2019 Sporting Art Auction Catalog

KEENELAND / CROSS GATE GALLERY

Fine Sporting Art, American Paintings, and Sculpture

THE SPORTING ART AUCTION NOVEMBER 17, 2019

IN A F F IL IATIO N W ITH

Keeneland Sales Pavilion

Lexington, Kentucky

Sunday • November 17, 2019

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THE

AUCTION Sale No. 7 In sending written bids or making inquiries, this sale should be referred to as Sporting Art Auction No. 7.

Cover Illustration: Lot 69 Vaughn Flannery (American, 1898–1955) Greentree Entry – Aiken Trials Oil on renaissance panel | 24” x 36” | Signed

AUCTION Sunday • November 17, 2019 • 4:00 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 9–22 and November 5–16. By appointment October 4–26: 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.

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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 2019, Keeneland and Cross Gate again will team to conduct the seventh annual Sporting Art Auction on Sunday, November 17, at 4 p.m. ET. The partnership between Keeneland and Cross Gate Gallery is a natural fit. Keeneland, recognized as the world’s premier Thoroughbred auction house, offers the perfect sale venue with its state-of-the-art sales pavilion and auctioneering expertise. Perhaps most importantly, many of its racing and sales clientele are avid collectors of sporting art.

Cross Gate, the country’s leading gallery of fine sporting art, delivers a superb collection of paintings and sculpture.

Each year Ladd travels throughout the U.S. and Europe to acquire important works that will capture the interest of ardent collectors.

The success of the first six auctions, which have been

characterized by large crowds and brisk bidding, confirms the strong demand for quality sporting art. LeRoy Neiman’s Flat Racing, a one-of-a-kind glazed ceramic tile mural, sold for $291,000 to top the inaugural sale in 2013. The following year the massive triptych Hercules, by American artist Ashley Collins, brought top price of $149,500. The 2015 auction was highlighted by the sale of Sir Alfred James Munnings’ signed painting Lord Astor’s Broodmare and Foal, which brought $207,000. 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. A work by LeRoy Neiman once again topped the sale, with his Black Lab going for $149,500 in 2018.

This year’s auction will feature 189 high-quality lots representing fine sporting art, American paintings, and sculpture from renowned artists.

Notable works in 2019 include a watercolor by Sir Alfred Munnings titled A Gypsy Encampment. Munnings painted

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gypsies throughout his career, often between high-society portrait commissions. He shared their love of the horse and admired their open ways.

The collection of George and Eli Blackwell includes portraits of many great racehorses of yore, including St. Simon and Man o’ War. Son of a trainer, George Blackwell became a noted bloodstock agent and was considered one of the best judges of yearlings. He is remembered for his canny purchase of a broodmare for Canadian horseman E.P. Taylor.

The mare became the granddam of Northern Dancer, one of the most influential sires of the 20th century.

LeRoy Neiman is represented by four paintings. Other

highlights include a Rosa Bonheur oil painting of sheep in a landscape, a Henry Faulkner painting of Keeneland, and two paintings by Paul Sawyier, Kentucky’s most revered landscape artist.

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 2019 collection will be on display in the Keeneland sales pavilion beginning with the September Yearling Sale (Sept. 9–22) 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 197.

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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 racetrack, 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 outstanding opportunities for horsemen to showcase the talented horses in their stables.

Keeneland conducts racing every April and October, drawing legions of loyal fans who come out to enjoy “racing as it was meant to be.” The nation’s leading trainers, jockeys, and stables converge at Keeneland to compete for some of the country’s richest purse money. The spring meet is anchored by such storied stakes as the $1 million Toyota Blue Grass (G2) and $500,000 Central Bank Ashland (G1), which are premier prep races for the Kentucky Derby and Kentucky Oaks, respectively. The fall meet opens with Fall Stars Weekend, featuring nine graded stakes led by the $1 million Shadwell Turf Mile (G1), $500,000 Claiborne Breeders’ Futurity (G1), and $500,000 Juddmonte

Spinster (G1). Ten fall meet stakes are Breeders’ Cup Challenge races, awarding each winner 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, headlined by Triple Crown winner American Pharoah’s victory in the Breeders’ Cup Classic (G1).

The Breeders’ Cup returns to Keeneland in 2020.

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 on racing’s global stage than any other sale.

Graduates of Keeneland sales include 22 Kentucky Derby winners; 25 Preakness winners; and 21 Belmont winners. Triple Crown winner Justify sold as a yearling at the September Sale.

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 features four auctions: the September Sale, November Breeding Stock Sale, January Horses of All Ages Sale, and the April Two-Year-Olds in Training and Horses of Racing Age Sale.

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

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TEAM COYLE

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 philanthropic mission

dates to 1936 when its founders conceived a model racetrack intended to serve as a leader in the horse industry and the Central Kentucky community.

Today, this vision — known as The Keeneland Way — continues to guide Keeneland employees in their daily work.

Keeneland blends financial and in-kind sponsorships to benefit numerous civic and charitable organizations and lends its grounds as a backdrop for fundraising events. In the community, giving focuses on health and human services, education, arts, and culture. Keeneland is at the forefront of the horse industry, with a rich history of lending support to safety and welfare initiatives, fan education, racing promotion, and Thoroughbred aftercare organizations, among others.

In furtherance of its mission, Keeneland’s portion of the proceeds from the Sporting Art Auction benefits its nonprofit initiatives.

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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-20thcentury classic works to contemporary paintings and sculpture.

Its Central Kentucky location makes the focus on sporting art a natural one.

Sporting art has its roots in the early 18th century when British noblemen commissioned top artists to depict their favorite horses, dogs, and sporting scenes in paintings, drawings, and sculpture. The genre continues to the present, catering to the lifestyle of town and country ladies and gentlemen.

Greg Ladd laid the cornerstone of what would become Cross Gate Gallery while still a student at the University of Kentucky.

Working part-time for an upscale gift shop, he developed an appreciation for art and an eye for sporting art. His growing interest in the genre made him set aside initial plans to

become an architect. Instead, he graduated with a bachelor’s degree in animal science, married his wife, Laura, soon after graduation, and rented two small rooms in downtown Lexington with $1,000 in startup capital.

The business was named Cross Gate Gallery. College friends and their parents were among early 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 found a loyal following of serious collectors from around the world. He is recognized for his expertise

in the genre and gracious approach to selling art. In addition to top owners and breeders from around the world, Cross Gate’s clients include (but are certainly not limited to) Keeneland Race Course, FasigTipton Company, Breeders’ Cup, Ltd., and a wealth of other prominent equine organizations.

Ladd also is known for his eye for quality and over the years has nurtured and represented artists such as Andre Pater, Valeriy Gridnev, Larry Wheeler, Sandra Oppegard, Jean-Bernard Lalanne, 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

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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 people waiting outside the gallery clamored to get in.

Cross Gate’s success has necessitated three moves over its 45 years in business.

Today the gallery operates from a pinkhued Greek revival mansion that spans 11,000 square feet. Its airy, light-filled rooms make the ideal setting to display the gallery’s broad range of artworks.

After more than four decades in the business, 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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Meet Cross Gate Gallery Staff

Carlisle Berkley

Chelsea Dickson

Linda Helton

Catherine Ladd Kennealley

Field Ladd

Bill Evans Meng

Angela Rehorn

Alex Thornbury THE SPORTING ART AUCTION

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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.

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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 17, 2019. After November 17, 2019, 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 17, 2019. On November 17, 2019, 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

LATER THAN WEDNESDAY, NOVEMBER 20, 2019 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 28 and 29 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 20, 2019, 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.

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Fine Sporting Art, American Paintings, and Sculpture Sunday • November 17, 2019 • 4:00 p.m.

Keeneland Sales Pavilion Lexington, Kentucky

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| Francis Calcraft Turner (British, c. 1782–1846) THE MATCH Oil on panel, 5 ½” x 7 ¾” Signed, dated 1825 $3,000. – 5,000.

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| Charles Olivier dePenne (French, 1831–1897) ‘TWO POINTERS’ & ‘TWO SETTERS RETRIEVING A DUCK’ (a pair) Watercolor, gouache, 18 ½” x 13 ½” each Signed $6,000. – 9,000. (pair) Provenance: Frost & Reed

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| John Emms (British, 1843–1912) LOOKING FOR SECONDS Oil on canvas, 10” x 13” Signed, dated ’92 $5,000. – 7,000.

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| Herbert William Weekes (British, 1841–1914) DONKEY AND GEESE Oil on canvas, 18” x 14” Signed $5,000. – 7,000.

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| John Sargent Noble (British, 1848–1896) FOXHOUNDS IN A KENNEL Oil on canvas, 25” x 30” Signed $5,000. – 7,000.

Provenance: David Messum

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| John Emms (British, 1843–1912)

TWO PETIT BASSET GRIFFON VENDEENS Oil on canvas, 15 ¾” x 23 ½” Signed $10,000. – 12,000.

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| Edmond Bouchard (French, 1848–1922) ON GUARD Oil on canvas, 39 ½” x 29” Signed $15,000. – 20,000.

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| Sid Brackett (American, 1852–1910) KITTENS IN THE BARNYARD Oil on canvas, 34” x 46” Signed $6,000. – 8,000.

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| John Emms (British, 1843–1912) HOUND AND PUPPIES Oil on canvas, 24” x 36” Signed $25,000. – 35,000.

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10 | Rosa Bonheur (French, 1822–1899) QUIESCENCE Oil on canvas, 17” x 26 ½” Signed $15,000. – 20,000.

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11 | Rosa Bonheur (French, 1822–1899) STUDY OF A COW Pastel, pencil, 10 ½” x 15 ½” Signed, dated 1854 $2,000. – 3,000.

12 | John F. Herring Jr. (British, 1820–1907) THE END OF THE DAY Oil on canvas, 15” x 20 ¼” Signed $5,000. – 7,000.

Provenance: Christie’s, New York, June 7, 1985, lot 140 Worth & Co. Fred Keetch Ltd

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13 | John F. Herring Sr. (British, 1795–1865) ATTILA Oil on canvas, 28” x 36” Signed, inscribed, dated $25,000. – 35,000.

Attila was a bay horse foaled in 1839. Bred by Colonel Hancox, he was later owned by Colonel George Anson, who accepted the colt as payment for a £200 debt. Anson was a prominent racehorse owner in mid-19th-century Britain as well as a Whig politician. After acquiring Attila, Anson sent the horse into training with John Scott, who trained 40 classic winners from his stables in North Yorkshire.

Attila began his career with an impressive run of six successive wins. The final race of this streak was the 1842 Epsom Derby, which he won by two lengths “with the most perfect ease imaginable.” It was reported that Anson won more than £12,000

in bets in addition to the £4,900 purse. Perhaps these earnings inspired Anson to have not only Herring paint Attilla, but John Ferneley (another leading artist of the time) as well.

After his Derby victory, Attila raced a few more times, with limited success and was retired to stud at 5. He spent a season covering mares in France, where he produced winners of the 1850 Prix du Jockey Club and Prix de Diane. These horses were sadly the only chance Attilla had to prove himself as a stallion.

On his return voyage to England, the boat encountered rough seas and Attila panicked. He landed in England with significant injuries and died shortly thereafter.

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14 | John F. Herring Jr. (British, 1820–1907) FARMYARD SCENE Oil on canvas, 12” x 18” Signed $4,000. – 6,000.

Provenance: C.R. Fenton & Co. Texas

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15 | John F. Herring Jr. (British, 1820–1907)

BY THE DUCK POND Oil on canvas, 16” x 24” Signed $9,000. – 12,000.

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16 | Charles Cooper Henderson (British, 1803–1877) THE GREAT NORTH ROAD Oil on canvas, 25” x 30” Signed with monogram $6,000. – 8,000.

The only way of traveling to and from London and Edinburgh before modern roadways, the Great North Road can be traced back to the Roman roads, Dere Street and Ermine Street.

Temporarily abandoned by the Saxons, the route evolved in the early Middle Ages into the single unified route between London and north Britain. By the late 18th century, improvements to the road were well underway, and stagecoaches began to travel regular routes on a fixed schedule. During the first era of stagecoaches, the road predominantly served as a route for

mail coaches traveling among London, York, and Edinburgh.

In the golden age of coaching (between 1815–1835), a coach could travel the road in its entirety in 20 hours. The road made a considerable impact, not only on the English countryside but on 19th-century literature as well. Novels by prolific authors Charles Dickens and Sir Walter Scott are set along the route. In modern pop culture, British rock artist Sting wrote a song titled “Heading South on the Great North Road.”

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17 | Henry Alken (British, 1785–1851)

‘KNEE DEEP’ AND ‘FULL TILT’ (a pair) Oil on canvas, 11” x 15” each Signed $5,000. – 7,000. (pair)

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18 | William Joseph Shayer (British, 1811–1892) COUNTRY LIFE Oil on canvas, 30” x 40” Signed $7,000. – 10,000.

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19 | Heywood Hardy (British, 1842–1933 ) STUBBORN Oil on canvas, 18” x 24” Signed $5,000. – 7,000.

Provenance: MacConnal-Mason Gallery

20 | Benjamin Herring Jr. (British, 1830–1871) STEEPLECHASING Oil on canvas, 10 ¼” x 14 ½” Initialed, dated ’57 $2,500. – 3,500.

Provenance: MCA/Universal City Studios Inc., California Sotheby’s, New York, April 9, 1999, lot 53 Christie’s, New York, December 1, 1999, lot 42

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21 | Samuel Henry Alken (British, 1810–1894) ‘START FOR THE DERBY’ AND ‘TOWARDS THE FINISH LINE’ (a pair) Oil on canvas, 9 ¾” x 13 ¾” each Signed, one inscribed on the stretcher $10,000. – 15,000. (pair) Provenance: Christie’s, June 1, 2001, lot 55

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22 | Harry Hall (British, 1814–1882)

FILLE DE L’AIR Oil on canvas, 28” x 36” Signed, dated 1864-65, inscribed ‘Newmarket’ $7,000. – 10,000.

The namesake of the Prix Fille de l’Air, Count Frederic de Lagrange’s French-bred filly, is one of two horses to win both the Oaks and the Prix de Diane. While the count kept horses in training at both Chantilly and Newmarket, France and Britain were engaged in a bitter rivalry over European racing supremacy. As authors Joyce Kay and Wray Vamplew note on pages 132 and 133 of the Encyclopedia of British Horse Racing,

“Downright hostility, however, greeted the victory of Fille de l’Air, the first French-owned winner of an English Classic, the 1864 Oaks. Some said that the horse had to be escorted to the winners’ enclosure by a group of hired prizefighters; others, that the jockey had to be protected by mounted police with drawn sabres as he attempted to weigh in.”

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23 | Harry Hall (British, 1814–1882)

BAY HORSE WITH JOCKEY UP Oil on canvas, 34” x 44” $12,000. – 15,000.

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24 | John Arnold Alfred Wheeler (British, 1821–1903) W. CLAY’S THETIS WITH W. H. CLAY UP Oil on canvas, 34” x 44” Signed, dated ’73, inscribed ‘Bath’ $9,000. – 12,000.

Thetis was a bay mare by Neptunus out of a Stockwell mare. Bred

by John Scott, she was given as a gift to trainer W. H. Clay. She is shown here with Clay and his sons. W. Clay, the eldest, is in the saddle, and his younger brother, Tom Clay, is between the mare and his father, who is at the mare’s head. Thetis won nine times in her three-year career. This painting was done as a tribute to her victory in the 1872 Tunbridge Handicap, which she won easily with good betting odds of 10-to-1. Perhaps funds earned from wagering on the race helped finance this commissioned painting.

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25 | Cassius Marcellus Coolidge (American, 1844–1934) THE STABLE FAVORITE Oil on canvas laid down on board, 8” x 12” Signed, inscribed “Spotted Horse of the Steppes” verso $2,000. – 3,000.

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The Collection of George and Eli Blackwell George Blackwell was a British bloodstock agent “widely recognized as one of the world’s best judges of yearlings” (according to his 1995 Blood-Horse obituary). Today he is best remembered as the man who purchased the mare Lady Angela for Canadian horseman E.P. Taylor. She would go on to produce the standout stallion Neartic, who sired Northern Dancer, one of the most influential sires of the 20th century.

26 | Thomas Percy Earl (British, 1874–1947)

PORTRAIT OF MR. GEORGE BLACKWELL SR. Oil on canvas, 22” x 29 ½” Signed, dated ’02 $5,000. – 7,000.

Though he’s best known for his connection to Northern Dancer (lot 38), Blackwell and his family were no strangers to other influential sires. His father, also named George Blackwell, began his career as the head traveling lad for trainer Matthew Dawson, who led St. Simon (lots 27 and 28) to an undefeated career. The elder Blackwell also assisted in the training of Mons Meg and Melody (lot 32), who respectively won the 1890 Queens Vase and Prince of Wales’s Stakes at Ascot on the same day. He became a

trainer on his own in 1891 after Dawson retired and went on to train Rock Sand (lot 33) to his 1903 English Triple Crown sweep.

