the Royal Academy, as well as other venues, from 1892 through 1933.

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CONDITIONS OF SALE

THESE CONDITIONS GOVERN THIS SALE: This Fifth Annual Sporting Art Auction (“Sale”) is governed by these Terms and Conditions of Sale (“Conditions of Sale”), as may be amended by KCG Enterprises, LLC d/b/a The Sporting Art Auction (“KCG”) by the posting of notices or by oral announcements made during the Sale from the auctioneer’s stand or otherwise (such notices and announcements shall be collectively referred to herein as the “Announcements”) (collectively, the “Conditions of Sale” and “Announcements” shall be referred to herein as the “Conditions,” or, individually, a “Condition,” as the context permits). All Sellers, agents, consignors, owners, prospective bidders, Purchasers, all other interested parties and all sales are therefore bound by and subject to these Conditions. By participating in the Sale, you acknowledge that you are bound by these Conditions. Under these Conditions, “Seller” means a person or entity, including such person or entity’s agent (other than KCG), consignor, successor-ininterest, executor, trustee or personal representative, offering property for sale or selling all or any interest in property sold at this Sale, and is referred to as “Owner” in the Consignment Agreement. “Purchaser” means a person or entity making the highest bid or offer accepted by the auctioneer at the fall of the hammer, and includes such person or entity’s principal when bidding as agent. KCG AS AGENT. Except as otherwise stated, KCG acts as agent for the Seller pursuant to the Consignment Agreement. The contract for sale of the property in this Sale is therefore made between the Seller of the property and the Purchaser. PRESALE EXAM. All prospective purchasers and bidders are urged to examine carefully and personally (or by agents, as the principal deems appropriate) the property in which you may be interested to determine its condition, size and whether it has been repaired or restored, etc. BEFORE the Sale and BEFORE bidding, as you are accepting any property purchased with all faults, including all

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conditions and defects, except for the Limited Warranty set forth in the Limited Warranty of Authorship Condition. Neither KCG nor SELLER provides any guarantee or warranty of any kind in relation to the nature of the property apart from the Limited Warranty in the Limited Warranty of Authorship Condition. Except for the Limited Warranty in the Limited Warranty of Authorship Condition, the property is sold “AS IS,” with all faults and defects. PRIVACY NOTICE. Notice is hereby given to all participants that KCG may record any or all portions of the Sale by video, audio or other means, which may be used by KCG or its affiliates in KCG’s sole discretion. You consent to the use, reproduction and distribution of such recordings, biographical and other information or descriptions, and images that may be provided, for inclusion in the catalogue or other marketing of the Sale or for any other advertising or promotional purpose by KCG or its affiliates, as deemed appropriate by KCG in its sole discretion. RIGHT OF EXCLUSION. KCG expressly reserves its common-law right, at its sole discretion, to refuse admission to the premises or participation in any Sale and to reject any bid; provided, however, such refusal shall not be made on the basis of race, creed, color, national origin, sex, sexual orientation, political affiliation or beliefs. By accepting the license granted to the public by KCG to attend the Sale, you agree to be bound by these Conditions. CATALOGUE AND DESCRIPTIONS. All statements in the catalogue entry for property, or made orally or in writing elsewhere, are statements of opinion and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by KCG of any kind. References in the catalogue entry to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to

particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Except for the Limited Warranty set forth in Condition 9, neither KCG nor Seller is responsible in any way for errors and omissions in the catalogue, Announcements, or any supplemental materials. You are responsible for satisfying yourself concerning the condition of the property and the matters referred to in the catalogue entry, the Announcements, and any supplemental materials. BIDDING BIDDING BY LOT. Unless otherwise stated in these Conditions, all bids are per lot as numbered in this catalogue. DISCLOSURE AND RESERVE. In accordance with KRS 355.2-328(4) and other applicable laws, the right to bid in this Sale is reserved for all Sellers, including their disclosed and undisclosed agents, unless otherwise announced at time of Sale. Purchasers therefore agree and acknowledge that Sellers have the right to set reserves implemented by the auctioneer upon property so entered which are not disclosed to Purchasers and also have the right to conduct bybidding as related to their entries. No reserve will exceed the low presale estimate stated in the catalogue, or as may be amended by the Announcements. KCG may implement such reserve by opening the bidding on behalf of the Seller and may bid up to the amount of the reserve, by placing successive or consecutive bids for a lot, or bids in response to other bidders. In instances where KCG has an interest in the lot other than its commission, it may bid up to the reserve to protect such interest. Sales results reported by KCG may or may not reflect the fair market value of any property going through the Sale. REGISTRATION. A prospective purchaser must complete and sign a Purchaser Registration Form and such other forms as KCG, in its sole discretion deems appropriate, and provide identification before bidding. KCG, in its sole discretion, may require the production of financial references, guarantees, deposits and/or such other security as KCG deems appropriate.

