2020 Sporting Art Auction Catalogue

KEENELAND / CROSS GATE GALLERY

THE SPORTING ART AUCTION NOVEMBER 22, 2020

THE

AUCTION Sale No. 8 In sending written bids or making inquiries, this sale should be referred to as Sporting Art Auction No. 8.

Cover Illustration: Lot 57 (detail, reversed) Heywood Hardy (British, 1842–1933) Hounds of the Tickham Hunt, Kent Oil on canvas | 30” x 65” | Signed

AUCTION Sunday • November 22, 2020 • 12:00 p.m.

Online Auction from the Keeneland Sales Pavilion, Lexington, Kentucky Auctioneers: Walt Robertson and Ryan Mahan

ADVANCE VIEWING A portion of the works will be available for viewing by appointment in the Keeneland Sales Pavilion, November 19–21, following COVID protocols.

A larger portion of works will be available for viewing starting October 26 at Cross Gate Gallery, Monday–Friday from 9–5:30 or by appointment.

For any questions regarding viewing, please contact 859-233-3856 or info@thesportingartauction.com.

BIDDING Bidding will be conducted by phone, absentee bid, or online through www.crossgategallery.com, www.liveauctioneers.com, or www.invaluable.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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BIDDING This sale will not be conducted in person.

You must register to bid by phone, absentee, or through our internet platforms.

To register, please return the form included in the catalogue, visit our website: www.thesportingartauction.com, write to info@thesportingartauction.com, or call (859) 233-3856.

The websites we will be providing for bidding are www.crossgategallery.com www.liveauctioneers.com www.invaluable.com If you choose to bid over the internet you must first register on the site you wish to bid through.

For questions about specific lots, please call Cross Gate Gallery at (859) 233-3856.

Or for a specific representative: Bill Evans Meng – (859) 492-4461 Field Ladd – (859) 421-5013 Catherine Ladd Kenneally – (859) 421-3436 Carlisle Berkley – (859) 492-8751 Greg Ladd – (859) 321-2924 Linda Helton – (859) 583-5330

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INTRODUCTION

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n 2020, Keeneland and Cross Gate again will team to conduct the eighth annual Sporting Art Auction on Sunday, November 22, at 12 p.m. ET. Sir Alfred Munnings topped the sale in 2019 with A Gypsy Encampment going for $97,750.

This year’s auction will feature 188 high-quality lots representing fine sporting art, American paintings, and sculpture from renowned artists.

Headlining this year’s auction is Andrew Wyeth’s Over the Hill, a watercolor painted in 1973 and remaining in his personal collection until 2006.

Notable works in 2020 include a less commonly seen racing scene by Henry Stull: Savable’s victory over Lord

of the Vale in the Futurity of 1902. Two Edward Troyes appear, one being a rare work of a group of cattle, the other portraying prominent sire Mambrino Patchen. LeRoy Neiman returns with six works, the most in the sale, while a new contemporary artist is Reza Derakshani. Both of Peter Howell’s official paintings for the 2020 Breeders’ Cup at Keeneland are offered for sale, and another local favorite, Henry Faulkner, is represented by five lots.

A large portion of the 2020 collection will be on display at Cross Gate Gallery, while another portion will be on display in the Keeneland sales pavilion November 19–21.

We would ask you contact us regarding where to view a specific piece or for an appointment.

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 absentee bids, bids by phone through prior arrangement, and online via www.crossgategallery.com, www.liveauctioneers.com, and www.invaluable.com.

The Conditions of Sale begin on page 197.

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ABOUT

KEENELAND

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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 two annual race meets perennially rank 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 offers outstanding opportunities for horsemen to showcase their talented horses.

Keeneland conducts racing every April and October, drawing loyal fans from around the world to celebrate “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. Such storied stakes as the Toyota Blue Grass (G2) and Central Bank Ashland (G1), premier prep races for the Kentucky Derby and Kentucky Oaks, respectively, anchor the spring meet. The fall meet opens with Fall Stars Weekend, featuring nine graded stakes of which five are Grade 1 events. Ten fall meet stakes are Breeders’ Cup Challenge races, awarding each winner a fees-paid berth into the Breeders’ Cup World Championships.

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Through the years numerous champion Thoroughbreds have graced Keeneland, and its spring and fall meets are a springboard to success for many Triple Crown and Breeders’ Cup winners.

In 2015 Keeneland successfully hosted for the first time the Breeders’ Cup World Championships, headlined by Triple Crown winner American Pharoah’s victory in the Breeders’ Cup Classic (G1).

This year, the Breeders’ Cup returns to Keeneland on Nov. 6–7, and the track will be the host site for the 2022 championship event.

Due to the COVID-19 pandemic, Keeneland was forced to cancel its 2020 spring meet and, for the first time in its history, conduct a five-day summer meet. The 2020 fall meet and Breeders’ Cup at Keeneland will be conducted without fans, with attendance limited to only racing participants and essential personnel.

SALES As the world’s largest Thoroughbred auction house, Keeneland sets the gold standard for the industry worldwide, 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

23 Kentucky Derby winners; 26 Preakness winners; and 21 Belmont winners.

Triple Crown winner Justify sold as a yearling at the September Sale.

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 2020 the calendar features the September Sale, November Breeding Stock Sale, and January Horses of All Ages Sale. The April Two-Year-Olds in Training and Horses of Racing Age Sale was canceled this year due to the COVID-19 pandemic.

HISTORY Keeneland’s iconic brand is rooted in the ideals of its founders, a determined group of prominent Central Kentucky breeders with a goal, outlined in the track’s original prospectus, “to create a model racetrack to perpetuate and improve the sport and to provide a course that is intended to serve as a symbol of the fine traditions of Thoroughbred racing.”

For generations Keeneland has fulfilled its founders’ vision, embracing the history and pageantry of the sport while offering its guests and participants an unmatched

TEAM COYLE

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.

During the pandemic, Keeneland, along with a number of community and corporate partners, provides financial and in-kind support to two initiatives to help those in need in the Lexington community and horse Industry. Nourish Lexington uses the talents and resources of food service and hospitality employees displaced by COVID-19 to deliver nutritious meals for community members in need. Nourish the Backstretch, an extension of Nourish Lexington, provides meals and groceries to the hardworking community in the barn area of Keeneland.

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

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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

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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

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

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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

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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

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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

Brittany Deen

Linda Helton

Catherine Ladd Kennealley

Field Ladd

Bill Evans Meng

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.

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.

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

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■ 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.

■ 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.

■ EXAMINATION OF GOODS Prospective Buyers are urged to examine personally any Lots in which they

■ CONDUCT OF SALE All Lots will be sold subject to the Reserve, which will not exceed the low

are interested BEFORE BIDDING, as they accept any property purchased AS IS, with all faults.

presale estimate printed in this catalogue, or as may be amended by the Announcements. Successful purchasers are responsible for all applicable sales taxes.

RECEIPT TO KCG STAFF. *Please note both Keeneland Association and Cross Gate Gallery offices will be closed on November 26 and 27 in observance of the Thanksgiving holiday.

■ WRITTEN/ABSENTEE BIDS As this auction will not be in person, KCG Enterprises, LLC (“KCG”) can bid for you according to your instructions. There is no extra charge for this service, which is known as commission bidding. If successful, the price you pay will be the final bid price plus the Buyer’s Premium, as set forth in the Conditions of Sale. Bids must always be made or confirmed in writing, using the form printed in this catalogue. Bank references may be requested and should be supplied with enough lead time to confirm before the auction. For further information please call (859) 233-3856, Monday–Friday, 9 a.m. – 5 p.m. EST, before November 22, 2020. After November 21, 2020, call Keeneland at (859) 280-4724 • Fax (859) 2884249. Email info@thesportingartauction.com

■ 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.

■ TELEPHONE BIDS As this auction will not be in person, telephone bidding is provided. Those 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 22, 2020. On November 22, 2020, call Keeneland at (859) 280-4724.

■ AUCTIONEER’S DISCRETION The auctioneer has absolute and sole discretion with respect to bidding, to refuse any bid, to advance the bidding in such a manner as he may decide, to withdraw or divide any Lot, to combine any two or more Lots, and, in the case of error or dispute, whether during or after the sale, to determine the successful bidder, to continue or re-open the bidding, to cancel the sale or to re-offer and re-sell the item in dispute. If any dispute arises after the sale, KCG’s sale record is conclusive.

■ SHIPPING/REMOVAL OF PROPERTY If you are an absentee bidder, we can arrange for the shipment of your purchases as per your written instructions. Estimates for the shipping of any property can be obtained from our staff at KCG. If you are attending the sale and desire us to arrange shipping, this must be done immediately after the sale.ALL PURCHASES MUST BE REMOVED FROM THE BUILDING NO LATER THAN WEDNESDAY, NOVEMBER 25, 2020 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

■ STORAGE AND STORAGE CHARGES For a period after the auction, uncollected purchases and unsold Lots may be held at Cross Gate Gallery Thereafter they will be removed for storage and charges will be incurred. All uncollected and unsold property not collected from Cross Gate by 2:00 p.m. on Wednesday, November 25, 2020, 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 22, 2020 • 12 noon

Online from the Keeneland Sales Pavilion Lexington, Kentucky

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| Alfred Egerton Cooper (British, 1883–1974) START OF THE EPSOM DERBY Watercolor, gouache, 15” x 20” Signed with monogram $2,000. – 3,000.

| Benjamin Herring Jr. (British, 1830–1871) THE START Oil on canvas, 11” x 20” Signed, dated ’69 & inscribed en verso $3,000. – 5,000.

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| Thomas James Scott (American, 1824–1888) BAN FOX Oil on canvas, 16” x 23” Signed, inscribed & dated 1885 $2,000. – 4,000.

Ban Fox was a champion 2-year-old bred by Major Barak G. Thomas at Dixiana Stud Farm in Kentucky. Purchased by Jack Chinn and subsequently by J.B. Haggin, Ban Fox, a great grandson of Lexington, was one of the great racehorses of his day. He sired only two foals before his death, one of which was the mighty Montana, winner of the Suburban Handicap and the Lorillard and Carteret stakes.

“The famous colt Ban Fox, foaled 1883, by King Ban, dam Maude Hampton died of peritonitis March 30 at Rancho del Paso. He was bred by B G Thomas, Dixiana Ky., and purchased in 1884 by Jack Chinn for $1,500. He was the best two-year-old of 1885. He started eight times that year and won five of the events. At Latonia he won a purse from a field of thirteen. At St. Louis he won the Horse Traders Stake from a field of four. At Chicago he won the Hyde Park Stakes from a field of sixteen. He carried off the Saratoga Stakes and at Monmouth Park the

valuable Champion Stallion Stakes from a field of twelve. After that victory he was sold to J.B. Haggin of California for $20,000.

Last spring he came east and was sent to Coney Island, starting in the Suburban with 105 lbs. up but, the track was heavy and the colt made but an indifferent performance. Nine days later he won the Coney Island Derby the time being 2:38 1/4. Then he was brought West to be started in the American Derby at Washington Park but, when he reached here he was too sick.”

— The Breeder’s Gazette, Volume 11, April 14, 1887

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| John Emms (British, 1843–1912)

PADDY & NED Oil on canvas, 12” x 16” Signed, dated 1894 & inscribed “Paddy” and “Ned” $4,000. – 6,000.

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| Franz van Severdonck (Belgian, 1809–1889) ‘SHEEP WITH CHICKENS & MALLARDS’ & ‘CHICKENS WITH MALLARDS’ (a pair) Oil on board, 7” x 9” each Signed, dated 1886 & inscribed en verso $5,000. – 7,000. (2)

Provenance: Margaret Ware Parrish, Midway, KY

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| Edmund Bristow (British, 1787–1876) COUNTRY LIFE Oil on board, 11” x 16” Signed $3,000. – 5,000.

Provenance: Willis, Hudson & Co, Sheffield

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| Allen Culpeper Sealy (British, 1850–1927) GONSALVO AND GROOM IN STABLE Oil on canvas, 13” x 16” Signed, inscribed & dated 1891 $2,000. – 3,000.

Provenance: Collection of Maple/Hon. Mrs. Lambert

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| John Frederick Herring Sr. (British, 1795–1865) SUFFOLK PUNCH AND A FOAL Oil on board, 10” x 12” Signed $7,000. – 10,000.

Provenance: Alfred J. Mucklow Arthur Ackermann & Peter Johnson Ltd

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| Joseph Maiden (British, 1813–1843) WARE HORSE Oil on board, 10 ½” x 12” Signed & inscribed en verso $4,000. – 6,000.

Provenance: Arthur Ackermann & Son Ltd Illustrated: pg. 311, The Dictionary of British Equestrian Artists.

Mitchell, Sally. Antique Collector’s Club, Woodbridge, Suffolk, 1985.

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10 | Arthur-Fitzwilliam Tait (British, 1819–1905) MONDAY REST Oil on canvas mounted on board, 14” x 22” Signed & dated 1896, inscribed en verso $8,000. – 10,000.

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11 | Thomas Weaver (British, 1774–1843)

A BULL AND FIGURES OUTSIDE A BARN IN A WOODED LANDSCAPE Oil on canvas, 28” x 36” Signed & dated 1803 $9,000. – 12,000.

Provenance: Frost & Reed After succeeding his father in the Ketton tenancy in 1782, Charles Colling began a program to improve the quality of cattle in the Tees River Valley. His brother, Robert, the tenant of another farm in the district, soon aided him in this endeavor.

Together the brothers would become the first scientific breeders of shorthorn, or Durham, beef cattle. After paying extensive visits to Robert Bakewell of Leicestershire in 1783, the brothers began pairing his breeding ideals with their own. Along with selecting the best available local stock, their approach soon propelled the

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shorthorn to the position of Britain’s premier cattle breed. This systematic breeding program, first of its kind, produced Comet, the most expensive bull of the age.

After a commission to paint the Colling Brothers’ white Shorthorn heifer brought Thomas Weaver to County Durham.

From there the artist was able to build a lucrative relationship with the brothers, receiving additional commissions to paint their prized livestock. This Durham ox, likely bred by Charles Colling, is a fine example of the breeding standard set by the brothers.

12 | J.F. Stephens (American, 19th/20th Century) NO HUNTING ALLOWED Oil on canvas laid on board, 28” x 54” Inscribed Property of George W. Bilbo $7,000. – 10,000.

Executed c. 1910 when J. F. Stephens was listed in the Creston, Iowa, city directory, this work features the artist’s trademark sign on the left side noting “No Hunting Allowed. Property Geo. W. Bilbo.” Bilbo was a noted cattle farmer in the Creston area, but in the May 24, 1907, issue of Wallace’s Farmer, Bilbo advertised “Imported and Home Bred Draft Stallions and Mares for sale.”

In the 1910 and 1911 volumes of the Iowa Book of Agriculture, published by the Iowa Department of Agriculture, Bilbo has registered several Shire horses, a couple of French draft horses, and seven to eight Percherons. Most likely this work depicts those listed. In the November 25, 1916, Des Moines Tribune, an ad stated, “FOR SALE – 160 Acre Farm, Three miles from Creston,

Union County, Iowa. Rolling land, fairly well improved, half in grass and pasture; has all been plowed. Good house, barn, and outbuildings; small orchard; plenty of water; close to school and church. Price $90 per acre, easy terms. For particulars, address Geo. W. Bilbo, Creston, Iowa.”

While Bilbo can be found owning other land and more cattle after this time period, this is mostly like the farm depicted here.

Special thanks to Genevieve Baird Lacer for her research into J. F. Stephens and this lot.

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13 | Harry Hall (British, 1814–1882)

A TRAINER HOLDING A BAY RACEHORSE, JOCKEY UP AT NEWMARKET Oil on canvas, 28” x 36” Signed & dated 1849 $5,000. – 7,000.

This piece, executed by the artist in 1849, is believed to be a portrait of Mr. B. Green’s Flatcatcher, with trainer Henry Stebbing. Green’s winner, a Touchstone colt, was a formidable opponent on the track, taking the 2000 Guineas, the Dee Stakes at Chester, and the St. Leger Stakes at Liverpool as a 3-year-

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old. After he returned the following year to win the Port Stakes, Newmarket, and the Queen’s Plates at Chester and Shrewsbury, a portrait of the racer and his trainer was presumably commissioned to commemorate his achievements on the turf.

14 | John Frederick Herring Jr. WINTER BARNYARD SCENE Oil on canvas, 28” x 36” Signed & dated 1849 $8,000. – 12,000.

(British, 1820–1907)

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15 | John Frederick Herring Jr. (British, 1820–1907) COUNTRY GENTLEMEN GOING OUT Oil on canvas, 15” x 20” Signed & dated 1849 $4,000. – 6,000.

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16 | George Armfield (British, 1808–1893) ANTAGONIZING THE BARN CAT Oil on canvas, 30” x 48” $6,000. – 9,000.

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17 | Jules Antoine Voirin (French, 1833–1898) LE DEPART POUR LA COURSE Oil on board, 18” x 19” Dated 1898 $3,000. – 5,000.

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18 | Godfrey Douglas Giles (British, 1857–1941) CAPTAIN MACHALL TRAINING HIS STRING, DEVIL’S DYKE, NEWMARKET Oil on canvas, 20” x 24” Signed, dated 1896 $8,000. – 10,000.

Devil’s Dyke, also known as “Devil’s Ditch” or simply “The Ditch,” is a seven-mile-long embankment dating back to AngloSaxon times and is believed to be around 1,500 years old. It is thought that this earthwork was constructed as a form of defense and partly to control trade and movement. The Ditch cuts between Newmarket’s two famous courses — the Rowley Mile and the July Course. The July Course runs parallel with the Ditch, and on race days people standing on the embankment can view the race and packed grandstands on the other side of the course.

The composition features four well-known personalities of the turf from the 1890s: Captain James Octavius Machell, Lillie Langtry, James Jewitt, and Tommy Loates. Machell and Langtry, the famed actress and socialite, are positioned on the far left with the grandstand at Newmarket in the background; jockey Loates is saddled in the foreground of the composition; and trainer Jewitt can be seen astride a gray in the background.

Machell was a legendary fixture on the Newmarket racing scene, having served as racing manager to a host of famous owners, for whom he won 11 classic races, including the British Triple Crown with the famous racehorse Isinglass for Harry McCalmont. Langtry, known as “The Jersey Lily,” was known to have had relationships with several noblemen, including the Prince of Wales, the Earl of Shrewsbury, and Prince Louis of Battenberg. In 1881, Langtry turned to the stage on the advice of her close friend Oscar Wilde, and what started as a way to make some much-needed money blossomed into a lengthy career that spanned several decades and took the actress on several tours of the United States. Langtry became interested in racehorses through her relationship with George Alexander Baird and owned several winners that raced under the pseudonym “Mr. Jersey” (women were not allowed to own horses at the time).

