2023 Sporting Art Auction Catalog

KEENELAND / CROSS GATE GALLERY

THE SPORTING ART AUCTION

Lexington, Kentucky Keeneland Sales Pavilion NOVEMBER 18, 2023

November 18, 2023 | 12 noon

THE

AUCTION Cover Illustration: Lot No. 55

Jean-François RAFFAELLI (1850–1924) Le Grand Prix à Longchamp circa 1906 Oil, gouache and pencil on paper laid on canvas, Signed lower right: J F RAFFAELLI H: 61 cm - 24 inches | W: 107 cm - 42 1⁄8 inches

AUCTION Saturday • November 18, 2023 • 12:00 noon EST

PREVIEW BRUNCH Presented by Bank of America Saturday, November 18, 2023 | 10:00 a.m.–12:00 p.m. | Keeneland Sales Pavilion The Sporting Art Auction begins at 12:00 p.m.

ADVANCE VIEWING Keeneland Fall Race Meet, October 8–26, 9 a.m. – 1 p.m., Wed.–Sun., or by appointment Keeneland November Breeding Stock Sale, November 8–16

BIDDING Bidding will be conducted by phone, absentee bid, or online through www.thesportingartauction.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 be conducted in person.

You must register to bid either in-person, by phone, absentee, or over the internet.

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.thesportingartauction.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 Greg Ladd – (859) 321-2924 Linda Helton – (859) 583-5330

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INTRODUCTION

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he Sporting Art Auction, a collaboration between Keeneland Association and Cross Gate Gallery of Lexington, Kentucky, has matured into one of the genre’s most anticipated annual events.

In 2023, Keeneland and Cross Gate again will team to conduct the eleventh annual Sporting Art Auction on Saturday, November 18, at 12 p.m. EST. The partnership between Keeneland and Cross Gate Gallery is a natural fit. Keeneland, recognized as the world’s premier Thoroughbred auction house, offers the perfect sale venue with its state-ofthe-art sales pavilion and auctioneering expertise.

Perhaps most importantly, many of its racing and sales clientele are avid collectors of sporting art.

Cross Gate, the country’s leading gallery of fine sporting art, delivers a superb collection of paintings and sculpture. Each year, Greg Ladd travels throughout the U.S. and Europe to acquire important works that will capture the interest of ardent collectors.

The success of the first ten auctions, which have been characterized by large crowds and brisk bidding, confirms the strong demand for quality sporting art. LeRoy Neiman’s Flat Racing, a one-ofa-kind glazed ceramic tile mural, sold for $291,000

to top the inaugural sale in 2013. The 2015 auction was highlighted by the sale of Sir Alfred James Munnings’ signed painting Lord Astor’s Broodmare and Foal, which brought $207,000. In 2022, a large floral by Henry Lawrence Faulkner brought a record price when it sold for $123,000.

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

Notable lots in 2023 include several works by Sir Alfred J. Munnings, eight Faulkner paintings, the official 2023 Breeders’ Cup cover artwork

by Quang Ho, highly important paintings of Secretariat by Richard Stone Reeves and LeRoy Neiman, and a masterwork, titled Longchamp, by highly important French impressionist Jean François Raffaëlli.

In keeping with Keeneland’s mission, both sporting and altruistic, the association’s portion of the auction proceeds will benefit its non-profit initiatives, including the Keeneland Library Foundation.

The 2023 collection will be on display in the Keeneland sales pavilion through the art auction’s November date.

The Sporting Art Auction company welcomes inquiries through its website, www.thesportingartauction.com; by email, info@thesportingartauction.com; or through Cross Gate Gallery, (859) 233-3856.

The Sporting Art Auction will accept absentee bids, bids by phone through prior arrangement, and online via www.thesportingartauction.com, www.liveauctioneers.com, and www.invaluable.com.

The Conditions of Sale begin on page 197.

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ABOUT

KEENELAND

L

ocated in the heart of Central Kentucky’s horse country, Keeneland is an international leader in Thoroughbred racing and sales.

RACING Created by its founders to be a model racetrack, Keeneland celebrated its 85th anniversary during the 2021 Fall Meet. Today, Keeneland’s racing program perennially ranks among the nation’s best in terms of purse money, field size, and quality competition. From 2-year-old races to events for classic contenders and veteran turf stars, Keeneland racing affords outstanding opportunities for horsemen to showcase their talented stables.

Keeneland conducts racing every April and October, drawing legions of loyal fans. The nation’s leading trainers, jockeys, and stables converge at Keeneland to compete for some of the country’s richest prize money.