BIDDING AS PRINCIPAL. When making a bid, a bidder is accepting personal liability to pay the entire Purchase Price, which shall mean the aggregate sum of (i) the highest bid recognized by the auctioneer at the fall of the hammer (the “hammer” price), plus (ii) the Buyer’s Premium (as hereinafter defined), (iii) all applicable taxes, and (iv) all other applicable charges, which may include, for example, an additional fee and commission when bidding online (the amounts set forth in subparts (i) through (iv) of this paragraph (d) shall be collectively referred to herein as the “Purchase Price”), unless it has been explicitly agreed in writing with KCG before the commencement of the Sale that the bidder is acting as agent on behalf of an identified third party acceptable to KCG, and that KCG will only look to the principal for payment. AUCTIONEER’S DISCRETION. The auctioneer has absolute and sole discretion with respect to bidding, to refuse any bid, to advance the bidding in such a manner as he may decide, to withdraw or divide any lot, to combine any two or more lots, and, in the case of error or dispute, whether during or after the sale, to determine the successful bidder, to continue or re-open the bidding, to cancel the sale or to re-offer and re-sell the item in dispute. If any dispute arises after the sale, KCG’s sale record is conclusive. KCG, in its absolute and sole discretion, may execute order or absentee bids and accept telephone bids and online bids and will use reasonable efforts to carry out such bids; provided, however, KCG shall not be responsible for and does not accept any liability for any errors or omissions in connection therewith. These Conditions control and govern all sales through KCG. BIDDING. KCG RESERVES THE RIGHT TO REJECT ANY BID. Subject to the auctioneer’s discretion, as defined in paragraph (e) of this Condition 6, the highest bidder accepted by the auctioneer will be the Purchaser and the striking of the auctioneer’s hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the Seller and the Purchaser. BUYER’S PREMIUM. As part of the Purchase Price, Purchaser agrees to pay to KCG a Buyer’s Premium, plus any applicable taxes and fees.

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The “Buyer’s Premium” is fifteen percent (15%) of the hammer price of each lot up to and including $500,000, plus twelve and onehalf percent (12.5%) of the hammer price of each lot in excess of $500,000 up to and including $1,000,000, plus five percent (5%) of the hammer prices of each lot in excess of $1,000,0000. The parties acknowledge there may also be a Seller’s Premium, pursuant to the terms of the Consignment Agreement. OBLIGATIONS OF PURCHASER PAYMENT OF PURCHASE PRICE; TITLE AND RISK OF LOSS; DEFAULT; REMEDIES FOR NON-PAYMENT; GRANT OF SECURITY INTEREST. Subject to fulfillment of all of the conditions set forth herein, on the fall of the auctioneer’s hammer, the contract between the Seller and the Purchaser is concluded, and the Purchaser thereupon will immediately pay the Purchase Price to KCG. Title and risk of loss in a purchased lot (including frames or glass where relevant) will not pass to the purchaser until KCG has received the full Purchase Price in cleared funds. KCG is not obligated to release a lot to the Purchaser until title to the lot has passed and any earlier release does not affect the passing of title or the Purchaser’s unconditional obligation to pay the Purchase Price. If Purchaser fails to make timely payment of the full Purchase Price in cleared funds, the Purchaser will be in default and KCG, at its option, may exercise one (1) or more of the following rights or remedies (in addition to asserting any other rights or remedies available to KCG by law): (i) to impose from the date of Sale a late charge of eighteen percent (18%) of the total Purchase Price per annum if payment is not made within seven (7) days from the date of the Sale; (ii) to hold the defaulting purchaser liable for the total Purchase Price and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iii) to cancel the sale of the property; (iv) to resell the property, whether at public auction or by private sale; (v) to elect to pay the Seller any portion of the sale proceeds; (vi) to set off against any amounts KCG or any of its affiliates may owe to the defaulting purchaser in any other transactions, the outstanding amout remaining unpaid by the defaulting purchaser; (vii) where amounts are owed by the