In the early 1890s, Langtry moved to Royal Lodge in Kentford, near Newmarket, making her close neighbors to Machell, who acted as a mentor to Langtry in all matters of the turf.

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19 | Arthur Burdett Frost (American, 1851–1928) PLANTATION OWNERS HORSE TRADING Ink on paper, 20” x 13” Signed A.B. Frost and dated December 1, 1899.

Inscribed Mrs. Elliot Smith with kindest regards $8,000. – 10,000.

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20 | James Andrew McColvin (British, 1864–1920) LATE FOR MARKET Oil on canvas, 36” x 24” Signed $4,000. – 6,000.

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21 | Attr. to John Sturgess (British, 1839–1903)

SIX WINNERS AT ASCOT: ST GATIEN, HUMEWOOD, WHITEFRIAR, BENDIGO, ORMONDE & GAY HERMIT Oil on canvas, 20” x 36” $4,000. – 6,000.

Possibly reproduced as a print or an illustration as Sturgess was working for the Illustrated London News during this period, the work bears many similarities to his lithograph Derby Heroes of the Last Ten Years.

The horses are listed with the races they won at Ascot and the year.

St. Gatien – Ascot Gold Vase (1884), Ascot Gold Cup (1885), and the Jockey Club Cup (1884–86).

Humewood – Current research is scant on this horse’s record at Ascot, but he is known to have won the Cesarewitch Handicap in 1887.

Whitefriar – All-Aged Stakes (now know as the Diamond Jubilee) (1886–87).

Bendigo – Hardwicke Stakes (1885), Champion Stakes (1887), Jubilee Stakes (1887).

Ormonde – Champion Stakes (1886), Hardwicke Stakes (1886–87), St James’s Palace Stakes (1886).

Gay Hermit – Royal Hunt Cup (1887).

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22 | Alfred de Dreux (French, 1810–1860) THE STEEPLECHASE Watercolor, 7” x 14” Signed $3,000. – 5,000.

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23 | John Withers (British, 19th Century)

THE DERBY DAYS Watercolor, gouache, 13” x 20” Signed ‘J. Withers’, dated 1871, along with a print after the same $1,000. – 2,000.

Published in Illustrated London News, May 27, 1871 “ ‘Well, after all, it doesn’t take a good-looking horse to win a Derby,’ was a remark we overheard soon after Favonius had cantered past the judge’s box on Wednesday. A more unfortunate speech could not have been made, as few better-looking colts than the newly named son of Parmesan and Zephyr have ever been saddled at Epsom. Summer seemed to have selected the Derby Day for commencing her reign in earnest, and we never remember more enjoyable weather; for a cool breeze prevented

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the great heat from being at all oppressive. In spite of this, we fancied there were hardly so many people as usual; still, this may have been only fancy, and it is very difficult to compare one year with another. The rail was patronised more than ever, and the ‘glories’ of the road have almost departed, as people are beginning to find out that an hour’s journey in a railway carriage is very preferable to a long and dusty drive.”

Together with a print from the Illustrated London News.

24 | Charles Wellington Furse (British, 1868–1904) STUDY - EQUESTRIAN PORTRAIT Oil on canvas, 25” x 30” $7,000. – 10,000.

Provenance: David Messum

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25 | Nicola Marschall (German/American, 1829–1917) DANIEL SWIGERT Oil on canvas, 30” x 25” oval Signed & dated 1879 $4,000. – 6,000.

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Born into a prominent Frankfort, Kentucky, family Daniel Swigert had, by the age of 24, purchased from his father and uncle a parcel of land on the Kentucky River called “Buffalo Trace” and an early distillery warehouse in the area of Lee’s Town. Swigert set about improving the property in a way that was described by historian D. G. Churchill as a “new type of whiskey making facility, designed for volume output, more efficient production and ease of marketing” and a “prototype of the full time, large scale industrial distillery which would dominate the field in the post civil war era.” It was the first distillery in Kentucky to use steam power. Swigert built a facility suitable for aging barrels, which had only been widely adopted recently to the time.

Swigert set about selling the distillery, most likely because in the antebellum years distilling was not the profitable enterprise it would become after the war. Passing through several hands before being purchased by E. H. Taylor, that distillery is today Buffalo Trace.

In 1862 Swigert was hired by R. A. Alexander as the manager of Woodburn Farm, and the ensuing years would prove to be highly eventful. In 1864 several of Confederate Gen. John Hunt Morgan’s men captured several Woodburn horses that had been sent to Keene Richards of Georgetown to be bred. Swigert went to Georgetown to bring home the rest of the Woodburn mares.

While he was gone, Morgan’s men took Bay Flower and Mattie Gross from Woodburn. Swigert pursued the men to Cynthiana and got the horses back from Morgan, leaving town just in time, before the Battle of Cynthiana. In February 1865, Woodburn was struck again by Confederate raiders William Quantrill and Sue Mundy. As related by Alexander in a letter, Swigert had moved into the house after the first raids, but this time under threat from Quantrill had to lay down his arms as the Confederates stole the horses.

Despite the flurry of war activity interfering with racing, Woodburn dominated the American turf from the period of 1865 to 1880, in large part due to Swigert. As W. S. Vosburgh notes in Racing in America, there were 78 “celebrated race horses” in this period, 34 of these (44%) were bred at Woodburn. In 1869 Swigert left Woodburn and purchased a nearby farm, Stockwood, which he owned until 1881. With his brother-inlaw, Lucas Brodhead, taking over as manager of Woodburn, Swigert was still very much involved. During this period he owned Belmont winners Kingfisher and Springbok and the 1877 Kentucky Derby winner Baden-Baden, and bred the great Hindoo. It was also then that he bought a yearling he named Spendthrift, supposedly for his wife’s spending habits in New York City.

In 1881 Swigert bought Preakness Stud from Milton Sanford and renamed the farm Elmendorf, the name still in use today. It was here he bred Salvator and Firenze, along with Kentucky Derby winners Ben Ali and Apollo, and firmly established himself as one of the best horsemen in the post-war era in America. Swigert was the great-grandfather of Leslie Combs II, founder of Spendthrift Farm, named for Swigert’s horse. The breeder of three Kentucky Derby winners, Swigert was also an original board member of Churchill Downs.

This work is still in the original period frame. An identical one is on Marschall’s portrait of George W. Johnson in the Georgetown & Scott County Museum, Georgetown, KY.

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26 | Henry Stull (American, 1851–1913) DOMINO WITH JOCKEY UP Oil on canvas, 23” x 28” Signed & dated 1900 $40,000. – 60,000.

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Exhibited: Tales From the Turf: The Kentucky Horse, 1825– 1950. Speed Art Museum, Louisville, Kentucky. November 15, 2019 – March 1, 2020.

Provenance: Lot 75, Sotheby’s, New York, October 28, 2004.

The Collection of Mr. and Mrs. Walter M. Jeffords.

Note that this work appeared on the cover of the catalogue for the 2004 Sotheby’s sale of The Collection of Mr. and Mrs. Walter M. Jeffords: Sporting Paintings, Sculpture and Trophies, Vol. I, perhaps the most important sale of sporting art from one private collection.

era, with 10 of the 13 winners of the Triple Crown having Domino in their pedigree, including War Admiral, Secretariat, Seattle Slew, Affirmed, Bold Ruler, Assault, Whirlaway, Gallant Fox, Omaha, Native Dancer, American Pharoah, Justify, Blue Larkspur, Equipoise, Personal Ensign, Buckpasser, and Zenyatta.

In Speed and the Thoroughbred, Alexander MacKay-Smith says the sprinting lines of the modern Thoroughbred come from six sires, Domino being one of the two American horses. His line can also be found in many jumpers today.

Foaled in 1891 at Major Barak G. Thomas’ Dixiana Farm, Domnino was sired by Himyar, out of Mannie Gray. Falling on financial difficulties, Thomas sold his prized yearling to James R. Keene and his son, Foxhall Keene, and the horse went to race for their Castleton Farm. The fastest sprinter of his time and known as “The Black Whirlwind,” Domino won all nine starts as a 2-year-old and six of eight starts at the age of 3. As famed turf writer W. S. Vosburgh notes on page 163 of Racing in America: 1866–1921, “No horse in recent times made so powerful an impression in the great sweepstakes for two and three year olds.

As a racehorse he had won nineteen out of twenty-five races and had won more money than any American racer.”

Even after such a successful racing career, it was at stud where Domino made his most lasting mark. As Vosburgh says on the same page “As a sire Domino’s career, while brief, was immediate and immense… He founded a line that in the colt and filly stakes has practically dominated racing.” Of his two seasons at stud, producing 20 foals, eight were stakes winner, including Commando and Cap and Bells, the first American-bred to win the Epsom Oaks. His descendants have dominated the modern

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27 | Henry Stull (American, 1851–1913)

SAVABLE, WINNER OF THE FUTURITY AND LORD OF THE VALE, SECOND Oil on canvas, 24” x 29” Signed & dated 1902 $25,000. – 35,000.

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Provenance: E. Franklin Robbins Sotheby’s, New York, June 7, 1991. Lot 166 Exhibited: The Race Continues. Kentucky Governor’s Mansion, Frankfort, KY. May – October 2012 On August 30, 1902, 50,000 racegoers gathered at Sheepshead Bay to watch with breathless interest as the greatest number that had ever struggled for the laurel wreath faced the start. The prize was rich, and the quality of the field incomparable. Before the flag it appeared as if any of the two-dozen gathered had an even chance at the stake. John A. Drake and his western contingency were confident that Savable, sired by Salvator, would capture the purse.

By noon, a crowd such that Sheepshead Bay had never seen filled the lower tier of the three-deck grandstand. Long before the call to post, all tiers were filled with a mass of moving color — wealthy onlookers in the rare and radiant colors of the season.

Twenty thousand surged in the field; beyond the track were countless more.

The start saw Lord of the Vale, a Belmont colt, the first to break, with Savable, Hurstbourne, and Dazzling falling in at his heels.

Fire Eater was left at the post. Flying down the hill, 23 stretched out across the track in what appeared to be an almost straight line.

Spectators observed with bated breath as the racers straightened out — suspense palpable in the air as a single misstep could bring a fateful catastrophe.

Dazzling broke the ranks to extend first into the stretch. Patrick McCue touched Lord of the Vale with the whip, and he gallantly responded by taking the lead. After a moment’s falter the son of Hastings recovered, the goal was in sight, and McCue prepared to usher him through.

Savable, all but forgotten by the crowd, seemed just a glimpse of turquoise in the back. Lucien Lyne answered the challenge using the tip of the spur and the crack of the whip to fully extend his mount. Savable answered and broke from the bunch at a thundering speed. Lyne continued to lift him inch by inch, and in the last sixteenth he wore down the single length separating himself and victory. McCue used all his tact to fend off defeat, but Savable — with his sire’s indomitable courage, speed, and heart — surpassed the pride of the Belmont stable as they flew under the wire. August Belmont, watching from the roof stand, never flinched but acknowledged “with another week’s work, Lord of the Vale would have won.”

The Futurity saw $45,400 to the winner, $5,250 to the second, and $2,750 to the third. J.B. Haggin, breeder of Savable, captured $2,000 while August Belmont took $1,250. The last $500 went to James R. Keene, breeder of Dazzling, for total prize money of $57,150. Drake is credited with having won the largest bet ever made in the country: His winnings amounting to more than $100,000.

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28 | Edward Troye (Swiss/American, 1808–1874) MAMBRINO PATCHEN Oil on canvas, 25” x 30” Signed & dated September 23, 1868 $30,000. – 50,000.

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Illustrated: Alexander MacKay-Smith, The Race-Horses of America: 1832– 1872, Portraits and Other Paintings by Edward Troye, Saratoga Springs, NY: National Museum of Racing, 1981, page 294.

Provenance: Dr. Levi Herr, Forest Park Farm, Lexington, Kentucky Kennedy Galleries, New York Frost and Reed Exhibited: Frost and Reed Exhibition of Fine Sporting Paintings, April 22 – May 6, 1986, Kentucky Derby Museum, Churchill Downs, Louisville, Kentucky.

In the Aug. 31, 1867, issue of Turf, Field and Farm, an advertisement discussed Troye’s traveling to Europe and painting bloodstock for interested parties. Finding no takers, Troye returned to Lexington, Kentucky, to complete a commission for Dr. Levi Herr of his prized Standardbred, Mambrino Patchen.

Herr, a veterinarian who one writer for The Spirit of the Times said, “If asked who is the best horseman in America, we should unhesitatingly say Dr. L. Herr,” is credited with beginning the practice of breaking racehorses as yearlings and was insistent on breeding Thoroughbreds and trotters together to improve the breed.

American Eclipse, Messenger, Duroc, and Sir Archy are just some of the names in Mambrino Patchen’s pedigree, and he was prized from the day he was foaled. A champion in the show ring as well, he was sold to John K. Alexander for $1,500, then a record price for a trotting yearling. Just a year later, Herr bought the horse back to be the premier stallion at his Forest Park Farm in Lexington. Herr published catalogues of his bloodstock annually, mostly revolving around Mambrino Patchen, who commanded up to $200 for a breeding session, a large sum at the time.

As John Hervey notes in The American Trotter on page 202, “His popularity from the outset had been pronounced, and he left behind a large family of which the majority of his daughters remained in Kentucky as its most successful broodmares; while his sons, because of their beauty, style, and show-ring qualities, were sold to go to all parts of the Union. The career of Mambrino Patchen [continued with] the great influence he exerted as a progenitor — his blood today being carried by practically all our modern champions.”

Mambrino Patchen sired 25 offspring that took standard records, all trotters. His 57 sons sired 166 trotters and 47 pacers with standard records while his daughters produced 146 trotters and 21 pacers with standard records. Hervey goes on to note (page 206), “But the glory of Mambrino Patchen accrued through his daughters, which as a band were not only the premier producers of their generation, but unsurpassed by any other, before or since, most particularly in the carrying power of their blood and its prolonged influence. It is practically impossible to tabulate the pedigree of a modern champion without continually encountering them until their presence has become akin to a matter of course and their names not only household words but, it may fairly be said, assured of immortality.”

On May 24, 1891, The New York Times ran Herr’s obituary, opening with, “Kentucky’s pioneer trotting horse breeder, Dr. L. Herr, the man who bred the famous Mambrino Patchen, is dead.”

Shortly thereafter his Forest Park Farm in Lexington, located on land between South Limestone and the parallel railroad tracks across from the University of Kentucky, was auctioned off over two days. The first day the land was sold; the second day the contents of the house, with which this painting would have been included.

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29 | Edward Troye (Swiss/American, 1808–1874) CATTLE IN A LANDSCAPE Oil on canvas, 22” x 30” Signed & dated 1848 $35,000. – 45,000.

Following Troye’s marriage in 1839 and the subsequent birth of his daughter, he traveled less frequently the ensuing 10 years until he accepted a professorship at Spring Hill College in Mobile, Alabama, in September 1849. While perhaps best known for his horse images, Troye was also in demand for his cattle paintings by the noted Kentucky farmers of his day. Enlisted at the end of the 1830s to produce images of 14 cows and 10 bulls for The Kentucky Stock Book, he also did cattle pieces for George Sanders and Keene Richards among other Kentuckians. A group painting of cattle for Richard Pindell of Lexington in 1844 followed, and by 1854 Troye painted no less than five cattle pieces for R. A. Alexander of Woodburn Farm.

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Stylistically this work exhibits the traits of his paintings during this earlier period in Kentucky. One notable example of this is the amount of foliage Troye included, as opposed to the sparser landscapes that appear in many of his later works. Two notable examples of this are his painting of A. B. Offutt of Georgetown, Kentucky’s shorthorn bull “Kirkpatrick,” illustrated on page 91 of Alexander MacKay-Smith’s The Racehorses of America, and a painting of Richard Pindell’s “Mares and Foals,” illustrated on page 138 of the same book.

30 | 19th Century American

HORSE & JOCKEY WEATHER VANE Painted copper & zinc, 19” x 33” $6,000. – 9,000.

Most likely produced by J.W. Fiske & Company of New York City, this work depicts Dexter, one of the most famous horses of the 19th century. Fiske was the most prominent manufacturer of cast iron and zinc in the second half of the 19th century. Even for the era this was an expensive piece. Fiske’s 1893 catalog included this model for $65 compared to $20 for a model of Dexter’s rival Ethan Allen, more commonly seen today. Verdigris shows in areas

where paint was lost during the weathervane’s working period.

Though famed as a trotter, Dexter is portrayed without a sulky and resembles the famous Currier and Ives print “The Celebrated Horse ‘Dexter’ The King of the Turf ” published in 1865. By the famed Hambletonian out of Clara, Dexter was the world’s premier trotter, dominating from 1864 to 1867.

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31 | Gean Smith (American, 1851–1928)

THE FUTURITY 1894, SHEEPSHEAD BAY, THE BUTTERFLIES, H. GRIFFIN-UP Oil on canvas, 29” x 58” Signed & dated 1894 $10,000. – 15,000.

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This monumental work by renowned equestrian artist Gean Smith depicts David Gideon and John Daly’s filly The Butterflies, ridden by Hall of Fame jockey Henry Griffin, defeating Perry Belmont’s Brandywine in the Futurity Stakes of 1894. There are precious few original works depicting the once-famous Sheepshead Bay racetrack, and the current offering is one of the finest examples known to exist. Smith’s composition offers a rare and unique perspective of racegoers in the infield at Sheepshead Bay as they witness the frenzied finish of one of the most anticipated races of the year.

