2018 Sporting Art Auction Catalog

KEENELAND / CROSS GATE GALLERY

THE

AUCTION Fine Sporting Art, American Paintings and Sculpture

THE SPORTING ART AUCTION NOVEMBER 18, 2018

IN AFFILIATION WITH

Keeneland Sales Pavilion

Lexington, Kentucky

November 18, 2018

THE

AUCTION Sale No. 6 In sending written bids or making inquiries, this sale should be referred to as Sporting Art Auction No. 6.

Cover Illustration: Lot 119

Back Cover Illustration: Lot 92

Peter Howell (British, born 1932)

Richard V. Greeves (American, born 1935)

Horses on the Track, Saratoga Morning

Bow Man

Oil on canvas | 20” x 30” | Signed

Bronze | 28” x 21” | Artist’s Proof, Edition of 10

AUCTION Sunday, November 18, 2018 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 10 – 23 and November 5 – 16 from 10 a.m. – 5 p.m.

By appointment October 5 – 27: 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

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INTRODUCTION

T

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 2018, Keeneland and Cross Gate again will team to conduct the sixth annual Sporting Art Auction on Sunday, November 18, at 2:00 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.

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The success of the first five 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’ painting Mon Talisman, Chantilly, which brought $252,500. In 2016, Andre Pater’s Red Arrow topped the auction with a winning bid of $276,000. And Sir Alfred Munnings’ A Morning’s Work, Newmarket Heath sold for $186,300 to highlight the 2017 auction.

This year’s auction will feature 175 high-quality lots representing fine sporting art, American paintings, and sculpture from renowned artists.

Pater returns with The Cherry and Black Racing Silks of Pierre Lorillard, an iconic American racing image

that depicts the 19th-century champion Iroquois with Fred Archer up. Select pieces from the estate of Elizabeth “Binnie” Houghton include works by Franklin B. Voss and a Henry Stull painting of the 1907 Saratoga Derby. Neiman is represented by a painting of a black Labrador and Henry Faulkner by a painting of a red rooster. Other highlights include a unique sculpture by Gertrude Vanderbilt Whitney, whose work was exhibited earlier this year by the Norton Museum of Art. As well, an oil-painted pine-boarded chest

by Munnings will be on offer.

The auction also will feature works by such acclaimed artists as Edward Troye and John Frederick Herring Sr. and

Jr., as well as contemporary pieces by Jaime Corum, 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 2018 collection will be on display in the Keeneland Sales Pavilion beginning with the September Yearling Sale (Sept. 10-23) 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.

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ABOUT

KEENELAND

L

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

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Spinster (G1). A total of 10 fall meet stakes are Breeders’ Cup Challenge races, awarding each winner an automatic and free entry into the Breeders’ Cup World Championships.

Through the years, numerous champion Thoroughbreds have graced Keeneland, and its spring and fall meets have served as a springboard 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.

The 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.

Its graduates include 2018 Triple Crown winner Justify.

Graduates of Keeneland sales include 22 Kentucky Derby winners: 24 Preakness winners: and 20 Belmont winners. In addition, 99 Keeneland sales

graduates have won 107 Breeders’ Cup races. Keeneland sales also have produced 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, 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.

Today, Keeneland’s annual sales attract buyers from nearly every U.S. state and more than 50 countries. In 2019, the calendar will feature four auctions: the September Sale, November Breeding Stock Sale, January Horses of All Ages Sale, and the resumption of a spring sale

TEAM COYLE

that features 2-year-olds in training and horses of racing age.

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 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 co-founder and first track president, said, “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 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.

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

Keeneland’s proceeds from the Sporting Art Auction will benefit its non-profit initiatives, including the Keeneland Library Foundation.

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ABOUT

CROSS GATE GALLERY

F

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

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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.

Ladd’s frequent trips to England and

Europe in quest of sporting art introduced him to British non-sporting 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 pink-

hued 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.

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| Auctioneer

W

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

R

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

L

exington, Kentucky, native Greg Ladd founded Cross Gate Gallery in 1974 and has developed it into one of the world’s premier sources 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.

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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.

Please refer to the Conditions of Sale at the back of the catalogue for full official details.

■ 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

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■ 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, MondayFriday, 9 a.m. – 5 p.m. EST, before November 18, 2018. After November 18, 2018, call Keeneland at (859) 280-4724 • Fax (859) 288-4249. 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 18, 2018. On November 18, 2018, call Keeneland at (859) 2804724.

■ 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

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LATER THAN WEDNESDAY, NOVEMBER 21, 2018 at 2:00 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 22 and 23 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 2:00 p.m. on Wednesday, November 21, 2018, 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. To the extent any provision in the foregoing (Glossary for Paintings and Sculpture or Tips for Buying and Selling at the Auction) conflicts with the Conditions of Sale, the Conditions of Sale shall govern.

Fine Sporting Art, American Paintings and Sculpture Sunday, November 18, 2018 • 2:00 P.M.

Keeneland Sales Pavilion Lexington, Kentucky

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1 | Edward Robert Smythe (British, 1810– 1899) DONKEY IN A LANDSCAPE Oil on canvas, 15 ½” diameter Signed $2,000. – 3,000.

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2 | Charles Towne (British, 1763– 1840)

A SPANIEL IN A WOODED LANDSCAPE Oil on panel, 13 ¾” x 17 ½” Signed $4,000. – 6,000.

Provenance: Miss L. Allen Christie’s, London, March 30, 1962, lot 167 Sotheby’s, London, March 12, 1969, lot 143 with Pawsey and Payne, London Christie’s, New York, December 3, 2008, lot 59

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3 | Edmund Bristow (British, 1787– 1876)

PEASANTS AND HORSES DONKEY RACE FARM HORSES AND GOAT Oil on panel, 8” x 10 ¼”, 8” x 10 ¼”, 7” x 9 ½” Signed (DONKEY RACE) $2,500. – 3,500.

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4 | George Morland (British, 1763– 1804) A STABLE INTERIOR Oil on canvas, 18 ¼” x 24” Signed verso $3,000. – 5,000.

5 | Alfred G. Haigh (British, 1870– 1963) HOUND Oil on canvas, 16” x 20” Signed, dated 1911 $2,000. – 4,000.

Provenance: Pernell Galleries, Baltimore The Estate of Elizabeth “Binnie” Houghton

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6 | Alfred G. Haigh (British, 1870– 1963)

HUNTSWOMAN RIDING SIDESADDLE Oil on canvas, 28” x 36” Signed, dated 1920 $4,000. – 6,000.

Provenance: The Estate of Elizabeth “Binnie” Houghton

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7 | John Ferneley Sr. (British 1782– 1860) HORSE AND HOUNDS Oil on canvas, 24” x 20” $6,000. – 8,000.

Provenance: The Sporting Gallery and Bookshop Frost & Reed, London The Estate of Elizabeth “Binnie” Houghton

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8 | E.A.S. Douglas (British, 1850– 1920) ON SCENT Oil on canvas, 22 ¼” x 27 ¼” Signed, dated 1877 $4,000. – 6,000.

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9 | John Arnold Alfred Wheeler (British, 1821– 1903) HORSE & GROOM IN A STABLE Oil on canvas, 34” x 44” Signed with initials $9,000. – 12,000.

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10 | Alfred Wheeler (British, 1851– 1932)

THE ECLIPSE STAKES, SANDOWN 1892 (pair) Oil on board, 11 ½” x 19” each Signed, inscribed verso $10,000. – 12,000.

The Eclipse Stakes, Sandown 1892 by Alfred Wheeler depicts The Duke of Westminster’s Orme battling J.W. Houldsworth’s Orvieto. Orme, ridden by jockey George Barrett and trained

by John Porter, won the race.

Orme won the Middle Park and Dewhurst Stakes as a 2-yearold but was held out of the 2000 Guineas and Epsom Derby during his 3-year-old season due to a mysterious illness — an illness some suspected was due to poison. After overcoming his illness and returning to form, Orme won the Eclipse Stakes in 1892, a victory that he would repeat in 1893 with the famous jockey Morny Cannon up. With the pair of victories in the Eclipse Stakes, Orme became the first horse to win the race

twice, a feat that has only been repeated four times since.

Orme was the champion sire of Great Britain in 1899, and among his greatest progeny were Flying Fox, winner of the British Triple Crown and Eclipse Stakes; Orby, winner of the Epsom Derby; and Witch Elm, winner of the 1000 Guineas.

The Eclipse Stakes takes place over a mile and a quarter and commemorates the much-celebrated racehorse Eclipse, who was foaled during the solar eclipse of 1764. Eclipse won all 18 of his races before embarking on a remarkable stud career.

In 1970 the Royal Veterinary College determined that 80 percent of all Thoroughbreds’ pedigrees trace their ancestry to Eclipse.

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11 | Samuel Henry Alken (British, 1810– 1894) IN TANDEM Oil on board, 12 ½” x 17 ½” Signed $4,000. – 6,000.

Provenance: Sotheby’s, New York, June 7, 1991

12 | Harry Hall (British, 1814– 1882) GAMECOCKS (pair) Oil on canvas, 20” x 24” each Signed, dated 1836 $6,000. – 9,000.

Provenance: Arthur Ackerman & Son, New York

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13 | Auguste Delierre (French, 1829 – COCKEREL Oil on canvas, 36 ½” x 46 ½” Signed, dated ’74 $9,000. – 12,000.

c.1890)

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14 | Jonny Audy (French, active 1844– 1882) GRAND PRIX DE PARIS, 1877 Watercolor, gouache, 20” x 35 ½” Signed, dated 1877 $3,000. – 4,000.

In 1877 the Grand Prix de Paris was France’s richest and most prestigious race. The Grand Prix de Paris had been created by the Société d’Encouragement, the governing body of horse racing in France, in 1863 and offered a massive 100,000-franc purse to the winner. Despite the prestige of the race, the Grand Prix was truly known as a gathering place for France’s socially elite — its running marked the beginning of the Parisian social season. Johnny Audy’s depiction of the 1877 running of the Grand Prix de Paris shows the winner, St. Christophe, crossing the finish line, but the artist also goes to great lengths to include the fashionable racegoers in the background. The immense

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crowds consisting of men in top hats and ladies with parasols were such an important part of the Grand Prix de Paris that very few depictions of the race do not include the well-dressed crowds as a major part of the composition.

Count de Lagrange’s two entries in the Grand Prix de Paris were St. Christophe and Vernueil. Jongleur, the winner of the French Derby, was considered the favorite to win the Grand Prix de Paris, and Vernueil was seen as the only horse who could upset the French champion. When St. Christophe cantered home to win the lucrative purse, the public was stunned.

15 | Isaac Cullin (British, 1859– 1942)

THE CAMBRIDGESHIRE STAKES 1916 and THE 1000 GUINEAS STAKES 1917 (two works) Watercolor, gouache, 7” x 10” each Signed with initials, inscribed with race name and dated 1917 $2,000. – 3,000.

Inscribed: “the 1000 Guineas, 1917” and with the winning horse’s name “Diadem” in Lord D’Abernon’s colors Inscribed “The Cambridgeshire Stakes 1916” and with the names of the horses and jockeys “Eos, V. Smith up” winning in Lord D’Abernon’s colors

16 | Major Godfrey Douglas Giles (British, 1857 – 1941) STEEPLECHASE Oil on canvas, 20” x 44” Signed $7,000. – 9,000.

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17 | John Emms (British, 1843– 1912) A HUNTSMAN AND HOUNDS Oil on canvas, 27” x 37” Signed, dated ’92 $30,000. – 40,000.

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18 | John Emms (British, 1843– 1912) PORTRAIT OF A GREY COB Oil on canvas, 26” x 33” Signed $15,000. – 20,000.

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19 | John Frederick Herring Jr. (British, 1820– 1907) FARMYARD SCENES (pair) Oil on canvas, 6 ½” x 9 ¾” each Signed $8,000. – 10,000.

Provenance: W. H. Patterson Fine Art, London

20 | John Frederick Herring Jr. (British, 1820– 1907)

HORSES, CATTLE, AND GOATS IN AN EXTENSIVE LANDSCAPE Oil on canvas, 20” x 30” Signed $10,000. – 12,000.

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Provenance: Mr. Walter Beebe Christie’s, New York, December 6, 2000

21 | John Frederick Herring Sr. (British, 1820– 1907)

PLENIPOTENTIARY WINNING THE SUBSCRIPTION PLATE AT NEWMARKET,1835 Oil on canvas, 9 ½” x 12 ¼” Signed, dated 1835, inscribed with the horses names $4,000. – 6,000.

Provenance: Sotheby’s, New York, June 7, 1991, lot 47 Essex Gallery of Sport The Subscription Plate was run at Newmarket’s Craven Meeting on April 22, 1835. Stanlake Batson’s chestnut colt Plenipotentiary won the race, with Lord Orford’s grey colt Clearwell second and Colonel Peel’s bay filly Rosalie third. In a career that lasted only a year, Plenipotentiary ran seven times and won six — including the Derby at Epsom, the St. James’s Palace Stakes at Royal Ascot, the Craven Stakes at Newmarket, and the Port Stakes.

Plenipotentiary faced stiff competition in Clearwell, who was the winner of the 2000 Guineas Stakes, Clearwell Stakes, and the Wokingham Stakes; and Rosalie, one of the top fillies of the day. Jockey Jem Robinson was awarded the mount on Plenipotentiary in the Subscription Plate and was well acquainted with Clearwell, having ridden the colt to victory in the 2,000 Guineas of 1833. While Plenipotentiary would go down in history as the better horse, Robinson’s victory on Clearwell in the Guineas helped cement the talented rider’s place in history. Robinson won the 2000 Guineas nine times, a record that stands to this day.

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22 | Edward Benjamin Herberte (British, 1857– 1893) A COUNTRY HORSE FAIR Oil on canvas, 30” x 50 ½” $15,000. – 20,000.

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Edward Benjamin Herberte’s depiction of A Country Horse Fair is one of four recorded similar subjects by the artist, but the current offering stands above the others in stature and intrigue.

Married to a prominent actress, Herberte was well known as an artist and painter of background scenery used in many of London’s leading theatres. Herberte often worked for the Paragon Theatre Company, owned and operated by the Livesey family and billed as “the largest portable theatre in England.”

A Country Horse Fair is almost certainly set in England, as evidenced by the presence of the Paragon Theatre. What makes the painting unusual is the depiction of American flags on the tents.

throughout his career, including Windsor, and is said to have presented the “Greatest Show on Earth” before Queen Victoria and other members of the royal family. It is highly unlikely that Barnum would have traveled to Windsor with his entire production of hundreds of people, animals, tents, etc. for a single performance. A much more likely scenario would be that the “greatest showman” would have used a much smaller and more mobile backdrop to put on his production for the queen, a stage much like the Livesey Family’s portable Paragon Theatre.

While no documentation exists to verify this assertion, the conspicuously dressed man in the bottom of the painting bears a striking resemblance to Barnum.

When examining this work, the viewer’s eye is naturally drawn to the man in the lower right, the most conspicuous person in the painting. Herberte made the presence of this figure stand out in two ways — the attention he paid to the man’s face (he wants the viewer to recognize him) and the man’s attire. The man is wearing a red-and-white-striped vest and a blue jacket, attire that suggests a relationship to the American flags flying in the background.

It has been suggested the man might be the illustrious showman Phineas Taylor Barnum. Barnum visited England many times

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23 | John Frederick Herring Sr. (British, 1795– 1865) LANGUISH AND PANTALOON Oil on canvas, 20” x 31” Signed, inscribed “Languish” & Pantaloon,” dated 1846 $12,000. – 15,000.

Fores, Ltd. Part of a set of 7 paintings by Herring, published and printed by Fores Provenance: Christie, Manson and Wood, May 5, 1864; 16 Herring Pictures owned by Messrs. Fores, obtained directly from the artist.

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Literature: O. Beckett, J.F. Herring and Sons, London: J. A. Allen and Company, 1981. The Fores engraving of this painting is illustrated on page 166.

Reproduced for Fores’ Series of the British Stud: Portraits of Celebrated Stallions and Mares Whose Performance and Produce are well known on the Turf.

This painting, Languish and Pantaloon, was described by The Sporting Review as “portraits of a mare and a stallion, placed in a paddock and most naturally and characteristically grouped.