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defaulting purchaser to KCG or any of its affiliates, in respect of different transaction, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the defaulting purchaser so directs; (viii) to reject at any future auction any bids made by or on behalf of the defaulting purchaser or to obtain a deposit from the defaulting purchaser before accepting any bids; (ix) to exercise all the rights and remedies of a person holding security over any property in KCG’s possession owned by the Purchaser, whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law; or (x) to take such other action as KCG deems necessary or appropriate. If KCG elects to resell the property under subparagraph (iv) above, the defaulting purchaser will be liable for payment of any deficiency between the total amount due to KCG and the price obtained upon resale as well as any and all costs, handling charges, late charges, expenses of both sales, KCG’s commissions on both sales at KCG’s regular rates, legal fees and expenses, collection fees and incidental damages. If KCG pays any amount to the Seller under subparagraph (v) above, the Purchaser acknowledges that KCG shall have all of the rights of the Seller, however arising, to pursue the Purchaser for such amount. In addition, each Purchaser grants and assigns to KCG a continuing security interest of first priority in any property or money of or owing to such Purchaser in KCG’s possession or in the possession of any of its affiliated companies, and KCG may retain and apply such property or money as collateral security for the obligations due to KCG. KCG shall have all of the rights accorded a secured party under the Kentucky Uniform Commercial Code. KCG may file financing statements under the Kentucky Uniform Commercial Code (or any such applicable uniform commercial code if Purchaser is not a resident of Kentucky). Any claims relating to any purchase, including any claims under the Conditions, must be presented directly to KCG. REMOVAL OF PURCHASED PROPERTY; DEFAULT. Unless otherwise agreed by KCG, all property must be removed from KCG’s premises by the Purchaser at Purchaser’s expense not later than fourteen (14) calendar days following the Sale. KCG’s liability for loss or damage to sold property shall cease no later than fourteen (14) calendar days after the Sale. Where purchases are not collected

within fourteen (14) calendar days from the date of the sale, whether or not payment has been made, KCG shall be permitted to remove the property to a third party warehouse at the Purchaser’s expense, and only release the items after payment in full has been made of removal, storage, handling, insurance and any other costs incurred, together with payment of all other amounts due to KCG. PACKING, SHIPPING AND INSURANCE. The Purchaser is solely responsible for packing, shipping and insuring (including reimbursement for damage or loss) purchased lots and will bear all costs associated therewith. KCG is not responsible for the acts or omissions in the packing or shipping of purchased lots. Packing, shipping and insuring purchased lots is at the entire risk of the Purchaser. Purchaser is responsible for obtaining adequate insurance coverage for any purchased lot(s) as of the fall of the hammer. Insurance costs through third-party carriers will be borne by the Purchaser and, in case of damage, insurance claims should be made to the third-party carriers. DISCLAIMER. EXCEPT FOR THE LIMITED WARRANTY OF AUTHORSHIP EXPRESSLY STATED IN CONDITION 9, THERE IS NO WARRANTY OR GUARANTEE OF ANY KIND WITH RESPECT TO ANY PROPERTY OR ANY DESCRIPTION THEREOF, INCLUDING, WITHOUT LIMITATION, ANY EXPRESS OR IMPLIED WARRANTIES BY KCG OR SELLER AS TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, OR THE CORRECTNESS OF THE CATALOGUE OR OTHER DESCRIPTION OF THE PHYSICAL CONDITION, SIZE, QUALITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITIONS, LITERATURE OR HISTORICAL RELEVANCE OF ANY PROPERTY. NO STATEMENT ANYWHERE, WHETHER ORAL OR WRITTEN, WHETHER MADE IN THE CATALOGUE, AN ADVERTISEMENT, A SALESROOM POSTING OR ANNOUNCEMENT, OR ELSEWHERE, SHALL BE DEEMED SUCH A WARRANTY, REPRESENTATION OR ASSUMPTION OF LIABILITY. KCG AND SELLER MAKE NO REPRESENTATIONS AND WARRANTIES, EXPRESS OR IMPLIED, AS TO WHETHER