The Spring Meet is anchored by such storied stakes as the $1 million Toyota Blue Grass (G1) and Central Bank Ashland (G1), which are noted races for horses that will compete in the Kentucky Derby (G1) and Kentucky Oaks (G1), respectively. The Fall Meet opens with Fall Stars Weekend, featuring 10 graded stakes led by the $1 million Coolmore Turf Mile (G1), Claiborne Breeders’ Futurity (G1), and Juddmonte Spinster (G1).

Eight Fall Meet stakes are Breeders’ Cup Challenge races, awarding each winner automatic and free entry into the Breeders’ Cup World Championships.

Keeneland successfully hosted the Breeders’ Cup in 2015, 2020, and 2022. The 2015 running featured Triple Crown winner American Pharoah’s victory in the Breeders’ Cup Classic (G1). Kentucky Derby winner Authentic won the 2020 Classic, which Flightline captured two years later.

Through the years numerous champion Thoroughbreds have graced Keeneland, and its Spring and Fall Meets have served as a springboard to success for many Triple Crown and Breeders’ Cup winners.

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SALES As the world’s largest Thoroughbred auction house, Keeneland sets the gold standard for the industry globally, having sold more champions and stakes winners than any other sales company. The premier September Yearling Sale provides more winners of racing’s biggest events and more participants on racing’s global stage than any other sale.

Graduates of Keeneland sales include 24 Kentucky Derby winners, 27 Preakness winners, and 23 Belmont winners. Undefeated Triple Crown winner Justify sold as a yearling at the 2016 September Sale.

Thoroughbred auctions have taken place on the Keeneland grounds since 1938, and annual sales commenced in 1943. Prior to World War II, many Central Kentucky breeders sent their yearlings each summer to the sale in Saratoga, New York. But a wartime restriction on rail transport forced breeders to keep their yearlings at home, prompting the inaugural summer sale that was held under a tent in the Keeneland paddock. That sale produced Hoop, Jr., winner of the 1945 Kentucky Derby. The Breeders’ Sales Company held the sale at Keeneland in subsequent years, and that entity eventually merged with Keeneland. The success of Kentucky-bred racehorses in prestigious international stakes attracted buyers from Europe and Japan in the 1960s and ’70s, giving rise to Keeneland’s sustained position as the unrivaled source of the world’s best horses.

Today, Keeneland’s annual sales attract buyers from nearly every U.S. state and more than 50 countries.

In 2023, the calendar featured five auctions: January Horses of All Ages, April Selected Horses of Racing Age, September Yearling, November Breeding Stock, and November Horses of Racing Age. HISTORY Keeneland’s iconic brand is rooted in the ideals of its founders, a determined group of prominent Central

TEAM COYLE

Kentucky breeders with a goal, outlined in the track’s original prospectus, “to create a model racetrack to perpetuate and improve the sport and to provide a course that is intended to serve as a symbol of the fine traditions of Thoroughbred racing.”

As Hal Price Headley, Keeneland’s co-founder and first track president, said, “We want a place where those who love horses can come and picnic with us and thrill to the sport of the Bluegrass. We are not running a race plant to hear the click of the mutuel machines. We want them to come out here to enjoy God’s sunshine, fresh air, and to watch horses race.”

For generations Keeneland has fulfilled its founders’ vision, embracing the history and pageantry of the sport while offering its guests and participants an unmatched experience. With its ivy-covered limestone buildings, scenic vistas and beautifully landscaped grounds, Keeneland is a National Historic Landmark and source of community pride.

The Keeneland Library, established in 1939, is a public research/reference library that is one of the world’s largest repositories of information related to the Thoroughbred. Located in a 10,000-square-foot facility that opened in July 2002, the library houses nearly 30,000 books, approximately 1 million photographic negatives, and thousands of newspaper and magazine articles about the equine industry. Among its most

prominent collections are the Daily Racing Form archives dating back to 1896; some 3,000 caricatures and equine cartoons by the internationally celebrated artist known as “Peb”; and the works of noted equine photographers Charles Christian Cook, Bert T. Morgan, Joel Clyne “Skeets” Meadors, and Katey Barrett.

GIVING Keeneland’s philanthropic mission dates to 1936 when its founders opened a model racetrack intended to serve as a leader in the horse industry and the Central Kentucky community. Today, this vision – known as The Keeneland Way – continues to guide Keeneland employees in their daily work. Keeneland blends financial and in-kind sponsorships to benefit numerous civic and charitable organizations and lends its grounds as a backdrop for fundraising events. In the community, giving focuses on health and human services, education, arts and culture. Keeneland is at the forefront of the horse industry, with a rich history of lending support to safety and welfare initiatives, fan education, racing promotion and Thoroughbred aftercare organizations, among others.