The mare is the celebrated matron of the turf Languish, the property of the late Marquis of Westminster. She was bred

by Mr. Bristow, by Cain, out of a Paynator mare; dam Lydia

by Poulton, out of Vanity. The horse is the well-known sire Pantaloon, bred by Mr. Gifford, by Castrel, out of an Alexander mare, dam Idalia by Peruvian, out of Musidora.” Pantaloon only raced at the age of 3, unbeaten in all seven starts. While his victories were mostly against small fields in the country, he made his mark at stud. With Pantaloon, Languish produced Ghuznee, winner of the 1841 Epsom Oaks and Coronation Stakes.

The venerable Fores Gallery was unquestionably the top printmaker in England at the time. Ruffs Guide to the Turf reported on the series: “This admirable series painted by Herring and engraved by Harris is now in course of publication, and if aught were wanting to establish the reputation of the two artists, it would be found in these justly designated master pieces. No sporting gallery has ever yet contained more beautiful delineations of that noble animal, the horse, than are exhibited in these interesting portraits of the celebrities of the British Stud. The likenesses are preserved with the most striking

fidelity, the character perfectly life-like, and in the composition of the pictures, beauty, grace, energy and animation are displayed with exquisite effect.”

Beckett lists the original paintings, by Herring, from which the engravings were produced, as being the property of Messrs.’

Fores and as being sold at auction in 1864 by Christie, Manson and Wood (the auction house that would eventually become Christie’s). Beckett includes an excerpt from The Sporting Magazine: “this matchless series of thoroughbreds makes the blood dance through one’s veins to think of the deeds of these favored of the seraglio, while to votaries of the Turf — apart from the merit of these pictures as works of art, they are of great importance as preserving the portrait of the most celebrated of the blood present era.”

The quote chosen by Beckett demonstrates the views held by many horsemen of the day — the paintings by Herring serve a greater purpose than being attractive works of art. The works serve as pictorial documentation of the greatest horses of an era — a historical recollection for the generations of turf enthusiasts to come.

The other notable sires and dams featured in this series include Sir Hercules and Beeswing, Touchstone and Emma, Camel and Banter, Muley Moloch and Rebecca, and Lanercost and Crucifix. These six sets of sires and dams pictured in “The British Stud” produced some of the finest runners of the era, including the St. Leger winner Satirist. A portrait of Satirist

by J.F. Herring Sr. is also being offered in this sale (see lot 26).

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24 | John Frederick Herring Sr. (British, 1795– 1865) A SOW WITH HER PIGLETS Oil on panel, 10” x 12” Signed, dated 1853 $15,000. – 20,000.

25 | Carl Reichert (Austrian, 1836– 1918) DOG PORTRAITS (two works) Oil on panel, 6 ½” x 5 ¼” each Signed $10,000. – 15,000.

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26 | John Frederick Herring Sr. (British, 1795– 1865) SATIRIST Oil on canvas, 22” x 29 ¾” Signed, inscribed “Satirist” $10,000. – 15,000.

Provenance: Essex Gallery of Sport, Far Hills, New Jersey The Estate of Elizabeth “Binnie” Houghton Bred by Robert Grosvenor, the Marquis of Westminster, at his Eaton stud in Cheshire, Satirist was a brown colt by Pantaloon out of Sarcasm. Grosvenor purchased Pantaloon for 600 guineas on the advice of then-stud groom John Nutting and was taken to Eaton where he stood with such cracks as Conductor, Filhoda-Puta, and another St. Leger winner, the great Touchstone.

Herring would later memorialize Pantaloon in a series of six engravings titled “The British Stud” published by the Fores Galleries (see lot 23). In addition to winning the St. Leger, Satirist won the Dee and Palatine Stakes at Chester as well as Her Majesty’s Gold Vase and the St James’s Palace Stakes at Ascot.

With jockey William Scott in the saddle, Satirist wore down Coronation, the Epsom Derby winner, to claim the coveted St. Leger in spectacular fashion—winning by half of a head.

John Frederick Herring, Sr. is known to have created one other painting of Satirist in a racing scene, depicting his narrow victory over Coronation in the Great St Leger. The Sporting Review related the following description of Satirist in 1841: “His appearance is not in his favour, he is what is called a ‘meanlooking horse,’ though by no means without many good racing points. To convey the best idea that art can afford of nature, we have placed him before the patrons of this work, ‘in his habit as he lives.’ It is the first time any such attempt has been made in any sporting periodical; we trust it will be received as earnest of our resolution to spare neither exertion nor outlay in supporting the character with which public opinion has honoured the Sporting Review.”

The editor of the Sporting Review would go on to publish a large number of engravings after Herring’s paintings, making the artist one of the best-known painters of his day as well as making the Sporting Review a must-have periodical for anyone that considered themselves serious about sport.

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27 | John Sinclair (British, 1872– 1922)

THE GREAT MATCH RACE, 1851 AFTER J.F. HERRING SR. Oil on canvas, 30” x 48” Signed J. F. Herring Sr., dated 1851 $15,000. – 20,000.

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In the modern era of horse racing, the concept of a “match race” — a race between two horses to determine which is superior — has largely been forgotten. In the illustrious history of the international turf, there have been countless contests between prideful owners to solve an age-old dispute — who owns the better racehorse. Match races served as the ultimate measure of one’s conviction in his or her horse’s ability. Enormous sums of money and pride were at stake, and, regardless of one’s financial standing, a loss of pride could be ruinous.

before the race, ignored Lord Eglinton’s instruction to lie off the pace and took The Flying Dutchman to the lead, running out as much as 10 lengths in front of the pack. In the end Voltigeur caught the drunken jockey and The Flying Dutchman and won the Doncaster Cup by half a length. The Flying Dutchman’s backers were outraged. The results would have surely been different had their horse been more fit and Marlow not been drunk. The owners, trainers, punters, and just about everyone else in the country argued over which horse was superior.

And so it was that on May 13, 1851, in front of 100,000 spectators, two men lacking in neither pride nor wealth met at the Knavesmire in York to decide who had the superior horse: the Earl of Eglinton’s The Flying Dutchman or the Earl of Zetland’s Voltigeur. The race between the two champions, dubbed “The Great Match Race of 1851,” has lived in the annals of racing lore and is still considered by turf aficionados as one of — if not the — greatest races of all time.

And so it came to pass that a rematch was scheduled for the following spring May 13, 1851, at York and it would be a match race. The stakes were set at 1,000 sovereigns a side.

The circumstances leading up to the race set the stage for the historic match that was to unfold on York’s Old Course in front of the largest crowd that had ever assembled in the history of the British turf up until that point. In 1850 Lord Zetland decided to run Voltigeur in the Doncaster Cup contested only two days after his colt had won the St Leger (the race was first declared a dead heat and so was run again the same day, with Voltigeur winning by a length). Voltigeur, a 3-year-old, was up against considerable odds in the Doncaster Cup, namely a group of 4-year-olds that included an imposing foe — The Flying Dutchman.

Where Voltigeur might have been a little on the overworked side, The Flying Dutchman was suffering from the opposite affliction — too much time off. In addition to his less-thanpeak condition, an extremely drunk jockey, Charles Marlow, rode The Flying Dutchman. Marlow, who had overindulged

Both horses were fit, both jockeys sober, and pre-race instructions were given and heeded. Flatman sent Voltigeur into the lead at a sensible pace with Marlow and The Flying Dutchman tracking.

Voltigeur gradually increased the pace to try and blunt The Flying Dutchman’s finishing speed, but Marlow kept with him while trying to reserve something for the finish.

On they raced, and eventually they turned into the home straight. The Flying Dutchman eased up on the outside of Voltigeur as the massive crowd started to cheer and shout for the two champions.

With just over a furlong to go, both horses were racing flat out with Voltigeur still in front and seeming as if he might prevail.

But The Flying Dutchman’s relentless stride quickly brought them side-by-side. Dutchman finally stretched his head in front of Voltigeur and then the head became a neck, then half a length, and by the time they had passed the judges amid a frenzy of cheering and shouting, The Flying Dutchman was a length ahead in what was widely acclaimed as the greatest match race ever witnessed.

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28 | Henry Stull (American, 1851– 1913) THE SARATOGA DERBY, 1906 Oil on canvas, 25” x 30” Signed, dated 1907 $20,000. – 30,000.

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Provenance: Essex Gallery of Sport The Estate of Elizabeth “Binnie” Houghton

though he also collected rubies and other precious gems. He wore diamonds on his tie, vest, watch chain, and cuff links and had them embedded in the handle of his walking cane.

The Saratoga Derby was once the top 3-year-old race of the meet at the Spa and the 1906 event was, unsurprisingly, a highlight. James “Diamond Jim” Brady’s Accountant, R. T. Wilson Jr.’s Gallavant, and H. B. Duryea’s McKittredge constituted the three-horse field. Accountant and Gallavant were favored over McKittredge, who never seemed to finish particularly well.

Brady initially entered horse racing when he purchased Major Daingerfield and Gold Heels from Phillip Dwyer for $10,000.

Not wanting to be seen as unacceptable to do business with by clients who might object to horse racing and gambling, he originally placed his racing venture in the name of his friend F. C. McLewe, in exchange for 20 percent of the winnings.

However, his success as an owner and the lavish celebratory parties he threw quickly unmasked Brady as the stable’s true owner.

Brady had privately purchased Accountant as a 3 year-old in 1906 for $45,000, which many at the time considered to be excessive. But Brady, ever the shrewd businessman, made his money back and then some. Accountant was the top-earning horse of 1906, having won the Saratoga Derby, Brighton Derby, Lawrence Realization, Tidal Stakes, and other races, winning $81,925 in total purse money. One can only imagine that Brady made additional earnings in wagers. After Accountant won the Annual Champion Stakes at Sheepshead Bay, Brady reportedly said to those original naysayers, “I didn’t know a thing, eh?”

Brady was a successful businessman as well as a successful horse owner. The embodiment of the American Dream, he was born to Irish immigrant parents and started his career as a bellhop.

He made most of his $12 million fortune in railroads and the stock market and was the first person in New York City to own an automobile. His “Diamond” moniker was rooted in his penchant for collecting fine jewels, principally diamonds,

In 1902, faced with the decision of admitting to his ownership or facing the ire and loss of business from some of his less open-minded clients, he auctioned off his racing stable. To celebrate, Brady held an “intimate” party for 50 of his closest friends. By the time the party was over, the guests had consumed more than 500 bottles of champagne and every guest was given either a diamond brooch or a diamondstudded stopwatch.

After selling his stable, Brady was unable to resist the thrill of owning racehorses for very long and started his stable anew several years later. He is remembered as a frequenter of Saratoga, where he was considered a celebrity. “Goin’ up to Saratoga,” he once said, “is a hell of a great way to spend a month in the summer.” Brady owned at least nine paintings of his horses by Henry Stull; the present lot is one of them.

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29 | Henry Stull (American, 1851– 1913) MAID OF HARLEM Oil on canvas, 25” x 30” Signed, dated 1901 $10,000. – 15,000.

Owned by Thomas Lister Watt’s Osceola Stables, Maid of Harlem won several important races, perhaps the greatest of which was the controversial $25,000 Annual Championship at Sheepshead Bay. The Annual Championship of 1901 was run on the day that President McKinley succumbed to an

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assassin’s bullet. While the nation mourned, Maid of Harlem took home one of the most coveted races of the year. In beating 3-year-old U.S. champion Ethelbert in the Morris Park Handicap, Maid of Harlem cemented her legacy as a top race mare of her day.

30 | Henry Stull (American, 1851– 1913) TOURNAMENT EN GRISAILLE Oil on canvas, 10” x 14” Signed, dated 1898 $5,000. – 7,000.

Provenance: Carspecken Scott Gallery, Wilmington, Del. 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 he took the Lawrence Realization Stakes, Jerome Handicap, Choice Stakes, and Omnium Handicap. He was considered the best 3-year-old male of the 1890s.

31 | Henry Stull (American, 1851– 1913)

SAM DOGGETT UP Oil on canvas, 12” x 16” Signed, inscribed “Copyright” dated 1894 $5,000. – 7,000.

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32 | Edward Troye (Swiss/American, 1808– 1874) RICHARD SINGLETON Oil on canvas, 24” x 29” Signed and dated $40,000. – 60,000.

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Provenance: Painted for Capt. Willa Viley, Scott County, Ky. Mrs. Churchill Mr. Richard Baylor Hickman Family Descent Literature: Alexander Mackay-Smith, The Race Horses of America, Saratoga Springs: The National Museum of Racing, 1981 Exhibited: New York, NY, Newhouse Galleries, Loan Exhibition of Paintings by Edward Troye, November 15–26, 1938, No. 28 Richard Singleton was a champion racehorse owned by Colonel Willa Viley. Viley was one of the most important people in the formation of Thoroughbred racing in Kentucky, helping form the Kentucky Association and owning and breeding several champions. His farm near Georgetown was the base for all of his operations. Richard Singleton was among the horses that gave Viley prominence. He started in 14 four-mile-heat races and won all but two. In one noted race he ran 16 miles, winning three heats out of five.

Troye painted Richard Singleton twice before he completed this painting, and those earlier two, virtually identical, are considered Troye’s finest works. William Elsey Connelley, in his History of Kentucky, Vol. 5, writes that when the initial portrait was painted, Richard Singleton was “undoubtedly the greatest racehorse in Kentucky.”

This is a later portrait, showing the horse after his retirement to stud. Alexander Mackay-Smith, the leading scholar of Troye, describes this painting as “a later portrait of Richard

Singleton as a stallion, showing the horse perhaps 200 pounds heavier, in breeding condition, and with more crest to his neck.” Richard Singleton as a stallion was more important as a dam sire, though the colt Monkey Dick performed well in 1839. His bloodline, through his daughters Greasy Heel and Mary Brennan, extends to the present day.

Richard Singleton was, in all likelihood, named for Colonel Richard Singleton, a South Carolinian and one of the pillars of Thoroughbred racing and breeding in that region. He was described as an excellent judge of horses and tactful in the placement of his horses in races. His success as a breeder is also described by Irving: “At one time the produce of Col. Singleton’s stud were accustomed to bringing the best prices and be sought after with avidity by all who were either engaged upon the Turf, or were anxious to make their debut with some credit on it.”

A prominent member of South Carolina society, the colonel owned more than 12,000 acres and numerous boats to transport his cotton to England. His daughter married the son of President Martin Van Buren and was very popular in Washington society. Singleton’s horses raced in New Orleans, Charleston, and Saratoga. Singleton hosted Troye at his elegant plantation, known as Melrose or Singleton Hall, near Camden in the spring of 1934. There, Troye painted five of Singleton’s horses, a large commission for the artist.

When Troye first went to Lexington in the autumn of 1834, he brought with him three of the five paintings he’d painted for Richard Singleton and displayed them in the lobby of the Phoenix Hotel. It is likely that Willa Viley was one of his first patrons in Kentucky, either through a letter of introduction from Colonel Richard Singleton or through Troye’s paintings in the Phoenix Hotel.

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33 | Cecil Aldin (British 1870– 1935)

LADY CURRIE WITH HER SONS BILL AND HAMISH HUNTING ON EXMOOR Oil on canvas, 40” x 53 ½” Signed $15,000. – 20,000.

Lady Ruth Forest Dods Currie was married to Sir William Crawford Currie of Dinton Hall, Aylesbury, Buckinghamshire.

Sir William served as director of Peninsula & Oriental and British India Steam Navigation companies and was bestowed the Grand Cross of the Order of the British Empire in 1925.

He was made High Sherriff of Buckinghamshire in 1946. Sir William and Lady Ruth’s two sons, James Ballantyne “Hamish” Currie and William “Bill” Mackinnon Currie, are depicted as spirited youths riding fearlessly alongside their mother while

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Lady Currie can be seen wearing a look of trepidation as she sneaks a glance at her younger son. Lady Ruth’s equestrian interest was not limited to the hunting field; she also owned several notable steeplechasers. Bill and Hamish both became lieutenants in the British Army. Bill served with the 45th Indian Cavalry Regiment, and Hamish served with the 4th Tank Battalion Grenadier Guards where he was awarded the Military Cross.

34 | Ernest Alexandre Bodoy (French, 19th Century) ENTRANCE TO THE CHAMPSÉLYSÉES Oil on canvas, 25 ½” x 35 ¼” Signed $12,000. – 15,000.