THE PURCHASER ACQUIRES ANY COPYRIGHTS OR LICENSES, INCLUDING BUT NOT LIMITED TO, ANY REPRODUCTION RIGHTS IN ANY PROPERTY. EXCEPT FOR THE LIMITED WARRANTY OF AUTHORSHIP EXPRESSLY STATED IN CONDITION 9, KCG IS NOT RESPONSIBLE FOR ERRORS AND OMISSIONS IN THE CATALOGUE, GLOSSARY, OR ANY SUPPLEMENTAL MATERIALS. EXCEPT FOR THE LIMITED WARRANTY OF AUTHORSHIP EXPRESSLY STATED IN CONDITION 9, ALL SALES ARE MADE AS IS, WITH ALL FAULTS. LIMITED WARRANTY OF AUTHORSHIP. As set forth below and in the Conditions of Sale and Announcements, KCG guarantees that the authorship, period, culture or origin, as the case may be (collectively “Authorship”) is as set out in the BOLD or CAPITALIZED type heading in the catalogue description of the lot, as may be amended by the Announcements (“Authorship Limited Warranty”). Only BOLD or CAPITALIZED type headings of lots in this catalogue indicate what is being warranted by KCG pursuant to the Authorship Limited Warranty. The Authorship Limited Warranty does not apply to supplemental material which appears below the BOLD or CAPITALIZED headings of each lot, and KCG is not responsible for any errors or omissions in such material. KCG, in its reasonable discretion, shall determine whether the conditions for return of the property based on breach of the Authorship Limited Warranty have been satisfied. If so, KCG will refund the original Purchaser of record the Purchase Price. This Authorship Limited Warranty does not apply if: (i) the catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the Sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing that the Authorship was not as described in the bold or capitalized heading at the date of the Sale would have been by means or processes not then generally available or accepted, unreasonably expensive or impractical to use or likely (in KCG’s reasonable opinion) to have caused damage to the lot or likely to have caused loss of value to the lot; or (iii) there has been no material loss in value of the lot from its value had it been in accordance with its description in the bold or capitalized type heading. This Authorship Limited Warranty is provided

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for a period of one (1) year from the date of the relevant auction, is solely for the benefit of the original Purchaser of record at the auction and may not be transferred to any third party. To be able to claim under this Authorship Limited Warranty, the original Purchaser of record must: (i) notify KCG in writing within three (3) months of receiving any information that causes the original Purchaser of record to question the accuracy of the bold or capitalized type heading, specifying the lot number, date of the Sale at which it was purchased and the reasons for such question; and (ii) return the lot to KCG at the original selling location in the same condition as at the date of the Sale to the original Purchaser of record and be able to transfer good title to the lot, free from any third party claims arising after the date of the Sale. KCG has discretion to waive any of the above requirements. KCG may require the original Purchaser of record to obtain, at the original Purchaser of record’s cost the reports of two (2) independent and recognized experts in the field, mutually acceptable to KCG and the original Purchaser of record. KCG shall not be bound by any reports produced by the original Purchaser of record, and reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a Sale and the refund of the original Purchase Price paid is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law, or in equity. KCG and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, attorneys’ fees, loss of profits or interest. DISCLAIMER OF IMPLIED DUTIES. KCG shall endeavor to protect the interests of all parties, but the duties and obligations of KCG to such persons shall be strictly limited to those expressly imposed upon KCG by these Conditions. All other duties and obligations, including fiduciary and other duties which might otherwise be imposed upon KCG by operation of law, are hereby expressly disclaimed, except that KCG shall be required to exercise that standard of care generally exercised by other comparable art auction companies. RIGHT TO WITHDRAW. KCG retains the right to withdraw any

198

property at any time before the sale for any reason in its sole discretion. KCG shall have no liability whatsoever for such withdrawal. MISCELLANEOUS COPYRIGHT. The copyright in all images, illustrations and written material produced by or for KCG relating to a lot, including, without limitation, the contents of the catalogue, is and shall remain at all times the property of KCG and shall not be used by the Purchaser, or by anyone else, without prior written consent of KCG. KCG and Seller make no representation or warranty that the Purchaser of a lot will acquire any copyright or other reproduction rights in it. SEVERABILITY. The invalidity or unenforceability of any provision of these Conditions of Sale shall not affect the validity or enforceability of any other provision hereof, and any such invalid or unenforceable provision shall be deemed to be severable to the fullest extent permitted by law. TAXES. Unless otherwise exempted by law, the Purchaser will be required to pay any Kentucky sales and use tax, any applicable compensating use tax of another state, and, if applicable, any federal luxury or other tax on the total Purchase Price. MERGER OF AGREEMENT. The Seller, owner, or KCG may have made oral statements or published advertisements concerning the condition of the property described in this catalogue or this sale generally. Such statements or advertisements do not constitute warranties, shall not be relied upon by the Purchasers and are not part of the contract for sale. The entire contract of sale is embodied in these Conditions of Sale, the Announcements, and with respect to the Seller, the Consignment Agreement. These aforementioned documents constitute the final expression of the parties’ agreement, and are a complete and exclusive statement of that agreement. Notwithstanding the above, Seller, owner and Purchaser may enter into an agreement which modifies the limited warranties as provided herein; however, any such action by the Seller, owner and Purchaser cannot and shall not modify