The 1894 Futurity Stakes The Futurity Stakes was run annually at Sheepshead Bay until the track’s closure in 1910. The race was later moved to Belmont Park and remains one of the most prestigious 2-year-old races on the present calendar. The Futurity Stakes of 1894 offered a record purse of $50,000. The description of the race published in The Atlanta Constitution reads: “Brandywine, who got off in the rear ranks, and who was unable to get through until the last furlong of the race was in progress, then made his effort. Clayton sent Brandywine after The Butterflies like a shot from a cannon. Griffin saw his danger and began to urge his sterling good filly. She responded to the last gasp … Griffin fought like a young demon, and the wonderful courage of the filly alone staved off defeat. Brandywine managed to get his nose to her withers, but could get no further before the all-important line was crossed, and the Futurity of 1894 went on record as having been won by The Butterflies by a neck from Brandywine.” (The Atlanta Constitution, August 26, 1894)

Ezekiel Clay and Catesby Woodford bred The Butterflies, foaling her at Runnymede Stud in 1892. David Gideon and John Daly purchased the filly for $1,800, and she quickly became one of the stars of their stable. An article published in The New York Times explains how Gideon came to call his newly acquired filly The Butterflies: “The Butterflies was named after the successful comedy in which John Drew played for so many months last season. Charles Frohman, Mr. Drew’s personal manager, and ‘Dave’ Gideon are warm personal friends. After the Brooklyn Handicap Mr. Gideon took Mr. Frohman over to his stables and showed him his horses. Then he told the theatrical manager that he might name any of the 2-year-olds. ‘This one I am going to name myself,’ said Gideon, pointing out the pretty filly that won such a great race and won him a fortune last Saturday. ‘She is being worked for the Futurity, and I am going to call her ‘The Butterflies.’ I like the play of that name. I think she’s a winner too.’ So the filly was named The Butterflies.” (The New York Times, August 29, 1894) Gideon’s premonition proved correct, if not somewhat understated, as The Butterflies went on to be the first filly to win the prestigious Futurity Stakes, shattering the previous stakes record by 11/5 seconds. The Butterflies suffered several setbacks in her 2-year-old campaign and made only three starts, but she managed to earn $54,690 — the highest earnings ever for a 2-year-old filly in the United States. The Butterflies was crowned U.S. champion 2-year-old filly in 1894 and U.S. champion 3-year-old filly in 1895 after winning the Gazelle Stakes and the Fall Handicap.

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32 | Isidore Jules Bonheur (French, 1827–1901)

TAUREAU BEUGLANT (BELLOWING BULL) Bronze, 15 ½” x 21” Signed, stamped PEYROL $5,000. – 7,000.

Literature: Christopher Payne, Animals in Bronze, Clopton, Woodbridge, Suffolk: Antique Collectors Club, 1986 Jane Horswell, Bronze Sculpture of ‘Les Animaliers,’ Clopton, Woodbridge, Suffolk: Antique Collectors Club, 1971, pages 203 and 204 A complementary piece to Taureau (a charging bull), they were modeled in plaster and exhibited at the Salon of 1865 in Paris.

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Cast in three various sizes, the first cast (on a larger scale) was commissioned by Sultan Abdulaziz of the Ottoman Empire, but current records indicate that he never paid, and it is unknown whether they ever made it to Constantinople. A model in the size offered here was acquired by the Victoria and Albert Museum, London, during the artist’s lifetime. Today there are known largerscale versions of this bronze located at the entrances to Colt State Park, Rhode Island, and Parc Georges Brassens in Paris.

33 | Karl Pertgen (German, b. 1881)

VUE GÉNÉRALE DES THÉÂTRES DU BOULEVARD DU TEMPLE, AVANT LE PERCEMENT DU BOULEVARD DU PRINCE EUGÈNE EN 1862 Oil on canvas, 33” x 75” Signed $20,000. – 30,000.

Provenance: Sotheby’s, New York, April 18, 2007, lot 68.

The Boulevard du Temple in Paris follows the path of the city wall constructed by Charles V and then demolished under Louis XIV. The current boulevard was built between 1656 and 1705. From the late 1700s to 1830 the boulevard was considered quite fashionable, grand coaches would line the entire length, dropping off aristocratic visitors to the area. The cafés and the theaters previously located at the Saint-Laurent and Saint-Germain moved there. The grand theaters depicted here from left to right are as follows: the Théâtre Lyrique, Théâtre Impérial du Cirque, Théâtre des FoliesDramatiques, Théatre de la Gaîté, Théatre des Funambules, Théâtre des Funambules, Théâtre des Délassements-Comique, and Théatre Lazary. After a time, the Boulevard du Temple was nicknamed Boulevard du Crime for the crime melodramas that enjoyed widespread popularity at the surrounding theaters.

In 1835, Guiseppe Fieschi attempted to kill King Louis-Philippe as

he was visiting one of the boulevard’s many theaters. The attempt was unsuccessful but resulted in the deaths of 18 civilians and left 23 onlookers injured. Also important to note, Louis Daugerre captured the iconic street in one of the earliest daguerrotypes, and the resulting photograph is believed to be the earliest surviving photograph showing a person. A man who coincidentally stopped to have his shoes shined and who therefore remained still was captured on the plate. All other traffic rushing through the street vanished due to the length of exposure, which came close to half an hour.

Baron Haussmann’s radical transformation of Paris saw this area dramatically modified. Many of the 18th-century theaters were demolished upon the construction of Boulevard du Prince Eugéne.

The construction of the new street was part of an enlargement of the Place de la République, and it was built to Haussmann’s specifications. Paved, wide sidewalks were incorporated along with a modern drainage system meant to propel Parisian aesthetics into the 20th century. Today only the Théâtre Déjazet still stands.

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34 | Herbert Chevalier Haseltine (American, 1877–1962) PLASTER BUST OF LAKSHMI Plaster, 11” x 13” $4,000. – 6,000.

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Provenance: Leslie Hindman Auctioneers, Chicago.

Property from the Ralph Esmerian Collection, October 2, 2011.

Herbert Haseltine is recognized as one of the greatest American animalier sculptors of the 20th century. Haseltine gained commissions from many of the wealthiest sporting enthusiasts in the United States and abroad, including King Edward VII and Queen Alexandra of England and Prince Schönburg-Hartenstein of Vienna. Most important in this context was the acquaintance of the Maharaja Jam Saheb of Nawanagar. While in India working on a monument for the maharaja, Haseltine was shown the maharaja’s favorite stallion and mare, Indra and Lakshmi. An extensive future project that would take the artist many years to complete was then conceived.

on a rather sizable loan. A CNN Money article from 2009 titled “Diamonds Are a Banker’s Worst Friends” mentions the two works by Haseltine, saying: “When Ralph talks about jewels, he sounds like a boy showing off his baseball cards. A favorite piece is a pair of horse heads sculpted by Herbert Haseltine for the heiress Barbara Hutton out of 24-karat gold and embedded with diamonds, rubies, sapphires, and emeralds. The horses held a mythical place in Ralph’s childhood. His father supplied Haseltine with the stones. Esmerian bought the horse heads from a private dealer about eight years ago.”

Haseltine’s ‘Indra’ and ‘Lakshmi’ were offered in Sotheby’s The Midas Touch sale on October 29, 2019, in London with a pre-auction estimate of £600,000 – £800,000.

Finding inspiration in the intricate designs and elaborate decorations used to adorn the horses in 17th- and 18th-century India, Haseltine set about constructing models of Lakshmi and Indra with the hope of finding a patron to fund his ultimate vision for the pieces — solid gold busts of the two prized horses adorned with diamonds, rubies, sapphires, and emeralds.

Although the preliminary work on the project had begun in the 1930s, it was not realized until 1949 through the patronage of the wealthy heiress and jewelry aficionado Barbara Hutton. With Hutton’s support, Haseltine finished the pieces in three years.

His work was aided by the Bedi-Rassy Foundry in New York, which cast them in 24-karat gold, then chased and ornamented the gold heads with precious jewels.

This plaster bust of Lakshmi was a prized part of the collection of famed New York jeweler Ralph Esmerian, who had quite a personal connection to the piece. The plaster bust, along with many of Esmerian’s other prized possessions, was sold at public auction in 2011 when the once-prominent jeweler defaulted

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35 | 20th Century European

WELCOME TO THE WINNER’S ENCLOSURE Oil on canvas laid down on board, 47” x 35” Signed w/ monogram inscribed ‘KM’. $6,000. – 9,000.

This offering is an original for advertisement commissioned by Jameson, possibly under the direction of S.H. Benson Advertising Agency. While monogrammed with a KM, current research has not identified the artist.

In the 1930s, the Irish Tourism Commission teamed with Jameson in order to attract visitors to the country, and promote

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industries that could often be overlooked by tourists. This advertisement depicts the Irish-bred Arctic Prince and celebrates his victory at Epsom, placing the Irish racer into the same standard as his English counterparts. At 28-1 odds in a field of 33 with Chuck Squares up, Arctic Prince had finished six lengths ahead of the rest of the field.

36 | 20th Century European

EXPERIENCE THE BEST OF IRELAND, JAMESON WHISKEY Oil on canvas laid down on board, 28” x 46” Signed ‘K. Pearson’ $6,000. – 9,000.

Signed by a “K. Pearson,” an advertising artist who has not been identified by current research, this work would have been produced by the S.H. Benson advertising agency of London in the 1930s. Benson was one of the leading advertising agencies of the day, also creating campaigns for Guinness, Macleans, Lipton’s Tea, and Colman’s Mustard. In accordance to their partnership with the Irish Tourism Commission this ad features

not only Jameson Irish Whiskey, but also depicts two famed attractions near Dublin, the Leopardstown Racecourse and Portmarnock Golf Club. Still attached to the face of the piece is a label from the Jameson Distiller’s Co., noting the work as a proposed advertising campaign and not to remove, signed off by an employee C.R.H.

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37 | Mary Eley Gauntlett (British, 1874–1903) HYDERABAD CAMEL CORPS Watercolor, 22” x 29” Signed $3,000. – 5,000.

In March 1855 Russian forces defeated the Afghan army at Panjdeh, a village on the disputed Russian-Afghan frontier, alarming British forces and prompting the dispatch of units from the Army of India to reinforce the defenses. The Panjdeh incident, as it became known, resulted in generous donations to the war effort from the princely states of the British Indian Empire. Most notably, the Nizam of Hyderabad allocated the largest number of recruits to form the reserve force of approximately 20,000 soldiers. Each princely state was responsible for training its recruits, and many of the larger states opted to continue to maintain their traditional units in addition to those promised to the Imperial Service. The Hyderabad Camel Corps served as the Nizam of Hyderabad’s traditional unit in addition to the promised recruits and maintained their ranks until 1948, when Hyderabad was integrated into the new Indian Union.

38 | Sir Michael Anthony Shrapnel Biddulph (British, 1823–1904) HAWK POISED ON A BRANCH Watercolor, gouache, 17” x 13” Signed ‘S. Biddulph’, dated 1889 $2,000. – 3,000.

Provenance: Sotheby’s

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39 | Arthur Wardle (British, 1860–1949)

SPANIELS WITH CHERRY BLOSSOMS Oil on canvas, 22” x 14” Signed $5,000. – 7,000.

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40 | Arthur Wardle (British, 1860–1949) BIRD DOG Oil on canvas, 24” x 20” Signed & dated 1900 $4,000. – 6,000.

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41 | Reuben Ward Blinks (British, 1880–1950) HUNTING A WATER FOWL Watercolor, 14” x 15 ½” Signed & dated ’40 $3,000. – 5,000.

42 | George Wright (British 1860–1942) OFF DUTY Oil on canvas, 8” x 12” Signed & inscribed $3,000. – 5,000.

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43 | George Edward Lodge (British, 1860–1954)

AN ICELAND FALCON WITH AN EIDER DUCK Oil on canvas, 16” x 24” Signed $5,000. – 7,000.

Provenance: Rowland Ward Ltd

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44 | George Edward Lodge (British, 1860–1954)

WAITING HIS CHANCE, PEREGRINE AND MALLARD Watercolor, gouache, 21” x 14” Signed $4,000. – 6,000.

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45 | Sandra Oppegard (American, b. 1942) WATERFOWL SPORT Watercolor, 17” x 22” Signed, inscribed & dated verso $3,000. – 5,000.

46 | Michael Lyne (British, 1912–1989) THE QUAIL HUNT Watercolor, 8” x 13” Signed $1,000. – 1,500.

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47 | Sandra Oppegard (American, b. 1942) BLACK LAB Watercolor, 17” x 13 ½” Signed $2,000. – 3,000.

48 | Sandra Oppegard (American, b. 1942) POINTERS, QUAIL HUNTING Watercolor, 14” x 20” Signed, inscribed & dated verso $3,000. – 5,000.

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49 | Brett Smith (American, b. 1958) FALL’S FINEST Oil on linen, 20” x 30” Signed & inscribed en verso $9,000. – 12,000.

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50 | Dan Brown (American, b. 1949) LUCIA’S LADY Oil on board, 18” x 24” Signed, inscribed en verso $3,000. – 5,000.

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51 | Larry Wheeler (American, b. 1942) THE LAST CAST Oil on canvas, 12” x 16” Signed, inscribed en verso $2,000. – 3,000.

52 | Larry Wheeler (American, b. 1942) JUST FISHIN Oil on board, 14” x 20” Signed, inscribed en verso $3,000. – 5,000.

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53 | Roy Martel Mason (American, 1886–1972) BELOW THE BLUFFS Watercolor, 14” x 22” Signed $3,000. – 5,000.

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13 ½” x 10”

54 | Charlie “Snaffles” Johnson Payne (British, 1884–1967) THIRTEEN - SNAFFLES MILITARY PORTRAITS Watercolor, gouache & ink, Various sizes. 14” x 10 ½” – 9” x 7” Signed & inscribed $10,000. – 15,000.

A schoolboy cadet, Snaffles was fascinated with the army, and his interest persisted as he grew older, enlisting as a gunner in the Royal Garrison Artillery at age 18. He served in the Royal Garrison Artillery with the Colours for three years and for nine years with the Reserve. His works of soldiers, foxhunters, and the like appeared as illustrations in the years prior to World War I. In the early years of World War I his depictions of soldiers proved highly popular, but he was eager to serve his country and in 1917 enlisted in the Royal Naval Air Service as a mechanic.

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In the 1920s and in 1934–35, he visited India and spent time with cavalry regiments before the outbreak of World War II, during which time he began producing more prints and illustrations of soldiers and war. Offered here are A Field Gunner, The A.S.C., The Oxfords, Le Guide, A Cameron Highlander, A Soldier of West Africa, ’Is Majesties Jollies, Bengal Cavalier, The King’s Navee, The Fusilier, Ye Port Admiral, and two other untitled dashing gentlemen soldiers.

11 ½” x 7 ½”

13” x 8 ½”

12” x 7 ½”

14” x 10 ½”

13 ½” x 10”

14” x 10”

14” x 10 ½”

14” x 10 ½”

10” x 7”

14” x 10”

9” x 7” 12 ½” x 9”

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10” x 15”

4” x 5 ½”

4” x 5 ½”

5” x 8”, dated ’13

9” x 13”

8” x 6”

55 | Charlie “Snaffles” Johnson Payne (British, 1884–1967) GROUP OF 6 SNAFFLES Watercolor & ink, Various sizes. 16.5” x 14” – 5” x 8” Signed $10,000. – 15,000.

A grouping of five original works by Charlie Johnson Payne accompanies a print with extensive drawing below the printed area. Payne, or “Snaffles” as he was popularly known, built an impressive reputation upon humorous depictions of various facets of English life and remarkable draughtsmanship and depictions of the horse in action. A witness to both world wars, his most popular works contrasted and combined military life with peacetime pursuits such as racing and hunting. His work is recognizable by two main visual characteristics — remarque, or uncolored sketching around the principal image, and some kind of additional captioning to supplement the title or further explain the scene.

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Included in the grouping is a watercolor signed and dated 1913, a period in which Payne was living at Oakham in the Cottesmore country. It depicts a lady in a lightweight dog cart driving a Hackney-type pony with four white points. The piece is based on Cecil Aldin’s print, Brighton Front, which depicts Aldin’s wife, Rita, and shows her bulldog looking around her legs. The cart was specifically made to go across country and the subject is carrying a hunting crop as opposed to a driving whip, leading most scholarship to assume the woman depicted was the notorious lady who would follow behind the area hunts in a dog cart, her companion in tow.

56 | George Wright (British, 1860–1942) THE INN YARD Oil on canvas, 14” x 17” Signed $4,000. – 6,000.

Provenance: Wunderly Galleries, Pittsburgh, PA Frost & Reed

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57 | Heywood Hardy (British, 1842–1933)

HOUNDS OF THE TICKHAM HUNT, KENT Oil on canvas, 30” x 65” Signed $20,000. – 40,000.

Provenance: Christie’s New York, December 5, 2003, Lot #67 Beginning in the Mid-19th Century, Charles Witherden of Kent would hunt the Tickham fields and farmland for hare by foot.

A notoriously difficult hunting country, Witherden’s pursuits soon called for a mount. The move to a mounted hunt was occasioned when Witherden’s hounds were joined by the ranks of Sir John Honeywood and Alfred Swaffer Esq. The combined packs were hunted by John Buckland, the great nephew of Charles Witherden. When Mr. Blackman’s hounds fell in with the combined packs in 1878, the Ashford Valley Harriers were formed under the mastership of John Buckland.

Together with his son Harry, John Buckland would maintain the pack through WW1. Hardly an easy feat given extensive shortages faced by the county. When Harry Buckland was sent to the trenches, he wrote back to his father pledging his entire earnings to their upkeep and voicing his desire to be spared by the war to sport again with the good Old Harriers.

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As the war trudged on, hares became scarce as the county began to heavily rely on the game as a source of food. Therefore, the hunt turned their efforts towards the fox. Prior to the war they had hunted predominantly hare with the occasional fox. After the war they began hunting foxes exclusively, changing their official title to the Ashford Valley Foxhounds in 1922.

After the death of his father in 1926, Harry Buckland took over the mastership. Not long after the hunt fell into financial despair, only to be saved by American Chester Beatty. Beatty’s son was granted joint mastership of the hunt & with him were introduced a pack of Welsh hounds. Arrangements eventually broke down, and Harry Buckland resigned the mastership, marking the end of the Buckland reign over the hunt.

Today, the hunt operates under the mastership of Neil Staines who has been serving since 1993. The hounds he has bred are now trained to adapt to hunting artificial sent. The generosity of the local farmers keep the hunt going by continuing to invite them onto their land, and good sport is always shown in return.

58 | Charles Frederick Tunnicliffe (British, 1901–1979) FOX FAMILY, MOTHER AND CUBS Oil on canvas, 30” x 25” Signed $7,000. – 9,000.

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59 | Benjamin Herring Sr. (British, 1806–1830) A BAY HUNTER IN A LANDSCAPE Oil on canvas, 13 ½” x 17” Signed, & dated 1827 $2,000. – 3,000.

60 | Alfred Duke (British, 1863–1905) FOLLOWING THE SCENT Oil on canvas, 14” x 20” Signed $3,000. – 5,000.

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61 | John Beer (British, 1860–1930) FOX HUNTING VIGNETTES Watercolor, 14” x 23” Signed $2,000. – 3,000.