The Champs-Élysées is one of Paris’ most iconic streets, running from the Arc de Triomphe to the Place de la Concorde — shown here. It is named for the Elysian Fields, a paradise for dead horses in Greek mythology. Two horses symbolically flank the entrance to the street (the hooves of one can be seen on the left side of the painting). The Champs-Élysées became

a highly fashionable boulevard in the 19th century, complete with parks, formal gardens, theaters, and restaurants. In the background of this painting, you can see several buildings in the style of Baron Georges-Eugène Haussmann, the man largely responsible for creating the Paris cityscape we know today.

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35 | John Sargent Noble (British, 1846– 1898) PASSION AND PATIENCE Oil on canvas, 48” x 72” Signed, dated 1863, inscribed verso $30,000. – 50,000.

Provenance: Bonhams, London, December 4, 1985, lot 207

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36 | Thomas Sidney Cooper (British, 1803– 1902) HIGHLAND GOATS Oil on canvas, 32” x 42 ½” Signed $18,000. – 22,000.

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Attr. William Sidney Cooper (British, 1854– 1927) CATTLE AND SHEEP IN A SUMMER LANDSCAPE Oil on canvas, 30” x 50” $7,000. – 9,000

38 | Alfred De Dreux (French, 1810– 1860) THE RACE Oil on canvas, 20” x 30” Signed $40,000. – 60,000.

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39 | Alfred De Dreux (French, 1810– 1860) THE RUNAWAY Watercolor, 7 ½” x 12 ½” Signed and numbered 3024 $4,000. – 6,000.

Provenance: W. A. Clark, Washington D. C. Paul LeRoy Grigaut Christie’s, New York, June 7, 1985, lot 65 Exhibited: Ann Arbour, University of Michigan Museum of Art, French Watercolors, 1760–1860, September 9 – October 24, 1965, No. 57

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40 | John E. Ferneley Sr. (British, 1782 – 1860)

LORD ROBERT GROSVENOR’S HUNTERS AT MOOR PARK, RICKMANSWORTH, HERTFORDSHIRE Oil on canvas, 42” x 57” Signed and dated ‘J. Ferneley Melton Mowbray 1853’ $125,000. – 150,000.

Provenance: Lord Robert Grosvenor, late Baron Ebury (1801–1893) Arthur Ackermann & Son Ltd., London and New York Schaeffer collection, sale Parke-Bernet, New York, May 8, 1941, lot 55. The late Mrs. Lydia B. Mann, U.S.A. Christie’s, New York, Sporting Art, June 1, 2001, lot 42 The Grosvenor family were great patrons of the Turf who often hunted with the Quorn and were enthusiastic supporters of John Ferneley Sr. over many years. Among his earliest commissions from Lord Belgrave (later Earl Grosvenor and 1st Marquess of Westminster) were The Belvoir Hunt, 1827, and The Cheshire Hunt, 1828 (both in the collection of the Duke

of Westminster), which show various members of the Grosvenor family. Grosvenor was a successful horse breeder, producing horses such as Pantaloon and Satirist (both horses are featured in lots 23 and 26, respectively).

This Jacobean house at Moor Park, near Rickmansworth in Hertfordshire, was rebuilt by the Venetian architect Giacomo Leoni circa 1720 for Benjamin Styles, a director of the South Sea Company. After being owned by the naval hero Lord Anson and the banker Sir Laurence Dundas in the eighteenth century, in 1828 it was bought by Robert, 2nd Earl Grosvenor, later 1st Marquess of Westminster (1767–1845).

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41 | Isidore J. Bonheur (French, 1827– 1901)

SPANISH RIDER ON A MULE Bronze, 14 ½” x 13” Signed I.BONHEUR to the base and stamped PEYROL $4,000. – 6,000.

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42 | Herbert Haseltine (American, 1877– 1962)

SUFFOLK PUNCH Bronze, gilt patina with brown highlights, 16 ½” x 11” Inscribed on base © Haseltine MCMXXXI $50,000. – 70,000.

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43 | Herbert Haseltine (American, 1877– 1962) HORSE HEADS A PAIR Bronze, 9” x 9” each Inscribed: © Herbert Haseltine, 1923 $15,000. – 20,000.

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44 | C. M. Russell (American, 1864– 1926)

THE SENTINEL Bronze, 8” x 6” Inscribed with artist’s initials CMR and the artist’s device, numbered 20/30 and stamped with foundry mark. $5,000. – 7,000.

Provenance: An identical cast of The Sentinel, numbered 24 of 30 sold at Sotheby’s New York, September 24, 2008, lot 248

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45 | Gertrude Vanderbilt Whitney (American, 1875– 1942) ATHLETE Italian marble, unique, 42 ½” x 16 ½” $40,000. – 60,000.

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Exhibited: Gertrude Vanderbilt Whitney Memorial Exhibition, Whitney Museum of American Art, New York, 1943, No. 10 Gertrude Vanderbilt Whitney played a crucial role in the American art world during her lifetime — both as a patron of the arts and as an artist — and her contributions continue to shape the landscape of American art to this day. Gertrude Vanderbilt, the daughter of Cornelius Vanderbilt II, was born into a world of enormous wealth, privilege, and social prominence, and her marriage to Harry Payne Whitney in 1896 brought two of the country’s most powerful families together. Wealth and social standing allowed Whitney to make many contributions to the art world, most notably the creation of the Whitney Museum of American Art. Fame and fortune, however, can be a double-edged sword, for while Whitney’s wealth and social standing afforded her great respect as a patron of the arts, she felt constrained by them as an artist.

In the late 19th century it seems all women of society’s upper echelon dabbled as “artists,” learning to paint small floral watercolors. This stereotype diminished the reputation of several highly talented female artists of that period.

Facing disapproval from those around her and fearing her name would not allow people to view her work with an unbiased eye, for nearly 10 years Whitney entered her sculptures in exhibitions using a pseudonym. Gertrude Vanderbilt Whitney was an excellent sculptor, first working

in the style of Rodin and later sculpting in the style of her friends in the Ashcan School. In 1910, her statue Paganism Immortal won a distinguished rating at the National Academy, validating her determination and ability, after which time she exhibited under her real name.

Whitney ultimately gained a reputation as a well-respected American sculptor and exhibited her pieces in many group and solo exhibitions in the United States and abroad. The present sculpture is carved out of Italian marble and is a oneof-a-kind piece, titled Athlete. The piece, created in 1912, is a fine example of the artist’s naturalistic style and shows the influence Rodin had upon Whitney’s early works. (It is worth noting that it was quite unusual for a woman of any class, let alone high society, to sculpt anatomically correct male nudes in 1912, eight years before women gained the right to vote in the United States).

Athlete was exhibited in The Gertrude Vanderbilt Whitney Memorial Exhibition in 1943 and has remained in a private family collection in the years since. The Norton Museum in West Palm Beach, Florida held an exhibition of Whitney’s work in the winter of 2018, the first exhibition of the artist’s work since the memorial exhibition in 1943. The exhibition was greeted with tremendous enthusiasm and will spend the next two years traveling to different U.S. museums, giving the public a rare chance to view the important works of an exceptionally talented American artist.

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46 | Arthur Wardle (British, 1864– 1949) HORSE FAIR Watercolor, bodycolor, 12” x 19” Signed, inscribed (personal note) $3,000. – 5,000.

47 | Arthur Wardle (British, 1864– 1949) HELD BY THE ENEMY Oil on canvas, 14” x 20” Signed, dated 1906 $6,000. – 8,000.

Provenance: Bonhams, London, February 13, 1989, lot 422

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48 | Franklin Brooke Voss (American, 1880– 1953) FAR HILLS Oil on canvas, 10” x 14” Signed, inscribed, dated 1935 $2,000. – 3,000.

Provenance: The Estate of Elizabeth “Binnie” Houghton

Race Meeting card today. Voss, as a mid-Atlantic jump-racing enthusiast, would have attended the races there annually.

The Far Hills Race Meeting traces its origins to the Essex Hunt, a foxhunt founded in Montclair, New Jersey, in 1870.

In 1913 the organizers of the Essex Hunt incorporated as the Essex Fox Hounds.

In 1916 the event moved from the original club site to the Grant B. Schley estate — today known as Moorland Farm, pictured here. Eventually becoming the Far Hills Race Meeting, the races have been run continually — with the exception of a short hiatus during World War II — on the same site. The Far Hills Race Meeting currently offers some of the richest purses in America and is home to one of the best fall tailgating scenes in the country. The 2018 meet marks its 98th anniversary.

In the tradition of these clubs, the Essex Fox Hounds established an event to thank the farmers and landowners who allowed them to hunt on their property. The Farmer’s Day Race Meeting, as it became known, included the New Jersey Hunt Cup Steeplechase — a race that remains on the Far Hills

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49 | Franklin Brooke Voss (American, 1880– 1953) PORTRAIT OF A HOUND Oil on board, 12” x 16” Signed, dated 1939 $5,000. – 7,000.

Provenance: The Estate of Elizabeth “Binnie” Houghton Exhibited: The Voss Family: Artists of American Sporting Life, National Museum of Racing and Hall of Fame, Saratoga Springs, New York, July 2007 – January 2008 (illustrated in the exhibition catalogue) Voss painted commissioned portraits of foxhounds and other dogs throughout his career. Many of his early commissions were of dogs, and eighty percent of the 1912 entries in his commission book were for paintings of dogs. Voss probably painted this American foxhound for Anderson Fowler in 1939, the same year he painted the portrait of Fowler on Peacock, also in this sale. Fowler was a master of the Essex Foxhounds in New Jersey.

50 | Franklin Brooke Voss (American, 1880– 1953) CHESTNUTS Oil on board, 9” x 12” Signed, dated 1932, inscribed Chestnuts $1,500. – 2,500.

Provenance: The Estate of Elizabeth “Binnie” Houghton

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51 | Franklin Brooke Voss (American, 1880– 1953) HORSE HEAD Oil on board, 10” x 14” Signed, dated 1950 $2,000. – 3,000.

Provenance: The Estate of Elizabeth “Binnie” Houghton

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52 | Franklin Brooke Voss (American, 1880– 1953) JANE FOWLER BASSETT Oil on canvas, 25 ¼” x 30” Signed, dated 1943 $15,000. – 20,000.

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Provenance: The Estate of Elizabeth “Binnie” Houghton Jane Fowler grew up in Gladstone, New Jersey, graduated from Foxcroft School in Virginia in 1932, and made her debut in New York that winter. In 1934 she married Carroll Bassett, a sculptor, amateur steeplechase jockey, and friend of her brother Anderson. The marriage ended unhappily several years later, but Mrs. Bassett retained her ex-husband’s last name for the rest of her life.

Voss painted the Fowler and Bassett families on numerous occasions. A portrait of Anderson Fowler is included in this sale. Anderson, or “Andy” to Jane, purchased the horse he is pictured on from his sister’s future husband. To say that the steeplechasing and foxhunting community of the 1930s was close knit might be an understatement.

Later in life Jane Fowler Bassett settled in Monkton, Maryland, and hunted with the Elkridge-Harford Hounds. Voss was a regular with the Elkridge-Harford (his brother Ned was the master) and knew Mrs. Bassett well. He included her in a group painting of the 1943 Thanksgiving meeting of the hounds, quite possibly using this painting as a point of reference for the group portrait. Later Mrs. Bassett commissioned Voss to paint a portrait of the Elkridge-Harford Hounds on scent and running over a coop.

This composition, with Mrs. Bassett slightly off-center and details of the landscape and foxhunt in the background, was a standard one for Voss and one he developed early in his career.

The background in this portrait is more detailed than many of Voss’ other portraits, perhaps due to his fondness for the Maryland countryside.

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53 | Franklin Brooke Voss (American, 1880– 1953) PEACOCK WITH ANDERSON FOWLER UP Oil on canvas, 28” x 36” Signed, dated 1939 $20,000. – 25,000.

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Provenance: Commissioned by Anderson Fowler, 1939; thence by descent; Estate of Elizabeth “Binnie” Houghton Illustrated: Peter Winants, The Sporting Art of Franklin B. Voss, 2005, page 79 Exhibited: The Voss Family: Artists of American Sporting Life, National Museum of Racing and Hall of Fame, Saratoga Springs, New York, July 2007 – January 2008 (illustrated in catalogue) Anderson Fowler was a lifelong horseman and sporting enthusiast. At Princeton he is remembered as a character who “played polo, rode in amateur jump races, and played an excellent hand of bridge.” In a 1988 interview in The BloodHorse, Fowler humbly said, “I’m afraid that I didn’t get much accomplished as a student because I was always involved in hunt meets and other sporting activities.” Despite this statement he went on to accomplish many things.

Fowler rode Peacock, the horse pictured here, to victory in hunt meetings up and down the Eastern Seaboard in the 1930s. Fowler purchased Peacock from fellow amateur rider, friend, and future brother-in-law Carroll Bassett in the spring of 1933. Several weeks later Fowler, aboard Peacock, lost by a nose to Bassett and Marion du Pont Scott’s legendary Battleship in the Country Club Race Meet at Brookline, Massachusetts. Peacock quickly put this loss behind him and won several more races that year. His win at Far Hills, near Fowler’s home in New Jersey, was described in the New York Times as “an easy four-length triumph.”

Amateur riders such as Fowler and Bassett rode in country hunt meets held on farms instead of racetracks. They formed a tight-knit community that included the Voss family.

Foxhunting was often included in a horse’s training, the speed of the chase conditioning horses perfectly to racing over hills and fences. Many horses were hunted during the week and raced, with their owners in the stirrups, at regional hunt meets on weekends.

Fowler was a lifelong resident of Gladstone, New Jersey, near Far Hills. He was the master of the Essex Foxhounds, president of the New Jersey Thoroughbred Breeders Association, board member and treasurer of Monmouth Park, and a member of The Jockey Club. He served in the Army in World War II, first instructing horsemanship at Fort Riley, Kansas, where one of his pupils was heavyweight-boxing champion Joe Louis. Fowler later saw action in the Pacific, participating in the landing at Leyte with General Douglas MacArthur.

Following the war, he served in the New Jersey legislature for eight years as an assemblyman. (Later he would name one of his homebred winners Assemblyman). Fowler once jokingly said, “I ran for practically every office in Somerset County.

My only claim to fame in politics was that I never lost an election.”

Assemblyman was one of many homebred stakes winners.

Others include Baitman, Raritan Valley, and Master Speaker.

The homebred Green Alligator impressively won the 1991 California Derby and went on to finish fourth in the 1991 Kentucky Derby. Fowler kept his broodmares at Buckingham Farm in Maryland, which was owned and operated by his daughter Binnie and her husband, Eddie.

Anderson Fowler died in 1997.

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54 | Gilbert Scott Wright (British, 1880– 1958)

HUNTSMEN MEETING AT THE THE GREEN DRAGON INN Oil on canvas, 30 ½” x 40 ½” Signed $9,000. – 12,000.

Provenance: Wally Findlay Gallery

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55 | Frank Hoffman (American, 1888– 1958) MRS. HOWARD LINN, MEMBER OF MILL CREEK HUNT, CHICAGO, 1933 Oil on board, 13 ¾” x 20” Signed $4,000. – 6,000.

Provenance: Blair Galleries Limited, Santa Fe, New Mexico Best of the West Auctions, Colorado March 16, 2006

56 | Henry F. Lucas-Lucas (British, 1848– 1943)

STATESMAN & WINDSOR LAD (two works) Oil on canvas, 11” x 14 ½” each Signed, dated 1933, inscribed “Statesman” | Signed, dated 1939, inscribed “Windsor Lad” $2,000. – 4,000.

‘Statesman’ inscribed verso: ‘The Derby’ 1933 / 1. Hyperion 2.

King Salmon 3. Statesman 4. Scarlet Tiger / Painted by H.F. Lucas-Lucas / Rugby, 1933 Provenance: Descended in the family of Victor Emmanuel, the owner of Statesman The Irish-bred Statesman by Blandford, out of Dail, had six wins in 23 starts, including the 1934 Duke of York Handicap and a

third-place finish in the previous year’s Epsom Derby. He retired to stand at stud in Japan.

Windsor Lad won both the Epsom Derby and St. Leger in 1934, while taking the Coronation Cup and Eclipse Stakes in 1935.

In the book A Century of Champions, by John Randall and Tony Morris, he was rated as the sixth-best Derby winner. His owner, the Maharajah of Rajpipla, is still the only Indian owner to win the Derby, and one of the Spitfire fighter planes he donated during World War II was named ‘Windsor Lad.’ THE SPORTING ART AUCTION

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57 | Louis Ferdinand Malespina (French 1874– 1940) LES COURSES Oil on canvas, 14 ½” x 27” Signed $3,000-4,000.