Rock Sand went on to be the damsire of Man o’ War and the greatgreat grandsire of Princequillo (lot 35), whose line can be seen in horses such as Triple Crown winners Secretariat and Seattle Slew, and in pedigrees of horses such as A.P. Indy, Cigar, Zenyatta, and Triple Crown winner American Pharoah. It is worth noting all of these horses trace directly back to St. Simon.

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27 | Emil Adam (German, 1843–1924)

ST SIMON IN A STABLE Oil on canvas, 22” x 27 ½” Signed, dated 1895, inscribed label on verso: painted from my original sketches and measurements – taken at the (illegible) Stud (Welbeck) in 1890. – Emil Adam $15,000. – 20,000.

Illustrated: Theo Taunton, Famous Horses, Simpson, Low and Co., 1895, page 350 St. Simon was bred by Prince Gustavus Batthyany of Hungary in 1881. Upon the prince’s death from a heart attack at the 1883 Two Thousand Guineas, his entire stable, including the 2-year-old colt St. Simon, was dispersed at the Tattersalls July Sale in Newmarket. The Duke of Portland, a mere 25 years old and relatively new to the sport, purchased St. Simon for 1,800 guineas. The horse he wanted, however, was the horse that went through the ring immediately before St. Simon (on which the Duke had unsuccessfully bid). Feeling defeated, he settled on St. Simon, a bay horse whose trainer had painted the horse’s hocks white to dissuade bidders. (Fortunately for the Duke of Portland, the original trainer of St. Simon, John Dawson, was the brother of his own trainer, Matthew Dawson, who probably suspected that his brother wanted to keep the horse for himself.)

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St. Simon’s initial days of training didn’t prove promising. His stride was awkward and jumpy and he was considered less than coordinated. Nevertheless, the Duke of Portland and Matthew Dawson pressed on.

Their faith in the horse paid off. St. Simon won 10 races and was never defeated. His principal performance was winning the Ascot Gold Cup in 1884 by an incredible 20 lengths. It is said he was so strong it took almost an entire lap of the course for his jockey, Fred Archer, to pull him up. He went on to win the Gold Cup at Goodwood in another impressive manner, never breaking into a full gallop, defeating Ossian, winner of the St Leger. Dawson “declared St. Simon to have been the best animal he ever had under his care,” according to Theo Taunton’s Famous Horses. Though he never competed in the classic races, St. Simon was still hailed as the champion of his crop and one of the best racehorses of all time.

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28 | Sir Joseph Edgar Boehm (Austrian, 1834–1890) ST SIMON Bronze, 22 ¾” x 27” Signed $6,000. – 9,000.

At stud, St. Simon sired 423 foals, who won a combined 571 races and brought in more than half a million pounds in earnings in two decades. Taunton writes again of him in Famous Horses, stating “at the stud his success has been so wonderful that it has been almost impossible to secure a subscription to him, whatever the price offered.” He was the leading sire in Great Britain and Ireland nine times and the leading broodmare sire six times. He sired 10 English classic winners: Memoir, Semolina, La Flèche,

Mrs. Butterwick, Amiable, Persimmon (lot 41), St Frusquin, Diamond Jubilee, La Roche, and Winifreda. His bloodline continued to Ribot, Nearco, and Northern Dancer in modern times. Anne Peters considers his bloodline to be “one of the most widespread and omnipresent in the Thoroughbred gene pool today.” Nearly all of the horse portraits from the Blackwell collection in this sale represent descendants of St. Simon or have some connection to the horse.

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29 | Emil Adam (German, 1843–1924)

LONELY Oil on canvas, 10 ½” x 13” Signed, inscribed “Newmarket” and “Lonely” $4,000. – 6,000.

Lonely was a bay daughter of Hermit foaled in 1882. A contemporary of St. Simon, she had a successful 2-year-old season, winning the Exeter and the Hopeful stakes at Newmarket, and the Rous Stakes at Doncaster, as well as three other races.

Her success continued into her 3-year-old career when she won the Oaks at Epsom, where she was the heavy betting favorite.

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As a broodmare, she was bred to St. Simon once, producing a filly of 1892, Saintly, who won both the National Stakes and the Woodcote Stakes. Of interest to this sale, however, is her daughter Barley (by Barcaldine), who was exported to Australia and became the dam of Maltster (lot 30).

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30 | Martin Stainforth (British, 1866–1957) MALTSTER Oil on canvas, 16” x 20” Signed $6,000. – 9,000.

Illustrated: Racehorses in Australia, Art in Australia Ltd., 1922, page 68 The Persimmon and Bill of Portland Lines While St. Simon was undoubtedly an influential sire in Great Britain, his presence was monumental on other continents as well. In Australia, the importation of his sons profoundly impacted the quality of bloodstock there. In a 1922 essay by Dr. W. H. Lang included in Racehorses in Australia, he writes that “no newly imported sire seemed to have a chance of success [in Australia] unless he were imbued with that … St. Simon strain. The effect is still in the strongest evidence today.” Two of St. Simon’s sons, Bill of Portland (named for St. Simon’s owner, William Cavendish-Bentinck, the sixth Duke of Portland) and Persimmon (lot 41) were successful sires in their own right and

portraits of two of their sons are featured in this catalogue.

Maltster was by Bill of Portland, the imported son of St. Simon and out of Barley, a daughter of Lonely (lot 29). Comedy King (lot 31) was by Persimmon and imported to Australia as a foal with his dam.

Maltster won both the Australian Jockey Club Derby at Randwick and Victoria Racing Club Derby at Flemington and finished second in the Melbourne Cup. Maltster was leading sire in Australia five times, and his progeny won £290,358, not a small sum for the first decade of the 20th century. Notable offspring include Malt King, two-time winner of both the All Aged Stakes and Rawson Stakes; and Alawa, winner of the VRC Derby, two-time winner of the Eclipse Stakes, and three-time winner of the CB Fisher plate. The impact of this grandson of St. Simon is still present in Australian racing.

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31 | Martin Stainforth (British, 1866–1957) COMEDY KING Oil on canvas, 13 ½” x 15 ½” Signed, inscribed, dated 11-19 $6,000. – 9,000.

Illustrated: Racehorses in Australia, Art in Australia Ltd., 1922, page 93 Another grandson of St. Simon who played an influential role in Australia was the import Comedy King. Brought from England in 1907 as a foal by Sol Green, the Australian horseman and bookmaker, Comedy King was the winner of eight races, including the Melbourne Cup (which he won at 10-to-1, beating the favorite, Trafalgar, by a nose) and was the first imported horse to do so. As a stallion he was equally, if not more, successful.

He stood at Noorlim Stud, whose, according to Racehorses in Australia, “rich and highly improved paddocks shelter the best

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collection of mares owned by any one man in Australia. Here, too, is that most horse Comedy King (imp.), a splendid son of Persimmon, and one of the outstanding stud successes of today.

He is a most versatile sire, producing as he does sprinters, stayers, Cup and Grand National winners.” He is remembered for siring two other Melbourne Cup winners, Artilleryman and Ingoda, who won the race in 1920 and 1922, respectively. He was also a great broodmare sire, with extended progeny such as Australian Racing Hall of fame horse Comic Court and Carbon Copy, who in 1949 became the highest-winning 3-year-old in Australian history, a record he held for a decade.

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32 | Emil Adam (German, 1843–1924) MELODY & MONS MEG (a pair) Oil on canvas, 12” x 15” each Signed, inscribed, dated 1891 $10,000. – 15,000. (pair)

In England, George Blackwell Sr. continued to work under Matthew Dawson as his head stable lad. With Blackwell’s assistance, the duo trained Melody and the Australian import Mons Meg for Daniel Cooper (an Australian who moved to England in his early 20s). In 1890 the two horses achieved success on the same day at Ascot, with Melody taking the Prince of Wales’s Stakes and Mons Meg triumphing in the Queen’s Vase.

These combined victories most likely were the impetus behind the commission of a pair of Emil Adam paintings featured in this sale. The paintings of the victors were completed in 1891 after Dawson retired from training, leaving Blackwell to take over. Blackwell would have been present when Adam worked on this pair of paintings.

Blackwell would go on to follow in the footsteps of his mentor to achieve great success. He trained Chaleureux to victory in the 1898 Cesarewitch Handicap and Manchester November Handicap. Chaleureux was known to have such an evil temperament that no one in the barn would go near him, and Blackwell was the only one brave enough to handle him.

The horse he made a name for himself with, however, was English Triple Crown winner Rock Sand.

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33 | Emil Adam (German, 1843–1924) ROCK SAND WITH JOCKEY UP Oil on canvas, 22 ½” x 27” Signed, dated 1904 $15,000. – 20,000.

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The Roquebrune Line The elder Blackwell is best remembered for training Rock Sand to victory in the 1903 English Triple Crown. Rock Sand, owned and bred by James Miller, was out of the St. Simon mare Roquebrune, who won two races and was a half sister to the Epsom Oaks winner Seabreeze. Rock Sand was her first foal.

Rock Sand began his 2-year-old season winning the Bedford Stakes at Newmarket. He went on to triumph in the Woodcote Stakes, Coventry Stakes, Chesterfield Stakes, and Champagne Stakes. At the end of his 2-year-old year, Rock Sand was the 4-to-1 favorite for the following year’s Derby. This was especially impressive because most people considered the horse to be a terrible mover and too small to be a Derby winner.

His 3-year-old year was even more impressive. He started the year with a win in a relatively minor race that prepped him for his Triple Crown campaign. At the April Two Thousand Guineas, he was the 6-to-4 favorite. Ridden by the American jockey Skeets Martin, Rock Sand won the race by a length and a half, with Flotsam second and Rabelais third (respective grandson and son of St. Simon). It was reported in the Sportsman that Rock Sand “does not gallop until he is compelled to. In the Two Thousand Guineas, he had at one part of the race to be driven, but when he got going, he simply played with the field, winning very easily.” He went on to win the Derby at Epsom under a new jockey, Danny Maher, as the 4-to-6 favorite in front of a crowd, including the King, Queen, and the Prince and Princess of Wales.

Before competing in the St Leger, Rock Sand ran several other races. He handily won the St. James’s Palace Stakes at Royal Ascot.

In the Eclipse Stakes at Sandown, he raced against older horses,

notably Ard Patrick, the previous year’s Derby winner, and the filly Spectre, who had won four other British classic races in 1902. Together they were considered the best horses in England at the time, and the race, dubbed the “Battle of Giants,” drew an immense crowd that year. Rock Sand went off as the favorite, but the two more-experienced horses pulled away from the pack and fought neck and neck for the finish. Rock Sand finished third with Ard Patrick in first and Spectre second. Interestingly, all three horses were grandsons of St. Simon. On September 9, 1903, Rock Sand ran in the St Leger. Only four horses opposed him, and he was the 2-to-5 favorite. It was reported in the Star that he “was never really extended and won by four lengths.”

Rock Sand continued to race as a 4-year-old and won the Hardwicke Stakes at Royal Ascot (where he beat Spectre for the first time), the Princess of Wales’s Stakes at Newmarket, and the £10,000 Jockey Club Stakes, which would be the last race of his career. Though he won his last race, he was said to be moving even more poorly than usual and was retired shortly thereafter due to persistent tendon trouble. He was sent to stud near Newmarket, but when his owner, James Miller, died in 1906, Rock Sand was put up for sale. His buyer was the American pillar of the turf August Belmont, who purchased the horse for £25,000 and shipped him to his Nursery Stud in Lexington.

As a sire, Rock Sand proved to be just as impressive as he was as a racehorse. He’s most remembered in the United States as the sire of Mahubah, the dam of Man o’ War (lot 34). He also sired Tracery who, like his father before him, won the St Leger.

Tracery’s son, Papyrus, won the 1923 Epsom Derby and went on to sire Cosquilla, the dam of Princequillo (lot 35). Other progeny of note include Damrosch and Friar Rock, who won the 1916 Preakness and Belmont, respectively.

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34 | Milton Menasco (American, 1890–1974) MAN O’ WAR Oil on canvas, 22” x 28” Signed $5,000. – 7,000.

Man o’ War was a chestnut colt by Fair Play out of the Rock Sand daughter Mahubah, born in 1917. Bred by August Belmont Jr., he sold as a yearling in Saratoga for $5,000 and was purchased

by Samuel D. Riddle. He is perhaps the best-known horse of the 20th century. He won all but one of his 21 starts, losing only once at Saratoga, fittingly to a colt named Upset. Ten days later Man o’ War beat Upset by a length in the Grand Union Hotel Stakes. Milton Menasco painted him here as a 2-year-old, going to post in the 1919 Belmont Futurity, Man o’ War’s ninth career win. Man o’ War was regarded as the most outstanding 2-yearold male of 1919.

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Man o’ War had as much success as a stallion as he did as a racehorse. He was the leading North American sire in 1926 and runner-up for the title in 1928, ’29, and ’37. He started his stud duties at Hinata Farm outside Lexington, which was managed by Elizabeth Daingerfield. The next year, he was moved to Riddle’s new farm, Faraway Farm (currently Mt. Brilliant Farm). Here, Man o’ War became a Kentucky tourist attraction.

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35 | Richard Stone Reeves (American, 1919–2005) PRINCEQUILLO Oil on panel, 10” x 12” Signed, inscribed $9,000. – 12,000.

Illustrated: Richard Stone Reeves, Royal Blood; Fifty Years of Classic Thoroughbreds, The Blood-Horse, Inc., 1994, page 45 Princequillo was a French-bred, Irish-born colt who raced predominantly in the United States. Bred by Laudy L. Lawrence, he was out of Cosquilla, a great-granddaughter of Rock Sand (lot 33). She was mated to Prince Rose, who stood at the Haras de Cheffreville stud farm in France. Because of the German occupation of France during World War II, the pregnant mare was shipped to Ireland, where she gave birth to Princequillo in 1940.

Shortly thereafter, her owners, factoring in the threat of German bombs and the unlikelihood of racing for some time, shipped Cosquilla and her unweaned foal to the United States, despite the danger posed by German submarines during the passage.

Princequillo made his racing debut in the United States in 1942.

He was claimed after a few races by Prince Dmitri Djordjadze of Georgia and his American wife, Aubrey Emery, who put him into training with future Hall of Fame trainer Horatio Luro. As a 3-year-old, he won the Jockey Club Gold Cup, the Saratoga Cup (where he broke the track record for 1¾ miles), and the Saratoga Handicap. He ran second in the Whitney in 1943 and 1944. He is known as one of the best distance horses of the 20th century, second only to Kelso.

Princequillo was retired from racing after his 4-year-old season and was purchased by Arthur B. Hancock and sent to his Ellerslie Stud in Albemarle County, Virginia. He was later moved to Hancock’s Claiborne Farm in Paris, Kentucky. He was the leading sire in North America in 1957 and 1958 and the leading broodmare sire from 1966 through 1970 and again in 1972, 1973, and 1976. He was the leading broodmare sire in Great Britain and Ireland in 1971. He died of a heart attack in 1964 and is buried at Claiborne.

Richard Stone Reeves remembers painting Princequillo and writes in Royal Blood; Fifty Years of Classic Thoroughbreds, “He had what an artist likes to see — an attractive head, a big, intelligent eye, and a long, heavy, full tail. He fit together so well that I painted him strictly to show his fine conformation, which he passed on.” Indeed he did pass it on. His sons Hill Prince (1950) and Round Table (1958) were both named North American Horse of the Year. His daughters produced horses such as Triple Crown winner Secretariat, Mill Reef, and Sham, Secretariat’s rival. Other progeny include Triple Crown winner Seattle Slew and, through him, horses such as A.P. Indy and Cigar. More recent progeny include Triple Crown winners American Pharoah and Justify.

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36 | Ignac Konrad (Hungarian/French, 1894–1969)

BLANDFORD Oil on canvas, 24” x 29” Signed, dated 1930, inscribed “Paris, Blandford: 1919 Blanche-Swynford” $4,000. –6,000.

The La Fleche Line La Fleche (or “The Arrow” in French) was a daughter of St. Simon foaled in 1889. In 1890 she was sold at Tattersalls for a then-world-record price of 5,500 guineas for a yearling. She was undefeated as a 2-year-old, competing against both sexes, and won the English Filly Triple Crown at 3. Her best foal was John o’ Gaunt (by English Triple Crown winner Isinglass) who came second in the Derby. Due to poor conformation and an amateur jockey, the Derby was his only race. John o’ Gaunt’s best foal (and only colt) was Swynford, who had a far better career than his sire. Swynford won the St Leger, Eclipse Stakes, and Hardwicke Stakes (twice). As a stallion, he was the leading sire in Great Britain and Ireland in 1923 and the leading broodmare sire in 1932. His progeny include six English classic winners, including Blandford.