In furtherance of its mission, Keeneland’s portion of the proceeds from the Sporting Art Auction benefits its non-profit 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. The Lexington-based gallery specializes in equinerelated art, and its impressive inventory ranges from 19th- and early 20th-century classic works to contemporary paintings and sculpture. Cross Gate’s central Kentucky location makes its focus on sporting and equestrian art a natural one.

Greg Ladd, the gallery’s founder, parlayed an early interest in fine art and his love of Thoroughbred racing into what would become one of world’s premier sporting art galleries. 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

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Thoroughbred owners and breeders from around the world, Cross Gate’s clients include (but are certainly not limited to) Keeneland Race Course, Fasig-Tipton Company, Breeders’ Cup Ltd., and a wealth of other prominent equine organizations.

Ladd is known for his eye for quality and artistic talent. Over the years he has nurtured and represented some of the world’s top contemporary sporting artists. Cross Gate regularly exhibits their work in Lexington and at top 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.”

From the gallery’s humble beginnings, Ladd has elevated Cross Gate to a place of international prominence in the global sporting art landscape.

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| 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.

| Auctioneer

J

ustin Holmberg, who splits his time between Yorba Linda, California, and Era, Texas, joined Keeneland’s auction team in 1998 to add the world’s largest Thoroughbred auction house to his resume.

While growing up near Bakersfield, California, Justin became interested in a career as an auctioneer just like his father and remembers being 16 or 17 when he first sold horses, tack, and livestock. After attending the Missouri Auction School, he met noted auctioneer Tom Caldwell, who was Keeneland’s longtime Director of Auctioneers.

Through Caldwell, Justin began selling Thoroughbred yearlings at Del Mar and was invited to try out for a position at Keeneland, which would become extremely important in his career. He calls Keeneland Director of Auctioneers Ryan Mahan his mentor.

Justin travels extensively from late July through December and during that time will sell American Quarter Horses (both racing- and performance-bred) at auctions in Louisiana, New Mexico, Oklahoma, and Texas; Thoroughbreds at Keeneland and in Florida; Standardbreds in Kentucky; and automobiles in California, Florida, and Las Vegas. He now adds sporting art to his portfolio.

Justin met his wife, Sophie, at a Keeneland sale in 2008, and they married two years later. Their son, Harrison, was born in 2014.

| 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

Brittany Deen

Linda Helton

Field Ladd

Catherine Ladd Kenneally

Bill Evans Meng

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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.

■ 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.

■ EXAMINATION OF GOODS Prospective Buyers are urged to examine personally any Lots in which they are interested BEFORE BIDDING, as they accept any property purchased AS IS, with all faults.

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■ 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-OFSTATE 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.

■ CONDUCT OF SALE All Lots will be sold subject to the Reserve, which will not exceed the low presale estimate printed in this catalogue, or as may be amended by the Announcements. Successful purchasers are responsible for all applicable sales taxes.

■ WRITTEN/ABSENTEE BIDS If you cannot attend the auction in person, KCG Enterprises, LLC (“KCG”) can bid for you according to your instructions. There is no extra charge for this service, which is known as commission bidding. If successful, the price you pay will be the final bid price plus the Buyer’s Premium, as set forth in the Conditions of Sale. Bids must always be made or confirmed in writing, using the form printed in this catalogue. Bank references may be requested and should be supplied with enough lead time to confirm before the auction. For further information, please call (859) 233-3856 before November 17, 2023, or email info@thesportingartauction.com.

■ TELEPHONE BIDS Bidders who cannot attend the auction and who wish to bid by telephone should make arrangements for this service at least two (2) days in advance of the sale as the number of telephone lines is limited. For further information, please call (859) 233-3856 before November 17, 2023, or email info@thesportingartauction.com.

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

■ SHIPPING/REMOVAL OF PROPERTY If you are an absentee bidder, we can arrange for the shipment of your purchases as per your written instructions. Estimates for the shipping of any property can be obtained from our staff at KCG. If you are attending the sale and desire us to arrange shipping, this must be done immediately after the sale.ALL PURCHASES MUST BE REMOVED FROM THE BUILDING NO LATER THAN WEDNESDAY, NOVEMBER 22, 2023 at 2:00 p.m. unless prior arrangements have been made with KCG to store property at a warehouse. TO COLLECT ITEMS IN PERSON YOU MUST PRESENT A PAID RECEIPT TO KCG STAFF. *Please note both Keeneland Association and Cross Gate Gallery offices will be closed on November 23 and 24 in observance of the Thanksgiving holiday.