58 | Leesa Sandys-Lumsdaine (British, 1936– 1985)

COTSWOLD VALE FARMERS’ HUNT POINT TO POINT Oil on canvas, 12” x 16” Signed, inscribed verso $2,000. – 3,000.

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59 | Sir Alfred Munnings (British, 1878– 1959)

THE STRATHCONA HORSE LINES IN FRANCE Pencil on paper, 6 ¾” x 10 ¼” Signed and inscribed $6,000. – 9,000.

Inscribed: Our horses resting at Ennemain / 19 March 1918 / The day before German offensive / A.J. Munnings / Official War Artist / This made a painting 24 18 Provenance: Frost and Reed, London Lord Beaverbrook started the Canadian War Memorials Fund to dispatch artists to document Canadian soldiers during war whose achievements he thought had been overlooked. As Munnings noted, he was the official artist to paint the Canadian Cavalry Brigade and Canadian Forestry Corps. The Canadian Cavalry Brigade comprised several different regiments, one of which was Lord Strathcona’s Horse.

Munnings notes on page 306 in volume I of his autobiography An Artist’s Life, “Taxing my memory, I recall that we arrived at

a place called Ennemain, which existed only in mounds and rubble.” He goes on to say on page 307, “On that particular morning, with the band playing, I was finishing a picture of the horses as they stood with their heads out, basking in the sun, between tattered camouflage hanging over roughly-built rows of stabling. I had been patient with each head, with eyes blinking in the sun, and was working on the sixth, which might have been somewhere to the right of the middle of the picture, when suddenly something was happening — men were running; a sergeant came along, saying: ‘Hurry up, lads! Saddle up and stand to!’ The order went along the lines, and soon those patient horses were saddled up in full marching order, mounted, and the whole brigade rode away.”

The present sketch is a study for the finished painting mentioned above and referenced in Munnings’ inscription on the work.

The final work can be seen on page 288 of An Artist’s Life and today is in the collection of the Canadian War Museum.

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60 | Sir Alfred Munnings (British, 1878– 1959)

NORMAN’S ROCK Oil on pineboard box, 30 ½” wide x 19 ½” deep x 19 ½” high $25,000. – 35,000.

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Provenance: John Munnings Esq., Sir Alfred James Munnings’ nephew.

Purchased Spink & Son Ltd., 5-7 King Street, St. James, London, July 24, 1985 Literature: Alfred Munnings, The Autobiography of Sir Alfred Munnings Vol. I, An Artist’s Life, London: Museum Press Limited, 1950 This extraordinary and truly unique piece captures the spirit, humor, and illustrative style that marked Munnings’ formative years as an artist. The models that appeared in Munnings’ early works were usually local farmers, stable boys, gypsies, and tradesmen with whom the artist developed lasting friendships.

One of Munnings’ earliest models, James Norman, who was depicted selling oranges in one of Munnings’ most famous paintings A Gala Day, is fondly remembered in An Artist’s Life, the autobiography of Sir Alfred James Munnings.

At the time I was beginning to employ an old son of the soil; and we formed a friendship which lasted until he died. His name was Norman. He was a grandfather many times over. He was over eighty, active and strong, hale and hearty: a nature’s gentleman, a swell of the soil. Indeed, “one of the rude forefathers of the hamlet,” if ever

there was one…Norman was not always holding horses or being painted, or gardening. He took part in other scenes—bacchanalian scenes at night in the studio.

At one in the morning we used to see Norman home to his solitary abode in what was known as the parish room. We spent merry evenings in that room watching him making rock. (Think of it now, in this sugar shortage!) Parcels of brown sugar weighing two stones or more stood on the table, a great iron saucepan of toffee bubbled on the fire. To this was added peppermint and lemon essence. Then, placing a mass of brown toffee on a plate to cool, Norman shaped it out in a long, loopy affair, and taking the ends in each hand, threw it over a hook fixed to a rafter, and began steadily pulling it and pulling it, and throwing it over the hook again, until it grew longer and whiter. Then he took some of the brown toffee and pulled this out once to the length. The two cables were then twisted together and cut off in lengths of five or six inches, and laid to cool, and it was then Norman’s Rock.

This rock he wheeled on Saturday afternoons up to Harleston in a large, lidded box, fixed on the springs, body, and wheels of an old perambulator. One or two of his grandchildren accompanied him to pull it up the hills. One day he brought this vehicle to the studio, and I painted three pretty girls’ faces on one side with the lettered advertisement thus: “Eat Norman’s Rock and Grow Sweet”. On the other side I painted three old maids with sour faces and wrote: “Norman’s Rock Cures Sour People”.

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61 | Sir Alfred Munnings (British, 1878– 1959) AUNT POLLY’S HACKNEY, ‘HAMLET’ Oil on canvas, 20” x 24” Signed, dated 1905, inscribed $30,000. – 50,000.

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Exhibited: The Taylor Gallery, London, Sir Alfred Munnings; Some Early Works, Spring 2015 Just before his 21st birthday in 1899, Munnings lost vision in his right eye while visiting his Aunt Polly and her second husband, Mr. Hill, at Mulbarton. Munnings later rented part of Church Farm from these relatives and established his studio there for several years. His aunt and uncle, he recalls in his memoir An Artist’s Life, bred hackneys and farmed in a considerable way. Hackneys are a general-purpose lightweight trotting horse that was popular in Norfolk at the time (though today they are considered a rare breed). As this horse, Hamlet, was listed in the Stud Book, it is likely that Munnings painted it as a gift for his aunt and uncle, who had welcomed him into their home from time to time. An early painting, Hamlet shows Munnings’ development as a painter of horses and his ability to capture the individual character of an equine subject.

“Mr. Hill, a breeder of hackneys, drove a stepper, Hamlet — a liver chestnut, in the Stud Book. I have driven into Norwich with my Aunt Polly behind that mover, looking into the plate-glass windows as we went down St. Stephen’s to put up at the Boar’s head. These horses scarcely touched the road in their action.

Fourteen miles an hour was an average for many.” — An Artist’s Life, page 192

The Hackney breed was developed in Great Britain as early as the 14th century, primarily in Norfolk. They were a favorite of King Henry VIII, who valued them for their attractiveness and excellent trot. He made his favoritism official in 1542 when he decreed that some of his wealthier subjects keep a certain number of Hackney stallions for breeding purposes. Hackneys possess excellent stamina and are capable of trotting at high speeds for extended periods of time. These attributes made them excellent carthorses. They were particularly popular in Norfolk, where Munnings spent his childhood. They would have been a familiar subject to the artist in the formative years of his career as a painter of horses.

Unfortunately, with the advent of the railroad, the Hackney breed slowly fell out of favor in England. Their high-stepping gait is credited with saving them from extinction, and today they are valued as both harness and riding horses. The American Hackney Horse Society is based at the Kentucky Horse Park in Lexington, Kentucky.

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62 | Nicolai Leventsev (Russian, 1930– 2008) A DAY AT THE RACES Oil on canvas, 29” x 46 ½” Signed $10,000. – 15,000.

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63 | Lionel Edwards (British, 1878– 1966) HUNT SCENE Watercolor, gouache, 9 ½” x 15” Signed $2,000. – 3,000.

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64 | Lionel Edwards (British, 1878– 1966)

COLONEL COLMAN OUT HUNTING ON HIS GREY Watercolor, gouache, 15 ¼” x 21” Signed, dated 1959 $4,000. – 6,000.

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65 | Michael Lyne (British, 1912– 1989) POINTTOPOINT Oil on canvas, 28” x 20” Signed $5,000. – 7,000.

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66 | Michael Lyne (British, 1912– 1989)

CHELTENHAM MARCH MEETING Oil on canvas, 28” x 36” Signed $8,000. – 10,000.

Provenance: Frost & Reed The Sporting Gallery and Bookshop The Cheltenham Festival is a National Hunt meeting that takes place every March. The festival’s purse money is second only to that of the Grand National. Held over four days, it showcases some of the best British- and Irish-trained jump horses.

Highlights include the Cheltenham Gold Cup, Champion Hurdle, Queen Mother Champion Chase, and Stayers’ Hurdle.

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The meet originated in 1860 when it was known as the Grand National Hunt Meeting. It has been held at Cheltenham almost every year since 1904. Cheltenham is known for its atmosphere, in particular the “Cheltenham Roar” of the crowd as the starter raises the tape for the first race.

Lyne was born not far from Cheltenham and attended the Cheltenham School of Fine Art. The March race meet there was a favorite subject of his.

67 | Martin Stainforth (British, 1866– 1957) CHALLENGER II Oil on canvas, 25 ½” x 30” Signed, dated 1940, inscribed $8,000. – 10,000.

Bred at the National Stud in County Kildare, Ireland, Challenger II won two races in two starts as a 2-year-old when in training under Fred Darling. He never raced at age 3, and after the death of his owner, he was sold and shipped to America, where he didn’t show much on the track.

Despite a less-than-stellar career on the turf, Challenger II made an excellent mark at stud in the U.S. He led the general sires list in 1939 and was in the top 10 eight other years, including runner-up in 1945. He sired 223 winners and 34 stakes winners from 316 named foals, according to The Jockey Club. As John Hervey noted in Racing in America, the Great Depression had caused horse prices to drop substantially and on page 141 he says, “As for importations of foreign animals, the cessation became almost complete. During the period now under consideration, the stallions of real consequence that were brought in may be said to have been limited to Bull Dog and Challenger 2d, in 1930.”

Challedon was the most prominent of his progeny. The American Horse of the Year in 1939 and 1940, Challedon won the 1939 Preakness Stakes, both the 1939 and 1940 Pimlico Specials, and the 1940 Hollywood Gold Cup. Challedon was elected to the United States Racing Hall of Fame in 1977, and The Blood-Horse named him No. 38 of the book Top 100 Racehorses of the 20th Century. Gallorette was another one of Challenger II’s to make her mark. The winner of the 1945 Black-Eyed Susan Stakes and the 1946 Brooklyn and Metropolitan handicaps among other races, she was voted the 1946 American champion older female horse. Elected to the Hall of Fame in 1962, Gallorette ranks No. 45 in Top 100 Racehorses of the 20th Century and the No. 3 female.

Challenger II’s other progeny include Bridal Flower (voted 1946 American champion 3-year-old filly) and Pictor.

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68 | Martin Stainforth (British, 1866– 1957) DIAVOLO AND GROOM Oil on canvas, 16” x 18” Signed, dated 1935 $7,000. – 9,000.

Provenance: Gladys Mills (Henry Carnegie) Phipps Illustrated: John Hervey, Racing in America, 1922– 1936, New York: The Jockey Club, 1937, plate facing page 128 Bred by Whitney Stud, Diavolo was owned by Gladys Mills Phipps and Ogden Mills’ Wheatley Stable. Trained by the legendary Sunny Jim Fitzsimmons, Diavolo added to Mrs. Phipps’ legacy as “first lady of the Turf.” Not showing much as a 2- or 3-year-old, he managed to finish third in the Belmont

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Stakes before coming to hand as a 4-year-old. The champion handicap horse of 1929, in 11 races he won eight, was second in two of the others, and third in the remaining one. As John Hervey noted on page 128 of Racing in America, “Among the all-aged and handicap horses of the season, Diavolo stood out in bold relief…As a distance horse he loomed a whale among minnows, taking the three great cups, Saratoga, Jockey Club, and Pimlico.”

Standing at Claiborne Stud, Diavolo sired 23 winners among his first 28 foals and his first three crops won 44 races.

69 | Richard Stone Reeves (American, 1919– 2005) PERSONAL ENSIGN Oil on board, 12 ¼” x 15 ¼” Signed $12,000. – 15,000.

Illustrated: Richard Stone Reeves, Belmont Park: A Century of Champions, page 153

Retired after her Breeders’ Cup win to Claiborne Farm, she had as much success as a broodmare and was named 1996 Kentucky Broodmare of the Year.

Personal Ensign retired undefeated with 13 wins, the longest win streak for a horse at the top level of American racing in 80 years. Her win in the 1988 Breeders’ Cup Distaff over Kentucky Derby winner Winning Colors is considered one of the most memorable performances in Breeders’ Cup history. She also won the Frizette Stakes, Beldame Stakes, and Whitney Handicap (beating the boys) among others.

“This portrait shows her shortly after her retirement from racing. She was back at Claiborne Farm where she was foaled.” — Richard Stone Reeves

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70 | Richard Stone Reeves (American, 1919– 2005) RIBOT WITH CAMISI UP Oil on canvas, 20” x 24” Signed, inscribed $14,000. – 18,000.

Provenance: Collection of the artist A letter from Reeves’ daughter will accompany the lot.

Richard Stone Reeves painted Ribot multiple times over the course of his career, even venturing to Dormello Stud in Italy to see where the champion racehorse was born. In a letter included with this painting, Reeves wrote, “I considered Ribot one of the ten best thoroughbreds I have ever painted. He was undefeated in sixteen races in Italy, England and France and won the Prix de l’Arc de Triomphe twice (1955 and 1956), one of only two horses to do so. It was his last race.”

Prominent Italian breeder Frederico Tesio, who also bred Nearco, bred Ribot. Like other horses Tesio bred, Ribot was

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named for an artist — in this case, Théodule-August Ribot, a French realist and contemporary of Corbet.

After his retirement, Ribot first stood at Lord Derby’s Woodland Stud in Newmarket, where he sired several champions, most notably Molvedo, winner of the 1961 Prix de l’Arc de Triomphe. He was the leading sire in Great Britain and Ireland three times. In the summer of 1960, Ribot was flown to the United States to stand at Darby Dan Stud. Reeves, in his book The Golden Post, dedicates an entire chapter to Ribot and his progeny. Notable offspring include Arts and Letters (a painting of which is also included in this sale); Tom Rolf, winner of the 1965 Preakness Stakes; and the full brothers Ribocco and Ribero, both winners of the Irish Sweeps Derby and St. Leger.

71 | Richard Stone Reeves (American, 1919– 2005) NASHUA WITH EDDIE ARCARO UP Oil on board, 14 ¼” x 17 ¼” Signed, inscribed $12,000. – 15,000.

Literature: Richard Stone Reeves, Royal Blood; Fifty Years of Classic Thoroughbreds, pages 76–81, iIllustrated on page 77

National Museum of Racing Hall of Fame inductee Nashua became only the second horse to earn more than $1 million.

After the death of his owner, William Woodward Jr., he became the first Thoroughbred sold for $1 million or more. Bred to be a stayer, Nashua won both the Belmont and Preakness Stakes, earning him the Horse of the Year title.

William Faulkner covered the 1955 Kentucky Derby for Sports Illustrated and though Nashua lost that race, Faulkner described one of his morning works as “a flow, rush, the motion at once

long and deliberate and a little ungainly; a drive and power; something a little rawboned, not graceless so much as too busy to bother with grace…appearing to skim along just above the top rail like the big diminishing hawk, inflexible and undeviable (cq), voracious not for meat but for speed and distance.”

“I painted Nashua with Eddie Arcaro up in the paddock at Belmont Park because that’s where he won the Belmont Stakes and so many other races. I remember his Belmont Stakes victory well. He was a mature-looking 3-year-old, but I actually knew him better as a stallion after he went to Spendthrift Farm.”

— Richard Stone Reeves

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72 | Richard Stone Reeves (American, 1919– 2005) ARTS AND LETTERS WITH BAEZA UP Oil on board, 13” x 16” Signed, inscribed $12,000. – 15,000.

Literature: Richard Stone Reeves, Royal Blood; Fifty Years of Classic Thoroughbreds, pages 130–133, illustrated on page 131 Arts and Letters was the 1969 Horse of the Year. Owned by Paul Mellon’s Rokeby Stables, he is perhaps best known for his Triple Crown campaign. He developed into a good racehorse in the spring of his 3-year-old year and won the Blue Grass Stakes by an impressive 15 lengths, still the widest winning margin in the race’s history. Then came the Derby. Arts and Letters finished second by a neck to the heavily favored Majestic Prince.