Blandford was foaled in 1919 and was the leading sire in Great Britain and Ireland three times. He was bred by the Irish National Stud and due to a bout of pneumonia, sold at the December Newmarket sale instead of July. He was purchased

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by Samuel and Richard “Dick” Dawson, Irish brothers who had an operation at Whatcombe, near Wantage, in Oxfordshire.

After purchasing the colt, the Dawsons put him into training at Whatcombe, with Dick, who had just won the Derby and Oaks with the filly Fifinella. Dick Dawson was optimistic about the colt and quickly put him into training with the filly Malva.

Difficult to keep sound due to the bad forelegs he inherited from his grandsire, John o’ Gaunt, Blandford unfortunately raced only four times. Of those, he won three times and was second once, most notably winning the Prince of Wales’s Stakes.

After his 4-year-old season in 1924, he retired to stud at Cloghran Stud outside of Dublin (owned by Samuel Dawson). His initial stud fee was 148 guineas and, because of his unsoundness, he was not particularly popular. That would change, however, after a colt from his first crop, Athford, became the leading 2-year-old in Ireland. Not long after Athford’s success, Blandford’s stud fee was raised to 400 guineas. In 1926 he bred Malva, his former training workmate, who produced the foal Blenheim (known in the United States as Blenheim II). He is one of only four stallions to have sired four winners of the Epsom Derby.

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37 | Martin Stainforth (British, 1866–1957) STUDY FOR BLENHEIM II Watercolor, 8 ½” x 10 ¼” Signed, inscribed, details en verso $6,000. – 9,000.

Blenheim was bred by Henry Herbert, the Earl of Carnarvon and was sold as a yearling for 4,100 guineas to the Aga Khan.

He was put into training with Richard “Dick” Dawson, who had trained both Blenheim’s sire and dam. He won four of his seven starts as a 2-year-old. His 3-year-old season was a bit slow to start, and he didn’t perform well until his win in the Epsom Derby as an 18-to-1 longshot. While preparing for the Eclipse Stakes, he suffered an injury and was immediately retired to stud.

Blenheim entered stud at the Aga Khan’s Haras Marly-LaVille in France. His second crop produced Mahmoud for the Aga Khan, who went on to win the Epsom Derby in 1936, setting a new stakes record. That same year he was purchased

by a syndicate that included Claiborne Farm, Calumet Farm, Greentree Farm, and others, and was exported to the United States. He became known as Blenheim II and was the sire of Whirlaway, winner of the 1941 Triple Crown, as well as 1947 Kentucky Derby winner Jet Pilot. He produced both English and American classic winners. He is buried at Claiborne Farm.

Mahmoud followed in his father’s footsteps as a winner of the Epsom Derby. He would also become an influential sire. Bought from the Aga Khan by C.V. Whitney for 20,000 guineas, he sired 70 stakes winners after he was imported to America.

Most notably (at least for this collection) he was the damsire of Natalma, the dam of Northern Dancer (lot 38).

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38 | Christine Picavet (French/American, 1951–2016) NORTHERN DANCER Oil on canvas, 16” x 20” Signed, dated 1985 $3,000. – 5,000.

In 1952 Canadian businessman E.P. Taylor asked George Blackwell of the British Bloodstock Agency to purchase the best mare available at the December Newmarket sales. Blackwell selected Lady Angela, a mare by Hyperion who was in foal to Nearco. Taylor also liked the mare and told Blackwell to purchase her on the condition that he had to secure another season to Nearco for her. Lady Angela was the sale-topper at 10,500 guineas. The foal she was carrying when she was sold didn’t amount to much, but the foal from the Blackwell-secured mating with Nearco proved to be much better. That foal was Nearctic. Nearctic was Canadian Horse of the Year in 1958, a memorable achievement in its own right, but he is decidedly best known as the sire of Northern Dancer, arguably the most successful sire of the 20th century.

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Northern Dancer cemented his status as a Canadian hero with a record-setting 2:00-flat victory in the prestigious Kentucky Derby. A homebred from Taylor’s Windfields Farm, Northern Dancer was trained by Horatio Luro, who also trained Princequillo (lot 35). He was named champion at 2 in Canada after major stakes victories on both sides of the border. At 3 he was named champion male in the U.S. and Horse of the Year in Canada. While not a Triple Crown winner, he won three classics — the Kentucky Derby, the Preakness Stakes, and Canada’s Queen’s Plate. At stud, he went on to become one of the most influential sires of the late 20th century, continuing St. Simon’s line to the present day in horses such as Justify, who has four crosses to Northern Dancer.

The Collection of George and Eli Blackwell

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39 | Pierre Bellocq a.k.a. “Peb” (French, born 1926) GEORGE BLACKWELL Watercolor, 21 ½” x 13 ¼” Signed, dated ’86 $1,000. – 1,500.

In George Blackwell’s 1995 Blood-Horse obituary, the bloodstock agent is remembered as an excellent judge of yearlings and someone who “sought to avoid high-priced yearlings, yet many of his purchases ran like million dollar performers.” Keeneland’s own Geoffrey Russell remembers looking at yearlings with Blackwell many years ago. Just as the young Russell opened his catalogue to the hip number in question, Blackwell was finished, having already formed an opinion after a quick walk up and back. He was a quick judge but a good one. A 1985 letter to Blackwell that accompanies the painting of Maltster (lot 30) begins with the line, “Dear George, you are right, as always.”

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40 | Sir Alfred Munnings (British, 1878–1959) A GYPSY ENCAMPMENT Watercolor, 11 ¼” x 14 ½” Signed, dated 1906 $60,000. –90,000.

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The Collection of George and Eli Blackwell

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Provenance: Frost & Reed The Collection of George and Eli Blackwell Throughout his illustrious career Sir Alfred Munnings was fascinated by the itinerant lifestyle of the gypsies and travelers he met while exploring the English countryside. From the turn of the century on, when he was still a young man, Munnings was drawn to their brightly colored wagons, vibrant and flashy clothing, and transient lifestyle.

As the son of an East Anglian miller, Munnings grew up with horses used for hauling grain wagons and carriages. From a young age, he was exposed to the excitement of local country fairs and the horse traders (oftentimes gypsies) who attended them. A shared love of horses first led the young artist to the gypsy camps outside Mendham, the village in which Munnings grew up. The artist is first known to have started painting their bright wagons, caravans, and colorful clothing as early as 1902 — four years before he completed this watercolor.

Gypsies are a subject the artist visited time and time again.

Between painting commissions of society members on horseback, Munnings would often visit gypsy encampments, such as the one shown here. He was attracted to the open lifestyle of the people there, their hordes of goats and chickens, and the bright colors

that surrounded him. He also shared their love of animals, even buying one of his favorite dogs from them. Perhaps he viewed these visits as an escape from the uptight lives of his portrait subjects (which helped him make a living). In his memoir, An Artist’s Life, Munnings wrote, “Environment is everything. All comes under its spell. Mine was more than I could wish for at home, with country folk in the right clothes, horses, cattle, a river, millpond, and ducks. For years these surroundings kept me busy, and yet so discontented did I become that it was only when I returned from some journey or stay in another place that I saw it with a fresh eye, beginning fresh work. So it will always be.”

In this watercolor Munnings paints what was by 1906 already a familiar scene to him. Several caravans of varying colors make up the background with just a hit of a cloud-filled English sky above them. On the left side of the composition are three horses, the most prominent of which is a gray pony, one of Munnings’ favorite things to paint. A flock of chickens pecks at the ground outside the main caravan. Women at work are scattered throughout the painting. They are at ease and comfortable, going about their daily tasks, just as Munnings must have been at ease while visiting their camp.

Later in his career Munnings, imitating the gypsies he loved to paint, spent the summer roaming England in a blue caravan he used as both home and mobile studio.

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41 | Adrian Jones (British, 1845–1938) PERSIMMON Oil on canvas, 20” x 24” Signed, inscribed $3,000. – 4,000.

Bred by the Prince of Wales, later King Edward VII, Persimmon was a bay son of St. Simon (lot 27) foaled in 1893. Over the course of his career, Persimmon ran nine times and won seven.

St. Frusquin, another son of St. Simon, inflicted his only two defeats. He won the Epsom Derby in 1895, which was the first horse race ever filmed.

As a stallion, Persimmon sired horses such as Sceptre, a filly who won four English classic races in 1902; Comedy King (lot 31), who was a successful racehorse and stallion in Australia; and Prince Palatine, who won the Ascot Gold Cup in 1912 and 1913 and went on to be the great grandsire of Princequillo (lot 35).

Persimmon was leading sire four times and leading broodmare sire three times. His career was cut short at the age of 15 when he broke his pelvis. His stuffed and mounted head is on display at the National Horseracing Museum at Newmarket.

42 | Henry Stull (American, 1851–1913) TRADITION WITH JOCKEY UP Oil on canvas, 14” x 18” Signed $3,000. – 5,000.

Provenance: F. King and Sons Tradition was owned by Sydney Paget and trained by the future Hall of Fame trainer, A. Jack Joyner. At age 2 in 1904, Tradition captured the Distaff, Flatbush, and Great Eastern handicaps, and at 3 she won the Alabama Stakes and Brighton Oaks. A British aristocrat, Paget managed the U.S. racing operations of William C. Whitney and James Ben Ali Haggin before going out on his own in the late 1890s.

A London and North Eastern Railway class A1 locomotive was named for Persimmon in 1925 and operated until 1963. A lifesized statue of the champion resides at the Royal Stud in the Sandringham estate.

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43 | Henry Stull (American, 1851–1913)

CHAOS, WINNER OF THE SECOND FUTURITY STAKES 1889 Oil on canvas, 30” x 40” Signed, dated 1896 $30,000. – 40,000.

Provenance: Coney Island Jockey Club Exhibited: Kentucky Governor’s Mansion, Frankfort, KY, The Race Continues, May–October 2012 Headley Whitney Museum, Lexington, KY, April–June 2013 When William Scott purchased French-bred champion Rayon d’Or as a stallion prospect in 1882, the $40,000 price tag seemed exorbitant. By the end of the decade, Rayon d’Or had sired three of the most notable racers of the 1880s in Banquet, Tenny, and

Chaos. Scott’s Algeria Stock Farm recouped the entire $40,000 investment made in Rayon d’Or when Chaos took the Futurity Stakes of 1889. The Futurity Stakes’ inaugural running in 1888 was the richest race ever run on American soil, boasting a purse of $40,900. The $54,500 purse offered for the second running of the Futurity Stakes was won by Chaos and singlehandedly covered Rayon d’Or’s purchase price.

William Lawrence Scott was a United States congressman who also sat on the board of the Coney Island Jockey Club.

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44 | Godfrey Douglas Giles (British, 1857–1941) A BEDFORD COTTAGE TRIAL Oil on canvas, 38” x 60” Signed, dated 1893 $20,000. – 30,000.

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Provenance: N.R. Omell, 6 Duke Street, St Jame’s, London S.W.1.

In 1904 The Badminton Magazine illustrated this painting in full color, a rare occurrence at the time. With it, they published this description: “The close connection that has always existed between this magazine and Cheveley is generally known, and it has seemed [e]specially appropriate to give here a copy of Mr. G. D. Giles’s picture A Bedford Cottage Trial. It was painted just ten years ago for the late Colonel McCalmont, and given by him to his friend Major Beatty, on whose dining-room wall it now hangs, a cherished memento. Colonel McCalmont and Captain Machell on their ponies are in the corner of the painting, which few readers of these pages will want to be told represents the historic Limekilns — the ‘walking ground,’ on the side of the road opposite to the expanse of always elastic turf on which the work is done; for however hard the ground may be on the other side of the plantation, on the Limekilns the going is always good. That Mr. Giles was happy in his portraiture the testimony of a very youthful critic proved. Jewitt’s little boy, then about eight years old, went to see the painting in Mr. Giles studio, and at once exclaimed, ‘Oh! Father, look — there is Whisperer, and that is Isinglass, and then comes Suspender,’ and he went on to

name several more — much, needless to say, to the gratification of the artist, for Whisperer is the first of the lot, and the others follow as the child described. The animals in the middle of the composition are, it will be seen, being prepared for their gallop.

The ewe-necked filly that Tom Loates, in his shirtsleeves, has just mounted and has turned to go down is Be Cannie. The boy who is kneeling to put on his spurs is about to be put up on Ruwenzori, who was an invaluable trial horse, never telling his trainer wrong. The black on the left-hand side, with lifted near hind leg, is Throatlash. Jewitt is on his pony, and the slim youth behind him is George Chaloner, who frequently rode for the stable. The rather disappointing Hautbrion, together with Buckingham, the savage Kilsallaghan (who, however was a lamb in the hands of the amazing horse dentist Loeffler), and others of more or less note are included, one of them being Veau d’Or, a colt so named because his owner had been vastly amused at a description of himself by an ever ill-conditioned writer on Turf affairs, who (knowing nothing of Captain McCalmont, as he then was) told his readers that the multi-millionaire was a golden calf who would speedily be devoured by his quasi-friends. A Bedford Cottage Trial represents a thoroughly characteristic scene of training at Newmarket.”

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45 | George Wright (British, 1860–1942) BREAKING HIM IN Oil on canvas, 8 ½” x 12 ½” Signed $2,000. – 3,000.

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46 | David George Steell (British, 1856–1930) WAITING FOR MASTER Oil on canvas, 25 ½” x 31” Signed, dated 1886 $7,000. – 10,000.

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47 | G. D. Rowlandson (British, 1861–1928) ON SCENT Oil on canvas, 20” x 30” Signed $3,000. – 5,000.

Provenance: Handwright Gallery

48 | Lynwood Palmer (British, 1868–1941) GOLDFINCH Oil on canvas, 20” x 26” Signed, dated 1896 $3,000. – 5,000.

Goldfinch was one of the only sons of Ormonde, the 1886 English Triple Crown winner. He was a good juvenile but retired after his 2-year-old season.

He was described as lengthy with a long, strong hip.

Goldfinch sired One Thousand Guineas winner Chelandry before James Ben Ali Haggin purchased the stallion in 1894 and sent him to his Rancho del Paso in California. There, he sired Preakness winner Old English. After Haggin dispersed this farm, Goldfinch was sent to his Elmendorf Farm in Kentucky. He died there in 1914.

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49 | Thomas Sherwood La Fontaine (British, 1915–2007)

GENTLEMEN AND ENGLISH POINTERS ON THE HUNT Oil on canvas, 19” x 30” Signed $4,000. – 6,000.

Provenance: Arthur Ackerman & Sons John Magee Limited

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50 | Franklin Brooke Voss (American, 1880–1953) NIMBA Oil on canvas, 28” x 36” Signed, dated 1927 $25,000. – 30,000.

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Provenance: Arthur Ackerman & Son Illustrated: John Hervey, Racing in America 1922–1936, privately printed for the New York Jockey Club by The Scribner Press, 1937, page 96 Champion 3-year-old filly of 1927, Nimba had her knocks. Her 2-year-old campaign had to be delayed after she was kicked in the stifle in the spring. She won her only start at 2. Then over the winter before her championship season, she was kicked in the jaw and it was feared she would miss another summer. But she won the Coaching Club American Oaks, the Alabama Stakes, and the Lawrence Realization Stakes at 3. Nimba opened her 4-year-old season on May 26, 1928, winning the Metropolitan Handicap, pulling away from the colts. But after that victory she began to sulk and never returned to form. Bred in Kentucky by Arthur B. Hancock, Nimba was sold privately as a yearling to Marshall Field III, who raced her and returned her to Claiborne Farm as a broodmare. Her first foal was Nimbus, who ran second in the 1933 Belmont Stakes for his breeder.

Harold Thurber’s greatest achievement might have been guiding Nimba throughout her racing career. Born in North Dakota in 1892, Thurber rode as a jockey in Louisiana, Kentucky, and New York. Twice he applied to ride in Cuba. He passed away in California in 1968.

On pages 96 and 97 of Racing in America 1922–1936, Nimba is discussed thoroughly. “Jock, Justice F., Black Panther, War Eagle, Rolled Stocking, Hydromel, and Kentucky II were other three-year-olds that raced prominently, but aside from the group previously mentioned, it was two fillies that stood out, with Nimba the real prima donna. She had, as all prima donnas should, exquisite beauty, the artistic temperament, and the capacity to do dazzling things. While both her sire, War

Cloud, son of Polymelus, and her dam, Martha Snow, were bred in England, she had an American strain maternally, as Martha Snow (also dam of Calumet Dick and granddam of Privileged) was by the Ogden horse, Sir Martin, that John E. Madden had originally taken to England to race. War Cloud, imported as a yearling by Mr. A. K. Macomber, had raced here with distinction, winning the Preakness, Dwyer, and other stakes, after which he was sent to France, subsequently returning here to enter the Claiborne Stud, where after making one season, that of 1923, having accidentally broken a leg he had to be destroyed. Nimba was bred by Mr. Hancock and bought privately as a yearling by Mr. Marshall Field. She raced but once at two, winning a purse event. At three she won five of her nine starts, giving a grand exhibition in the Realization, as she led from end to end and won in hand by three lengths from Brown Bud and Flippant, with Bostonian, Valorous, and Chance Shot toiling after her in vain. Only once before had the American equivalent of the St. Leger been won by a filly, Vexatious, in 1919, but on that occasion she did not finish first, Over There, who did, being disqualified. As no other filly since Nimba has succeeded in it, she therefore ranks as the only one of her sex to score a clean-cut, unequivocal victory. Moreover, she also won the Coaching Club American Oaks, our equivalent of the Epsom Oaks, leading all the way and beating Frilette three lengths; at Saratoga she took the historic Alabama Stakes, carrying 124 pounds and giving 10 pounds each to La Palina and Recreation, second and third, and in the Travers split Brown Bud and Valorous. At four she triumphed in the Metropolitan, another event which her sex has found it almost impossible to win. She was bred at five but has not, as a matron, emulated her turf record, which closed with seven races out of thirteen starts and $74,045. Nimba was a chestnut, with a penciling of white between her eyes and a filly of almost faultless beauty of the most patrician type, her head and neck being cameo-like in fineness and her limbs as slim and shapely as a fawn’s.”