or alter the duties, responsibilities and rights of KCG as provided in these Conditions and the Consignment Agreement. FORCE MAJEURE. The lack of performance hereunder by KCG shall be excused without liability if the failure to perform is due to an act of God, fire, casualty, act or decision of a governmental authority, injunction, strike or labor dispute, or any other cause beyond the control of KCG. The invalidity or unenforceability of any provision of these Conditions shall not affect the validity or enforceability of any other provision hereof, and any such invalid or unenforceable provision shall be deemed to be severable. HEADINGS. The descriptive headings of these Conditions of Sale are inserted for convenience only and shall not constitute a part of these Conditions of Sale. LIMITATION OF ACTION. Any cause of action arising out of the purchase and sale of any property at this Sale, whether it is based in contract or tort, shall be commenced not more than one (1) year after the sale or be forever barred. Provided, however, this limitation of action shall not apply to an action for the recovery from the Purchaser of the Purchase Price, plus interest and expenses, and including repossession of the property purchased at this Sale. GOVERNING LAWS; VENUE AND JURISDICTION; WAIVER OF JURY TRIAL. The laws of the Commonwealth of Kentucky shall govern the construction of these Conditions and the rights, remedies and duties of the parties hereto. In the event of any litigation

arising out of these Conditions or the transactions contemplated hereby, the parties agree that any action or suit shall be brought in a court of record in the County of Fayette, Commonwealth of Kentucky, or in the United States District Court for the Eastern District of Kentucky, and the parties hereby consent to the venue and jurisdiction of such courts. The owner, Seller, Purchaser and KCG and their respective agents, voluntarily and intentionally waive any right that they may have to a trial by jury in respect to any litigation arising from or connected with this sale. LIMITATION OF LIABILITY. In no event will KCGâ&#x20AC;&#x2122;s liability to a Purchaser exceed the purchase price actually paid. PERSONAL INFORMATION. By agreeing to these Conditions, parties agree to the processing of their personal information and also to the disclosure and transfer of such information to any KCG affiliate and to third parties anywhere in the world for the above purposes, including to countries which may not offer equivalent protection of personal information to that offered in the United States. Parties can prevent the use of their personal information for marketing purposes at any time by notifying KCG. NO WAIVER. The failure of KCG to exercise or enforce any right or provision of these Conditions shall not constitute a waiver of such right or provision, and no waiver of any term of these Conditions shall be deemed a further or continuing waiver of such term or any other term.

ONLINE BIDDING INSTRUCTIONS

The Sporting Art Auction will accept bids from patrons in person, by phone through prior arrangement, and online via: www.liveauctioneers.com | www.invaluable.com | www.Bidsquare.com THE SPORTING ART AUCTION

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ABSENTEE BIDDING INFORMATION

As a convenience to clients who cannot attend the auction, KCG will execute absentee bids without charge. Bids will be executed to purchase the Lots requested as inexpensively as will be permitted by other bids for those Lots. Bids should be submitted as early as possible and should be dated. In the event of identical bids, KCG has sole and complete discretion as to which bid to execute, but the first bid received normally will take preference. Bids submitted for each Lot should be in the maximum amount you would bid in attendance. KCG does not execute “Absolute Buy” bids. All bids must be submitted with a maximum amount. Unsuccessful bids are generally not acknowledged. To avoid delay in removing purchases, buyers planning to pay with a personal or business check are advised to supply us with a bank letter of credit prior to auction. All bids are subject to the “Conditions of Sale” which appear in this catalogue. WHILE EVERY EFFORT IS MADE TO PROPERLY EXECUTE ABSENTEE BIDS, KCG WILL NOT BE RESPONSIBLE FOR ERRORS OR FAILURE TO EXECUTE SUCH BIDS. For additional information on absentee bids, please contact KCG at: Tel (859) 233-3856.

SHIPMENT OF PURCHASES INFORMATION

If your bid is successful, KCG can help arrange shipment of your purchases to you. Estimates for the shipping of any purchases can be attained through KCG. All purchases must be removed no later than Wednesday, November 22, 2017. A paid receipt must be presented to KCG staff in order to release any property. Keeneland is not responsible for the acts or omissions in the packing or shipping of purchased lots, and packing , shipping and insuring purchased lots is at the entire risk of the purchaser as set forth on the “Conditions of Sale,” which appear in this catalogue. Please note the “Conditions of Sale” which appear in this catalogue concerning prompt payment and clearance. In default of these Conditions of Sale, lots may be transferred to a public warehouse at the risk and cost of the buyer.