He narrowed the margin in the Preakness and lost to Majestic Prince by only a head. His trainer, Elliot Burch, successfully ran him in the Metropolitan Handicap eight days before the Belmont, giving the horse some much needed confidence. Arts and Letters won the 1969 Belmont, defeating Majestic Prince by 5 1/2 lengths. After the race Mellon said, “We lost the Derby by

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a neck and the Preakness by a head, and it was a good horse that beat us. If I had my choice of a single race of the Triple Crown, I’d certainly pick the Belmont because of the championship distance.” Arts and Letters went on to win the Jim Dandy, Travers, and Woodward stakes. He finished his 1969 campaign with a 14-length victory in the Jockey Club Gold Cup. At stud Arts and Letters notably sired Codex, winner of the 1980 Preakness, and Winter’s Tale, the only horse to win New York’s three richest handicaps in the same year. Arts and Letters was inducted to the National Museum of Racing and Hall of Fame in 1994.

“Although nicely conformed, Arts and Letters was not at all flashy, perhaps even on the plain side. To me, he looked better under tack with the jockey up, so I painted him in the paddock with Braulio Baeza, his regular rider.” — Richard Stone Reeves

73 | Richard Stone Reeves (American, 1919– 2005) CHARISMATIC Oil on canvas, 12” x 16” Signed, dated 2000, inscribed $9,000. – 12,000.

Provenance: Mr. and Mrs. Robert Lewis Illustrated: Richard Stone Reeves, Belmont Park: A Century of Champions, page 179 Charismatic, winner of the Kentucky Derby and Preakness, lost his first five starts as a 2-year old. His trainer, D. Wayne Lukas, explained to the New York Times, “I don’t think I’ve ever been fooled so much by a horse…I felt there was something I was missing all the time.” Lukas thought he needed a win and ran the colt, who had been purchased for $200,000, as a claimer with a price of $62,500. His owner, Bob Lewis, explained it a bit more bluntly: “I just felt we had to stop the bleeding.” Fortunately, no one claimed the horse that day or the next time he ran in a claiming race. It wasn’t until two weeks before the Kentucky Derby that Charismatic broke through and won the Lexington Stakes. Four weeks later he won the Derby and the Preakness

and was preparing for the Belmont. Arthur Hancock, whose Menifee had run second to Charismatic in both the Derby and the Preakness, said of the former claimer: “Horses are like people.

Some kids don’t mature until college.”

Unfortunately, Charismatic was injured in the Belmont Stakes.

Veterinarians repaired his damaged leg, and he entered stud at Lane’s End (his birthplace) in 2000. He sired 371 starters and 263 winners with combined earnings of more than $44 million. He retired to Old Friends in October 2016.

“I went to Kentucky late in October and saw him for the first time since the ill-fated day at Belmont. He had developed into a smashing looking young stallion, full of life and personality.

The problem was getting him to stand still for more than a few moments. His body had filled out, his neck was a little thicker, and his head with its distinctive white markings was finely molded and intelligent. All in all, he made a beautiful portrait.” — Richard Stone Reeves, Belmont Park: A Century of Champions, page 178

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74 | Richard Stone Reeves (American, 1919– 2005) SECRETARIAT Oil on board, 13 ¾” x 11” Signed $12,000. – 15,000.

“Secretariat transcended both the racing and sports worlds. In an age when Vietnam and Watergate had rent American pride and morale, he was a beacon of class, success, and honesty. The political turmoil of the day gave rise to the sardonic remark when he graced the cover of Time that it was the first honest face seen there in a good while.” — Richard Stone Reeves, Legends

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“From all perspectives Secretariat was the very essence of the ideal Thoroughbred. He had “box office” appeal like no other horse since Man o’ War and drew large crowds wherever he raced. Even non-racing fans were drawn to the track. I don’t remember an easier or more rewarding subject to paint. He seemed to enjoy posing.” — Richard Stone Reeves, Belmont Park: A Century of Champions, page 104

75 | Randall Davey (American, 1887– 1964)

AT THE FENCE Charcoal, 11” x 20” Signed, inscribed verso: “To Anderson Fowler, from Randall Davey, May 1930” $2,500. – 3,500.

Provenance: The Estate of Elizabeth “Binnie” Houghton

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76 | Jean Bowman (American, 1917– 1994) FOX HUNTER Oil on canvas, 25” x 30” Signed, dated 1948 $3,000. – 5,000.

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77 | Pierre Georges Jeanniot (French, 1848– 1934) LES JOUERS DE POLO Oil on canvas, 18 ¼” x 24” Signed $7,000. – 9,000.

Provenance: Christie’s, London, March 23, 2008 Rountree Tryon Galleries, London

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78 | Paul Ambille (French, 1930– 2010) CANTER Oil on canvas, 46” x 32” Signed $4,000. – 6,000.

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79 | Paul Lucien Maze (French, 1887– 1979)

LEAVING THE PADDOCK, GOODWOOD Oil on board, 11” x 28 ½” Signed $7,000. – 9,000.

Provenance: Christie’s, South Kensington, November 22, 2001

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80 | Gilbert Holiday (British, 1879– 1937) UNSEATED, SELF PORTRAIT Watercolor, gouache, 18 ½” x 27” $16,000. – 20,000.

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81 | Frank Ashley (American, 1920– 2007) ROYAL ASCOT, 1983 Oil on canvas, 82” x 66” Signed, inscribed verso $25,000. – 35,000.

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82 | Henry Koehler (American, born 1927) HORSE RACE Oil on canvas, 15” x 30” Signed $9,000. – 12,000.

Provenance: Sloan’s Auction

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83 | Carlos Nadal (Spanish, 1917– 1998)

VILLAGE Oil on canvas, 20” x 24” Signed, dated ’57, inscribed verso “Village,” dated verso 1957 $8,000. – 10,000.

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84 | Denes De Holesch (Hungarian/American, 1910– 1983) CIRCUS HORSES Oil on board, 24” x 18” Signed $1,000. – 2,000.

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85 | LeRoy Neiman (American, 1921– 2012) BLACK LAB Oil on board, 36” x 48” Signed, dated ’76 $130,000. – 150,000.

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86 | LeRoy Neiman (American, 1921– 2012) JOCKEY Oil on board, 12” x 6” Signed, dated 1964 $9,000. – 12,000.

Provenance: Hammer Galleries, New York

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87 | Dan Brown (American, born 1949) SIX FIVES Oil on panel, 13” x 18” Signed $4,000. – 6,000.

Exhibited: 2016 Peto Biennial, John F. Peto Studio Museum, Island Heights, NJ

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88 | Hubert de Watrigant (French, born 1954) APSAROKE CROW Oil on paper, 26” x 36” Signed $4,000. – 6,000.

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89 | Tyler Robertson (American, born 1981) CHIEF JOSEPH Oil on canvas, 36” x 48” Signed $5,000. – 7,000.

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90 | Paul Brown (American, 1893– 1958)

CATTLE RUSTLERS Charcoal and colored pencil, 11” x 19 ¾” Signed, dated ’27 $2,000. – 3,000.

91 | Sandra Oppegard (American, born 1942)

DUSTY WORK, WRANGLERS AT THE STOCKYARD Watercolor, 18” x 24” Signed $4,000. – 6,000.

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92 | Richard V. Greeves (American, born 1935) BOW MAN Bronze, 28” x 21” Signed, inscribed “Artist III” $9,000. – 12,000.

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93 | Simon Erland (British, born 1961)

MATADOR MAQUETTE X Bronze, 10” x 14” Signed, dated ’97 under base, edition 4 of 9 $5,000. – 7,000.

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94 | Alexa King (American, born 1952) NORFOLK TERRIERS Bronze, 12 ½” x 14” including base Signed, edition 2 of 9 $5,000. – 7,000.

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95 | Guy Taplin (British, born 1939)

LAPWING Carved driftwood, 26” x 27 ½” Unique, signed and titled underside $5,000. – 7,000.

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96 | Nicola Lazarri (Italian, born 1961) GRANDE FENICOTTERO Bronze, 68” x 23 ½” Signed, edition of 6 $40,000. – 50,000.

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97 | Nic Fiddian-Green (British, born 1963) STILL WATER III, 2017 Copper with verdigris, 72” x 23 ½” plus base Edition of 3 $200,000. – 250,000.

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98 | Belinda Sillars (British, born 1961) FLIGHT TO FREEDOM Bronze, 73” x 21” Signed, edition 1 of 12 $25,000. – 45,000.

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99 | Bernard Winskill (British, died 1980)

AT THE START Bronze, 17 ½” x 19” Signed under base. Inscribed on brass plate on bottom: Royal Worcester Bronze / At The Start / Modeled by Bernard Winskill (artist signature engraved) / Model No. 2 of 15 / © 1971 Royal Worcester $5,000. – 7,000.

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100 | Stephanie Revennaugh (American, born 1973) JUMPERS a pair Bronze, 21” x 18” each Signed, numbered 18 of 21 $9,000. – 12,000.

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101 | Rene Paris (French, 1818– 1970) THE START Bronze, 7 ½” x 9” Signed $2,000. – 3,000.

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102 | Carl Dahl (American, born 1952) FERDINAND Porcelain, unique, 16 ½” x 15” Signed $3,000. – 5,000.

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103 | Carl Dahl (American, born 1952) AMONG US Porcelain, unique, 32 ½” x 19” Signed $6,000. – 9,000.

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104 | Charles Fracé (American, 1926– 2005) FIRST LIGHT  LEOPARD Oil on canvas, 23” x 31” Signed $5,000. – 7,000.

Provenance: Christie’s, South Kensington, April 24, 1998, lot 227

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105 | Tony Henneberg (German/American, born 1966) BARN OWL Watercolor, 29 ¾” x 22 ¼” Signed, dated 2018 $4,000. – 6,000.

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106 | George Edward Lodge (British, 1860– 1954) STEALTH Oil on canvas, 20” x 24 ¼” Signed $6,000. – 8,000.

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107 | Susie Whitcombe (British, born 1957) BLACKFACE EWES Oil on board, 12” x 15” Signed $3,000. – 5,000.

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108 | David Quinn (British, born 1959) COMMON LOONS Acrylic on paper, 16” x 26” Signed $5,000. – 7,000.

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109 | Booth Malone (American, born 1950) BIRD DOG Oil on canvas, 24” x 30” Signed $5,000. – 7,000.

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110 | Brett James Smith (American, born 1958) READY TO FISH Oil on linen canvas, 20” x 30” Signed $10,000. – 15,000.

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111 | Walt Spitzmiller (American, born 1944) BONNIE PRINCE Oil on canvas, 24” x 36” Signed $6,000. – 9,000.

A copy of the Sports Illustrated article will be included with this lot.

Illustrated: Sports Illustrated, January 25, 1982, “Bonnie Price of the Flies,” pages 62 and 63.

Michael Begg, a producer with the BBC, found himself with the task of broadcasting Prince Charles’ marriage to Diana Spencer to the world. Before the wedding he interviewed Charles at Buckingham Palace. Both were rather stiff and nervous until the Prince asked Begg about his plans after the production.

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When Begg mentioned a fishing trip, Prince Charles became more animated and opened a drawer that contained fishing tackle. He pulled out a fly from New Zealand made from the tail hairs of a red setter, or as the Prince noted, “the whole damn dog.” After the royal wedding, Begg and Sports Illustrated writer Clive Gammon took the fly on a fishing trip to Canada.

They had hoped to land a trophy fish to show Charles and win a coveted invitation to fish the River Dee at Balmoral Castle.

112 | J. Duncan MacGregor Jr. (American, born 1907) POINTERS Oil on canvas, 28” x 40” Signed $6,000. – 9,000.

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113 | Richard Firth (British, born 1954)

ENDEAVOUR AND SHAMROCK V, NECK AND NECK, WITH BRITANNIA AND VELSHEDA BEHIND Oil on canvas, 20” x 30” Signed $12,000. – 15,000.

Sir Thomas Octave Murdoch Sopwith built Endeavour to mount his challenge for the 1934 America’s Cup. Endeavour, 130 feet long and rigged to carry 7,560 square feet of sail, was considered the best J-class boat of her day and came extremely close to winning the Cup races of 1934. Skippered by Sopwith himself and using a double-clewed jib designed by him, she was defeated by the American defender Rainbow by only the narrowest of margins.

Shamrock V was the last in a line of racing yachts with which the wealthy Sir Thomas Lipton made five unsuccessful challenges for the elusive America’s Cup between 1899 and 1930. The fifth and last Shamrock, designed and built by Camper & Nicholson at Gosport in 1930, had a 134-ton

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displacement. Measuring 119 feet in length with a 20-foot beam, she carried 7,540 square feet of sail and seemed more than a match for the American defender Enterprise right up until the first of the Cup’s races on Sept. 13, 1930. Enterprise won the series convincingly, and Lipton died the following year, having never brought home the “Auld Mug” (as the America’s Cup trophy is affectionately called).

The two yachts are captured here, sailing between the Isle of Wight and mainland England. Though neither managed to capture the America’s Cup from the New York Yacht Club, impressively both are still afloat and competing today.

114 | Richard Firth (British, born 1954)

AMERICAN YACHT YANKEE JOINS THE BIG CLASS ON BRITISH WATERS, 1935  BRITANNIA, WESTWARD, YANKEE Oil on canvas, 30” x 50” Signed $30,000. – 40,000.

In 1930 Yankee was launched as one of four J-Class yachts built to defend the America’s Cup. Designed by Frank Paine and launched from Lawley & Sons yard in Bristol, Connecticut, the Yankee was regarded as the best all-rounder of the four. Not quite as fine-tuned as the others, she lost out, and with slight modifications came back to compete for the defender spot again in 1934. Losing again, she was sold by her original ownership syndicate, which included former Secretary of the Navy and America’s Cup Hall of Fame member Charles Francis Adams III, to Gerald Lambert. Lambert took her across the Atlantic to race in England where she became the only American J-Class yacht to do so. In 32 races in England she had eight first-place finishes before being scrapped in 1941 with proceeds going to the war effort.

Britannia was built for King Edward VII and then served for King George V. Launched in 1893, she had perhaps the most successful racing yacht career of all time. In 635 starts, she won 231 first prizes and 129 other prizes before being scuttled in 1936 in accordance with George V’s dying wish for her to follow him to his grave.

Launched in 1910, Westward was a superstar of the golden age of big-class racing. The largest Class-A racing schooner of her time, Westward was hailed by author Peter Heaton as “perhaps the most famous of all racing schooners.” She met Britannia no fewer than 174 times and George V was once heard to declare “Whatever we do to Britannia, we must beat that damned schooner,” referring to Westward.

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115 | Charles Church (British, born 1970) FOXHOUND STUDY Oil on canvas, 14” x 10” Signed $6,000. – 9,000.

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116 | Charles Church (British, born 1970) THREE SILK CAPS Oil on canvas, 12” x 16” Signed, dated ’97 $6,000. – 9,000.

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117 | Charles Church (British, born 1970)

STUDY FOR ‘FOUND’ Oil on panel, 11” x 14” Signed, inscribed: Found / Galileo-Red Evie / Prix de l’ Arc de Triomphe G1 Breeder’s Cup Turf G1 / Prix Marcel Boussac G1 $6,000. – 9,000.

Found was rated the best 2-year-old filly in 2014. Sired by Galileo and out of Red Evie, she was owned by members of the Coolmore group and trained by Aidan O’Brien. During her racing career, from ages 2 through 4, she won the Group 1 Moyglare Stud Stakes, the Group 1 Prix Marcel Boussac,

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the 2015 Breeders’ Cup Turf at Keeneland (becoming the first 3-year-old filly ever to do so), and the 2016 Prix de l’Arc de Triomphe. She was named Champion Older Filly at the 2016 Cartier Racing Awards, the European equivalent of the Eclipse Awards.

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Henri-Julien Dumont (French, 1859– 1921) PADDOCK AT LONGCHAMP Oil on canvas, laid down on board, 30” x 40” Signed, inscribed Longchamp Paddock $7,000. – 9,000.

After

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119 | Peter Howell (British, born 1932)

HORSES ON THE TRACK, SARATOGA MORNING Oil on canvas, 20” x 30” Signed $10,000. – 15,000.

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120 | Peter Howell (British, born 1932) NEWMARKET Oil on canvas, 39” x 58” Signed $35,000. – 45,000.

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121 | Peter Howell (British, born 1932) EARLY SPRING, NEWMARKET Oil on canvas, 14” x 18” Signed $5,000. – 7,000.

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122 | Thomas Coates (British, born 1941) BUCKY THE BUGLER Oil on canvas, 48” x 24” Signed with monogram $4,000. – 6,000.