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51 | Franklin Brooke Voss (American, 1880–1953)

THE MIDDLESEX FOXHOUNDS IN THE MILLBROOK COUNTRY Oil on canvas, 16” x 24” Signed, dated 1921 $8,000. – 10,000.

Provenance: Margaret Sargent Whitney, Millbrook, New York Thence by family descent Illustrated: Alexander Henry Higginson, Two Centuries of Foxhunting, London: Collins, 1946, page 146 Peter Winants, The Sporting Art of Franklin B. Voss, Lexington: Eclipse Press, 2005, pages 90 and 91 A copy of each book will be included in the lot.

This painting has also alternately been titled Mr. Higginson’s Hounds in Millbrook’s Territory.

Founded in 1899 by Alexander Henry Higginson, the Middlesex Hounds soon came to be regarded as one of the best in the country.

Their base was in South Lincoln, Massachusetts, but due to the

difficult terrain, they traveled to other hunts the majority of the time. In 1905 they participated against Harry Worcester Smith’s Grafton Hounds in the Great Foxhound Match, an event that took place in Virginia’s Piedmont region, and tested Higginson’s contention that English hounds were superior to the American hounds that Smith favored.

Starting in 1907, the Middlesex Hounds often hunted the Millbrook Hunt’s territory and continued this practice for many years at the invitation of Millbrook’s MFH. After Higginson disbanded his kennel, many were sold to the Millbrook Hunt, where he later served as master for three seasons. The Millbrook Hunt, founded in the 1890s, is still regarded as one of the premier hunts in the nation.

Mrs. Whitney, an accomplished horsewoman herself, is believed to be depicted riding sidesaddle on the far right of the work.

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52 | Joseph Raymond Paul Gayrard (French, 1807–1855) SIX TOURS (THE MONKEY STEEPLECHASE) Bronze, 8 ¾” x 9” Signed, inscribed ‘Boyer’ $5,000. – 7,000.

Led by the works of Joseph Raymond Paul Gayrard and Christophe Fratin, bronzes depicting animals in human situations were a popular subject in the mid-19th century. First studying under his father, Raymond, Gayrard began exhibiting at the Paris Salon in 1827 and continued to do so until 1855.

A notable bust sculptor who was popular among French high

society, he became a noted animal sculptor, creating most of these works during 1846-48. Gayrard won a second-class medal at the Salon of 1834 and a first-class medal at the Salon of 1846.

One of the editions of the work offered here was exhibited at the Salon of 1846.

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53 | Isidore Bonheur (French, 1827–1901)

REARING BULL AND HANDLER Bronze, 20 ¼” x 21” Signed, inscribed, foundry mark PEYROL On plynth: Societe D’Agriculture de Pithiviers, dated 1898 $6,000. – 9,000.

Provenance: The Estate of George and Eli Blackwell In the small town of Pithiviers, in north-central France, this bronze was awarded as a prize for large-scale farming at the 1898 Pithiviers Agricultural Society Fair.

The plaque reads: Société D’Agriculture de Pithiviers 1898 Prime Départementale de Grande Culture

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54 | John R. Skeaping (British, 1901–1980) OVER THE HEDGE Bronze, 10” x 14 ½” Signed $4,000. – 6,000.

55 | Stephanie Revennaugh (American, born 1973) BASCULE Bronze, 12 ½” x 63” Signed, edition 19/21 $7,000. – 10,000.

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56 | Stephanie Revennaugh (American, born 1973) SEARCHING Bronze, 18 ½” 16 ½” Signed, edition 9/21 $3,000. – 5,000.

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57 | Simon Erland (British, born 1961)

GALILEO WITH MICK KINANE UP Bronze, 11 ½” x 16” Signed, inscribed under base, edition 2/9 $6,000. – 9,000.

Since his retirement from racing, Galileo has become one of the most influential and sought-after sires in the world.

First awarded the title of leading sire in Great Britain and Ireland in 2008, the horse has annually held the position since 2010. This year, with Anthony Van Dyck’s win in the Epsom Derby, Galileo has sired four Epsom Derby winners, a feat accomplished by other distinguished sires such as Sir Peter Teazle, Waxy, Cyllene, Blandford (lot 36), and Montjeu. Before his retirement Galileo was best known for winning the Epsom Derby, as well as the Irish Derby Stakes, King George VI and Queen Elizabeth Stakes, and for his longstanding rivalry with Fantastic Light. In 2001 the Irishbred Thoroughbred was named the European champion 3-year-old male.

58 | William Hunt Diederich (Hungarian/American, 1884–1953) BRONCO BUSTER Bronze, 11” x 9 ¾” Signed $6,000. – 9,000.

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59 | Carl Dahl (American, born 1952)

BIG RED Glazed porcelain and metal,18 ½” x 15 ¼” Signed, unique $4,000. – 6,000.

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60 | Nick Bibby (British, born 1960)

DEVON & CORNWALL LONGWOOL RAM Bronze, 11” x 11 ½” Signed, edition 4/12 $9,000. – 12,000.

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61 | Nick Bibby (British, born 1960)

BELTED GALLOWAY BULL, CONQUEROR Bronze, 13 ½” x 19” Signed, edition 3/12 $10,000. – 15,000.

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62 | Heywood Hardy (British, 1842–1933) RIDING ON THE DUNES Oil on canvas, 32” x 30” Signed $50,000. – 60,000.

Provenance: Sotheby’s, London, May 7, 2008, lot 70

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63 | The Jockeys of Vanity Fair (Published between May 1881 and September 1909) COMPLETE SET OF FRAMED VANITY FAIR JOCKEYS (34) AND THE WINNING POST (1) 15 ¾” x 22” each Together with a signed book The Jockeys of Vanity Fair

by Russell March, published in 1985 $9,000. – 12,000.

Vanity Fair, a weekly British magazine that ran from 1868– 1914, skewered Victorian and Edwardian society while also keeping up with the latest in fashion, social trends, literature, and other topics. A large part of the magazine’s popularity, and probably greatest legacy, came from full-page caricature prints of famous men and women of the day and an accompanying article on them. It should come as no surprise that numerous men associated with the turf would be portrayed, given racing’s popularity in England at the time. The jockey series made its

debut on May 28, 1881, with the legendary Fred Archer. Frank Wootton was the last jockey featured, in the issue of September 8, 1909. The artists who depicted the jockeys were the prolific Sir Leslie Ward, going by the pseudonym “Spy”; Liberio Prosperi, using “Lib”; and Roland L’Estrange, as “Ao.” Godfrey Douglas Giles did two jockeys and used his initials “GDG,” and one jockey was done by an unknown artist who went by “Hay.” Far less often, a double-page print was issued, like “The Winning Post” seen here.

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64 | Jacques-Emile Blanche (French, 1861–1942) FALSE START, COURSES D’AUTEUIL Oil on canvas, 15” x 24” Signed, dated 1935 verso $7,000. – 10,000.

Provenance: Lucien Lefebvre-Foinet, Paris Redfern Gallery, London Christie’s, London, December 5, 2001, lot 85

65 | Randall Davey (American, 1887–1964) POLO Oil on board, 7 ¾” x 10 ¼” Signed $3,000. – 4,000.

Provenance: Fenn Galleries Ltd

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66 | William Hunt Diederich (Hungarian/American, 1884–1953) BULLFIGHT Paper cut, 7 ½” x 8 ½” Signed $2,000. – 3,000.

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67 | Jean Louis Marcel Cosson (French, 1878–1956) ‘THE START’ AND ‘THE FINISH’ (a pair) Oil on board, 11” x 14” each Signed $2,000. – 3,000. (pair)

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68 | Gilbert S. Wright (British, 1880–1958) POLO PONIES Oil on board, 19” x 15 ½” Signed $4,000. – 6,000.

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69 | Vaughn Flannery (American, 1898–1955) GREENTREE ENTRY – AIKEN TRIALS Oil on renaissance panel, 24” x 36” Signed, inscribed ‘Aiken Trials’ $40,000. – 50,000.

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Provenance: Kraushaar Galleries, New York City Vaughn Flannery was an influential and successful advertising art director for the firm of Young & Rubicam. Flannery’s paintings of racehorses stood in stark contrast to that of his contemporaries. Rather than paint traditional conformation portraits, Flannery painted purely for enjoyment and took a more natural approach. This approach eventually landed his work in esteemed collections such as the Phillips Collection, the Metropolitan Museum of Art, and the private collection of John Hay Whitney. It also secured the Louisville-born Flannery’s place as one of Kentucky’s most cherished and reputable artists.

Flannery was interested in portraying his subjects in their natural surroundings — turned out in paddocks, being loaded into a trailer, or handled by grooms after exercise. His naturally posed horses captured the true essence and beauty of racing culture.

This painting depicts the Aiken Trials, which began in 1942 at the newly built Aiken Training Track. Devereux Milburn, F. S. von Stade, and William B. Wood obtained a charter for the training track in 1941. Modeled after Keeneland’s track in Lexington, Kentucky, it was completed and opened in November of that year and not long after saw success with Shut Out, who trained there, winning the 1942 Kentucky Derby.

Begun in 1942 as a way to give young horses in training the enlightening opportunity to experience every aspect of live racing, the Aiken Trials have become a time-honored tradition as the first leg of Aiken’s Triple Crown events, held annually for

three consecutive Saturdays in March. There are six races on the program consisting of five races for 2-year-olds and maidens (horses that might have started in a race, but have never won), running a quarter-mile to 4½ furlongs, and one race for older horses that have already won. The jockeys are local exercise riders who have an afternoon in the spotlight after paying their dues exercising horses each morning (in all weather) throughout the year. Occasionally, a trainer brings in a licensed jockey to compete, making some exciting competition for the exercise riders.

There were 200 horses booked to train at the Aiken Training Track in spring 1942. Notable owners included John H. Whitney with 35 horses, George H. “Pete” Bostwick with 20, Mrs. Ogden Phipps with 10, William Post with 18, Brookmeade Stable with 40, and Lindsay C. Howard/Bing Crosby Stable with 12. During the 1930s to the 1960s, an era described by some as the “golden age of racing,” Aiken was the home of flat and steeplechase racehorses that were owned by some of the richest and most famous people in the world. They included Elizabeth Arden, Walter P. Chrysler, Isabel Dodge Sloane, John D. Hertz, Louis B. Mayer, and Alfred Gwynne Vanderbilt Jr. In the work being offered, Flannery depicts some of Thoroughbred racing’s most influential owners of the day. John Hay Whitney’s Greentree Stables colors and Alfred G. Vanderbilt’s silks can be seen on Aiken mainstay exercise riders and jockeys. Also pictured is celebrated Aiken horseman George Poole as the paddock judge. The group of four is John Hay Whitney; his trainer, J. M. Gaver; and jockeys Anthony Greco and Wayne D. Wright.

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70 | Franck Elim (French, 19th/20th Century) FINISH AT PARIS LE PRIX Oil on canvas, 21 ¼” x 28 ¾” Signed, dated July 1919 $3,000. – 5,000.

The 1919 Grand Prix de Paris at Longchamp was won by Anthony Gustav de Rothschild’s Galloper Light. Bred by Leopold de Rothschild, Galloper Light was the winner of six races in England and France but was ineligible for the English classics. After his father’s death in 1917, de Rothschild inherited his racing and breeding interests. Besides his Grand Prix de Paris win, Galloper Light also captured the 1926 One Thousand Guineas Stakes with Pillion and bred Midstream, three-time leading sire in Australia.

80

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71 | Michael Lyne (British, 1912–1989)

MARES AND FOALS OF ROKEBY, MR. PAUL MELLON’S STABLES Oil on canvas, 24” x 36” Signed $7,000. – 9,000.

Provenance: Kennedy Galleries INC, 13 East 58thStreet, New York 22, NY Illustrated: page 137, A Parson’s Son, Michael Lyne, 1974.

THE SPORTING ART AUCTION

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72 | Peter Biegel (British, 1913–1989)

“GOOD NIGHT” RETURNING TO KENNELS (PASSING THE TOWN HALL, EXFORD, SOMERSET) Watercolor, gouache, pencil, 9 ¾” x 14” Signed, inscribed $2,000. – 3,000.

Provenance: Roland Ward & Co.

82

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73 | Heather St. Clair Davis (British/American, 1937–1999) OUT HUNTING Oil on canvas, 18” x 23 ½” Signed $4,000. – 6,000.

74 | Lionel Edwards (British, 1878–1966) OCEANS OF ROLLING GRASS Watercolor with body color, 7” x 9” $900. – 1,200.

Provenance: Frost & Reed

THE SPORTING ART AUCTION

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75 | Lionel Edwards (British, 1878–1966)

UP A TREE Watercolor, gouache, en grisaille, 21” x 14” Signed, dated ’08 Inscribed lower right: O.B.H. F&L 18.0 $6,000. – 9,000.

76 | Lionel Edwards (British, 1878–1966)

UP THE HILL, GOODWOOD Pencil, watercolor, body color, blue conte crayon 17 ½” x 12 ½” Signed, dated ’23 $3,000. – 4,000.

Provenance: The Estate of George & Eli Blackwell

84

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77 | Joanne Mehl (American, born 1960) HEADING TO THE PADDOCK Oil on panel, 24” x 31” Signed $4,000. – 6,000.

THE SPORTING ART AUCTION

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78 | Michael Lyne (British, 1912–1989) MOVING OFF Oil on canvas, 40” x 50” Signed $5,000. – 7,000.

Provenance: Frost & Reed

86

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79 | Milton Menasco (American, 1890–1974) MARES & FOALS Oil on canvas, 28” x 35 ½” Signed $6,000. – 8,000.

80 | Paul Brown (American, 1893–1958) THE HILLTOP Watercolor, 9 ¾” x 15” Signed, inscribed, dated ’34 $2,000. – 3,000.

THE SPORTING ART AUCTION

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He lowered his great mulish head toward his fallen master (11” x 14 ¾”)

(frontispiece) The mare drove straight across the path of Duffer (10 ¾” x 14 ¾”)

“I’ll give you twenty dollars and the mule.”

(9” x 13 ¼”)

“I have no wish to kill you.” (10 ¾” x 14 ½”)

“What have I done to hurt her?”

(13 ¼” x 9 ¾”)

81 | Paul Brown (American, 1893–1958)

ILLUSTRATIONS FOR ‘THE THUNDERER’ (6) Pencil on tracing paper, various sizes Each signed and dated 1933 $9,000. – 11,000.

The Thunderer by Max Brand, published by Robert Hale Ltd, May 1933

He pitched on his head and sent his rider spinning (10” x 14 ¾”)

A copy of The Thunderer will be included in the lot.

88

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82 | Leesa Sandys-Lumsdaine (British, 1936–1985) ‘PREPARING FOR THE MORNING WORK’ & ‘ROAD HOGS’ (a pair) Oil on canvas, oil on board, 20” x 30” each Signed, dated ’85 & ’82 $7,000. – 9,000. (pair)

THE SPORTING ART AUCTION

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83 | John R. Skeaping (British, 1901–1980)

HORSE AND JOCKEY Ink, pencil, conte crayon, dry wash, 14” x 19 ¼” Signed, dated ’32 $2,000. – 3,000.

84 | John R. Skeaping (British, 1901–1980) RACING Watercolor, gouache, 19” x 26” Signed, dated ’64 $3,000. – 5,000.

Provenance: The Estate of George & Eli Blackwell

90

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85 | Michael Lyne (British, 1912–1989)

ON THE DOWNS AT UPPER LAMBOURNE Oil on canvas, 20” x 30” Signed $4,000. – 6,000.

THE SPORTING ART AUCTION

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86 | William Norman Gaunt (British, 1918–2001) BLESSING Oil on board, 20” x 24” Signed $3,000. – 5,000.

87 | Jacques Bartoli (French, 1920–1995) AUX COURSES, TOULON Oil on canvas, 18” x 22” Signed en verso, inscribed ‘Toulon’ $3,000. – 5,000.