■ INSURANCE Purchasers are requested to arrange clearance for Property as early as possible and in any event, no later than fourteen (14) days following the day of the sale, at which time KCG’s liability for loss or damage to sold property shall cease. Purchasers must arrange to insure the purchased property as of the time of sale, as they deem appropriate, and regarding which KCG shall have no obligation or liability whatsoever. Transit Insurance can be arranged by the shipper to cover your property from collection at the sales premises to arrival at your destination, if requested. You must notify us if you wish to arrange for this service or if you will be supplying it yourself.

■ STORAGE AND STORAGE CHARGES For a period after the auction, uncollected purchases and unsold Lots may be held at Keeneland. Thereafter they will be removed for storage and charges will be incurred. All uncollected and unsold property not collected from Keeneland by 12:00 noon on Wednesday, November 22, 2023, will be removed by KCG and stored at Cross Gate Gallery. 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 Saturday • November 18, 2023 • 12:00 noon EST

Keeneland Sales Pavilion Lexington, Kentucky

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1 | Thomas J. Scott (American, 1824–1888) BERMUDA Oil on canvas, 16” x 22” Signed, dated 1885, titled verso. $4,000. – 6,000.

Bermuda at Ashland Park Stock Farm, Lexington, KY. This painting of Bermuda by T.J. Scott was done for B.J. Treacy, who used it as an illustration in his 1887 Catalogue of Fashionablybred Trotting Stock, at Ashland Park Stock Farm. Ashland Park was located “immediately opposite the old home of Henry Clay.

Adjoining the city limits on Richmond Turnpike, one and a half miles from the Phoenix Hotel.”

The entry for Bermuda in the catalogue reads: NOTE: Bermuda—I might say, the great Bermuda—needs no introduction to Kentucky breeders. Suffice it to say that in 1884, in his yearling form, he gave a public exhibition of a mile in 2:39¾, the fastest ever trotted by a yearling up to that time in Kentucky. In 1885 he started four times, winning three races, being second in the fourth, making a record of 2:35¼ early in September, over the halfmile track at Paris, Ky. In 1886 he started in four stakes, won three, and got second money in the other. At Lexington he took a record of 2:24½ in that memorable six-heat race, in which he defeated the great Nutbreaker. The sporting papers pronounced this the great colt

race of 1886, and probably the greatest on record. In 1887 he started for three stakes, two of which he won, and was second in the third, making a record of 2:22. In all he has started in eleven races, all stakes, has won eight and been second in three; has trained on and reduced his record from year to year, and will, barring accidents, be a better and faster horse in 1888 than ever before.

He is a beautiful black with right hind ankle white, stands 15¾ hands high and is a perfect horse all over, having both bone and substance combined with the form and finish characteristic of the cross he so well represents-viz.: Hambletonian sire and Mambrino Patchen dam. Of its many representatives not one is the superior of Bermuda, for not one has demonstrated the same ability to train on from year to year beginning in the yearling form; none are better bred or better looking.

As a sire he is of course untried, but in offering his services to the public I feel that I am giving them an opportunity to breed to the best young stallion in Kentucky.

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2 | Harry Hall (British, 1814–1882) RIDER UP Oil on canvas, 20 ¾” x 22 ¾” $4,000. – 6,000.

3 | Harry Hall (British, 1814–1882)

FORESTER WITH HORSES & DOGS Oil on canvas, 15 ½” x 19” Signed, dated 1853 $6,000. – 7,000.

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4 | Henri Delattre (French, 1801–1876) FASHION IN A LANDSCAPE Oil on canvas, 21” x 25” Signed, dated 1855 $8,000. – 10,000.

Provenance: Newhouse Galleries The Jockey Club Illustrated: Alexander Mackay-Smith, The Race Horses of America, 1832-1872, Portraits and Other Paintings by Edward Troye, 1981, page 101 Exhibited: “Sport in American Art” Museum of Fine Arts, Boston, October 10 – December 10, 1944 Fashion was the undisputed Queen of the Turf in the 1840s.

Game, sturdy, and long-running, she was the celebrated winner of one of the most important races held in 19th-century America: a four-mile match against the famous Boston. The match was held May 10, 1841, at Union Course on Long Island, New York, and was attended by an estimated 70,000 race fans. Fashion set a new record of 7:32½ for the distance and in the process became the adored banner-carrier for the northern states in this most famous of the North-South sectional matches held in the years prior to the Civil War.

The New York Express published an account of the race in an article titled: “GREAT MATCH RACE BETWEEN FASHION AND BOSTON—THE NORTH AGAINST THE SOUTH” The great contest between the North and South, so far as horse power or speed is concerned, was yesterday settled on the Union Race Course. The noble animals chosen to decide this grave question were Fashion and Boston. At the tap of the drum both were off like rockets.