George “Bucky” Sallee was the bugler at Keeneland Race Course for more than 50 years. Keeneland President and CEO Bill Thomason described Sallee as “a beloved member of the Keeneland family and a wonderful ambassador for racing.”

A native of Lexington, Sallee started trumpet lessons at age 7. He majored in music at the University of Kentucky and became a renowned musician on the local scene. During his career he performed with a number of musical headliners, including Jerry Lee Lewis and Fats Domino. Sallee’s career at Keeneland began in the early 1960s, and in the ensuing decades he performed his signature “Boots and Saddles” for the post parade and “Assembly” at post time. He reached a career milestone on October 9, 2002, when he made his 10,000th call to post at Keeneland.

Sallee passed away in November 2016.

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123 | Thomas Coates (British, born 1941)

SOCIETY OF EQUESTRIAN ARTISTS Oil on canvas, 24” x 20” Signed with monogram $4,000. – 6,000.

Thomas Coates is a founding member of the Society of Equestrian Artists (SEA) and served in the early years as president of the organization. Regularly exhibiting with the group, he remains a member to this day. Other prominent members include Susan Crawford and Susie Whitcombe.

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124 | Diana Tremaine (American, born 1964) DEVOTION Oil on canvas, 48” x 60” Verso: Signed, inscribed, dated 2017 $10,000. – 15,000.

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125 | Susan Lyon (American, born 1969) AFTERNOON RIDE Oil on canvas, 16” x 20” Signed $3,000. – 5,000.

126 | Scott Patrick Burdick (American, born 1967) NEW FRIEND Oil on canvas, 16” x 20” Signed $6,000. – 9,000.

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127 | Quang Ho (Vietnamese/American, born 1963) ROUNDING THE HOME STRETCH Oil on panel, 31” x 36” Signed $12,000. – 15,000.

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128 | Quang Ho (Vietnamese/American, born 1963) BAY Oil on panel, 34” x 36” Signed $12,000. – 15,000.

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129 | Jean Bowman (American, 1917– 1994)

E. I POE’S MEADOW MUSIC AND DALMATIA TRAINING ON THE PORTMARNOCK SANDS Oil on panel, 12” x 21 ½” Inscribed $2,000. – 3,000.

130 | Kelly Brewer (American, born 1970) TALL GRASS Oil on canvas board, 24” x 30” Signed $4,000. – 6,000.

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131 | Jean-Bernard Lalanne (French, born 1952) TORERO Oil on canvas, 24” x 19” Signed $4,000. – 6,000.

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132 | Jean-Bernard Lalanne (French, born 1952) OUT HUNTING Oil on canvas, 31” x 46” Signed $10,000. – 15,000.

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133 | Jean-Bernard Lalanne (French, born 1952) TURNING FOR HOME Oil on canvas, 23” x 25” Signed $5,000. – 7,000.

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134 | Marcus Hodge (British, born 1966) GREYS AT EL ROCÍO Oil on panel, 21” x 40” Signed $6,000. – 9,000.

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. The pilgrims take several routes: 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 a different religious confraternity carrying its own emblem of the Virgin of El Rocío. In recent years El Rocío has brought together nearly a million visitors.

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135 | Marcus Hodge (British, born 1966) GREY AT LUXOR Oil on panel, 15 ¾” x 24” Signed $4,000. – 6,000.

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136 | Valeriy Gridnev (Russian/British, born 1956) ROYAL ASCOT PROCESSION Oil on canvas, 40” x 50” Signed $20,000. – 30,000.

The Royal Procession is a tradition unique to Royal Ascot.

First introduced by King George IV in 1825, the procession continues to delight the thousands of racegoers who attend Royal Ascot every summer. Each day of the five-day meet begins with the Royal Procession, when Queen Elizabeth II and accompanying members of the Royal Family arrive along the track in horse-drawn landaus. Drawn by the

famous Windsor Greys, the queen’s landau leads the parade of carriages up the mile, past the Silver Ring, grandstand, and Royal Enclosure before finishing with a circuit of the Parade Ring. Grey horses have led royal carriages since Georgian times, and the landau drivers, known as the postilions, have always worn the traditional Ascot livery, inspired by the royal racing colors.

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137 | Valeriy Gridnev (Russian/British, born 1956)

STUDY FOR ROYAL ASCOT PROCESSION Pastel, 24” x 24” Signed $6,000. – 8,000.

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138 | Susan Crawford (British, born 1941)

GREAT EXPECTATIONS  RACING SILKS OF SUSAN CRAWFORD Oil on canvas, 36” x 24” Signed, dated 2016 $25,000. – 30,000.

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139 | Andre Pater (Polish/American, born 1953) STUDY OF JUSTIFY Oil on board, 20” x 17” Signed $25,000. – 35,000.

On June 9, 2018, a chestnut colt named Justify became the 13th winner of the American Triple Crown. Bred by John D. Gunther of Glenwood Farm, Justify is a son of Scat Daddy and out of Stage Magic. Renowned sporting artist Andre Pater has painted the likenesses of racing greats such as Barbaro,

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Curlin, Rachel Alexandra, and War Front. Despite the long list of illustrious horses Pater has had the opportunity to paint, this is his first painting of a Triple Crown champion.

140 | Sandra Oppegard (American, born 1942) JUSTIFY ‘TRIPLE CROWN’ (set of three) Watercolor, 11” x 14” each Signed, inscribed $4,000. – 6,000.

Horses have been competing for the Triple Crown for nearly a century, but only a select few have been able to capture the elusive title. On June 9, 2018, Justify became the 13th horse to win the Triple Crown (and only the second to accomplish the feat while still undefeated) with his triumphant victory in the Belmont Stakes.

To do so, Justify first had to overcome the “curse of Apollo” (no horse had won the Kentucky Derby without racing as a 2-year-old since Apollo in 1882) and sloppy conditions to win the Kentucky Derby. When Justify won the Preakness, the weather was even worse: It had rained all day in Baltimore, and a heavy fog descended on the track right before the race, making visibility in the stands, and on television, extremely limited. The Belmont, the longest leg of the Triple Crown, was run over a fast track, and though Justify faced serious competition, he won the race by 1¾ lengths over Gronkowski.

Oppegard captures all three of Justify’s Triple Crown wins here, weather and all.

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141 | Andre Pater (Polish/American, born 1953)

HORSE AND JOCKEY WITH PINK SILKS Oil on board, 12” x 16” Signed $25,000. – 30,000.

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142 | Andre Pater (Polish/American, born 1953)

HORSE AND JOCKEY GREEN AND PINK SILKS Oil on board, 13” x 13” Signed $25,000. – 30,000.

Exhibited: Andre Pater in a Sporting Light, National Sporting Library and Museum, Middleburg, Va., 2017

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143 | Andre Pater (Polish/American, born 1953)

THE CHERRY AND BLACK RACING SILKS OF PIERRE LORILLARD Pastel, 36” x 24” Signed $35,000. – 40,000.

Pierre Lorillard was one of the foremost Thoroughbred owners in the history of the American turf. His long, illustrious racing career was marked with tremendous success. But Lorillard is remembered for one feat above all others — owning Iroquois, the first American-bred horse to win the Epsom Derby. In 1881 Iroquois won the Epsom Derby with Fred Archer, the top English jockey of his day, in the saddle.

Iroquois went on to win many other prestigious British races, including the St. Leger Stakes at Doncaster, the Payne Stakes,

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Prince of Wales’s Stakes, and the St. James’s Palace Stakes.

After his return to America, Iroquois won several important American stakes races for Lorillard before being purchased

by William H. Jackson of Belle Meade Stud in Nashville in 1886. Iroquois was retired to stud at Belle Meade, where he enjoyed tremendous success, including being named the top U.S. stallion of 1902. The image of Iroquois with Fred Archer up is iconic in American racing history, and Pater’s depiction of Mr. Lorillard’s famous cherry and black silks pays fitting homage to the greatness achieved under his historic colors.

144 | Andre Pater (Polish/American, born 1953) BULL Pastel, 30” x 24” Signed $40,000. – 60,000.

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145 | Andre Pater (Polish/American, born 1953) FOX AND HOUND (pair) Pastel, 16” x 21” each Signed $25,000. – 35,000.

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146 | Andre Pater (Polish/American, born 1953) MEAL TIME Pastel, 24” x 30” Signed $25,000. – 35,000.

Exhibited: Andre Pater in a Sporting Light, National Sporting Library & Museum, Middleburg, Va., 2017

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147 | Juli Kirk (American, born 1957) VETERANS Oil on canvas, 48” x 36” Signed $14,000. –18,000.

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148 | Juli Kirk (American, born 1957) THE HOWL Oil on canvas, 20” x 30” Signed, dated 2018 $6,000. – 9,000.

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149 | Katie O’Sullivan (Irish, born 1959) LIBRARY STUDY I & II pair Mixed media, 15 ½” x 17 ½” each Signed $6,000. – 9,000. (pair)

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150 | Suzy Smith (American, born 1951) WORKING BLACK AND TANS Pastel, 17 ½” x 24” Signed $3,000. – 5,000.

151 | Larry Wheeler (American, born 1942) MORNING WORK KEENELAND Oil on panel, 8” x 16” Signed $2,000. – 3,000.

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152 | Larry Wheeler (American, born 1942) CATCH Oil on canvas, 16” x 20” Signed $4,000. – 6,000.

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153 | Larry Wheeler (American, born 1942) OKLAHOMA MORNING Oil on canvas, 24” x 30” Signed $6,000. – 8,000.

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154 | Jaime Corum (American, born 1973)

SONGBIRD AND ZENYATTA Mixed media on black primed paper, 24” x 18” Signed $4,000. – 6,000.

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155 | Jaime Corum (American, born 1973) ENGINE Oil on panel, 30” x 43” Signed $3,000. – 5,000.

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156 | Booth Malone (American, born 1950) THREE ON THE QUARTER Oil on canvas, 24” x 30” Signed $5,000. – 7,000.

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157 | Joanne Mehl (American, born 1960) KEENELAND PADDOCK Oil on board, 24” x 29 ¼” Signed $4,000. – 6,000.

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158 | Jay Kirkman (British, born 1958) PADDOCK SCENE Pastel, 9 ¾” x 12 ½” Signed $1,500. – 2,000.

159 | Julie Chapman (American, born 1963)

SAUSAGE ROLL? DON’T MIND IF I DO Oil on canvas, 18” x 24” Signed $4,000. – 6,000.

“Horses were my first love artistically, and they remain a favored subject. Several years ago, while visiting friends and a commission client in southwestern England, we had the good fortune to see off the local hunt. The ground crew were proffering sausage rolls and whiskey on a brilliant November morning (and plied me

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with the same); the hounds were, of course, quite interested.

The whole pre-hunt scene, including the hunt master’s pink coat, was just irresistible to an artist who loves horses and color.”

— Julie T. Chapman

160 | Michael Austin (British, born 1959) TAURUS Oil on canvas, 34” x 50” Signed $9,000. – 12,000.

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161 | Michael Austin (British, born1959) FULL STRETCH Oil on canvas, 24” x 48” Signed $8,000. – 10,000.

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162 | Ashley Collins (American, born 1967) COMPASS Mixed Media, 84” x 60” Signed $50,000. – 60,000.

North, South, East, West. This incredibly textured oil by Collins is a reminder that we always have an abundance of paths we can choose; we are never truly cornered, unless it is we ourselves who create the lines … this work is about breaking free of perceptions and finding the heroic path that we know in our hearts is true.

— copy courtesy of the artist

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163 | Jeaneen Barnhart (American, born 1967) CLOSE FINISH Charcoal and pastel, 31” x 56” Signed $5,000. – 7,000.

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164 | Jeaneen Barnhart (American, born 1967) J. A. MORRIS ‘HEADING HOME’ Charcoal and pastel, 40” x 26” Signed $3,000. – 5,000.

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165 | Serhiy Hai (Ukranian, born 1959) NOBLE HORSE Oil and acrylic on canvas, 81” x 36” Signed $15,000. – 20,000.

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166 | Serhiy Hai (Ukranian, born 1959) STORM RIDER Oil and acrylic on canvas, 47” x 71” Signed $15,000. – 20,000.

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167 | Theodore Waddell (American, born 1941) CALUMET MADONNA Oil on canvas, 54” x 60” $20,000. – 25,000.

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168 | Jo Taylor (British, born 1969) RAPTOR II Mixed Media, 60” x 44” Signed $9,000. – 12,000.

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169 | Jo Taylor (British, born 1969) FREEDOM Mixed Media, 35” x 60” Signed $8,000. – 10,000.

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170 | Jo Taylor (British, born 1969) SILENCE Mixed Media, 35” x 60” Signed $8,000. – 10,000.

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171 | Ellen Skidmore (American, born 1963) SUNSHINE DAYDREAMS Oil on canvas, 48” x 63” Signed with initials $10,000. – 15,000.

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172 | Abel Kesteven (British, born 1963)

THE DIAMOND RIDING CENTRE a pair Pastel, 16” x 20” each Signed $4,000. – 6,000.

The artist volunteers at The Diamond Riding Centre, which is a specialized facility that provides riding instruction and hands-on equine experience for children with conditions such as autism and other learning disabilities. He also teaches an art workshop for autistic adults.

173 | Alan Brassington (Irish, born 1959) CHELTENHAM Watercolor, 20” x 24 ½” Signed $3,000. – 5,000.

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174 | Henry Faulkner (American, 1924– 1981) KENTUCKY ROOSTER Signed $25,000. – 30,000.

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This work was purportedly done for the Kentucky Democratic Party. Whether it was a commission or Faulkner painted it with the intention of selling it to the organization is not known.

However, the painting was never delivered. The rooster has long been the symbol for Kentucky Democrats; the work also features a modified version of the Kentucky state seal in the lower left corner. While Thomas Nast’s famed donkey of the 1870s has surpassed the rooster as a party symbol nationally, the rooster came about in 1840 as an insult by the Whigs toward Jacksonian Democrat Joseph Chapman’s “crowing” during his famed orations.

Having never delivered the painting to the Democratic Party, Faulkner used it to pay a Lexington attorney for services in getting him out of legal jams. Later, Faulkner found himself in another situation with the law and called the lawyer, who was out of town and unable to help. Forced to pay for another attorney, Faulkner took the painting and two chairs from his first lawyer’s office and used them to pay the other lawyer, who has held the work until the present day.

175 | Henry Faulkner (American, 1924– 1981) FLORAL Oil on board, 26” x 16” Signed $12,000. – 15,000.

Provenance: Trivet Antiques

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ARTIST

BIOGRAPHIES Aldin, Cecil British, 1870–1935 Aldin is best known for his depictions of hunt life and for his illustrative work.

A sportsman himself, he served as a master of foxhounds and had a long association with The Illustrated London News. He had long partnerships with artists such as Lance Thackeray. Aldin founded the London Sketch Club and was a member of the Chelsea Arts Club.

Alken, Samuel Henry British, 1810–1894 The son of noted artist Henry Thomas Alken, Alken was born at Ipswich in Suffolk. Young Alken worked and studied under his father, and when the family moved to London, he continued to work as an artist, specializing in painting animals. His genre is most noted as equestrian, hunting, and rural scene painting. In 1852, when Arthur Duke of Wellington died, artist George Augustus Sala was commissioned to immortalize the funeral procession. Alken executed many of the horses in that 60-foot-long panorama.

Ambille, Paul French, 1930–2010 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.

Ashley, Frank Nelson American, 1920–2007 A native of the American Midwest, Ashley was born in Lincoln, Nebraska, raised in St. Paul, Minnesota, and studied art at the American Academy of Art in Chicago and the Minneapolis Art Institute. While stationed in London, England, he attended St. Martin’s School of Art. Ashley portrayed equine subjects primarily from 1960 to the early 1980s before his subject matter changed to pop culture.

Audy, Jonny French, fl. 1840–1880 Little is known about the gifted French equestrian artist of the Second Empire.

Audy painted in both oils and watercolors, specializing in equine and military subjects, including trotters and steeplechase scenes. He is known to have exhibited at the Salon from 1872-1876.

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Austin, Michael J. British, born 1959 Using a wet-on-wet oil painting method, 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.

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.

Bodoy, Ernest Alexandre French, fl. 1874–1920 Little is known about the Paris-born Bodoy. He is known to have done portraits, genre scenes, and hunt scenes. He exhibited at the Salon in 1874.

Bonheur, Isidore Jules French, 1827–1901 Studying painting at first with his father, Raymond, Bonheur 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.