92

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88 | Richard Stone Reeves (American, 1919–2005) NORTHERN DANCER Oil on canvas, 11” x 10” Signed, inscribed, dated ’79 $7,000. – 10,000.

Provenance: Collection of Mr. and Mrs. Eddie Maple Illustrated: Richard Stone Reeves, Decade of Champions, New York: Fine Arts Enterprises Ltd, 1980, page 14 “Northern Dancer, the feisty little Maryland stallion, began the decade as the heir apparent to Bold Ruler. And true enough, as the dawn of the 1980s approached, Northern Dancer had stepped into the old warrior’s place as the single most important living influence on thoroughbred racing in the world.

“His sons and daughters literally ran riot among the prize money. In his first 12 crops, he sired almost 70 stakes winners… and at the age of 18, the Dancer’s reputation had never been higher. His personality, which bears a sharp resemblance to that of Napoleon at the best of times, if anything took on an even more bouncy, cocky aspect. His supreme confidence and boisterous nature are frequently bestowed upon his progeny, and to watch him — all 15.2 hands of him — strutting around his paddock holding his head high as if sniffing the wind, one could be forgiven for thinking that here, truly, is the finest living stallion in the world.”

— Richard Stone Reeves, Decade of Champions, page 15

THE SPORTING ART AUCTION

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

LEMON DROP KID WITH ECLIPSE AWARD & TROPHY Oil on canvas, 32” x 38” Signed $35,000. – 45,000.

Provenance: The Collection of Jeanne G. Vance

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Accompanied by his Eclipse Award for United States Champion Older Male Horse (2000) and his sterling silver trophy for the 2000 Woodward Stakes

want Behrens to get away.” Fortunately for Lemon Drop Kid, Behrens didn’t get away. After this race many considered him the obvious choice for champion older male.

Lemon Drop Kid was a bay colt foaled in 1996 by Kingmambo out of Charming Lassie, a Seattle Slew mare. William S. Farish and W.S. Kilroy bred the colt and sold him at Keeneland as a yearling for $200,000 through the Lane’s End consignment.

He was purchased by Jeanne Vance and put into training with Hall of Fame trainer Scotty Schulhofer. He won two races in the fall of his 2-year-old year — the Belmont Futurity and the Champagne Stakes — both held at Belmont.

Lemon Drop Kid was retired to stud after his 4-year-old year and returned to Lane’s End Farm. He has been an incredible success as a stallion, with offspring earning more than $89 million.

At 3, Lemon Drop Kid ran unplaced in the Blue Grass Stakes and Kentucky Derby but showed some promise. After he ran third in the Peter Pan, his connections decided he liked the track at Belmont and wanted to try him in the Belmont Stakes.

Lemon Drop Kid captured that race by a head after a stretch battle with Vision and Verse. His only other win at 3 came in the Travers Stakes at Saratoga.

In his 4-year-old year Lemon Drop Kid matured, winning the Eclipse Award for Champion Older Male in 2000. The award is also sold as part of this lot. That year, he won the Brooklyn and the Suburban handicaps at Belmont Park. He traveled to Saratoga in August, where he captured the Whitney in the rain.

After his win in the Whitney, Lemon Drop Kid was entered in the Woodward Stakes at Belmont. Lemon Drop Kid, Behrens, and Skimming arrived at the top of the stretch three across the track. The three battled it out until Skimming tired and it was just Lemon Drop Kid and Behrens dueling neck and neck until Lemon Drop Kid finished a head in front. His jockey, Edgar Prado, was quoted in The Blood-Horse, “I decided to keep him on the outside because I didn’t want to get caught in traffic…I saw Behrens on the inside moving into the far turn, and at the half-mile pole, I asked my horse to move up because I didn’t

Richard Stone Reeves describes Lemon Drop Kid’s Woodward Stakes (the trophy is sold as part of this lot): “The Woodward Stakes was added to the menu of first-rate stakes at Belmont Park in 1954. In the subsequent half-century of the race’s prominence, only two horses have combined a victory in that autumn event for 3-year-olds and up with earlier victories in Belmont’s Futurity for 2-year-olds and the track’s signature Belmont Stakes for 3-year-olds. Those two are Affirmed and Lemon Drop Kid. “This is the type of horse that any artist would love to paint. A big, healthy-looking bay colt, with nearly faultless conformation, he immediately took a perfect stance without coaxing or fussing.

He has a lot of his sire, Kingmambo, in him except Lemon Drop Kid is a little taller. The 1999 Belmont Stakes was a thrilling race with this come-from-behind colt just getting up in time to beat Vision and Verse by a head.”

THE SPORTING ART AUCTION

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90 | Richard Stone Reeves (American, 1919–2005) GUEST ROOM Oil on canvas, 22 ½” x 28 ½” Signed, inscribed, dated ’69 $8,000. – 10,000.

Guest Room was a bay filly foaled in 1965. Bred by the Nuckols brothers, she was sired by Hail to Reason (lot 92) out of the mare Little Hut. She won eight races over the course of her career, was second eleven times, and third nine.

96

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91 | Richard Stone Reeves (American, 1919–2005) STYMIE Oil on canvas, 20” x 24” Signed, inscribed, dated 1947 $12,000. – 15,000.

Of all the successes trainer Hirsch Jacobs had (3,569 winners in 43 years of training), Stymie was perhaps his greatest. Claimed as a 2-year-old for a mere $1,500, the colt went on to win $918,485, more earnings than any other horse at that point in history.

Stymie, bred by King Ranch trainer Max Hirsch, was born in 1941 on the ranch in Texas. Hirsch Jacobs claimed him in his third race in June 1943. Jacobs must have seen something in the colt as the trainer did not get a win out of him until his 15th start. By the time Stymie turned 4, however, he was coming into his own. In 1945 Stymie won nine major races, including the Brooklyn Handicap, and was named champion older male of the year. He went on to win back-to-back Met Miles (both times

coming from last), the International Gold Cup against King Ranch’s Triple Crown winner Assault, and many other races.

Richard Stone Reeves, who painted the champion racehorse here with his trainer and co-owner, remembers Stymie as, “the ‘people’s choice’ wherever he raced, and racing fans came in droves to watch him run. I was one of his most ardent admirers and particularly liked his proud and finely made head which he always held high whether standing or running.” — Richard Stone Reeves, Belmont Park; A Century of Champions Linda Carroll and David Rosner recently co authored a book on Stymie titled Out of the Clouds; The Unlikely Horseman and the Unwanted Colt Who Conquered the Sport of Kings.

THE SPORTING ART AUCTION

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

HAIL TO REASON Oil on canvas, 21” x 38” Signed, inscribed, dated 1967, inscribed “Hail to Reason” $20,000. – 30,000.

Together with a trophy for the 1960 Sapling Stakes at Monmouth Park

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Illustrated: Richard Stone Reeves and Edward Bowen, Legends; The Art of Richard Stone Reeves, Birmingham, Alabama: Oxmoor House, 1989, page 37 Richard Stone Reeves and Juno Cole Weyer, Thoroughbreds I Have Known, Cranbury, New Jersey: A.S. Barnes and Co., 1973, page 49 Hail to Reason was a homebred from the successful BieberJacobs Stable, a partnership between Hirsch Jacobs and Isidor Bieber. Hail to Reason was sired by Turn-To, a stakes winner in England and a grandson of Nearco. His dam was the mare Nothirdchance, named in 1947 as a political statement against German rearmament immediately after World War II. Hail to Reason was named for the partnership’s renewed hope in world order. Jacobs had already achieved incredible success as an owner and trainer with horses such as Stymie, and he was one of the first living trainers to be inducted into the Hall of Fame. He would see even more success with Hail to Reason, whom the Jacobs family affectionately called “Hail.”

After four successful starts in New York, Hail to Reason was entered in the 1960 Sapling Stakes at Monmouth. The only four-time stakes winner in the field, Hail to Reason charged from behind to take the race handily from 40-to-1 longshot He’s a Pistol and eventual Kentucky Derby winner Carry Back. Racing in the silks of Patrice Jacobs, the trainer and cobreeder’s daughter, Hail to Reason was considered the family’s Derby hopeful after this impressive win. “Patrice Jacobs was

to be involved with champion horses over many years,” wrote The Blood-Horse’s Edward Bowen. “In 1972 she married Louis Wolfson and under the name of Harbor View Farm the two bred and raced Affirmed, who in 1978 became the 11th winner of the Triple Crown.”

Hail to Reason was considered the top 2-year-old in 1960, dominating all of his summer races until he fractured a sesamoid and had to be retired. Hirsch Jacobs, who is remembered as a legendary horseman, nursed the colt back to health and despite the early retirement, Hail to Reason was still named champion 2-year-old male in 1960. He went on to have a successful career at stud, standing at Hagyard Farm in Kentucky. Hail to Reason was named leading sire in 1970, and his progeny include a Kentucky Derby winner, Proud Clarion; a Preakness winner, Personality; a Belmont Stakes winner, Hail to All; and an English Derby Winner, Roberto. His legacy continued with horses such as Allez France, Seattle Slew and, more currently, Barbaro. He was a true sire of sires whose bloodline can be seen in many pedigrees today.

“The stallion played such an important part in the phenomenal success of the Bieber-Jacobs stable as breeders.

He became America’s leading sire in 1970, succeeding the long reign of the perennial leader, Bold Ruler.”

— Richard Stone Reeves

THE SPORTING ART AUCTION

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93 | Vincent Haddelsey (British, 1934–2010)

HYDE PARK (TRIPTYCH) Oil on canvas, 57” x 94”, 57” x 116”, 57” x 94” Signed, dated 1987 $20,000. – 25,000.

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THE SPORTING ART AUCTION

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94 | LeRoy Neiman (American, 1921–2012) CLUB ST GERMAIN DU PARIS Oil on board, 49” x 72 ¼” Signed, inscribed, dated Paris ’61 $80,000. – 100,000.

102

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95 | LeRoy Neiman (American, 1921–2012) RED BOXERS Oil on board, 72” x 48” Signed, dated ’63 $60,000. – 80,000.

THE SPORTING ART AUCTION

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96 | LeRoy Neiman (American, 1921–2012) JOCKEY, PALMER Oil on canvas, 29” x 24” Signed, dated ’61 $70,000. – 90,000.

Provenance: Richelle Gallery, St. Louis 5, MO

104

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97 | LeRoy Neiman (American, 1921–2012)

LORD DURHAM COLORS Mixed media, 11” x 5” Signed, dated ’64, inscribed ‘Lord Durham’s Colors’ $2,500. – 3,500.

98 | Diana Tremaine (American, born 1964) BUILDING BLOCKS OF SPRING Oil on canvas, 24” x 24” Signed verso, dated 2019 $4,000. – 6,000.

THE SPORTING ART AUCTION

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99 | Edwin Penny (British, born 1930) CANADA GEESE Watercolor, gouache, 21” x 29” Signed $4,000. – 6,000.

Provenance: Frost & Reed, The Estate of George & Eli Blackwell

106

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100 | Chet Reneson (American, born 1934) ON THE FLATS Watercolor, 19” x 29” Signed $3,000. – 5,000.

Provenance: Sportsman’s Edge Ltd.

THE SPORTING ART AUCTION

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100a | David Shepherd (British, 1931–2017) TIGER Oil on canvas, 22” x 34” Signed, dated 1988 $40,000. – 60,000.

Provenanace: Willow Gallery, London

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This painting is sold to benefit the David Shepherd Wildlife Foundation

The David Shepherd Wildlife Foundation (DSWF) was founded in 1984 by preeminent wildlife artist David Shepherd. The goal of the foundation is to further Shepherd’s own conservation efforts and to fund vital enforcement and community projects that, more than thirty years later, continue to make an impact.

Through his efforts, donations from dedicated supporters, and the work of other artists, the Foundation has given away more than £9 million in grants to essential projects in Asia and Africa. The DSWF also engages in the international policy arena, fighting for greater protectionist policies. The foundation continues to lobby for a universal and permanent ban on the ivory trade and other endangered wildlife products.

In 2011, Shepherd launched a new initiative through the DSWF called “TigerTime” as an effort to help save wild tigers from the brink of extinction (the world has currently lost 97% of the wild tiger population). When launching the campaign Shepherd said, “We can talk all day long about how to save the tiger – but the truth is simple; the killing has to stop! I’m not prepared to see tigers lost to the world and I want everyone who shares my view to stand with me and be heard.” Celebrity supporters of the initiative include Sir Paul McCartney, Stephen Fry, Ricky Gervais, and others.

David Shepherd’s early career was, in his own words, “a series of disasters.” After failing to become a game warden in Africa, which was a childhood dream, he turned to his second choice, painting—and was promptly turned down by the first art school

he applied to enter. He owes his subsequent commercial success to Robert Goodwin, the artist who trained him, and to the Royal Air Force, which flew him around the world to paint pictures of airplanes and commissioned his first wildlife painting—a rhino on a runway in Kenya.

During that same trip to Africa, Shepherd found dead zebras around a poisoned waterhole in Tanzania. Upon returning to London and feeling simultaneously inspired and troubled, he began to paint the animals he had seen in Africa. Shortly thereafter, Shepherd had his first one-man show of wildlife paintings, which sold out in the first twenty minutes. Throughout his career, Shepherd gave back to conservation efforts as an attempt to repay the debt he felt he owed the animals that had given him so much commercial success. In 1973, the sale of his painting Tiger Fire raised more than a million pounds in today’s currency and benefitted Indira Gandhi’s Project Tiger, a tiger conservation program run by the Indian Government. He sold many other paintings to benefit wildlife conservation and encouraged other wildlife artists to do the same.

David Shepherd has been awarded the Order of the Golden Ask

by Prince Bernhard of the Netherlands, as well as OBE for his service to conservation. His legacy continues through the David Shepherd Wildlife Foundation.

For more information on the foundation, please visit their website: www.davidshepherd.org.

THE SPORTING ART AUCTION

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101 | Brett James Smith (American, born 1958) AUTUMN CAST Oil on canvas, 20” x 30” Signed $8,000. –10,000.

110

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102 | Tony Henneberg (German/American, born 1966) GREEN WINGED TEAL Watercolor, 17 ¾” x 22” Signed, dated 2019 $3,000. – 5,000.

103 | David Quinn (British, born 1959)

NORTHERN CARDINAL, EASTERN BLUEBIRD, AND KENTUCKY WARBLER Acrylic on board, 16 ½” x 13 ½” Signed, dated 2019 $3,000. – 5,000.

THE SPORTING ART AUCTION

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104 | Mark Ratzlaff (American, born 1974) POINTER Oil on board, 22” x 25” Signed, dated 2019 $2,000. – 3,000.

105 | Wilhelm Kuhnert (German 1865–1926) BISON Oil on board, 10 ¾” x 16” Signed $4,000. – 6,000.

112

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106 | David Quinn (British, born 1959) AMERICAN KESTREL Acrylic on board, 10 ½” x 14 ½” Signed $3,000. – 5,000.

Illustrated: Cover of Bird Watcher’s Digest, September/October 2001 A copy of this issue will be included in the lot.

THE SPORTING ART AUCTION

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107 | Richard Firth (British, born 1971)

THE NEW YORK YACHT CLUB CRUISE 1937 Oil on canvas, 24” x 36” Signed $18,000. – 26,000.

The New York Yacht Club Cruise first took place in 1844 when John Cox Stevens sailed his yacht Gimcrack from where it was anchored in New York Harbor to Newport, Rhode Island.

This painting depicts the 1937 cruise with Ranger, Endeavour II, Endeavour, Yankee, and Rainbow. Ranger is ahead, looking to take first place for the third time over her four runs of the race, with Endeavour II close behind, and with Yankee, Endeavour, and Rainbow in pursuit.

114

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108 | Martin Grelle (American, born 1954) ADORNED WITH POWER Oil on canvas, 20” x 16” Signed, dated ’01 $40,000. – 50,000.

While historical generalizations have favored the traditional eagle feather headdress, in Sioux culture the lesser-known but far superior buffalo horn headdress signified the ultimate honor bestowed upon a warrior. The headdress, seen in this painting, was worn by eminent leaders of the tribe. The horned bonnet was rarely given and is seen in only a few old photographs. A warrior was granted the privilege of wearing the horned style by

the tribe’s leaders and would construct the headpiece himself.

Sioux warriors given this right believed that they had the dignity, strength, and power of a buffalo bull. They were expected to conduct themselves accordingly as tribal leaders in times of war or during raids. Above all, they were expected to display this strength in the defense of their people.

THE SPORTING ART AUCTION

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109 | C.M. Wicker (American, 20th Century)

KENTUCKY DERBY SCENES (FIRST DAY) Watercolor, 16 ½” x 17 ½” Signed $2,000. – 4,000.

Commissioned for Seagram’s 7 Seven Crowns of Sports historical calendar for 1978, this work depicts Oliver Lewis, who rode Aristides to victory in the first Kentucky Derby in 1875.