62 | Frederick Whiting (British, 1874–1962) A DONKEY STUDY Oil on canvas, 24” x 18” Signed en verso $2,000. – 3,000.

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63 | Lionel D.R. Edwards (British, 1878–1966) A COUNTRY GENTLEMAN’S ASSITANCE Watercolor, 9” x 23 ½” Signed, dated ‘05 $6,000. – 9,000.

64 | George Denholm Armour (British, 1864–1949) MR. JORROCKS GOING OUT Watercolor/bodycolor on linen, 15” x 12” Signed $3,000. – 5,000.

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65 | John Sanderson Wells (British, 1872–1955) A MORNING GOSSIP Oil on board, 16” x 24” Signed $2,000. – 3,000.

66 | Andre Pater (Polish/American, b. 1953) STUDY OF A RED FOX Pastel, 12” x 17” Signed $4,000. – 6,000.

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67 | Raoul Millais (British, 1901–1999) AWAY FROM COVERT Oil on canvas, 10” x 12” Signed $2,000. – 3,000.

68 | David Parry (British, b. 1942)

FOX & STUDY (a pair) Watercolor & pencil, 11” x 9” each, oval Signed $900. – 1,200. (2)

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69 | LeRoy Neiman (American, 1921–2012)

THE HUNT FIELD Oil on board, 6” x 12” Signed & inscribed ‘The Hunt Field’ en verso $9,000. – 12,000.

Provenance: Hammer Galleries, New York

“The hunt is a stately sport with a leisurely tempo. Man, horse and nature blend happily, with the emphasis on stamina and ceremony rather than speed. Participants are preferably of good bone and blood. Great respect is paid to senior members, some in their eighties. Their longevity and experience are prized since an understanding of the horse and the terrain is vital for a good hunt. Fox Hunting is not a spectator sport, ranging, as

it does, over fields and through woods. It sometimes provides its participants with a full day of social activity, beginning with an early morning hunt breakfast and culminating nearly twentyfour hours later with a hunt ball that can last until dawn.”

– LeRoy Neiman: Horses, page 215.

70 | Peter Biegel (British, 1913–1988) HOT PURSUIT Watercolor, 14” x 19” Signed, inscibed & dated ’62 $3,000. – 5,000.

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71 | Joanne Mehl (American, b. 1960) CONSTELLATION Oil on panel, 16 ½” x 23” Signed & inscribed en verso $3,000. – 5,000.

72 | Peter Biegel (British, 1913–1988)

OLD DOMINION Watercolor & pencil, 10” x 14” Signed, inscribed & dated June 11, 1974 $3,000. – 5,000.

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73 | Philip Eustace Stretton (British, 1865–1919) STUDY OF A GINGER CAT Oil on canvas, 24” x 22” Signed & dated 1908 $8,000. – 10,000.

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74 | Melinda Brewer (Canadian, b. 1957) A COUPLE Watercolor, 9” x 15” Signed $1,500. – 2,500.

75 | Melinda Brewer (Canadian, b. 1957) THE HOUNDSMAN Watercolor, 11” x 18” Signed $2,000. – 3,000.

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76 | Juli Kirk (American, b. 1957) SECRETS Oil on canvas, 30” x 24” Signed $7,000. – 10,000.

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77 | Juli Kirk (American, b. 1957) TAKING A KNEE Oil on canvas, 24” x 24” Signed & dated 2020 $6,000. – 9,000.

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78 | Dede Gold (Irish, b. 1971) FORMING THE RANKS Oil on canvas, 26” x 20” Signed with monogram $5,000. – 7,000.

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79 | Dede Gold (Irish, b. 1971) THE GREAT DANE Oil on canvas, 48” x 30” Signed with monogram $8,000. – 10,000.

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80 | Suzy Smith (American, b. 1951) READY FOR THE BIRDS Pastel, 28” x 20” Signed $4,000. – 6,000.

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81 | 20th Cerntury American

THE MARSHAL Carved wood, 16” x 16” including base Signed “J. Zolcik” $2,000. – 3,000.

Provenance: Collection of George & Eli Blackwell

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82 | Liza Todd-Tivey (American, b. 1957) NASHUA & CLEM Bronze, 12 ½” x 16” Signed, dated ’82, edition 7/75 $4,000. – 6,000.

Upon Nashua’s death in 1982, Leslie Combs II commissioned Liza Todd-Tivey for a half-scale statue of the stallion being led by his groom, Clem Brooks. This lot is a smaller version of the original at Spendthrift. While many fans came to visit Nashua when he stood at the farm, Brooks inevitably became a favorite too. An often-told story relates that many admirers would ask Brooks for Nashua souvenirs, and he would always oblige by pulling a horseshoe that he said was “off Nashua” out

of his pocket to sell them. What the fans never knew was that Brooks would rummage around after the blacksmith departed and pick up any horseshoes he could find. Covering his bases, the clever Brooks always said they were “off” Nashua, never “on,” and that was true, as Nashua was not wearing them. In the bronze offered here, you can see the outline of a horseshoe in Brooks’ right pocket.

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83 | Gill Parker (British, b. 1957)

SUFFOLK PUNCH Bronze, 10” x 15” Signed, dated 1997, edition 3 of 9 $2,000. – 3,000.

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84 | Simon Erland (British, b.

1961) ARAZI WITH STEVE CAUTHEN UP Bronze, 13” x 13 ½” including base Signed, inscribed ‘Arazi maquette no 2’, dated 1993, edition 3 of 9 $5,000. – 7,000.

Provenance: Christie’s, London, March 11, 2010, lot 95.

Arazi was a chestnut colt foaled in 1989 by Blushing Groom out of Danseur Fabuleux. Owned by the American A.E. Paulson, he was trained in France by François Boutin. Few racehorses have achieved lasting fame through their performances as a two-year-old, but Arazi was a glorious exception. He

produced a string of outstanding performances culminating in an unforgettable race on dirt in the Breeders Cup Juvenile at Churchill Downs. His six other victories included the Prix Morny, the Prix de la Salamandre and the Grand Criterium.

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85 | George Claxton (American, 1947–1995) HORSE & JOCKEY, GOING TO POST Bronze, 14 ¾” x 15” including base Signed & dated ’79, Edition 8/18 $5,000. – 7,000.

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86 | Stephanie Revennaugh (American, b. 1973) PRESENCE Bronze, 30” x 23” Signed $7,000. – 10,000.

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87 | Carl Dahl (American, b. 1952)

CHEVAL Porcelain, Unique, 18 ½” x 16 ½” $3,000. – 5,000.

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88 | Simon Erland (British, b.

1961) MATADOR MAQUETTE XI Bronze, 10” x 15” x 14” Signed & inscribed underneath base, edition 7 of 9 $5,000. – 7,000.

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89 | Simon Erland (British, b.

1961) ESTOPENO Bronze, 12” x 15 ½” including base Signed & inscribed under base $7,000. – 9,000.

As a devoted corridor des toros in San Fermin for about 35 years starting in the 1960s, Simon Erland has run virtually every encierro (running of the bulls) and cannot recall ever missing a miurado in those years. The Miura, a line of toro de Lidia, derives from five historic lines of Spanish bull. Bred at the Ganadería Miura in Andalucia, the Miura enjoyed an extraordinary reputation during the glory years of the 1970s and ’80s.

While Estopeno may not have been the bravest or best Miura Erland had ever seen, he was the most beautiful. As a recognized corridor, Erland gained admission to the corrales del Gas, where he first encountered Estopeno, to study the animals in the evening while the public partook in the more bacchanalian traditions of San Fermin. Returning later for the ecierrillo, where the bulls are removed from their pens and then brought up on foot to Santo Domingo the night before the running, Erland prepared for his closest encounter with the bull — the encierro itself.

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The stage had been set for the impact of the Miuras the year before, with a member of the line winning the Trofeo Feria del Toro.

Estopeno and his brothers did not disappoint — taking 24 awards in total. Estopeno was fifth in the order de lidia. Upon entry the crowd rose to its feet giving prolonged applause, rare even during San Fermin. Paco Ruiz Miguel was his challenger. He showed the qualities of a true toro bravo with long and repeated charge.

This bronze is one of three maquettes made for a life-size commission of Estopeno. The other casts are in the Miura brothers’ collection.

90 | Clayton Bright (American, b. 1946) COURSING Bronze, 5” x 18” Signed, copyright 1978, 6 $4,000. – 6,000.

The proceeds from this lot will go to the Bluegrass Land Conservancy and Bluegrass Farms Charities.

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91 | Sally Arnup (British, 1930–2015) OTTER WITH A FISH Bronze, 28” x 22” Signed $4,000. – 6,000.

Provenance: Collection of George & Eli Blackwell

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92 | Nick Bibby (British, b. 1960)

SCOTTISH BLACKFACE RAM, MOORTOWN J.J. Bronze, 10 ½” x 11” including base Signed, Edition 4/12 $9,000. – 12,000.

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93 | Franklin Voss (American, 1880–1953)

FAMOUS AMERICAN THOROUGHBREDS A set of 12 prints, 18 1/4” x 22 1/2” each Signed, numbers varying, Edition of 260 $12,000. – 15,000.

In Richard Stone Reeves’ introduction to Crown Jewels of Thoroughbred Racing, Franklin B. Voss is the only American artist mentioned by name among the other great equestrian artists over the past three centuries.

Voss was held in such high esteem that his client list for commissions was a veritable “who’s who” of the sporting world at the time. Given such popularity, it is no surprise that the rest of the public desired his work as well. In 1934 a set of 10 hand-colored prints of famous racehorses, after paintings by Voss, was offered for $250, and $30 for a single print.

Noted printmakers At the Sign of the Gosden Head, the same company that produced the popular prints of Edward Troye’s work, published the set with the plan to release more in the following years. Gosden Head published the 11th print in 1936 and The Sporting Gallery and Bookshop Inc., New York published the 12th in 1940. Due to company buyouts, the series was discontinued. Each print was signed and numbered by Voss who painted a square in the owner’s colors in the lower right corner. At the bottom of each print is a biography of the horse written by legendary turf writer Neil “Roamer” Newman.

Newman had taken “Roamer” as his pseudonym after the racehorse Roamer, Horse of the Year in 1914 and 1915 and for whom a stakes race at New York’s Jamaica Race Course was named.

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The list of each print subject, owner, and publication year is as follows: Man o’ War – winner of the Travers Stakes, Jockey Club Gold Cup, Preakness, and Belmont Stakes, all in 1920.

Owner – Samuel D. Riddle. 1934.

Twenty Grand – winner of the Wood Memorial, Travers Stakes, Kentucky Derby, and Belmont Stakes, all in 1931.

Owner – Greentree Stable. 1934.

Equipoise – winner of the Havre de Grace, Whitney, Metropolitan, Arlington, and Suburban. 1934.

Billy Barton – winner of the Maryland Grand National twice, Virginia Gold Cup, and Pennsylvania Hunt Cup. Owner – Howard Bruce. 1934.

Blue Larkspur – winner of the 1929 Belmont Stakes, inducted into the Horse Racing Hall of Fame in 1957.

Owner – Colonel Edward Riley Bradley. 1934.

Sun Beau – Inducted into the Horse Racing Hall of Fame, three times U.S. Champion Older Male Horse (1929, 1930, 1931). Owner – Willis

Sharpe Kilmer. 1934.

Jolly Roger – winner of the Elkridge Steeplechase, twice winner of the American Grand National. Owner – Mrs. Payne Whitney. 1934.

Gallant Fox – winner of the United States Triple Crown (1930) and 1957 Hall of Fame inductee. Owner – Belair Stud. 1934.

Exterminator – winner of the 1918 Kentucky Derby, inducted into the Horse Racing Hall of Fame in 1957.

Owner – J. Cal Milam and Willis Sharpe Kilmer. 1934.

Discovery – U.S. Champion Male Handicap Horse (1936) and Horse Racing Hall of Fame (1969).

Owner – Adolphe Pons and Alfred G. Vanderbilt II. 1936.

Top Flight – American Champion Two-Year-Old Filly (1931), American Champion Three-Year-Old Filly (1932).

Owner – Cornelius Vanderbilt Whitney. 1934.

Seabiscuit – U.S. Champion Handicap Male (1937 & 1938), U.S. Horse of the Year (1938). Owner – Charles Howard. 1940.

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94 | Richard Stone Reeves (American, 1919–2005) MR. RIGHT Oil on board, 10” x 12” Signed, inscribed & dated ’69 $3,000. – 5,000.

Provenance: Evan Jackson A wedding present from her father-in-law, Mr. Right captured the Santa Anita Handicap and Woodward Stakes in 1968 among others for his owner Cheray Zauderer Duchin. As noted in the October 7, 1968, issue of Sports Illustrated, Mr. Right’s victory in the Santa Anita Handicap made him the first New York-bred to win a $100,000 stakes race, and his victory over Damascus in the Woodward cleared the way for Dr. Fager to win Horse of the Year honors over his main competition in Damascus. In 1969 the horse won the Suburban Handicap representing Dansar Stables,

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which counted Frank Sinatra as an owner. Retiring to stud in 1970, Mr. Right first stood at Tartan Farm in Ocala, Florida alongside Dr. Fager.

“We’ll need all the luck we can get,” Evan was saying, “but strange things happen in horse racing.” – Trainer Evan Jackson before the 1968 Woodward Stakes, Sports Illustrated, October 7, 1968.

95 | Richard Stone Reeves

(American, 1919–2005) COUP DE FEU Oil on canvas, 22” x 28” Signed, inscribed en verso & dated 1975 $7,000. – 9,000.

Provenance: Mr. F. H. “Tim” Sasse Illustrated: Richard Stone Reeves and Patrick Robinson, Decade of Champions, New York: Fine Arts Enterprises Ltd., 1980, page 120.

“In general terms, Lambourn is a subdued little place in the first hours of light, with the sun climbing up over the Downs. Which is precisely why everyone remembers Coup de Feu, a rangy, dark bay horse who, in the summer of 1974, possibly made more noise than all the other colts and fillies put together. He was a five-year-old at the time, having been purchased the previous year for 26,000 guineas by the wealthy Lloyds underwriter Tim Sasse to give his son Duncan a decent start to his new career as a public trainer.”

“I only had 15 horses at the time,” recalls Duncan. “I had never trained a winner on my own, and this great rampaging sex maniac in the middle of my little string seemed to be causing more fuss and noise than everyone else.” Decade of Champions, page 122.

After two wins in 1974, Duncan Sasse entered his father’s horse in the Eclipse Stakes, which also had Ksar, Mount Hagen, Giacometti, and Hail the Pirates in the field. At 33-1, Coup de Feu became the longest-priced winner in the history of the Eclipse Stakes.

“When I looked around at Dad, there were tears of happiness in his eyes,” said Duncan. “He was a smashing horse. I’ll never forget him. And if I live to be 100 and train 1,000 classic winners, he’ll always be my happiest memory. And I have a feeling that applies also to his owner.” Decade of Champions, page 123.

On the back of the painting is Tim Sasse’s original betting slip for the Eclipse Stakes.

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96 | Richard Stone Reeves (American, 1919–2005) LAW SOCIETY Oil on canvas, 32” x 38” Signed & dated ’85 $15,000. – 20,000.

Provenance: From the estate of Vincent O’Brien Bred by Lane’s End, Law Society was purchased for $2.7 million at the 1983 Keeneland Sales for Stavros Niarchos before being sent to trainer Vincent O’Brien at Ballydoyle. An Irish champion both years he raced, Law Society scored his greatest triumph in the 1985 Irish Derby. First standing at Coolmore Stud in Ireland

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and then at Gestut Isarland, he sired 55 stakes winners, spanning both Europe and North America. In the painting here, Law Society is pictured at Ballydoyle, the legendary training facility for Vincent O’Brien, perhaps the greatest trainer in horse racing history.

97 | Douglas Duer (American, 1887–1964) THE STEEPLECHASE (TRIPTYCH) Oil on canvas, 30” x 20” each Signed & dated 1911 $4,000. – 6,000. (set of three)

Provenance: Schoonover Studios Ltd, Wilmington, DE

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98 | Eugene Pechaubes (French, 1890–1967) A DRIVING FINISH Oil on board, 18” x 25” Signed $3,000. – 5,000.

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99 | Oskar Merte (German, 1872–1938)

FERTIGMACHEN! Oil on canvas, 20” x 32” Signed, inscribed ‘Fertigmachen!’ & dated München 1931 $3,000. – 5,000.

After World War I devastated the German psyche, the Reich developed a renewed interest in creating a strong sense of German nationalism. This led German trotting centers to give racing events a new face that would entice international participation in order to improve the country’s breeding standard. The first race of this nature, the Matadoren race, was held in Mariendorf in 1919. In the next few years other German trotting clubs followed suit, creating races of their own with large enough purses to attract foreign competition.

The Bavarian Grand Prix was organized by the Munich Trotting and Breeding Club in 1922. A sensation in its founding year, the race was endowed with 100,000 marks, the largest purse in

Germany at the time. A preliminary race in its initial years, the Groß Preis von Bayern became an international stitch race from 1928 until 1962. In 1963 it officially fulfilled its purpose in raising the German trotting standard as an international top test, enticing the best 3-year-old trotters from Europe and around the world.

This piece depicting the 1931 Große Preis von Bayern was commissioned by the Munich City Council as a high honor for the winner. That year an American horse, Enzian, captured the prize. Enzian had esteemed Standardbreds on both sides of his pedigree, with connections to Peter the Great and Mambrino Patchen. (See Lot #28) THE SPORTING ART AUCTION

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100A | Makers Mark Helene Steene (Swedish, b. 1947) GRAZING HORSE Cast fiberglass, 59” x 72”

100B | Keeneland Augustin Zarate (Mexican, b. 1976) STANDING HORSE Cast fiberglass, 73” x 100

100C | Breeders’ Cup Carlos Games de Francisco (Cuban, b. 1987) WALKING HORSE Cast fiberglass, 73” x 100

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LexArts, in partnership with Breeders’ Cup, Keeneland, and Maker’s Mark, is proud to present the “Painted Horse Trilogy,” three full-sized cast fiberglass horses featuring the works of three Kentucky artists: Carlos Gamez de Francisco, Helene Steene, and Augustin Zarate. Breeders’ Cup, Keeneland, and Maker’s Mark commissioned these works to celebrate the steadfast connection of their brands and raise funds for the local arts community.

Proceeds from the sale will benefit LexArts and the artists and arts organizations calling the Bluegrass home.