Bowman, Jean American, 1917–1994 After graduating from Spence School in New York City, Bowman attended New York’s Grand Central Art School. She held her first one-woman show in 1940 at Boston’s Vose Gallery. In 1944 she married Alexander MacKay-Smith, the master of the Blue Ridge Hunt. She maintained regular commissions from prominent horsemen of America, Ireland, and England, including members of

the Royal Family. She co-founded the American Academy of Equine Art, which is in Georgetown, Kentucky.

Brassington, Alan Irish, born 1959 Born in Rhodesia, 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 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.

Bristow, Edmund British, 1787–1876 The son of a heraldic painter, Bristow lived in Eton and Windsor, where he was a court painter for the Duke of Clarence, later King William IV. Over his lifetime he exhibited several times at the Royal Academy, British Institution, and Society of British Artists. Members of the royal family patronized him, and Prince Albert acquired one of his works for the Royal Collection Trust.

Brown, Dan American, born 1949 Brown began studying art as a teenager at Syracuse University and Everson Museum of Art. He became a professional illustrator after graduating The Paier College of Art in Hamden, Connecticut. His success as an illustrator led to his works being collected by Rolling Stone magazine and the Army War College.

Using Winslow Homer, Edward Hopper, and Andrew Wyeth as inspiration, Brown developed his fine art skills in both oils and watercolors. His specialty has been in the field of realistic trompe l’oeil painting.

Brown, Paul Desmond American, 1893-1958 Brown was perhaps the most prolific American illustrator of equestrian sports

and country life. He wrote and illustrated 32 books in his career while illustrating approximately 100 more for other authors. His work also appeared in many periodicals, including Better Homes and Gardens, while he did hundreds of drawings for Brooks Brothers for advertising.

Burdick, Scott Patrick American, born 1967 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.

Chapman, Julie T. American, born 1963 Growing up in central Ohio farm country, Chapman dreamed of having her own horse. She 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.

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 H.R.H. Queen Elizabeth II. 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

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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 Collins’ equine art works. 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.

Cooper, Thomas Sidney British, 1803–1902 Bucolic scenes of country landscapes with cattle were the focus of this Royal Academy artist’s work. Cooper lived all his life near Canterbury and also taught there. He first exhibited at the Royal Academy in 1833, was elected A.R.A. in 1845, and to full academy membership in 1867. Many of his works were set in the Canterbury marshes.

Cooper, William Sidney British, 1854–1927 Cooper trained at the Canterbury art school of his great uncle, the famed sheep painter Thomas Sidney Cooper. Moving to Herne Bay in Kent, he specialized in landscapes, particularly those with cattle. He exhibited at the Royal Academy, the Royal Society of British Artists, and the Royal Water Colour Society.

Corum, Jaime Claire American, born 1973 A Kentucky native, Corum grew up steeped in the horse culture of the Bluegrass State. She began drawing the horse at age 7 and riding at age 11, pursuing the equestrian disciplines of eventing and dressage. She received her undergraduate degree from Bellarmine University and her master of fine art in painting from the University of Kentucky. Time and work in the studio helped develop her realist painting technique, but she credits her years of hands-on experience with horses with refining her eye for equine conformation, movement, and character. Corum’s equine art and portraiture are collected widely in the United States, and her work can also be found in collections in Canada and the United Kingdom.

Crawford, Susan British, born 1941 The daughter of a horse trainer, Crawford grew up on a farm before studying at Studio Simi in Florence. Her work has been exhibited at the National Portrait

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Gallery, the Royal Scottish Academy, the Royal Society of Portrait Painters, and the Victoria and Albert Museum. A high-profile equine artist, she is also an accomplished portrait artist who has painted five members of the British royal family, including Queen Elizabeth II. Cullin, Isaac James British, fl. 1881–1936 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.

Dahl, Carl American, born 1952 An American sculptor, 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 said, “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 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 Dreux, Alfred French, 1810–1860 Born in Paris, de Dreux was the only son of noted architect Pierre-Anne de Dreux. He studied under Theodore Gericault and Leon Cogniet. He first exhibited at the Salon in 1831, and his equestrian portraiture landed him an invitation to accompany King Louis-Phillippe to England. After the king’s exile, he also painted the portraits of Emperor Napoleon III and his family along with many other equestrian portraits of British aristocracy.

De Holesch, Denes Hungarian, 1910–1983 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. .

Delierre, Auguste French, 1829 – c. 1890 Born in Paris, Delierre was a renowned painter and illustrator. He specialized in historical paintings, genre scenes, and landscapes. He copied AlexandreFrancois Desportes and Jean-Baptiste Oudry to learn before studying with Eugene Ciceri and exhibited at the Paris Salon between 1853 and 1889. He illustrated Jean de La Fontaine’s Fables, and his work can be found in the Pontoise Museum. de Watrigant, Hubert French, born 1954 De Watrigant has worked for Hermes regularly since 1989 as one of the fashion brand’s most prolific designers. The son of a racehorse trainer, de Watrigant had several artist ancestors. A self-taught artist, he began sketching at his father’s stables and later won first prize at the Les Sept Collines de Rome exhibition.

His work is in the private collections of Queen Elizabeth II, the king of Morocco, Baron Guy de Rothschild, Stavros Niarchos, and Daniel Wildenstein.

Douglas, Edward Algernon Stuart British, 1850–1920 Commonly known as E.A.S. Douglas, the artist has scant information available regarding his life. He seems to have lived in Barnes, near southwest London and between 1880 and 1892 he exhibited 10 pictures with the Royal Academy.

For many years, Douglas worked with Ackermanns, which published sets of his work. His work was shown at the Tate Gallery and Sydney Street Gallery.

Dumont, Henri-Julien French, 1859–1933 Studying at the Academie des Beaux-Arts, Dumont became a part of French café society and befriended other artists such as Degas, Renoir, and Gervex.

Exhibiting at the Salon from 1881-1883, he left with his friends to exhibit as an alternative group as the Salon des Independants. He won a bronze medal at the 1900 Universal Exhibition, and today his work can be seen in the Musee des Charmettes, France.

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

Erland, Simon British, born 1961 Erland was educated at Westminster City School and Kings College London before studying as a postgraduate at the Sir John Cass School of Art. Both of his parents are artists, and their friends have included such major 20thcentury artists as Henry Moore, Jacob Epstein, and Anthony Caro. Erland began exhibiting briefly at the Sladmore Gallery in London before succeeding John Skeaping in 1984 as gallery artist at Arthur Ackermann & Son, where he exhibited every year until the demise of that gallery in 1992. Since then he has exhibited with the Bruton Street Gallery and Frank T. Sabin in London. He has exhibited in more than 26 major group exhibitions since 1980, including regularly at the Royal Academy of Arts in London — where he has been the only artist to exhibit horses regularly since John Skeaping’s retrospective there in 1980 — the Royal Glasgow Institute, and internationally.

Faulkner, Henry Lawrence American, 1924–1981 A Kentucky original, 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.

Ferneley, John E., Sr. British, 1782–1860 Early talent being recognized, Ferneley was both apprentice and friend to

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Benjamin Marshall, learning his lessons well. In 1809 he married an Irish woman and moved to Melton Mowbray where he painted successfully for the rest of his life. He was acclaimed by the gentry and provided them with beautiful, elegant pictures of their best hunters and hounds. Prolific until his death at age 78, he left a complete record of his work.

Fiddian-Green, Nic British, born 1963 Working in his studio near the stables of Wintershall, Surrey, 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.

Firth, Richard M. British, born 1954 Producing only eight or nine paintings per year, 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.

Frace, Charles American, 1926–2005 Having begun his career as a freelance commercial illustrator in New York, Frace had always painted wildlife subjects and by 1972 left his job to pursue wildlife painting full time. He worked for a time at The Saturday Evening Post and illustrated more than 12 books. He eventually was the subject of solo exhibitions at the National Museum of Natural History at the Smithsonian Institution.

Giles, Godfrey Douglas British, 1857−1941 Born in Karachi, Pakistan, to Royal Navy Captain Edward Giles, 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.

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Greeves, Richard American, born 1935 Born in St. Louis, Greeves has lived on Wyoming’s Wind River Indian Reservation for more than 40 years. A self-taught artist, he has studios in Fort Washakie, Wyoming, and Scottsdale, Arizona. A winner of the James Earle Fraser Sculpture Award at the National Cowboy and Western Heritage Museum, he also was commissioned for a permanent monument at the Buffalo Bill Center of the West.

Gridnev, Valeriy Russian, born 1956 After studying at Sverdlovsk Art College, Gridnev 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. He 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.

Hai, Sergiy Ukrainian, born 1959 Born in Lviv, Ukraine, Hai studied at the Lviv State Institute of Applied and Decorative Art. He did a solo exhibition at the National Art Club in New York in 2009 and the Ukrainian Institute of America in 2016. His work has appeared in the Ukrainian Embassy in Washington, D.C., and is in the collection of the Lviv National Museum. His work is also in several modern art museums across Ukraine.

Haigh, Alfred Grenfell British, 1870–1963 Based in Newmarket, Haigh was a sculptor in addition to being a painter. The Duke of Beaufort was his main patron, and this led to later commissions from the Cotswold racing and hunting fraternity. Some of his best-known portraits of racehorses are of Diomedes, Airborne, The Petrarch, and Ocean Swell.

Hall, Harry British, 1814–1882 Exceedingly accurate in his portraits of horses, Hall was employed much as a present-day photographer, rendering life-like 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.

Haseltine, Herbert Chevalier Italian/American, 1877–1962 Born in Italy of American parents, Haseltine studied at Harvard and then returned to Europe for art instruction in Munich, Rome, and Paris. Advised by his friend Aime Morot to try sculpture as a means of improving his painting, he produced an award-winning first attempt that brought acclaim and commissions from European royalty. It also marked the beginning of his 40year quest to model “the perfect horse.” In the 1920s and ’30s, Haseltine sculpted champion racehorses in England and the United States, including the Man o’ War statue at the Kentucky Horse Park. The equestrian statue of George Washington on the grounds of Washington Cathedral is one of his finest works.

Henneberg, Tony German, born 1966 Born in Kiel, West Germany, 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.

Herberte, Edward Benjamin British, 1857–1893 Herberte is believed to have come from Warwickshire, but little is known about this British sporting painter. Some of his earliest work is of the North Warwickshire Hunt. He was one of the first artists to depict “hard riding” ladies. He was also known for depicting racing and fair scenes along with horse portraits 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.”

Herring, John Frederick Sr. British, 1795–1865 Herring was a coach driver on the Doncaster-London route by trade when he began painting. His paintings so impressed the wealthy Frank Hawkesworth in 1818 that he was offered a year’s worth of work. Soon he was painting hunters and racehorses for many notable gentry. In 1845 he was appointed painter to the Duchess of Kent, and later Queen Victoria became a benefactor.

Ho, Quang Vietnamese/American, born 1963 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.

Hodge, Marcus British, born 1966 Hodge studied in Spain at the Escuela Libre del Mediterraneo for five years and after finishing became only the third person in the school’s history to be invited to remain as a tutor. By 1997 he had exhibited with the Royal Society of Portrait Painters. Some of his significant portrait commissions include the Scots Guard at Balmoral, the Jockey Club in Newmarket, and the King’s Troop Royal Horse Artillery.

Hoffman, Frank B. American, 1888–1958 Growing up around his father’s New Orleans-based racing stable, Hoffman developed a love for animals. He worked as an illustrator for the Chicago American newspaper before moving West, eventually ending up in Taos, New Mexico. Hoffman worked under contract for the Brown & Bigelow Publishing Company and produced more than 150 paintings over a 14-year period. As a sculptor, he was hired by the Cooper Underwear Company to produce the Jockey Boy as a symbol for its Jockey brand of underwear.

Holiday, Gilbert Joseph British, 1879–1937 From a privileged background, Holiday was educated at Winchester and then the Royal Academy schools. A talented horseman, he hunted with the Woolwich Drag but drew and painted every kind of equestrian sport. At times he shared a studio with Lionel Edwards, who greatly admired his sensitive, accurate work.

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.

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Jeanniot, Pierre-Georges French, 1848–1934 Born in Geneva, Jeanniot began his studies with his father, Pierre-Alexandre Jeanniot, who was a longtime director of l’Ecole des Beaux-Arts, Dijon, France.

From 1866 until 1881, he pursued a military career before resigning to devote himself to art full time. He first exhibited at the Salon in 1872 and became a regular contributor afterward, establishing himself permanently there in 1882.

During his later years, he was an illustrator, including for Victor Hugo’s Les Miserables in 1887.

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.

Kirkman, Jay British/American, born 1958 The American-born Kirkman moved as a teenager to England where he studied at the West Surrey College of Art and the Camberwell School of Art. His work can be found in many private collections, including those of Lady de Chair, Lord Zetland, and the late Lord Matthews

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Koehler, Henry American, born 1927 Born in Louisville, Kentucky, Koehler graduated from Yale University and worked in advertising in New York. Entering the freelance arena, he received his first commission from Sports Illustrated. At first he documented his favorite sports, foxhunting and sailing, then added the world of horse racing. Koehler has enjoyed more than 60 one-man shows worldwide and has a loyal following of collectors.

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.

Lazzari, Nicola Italian, born 1961 Lazzari’s artistry is strongly influenced by the Italian tradition of making small bronzes. However, Lazzari’s works are completely modern in concept while exhibiting this connection to works as early as the 16th century. His work is a strange mixture of the magical and natural and is perhaps also influenced by his cosmopolitan upbringing. He avoids the changes in scale when bringing a large sculpture down to tabletop proportions by creating his art as small works from concept on.

Leventsev, Nikolai Konstantinovich Russian, 1930–2008 Leventsev was born in 1930 in eastern Russia, graduated from Palekh Art School, and later moved to Moscow, where he also graduated from the Surikov Fine Institute. Highly appreciated in the Soviet Union, Leventsev ranked as the Peoples Artist. He exhibited both at home and abroad. His portraits were commissioned by the Soviet political and industrial elite. His work became highly collected, with prominent sales in Paris 1990-94 and in London 1995-98.

Lodge, George Edward British, 1860–1954 Lodge studied at the Lincoln School of Art before befriending Archibald Thornton, the noted bird and wildlife artist. In 1913 the New Zealand government commissioned him for a book on New Zealand birds. By the end of his

career, he had illustrated at least 31 books, including Dr. David Bannerman’s The Birds of the British Isles.

Lucas-Lucas, Henry Frederick British, 1848–1943 Originally from Lincolnshire, Lucas-Lucas later lived in Rugby. As he lived in horse country, he painted portraits of racers and hunters, horses in action, including racing, hunting and polo, and foxhounds. According to Charles Lane’s book British Racing Prints 1700–1940, Lucas-Lucas was commissioned to create a number of paintings of horses in every sporting activity.

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 selftaught 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 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 The current president of the American Academy of Equine Art, 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.

Maze, Paul Lucien French, 1887–1979 Maze served in both world wars and met Winston Churchill during their tenure in the Royal Scots Greys. They remained friends, and Maze served as a mentor for Churchill’s artistic endeavors. Maze’s father was an art collector, and Maze grew up in a circle of family friends that included Claude Monet, Raoul Duffy, Camille Pissarro, and Pierre-Auguste Renoir. Maze is often referred to as “the last of the post Impressionists.” He worked in oils, pastels, and watercolors and produced a wide variety of subject matter.

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.

MacGregor, J. Duncan, Jr. American, born 1907 Not much is known about this talented artist known for his animal, landscape, and marine paintings. He seems to have been born in the vicinity of New York, or at least worked in the New York, New Jersey, Connecticut area. He possibly attended Yale as a student.

Morland, George British, 1763–1804 The son and grandson of artists, Morland was somewhat of a child prodigy who at age 10 first exhibited sketches at the Royal Academy. He regularly exhibited there from 1784 until his death in 1804, and approximately 250 of his works were reproduced as engravings during his lifetime. A rascal in his youth, he carried it over to adulthood and was known for drinking and incurring considerable debts. His work is in many museums including the Tate Britain.

Malespina, Louis Ferdinand French, 1874–1940 Malespina was a French painter who specialized in sporting- and equestrianthemed works. He was especially noted for steeplechase and harness racing scenes. A modern Impressionist, his works are usually oils on canvas. Malespina exhibited at the Société des Artistes Français at the Palais de Tokyo in Paris.

Some of his works have been reproduced through lithography.