116

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110 | Janet Hammond (American, 20th century) SADDLING Oil on canvas, 23” x 30” Signed $5,000. – 7,000.

THE SPORTING ART AUCTION

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111 | Henry Koehler (American, 1927–2018) THREE ENGLISH JOCKEYS UP Charcoal and oil on paper, 18” x 24” Signed $3,000. – 4,000.

112 | Henry Koehler (American, 1927–2018)

STEEPLECHASERS PRESSING ON Oil on board, 11” x 19” Signed, inscribed en verso: ‘Steeplechasers Pressing On, Colors of: Mrs. Thomas H. Voss, Armata Stables, Sheila Williams, Jack Griswold’ $4,000. – 6,000.

118

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113 | Paul Ambille (French, 1930-2010) GALLOP Oil on canvas, 48” x 48” Signed, dated ’81 $8,000. – 10,000.

THE SPORTING ART AUCTION

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114 | Marcus Hodge (British, born 1966)

GREY MARE AT THE FAIR, PUSHKAR Oil on paper, 15” x 22 ½” Signed, dated 2019 $3,000. – 5,000.

115 | Valeriy Gridnev (Russian/British, born 1956) ROYAL ASCOT STUDY Pastel, 22” x 30” Signed $5,000. – 7,000.

120

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116 | Marcus Hodge (British, born 1966)

GREY MARWARI MARE, PUSHKAR Oil on canvas, 31 ½” x 47” Signed $9,000. – 12,000.

THE SPORTING ART AUCTION

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117 | Marcus Hodge (British, born 1966) BLACK MARWARI, PUSHKAR Oil on canvas, 31 ½” x 49” Signed $9,000. – 12,000.

122

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118 | Peter Curling (Irish, born 1955) FIRST AWAY Oil on canvas, 24” x 60” Signed $30,000. – 40,000.

THE SPORTING ART AUCTION

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119 | Charles Church (British, born 1970) AMERICAN PHAROAH STUDY Oil on panel, 12” x 14” Signed, inscribed, dated 2019 verso $9,000. – 12,000.

“I don’t think I’ve ever painted a stallion with such an extraordinary temperament; he would have stood posing perfectly all day.” — Charles Church

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120 | Charles Church (British, born 1970) TAPIT STUDY Oil on panel, 11” x 14” Signed, inscribed, dated 2019 verso $9,000. – 12,000.

“Such a visual feast seeing this horse for the first time, striding slowly out of the barn at Gainesway — he’s an artist’s dream to paint.” — Charles Church

THE SPORTING ART AUCTION

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125

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121 | Andre Pater (Polish/American, born 1953) SUMMER STREAM Oil on canvas, 32” x 40” Signed $100,000. – 125,000.

Exhibited: 2015 retrospective at the Kentucky Governor’s Mansion.

A catalogue from that exhibition will accompany the lot.

126

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

HORNED HEREFORDS IN A LANDSCAPE Oil on canvas, 24” x 28” Signed $30,000. – 40,000.

THE SPORTING ART AUCTION

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127

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123 | Peter Howell (British, born 1932)

RACEHORSES IN THE FOREST, CHANTILLY Oil on canvas, 14” x 18” Signed $5,000. – 7,000.

128

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124 | Peter Howell (British, born 1932) WINTER SCENE, CHANTILLY Oil on canvas, 21” x 28” Signed $9,000. – 12,000.

THE SPORTING ART AUCTION

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129

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125 | Peter Howell (British, born 1932)

MORNING EXERCISE, NEWMARKET Oil on canvas, 24” x 28” Signed $12,000. – 15,000.

130

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126 | Peter Howell (British, born 1932)

HORSES RACING, SARATOGA SPRINGS Oil on canvas, 36” x 48” Signed $30,000. – 40,000.

THE SPORTING ART AUCTION

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131

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127 | Ashley Collins (American, born 1967)

OF RECORDS, OF CROWNS, OF LOVE Mixed media, 48” x 72” Signed, inscribed verso $40,000. – 50,000.

132

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Is it the run toward the goal that brings the excitement … the moment when optimism and hope surround all?

But is it just the race for the Triple Crown? A new course record? A new title?

Or is it something much greater? The love of the sport, the love of the soul of the horse, the love of those that join in the adventure and support you even at your most trying moments?

As one of the world’s most successful living female contemporary painters, Collins is known for her intensely layered works and also for her sense of play. This work is no exception. Collins plays with the concept of “record” by including an old vinyl phonograph record, reminding us to hear the music along the journey. An old cigar box top “La Palina” is a symbol of childish joy, for the old cigar box under the bed hid the best-kept secrets: marbles, toy soldiers, dolls. And though our cigar boxes might be far larger as adults, their contents should still be a secret joy to be savored.

The work is filled with historic pages from an 1868 Harper’s weekly, providing sneak peeks into the linotypes of the period and reminding us that many before us have paved the paths that allow us to engage our ambitions. A Boy Scout magazine from the 1950s, an early 1900s postcard, and clothespins from Collins’ grandmother again speak to the timelessness of our journey. A playful wheel is a counterpoint to a “spur” made of keys, a symbol to spur not the horse but rather ourselves to reach new heights.

The work is enhanced by Collins’ famous crowns, the words “Warrior You,” “Triple Crown,” and “The Skin Horse.” The above are only small samples of hidden surprises that will be found in this amazing painting for generations to come.

It is our own Records, Our own Crowns, and our own Love, that complete life.

(Text courtesy of the artist)

THE SPORTING ART AUCTION

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133

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128 | Andre Pater (Polish/American, born 1953) A COUPLE Oil on canvas, 16” x 19” Signed, dated ’91 $25,000. – 30,000.

134

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129 | Andre Pater (Polish/American, born 1953) HOUNDS ON SCENT Oil on board, 10” x 13” Signed $6,000. – 9,000.

Provenance: The Estate of George & Eli Blackwell

130 | Dede Gold (British, born 1971) HOUND DOWNTIME Oil on canvas, 14” x 18” Signed with monogram $4,000. – 6,000.

For me it’s not about every “hair and whisker” likeness; it’s about a feeling they give you. I want others to feel what I feel when I’m drawn to paint them. He was a little dubious about the company he was keeping in this artist, slightly skeptical of my bumbling efforts but pretty relaxed being very much his houndful self. I loved this kennel character — full of soul. — Dede Gold

THE SPORTING ART AUCTION

135

131 | Valerie Hinz (Canadian, born 1956) BLESSING OF THE HOUNDS Oil on canvas, 24” x 40” Signed $9,000. – 12,000.

136

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132 | Dede Gold (British, born 1971) THE COMMITTIE Oil on canvas, 32” x 47” Signed with monogram $7,000. – 10,000.

It’s that moment of engagement — you’re looking into them, and they are looking back into you — a feeling of real curiosity, and for me that’s painting gold. I wanted to high-five this beautiful group — my “welcoming committee” when they leaned in to engage — not the usual kennel chaos I seem to cause!

— Dede Gold

THE SPORTING ART AUCTION

137

133 | Juli Kirk (American, born 1957) FOUR IS A CROWD Oil on canvas, 30” x 40” Signed $9,000. – 12,000.

138

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134 | Suzy Smith (American, born 1951) SHORTHAIRED POINTERS Pastel, 26 ½” x 19” Signed $4,000. – 6,000.

THE SPORTING ART AUCTION

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139

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135 | Simon Erland (British, born 1961)

LEVADE Bronze,10 ¾” x 9 ¾” Signed, inscribed under base, edition 9/12 $5,000. – 7,000.

140

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136 | Mike Austin (British, born 1959) HIGH SIERRA Oil on canvas, 30” x 36” Signed $5,000. – 7,000.

THE SPORTING ART AUCTION

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141

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137 | Mike Austin (British, born 1959) MORNING CALL Oil on canvas, 32” x 48” Signed $6,000. – 9,000.

142

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138 | Kelly Brewer (American, born 1970) HEREFORDS IN A LANDSCAPE Oil on canvas, 36” x 48” Signed $9,000. – 12,000.

THE SPORTING ART AUCTION

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143

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139 | Abel Kesteven (British, born 1969)

STUDIES OF SALTI THE CIRCUS PONY (set of three) Pastels, 14 ¾” x 19” each Signed $3,500. – 4,500. (set)

144

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140 | Abel Kesteven (British, born 1969)

STUDIES OF HENLEY ROYAL REGATTA (a pair) Pastels, 18” x 23 ¾” each Signed $2,500. – 3,500. (pair)

THE SPORTING ART AUCTION

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145

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141 | Valeriy Gridnev (Russian/British, born 1956) STUDY OF JOCKEYS AT KEENELAND Pastel, charcoal, 24” x 30” Signed $5,000. – 7,000.

142 | Jaime Corum (American, born 1973)

AMERICAN PHAROAH AT CHURCHILL AS A 3 YEAR OLD Oil on canvas, 26” x 36” Signed, dated 2019 verso $4,000. – 6,000.

146

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143 | Jean-Bernard Lalanne (French, born 1952) FLAMENCA, EL ROCÍ O Oil on canvas, 35” x 23” Signed $7,000. – 10,000.

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.

THE SPORTING ART AUCTION

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147

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144 | Jean-Bernard Lalanne (French, born 1952) DUELING Oil on canvas, 26” x 36” Signed $7,000. – 10,000.

148

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145 | Susie Whitcombe (British, born 1957) TO THE START, GOODWOOD Oil on board, 12” x 15” Signed, inscribed en verso $3,000. – 5,000.

146 | Susie Whitcombe (British, born 1957) OCTOBER MORNING, DEAUVILLE Oil on board, 10” x 12 ½” Signed, inscribed en verso $3,000. – 5,000.

THE SPORTING ART AUCTION

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149

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147 | Quang Ho (Vietnamese/American, born 1963) HIGH PASTURE Oil on linen, 20” x 60” Signed $16,000. – 20,000.

150

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148 | Alan Brassington (British, born 1959) TO THE POST Watercolor, 15” x 21” Signed $4,000. – 6,000.

THE SPORTING ART AUCTION

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151

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149 | Alan Brassington (British, born 1959) DOWN AT THE START, ASCOT Watercolor, 19” x 22” Signed $4,000. – 6,000.

150 | Julie Bull (British, born 1964) ROMAN HOLIDAY Oil on canvas, 16” x 20” Signed, dated 2018 $3,000. – 4,000.

152

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151 | Serhiy Hai (Ukrainian, born 1959) HIGH FLYER Oil on canvas, 67” x 51” Signed with initials, dated 2019 $15,000. – 20,000.

THE SPORTING ART AUCTION

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153

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152 | Serhiy Hai (Ukrainian, born 1959) FLAT RACING Oil on canvas, 31 ½” x 43 ¼” Signed with initials, dated 2019 $12,000. – 15,000.

153 | Julie Chapman (American, born 1963) RHAPSODY IN BLUE Fluid polymer on board, 20” x 30” Signed, dated 2019, inscribed verso $3,000. – 5,000.

I’ve been experimenting with high-flow acrylics in poured fashion; they’re not terribly controllable, and they result in fascinating visual textures.

Adding oils to “carve out” my subject, but leaving much of it undescribed, is both evocative and exciting. Gray horses in particular seem to lend themselves to a nonrepresentational color, and this particular gorgeous gray, collected into a dressage trot, has inspired many recent pieces.

— Julie Chapman

154

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154 | Jeaneen Barnhart (American, born 1967) DRIVING Pastel, charcoal, 35” x 60” Signed $5,000. – 7,000.

THE SPORTING ART AUCTION

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155

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155 | Diana Tremaine (American, born 1964) EQUANIMITY (HARLEY) Oil on canvas, 40” x 50” Signed $9,000. – 12,000.

156

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156 | Julie Chapman (American, born 1963) DREAM IN BAY Oil and acrylic on canvas, 22” x 28” Signed $3,000. – 5,000.

157 | Hubert de Watrigant (French, born 1954) ORANGE CAP Ink, charcoal, watercolor, 25 ½” x 19 ¾” Signed $2,500. – 3,500.

THE SPORTING ART AUCTION

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157

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158 | Jeaneen Barnhart (American, born 1967) FULL CHARGE Pastel, charcoal, 40” x 26” Signed $3,000. – 5,000.

158

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159 | Larry Wheeler (American, born 1942) WASHING DOWN, SARATOGA Oil on canvas, 16” x 24” Signed, inscribed en verso $4,000. – 6,000.

THE SPORTING ART AUCTION

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159

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160 | Larry Wheeler (American, born 1942) SARATOGA MORNING Oil on board, 18” x 24” Signed $3,000. – 5,000.

161 | Sandra Oppegard (American, born 1941) SUNRISE GALLOPS Watercolor, 14” x 30” Signed $3,000. – 5,000.

160

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162 | Sandra Oppegard (American, born 1941) SPRINGTIME, KEENELAND Watercolor, 14” x 21” Signed $3,000. – 5,000.

THE SPORTING ART AUCTION

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161

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163 | Katie O’Sullivan (British, born 1959) THE HORSE FAIR Oil on canvas, 24” x 32” Signed $5,000. – 7,000.

164 | Walt Spitzmiller (American, born 1944) FLORIDA PADDOCK Oil on canvas, 17” x 28” Signed $4,000. – 6,000.

162

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165 | Jo Taylor (British, born 1969)

ON SCENT Watercolor, mixed media, 35” x 60” Signed $8,000. – 10,000.

THE SPORTING ART AUCTION

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163

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166 | Jo Taylor (British, born 1969)

MIDNIGHT RIDER Watercolor, mixed media, 35” x 60” Signed $8,000. – 10,000.

164

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167 | Peter Smith (British, born 1949) SUMMER WORK Oil on canvas, 22” x 32” Signed $6,000. – 9,000.

168 | Lesley Humphrey (British, born 1957)

LAUGHTER, RAINY MORNING, WARREN HILL, NEWMARKET Watercolor and mixed media, 20” x 25” Signed, inscribed, dated, verso - part of a series ‘All you need for horse racing and life’ $3,000. – 5,000.

THE SPORTING ART AUCTION

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165

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169 | Andre Pater (Polish/American, born 1953) IRON WHITE MAN (OGLALA SIOUX) Pastel, charcoal, 23 ½” x 15 ½” Signed $20,000. – 30,000.

This portrait is of Iron White Man, a minor band chief from the Oglala Sioux tribe, who traveled with Buffalo Bill’s Wild West Show. He was part of the Indian Police Force, organized by Wild West manager John M. Burke, to ensure that the Indians participating obeyed show orders and refrained from drinking, gambling, and fighting. Indian policemen were elected from within the ranks of the show’s

Indian performers. The red Circle of Vision (usually seen on war horses) is meant to provide alert vision and sense danger from afar.

Pictured here in the season of 1898, Iron White Man had fought under Crazy Horse at the Battle of Little Big Horn sixteen years prior.

166

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170 | Lesley Humphrey (British, born 1957)

THE LONG SHOT, ANIMAL KINGDOM, 137th KENTUCKY DERBY Oil on canvas, 24” x 30” Signed, inscribed, dated verso $7,000. – 9,000.

171 | Booth Malone (American, born 1950) FOX Oil on canvas, 12” x 16” Signed $3,000. – 5,000.

THE SPORTING ART AUCTION

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167

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172 | Tyler Robertson (American, born 1981)

GALLANT FOX WITH EARL SANDE UP Acrylic on canvas, 60” x 48” Signed $7,000. – 10,000.

168

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173 | Brian Whiteside (British, born 1934) IN THE PADDOCK Oil on canvas, 24” x 36” Signed, dated 1987 $2,000. – 3,000.

174 | Lesley Humphrey (British, born 1957)

CONFIDENCE, CONTROL, COMMITMENT Oil on panel, 16” x 20” Signed, dated 2019, verso - part of a series ‘All you need for horse racing and life’ $3,000. – 5,000.

THE SPORTING ART AUCTION

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169

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175 | Booth Malone (American, born 1950) CHURCHILL DOWNS RACERS Oil on canvas, 24” x 30” Signed $4,000. – 6,000.

170

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176 | Ellen Skidmore (American, born 1963) LAYERED LANDSCAPE Oil on canvas, 72” x 84” Signed $15,000. – 20,000.

THE SPORTING ART AUCTION

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171

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177 | Emily Lamb (British, born 1985) LONDOLOZI LEOPARD Oil on canvas, 78 ¾” 78 ¾” Signed $15,000. – 20,000.

Continuing the legacy of her grandfather, famed British wildlife artist David Shepherd, Lamb’s artwork focuses on the wildlife they have always

been passionate about. She currently serves on the board and is an advocate of the David Shepherd Wildlife Foundation.

172

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178 | Eric Sloane (American, 1905–1985) BIG SKY Oil on masonite, 43 ½” x 56” Signed $15,000. – 20,000.

THE SPORTING ART AUCTION

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173

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179 | Larry Wheeler (American, born 1942) KENTUCKY RIVER PALISADES Oil on canvas, 30” x 40” Signed $9,000. – 12,000.