LexArts is greater Lexington’s premier cultural development, advocacy, and fundraising organization and works to promote a strong and vibrant arts community to enhance the quality of life in Lexington and central Kentucky.

Through its annual Fund for the Arts campaign, LexArts raises millions of dollars in support of local arts. In turn, LexArts underwrites the operating expenses for a variety of partner organizations, awards grants through its community arts development and professional development programs, and offers affordable exhibition and performance space for arts organizations.

As Lexington’s local arts council, LexArts also provides a wide range of programs and services designed to integrate the arts into the community’s daily life, including the LexArts Hop, the LexArts Gallery, LexArts Youth Arts Council, the LexArts Network, and more.

LexArts also operates ArtsPlace, which offers rehearsal space and office space for nonprofit arts organizations, including Lexington Philharmonic, Lexington Ballet, Central Kentucky Youth Orchestras, and others. ArtsPlace is also home to LexArts Gallery, one of Lexington’s premier visual art galleries dedicated to showcasing works by Kentucky artists.

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101 | Franck Elim (French, 19th/20th Century)

THE CAMBRIDGESHIRE HANDICAP, 1947 Oil on canvas, 29” x 40” Signed & dated 1947 $3,000. – 5,000.

First run in 1839 and taking place on the Rowley Mile at Newmarket, the Cambridgeshire Stakes is a nine-furlong race at the end of September. The 1947 Cambridgeshire Stakes was won by Fairey Fulmar, a chestnut by Fair Trial, out of First Flight. The Lord Londonderry-bred horse also captured the Windsor Great Park Plate and Whepstead Handicap before retiring to stud in 1948.

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102 | John R. Skeaping (British, 1901–1980) MUD IN YOUR EYE Watercolor, 21” x 28” Signed & dated ’74 $2,000. – 3,000.

Provenance: A.S. Arnold Brown

103 | Arthur Sarnoff (American, 1912–2000) OVER THE HEDGE Oil on canvas, 24” x 36” Signed, c. 1980 $3,000. – 5,000.

Provenance: James & Diane Cook Collection

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104 | Frank Nelson Ashley (American, 1920–2007)

LONGCHAMP PADDOCK, GRAND PRIX DE PARIS Oil on canvas, 50” x 70” Signed $18,000. – 22,000.

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105 | Valeriy Gridnev

CROWD PLEASER Pastel, 27” x 45” Signed $9,000. – 12,000.

(Russian, b. 1956)

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106 | Valeriy Gridnev (Russian, b. 1956) HEADING TO THE TRACK Oil on canvas, 37” x 56” Signed $15,000. – 20,000.

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107 | Valeriy Gridnev (Russian, b. 1956) THEY’RE AT THE GATE Oil on canvas, 24” x 36” Signed $9,000. – 12,000.

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108 | Valeriy Gridnev (Russian, b. 1956)

STUDY FOR THE ORTIZ BROTHERS Charcoal on brown paper, 25” x 20” Signed $2,000. – 3,000.

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109 | Jean-Bernard Lalanne (French, b. 1952) ROCIO Oil on canvas, 31 ½” x 47 ½” Signed $12,000. – 15,000.

The Andalusian pilgrimage of El Rocío, or the Romeria 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 through the countryside, and the Mogul way from Huelva. Each route is taken by different religious confraternities carrying their own emblem of the Virgin of El Rocío. In recent years El Rocío has brought together nearly a million visitors.

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110 | Jean-Bernard Lalanne (French, b. 1952) IN THE BACKSTRETCH Oil on canvas, 20” x 24” Signed $5,000. – 7,000.

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111 | Jean-Bernard Lalanne (French, b. 1952) HEADING TO THE FIRST TURN Oil on canvas, 20” x 28” Signed $6,000. – 9,000.

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112 | Heather St Clair Davis (British/American, 1937–1999) WINNER’S PARADE Oil on canvas, 22” x 28” Signed $4,000. – 6,000.

Provenance: Frost & Reed

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113 | Paul Maze (French, 1887–1979) ROYAL PROCESSION, ASCOT Oil on canvas, 15” x 36” Signed $10,000. – 15,000.

The royal meeting at Ascot Racecourse is steeped in tradition, dating back more than 300 years. The royal procession, one of Ascot’s most celebrated traditions, began in 1825 with King George IV, who had a great love of pageantry and pomp. The sixmile procession from Windsor Castle to the saddling enclosure at Ascot has become a crowd favorite and one of the most highly anticipated moments of the royal meeting.

Vast hordes of racegoers in their traditional Ascot attire look down the long expanse of the “new mile,” waiting to catch a

glimpse of the notorious Windsor Greys and the stately landau carriage making its way toward the grandstand. Cheers resound when the procession comes into view.

One of the more recent traditions of the royal meeting began when bookmakers made odds on the color of hat that Queen Elizabeth would wear on opening day. The queen’s hat-color bet quickly became a crowd favorite and is one of the most popular bets placed on opening day.

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114 | W. Owen Ward

(British, Contemporary) DRESSAGE TYPES (a pair) Watercolor, Gouache, 27 ½” x 41 ½” each Signed $3,000. – 5,000. (2)

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115 | John R. Skeaping (British, 1901–1980) OCTOBER MEETING Watercolor, gouache, 22” x 30” Signed $3,000. – 5,000.

Provenance: Arthur Ackermann & Sons Ltd

116 | Julie Ann Bull (British, b. 1964) BLINKERS, CALL PROVISION Oil on canvas, 24” x 18” Signed $3,000. – 5,000.

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117 | Peter Howell (British, b. 1932)

SADDLING AREA, KEENELAND, BREEDERS’ CUP 2020 Oil on canvas, 30” x 24” Signed, dated & inscribed en verso $15,000. – 20,000.

This work appears on the Fall 2020 Keeneland Magazine cover. A copy of that issue will accompany the lot.

The SADDLING AREA, KEENELAND and EARLY MORNING ON THE TRACK were selected as the official artwork for the 2020 Breeders’ Cup World Championships. The two original Howell paintings are featured on the Breeders’ Cup Friday and Saturday program covers and tickets. When discussing the works, Drew Fleming, Breeders’ Cup president and CEO, said: “We are delighted to

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be featuring two great works from Peter Howell at the 2020 Breeders’ Cup World Championships. With an illustrious body of work and a deep connection to the world of horse racing, Peter was the perfect candidate to bring the spirit of Breeders’ Cup at Keeneland to life and celebrate the beauty and pageantry of our event.”

118 | Peter Howell (British, b. 1932)

EARLY MORNING ON THE TRACK, KEENELAND, BREEDERS’ CUP 2020 Oil on canvas, 20” x 24” Signed & inscribed en verso $10,000. – 15,000.

The two paintings represent a union of some of the icons of Thoroughbred racing. “As a lifelong lover of horse racing, I am honored to collaborate with the Breeders’ Cup, one of the world’s most distinguished Thoroughbred racing events,” said Howell. “I was deeply inspired by the vibrant energy of the

Breeders’ Cup and the classic elegance of Keeneland, and I hope I was able to capture and share the essence of this year’s event through my artwork.”

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119 | Peter Howell (British, b. 1932) NEWMARKET TRIPTYCH Oil on canvas, 14” x 24” each Signed $30,000. – 40,000. (set of 3)

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120 | Peter Howell (British, b. 1932)

EARLY MORNING EXERCISE, GREEN LANE Oil on canvas, 40” x 50” Signed $40,000. – 60,000.

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121 | Peter Howell (British, b. 1932) WINTER EXERCISE Oil on canvas, 24” x 36” Signed $15,000. – 20,000.

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122 | Susie Whitcombe (British, b. 1957) TROTTING ON THE GREY, WICKHAM HORSE FAIR Oil on board, 10” x 13” Signed & inscribed en verso $2,000. – 3,000.

Notable as the birthplace of William of Wykeham, the founder of Winchester College and New College, Oxford, the small village of Wickham in Hampshire has a rich history dating back to Roman times. After the Norman Conquest a church was established and the manor gifted to a loyal subject of King William. In 1269 a descendant, Roger de Scures, was granted a charter by King Henry III to hold a weekly market and thus Wickham, as it is known today, and its associated horse fair were established.

Held annually on May 20, Wickham Fair is one of two English horse fairs that can trace its roots to the 13th century. Bareback parades with ponies decorated in ribbons and regalia dominate the event attended by Romany horse traders from all over the

country. Today, modern fair rides accompany the festivities.

Romany cobs are tied up outside what used to be the local pub in anticipation for their turn on the running track, where buyers gather to view the selection and partake in the drink and merriment associated with the historic fair.

123 | Jill Soukup (American, b. 1969) WARM UP Oil on board, 9” x 16” Signed & inscribed en verso $2,000. – 3,000.

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124 | Larry Wheeler (American, b. 1942) OUTRACED THE RAIN Oil on board, 9” x 18” Signed & inscribed en verso $2,000. – 3,000.

125 | Brian Whiteside (British, b. 1934) IN THE SADDLING PADDOCKS Oil on board, 11” x 16” Signed & dated 1980 $1,000. – 1,500.

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126 | Larry Wheeler (American, b. 1942) A FALL STROLL Oil on board, 18” x 24” Signed $4,000. – 6,000.

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127 | Hubert de Watrigant (French, b. 1954) JOCKEY STUDY Oil/Oil wash & pastel on paper, 20” x 16” Signed $2,000. – 3,000.

128 | Hubert de Watrigant (French, b. 1954) LE DISTANCE Watercolor, gouache & pastel, 17” x 22” Signed $3,000. – 5,000.

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129 | Julie Ann Bull (British, b. 1964) PASTURES GREEN Oil on canvas, 24” x 36” Signed $4,000. – 6,000.

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130 | Jamie Corum (American, b. 1973)

LE PRINTEMPS Oil on canvas wrapped board, 36” x 24” Signed, dated & inscribed en verso $4,000. – 6,000.

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131 | Jamie Corum (American, b. 1973)

STUDY OF A BAY STALLION Oil on canvas wrapped board, 18” x 24” Signed, dated & inscribed en verso $3,000. – 5,000.

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132 | Diana Tremaine (American, b. 1964) BATH Oil on canvas, 60” x 48” Signed, inscribed en verso $10,000. – 15,000.

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133 | Diana Tremaine (American, b. 1964) PARADE Oil on canvas, 40” x 50” Signed & inscribed en verso $8,000. – 10,000.

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134 | Jill Soukup (American, b. 1969) JUMPER Oil on board, 30” x 40” Signed, inscribed & dated en verso $10,000. – 12,000.

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135 | Heather St Clair Davis (British/American, 1937–1999) SADDLING PADDOCK Oil on canvas, 24” x 30” Signed $5,000. – 7,000.

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136 | George Claxton (American, 1947–1995) TO THE TRACK, KEENELAND Oil on canvas, 30” x 40” Signed & dated ’93 $4,500. – 6,500.

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137 | George Claxton (American, 1947–1995)

THE WALKING RING AT BELMONT PARK Oil on canvas, 24” x 36” Signed & dated ’79 $5,000. – 7,000.

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138 | Quang Ho (Vietnamese/American, b. 1963)

AFTER A WIN, JOCKEY AND OUTRIDER Oil on board, 36” x 34” Signed $15,000. – 20,000.

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139 | Quang Ho (Vietnamese/American, b. 1963) KENTUCKY PASTURES Oil on canvas, 24” x 24” Signed, inscribed & dated 2020 en verso $9,000. – 12,000.

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140 | Jeaneen Barnhart (American, b. 1967) CHARGING IN RED Charcoal & pastel, 46” x 36” Signed $5,000. – 7,000.

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141 | Ashley Collins (American, b. 1967)

SOLDADO Mixed media, oil and acrylic, LED Neon, wire mesh, book covers, matte varnish 84” x 60” Signed $60,000. – 90,000.

One of Collins “Furious Angel” grouping of works that sold out their first three shows, Soldado literally means “Soldier.”

Yet for Collins, the definition is expanded… for each of us, if we truly want to accomplish something in life, must carry with us the devotion and dedication of a Soldier. A mother’s hourly watch over a child. A stranger setting aside their plans to help someone less fortunate. A father who gives up self to be there. A business owner who survives every setback, every battle, to steer through to beautiful success. A musician who’s countless hours and years of struggle and practice, finally bring forth the most

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magical symphony. A foal, whose years of nurturing, returns the momentous cup.

Each of us have within us, a Soldier. A Fighter. A Champion who will rise time and time again.

Our wings are not frail, but made of metal and light, of strength and determination.

A power of force, and of love, that cannot be denied.

142 | Jeaneen Barnhart (American, b. 1967) HEATED DRIVE FOR THE LINE Charcoal & Pastel, 24” x 60” Signed $3,000. – 5,000.

143 | Tyler Robertson (American, b. 1981) GHOST RIDER Oil on canvas, 36” x 48” Signed $4,000. – 6,000.

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144 | Booth Malone (American, b. 1950)

BEFORE THE AIKEN STEEPLECHASE Oil on canvas, 35” x 42” Signed $6,000. – 9,000.

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145 | Peter Smith (British, b. 1949) SUNRISE OUTRIDERS Oil on canvas, 22” x 30” Signed $6,000. – 9,000.

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146 | LeRoy Neiman (American, 1921–2012) SATCHMO Oil on canvas, 57” x 45” Signed, dated ’61 & inscribed ‘Satch’ $100,000. – 150,000.

Often crossing paths with Louis Armstrong, Neiman sketched and painted the famous jazz musician countless times from Chicago to New York to Paris. Portraying Satchmo singing or blowing and often using his telltale white handkerchief as an accent, Neiman’s portraits are a testament to his respect and admiration for the influential musical figure. That same respect and admiration was mutually felt

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by Armstrong, who while attending Neiman’s one-man show at Hammer Gallery in 1963, paid the artist a compliment Neiman would forever cherish after purchasing a painting of Gerry Mulligan. “Pops, you’ve painted a few…” Neiman last sketched Armstrong with Duke Ellington, the other giant of jazz. Neiman later recounted his last sitting with Armstrong, remembering him as tired, spent, and beautiful.

147 | LeRoy Neiman (American, 1921–2012)

NATIONAL HORSE SHOW, OPENING NIGHT Gouache, 20” x 26” Signed $30,000. – 50,000.

Provenance: Playboy Enterprises Exhibited: Museum of Fine Arts, Springfield, MA. Illustrated: Playboy, November, 1967.

An issue of the November, 1967 Playboy magazine will accompany the lot.

Neiman portrays Madison Square Garden on the opening night of the National Horse Show, the grandest event on the prestigious indoor horse show circuit. Featuring an international jumping competition, the show draws a who’s who of high

society bedecked in gowns and tails, who turn out to experience the suspense that arises as horse and rider tackle the course. The setting allowed the artist to express his longtime interest in high fashion complemented by the brilliant range of colors represented in the flags of the competing nations. All the color — the black curtain cast across the crowd, courtesy of the gentlemen’s suits, dotted with color and fine detail, all juxtaposed against the brilliant red clay of the footing and the jumps interspersed throughout — accentuates the pageantry of the event. The black curtain cast across the crowd, courtesy of the outfitting of the gentleman, dotted with color and fine detail, juxtaposed against the brilliant red clay of the course with jumps dispersed throughout accentuates the pageantry of the event.

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148 | LeRoy Neiman (American, 1921–2012) FRONT RUNNERS Oil on board, 30” x 24” Signed & dated ’94 $75,000. – 100,000.

Illustrated: Louisville Courier Journal, April 9, 1995, p. 94, Exhibited: A Racing Retrospective: 1962–1994, The Kentucky Derby Museum, April 10 – June 3, 1995.

In 1995 the Kentucky Derby Museum granted LeRoy Neiman a retrospective exhibition spanning 30 years. The same year he was awarded the prestigious commission for two paintings as the official artist of the 123rd Kentucky Derby. “Front Runners” was completed in 1994, specifically for the exhibition A Racing Retrospective: 1962–1994.

Described in an article published in Louisville’s Courier Journal the day before the opening as vintage Neiman, “Front Runners” is “full of effect, high-key color, and a sense of motion. One of the famous Twin Spires of Churchill Downs peeks from behind three Thoroughbreds and jockeys

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charging toward the finish.” In an interview conducted for Wildlife Art Journal, David Wagner, executive director of the Derby Museum at the time, spoke in depth about the prolific artist’s relationship with the city.

“LeRoy knew Louisville well, not only from a long-standing relationship to Thoroughbred horse racing, but also with (boxer Muhammad) Ali, who is from Louisville, and who was a perennial subject of LeRoy’s over the years.” The retrospective was a part of a year-long celebration of the museum’s 10th anniversary and featured portraits of notable horses, jockeys, and trainers.

149 | LeRoy Neiman (American, 1921–2012)

‘GOING OUT’ & ‘RETURNING’ (a pair) Oil on board, 40” x 12” each Signed & dated ’57 $75,000. – 100,000. (2) Provenance: Frank J. Oehlschlaeger

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150 | LeRoy Neiman (American, 1921–2012) ASCOT JOCKEY Oil on board, 28” x 20” Signed, dated ’65, inscribed en verso $40,000. – 60,000.

Provenance: Hammer Galleries, New York Neiman first experienced the pomp and circumstance of Royal Ascot while completing a six- month European tour for his running feature in Playboy magazine, “Man at His Leisure” in 1960. At England’s greatest meet of the year, fashion and racing come together, and decorum above all things comes first. Top hats, always removed in the presence of Her Majesty, and cutaway coats complement the liberal seasoning of coiffures, hats, frills, and other extravagant regalia. The “My Fair Lady” setting often appealed to, inspired, and complemented Neiman’s artistic reverence for racing. The artist could often be seen at the auspicious event year after year sketching in the paddock, dressed within the guidelines of appropriate pageantry, and recording the integrity of English racing for posterity in his catalytic style.

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151 | Susan Crawford (British, b. 1941) SECRETARIAT Oil on canvas, 28” x 36” Signed, inscribed & dated 2020 $20,000. – 30,000.

Depicted with Clay Arnold, a longtime groom at Claiborne Farm.

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152 | Sir Alfred J. Munnings (British, 1878–1959) JUNE BOUQUET Watercolor & tempera, 15” x 12” Signed $15,000. – 20,000.

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Provenance: The Taylor Gallery Before his prolific career was established Munnings completed an apprenticeship while also seeking exposure for his work. He apprenticed with the Page brothers and obtained his formal education at the Norwich Art School, while also producing commercial poster designs for local businesses. Eager to take the next step in his artistic career, Munnings set about creating conventional works appealing to a vast array of buyers, until just before his 20th birthday when he suffered what could have been a grave setback for a less extraordinary artist.