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INDEX OF ARTISTS Artist ..................................Lot(s)

Artist ..................................Lot(s)

Alken, Henry Sr...............................23

de Prades, Alfred F..........................16

Lawson, Tim Allen.......................165

Scottish School ..............................41

Ambille, Paul............................69, 70

Diller, Helmut.................................92

Leftwich, George Robert ................17

Shackelton, Keith .........................163

Arenys Galdón, Ricardo .................79

Earl, Maud Alice.............................37

Lyne, Michael.....................58, 59, 60

Austin, Michael J............86, 142, 145

Earle, Eyvind ................................171

Simpson, Charles Walter ................27

Lyon, Susan .................................107

John E. Banovich .........................168

Edwards, Lionel D.R. ......................47

Malone, Booth.....................102, 157

Barnhart, Jeaneen..................74, 110

Emms, John .............................34, 35

Mangan, Stephen ..........................80

Beer, John....................................1, 2

Faulkner, Henry Lawrence ....173, 174

Mason, Roy Martell .....................161

Beer, John & Wheeler, John Alfred ....4

Fiddian-Green, Nic.........................91

Maughan, Brian.............................97

Smith, Peter .................................103

Bellocq, Pierre (PEB) ... 125, 126, 127

Firth, Richard M...........................158

Mehl, Joanne...............................119

Smith, Suzy F. ...............................156

Biegel, Peter ......................55, 56, 57

Giles, Godfrey Douglas ............18, 20

Menasco, Milton..........................155

Spat, Gabriel..................................66

Bonheur, Isidore Jules ....................29

Gold, Dede ..................................175

Mêne, Pierre-Jules....................30, 31

Spitzmiller, Walter “Walt” ............159 Stannard, Eloise Harriet .................38

Skeaping, John R. .........................76 Sloane, Eric ..................................172 Smith, Brett James .......................160

Brassington, Alan.................152, 153

Gridnev, Valeriy....................128, 147

Munnings, Sir Alfred James.....61, 62,

Brewer, Kelly Robertson ...............144

Grosperrin, Claude.........................68

63, 64, 65

Broadhead, William Smithson ........44

Hall, Harry Miller............................21

Muss-Arnolt, Gustav......................33

Buck, William Henry.......................28

Henneberg, Tony..........................164

Neiman, LeRoy ..................88, 89, 90

Burdick, Scott Patrick ...........117, 118

Herring, John Frederick Jr. ............5, 6

Newmark, Marilyn .........................99

Byles, William Hounsom.................46

Hilaire, Camille ..............................67

Oppegard, Sandra Faye...............139,

von Schmidt, Harold ......................40

Chapman, Julie............................151

Ho, Quang...........................122, 123

140, 141

Voss, Franklin Brooke .....................42

Christensen, Scott L. ....................143

Howell, Peter .............. 114, 115, 116

Pater, Andre ........129, 130, 131, 132,

Waddell, Theodore .........................81

Stull, Henry ......10, 11, 12, 13, 14, 15 Taylor, Jo ..................................82, 83 Townsend, Lee...............................78

Church, Charles ...................149, 150

Howell-Sickles, Donna ...................87

133, 134, 135, 136, 137, 138

Waite, Charles W..............................9

Clymer, John Ford ..........................43

Humphrey, Lesley.........................111

Pintrand, Hubert ..........................146

Wertheimer, Gustave .......................8

Coates, Thomas J. ................120, 121

Jacquemart, Henri Alfred................32

Poore, Henry Rankin ......................36

Collins, Ashley................................85

Jones, Adrian .................................22

Quinn, David............... 162, 166, 167

Wheeler, John Alfred & Beer, John ....4

Cowan, John P. ....................100, 101

Kestevan, Abel .........................71, 72

Reeves, Richard Stone.......48, 49, 50,

Cullin, Isaac James.........................19

King, Alexa ....................................98

51, 52, 53, 54

Curling, Peter...............................154

Kirk, Juli...............................124, 148

Revennaugh, Stephanie.................94

Dahl, Carl ......................................93

Klaasse, Piet ..................................73

Rowlandson, George Derville.....7, 26

Wolf, Cindy ....................................96

Davey, Randall...............................75

Konrad, Ignac ................................45

Sawyier, Paul........................169, 170

Wootton, Frank..............................77

De Holesch, Denes.....................3, 84

Lalanne, Jean-Bernard .........112, 113

Schenk, A. F. A. ..............................39

Wright, George........................24, 25

Wheeler, Larry Dodd ... 104, 105, 106 Whitcombe, Susie ................108, 109 Winskill, Bernard ...........................95