174

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Regional Artists

180 | Carl Christian Brenner (American, 1838–1888) CUMBERLAND MOUNTAINS SCENE Oil on canvas, 16” x 8” Signed, dated 1887 $4,000. – 6,000.

Probably a scene in the Cumberland Mountains, given the topography depicted and the year painted. While most of Brenner’s oeuvre consists of the gently undulating landscape of the Louisville area covered in beech trees, he made several trips to the Rocky Mountains and the Cumberland Mountains to paint.

His Rocky Mountain scenes are generally more towering sheets of rock, and his Cumberland scenes resemble the landscape depicted here. An article appearing August 23, 1887, in the CourierJournal discusses the paintings Brenner was currently working on in his studio and focuses on a particular new painting in the Cumberlands. He most likely either would have recently visited the area or was working on several paintings in that series.

THE SPORTING ART AUCTION

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181 | Paul Plaschke (American, 1880–1954) URBAN BACKYARD LANDSCAPE Oil on canvas, 30” x 36” Signed $10,000. – 12,000.

Provenance: Artist’s Collection Thence by family descent Private Collection This landscape is probably in New Albany, Indiana, where Plaschke would often paint with fellow members of the Wonderland Way Art Club. This work likely still retains the original frame from James L. Russell’s shop, the frequent gathering place for many of the Wonderland Way artists. Given the style and palette of the piece, it was most likely executed circa 1930.

176

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182 | Paul Sawyier (American, 1865–1917)

FRANKLIN COUNTY, KENTUCKY MILL SCENE Gouache, 8 ¼” x 12 ½” Signed $20,000. – 24,000.

This work would have been executed in the Frankfort area prior to 1908 when Sawyier moved to a houseboat on the Kentucky River. While current research cannot pinpoint the exact location, he painted several other mill scenes with figures and similar architectural details that might lead to a future confirmation.

Stedman’s Mill and Peak’s Mill, both on Elkhorn Creek, and Benson Creek are possible locations. Best known for his watercolors, Sawyier used gouache for this work. Although he did not often use the medium, his gouache work tended to be among his superior paintings, including Old Capitol Hotel Portico, the cover piece of Arthur Jones’ seminal book on Sawyier.

THE SPORTING ART AUCTION

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183 | Paul Sawyier (American, 1865–1917) COUNTRY CHURCH Watercolor, 11 ¼” x 17 ½” Signed $10,000. – 12,000.

The Peaks Mill Christian Church in Frankfort, depicted here, was built in 1891 and stands near the forks of the Elkhorn Creek, an area Sawyier painted frequently. Before being sold to a private collection, this work descended in the family of Laura Wingate, first cousin to Sawyier’s mother, Ellen Wingate.

178

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184 | Henry Faulkner (American, 1924–1981) GOLDILOCKS Oil on board, 12” x 16” Signed $8,000. – 10,000.

THE SPORTING ART AUCTION

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179

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185 | Henry Faulkner (American, 1924–1981) RED ROSES Oil on board, 25” x 19 ½” Signed $12,000. – 15,000.

Provenance: Hemingway Galleries, New York Faulkner went to New York City in 1968 and worked his way into dealer Frank Hemingway’s two galleries. First appearing in Hemingway’s 1968 fall catalogue, Faulkner was given his own exhibition at the beginning of 1969. Art critic Leo Soretsky reviewed the 44-painting show for City East magazine and said,

“Hemingway Galleries provide an oasis where Henry Faulkner’s fresh vision of life helps us to recapture a lost sense of wonder.

This show will indubitably delight New York. His paintings are seemingly naïve or primitive, but beneath the fanciful dreamlike context is the sturdy structure of a highly skillful and aware artist.” Faulkner was also included in Hemingway’s 1970 catalogue, and this work can be dated to 1968-70.

180

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186 | Henry Faulkner (American, 1924–1981) KEENELAND Oil on board, 15 ½” x 23 ½” Signed $15,000. – 20,000.

Provenance: Gallerie 99

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187 | Henry Faulkner (American, 1924–1981) PEACOCK Oil on masonite, 71” x 46 ½” $6,000. – 8,000.

Provenance: The estate sale of Henry Lawrence Faulkner

182

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188 | Robert James Foose (American, 1938–2013) THE TANYARD HOUSE, PLEASANT HILL Watercolor, 28” x 40” Signed, dated 1982 $3,000. – 5,000.

A two-storied three-bayed brick building, the Tanyard was erected at Pleasant Hill during the fall and winter of 1823–24. By 1826 the building was being used for tanning leather and also as a place for the tanner to hitch horses to the pump to supply the village with water. Today it is used as a secluded cottage for visitors.

THE SPORTING ART AUCTION

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189 | Gary Birch (American, born 1946) WHITE CRAPPIE Tin and glass, 15 ¾” x 24” Signed, dated 2000 $3,000. – 5,000.

184

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ARTIST

BIOGRAPHIES Adam, Emil British, 1843–1924 From a painting family of amazing depth (father, grandfather, three uncles, and a son), Adam learned to paint in the family studios. After a study of veterinary medicine enhanced his knowledge, commissions began to flow from European and British nobility. He painted the finest racehorses of Europe, and his accuracy and artistic precision were of the highest order.

Alken, Henry Thomas, Sr. (aka Ben Tally Ho) British, 1785–1851 The finest artist of the Alken family of painters, Henry Sr., also know as Ben Tally Ho or Old Henry, handled oil or watercolor with ease. He also was a superior engraver. His subjects were active foxhunting or racing scenes, sometimes depicting humorous occurrences. He was a prolific artist, producing thousands of works.

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.

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. He 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.

Bartoli, Jacques French, 1920–1997 A French painter from the Provence school Baboulene, Bartoli focused mainly on Impressionism and did many racing scenes, especially in Auteuil.

Bellocq, Pierre (aka PEB) French, born 1926 American racing fans have been entertained, amused, and delighted for more than 50 years by the vividly colorful characters created by the fertile mind of Peb. Born into a family of French horsemen, Peb came to America in the mid 1950s, eventually landing at publisher Walter Annenberg’s Daily Racing Form and Philadelphia Inquirer, where he did both political and racing cartoons. The exhibit titled “Peb: The Art of Humor” ran 18 months at the National Museum of Racing.

Bibby, Nick British, born 1960 Largely self-taught, Bibby has become acknowledged as one of England finest animalier sculptors. Selling his first sculpture at age 16, Bibby has carved a professional career that has ranged from director for a leading miniature figurine company to sculptor and model maker for television and still advertising. His deep appreciation and knowledge of his subjects transform the bronze metal into fluid flesh and sinew.

Biegel, Peter British, 1913–1989 Born to a heritage of both art and horses, Biegel studied with Lucy Kemp-Welch and, after being wounded in Normandy during World War II, at Bournemouth

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School of Art. An accidental meeting with Lionel Edwards led to his being Edwards’ pupil. His paintings are full of accurate action and life.

Birch, Gary American, born 1946 A self-taught artist born in Ohio, Birch left a PhD program to pursue artistic interests. Originally working with leather in the 1970s, he gravitated toward folk and primitive art, using a range of materials.

Blanche, Jacques-Emile French, 1861–1942 Born in Paris under refined circumstances, Blanche was largely self-taught though he had instruction from Henri Gervex and spent some time in the studios of Edouard Manet and Edgar Degas. He gained acclaim as a portrait painter and alternated his time between London and Paris, where he exhibited at the Salon and Societe Nationale des Beaux-Arts. He was the director of the Academie de La Palette and taught at the Academie Vitti. His work is currently held in Musee d’Orsay, Paris, and the National Portrait Gallery, London.

Boehm, Sir Joseph Edgar British, 1834–1890 One of the best-known 19th-century British sculptors, Boehm first studied in his hometown of Vienna before moving to Britain at 14. He was a favorite of Queen Victoria and the royal family and was awarded a baronetcy in 1889.

He exhibited at the Royal Academy from 1862–1891 and completed busts of Queen Victoria, Charles Darwin, and Benjamin Disraeli among others.

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.

Bonheur, Rosa French, 1822–1899 Perhaps the most famous female artist of the 19th century, Bonheur was born in Bordeaux to a family of artists. She was largely self-taught, drawing and painting the animals her artist father would bring to the studio, before she started copying works in the Louvre. Popular in both England and France, she exhibited at the Salon and became the first female artist named to the French Legion of Honour. Her work today can be seen in the Musee d’Orsay, the Metropolitan Museum of Art, New York, and the National Portrait Gallery, London, among others.

Bouchard, Edmond French, 1889–1924 Sometimes used the pseudonym Miarko.

Brackett, Sidney American, 1852–1910 The Massachusetts-born Brackett studied under John Johnson and Frederick Porter Vinton. Starting in the 1890s, he was a member of the Boston Art Club, where he also exhibited. While he painted Victorian genre scenes of families and children, his best work focused on detailed and lifelike animal paintings.

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.”

Brenner, Carl Christian American, 1838–1888 Considered the first true professional landscape artist in Kentucky, Brenner was born in Germany and accepted to the Munich Academy of Art before his father moved the family to Louisville, Kentucky, in 1853. Starting as a sign painter and glazier, Brenner gained his first break with a panoramic mural for the Louisville Masonic Hall and began painting landscapes full time. A member of the National Academy of Design, he mainly depicted the area around Louisville, but he also traveled to the Cumberland Mountains and the western United States.

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.

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

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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.

primarily producing advertising calendars. Over a period of approximately 10 years, he created a series of 16 paintings depicting anthropomorphic dogs, nine of which became the famous series Dogs Playing Poker.

Bull, Julie Ann British, born 1964 Bull is a Kent-based artist specializing in animal portraiture, with horses being one of her favorite subjects. Only turning fully professional in 2013, she has exhibited work at the Mall Galleries London and Palace House Gallery Newmarket, and in 2018 won The Society of Equestrian Artists Chairman’s Award for her painting Roman Holiday. She prefers to paint in oils on canvas and travels to Newmarket regularly to gain inspiration for her work.

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.

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.M. Queen Elizabeth II. 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.

Coolidge, Cassius Marcellus American, 1844–1934 Born in New York, Coolidge had little formal training as an artist. He worked various jobs, including as a sign painter, before drawing cartoons for a local newspaper. He began an association with the firm Brown and Bigelow in 1903,

Cosson, Jean Louis Marcel French, 1878–1956 Born in Bordeaux, Cosson was a member of the Salon des Artists Francais.

Mostly painting theater, opera, circus, and other genre scenes, he also exhibited at the Society des Beaux-Arts and the Tuileries.

Curling, Peter Irish, born 1955 Impressive early talent led this Irishman to fine schools and teachers, including a stint at Millfield, and one in Florence studying with Signorina Nera Simi. It was a brief period of study under John Skeaping, however, that most influenced Curling’s work. He learned a boldness and economy of stroke that are still apparent in his work. Curling lives in the quiet countryside of Ireland.

Dahl, Carl American, born 1952 An American sculptor, Dahl holds multiple degrees from Arizona State University, including an MBA and a master’s degree in fine arts. Even though his upper-level corporate positions allowed him to travel, experience, and learn about great things, art was his passion. With more than 20 years dedicated to art, Dahl has been exhibited in America, France, and Japan. Dahl states “In horses, I find beauty, power, and freedom; their legs, that seemed overly long to me as a child, rise to complete the perfect form. They remain one of life’s great joys.”

Davey, Randall American, 1887–1964 Davey studied architecture at Cornell University in 1905 and art at the New

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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. dePenne, Charles Olivier French, 1831–1897 Born in Paris, De Penne was a student of Leon Cogniet at the Ecole des BeauxArts before studying under Charles Emile Jacque. In 1857 he won the second grand prize at the Prix de Rome before becoming a regular exhibitor at the Paris Salon. A popular painter during his lifetime, he focused his work on hounds and hunting. 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.

Diederich, William Hunt American, 1884–1953 Born in Hungary to the daughter of American artist William Morris Hunt, Diederich originally studied in Switzerland before attending the Milford Academy in Boston and the Pennsylvania Academy of Fine Arts. He traveled Europe and Africa to see the landscape and wildlife before studying with renowned sculptor Emmanuel Fremiet in Paris. During the 1920s the Metropolitan Museum of Art, the Whitney Museum, and the Newark Museum all purchased his work.

Earl, Thomas Percy British, 1874–1947 Earl was born into a family of animal portraitists. His father, George, and sister Maud were highly regarded as canine artists, and his uncle Thomas Earl exhibited at the Royal Academy. In his own right Percy Earl was an accomplished artist, gaining commissions from hunting families and public galleries. Vanity Fair published his cartoons with equestrian themes.

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.

Elim, Franck French, 19th/20th century Elim, also know as Elie de la Morinière, was a Parisian painter noted for his depiction of racing subjects and street scenes. Elim was a member of the Société des Artistes de Chevaux, and he exhibited at the Section d’Art of the Concours Hippique.

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.

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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.

Flannery, Vaughn American, 1898–1955 Born in Louisville, Kentucky, Flannery studied at the Art Institute of Chicago, then went into advertising, working his way up to a vice presidency of Young & Rubicam. Retiring in 1941 to devote his time to painting, Flannery received commissions from prestigious owners and breeders, including Greentree Stables and Alfred G. Vanderbilt. In his one-man shows at New York’s Kraushaar Galleries, he documented American Thoroughbred racing with an insider’s eye.

Foose, Robert James American, 1938–2013 Born in New York, Foose attended the University of Kentucky where he later became a renowned art professor. He was a member of the National Society of Arts and Letters and the Southern Watercolor Society. Foose also was a printmaker and ran the Buttonwood Press.

Gaunt, William Norman British, 1918–2001 Gaunt studied under Walter Bayes at the Lancaster School of Art. He exhibited at the Royal Institute of Painters in Watercolour and was made a Fellow of the International Institute of Arts and Letters in 1959.

Gayrard, Joseph Raymond Paul French, 1807–1855 Born at Clermont, Gayrard studied under his father, Raymond. He exhibited at the Paris Salon from 1827–1855 and won several medals. Gayrard’s style of work is of particular interest, as it heralded in the animalier movement. On display at the Bascilica of Sainte-Clotilde in Paris is the best-known example of his monumental work of the four evangelists.

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.

Gold, Dede Irish, born 1971 A “life’s-too-short” moment led Trinity College-trained solicitor Gold to follow her heart and devote her life to art. Inspired by four-legged subjects, Gold has worked in charcoal, oils, and bronze, capturing the essence and soul of her subjects. Her muses are generally the dogs, Cameo cattle, and cockerels found in the fields and kennels of her Irish countryside.

Grelle, Martin American, born 1954 Largely self-taught, Grelle was born in Clifton, Texas, where he still lives on a ranch. He began his career shortly after his high school graduation. A past president of the Cowboy Artists of America, he is one of only seven artists to win the Prix de West Purchase Award twice.

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.

Haddelsey, Vincent British, 1934–2010 Born into a family of lawyers, Haddelsey was largely self-taught. In 1969 he won the Grand Prize of Lugano for his naïve work. He traveled extensively for his work, painting members of the Charros tribe in Mexico in 1965. A trip to Mongolia in 1980 provided the basis for works on the Mongolian pony. In 1989 he concentrated on the Quasimodo horses in Chile.

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.

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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.

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.”

Hammond, Janet American, Contemporary Hammond studied at the Corcoran School of Art and Maryland College of Art and Design. She mostly works in Maryland and the Brandywine River Valley area of Pennsylvania.

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.

Hardy, Heywood British, 1842–1933 Born into a family of artists, Hardy had two paintings in the Royal Academy Exhibition in 1864 before leaving that same year to study at the Ecole des Beaux-Arts in Paris. Most of his work focused on animals, and he regularly used the animals from the London Zoo as subjects. He also traveled to Egypt in 1873 to paint wildlife.

Henderson, Charles Cooper British, 1803–1877 Born to two amateur artists, Henderson originally studied law. Later coming into money from his and his wife’s families, he devoted his full time to painting. Two of his paintings were exhibited at the Royal Academy in the 1840s and his work focused mainly on horses and coaches. The renowned printmaking company Fores reproduced six of his works as The Fores’s Coaching Recollections.

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.

Herring, Benjamin Jr. British, 1830–1871 As Herring was a member of perhaps the most prominent family of sporting artists, his work is similar to that of other family members. He had a short career, dying at 41, but exhibited works at the British Institution and the Royal Society of British Artists.

Hinz, Valerie Canadian, born 1956 Hinz lives in Saskatoon, Saskatchewan, and had been a professional artist, working in television since 1979. After 21 years Hinz left her television career to pursue oil painting full time. As a horsewoman, painting horses was a natural direction to take. Her first large-scale exhibit was at the U.S. Arabian National Show. She paints all breeds, and her style and palette have been compared to that of Munnings. In 2003, Hinz was the official artist for the Breeders’ Cup at Santa Anita.

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.