After losing sight in his right eye during an accident, Munnings was forced to pause in promoting his work and allocate a heavy portion of funds to his recovery. The downtrodden Munnings, keen to relaunch his career, once again began to construct largescale covers and advertisements for Norwich’s local businesses, including Caley’s Chocolates. The ready work allowed the artist

to restore his bank account and return to the task that lay ahead: establishing his reputation. Many of the designs, in vogue at the time, depicted the archetype for a young lady of society — subtle beauty, regency dress, and a garden setting.

Munnings employed as his model his cousin and close friend, who was staying with him at the time. In his memoir, An Artist’s Life, he fondly recalls her, “The cousin had beautiful arms, and black hair, and was a flirt, and her name was May.” (A. J. Munnings, An Artist’s Life, Museum Press, page 103) The present piece, June Bouquet, completed between 1899 and 1901, likely depicts May. Other works of the same nature were probably completed in preparation for the finished poster designs. This work in particular, a fine example of Munnings’ insightful manner of producing portraits, can be interpreted with the intention of being given as a gift to the sitter.

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153 | Sir Alfred J. Munnings (British, 1878–1959) AFTER A DOUBLE SHERRY Pen & Ink on paper 9” x 5 ½”, 8vo.

Signed $2,000. – 3,000.

This drawing comes from a copy of the Sir Alfred J. Munnings biography The Finish, inscribed to British literary critic Ivor Brown.

Brown, like Munnings, was an open critic of modernism, making quite a show of his unwillingness to follow the fashionable literary and cultural trends of the time. Some of his best writings were beautifully crafted and often hilarious polemics on modern poetry, music, and manners. He was particularly scathing when addressing T.S. Eliot and Ezra Pound.

“With much pleasure, and knowing he won’t read it, I inscribe this copy to Ivor Brown, (See page 91 of this book) who was not allowed by his editor to review Volume 2 — The Second Burst — in the hope that he might be given the job this time. Anyhow, I trust that he will find near the end a reference to that review by one gosling. (See page 305)” Signed Alfred Munnings, the ethenaeum. October 23, 1952 Munnings underlined the following passage on page 91: “Ivor Brown, with his English name — a sane Englishman if ever there was one.”

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154 | Sir Alfred J. Munnings (British, 1878–1959)

SKETCH OF THE SADDLING PADDOCK, CHELTENHAM Pencil, 4” x 6” Together with the original invoice from Frost and Reed $900. – 1,200.

Provenance: Frost & Reed

155 | Sir Alfred J. Munnings (British, 1878–1959) EPSOM SUMMER MEETING, OAKS DAY Pencil, 6 ½” x 7” Signed, inscribed & dated May 27, ‘55 $3,000. – 5,000.

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156 | Sir Alfred J. Munnings (British, 1878–1959) PIGS AMONGST THE VIOLETS Charcoal, 9” x 11” Signed & Inscribed ‘Pigs Amongst the Violets’ $1,000. – 1,500.

157 | Gabriel Spat (American, 1890–1967)

COURSES AU BOIS DE BOULOGNE (a pair) Watercolor/Gouache on racing program, 6” x 17”, 8” x 15” Signed $2,000. – 3,000. (2)

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158 | Sir Alfred J. Munnings (British, 1878–1959) PICTURES OF HORSES AND ENGLISH LIFE Large 4to, 14” tall Vellum, gilt & marbled end papers $9,000. – 12,000.

A signed, limited edition (number 170 of 250) of Munnings Pictures of Horses and English Life, complete with an appreciation by Lionel Lindsay. In 1927, London publisher Eyre and Spotttiswood Limited rolled out a first limited edition copy of the Munnings classic in a printrun of 250. The esteemed Munnings signed the 250 copies himself and they became a highly sought after addition to any superb Munnings collection.

Using vellum binding, gilt lettering & boarders, and marbled end papers, the book was a reflection of Munnings popularity at the height of his career. Lionel Lindsay, an Australian art critic and close friend of the artist championed its publication, “A glance, I think, at the illustrations in this book will reveal an exceptional man – one who in his treatment of the subject-matter he has chosen has proven himself its master.”

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159 | Andre Pater (Polish/American, b. 1953) CARAVAN TO APPLEBY FAIR Oil on canvas, 20” x 16” Signed $30,000. – 50,000.

The Appleby Horse Fair is an annual gathering of Gypsies and Travellers in the town of Appleby in Westmoreland, England.

Traditionally held in early June, the largest Gypsy fair in Europe draws British, Irish, and Scottish Romanichal travelers in traditional caravans and campers to the market town .

Originating from a charter issued by James II in 1685, the fair traces its roots to two separate events: the medieval borough fair held at Whitsuntide until 1885 and the New Fair, an unrecognized event held on Gallows Hill beginning in 1775. A means for sheep and cattle drovers as well as horse traders to sell their stock, by the 1900s the fair had evolved into a major event.

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The fair is not organized by an individual group or specific entity, but a “shera” or head Romani is appointed to oversee the technical aspects and to serve as a liaison with local authority. Activities take place predominantly on Fair Hill and Market Field, while horse trading occurs on what is known as the flashing lane. Horses are shown by trotting up and down at speed. A large majority of the horses are stationed in the town center beside the River Eden, where they are ridden directly into the river to be washed and often tied up across from the local pub. Apart from the horses one can find fortune-tellers, palm readers, and assorted vendors of merchandise traditional to the traveller groups.

160 | Andre Pater (Polish/American, b. 1953) THE EMPTY BOWL Pastel, 20” x 24” Signed & dated ’07 $25,000. – 30,000.

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161 | Andre Pater (Polish/American, b. 1953) FOOLISH PLEASURE Pastel, 18” x 19” Signed & inscribed $9,000. – 12,000.

The Eclipse Award winner for U.S. champion 2-year-old male in 1974, Foolish Pleasure came back the next year to win the Kentucky Derby for Hall of Fame trainer LeRoy Jolley. “Until an athlete does something, you don’t know if he can do it,” Jolley said in Sports Illustrated’s report on the Derby. “But now it seems that whatever the others can do, Foolish Pleasure can do it just a little bit better.”

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162 | Andre Pater (Polish/American, b. 1953) STUDY OF A GRIZZLY BEAR Charcoal, 11” x 15” Signed $3,000. – 5,000.

163 | Andre Pater (Polish/American, b. 1953) STUDY OF A JAGUAR Charcoal, 13” x 15” Signed with monogram $3,000. – 5,000.

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164 | Richard Firth (British, b. 1954)

VIGILANT AND VALKYRIE II, THE AMERICA CUP 1893 Oil on canvas, 14” x 21” Signed $12,000. – 18,000.

In the spring of 1889, the Earl of Dunraven’s challenge was accepted by the New York Yacht Club, rules were revised, and a date for the America’s Cup was set for the fall of 1893. Both parties soon set about designing vessels that adapted to the new allowances. The Earl of Dunraven comissioned George L. Watson of Glasgow to design Valkyrie II, and the yachtsmen of New York and Boston chose Nathanael Green Herreshoff of the New York Syndicate as their champion and skipper of Vigilant.

Providing a sharp beginning, gunfire signaled the start of the race. The first race left both vessels underutilized due to lack of wind, but the second was blessed by a freshening wind. Vigilant emerged victorious from both races. The third challenge was declared void due to lack of wind. The date of the final, decisive race was set for Friday, Oct. 13.

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The final race would be the most challenging and, as the date ordained, was fated to meet with bad luck. A high wind blowing in from the east produced a turbulent sea, and it wasn’t long before Valkyrie II sustained damage to her pulley block. Unaware of the damage to the rival ship, Vigilant followed her around the final mark. Even though Valkyrie had undertaken considerable damage, she was still two minutes ahead when further calamity struck. While being hoisted, Valkyrie’s spinnaker split down the middle. Vigilant seized the advantage, winning the America’s Cup by 40 seconds. The event became the most memorable race of the decade.

165 | Richard Firth (British, b. 1954)

VIGILANT IN BRITISH WATERS OFF COWES WITH BRITANNIA AND SATANITA 1894 Oil on canvas, 14” x 21” Signed $12,000. – 18,000.

The year 1893 was a vintage year of yacht building in Great Britain. Forming the Big Five were Santanita, Britannia, Calluna, Iverna, and Valkyrie II, which met in numerous cup races that summer. By the end of the yachting season that year, the stage was set for 1894. Vigilant, a magnificent cutter and an immensely powerful boat, was scheduled to become the first America’s Cup defender to sail in Europe for the British yachting season, meeting with three of the aforementioned vessels at Hunter’s Quay on the Firth of Clyde, Scotland.

Britannia, arguably history’s most famous cutting ship, was commissioned by Prince Albert after an encounter with Kaiser Wilhelm II’s cutter, Thistle. Designed by George Lennox Watson and built alongside Valkyrie II, Brittania won 231 races and took 129 flags. She passed through multiple owners until King George V bought and refitted her. In accordance to George V’s

wishes, once the king had passed, she was stripped of her spars and fittings then scuttled. The scuttling of Britannia marked the end of an era in big yacht racing in Europe, as the more affordable international-rule 12-meter class became preferable.

Santanita, designed by Joseph Manston Super for A. D. Clarke, was destined to become the most talked-about cutter of 1894.

At the beginning of the Glasgow’s Mudhook Regatta, she struck Valkyrie II. While all the affluent passengers aboard Valkyrie were rescued, 15 hands were sent overboard and one member of the crew later succumbed to internal injuries sustained during the collision. With the previously scheduled meet at Hunter’s Quay now rendered impossible by the demise of Valkyrie II, the three surviving ships would go head-to-head in British waters on the Solent off the Isle of Wight instead.

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166 | Andrew Wyeth (American, 1917–2009) OVER THE HILL Watercolor, 21 ⅝” x 29 ¾” Signed $80,000. – 100,000.

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Provenance: Andrew and Betsy Wyeth Collection, 1973 Private Collection, 2006 This painting will be included in the forthcoming catalog raisonné of Andrew Wyeth’s work.

Executed in 1973, this work was part of the Wyeths’ personal collection for 33 years until joining a private collection in 2006.

A study for Grey Ghost, this painting was done in Dilworthtown, Pennsylvania, right next to Chadds Ford.

Academy of the Fine Arts, “When he saw Winslow Homer’s watercolors, at about age sixteen, they helped him to move in a direction he had already discovered, toward a bold, rapid impression of light and tone.”

“I never wanted to copy the work of other people, but I wanted to find the truth in nature that they were expressing — and then find my own truth.” Wyeth said, “So Homer led me on to something else. I got a direction that was authentic to me and what I felt.” — Andrew Wyeth

The only art teacher Wyeth had was his famous father, N. C., but as noted in the catalog for a 1966 exhibition at the Pennsylvania

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167 | T. Allen Lawson (American, b. 1963) NORTH BY THE SETTING SUN Oil on panel, 18” x 15” $8,000. – 16,000.

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168 | Jo Taylor (British, b. 1969) RAPTOR Mixed media, 34” x 59” Signed $8,000. – 10,000.

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169 | Jo Taylor (British, b. 1969) FULL STRETCH Mixed media, 34” x 59” Signed $8,000. – 10,000.

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170 | Jo Taylor (British, b. 1969) IN COME THE CALVARY Mixed media, 34” x 54” Signed $8,000. – 10,000.

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171 | Ellen Skidmore (American, b. 1963) SANTA ANITA Oil on canvas, 32” x 40” Signed, inscribed & dated en verso $7,000. – 9,000.

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172 | Reza Derakshani (Iranian, b. 1952) AFTER RAIN HUNT Oil on canvas, 32” x 40” Signed, inscribed & dated 2017 en verso $30,000. – 40,000.

An immigrant and a wanderer, Reza Derakshani repurposes the major themes of Persian poetry and miniatures — history and myths, mysticism, romantic subjects, elegy and panegyric, truth and wisdom — into his work to connect Eastern culture to Western and ultimately give his viewer an overall idea of the experience of the migrant. Using lover kings and queens, the rose and the nightingale, the hunt and the empty pages provided by abstract color fields, the artist addresses these same issues but in the context of our time. In his paintings, linguistic barriers disappear, and the world of Iranian miniatures converses with the global idiom of painting.

Viewed from the side as in traditional Persian book illustrations and with historical connotations, Derakshani’s works point to the essential importance of figure depictions as carriers of meaning.

Layered with musical references that speak to the artist’s other

passion, composing, his pictures of the hunt translate the musical element of tema con variazioni into abstract painting.

The theme with variations exposes the central theme of a melody by successively adding variants in its tonality and melodic structures. By moving away from, and sometimes even distorting the main theme in its original structure, the listener arrives at new conclusions about the original melody. Abstract expressionism provides a vehicle through which Derakshani could translate this musical element into his art. He was particularly inspired by the movement during the 16 years he spent in New York after fleeing his native Iran due to the fall of the Shah in 1979. Incorporating the practices of the abstract expressionists into his art allowed the artist to reconcile East with West and address the feelings of insecurity, isolation, and disassociation he felt as a migrant forced from his homeland.

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173 | Serhiy Hai (Ukranian, b. 1959) CIRCUS HORSE Oil on canvas, 33 ½” x 33 ½” Signed $6,000. – 9,000.

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174 | Thomas Frontini (Canadian, b. 1967) ON BY A STRING Oil on wood, 48” x 66” Signed, inscribed en verso $10,000. – 15,000.

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175 | Abel Kestevan (British, b. 1969)

BRINGING IN THE RUNNERS, EPSOM 2011 Pastel, 15” x 16” Signed, inscribed & dated 2011 $1,000. – 1,500.

176 | Abel Kestevan (British, b. 1969) STABLE MATES Pastel, 25” x 20” Signed $1,200. – 1,700.

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177 | Keith Joubert (South African, 1948–2013) LINYANTI Oil on canvas, 36” x 48” Inscribed en verso $15,000. – 20,000.

In Northern Botswana the Linyanti River forms a natural border between Namibia and Botswana. The river follows a fault line representing the extreme southwestern extension of East Africa’s Great Rift Valley. Where the northwestern corner of Chobe National Park meets the Linyanti River, conditions like those of the Okavango Delta form the Linyanti Swamp. It was in this area that artist Keith Joubert pitched a tent for his studio and began co-existing with and painting the surrounding wildlife. The area, notable for having a great diversity of game, is most famous for its herds of elephants migrating to the banks of the Linyanti River for the winter months and then back inland when the rains

arrive. This naturally occurring pattern of movement is exactly what inspires Joubert’s provocative work, which demonstrates an advanced interest in not only Africa’s larger animals but the subterranean interrelationships that are as essential as the animals themselves. Indigenous human cultures descending from the late Stone Age still co-existing with this natural environment also have a strong impact upon the artist’s work, seen especially in this piece. The Tswana people and their belief that everything is part of the same great web of nature and that all of it shares an equal right to exist, inspires the strong sense of balance perceived in Joubert’s work.

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178 | Peter Brooke (British, b. 1965)

TIGER Bronze, 13 ½” x 35” Signed ‘Brooke’, dated 1998, edition 5/9 $10,000. – 15,000.

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179 | Diana Tremaine (American, b. 1964) PELICANS I Oil on canvas, 40” x 40” Signed, inscribed & dated 2020 en verso $8,000. – 10,000.

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180 | Kelly Brewer (American, b. 1970) COOLING OFF Oil on canvas, 30” x 40” Signed $8,000. – 10,000.

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181 | Henry Lawrence Faulkner (American, 1924–1981)

CLAY HOUSE Oil on board, 24 ½” x 30 ½” Signed, dated ’71 en verso with sticker reading ‘The Henry Clay House’ $20,000. – 30,000.

Provenance: The Maxwell Street Art Shop, Lexington KY

Depicting the home of longtime Lexington car dealer Charlie Sturgill in The Colony neighborhood, Faulkner painted this work, anticipating an easy sell. In an attempt to appeal to Sturgill’s antique-collector side, Faulkner added a clock to the scene.

When Sturgill did not purchase the painting, the enterprising Faulkner scrawled “Clay House” on the backing board and sent the work to Cincinnati in hopes the locals there would recognize Clay as an important Kentucky name and be none the wiser as to

which house it depicted. To increase the salability of the piece, a dealer added a tag noting the work as “Ashland, the Henry Clay Estate,” betting the people of Cincinnati would not know what the real home of the famous statesman looked like.

Faulkner’s inscription and the dealer’s tag remain on the back of the work.

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182 | Henry Lawrence Faulkner (American, 1924–1981) PEACE MAKERS Oil on board, 16” x 20” Signed & dated ’68, inscribed en verso $15,000. – 20,000.

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183 | Henry Lawrence Faulkner (American, 1924–1981) HOLIDAY AVENUE IN BLUE Oil on board, 11” x 14” Signed, inscribed en verso $12,000. – 15,000.

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184 | Henry Lawrence Faulkner (American, 1924–1981)

FLOWERS IN A BLUE & WHITE VASE Oil on board, 13” x 8”, including the frame, the work measures 20” x 15”.

Signed $8,000. – 10,000.

In the original frame, which was also painted by Faulkner.

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185 | Henry Lawrence Faulkner (American, 1924–1981) CITYSCAPE, SICILY Oil on board, 24” x 20” $2,000. – 3,000.

Provenance: Purchased from the Estate Sale of Henry Lawrence Faulkner While unfinished, this work offers a glimpse into how Faulkner worked at painting. It was still in Faulkner’s possession at the time of his death and was sold at his estate sale, conducted by Thompson & Riley of Lexington, Kentucky.

186 | Harvey Joiner (American, 1852–1932) CHEROKEE PARK Oil on board, 10” x 20” Signed $1,500. – 2,500.

Exhibited: Kentucky Governor’s Mansion, Frankfort, KY. May - October, 2012.

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187 | Harlan Hubbard (American, 1900–1988)

THE SARATOGA Oil on wood, 24” x 24” Signed, dated 1986. & inscribed en verso ‘The Saratoga, Milton, KY’ $1,500. – 2,500.

In the original frame pieced together by Hubbard.

As noted on the back of the board, this work was executed in Milton, Kentucky, near Hubbard’s home.

188 | Harlan Hubbard (American, 1900–1988) HARLAN’S BELL Oil on board, 13” x 20” Signed $1,000. – 2,000.

Eschewing the life of modern society, Harlan Hubbard and his wife, Anna, made their home in Payne Hollow in Trimble County, Kentucky, on the Ohio River. On the Indiana side of the river at Lee’s Landing, Hubbard had a bell that guests could ring, and he would row across the river and bring them back to Payne Hollow. The bell is pictured on the far side of the river in this work.