ACKNOWLEDGMENT With great appreciation we want to thank Su Linville and Blood-Horse LLC for their contributions in helping to put together this catalogue. THE SPORTING ART AUCTION

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THE

DATE SUBMITTED: ________________

BIDDER NUMBER: ________________

■ LEFT BID

AUCTION

■ PHONE BID

PRESENTED BY

ABSENTEE BID FORM THIS FORM SHOULD BE SENT OR FAXED TO BE RECEIVED BY KCG IN ADVANCE OF THE SALE. References should be supplied in enough time to be contacted before the sale. KCG Enterprises, LLC d/b/a The Sporting Art Auction (“KCG”) • 4201 Versailles Rd. • Lexington, Kentucky 40510 • Phone: (859) 233-3856 • Fax: (859) 288-4249

The Sporting Art Auction No. 5 • Sunday, November 19, 2017 I request KCG, without legal obligations of any kind on its part, to bid on the following lots up to the price given below. I UNDERSTAND THAT IF MY BID IS SUCCESSFUL THE PURCHASE PRICE PAYABLE WILL BE THE SUM OF THE FINAL BID PLUS A BUYER’S PREMIUM PLUS SALES TAX WHERE APPLICABLE. All bids shall be treated as offers made pursuant to the Conditions of Sale printed in this catalogue. I also understand that KCG provides the service of executing bids on behalf of clients for the convenience of clients and that KCG will not be held responsible for failing to execute these bids. If identical commission bids are received for the same lot, the commission bid received first by KCG will take precedence.

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot No.

Description

Your Maximum Bid

________________________________________________________________________________________________________________________________ ________________________________________________________________________________________________________________________________ ________________________________________________________________________________________________________________________________ ________________________________________________________________________________________________________________________________ ________________________________________________________________________________________________________________________________ ■ I have established credit with Keeneland Association NAME ________________________________________________________________________

BANK NAME ________________________________________________________________

ADDRESS ______________________________________________________________________

BANK ADDRESS _____________________________________________________________

______________________________________________________________________

_____________________________________________________________

TEL. (HOME) ____________________________________________________________________

ACCOUNT NO _______________________________________________________________

TEL. (OFFICE) ___________________________________________

EMAIL: _________________________________________________

Purchaser claims an exemption from Kentucky Sales Tax (please initial if applicable): ___________ Resale certificate is attached. ___________ Non-Resident Purchasers Only. I hereby represent and warrant that I am a non-resident of Kentucky, and that any lot I may purchase at the Auction shall be immediately delivered to common carrier (including, without limitation, UPS, FedEx or the U.S. postal service) for transport outside the state for use solely outside Kentucky. I understand and agree that KCG will arrange for shipping and transportation of any lot I may purchase at the Auction. By signing this form the undersigned individual authorizes KCG to perform a credit investigation and if the applicant is not an individual, the undersigned individual agrees to be personally responsible to KCG for payment of the applicant’s account pursuant to the Conditions of Sale, which are incorporated herein by this reference. Further, by signing this form, the undersigned individual agrees to comply with and abide by all payment terms, payment and sales conditions, and processes of KCG. I HAVE received, read, and accepted the Conditions of Sale. I understand that if my bid is ACCEPTED, I WILL BE RESPONSIBLE FOR THE PURCHASE PRICE, buyer’s premium, plus ALL APPLICABLE TAX, AND ANY AND ALL OBLIGATIONS PURSUANT TO THE CONDITIONS OF SALE. Signature ______________________________________________________________________________________________________________________

Date ___________________________

THE

DATE SUBMITTED: ________________

BIDDER NUMBER: ________________

AUCTION PRESENTED BY

PURCHASER REGISTRATION FORM THIS FORM SHOULD BE SENT OR FAXED TO BE RECEIVED BY KCG IN ADVANCE OF THE SALE. References should be supplied in enough time to be contacted before the sale. KCG Enterprises, LLC d/b/a The Sporting Art Auction (“KCG”) • 4201 Versailles Rd. • Lexington, Kentucky 40510 • Phone: (859) 233-3856 • Fax: (859) 288-4249

The Sporting Art Auction No. 5 • Sunday, November 19, 2017 Complete this section to register to bid: PURCHASER ____________________________________________________________