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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.

Humphrey, Lesley British, born 1957 Being the daughter of a commercial artist and painter, Humphrey has always been involved with art. Her art has been influenced by Sir Alfred Munnings and the Russian itinerants — Nicolai Fechin and Wassily Kandinsky — and most recently Richard Diebenkorn. Humphrey has served as the official artist of the Kentucky Derby and has works in prominent collections throughout Britain and the U.S. Jones, Adrian British, 1845–1938 A sculptor and painter of considerable renown, Jones specialized in animals, most notably horses. He studied at the Royal Veterinary College and served as a veterinary officer in the Royal Horse Artillery. After an extensive military career he set himself up as an artist and exhibited at the Royal Academy as early as 1884. His public works include the equestrian sculptures Peace Descending on the Quadriga of War on the Wellington Arch at Hyde Park Corner and the statue of Prince George, Duke of Cambridge, in Whitehall, both in London.

Kesteven, Abel British, born 1969 Kesteven enjoys the challenge of capturing the interaction between people and horses, especially the challenge of the fast pace. While working almost exclusively from life using conte pastels, Kesteven finds he can gain maximum color and movement with that fast medium. His work has been selected for the annual Pastel Society exhibition held at the Mall galleries near Buckingham Palace.

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.

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.

Konrad, Ignac Hungarian/French, 1894–1969 Konrad was a painter, sculptor, and an engraver. He studied at the Fine Arts Academy in Budapest in his native Hungary. After serving seven years as a prisoner of war in Russia during World War I, he returned to Budapest and became a professor in 1921. He painted the Thoroughbreds of the foremost Hungarian stables. He was commissioned by American Thoroughbred breeder Ralph Beaver Strassburger to paint Man o’ War, Fair Play, High Time, Bubbling Over, Black Servant, and as many as five other stallions.

Kuhnert, Freidrich Wilhelm German, 1865–1926 Nicknamed “Lion,” Kuhnert studied under animal painter Paul Meyerheim at the Berlin Academy of Arts. He made annual trips to Africa to explore the German and British colonial territories, while also traveling to Europe to paint the native wildlife. Some have estimated he completed more than 5,500 works, but the majority are believed to have been destroyed during World War II. La Fontaine, Thomas Sherwood British, 1915–2007 With an inventory spanning 50 years, La Fontaine had an impressive range of styles, from cartoons to photo-like realism to Rubenesque compositions. La Fontaine began training as an artist while in preparatory school and continued when he studied art in London. His commissions were global in demand, covering Europe, Africa, Asia, and North America. Owing to his extraordinary ability, La Fontaine’s works have been confused with those of Alfred J. Munnings and George Stubbs.

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

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life in the Pyrenees, including the racing bulls in Spain and Andalusian horses.

He regularly exhibits at shows in Paris and Bayonne, France.

Lamb, Emily British, born 1985 As the eldest granddaughter of David Shepherd, one of Lamb’s favorite causes would be the David Shepherd Wildlife Foundation’s Art for Survival Programme.

Not only do her donations for various fundraising exhibitions and auctions support the foundation, but the very art that she produces promotes the cause.

Her portfolio also includes equestrian art, especially polo.

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.

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.

Mehl, Joanne American, born 1960 A lifelong devotee of painting and riding horses, Mehl earned her fine arts degree in illustration from the Art Center College of Design in Pasadena, California. Since 1996 Mehl has painted full time, being commissioned from across the country to paint both horses and owners. Her works have been featured on the cover of many national publications, including Keeneland magazine, and are in the collections of many Thoroughbred farms.

Menasco, Milton American, 1890–1974 Born in California, Menasco had a rich and full career as an artist before he devoted his rare genius to equestrian art. In 1948 he left his position with a large New York advertising agency and moved to Kentucky. His work is characterized by a sound understanding of anatomy. Many prominent names in American horse racing were among his clients.

Munnings, Sir Alfred James British, 1878–1959 One of the two great masters of sporting art along with George Stubbs, Munnings began as an illustrator after attending art school in Norwich.

A keen sportsman, he hunted with both stag hounds and harriers, drawing and painting these events. Although he lost sight in one eye at age 21, his unique artistic vision and interpretation were unimpaired. Working in oils and watercolors and sketching wherever he went, Munnings documented racing and hunting horses, gypsies, and the sporting country life that he himself lived.

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

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Palmer, Lynwood British, 1868–1941 Under family pressure to enter the diplomatic or legal professions Palmer immigrated to Canada in 1885. While working with the Royal Canadian Mounted Police he became proficient at drawing horses, and his work was recognized by an American general. Over the years he established and supported himself as a painter in New York. He returned to England in 1899 where he painted many of his best-known works.

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.

Penny, Edwin British, born 1930 Born in Bristol, Penny was trained as an artist at the Bath College of Art and then the Royal West of England Academy. He first worked as an engraver for a printing company and then traveled to Hong Kong with the Royal Tank Regiment as an army illustrator. Here, Penny won a six-months’ study with a Chinese watercolor master, gaining the oriental flavor that characterizes the unusual backgrounds for his bird pictures. Watercolor is his only medium, and he works from hours of observation of his subjects.

the National Academy of Design, Art Institute of Chicago, and the Pennsylvania Academy of Fine Arts.

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.

Ratzlaff, Mark American, born 1974 Missouri born, Ratzlaff studied at Missouri State University, Drury College in an abroad program, and at the New York Studio School. Recent awards include Outstanding New Exhibitor at the 2016 Hoosier Salon, Dick Ferrer Purchase Award at the 2016 Indiana Heritage Arts, an award for Excellence in Oil Painting at the 2017 Hoosier Salon, and a merit award at the 2018 Indiana Heritage Arts exhibit.

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.

Picavet, Christine American/French, 1951–2016 Born in France, Picavet moved to Chantilly to work with some of the top Thoroughbred stables while also painting horses. She moved to New York to paint and work as an exercise rider before moving to California to work for Charlie Whittingham. She began to paint horses full time in 1980.

Reneson, Chet American, born 1934 Growing up on a game farm in Connecticut, Reneson began by sketching the animals on the farm. He enrolled at the University of Hartford Art School before going to Pratt and Whitney to create cutaway drawings of airplane engines. He later did animal illustrations for Time-Life books.

Plaschke, Paul American, 1880–1954 German born, Plaschke settled in New Jersey with his family as a child. He studied under George Luks at the Art Students League and worked at the New York World before moving to Louisville in 1899. He worked as a cartoonist for the Louisville Courier-Journal and later William Randolph Hearst’s Chicago Herald-Examiner, where it has been said he was Hearst’s favorite cartoonist.

His cartoon work afforded him the means to pursue his passion for landscape painting when he could. He founded the Louisville Art Academy and exhibited at

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.

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Robertson, Tyler American, born 1981 Robertson 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.

Skeaping, John R. British, 1901–1980 Skeaping began his formal artistic training at age 13 and was successful from an early age. This individualistic artist also served as an intelligence officer, traveled extensively, and taught art, finally settling in the Camargue in France.

His work is dynamic and experimental, exploring many media: oil, gouache, pastel, wood, and bronze, with subjects ranging from racing scenes to horse portraits to architectural sculptures. His range and skill made him one of the great artists of the 20th century.

Rowlandson, George Derville (G. D.) British, 1861–1928 A British painter and illustrator, Rowlandson covers a wide range of subject matter with his art. Born in India, he studied at the Gloucester Art School and later in London and Paris, starting his professional career as an illustrator working at The Illustrated London News and the English Illustrated Magazine.

He exhibited both oil and watercolors at the British Institution and the Royal Institute of Painters in Water Colours.

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.

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.

Sawyier, Paul American, 1865–1917 Kentucky’s most popular artist of the past, Sawyier was born in Ohio and moved at a young age with his family to Frankfort, Kentucky, where his maternal grandmother lived. His father recognized his ability early on and hired an art tutor for his son. Sawyier studied art extensively, including stints at the Cincinnati Art Academy and the Art Student’s League in New York City. A stylistic eclectic, he often adapted aspects of Impressionism in his art but also painted in the moody, darker mode of American tonalism.

Shayer, William Joseph British, 1811–1891 First exhibiting at age 17, Shayer was forced to become a coach driver when his animal paintings did not provide him and his family with a living. Although he had a difficult life, he was known as a kind, gentle man whose paintings showed great understanding of and sensitivity to both horses and people.

Sloane, Eric American, 1905−1985 Sloane had an abiding interest in and love for New England life and folk culture, Americana, and daily Colonial life. He was both a landscape painter and a folk history author. He trained at the Art Students League of New York.

Sloane first painted in the tradition of the Hudson River School and later spent time in Taos, New Mexico, which added another layer of interest to his works.

A prolific artist, Sloane produced more than 15,000 works. He wrote many books on woodworking and the tools of that craft, on folk wit and wisdom, and volumes on Colonial-era life.

Smith, Brett James American, born 1958 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, Peter British, born 1949 While British by birth and parentage, Smith feels his artistic talent stems from his grandfather, who hailed from Portugal and painted for most of his life. Since childhood Smith has been passionate about both horses and art. His extensive knowledge of how a horse moves and his well-worn copy of George Stubbs’ Anatomy of the Horse yield the realistic results of his art. From his home five miles from Ayr Racecourse, he portrays the life of Thoroughbreds from training to race day.

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Smith, Suzy F. American, born 1951 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.

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.

St. Clair Davis, Heather British/American, 1937–1999 Born in Whittington and graduating from Cheltenham in art before moving to Vermont, St. Clair Davis was brought up around horses. She pursued a career as a horsewoman, breeding event horses and serving as an international and three-day event dressage judge. She painted for many years in both America and England, exhibiting with Frost and Reed in London.

Steell, David George British, 1856–1930 The son of Gourlay Steell, another artist, Steell focused on animals and other

sporting subjects. He studied at the Edinburgh School of Art and Royal Scottish Academy and resided in Edinburgh.

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.

Taylor, Jo British, born 1969 Born in Lancashire, Taylor studied at Leeds Metropolitan University from 1988 until 1991. She has exhibited in numerous one-woman shows throughout England, including The National Horseracing Museum at Newmarket. Her pieces were included in a show at the Royal Academy in London, and she was commissioned for works on several Cheltenham Gold Cup runners. Taylor has exercised racehorses in Newmarket and feels it is necessary always to work from life.

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.

Turner, Francis Calcraft British, 1782–1846 A sportsman himself, Turner primarily painted racing and hunting scenes, including the Essex Hounds, mainly in the south of England. He was a regular contributor to the Sporting Magazine, with 78 of his works appearing in the periodical. In 1828 he described his knowledge of racing, shooting, and coursing as greater “than any artist in existence.” His work can be found in the British Museum and National Horse Racing Museum, among others.

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

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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.

Weekes, Herbert William British, 1841–1914 Born into an artistic family, Weekes was the son of the Royal Academician Henry Weekes Sr. He specialized in English genre and animal scenes and contributed illustrations to The Illustrated London News. He exhibited at the Royal Academy, Royal Glasgow Society of Fine Arts, and the Royal Society of British Artists among others.

Wheeler, John Arnold 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.

Whiteside, Brian British, born 1934 Whiteside is a British painter of equestrian scenes.

Wright, George British, 1860–1942 The Wright family of Leeds, England, is known to have produced three noted artists. Brothers George and Gilbert were respected equestrian-themed artist, and their sister, Louise, was a fashion illustrator for catalogs and magazines.

The subject matter for George Wright’s paintings included hunting, racing, and polo scenes; however; coaching scenes are his most appreciated work. George Wright was exhibited at the Royal Academy, as well as other venues, from 1892–1933.

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

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

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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 satisfy 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

amount 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

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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

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

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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 202

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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 20, 2019.

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)

Adam, Emil ..................27, 29, 32, 33

de Watrigant, Hubert ...................157

Humphrey, Lesley ........ 168, 170, 174

Robertson, Tyler ...........................172

Alken, Henry ..................................17

Diederich, William Hunt ...........58, 66

Jockeys of Vanity Fair .....................63

Rowlandson, George Derville .........47

Alken, Samuel Henry ......................21

Earl, Thomas Percy .........................26

Jones, Adrian .................................41

Sandys-Lumsdaine, Leesa ..............82

Ambille, Paul ................................113

Edwards, Lionel D.R............74, 75, 76

Kestevan, Abel .....................139, 140

Austin, Michael J. .................136, 137

Elim, Franck ...................................70

Kirk, Juli .......................................133

Barnhart, Jeaneen ................154, 158

Emms, John .............................3, 6, 9

Koehler, Henry .....................111, 112

Bartoli, Jacques ..............................87

Erland, Simon ........................57, 135

Konrad, Ignac ................................36

Bibby, Nick ..............................60, 61

Faulkner, Henry Lawrence ...........184,

Kuhnert, Wilhelm .........................105

Bellocq, Pierre ................................39

185, 186, 187

La Fontaine, Thomas Sherwood ......49

Skidmore, Ellen ............................176

Biegel, Peter ..................................72

Firth, Richard M. ..........................107

Lalanne, Jean-Bernard .........143, 144

Sloane, Eric ..................................178

Birch, Gary ...................................189

Flannery, Vaughn ...........................69

Lamb, Emily .................................177

Smith, Brett James .......................101

Blanche, Jacques-Emile ..................64

Foose, Robert James ....................188

Lyne, Michael .....................71, 78, 85

Smith, Peter .................................167

Boehm, Sir Joseph Edgar ...............28

Gaunt, William Norman .................86

Malone, Booth .....................171, 175

Smith, Suzy F. ...............................134

Bonheur, Isidore .............................53

Gayrard, Joseph Raymond Paul ......52

Mehl, Joanne .................................77

Bonheur, Rosa .........................10, 11

Giles, Godfrey Douglas ..................44

Menasco, Milton ......................34, 79

Spitzmiller, Walter “Walt”.............164

Bouchard, Edmond ..........................7

Gold, Dede ..........................130, 132

Munnings, Sir Alfred James ............40

Brackett, Sid ....................................8

Grelle, Martin ..............................108

Neiman, LeRoy ............94, 95, 96, 97

Brassington, Alan..................148, 149

Gridnev, Valeriy ....................115, 141

Noble, John Sargent ........................5

Brenner, Carl Christian .................180

Haddelsey, Vincent .........................93

Oppegard, Sandra Faye ........161, 162

Stull, Henry ..............................42, 43

Brewer, Kelly Robertson ...............138

Hai, Serhiy ...........................151, 152

O’Sullivan, Katie ..........................163

Taylor, Jo ..............................165, 166

Brown, Paul Desmond .............80, 81

Hall, Harry ...............................22, 23

Palmer, Lynwood ............................48

Tremaine, Diana .....................98, 155

Bull, Julie .....................................150

Hammond, Janet .........................110

Pater, Andre ........................121, 122,

Turner, Francis Calcraft .....................1

Chapman, Julie T. .................153, 156

Hardy, Heywood ......................19, 62

128, 129, 169

Voss, Franklin Brooke ...............50, 51

Church, Charles ...................119, 120

Henneberg, Tony ..........................102

Penny, Edwin .................................99

Collins, Ashley ..............................127

Henderson, Charles Cooper ...........16

Weekes, Herbert William ..................4

Picavet, Christine ...........................38

Coolidge, Cassius Marcellus ...........25

Herring, Benjamin Jr. ......................20

Plaschke, Paul ..............................181

Corum, Jaime Claire .....................142

Herring, John Frederick, Jr. ..12, 14, 15

Quinn, David .......................103, 106

Cosson, Jean Louis Marcel .............67

Herring, John Frederick, Sr. .............13

Ratzlaff, Mark ..............................104

Curling, Peter ...............................118

Hinz, Valerie .................................131

Reeves, Richard Stone........35, 88, 89,

Dahl, Carl ......................................59

Ho, Quang ...................................147

90, 91, 92

Wicker, C. M. ................................109

Davey, Randall ...............................65

Hodge, Marcus ........... 114, 116, 117

Reneson, Chet .............................100

Wright, George ..............................45

dePenne, Charles Olivier ..................2

Howell, Peter ...... 123, 124, 125, 126

Revennaugh, Stephanie ...........55, 56

Wright, Gilbert Scott ......................68

Sawyier, Paul ........................182, 183 Shayer, William Joseph ...................18 Shepherd, David ........................100a Skeaping, John R. ..............54, 83, 84

Stainforth, Martin Frank .....30, 31, 37 St. Clair Davis, Heather ..................73 Steell, David George ......................46

Wheeler, John Arnold Alfred ...........24 Wheeler, Larry Dodd ... 159, 160, 179 Whitcombe, Susie ................145, 146 Whiteside, Brian ..........................173

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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KEENELAND / CROSS GATE GALLERY

Fine Sporting Art, American Paintings, and Sculpture

THE SPORTING ART AUCTION NOVEMBER 17, 2019

IN A F F IL IATIO N W ITH

Keeneland Sales Pavilion

Lexington, Kentucky

Sunday • November 17, 2019