In the original wood frame made by Hubbard.

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ARTIST

BIOGRAPHIES Armfield, George British, 1808–1893 Armfield Smith was born in Wales in 1808, the son of portrait painter William Armfield Hobday. Under his father’s tutelage, the artist began his career at age 16 with the exhibition of an oil painting of his beloved Newfoundland dog, Lion, at the Royal Academy. He masterfully captured the earthy tones of fur and grass in broad, lively brush strokes. Armfield professed a great love of animals — and his portraits of horses and hounds are in high demand among British sporting art collectors. He died in Clapham, England in August 1893.

Armour, George Denholm British, 1864–1949 Born in Scotland, Armour grew up in Liverpool before graduating from the University of St. Andrews and the Edinburgh College of Art. After college he moved to Morocco to buy horses and later ran a stud farm in Wheathampstead, England. He later went to the Spanish Riding School in Austria to study military equitation before World War I when he commanded a remount depot in Greece. He is best known as an illustrator for Punch, Country Life, and The Graphic.

Arnup, Sally British, 1930–2015 Arnup is both nationally and internationally renowned for her animal sculpture.

She was commissioned by the Duke of Edinburgh to sculpt his Fell Pony for his 80th birthday, and the Duke said of her work, “It is no mean achievement to be able to convey the character, and characteristics, of individual animals in bronze.

Sally Arnup has a wealth of experience in the sculpture of animals, and she also has the talent to capture their personality. Her specialty may not conform to the contemporary fashion for abstract art, but her style is nonetheless unique and timeless.”

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

Barnhart, Jeaneen American, born 1967 Barnhart’s progression to art was a natural one. With professional musicians, songwriters, and a comic book illustrator as grandparents and parents devoted to all aspects of artistic education, Barnhart and her twin sister, Doreen, started painting at an early age. With works primarily in charcoal and pastel, Barnhart has been commissioned to produce Kentucky Derby Festival posters, a PGA

Golf Experience poster, and special artwork for the Woodford Reserve Bourbon Kentucky Derby bottle.

Beer, John British, 1860–1930 Little is known about the life of Beer, not to be confused with John Axel-Richard Beer (1853–1906). He spent most of his life working in London, at one time using the studio formerly used by A. C. Havell over Fores Gallery. For a short period he is recorded as living on Goldsmith Street, Nottingham. Beer worked in oil, watercolor, and gouache. Flat racing and point-to-point racing were his main subjects. His other key works include a set of eight pictures of The Epsom Derby. He regularly painted racehorse portraits in oils and was one of several artists employed by racecourses to produce spontaneous renderings of race finishes. Beer’s drawings were hung at the racecourse so that late arrivals to the racetrack could see who had won the earlier races.

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.

Biddulph, Sir Michael Anthony Shrapnel British, 1823–1904 Biddulph was a career solider in the British army, serving with the Royal Artillery in the Crimean and Second Anglo-Afghan wars. He was given command of the Rawalpindi district in 1880 and later became president of the ordnance committee. Biddulph was awarded the honor of Gentleman Usher of the Black Rod by Parliament after his retirement. Additionally, he took up painting, working mostly in watercolor to portray British wildlife and scenes he visited throughout his military career.

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

Binks, Reuben Ward British, 1880–1950 Binks was born into an agricultural family in the English town of Bolton, Lancashire, and from an early age showed a great aptitude as an artist. He pursued a formal education in the arts under George Perkins. While little is known about the early

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development of his work, he developed a reputation as a dog portraitist. His love of dogs and skill in portraying various breeds brought him into close contact with socially prominent dog fanciers such as Lorna the Countess of Howe, whose associations with the Royal Family brought Binks into contact with the highest echelons of British society.

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.

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.

Brewer, Melinda Canadian, Contemporary Brewer began her professional career after graduating from Concordia University with a fine arts degree in 1982. Working primarily in watercolor, she concentrated exclusively on wildlife. One of her favorite subjects has always been foxes and hounds. Now, in the tradition of country-life pursuits, she has begun building a reputation as an artist in the sporting genre. Her work has been featured in many exhibitions throughout North America with the World Wildlife Fund and the Canadian Nature Federation.

Bright, Clayton American, born 1946 Born in Philadelphia in 1946, Bright enlisted in the army upon graduating from a New England boarding school. Completing a tour in Vietnam, Bright was a paratrooper in a long-range reconnaissance team. Following his discharge, he found work in Australia, then hitchhiked through the Far East, Middle East, and Europe. Upon returning to Philadelphia the artist worked at the stock exchange until a chance encounter with a Jersey cow launched his career as a sculptor.

Bright now works outside of his studio in the countryside west of Philadelphia.

Bristow, Edmund British, 1787–1876 The son of a heraldic painter, Bristow lived in Eton and Windsor, where he was a court painter for the Duke of Clarence, later King William IV. Over his lifetime he exhibited several times at the Royal Academy, British Institution, and Society

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of British Artists. Members of the royal family patronized him, and Prince Albert acquired one of his works for the Royal Collection Trust.

Brooke, Peter British, born 1965 Born and raised in the harbor town of Scarborough in North Yorkshire, Brooke earned his bachelor’s degree in fine arts from Manchester Polytechnic, then moved south to London to pursue a career as a sculptor and designer for Jim Henson’s Creature Shop. While serving as creative supervisor at the shop he completed work for films such as Where the Wild Things Are, Stuart Little 2, and Dr. Doolittle. After moving to the United States, he began to exhibit his bronze sculptures of animals. Citing Rodin, Rembrandt, Bugatti, and Giacometti as influences, he has gained international notoriety because of his convincing character portrayals.

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

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

Brown, Paul Desmond American, 1893-1958 Brown was perhaps the most prolific American illustrator of equestrian sports and country life. He wrote and illustrated 32 books in his career while illustrating approximately 100 more for other authors. His work also appeared in many periodicals, including Better Homes and Gardens, while he did hundreds of drawings for Brooks Brothers for advertising.

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.

Claxton, George American, 1947–1995 Born in 1947 in Nashua, New Hampshire, Claxton graduated summa cum laude in art from Kent State University in 1973. After arriving in Lexington, Kentucky, in 1976, Claxton soon established himself as one of Lexington’s most versatile artists, equally adept at sculpting and painting. Claxton’s work

was well received at several exhibitions from New York to California. In 1978 he had a one-man show at the Headley-Whitney Museum in Lexington. That same year, Claxton received the commission from Equestrian Events Inc. for the painting commemorating the 1978 World Three-Day Championships held at the Kentucky Horse Park. His works hang in many private and corporate collections throughout the United States and Europe.

Cooper, Alfred Egerton British, 1883–1974 Best known for his portraits of European royalty and other public figures, Cooper was also a formidable painter of landscapes, coastal views, and horse racing scenes. Born in 1883, he received his formal art education first at Bliston School of Art, then subsequently at London’s Royal College of Art. First exhibiting at the Royal Academy at the age of 18, Cooper also worked as an assistant to John Singer Sargent. At the outbreak of World War I, Cooper served in the 28th County of London Volunteer Regiment as an artist. At the end of the war, he was appointed the official artist of the Royal Air Force. He became an expert in large-scale aerial camouflage and painting landscapes from the air. His work can be found in the permanent collections of the Imperial War Museum in London and the National Portrait Gallery.

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

Crawford, Susan British, born 1941 Crawford was born in Scotland in 1941 and brought up on a farm and racing stable. She studied classical drawing in Florence, Italy, for two years and learned to paint by practice. Her commissions include 23 Epsom Derby winners and five members of the Royal Family, including Queen Elizabeth II, who has eight of her paintings in her private collection. Crawford now lives in the Scottish borders and works full time in her studio there.

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

Derakshani, Reza Iranian, born 1952 Derakshani is a painter, poet, musician, and performance artist. He completed his formal artistic education at the University of Tehran, followed by the Pasadena School of Art in California. He returned to teach at the University of Tehran until the Islamic Revolution in 1979, when he fled his native country for New York City. While living in New York, Derakshani became engrossed by Abstract Expressionism and soon became associated with the Neo Expressionists of the 1980s. Running in the same artistic circles as Cy Twombly and Francesco Clemente, Derakshani’s style blends abstract and figurative elements from both Eastern and Western culture. His work is included in esteemed public collections such as the British Museum, London; the Metropolitan Museum of Art, New York; and the Russian Museum, St Petersburg. 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.

Duer, Douglas American, 1887–1964 Born in Baltimore County, Maryland, Duer was a successful painter and illustrator of Western genre, and railroad subjects. After studying with William Merritt Chase and Howard Pyle, Duer worked for various newspapers, illustrated books, completed Works Progress Administration assignments throughout the Great Depression, and created artwork for greeting cards.

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Duke, Alfred British, 1863–1905 Active in the United Kingdom, Duke was a well-known painter of hounds and hunting scenes.

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.

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.

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.

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

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Frontini, Thomas Canadian, born 1967 Frontini combines surrealist techniques of painting detailed foreground images with atmospheric backgrounds. The dreamlike imagery balances contemporary objects with historical scenes. His paintings explore magic in the mundane and draw from the transformative power of the subconscious. Frontini’s education began in art restoration and conservation in Florence, Italy. He received a bachelor’s of fine arts at the Cleveland Institute of Art and a master’s of fine arts from Ohio State University. He has exhibited throughout Canada, the United States, and Hong Kong and is a part of various collections both private and public including the National Museum of Modern and Contemporary Art in Seoul and the Cleveland Clinic. Born and raised in Canada, Frontini currently lives and works in Cleveland, Ohio.

Frost, Arthur Burdett (A. B.) American, 1851–1928 The son of a Philadelphia literature professor, Frost sequenced from lithographer to graphic artist to illustrator and comics writer to well-known sporting artist.

Frost also studied in London and returned to Philadelphia to study under painters Thomas Eakins and William Merritt Chase. Along with his artist wife, Emily Louise Phillips, and their family, Frost lived in France from 1906 to 1914.

He was a prolific illustrator, and his works were widely published.

Furse, Charles Wellington British, 1868–1904 The son of C. W. Furse, archdeacon of Westminster, Charles Wellington Furse entered the Slade School of Art in 1884, winning the Slade scholarship the following year. The young artist completed his education at Julian’s atelier in Paris and then opened a portrait studio in Chelsea in the early 1890s. By the turn of the century, he had gained a reputation as a highly successful portrait painter. Particularly adept at painting horses, the hardworking Furse was frequently interrupted by spells of illness. In the same year he became an elected associate of the Royal Academy, the artist succumbed to tuberculosis.

Gamez de Francisco, Carlos Cuban-American, born 1987 Gamez de Francisco is a Cuban-American artist living and working in Prospect, Kentucky. He specializes in acrylic paint, watercolor, and photography. Gamez de Francisco’s design for the Trilogy project is inspired by the traditional garland of flowers — the rare combination of Beauty Asters, Golden Asters, Cremons, and Catteleya orchids — that is blanketed over the winners of the Breeders’ Cup World Championships. Numerous awards have been bestowed on Gamez de Francisco, including the Fine Art Photographer of the Year at the Moscow International Photo Awards; an honorable mention at the International Color Awards and Tokyo International Photo Awards; the Museum Guild Purchase Award at the Evansville Museum; the SAIC Distinguished Scholarship at the Art Institute of Chicago; the Key to the City of Louisville by Mayor Greg Fischer; and the “Dreammakers” Artist in Residence at the Muhammad Ali Center.

Gauntlett, Mary Eley British, active c. 1874–1903 Gauntlett was active/lived in the United Kingdom and is known for portrait painting.

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.

Gridnev, Valeriy Russian, born 1956 After studying at Sverdlovsk Art College, Gridnev enrolled at St. Petersburg Academy of Arts in 1983 and graduated in 1990. His graduation project, The Early Years, won The Gold Medal of the USSR Academy of Arts. He worked for four years from 1990 at the St. Petersburg Academy of Art’s postgraduate “creative” studio. Since 1999 Gridnev has lived and worked in England. He is a member of the Pastel Society, Royal Institute of Oil Painters, and Federation of British Artists and Royal Society of Portrait Painters.

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

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.

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.

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

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.

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

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detail put into the appearance of straw and grass, such that the overall painting develops a “worrying appearance.”

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

Ho, Quang Vietnamese/American, born 1963 Ho came to America with his family at age 12 in 1975. His interest in art was apparent as early as age 3, and he graduated from the Colorado Institute of Art in 1985 with the Best Portfolio Award. He continues his interest in art and education as a teacher at the Denver Art Students League. After graduation, Ho was promoted by art dealer Mikkel Saks, and the artist’s clients have included Adolph Coors Company, Upjohn, Safeway, The Colorado Symphony, and the Chicago Symphony.

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.

Hubbard, Harlan American, 1900–1988 Born in Bellevue, Kentucky, Hubbard was the youngest of three brothers.

Hubbard and his mother followed his brothers to New York City, where he remained until he graduated from the National Academy of Design. He then attended the Cincinnati Art School. After completing his formal education, Hubbard settled in Fort Thomas in northern Kentucky until distraught by industrial development’s impact on the natural world, he famously denounced modern society and moved to a cabin on the banks of the Ohio. Influenced by Thoreau, Hubbard wrote two books on his simple lifestyle at Payne Hollow.

Aside from his writings, he became regionally well known as a Midwestern artist who specialized in oil paintings of riverboats and landscapes.

Joiner, Harvey American, 1852–1932 Born in Charlestown, Indiana, northeast of Louisville, Kentucky, Joiner displayed an early talent for the arts. Early accounts of his artistic training are contradictory, but current scholarship places him in St. Louis in 1874, where he began his tutelage under German painter David Hoffman. Joiner emerged on the Louisville art scene a year later, quickly making a name for himself with

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an extraordinary body of work based upon a simple compositional format.

His format was based upon two constructs: the great sense of depth and perspective the viewer experiences standing at the precipice of the forest; and the suggestion of elevation conveyed to the viewer’s consciousness. Today his work can be found in the permanent collections of multiple Kentucky institutions Joubert, Keith South African, 1948–2013 Born in Germiston, east of Johannesburg, Joubert studied at the Johannesburg School of Art from 1963 to 1967, after which he worked commercially for a few years. Beginning in 1970, Joubert began painting African wildlife and the environment. Although he also traveled extensively through South Africa, he spent a majority of his time in the Okavango Swamps of Botswana, where he had a houseboat and a studio camp at Linyanti. His studio reflected his preference of maintaining a carefree and simple existence: a tent during the winter and a simple tarpaulin in the summer. He owned a large farm near the northern part of Kruger Park where he was frequently visited by elephants and other game. He is one of Africa’s most successful contemporary artists; his work can be found in various corporate and private collections worldwide.

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.

Lalanne, Jean-Bernard French, born 1952 Born in Madagascar, Lalanne grew up in the southwest of France. He attended the Ecole Supérieure d’Art des Pyrénées de Pau. Lalanne painted while supporting himself as a policeman, the occupation of his father. Lalanne came to Colorado to work with American painter Kim English after winning a painting competition in the Paris suburb of Vincennes. His recent works have focused on life in the Pyrenees, including the racing bulls in Spain and Andalusian horses.

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

Lawson, T. Allen American, born 1963 The American West is a part of Lawson’s art and life, as he was born and raised in Sheridan, Wyoming. A lifelong student of art, Lawson studied professionally at the American Academy of Art in Chicago and the Lyme Academy College of Fine Art in Old Lime, Connecticut. He recreates his vision of the world of nature around him by building up layers of texture and pigment. He has been widely exhibited in galleries in both the East and West.

Lodge, George Edward British, 1860–1954 Lodge studied at the Lincoln School of Art before befriending Archibald Thornton, the noted bird and wildlife artist. In 1913 the New Zealand government commissioned him for a book on New Zealand birds. By the end of his career, he had illustrated at least 31 books, including Dr. David Bannerman’s The Birds of the British Isles.

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.

Maiden, Joseph British, 1814–1882 Born in Bury, Lancashire, to a coachman and a publican, Maiden is thought to have been sent by his father’s employer to study under Henry Calvert of Manchester. It is likely that he was related to Mr. Maiden, huntsman to the Cheshire hunt in 1843. The artist worked in multiple media and was able to make quite a name for himself painting sporting scenes and landscapes.

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.

Marschall, Nicola American/German, 1829–1917 Born in 1829 in the village of St. Wendel, Prussia, Marschall displayed an early artistic inclination. Arriving in the United States in 1849 at the age of 20, Marschall initially made headway in New Orleans before settling in Marion, Alabama. In Marion, the artist set up a studio, painting portraits and providing both artistic and musical instruction before joining the faculty of the Marion

Female Institute. After spending the next six years developing his reputation as portrait painter, Marschall returned to Europe to further his education, first at the Dusseldorf Academy, then subsequently in France and Italy. In 1859 the artist returned to Marion and reopened his studio. At the outbreak of the Civil War, Marschall received a prestigious commission to design a flag for the Confederacy and was also responsible for the design of the Confederate uniform. Once the South had accepted defeat at the hands of the Union Army, the artist moved his studio to Louisville, Kentucky, per the recommendation of his contemporaries. He spent the remainder of his life painting influential sitters throughout the commonwealth.

Mason, Roy Martell American, 1886−1972 Mason’s knowledge of hunting, fishing, and the outdoors gave him the ability to portray not only sporting life but an endless backdrop of themes. Raised on a farm, Mason had early instruction in drawing from his father who was himself an engraver. Self-taught through correspondence courses, Mason won the gold Medal of Honor of the American Watercolor Society in 1961. He was also an illustrator for Reader’s Digest and True magazines.

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

McColvin, James Andrew British, 1864–1920 McColvin is a 19th-century British painter best know for his depictions of women. McColvin was born in Winlaton, Durham, in 1864, but little is known about his early life and education. By 1881 the artist was living in Newcastle as an apprentice to a jeweler. After marrying, he began to pursue artistic endeavors full time. While it does not appear that he exhibited his work, pieces by the artist can be found in the National Collection, the National Trust, and the Lincolnshire Museum service.

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.

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Merte, Oskar German, 1872–1938 Merte was active/lived in Germany.

Millais, Hesketh Raoul Lejarderay British, 1901–1999 Usually referred to as Raoul or “Liony,” Millais was a portrait painter, equestrian artist, and sportsman. The grandson of Sir John Everett Millais and the son of John Guille Millais, the artist inherited his talent and his love of animals and hunting from his family. Best known for his equestrian art and the Spanish paintings he created when he accompanied Ernest Hemingway, Millais, like his contemporary Sir Alfred Munnings, was a staunch opponent of Modernism.