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

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watercolors and sketching wherever he went, Munnings documented racing and hunting horses, gypsies, and the sporting country life that he himself lived.

use of unique surfaces and materials. O’Sullivan has been widely acclaimed through numerous one-woman shows, with many being sellouts.

Nadal, Carlos Spanish, 1917–1998 Born in France, Nadal and his family moved to Barcelona in 1921, where his father had a commercial design studio. There Nadal not only learned to paint but met the artists who would influence him, such as Henri Matisse, Raoul Dufy, and Georges Braque. He fought with the Republican Army in the Spanish Civil War and was captured in 1939. He was one of the last artists with a direct connection to the original group of Fauvist painters.

Paris, Rene French, 1881–1970 A native of the city of the same name, Paris studied under Thomas and de Gardet before showing at the Salon beginning in 1906. Mainly a sculptor of animals, he won an honorable mention in 1907, a medal in 1912, and a gold medal in 1920.

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.

Noble, John Sargent British, 1848−1896 Noble studied at the Royal Academy Schools and under Sir Edwin Landseer before exhibiting regularly at the Royal Academy from 1866 to 1895. He also exhibited at the Fine Art Society, Royal Institute of Oil Painters, and the Royal Institute of Painters in Water Colours. In 1872 he was elected a member of the Society of British Artists.

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.

O’Sullivan, Katie Irish, born 1959 A lifelong involvement in the equestrian world from childhood to her marriage to horse trainer Jamie Osborne gives O’Sullivan a thorough knowledge for detail and accuracy. The originality of her works is enhanced by an unorthodox

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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.

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, 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.

Reichert, Carl Austrian, 1836–1918 A lithographer and an animal painter, Reichert was the son of animal painter and portraitist Heinrich Reichert. Born in Vienna, he studied at the Graz Academy of Drawing before continuing his studies at the Academy of Fine Arts in Munich. He moved to Rome before returning to Graz, where he became known for his landscapes and animal paintings, specifically dogs. A member of the Vienna Union of Artists, he also painted under the pseudonym J. Hartung.

Revennaugh, Stephanie American, born 1973 Award-winning sculptor 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 Aixen-Provence, France; however, she knew she needed to sculpt as soon as her hands first dug into clay.

Robertson, Tyler American, born 1981 Tyler is known for his modern take on otherwise traditional subjects. His use of size, bold compositions, colors, and a palette knife adds life to his paintings.

Since becoming an artist, Tyler has moved quickly to form a buzz in the world of sporting art. He finds inspiration in traveling, advertisements, fashion, and the work of young, upcoming artists. He has sold paintings internationally and has been chosen as the official artist of the 2018 Breeders’ Cup. Russell, Charles Marion American, 1864–1926 One of the most prolific artists and illustrators of the American West, Russell moved from his native Missouri to Montana in 1880 to work as a rancher and cowboy. In 1888 he went to live with the Blood Indians, where he developed his most intimate knowledge of the Indian culture before embarking on a career as a full-time artist in 1892. Today his work can be seen in the White House, Amon Carter Museum of American Art, and the Denver Art Museum.

He is one of two people to represent Montana in the National Statuary Hall Collection in the United States Capitol.

Sandys-Lumsdaine, Leesa British, 1936–1985 As the daughter of a tea merchant, Sandys-Lumsdaine spent her childhood in India. She was educated at Lawnside, Worcestershire, and Brilliantmont, Lausanne, and then spent a year at Cheltenham Art College. Her favorite subject was the country as she owned a variety of animals and hunted with the Duke of Buccleuch’s pack and the Lidderdale.

Sillars, Belinda British, born 1961 Sillars has established a reputation not only in her native England but around the world as a renowned equestrian and animal sculptor. She is a member of the prestigious Society of Equestrian Artists in the UK. Sillars’ commissions include two from Queen Elizabeth II as well as numerous equestrian

organizations such as the World Racing Championship, the Breeders’ Cup, and Epsom Racecourse.

Sinclair, John British, 1872–1922 Sinclair was a British landscape and pastoral painter. He is known to have worked in both oils and watercolors. He was exhibited at major galleries in London, as well as the Royal Academy and the Royal Institute.

Skidmore, Ellen American, born 1963 Born in Baltimore, Skidmore moved to Kentucky in 1981 and graduated from the University of Kentucky. She worked in both Arizona and Oregon before returning to her current location of Paris, Kentucky, and has recently written and illustrated her first children’s book.

Smith, Brett James American, born 1958 Smith’s 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, Suzy F. American, born 1951 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.

Smythe, Edward Robert British, 1810–1899 Elected as a member of the Ipswich Society of Professional and Amateur Artists in 1832, Smythe abandoned a military career for art. He exhibited five works at the Royal Academy and another five works at the British Institution over his

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lifetime. Today his work can be found at the Bury St Edmunds Museum and the Royal Albert Memorial Museum.

Spitzmiller, Walter “Walt” American, born 1944 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.

Stainforth, Martin Frank British, 1866–1957 Receiving training as an engraver and illustrator in England, Stainforth moved to Australia in his late 40s to become one of the country’s leading horse painters.

He made detailed studies of horses and always made numerous sketches to perfect a picture before painting. He hoped to move away from the Herring portraiture of style, and his innovations led to a new style, developed further in England, which created a likeness both detailed and natural.

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 Weekly. There he began to produce commissions for Mr. August Belmont, Sr., and his career painting 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.

Taplin, Guy British, born 1939 Taplin has spent a lifetime studying birds. His carvings reflect his feelings about birds and the pleasure they give him. While down to earth in his own nature, his works have been collected by the likes of Michael Palin, Elisabeth Frink, Gerald Durrell, and Jackie Onassis as well as the Tate Britain and the Royal Collection.

Taylor, Jo British, born 1969 Born in Lancashire, Taylor studied at Leeds Metropolitan University from 1988

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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.

Towne, Charles British, 1763–1840 The son of portrait painter Richard Towne of Liverpool, Towne studied under landscape painter John Rathbone before working as a coach painter. He worked as a landscape artist before venturing into portraits of horses, dogs, and cattle. He began exhibiting at the Royal Academy in 1799 and also at the British Institution.

Tremaine, Diana American, born 1964 Growing up in New York City, Tremaine was greatly influenced by an aunt and uncle’s well-known contemporary art collection that included works by Andy Warhol, Piet Mondrian, Joan Miro, and Wassily Kandinsky. Tremaine studied at UCLA and later moved to Montana to have more space and quietude.

Troye, Edward Swiss/American, 1808–1874 Born in Switzerland of French parents, Troye was of elegant, artistic stock.

Trained in art in England, he arrived in America in 1831 after a short stint in the West Indies. In short order this artist became the finest portrait painter of Thoroughbred horses this country has known, with commissions from all the sporting men of his day. He lived much of his life in Midway, Kentucky, and died just down the road in Georgetown.

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, Theo 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. Wardle, Arthur British, 1860–1949 First exhibiting at the Royal Academy at the age of 16, Wardle, by 1938, had exhibited some 113 works there. Equally proficient in several media, he was elected to the Pastel Society in 1911 and The Royal Society of Painters in Watercolours in 1922. Exotic animals at the London Zoo inspired many of his works, but he is perhaps best known for his domestic animals, portraits, many of which hang at the London offices of the Kennel Club and in New York at the American Kennel Club.

Wheeler, Alfred British, 1851–1932 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. Wheeler 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 foxhunting. 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, John Alfred British, 1821–1903 Wheeler enlisted in the army at age 19, giving him first-hand exposure to horses that would later aid him in his artistic career. The prolific Wheeler painted military, hunting, and racing scenes as well as equestrian portraits that were in demand among the gentry of the day. His vibrant works included both small and large vistas, animating a single subject or uniting more than 150 people, horses, and hounds in one painting.

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.

Whitney, Gertrude Vanderbilt American, 1875–1942 Born into the prominent Vanderbilt family and using her considerable wealth to become one of the most important American art patrons, Whitney also became a prominent sculptress, best known for her monumental public works. Studying at the Art Students League of New York and then in Paris, her works often appeared at the great public expositions in addition to several solo and group shows. Her work is located in public spaces around the world, including her well-known Titanic Memorial in Washington D.C. Winskill, Bernard British, died 1980 Winskill had a childhood love for horses, working at Lord Dudley’s stud farm and even breeding horses on his own. He 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 lostwax casting method, and many of his models were cast in bronze by the Royal Worcester foundry.

Wright, Gilbert Scott British, 1880–1958 Born near Leeds, Wright was the younger brother of sporting artist George Wright. They are believed to have worked together until about 1925, producing many illustrations and calendars. He depicted many sporting subjects, but his coaching scenes with figures in period costume are his most famous. He exhibited at the Royal Academy in 1930, and during the ’30s the Princess Royal used his work on Christmas cards.

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CONDITIONS OF SALE

THESE CONDITIONS GOVERN THIS SALE: This Sixth 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.

1. 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.

2. 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

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all 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 Condition 9. Except for the Limited Warranty in Condition 9, the property is sold “AS IS,” with all faults and defects.

3. 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.

4. 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.

5. 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.

6. BIDDING a. BIDDING BY LOT. Unless otherwise stated in these Conditions, all bids are per lot as numbered in this catalogue. b. DISCLOSURE AND RESERVE. In accordance with KRS 355.2328(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 by-bidding 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. c. 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. If in KCG’s sole

discretion a prospective purchaser does not satisy our registration procedures, KCG may refuse to register such prospective purchaser to bid or permit in the Sale or cancel the contract for sale between such prospective purchaser and the Seller. d. 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. e. 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. f. 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.

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g. 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. The “Buyer’s Premium” is fifteen percent (15%) of the hammer price of each lot up to and including $500,000, plus twelve and one-half 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.

7. OBLIGATIONS OF PURCHASER a. 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

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amout remaining unpaid by the defaulting purchaser; (vii) where amounts are owed by the 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. b. 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. c. 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.

8. 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. 9. 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”). The Authorship Limited Warranty does not extend to any information other than that contained in the heading even if shown in BOLD or CAPITALIZED text. Only BOLD or CAPITALIZED text in the heading indicates 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. Notwithstanding anything herein to the contrary, the Authorship Limited Warranty does not apply to any heading or part of a heading that is qualified. Qualified means limited by a clarification in a Lot’s description or by the use in a heading of one of the terms listed in the section titled Glossary for Painting and Sculpture in the auction catalogue. For example, use of the term “attributed to” in a heading means that the Lot is in KCG’s probably a work by the named artist but no warranty is provided that the Lot is the work of the named artist, and this Authorship Limited Warranty would not apply to any such opinion. 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

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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 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.

10. 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

198

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.

11. RIGHT TO WITHDRAW. KCG retains the right to withdraw any property at any time before the sale for any reason in its sole discretion. KCG shall have no liability whatsoever for such withdrawal.

12. MISCELLANEOUS a. 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. b. 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. c. 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. d. 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. e. 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. f. 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. g. 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.

h. 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. i. LIMITATION OF LIABILITY. In no event will KCG’s liability to a Purchaser exceed the purchase price actually paid. j. PERSONAL INFORMATION. The information KCH collects and its use policies are set forth in more detail in Keeneland’s Privacy Policy, which is fully incorporated into these Conditions of Sale by reference. To the extent there is any conflict between these Conditions of Sale and Keeneland’s Privacy Policy, these Conditions of Sale govern. k. 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 21, 2018.

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)

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

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

Aldin, Cecil ....................................33

de Watrigant, Hubert .....................88

King, Alexa ....................................94

Reichert, Carl .................................25

Alken, Samuel Henry......................11

Douglas, E.A.S. ................................8

Kirk, Juli ...............................147, 148

Revennaugh, Stephanie ...............100

Ambille, Paul..................................78

Dumont, Henri-Julien (after).........118

Kirkman, Jay ................................158

Robertson, Tyler .............................89

Ashley, Frank Nelson......................81

Edwards, Lionel D.R. ................63, 64

Koehler, Henry................................82

Russell, Charles Marion .................44

Audy, Jonny ...................................14

Emms, John .............................17, 18

Lalanne, Jean-Bernard 131, 132, 133

Sandys-Lumsdaine, Leesa ..............58

Austin, Michael J..................160, 161

Erland, Simon ................................93

Lazarri, Nicola ................................96

Sillars, Belinda ...............................98

Barnhart, Jeaneen................163, 164

Faulkner, Henry Lawrence ....174, 175

Leventsev, Nicolai Konstantinovich.62

Sinclair, John ..................................27

Bodoy, Ernest Alexandre ................34

Ferneley, John E., Sr. ..................7, 40

Lodge, George Edward ................106

Skidmore, Ellen ............................171

Bonheur, Isidore Jules ....................41

Fiddian-Green, Nic .........................97

Lucas-Lucas, Henry Frederick..........56

Smith, Brett James .......................110

Bowman, Jean .......................76, 129

Firth, Richard M. ..................113, 114

Lyne, Michael ...........................65, 66

Smith, Suzy F. ...............................150

Brassington, Alan.........................173

Frace, Charles ..............................104

Lyon, Susan .................................125

Smythe, Edward Robert ...................1

Brewer, Kelly Robertson ...............130

Giles, Godfrey Douglas ..................16

MacGregor, J. Duncan, Jr. .............112

Spitzmiller, Walter “Walt” ............111

Bristow, Edmund .............................3

Greeves, Richard ............................92

Malespina, Louis Ferdinand ...........57

Stainforth, Martin Frank ...........67, 68

Brown, Dan ...................................87

Gridnev, Valeriy ....................136, 137

Malone, Booth .....................109, 156

Stull, Henry ..................28, 29, 30, 31

Brown, Paul Desmond ...................90

Hai, Sergiy ...........................165, 166

Maze, Paul Lucien ..........................79

Taplin, Guy.....................................95

Burdick, Scott Patrick ...................126

Haigh, Alfred Grenfell ..................5, 6

Mehl, Joanne ...............................157

Taylor, Jo ..................... 168, 169, 170

Chapman, Julie T. .........................159

Hall, Harry .....................................12

Morland, George .............................4

Towne, Charles ................................2

Church, Charles .......... 115, 116, 117

Haseltine, Herbert Chevalier.....42, 43

Munnings, Sir Alfred James ...........59,

Tremaine, Diana ...........................124

Coates, Thomas J. ................122, 123

Henneberg, Tony..........................105

60, 61

Troye, Edward ................................32

Collins, Ashley..............................162

Herberte, Edward Benjamin ...........22

Nadal, Carlos .................................83

Voss, Franklin Brooke ..............48, 49,

Cooper, Thomas Sidney ..................36

Herring, John Frederick, Jr.........19, 20

Neiman, LeRoy ........................85, 86

50, 51, 52, 53

Cooper, William Sidney ..................37

Herring, John Frederick, Sr. ............21,

Noble, John Sargent.......................35

Waddell, Theodore .......................167

Corum, Jaime Claire.............154, 155

23, 24, 26

Oppegard, Sandra Faye..........91, 140

Wardle, Arthur .........................46, 47

Crawford, Susan ..........................138

Ho, Quang ...........................127, 128

O’Sullivan, Katie ..........................149

Wheeler, Alfred ..............................10

Cullin, Isaac James.........................15

Hodge, Marcus ....................134, 135

Paris, Rene ...................................101

Wheeler, John Alfred ........................9

Dahl, Carl ............................102, 103

Hoffman, Frank B. ..........................55

Pater, Andre ................139, 141, 142,

Wheeler, Larry Dodd ... 151, 152, 153

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

Holiday, Gilbert Joseph ..................80

143, 144, 145, 146

Whitcombe, Susie ........................107

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

Howell, Peter .............. 119, 120, 121

Quinn, David................................108

Whitney, Gertrude Vanderbilt .........45

de Dreux, Alfred .......................38, 39

Jeanniot, Pierre-Georges ................77

Reeves, Richard Stone.............69, 70,

Winskill, Bernard ...........................99

Delierre, Auguste ...........................13

Kestevan, Abel .............................172

71, 72, 73, 74

Wright, Gilbert Scott ......................54

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

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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. 6 • Sunday, November 18, 2018 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. 6 • Sunday, November 18, 2018 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. 6 • Sunday, November 18, 2018 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 Fine Sporting Art, American Paintings and Sculpture

THE SPORTING ART AUCTION NOVEMBER 18, 2018

IN AFFILIATION WITH

Keeneland Sales Pavilion

Lexington, Kentucky

November 18, 2018