SHIPPING ADDRESS __________________________________________________

ADDRESS ______________________________________________________________

(IF DIFFERENT) _____________________________________________________

______________________________________________________________

BANK NAME _______________________________________________________

TEL. (HOME) ____________________________________________________________

BANK ADDRESS ____________________________________________________

TEL. (OFFICE) ___________________________________________________________

ACCOUNT NO. ______________________________________________________

EMAIL_________________________________________________________________ ■ I HAVE PREVIOUSLY ESTABLISHED CREDIT WITH KEENELAND ASSOCIATION. Expected Amount of Purchase: $ _______________________ Payment is due within seven (7) days of the date of sale. If you do not wish to be invoiced, payment must be made within sixty (60) minutes of the fall of the hammer. The bank listed above may be contacted concerning your request for credit. Please advise them. Purchaser claims an exemption from Kentucky Sales Tax (please initial if applicable): ___________ Resale certificate is attached. ___________ Non-Resident Purchasers Only. I hereby represent and warrant that I am a non-resident of Kentucky, and that any lot I may purchase at the Auction shall be immediately delivered to common carrier (including, without limitation, UPS, FedEx or the U.S. postal service) for transport outside the state for use solely outside Kentucky. I understand and agree that KCG will arrange for shipping and transportation of any lot I may purchase at the Auction. By signing this form applicant and/or responsible party authorizes KCG to perform a credit investigation and if the applicant is not an individual, the undersigned individual agrees to be personally responsible to KCG for payment of the applicant’s account pursuant to the Conditions of Sale, which are incorporated herein by this reference. Further, by signing this form, applicant and responsible party agree to comply with and abide by all payment terms, payment and sales conditions, and processes of KCG. I HAVE received, read, and accepted the Conditions of Sale. I understand that if my bid is ACCEPTED, I WILL BE RESPONSIBLE FOR THE PURCHASE PRICE, buyer’s premium, plus ALL APPLICABLE TAX, AND ANY AND ALL OBLIGATIONS PURSUANT TO THE CONDITIONS OF SALE. Signature of Responsible Party ___________________________________________________________________________________________

Date ___________________

DATE SUBMITTED: ________________

THE

BIDDER NUMBER: ________________ (to be assigned by KCG)

AUCTION PRESENTED BY

PURCHASER’S AUTHORIZED AGENT FORM THIS FORM SHOULD BE SENT OR FAXED TO BE RECEIVED BY KCG IN ADVANCE OF THE SALE. KCG Enterprises, LLC d/b/a The Sporting Art Auction (“KCG”) • 4201 Versailles Rd. • Lexington, Kentucky 40510 • Phone: (859) 233-3856 • Fax: (859) 288-4249

The Sporting Art Auction No. 5 • Sunday, November 19, 2017 I have this day appointed: Print Name of Agent ________________________________________________________________________________________________ Address: _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ City, State, Zip Code ________________________________________________________________________________________________ Home Telephone ________________________________________ Business Telephone ______________________________________ Mobile _______________________________________________ Fax __________________________________________________ Email address _____________________________________________________________________________________________________ to act for me for such period as indicated below. Said appointee, as my duly appointed and authorized agent, shall have full power and authority to act for me in any and all matters in connection with or arising out of the purchase of any lots and/or interests therein at The Sporting Art Auction. Said agent is further authorized to execute any and all documents in connection with said purchase(s) including, without limitation, binding me to the following: (a) granting KCG (in its own capacity and/or in its capacity as agent for any person or entity that owns an interest in and to any lot or other property which may be purchased by Purchaser immediately prior to any sale to Purchaser) a security interest in and to any and all lots and other property and rights purchased and related property and rights, (b) granting KCG such other security interests and rights as the agent determines appropriate, and (c) incurring obligations on my behalf. I authorize said agent to do all things incidental to and in furtherance of the purchase of lots and/or interests therein, including without limitation providing information regarding me, associated entities and any purchaser of a lot or interest therein associated with me in order to comply with and abide by all terms of the Conditions of Sale, which are incorporated herein by this reference, including without limitation all payment terms, and processes of KCG. Specifically, I agree to pay for all purchases by said agent on my behalf in accordance with KCG’s Conditions of Sale, including the Buyer’s Premium, any applicable tax and any and all obligations pursuant to the Conditions of Sale. This agency is revocable only in writing. Other Instruction ___________________________________________________________________________________________________ Signature ________________________________________________________________________________________________________ Print Name _______________________________________________________________________________________________________ Title (if applicable) __________________________________________________________________________________________________ Address _________________________________________________________________________________________________________ State of _______________________________________________ County of _____________________________________________

KEENELAND / CROSS GATE GALLERY

THE

AUCTION

THE SPORTING ART AUCTION NOVEMBER 19, 2017

IN AFFILIATION WITH

Keeneland Sales Pavilion

Lexington, Kentucky

November 19, 2017