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.

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.

Parker, Gill British, born 1957 An accomplished horsewoman, Parker demonstrates her passion for horses in her work. Yet her work is remarkably versatile in both subject matter and size – from equestrian subjects, to British wildlife, big game, and family pets.

While studying art at South Wilts Grammar School in Salisbury, Parker was first introduced to sculpture. Deciding not to further her education she tried various career paths before returning to sculpture. After taking her work to London,

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early encouragement from Sladmore Gallery led to her first one-woman show and she has enjoyed international acclaim ever since.

Parry, David British, born 1942 Trained at the Central School of Art, Perry was commissioned at the age of 25 to visit Zimbabwe to illustrate school books for Longman Publishing. That six-month stay confirmed a passion for all things African, and painting African wildlife and going on safari to eastern African countries became the most important aspect of his working life for many subsequent years. The resulting paintings have sold worldwide, mainly to private collectors.

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.

Payne, Charles Johnson British, 1884–1967 An English painter known for his humorous work, outstanding draughtsmanship, and depictions of the horse in action, “Snaffles” specialized in watercolors and drawings of mainly military, racing, or hunting/equestrian scenes. Many of his most famous works contrast military life with the peacetime pursuits of racing and hunting. By the outbreak of World War I, he was a frequent contributor to periodicals such as the Sporting and Dramatic. His artistic career continued between the wars as he covered the sporting scene in England, Ireland, and India.

Pechaubès, Eugène French, 1890–1967 Pechaubès was a French painter and printmaker best known for his depictions of racehorses. Initially known for his military scenes, particularly those related to the Second Empire, he later turned almost exclusively to action scenes of horses at celebrated French racecourses. He shared a studio with his daughter, Gena Pechaubes, with whom he often collaborated on commissions.

Pertgen, Karl Maria German, born 1881 Pertgen was active/lived in Germany.

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.

Revennaugh, Stephanie American, born 1973 Award-winning sculptor Revennaugh delights horse lovers and art collectors alike with her works. Her lifelong affair with horses, from her childhood pony Clipper to show jumpers in South America to dressage horses in Colorado, has taught her well the equine anatomy that a classic equine sculptor needs.

Revennaugh studied painting for three years in Colorado, Arizona, and Aixen-Provence, France; however, she knew she needed to sculpt as soon as her hands first dug into clay.

Robertson, Tyler American, born 1981 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 was chosen as the official artist of the 2018 Breeders’ Cup. Sarnoff, Arthur Saron American, 1912–2000 A Brooklyn native, Sarnoff attended the Industrial School and the Grand Central Art School in New York City. There he was a student of John Clymer and Andrew Wyeth. Sarnoff had a celebrated and long career as an American illustrator. He produced a wide range of works from pin-up girl calendars to portraits of President and Mrs. Kennedy for a wide range of publications from Good Housekeeping to Esquire.

Scott, Thomas James American, 1824–1888 Born and raised in Pennsylvania, Scott studied at Philadelphia’s Central High School where portrait artist Rembrandt Peale was his graphics professor. Scott moved to Kentucky and studied with famed equine artist Edward Troye. A writer for the sporting journal Turf, Field, and Farm, Scott was a well-respected authority on conformation. His commissioned works include a portrait of R. A. Alexander’s champion sire Lexington, which now hangs at Keeneland.

Sealy, Allen Culpeper British, 1850–1927 Born in Keynsham, Somerset, Allen Culpeper Sealy is assumed to have been educated at Bristol School of Art. After marrying Elizabeth Phillipa Pine Harris, the artist moved his young wife to London and began making a name for himself as a landscape artist and equestrian painter. Traveling extensively on commissions, he completed work in South Yorkshire, Kent, and Devon. He received multiple prestigious commissions from patrons in Newmarket, where his portrait of Kingwood now hangs in the National Horse Racing Museum.

Sealy was known to have exhibited at the Royal Academy, Birmingham Royal Society of Artists, Royal Society of British Artists, and the Royal Institute of Oil Painters.

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.

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

Smith, Brett James American, born 1958 Smith’s early introduction to sporting art came from his father, who worked professionally as an illustrator and moonlighted as a fine artist. Sportsmen nationwide collect Smith’s work because it is not only visually exciting, but also authentic and displays his intimate knowledge of the sporting experience. His preferred media are transparent watercolor and oil.

Smith, Gean American, 1851–1928 Smith was born in New York state and moved to Chicago in 1871, where he established a studio until 1884. The following year the artist moved to New York City, where he earned a reputation for horse portraits, dog paintings, and Civil War genre scenes. A gifted illustrator, his work can be seen in Tales of the Turf and in Rank Outsiders by Richard Cary. One of his most notable pieces, “The Parade of Prize Winners,” depicted 65 individual horses, focusing on the personality of each one. An image painted for the menu at the Waldorf Astoria Hotel of a champion trotter became a highly sought-after collector’s item.

Largely self-taught except for one lesson at 16, he believed the real likeness of a horse in action is above the legs. In 1923 he retired to Galveston, Texas, where he died and was buried. His work can be found in the Capitol Historical Artifact Collection in Austin and other esteemed private collections.

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

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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.

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.

Soukup, Jill American, born 1969 Soukup was born in Buffalo, New York. Shortly thereafter her family moved to Colorado, where she still resides. As a young girl, Soukup had an affinity for horses that resulted in countless drawings and studies of them, which made for a strong drawing foundation. She graduated from Colorado State University in 1991 with a bachelor’s degree in fine art. There, she received awards for illustration and design and worked as an illustrator and a designer for the university. She initially pursued a career in graphic design while continuing to paint part time. After 11 years as a designer, she made the switch to painting full time. A student of Quang Ho, she continues to gain recognition as she receives awards, appears in national publications, and shows in important juried and solo exhibitions.

Spat, Gabriel American/French, 1890–1967 Born in New York City, Spat worked primarily in France, but on occasion returned to New York. Working in oils and watercolors with bright colors and loose brush strokes, he paints in the style of classic impressionism. His subject matter varies from still life to street life, from dancers to racehorses, but most all are done in a small-scale format he learned from his thrifty artistic beginnings.

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.

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Steene, Helene Swedish, born 1947 Steene’s work is well recognized for its many-layered depth, intensity of colors, and elegance of surface. She combines classical oil glaze techniques, using natural minerals, over marble dust, with contemporary brushed metal on wood, as well as oil glazes and marble dust over collaged paper. Steene began her art education at George Washington University in Washington D.C., and in 2004 received a master of fine arts from the University of Kentucky. She resides in Lexington, Kentucky, where she has a studio at the Lexington Art League in the historic Loudoun House. Her work has been published, exhibited, and collected in both private and public collections in the United States, France, Greece, Spain, Great Britain, and Sweden, and she has won numerous awards for her work, the latest being 2016 CODA Awards Top 100 | The World’s Best Commissioned Design + Art Projects.

Stephens, J .F. American, 19th/20th Century Stephens was born in Wainsburg, Pennsylvania, in the 19th century. While not much is known about his life, for collectors of early Kentucky equine portraits the artist’s style provides valuable information about the context of his works.

His trademark — a scroll around the bottom edge of his portraits with the inscribed name of the subject, owner, and oftentimes location — places his works historically. Active throughout the Midwest, he portrayed a variety of equine stock. His subject matter includes prized bulls and cows. His Kentucky portraiture in particular reflects the popular breeds of the commonwealth, including saddle horses, Thoroughbreds, and the Standardbred. Active in an important era of agricultural fairs and exhibitions, he found ready work through connections with various agricultural societies.

Stretton, Philip Eustace British, 1865–1919 Stretton was a British animal and sporting painter who worked from 1882 until his death. He painted in oils and watercolor, and his work was exhibited at the Royal Academy from 1884 to 1904. He was a follower of Sir Edwin Landseer, whose animal paintings had an enormous impact upon the artist.

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.

Tait, Arthur-Fitzwilliam American/British, 1819–1905 Hardworking and prolific, the British-born Tait was one of mid-century America’s most popular painters of sporting scenes and animal subjects. Initially trained as a lithographer, after exposure to the work of Edwin Landseer, Tait decided to pursue painting. Primarily self-taught, he would perfect his technique by copying works seen at the Royal Institute of Art. An introduction to American painter George Catlin proved to be fateful, as he helped the young artist establish a lifelong interest in frontier living. In 1850, Tait traveled to the United States where he spent the remainder of his life pursuing his love of hunting and wildlife while also working out of his Manhattan studio. His work can be found in the permanent collections of the Metropolitan Museum of Art, Corcoran Gallery of Art, and the Tate Gallery in London among others.

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.

Todd-Tivey, Liza American, born 1957 Since childhood Todd-Tivey has been involved with animals, especially horses.

At Hornsey College of Art in London and then the Otis Institute in Los Angeles, she honed her skills for creative expression and in 1979 embarked on a professional career as a sculptress. Along with John Skeaping, she is one of only two sculptors included in racing historian John Farley’s authoritative book Great Racehorses in Art. Her works are highly exhibited and equally sought after.

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

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

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

Tunnicliffe, Charles Frederick British, 1901–1979 Tunnicliffe was born in Langley, near Macclesfield, Cheshire. Raised on a farm, the internationally known Tunnicliffe was subsequently educated at Macclesfield School of Art and the Royal College in London. Long associated with author Henry Williamson, he illustrated many of the Williamson’s novels, the most well known being Tarka the Otter, Salar the Salmon, and The Peregrine’s Saga.

Elected an associate of the Royal Academy in 1944; his naturalist paintings of birds and other British wildlife are well sought after by collectors in his native England and the United States. van Severdonck, Franz Belgian, 1809–1889 Van Severdonck was born in Brussels, where he lived and worked all his life.

It is not known where the artist was trained, but his high compositional and technical skills allow the assumption of a professional training. Van Severdonck was a master of animals and created numerous compositions with sheep, horses, and chickens. His usually small-sized depictions are highly sought after collectable items on the international art market.

Voirin, Jules Antoine French, 1833–1898 A pupil of M. Guerard, Voirin debuted at the Salon de Paris of 1876. He and his brother, Leon Joseph Voirin, both built successful careers as French genre painters. A well-known painter in the sporting genre, Voirin was also notable for his oil paintings of military scenes.

Voss, Franklin Brooke American, 1880–1953 From a family of sportsmen and artists, Voss studied at the Art Students League in New York, foxhunted and rode races in New York and Maryland, and painted racehorses and hunting horses for his sportsmen friends. Completing more than 500 commissions in a period between 1920 and 1950, Voss died as he would have liked — foxhunting with the Elkridge-Harford Hounds near his Maryland farm.

Ward, W. Owen British, Contemporary Ward is active/lives in Essex, United Kingdom.

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

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Weaver, Thomas British, 1775–1844 Born in a small Shropshire village, Weaver displayed an advanced artistic ability as a child. At just 17 he was apprenticed to John Boultbee of Leicestershire, a pupil of George Stubbs. During his pupilage he mastered the laying on of paint, how to portray animals, and the niceties of livestock breeding, copying his teacher’s works and traveling with him on commissions. Afterward, Weaver established himself in Mardol as a competent artist completing portraits for the local gentry. Commissions eventually took him to London where he portrayed prize bulls at the Smithfield Show. He traveled north to County Durham where he enjoyed a lucrative relationship with the Colling Brothers. There he also became a notable painter of equestrian portraits. His work was exhibited with the Royal Academy and the Liverpool Academy. He died in 1844 and was buried at All Saints Church, Childwall, where a memorial to the artist can now be found.

Wells, John Sanderson British, 1872–1955 An English artist who specialized in sporting and animal painting, Wells was educated at the Slade School of Art in London and the Academie Julian in Paris.

He was a regular contributor to the Royal Academy and exhibited in London from 1895 to 1904. He painted true to nature, with his compositions being both technical and having a feeling of graceful movement. Most of his works were private commissions mainly of hunting subjects.

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.

Whiting, Frederic British, 1874–1962 Born in Hampstead, London, England, Whiting studied art at the St. John’s

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Wood School of Art, the Royal Academy Schools, and at the Academie Julian in Paris. Employed by The Graphic newspaper, Whiting covered the 1900–1901 civil wars in China and the 1904–1905 Russo-Japanese war as a graphic correspondent. His works have been widely exhibited by the Royal Academy, the Royal Watercolour Society, the National Portrait Society, the Paris Salon, and the Anglo-German Exhibition of 1913.

Withers, John British, 19th century Withers was an illustrator active in the United Kingdom during the 19th century.

He completed various illustrations for the Illustrated London News during his career.

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.

Wyeth, Andrew Newell American, 1917–2009 A realist painter, Wyeth’s favorite subjects came from his hometown of Chadds Ford, Pennsylvania and his summer home in Cushing, Maine. Andrew’s education and artistic inspiration came from his celebrity artist father, N. C. Wyeth. Andrew Wyeth achieved status as one of the best-known U.S. artists of the middle 20th century, and museum exhibitions of his paintings have set attendance records.

Zárate, Agustin Mexican, born 1976 Zárate was raised in Veracruz, Mexico surrounded by the coastal region’s luminescent beaches and the roiling fire of the sky’s sunrises and sunsets.

Colorful fishing boats pearled the waves and the verdant landscape engraved itself into his heart. So inspired, painting and sketching came to him naturally as a young boy, and he soon found himself studying art and developing his style in Veracruz and at the Instituto Tecnico de las Artes de Mexico in Mexico City.

He has continued his education through master workshops in printmaking, sculpture, etching, and calligraphy. Through his art, Zárate explores and expresses the influences of the equine and Bluegrass culture and heritage. He is inspired by the four distinct seasons of Kentucky and the colors each season reflects. Zárate’s work is on display in many Central Kentucky galleries and can be found in numerous personal and corporate collections.

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 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.

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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

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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. 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 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

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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,

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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 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 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

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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 by phone (by prior arrangement) and online via: www.crossgategallery.com | www.liveauctioneers.com | www.invaluable.com

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ABSENTEE BIDDING INFORMATION

As a convenience to clients 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 25, 2020.

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)

Armfield, George ..........................16

Erland, Simon ....................84, 88, 89

Malone, Booth.............................144

Smith, Suzy F..................................80

Armour, George Denholm..............64

Faulkner, Henry Lawrence ............181

Marshcall, Nicola...........................25

Soukup, Jill ..........................123, 134

Arnup, Sally ..................................91

182, 183, 184, 185

Mason, Roy Martell .......................53

Spat, Gabriel................................157

Ashley, Frank Nelson....................104

Firth, Richard M...................164, 165

Maze, Paul Lucien........................113

St Clair Davis, Heather .........112, 135

Barnhart, Jeaneen................140, 142

Frontini, Thomas ..........................174

McColvin, James Andrew...............20

Beer, John......................................61

Frost, Arthur Burdett ......................19

Mehl, Joanne.................................71

Steene, Helene.......................... 100A

Bibby, Nick.....................................92

Furse, Charles Wellington...............24

Merte, Oskar..................................99

Biddulph, Sir Michael.....................38

Gamez de Francisco, Carlos ...... 100C

Millais, Hesketh R. L.......................67

Biegel, Peter ............................70, 72

Gauntlett, Mary Eley......................37

Munnings, Sir Alfred James..152, 153

Binks, Reuben Ward.......................41

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

154, 155, 156, 158

Bonheur, Isidore Jules ....................32

Gold, Dede ..............................78, 79

Neiman, LeRoy ...................146, 147,

Brewer, Kelly Robertson ...............180

Gridnev, Valeriy... 105, 106, 107, 108

148, 149, 150

Todd-Tivey, Liza .............................82

Brewer, Melinda.......................74, 75

Hai, Sergiy ...................................173

Oppegard, Sandra Faye......45, 47, 48

Tremaine, Diana.......... 132, 133, 179

Bright, Clayton...............................90

Hall, Harry .....................................13

Parker, Gill .....................................83

Troye, Edward ..........................28, 29

Bristow, Edmund .............................6

Hardy, Heywood ............................57

Parry, David ...................................68

Tunnicliffe, Charles Frederick..........58

Brooke, Peter ...............................178

Haseltine, Herbert Chevalier...........34

Pater, Andre ...........................66, 159

van Severdonck, Franz .....................5

Brown, Dan ...................................50

Herring, Benjamin Jr.........................2

160, 161, 162, 163

Voirin, Jules Antoine ......................17

Bull, Julie Ann......................116, 129

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

Payne, Charles Johnson ...........54, 55

Voss, Franklin Brooke.....................93

Claxton, George ............85, 136, 137

Herring, John Frederick Sr...........8, 59

Pechaubès, Eugène........................98

Ward, W. Owen............................114

Cooper, Alfred Egerton.....................1

Ho, Quang...........................138, 139

Pertgen, Karl Maria........................33

Corum, Jaime Claire.............130, 131

Howell, Peter ..117, 118, 119, 120, 121

Reeves, Richard Stone........94, 95, 96

Crawford, Susan ..........................151

Hubbard, Harlan..................187, 188

Revennaugh, Stephanie.................86

Dahl, Carl ......................................87

Joiner, Harvey ..............................186

Robertson, Tyler ...........................143

de Dreux, Alfred.............................22

Joubert, Keith...............................177

Sarnoff, Arthur Saron ...................103

Derakshani, Reza.........................172

Kesteven, Abel .....................175, 176

Scott, Thomas James........................3

de Watrigant, Hubert ...........127, 128

Kirk, Juli...................................76, 77

Sealy, Allen Culpeper .......................7

Duer, Douglas ................................97

Lalanne, Jean-Bernard .109, 110, 111

Skeaping, John R. ................102, 115

Whiting, Frederic............................62

Duke, Alfred...................................60

Lawson, T. Allen ...........................167

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

Withers, John.................................23

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

Lodge, George Edward ............43, 44

Smith,Brett James..........................49

Wright, George........................42, 56

Elim, Franck .................................101

Lyne, Michael.................................46

Smith, Gean...................................31

Wyeth, Andrew Newell ................166

Emms, John .....................................4

Maiden, Joseph ...............................9

Smith, Peter .................................145

Zárate, Agustin ......................... 100B

Stephens, J. F..................................12 Stretton, Philip Eustace..................73 Stull, Henry ..............................26, 27 Tait, Arthur-Fitzwilliam ...................10 Taylor, Jo..................... 168, 169, 170

Wardle, Arthur .........................39, 40 Weaver, Thomas.............................11 Wells, John Sanderson ...................65 Wheeler, Larry..........51, 52, 124, 126 Whitcombe, Susie ........................122 Whiteside, Brian ..........................125

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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