The exciting moment had at length arrived, and all that immense concourse of spectators were in breathless anxiety. The heat was closely contested for the first three miles—Boston kept about a length ahead, but Fashion passed him on the fourth and came in about her length ahead, making the heat in 7 minutes and 32-1⁄2 seconds. After a lapse of 30 minutes the bugle again sounded, and they were off for the second heat— Fashion took the lead the first two miles, and Boston came in ahead the third mile, but was passed again by Fashion on the fourth, winning the second heat by about 50 yards. The purse was $20,000 a side, which was put up on Monday and the preliminaries settled. Some few small bets were made on the ground but not to any extent. The weather although cloudy in the morning, boding a stormy day, turned out one of the very best for the occasion. Everything came off to the entire satisfaction of all, except perhaps the losing party, and even they submitted with Christian fortitude.

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5 | William Joseph Shayer (British, 1811–1891) RACING (set of 4) Oil on canvas, 4” x 5 ½” (each) $4,000. – 6,000.

Provenance: Haynes Fine Art, London

6 | John Strickland Goodall (British 1908–1996)

EDWARDIAN SEASON, DERBY DAY AT EPSOM Watercolor, 5 ½” x 14 ¼” Signed $3,000. – 5,000.

Exhibited: No. 10, John Strickland Goodall Exhibition, July 1985, Christopher Wood Gallery, London

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7 | Richard Dodd Widdas (British, 1826–1885) THE DERBY OF 1870 Oil on canvas, 30” x 52 ½” Signed, dated 1870–71 $6,000. – 8,000.

Provenance: Rutland Gallery The Derby of 1870 was won by Kingcraft, owned and bred by Lord Falmouth at his stud at Mereworth Castle in Kent. Kingcraft won 10 races during his career, including the Chesterfield Stakes, the Ham Stakes, the Convivial Stakes, and the Derby Stakes at Epsom.

The Derby of this year has not been excelled by any of its predecessors.

The day was fine, the crowds immense, the race exciting and closely contested, and the result unexpected. Present on the grand stand were the Prince and Princess of Wales and Prince Leopold and the King of Belgium, attended by a large and brilliant throng of the nobility and aristocracy of the kingdom; also, many members of Parliament, Cabinet Ministers, representatives of the Bench, and persons eminent in all departments of public life. The excitement of the spectators was wrought up to its highest pitch by the appearance of the 15 horses entered for the race. Macgregor, the favorite, was tremendously cheered. All being ready, a good start was obtained,

and the horses dashed away. As Macgregor began to fall behind the greatest astonishment was manifested. When Kingcraft took the lead, the excitement was intense, and reached its height when he came in winner, with Palmerston, second, and Muster, close behind, third.

The race was run in 2:45. The value of the stakes is £4,100. Matthew Dawson, the trainer of the winner, was also warmly congratulated on having trained his second Derby winner. Directly after the race was over, a drenching shower fell, but it soon cleared up, and the remainder of the day was beautiful. It is calculated there were over 300,000 people present on the Downs.

The winner of the Derby is a bright bay colt, standing rather under fifteen hands and three inches in height, and is very handsome all over. It would be difficult to find fault with his con- tour, the only possible exception that could be taken being on the score of his being somewhat light of bone. He was bred by his present owner, Lord Falmouth. — New York Herald, June 4, 1870

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8 | George Morland (British, 1763–1804) HORSES BY THE SEA Oil on canvas, 20” x 26” Signed $10,000. – 15,000.

Provenance: Balfour and Norman, London

9 | John Frederick Herring Jr. (British, 1820–1907) FARMYARD SCENE Oil on board, 8 ½” x 10 ½” (oval) Signed $3,000. – 5,000.

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10 | John Frederick Herring Sr. (British, 1795–1865) HORSES IN A LANDSCAPE Oil on canvas, 16” x 16” Signed $6,000. – 9,000.

Provenance: Frost and Reed The Sporting Gallery and Bookshop

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11 | John Frederick Herring Sr. (British, 1795–1865) SUFFOLK PUNCH Oil on canvas, 28” x 36” Signed, dated 1854 $9,000. – 12,000.

Provenance: Arthur Ackermann & Son

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12 | John Frederick Herring Jr. (British, 1820–1907) A FARMYARD GATHERING Oil on canvas, 24” x 36” Signed $25,000. – 30,000.

Provenance: N. Mitchell Gallery

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13 | Theodore Sydney Moise (American, 1808–1885) LEXINGTON Oil on canvas, 34” x 42” Inscribed on verso $12,000. – 15,000.

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Inscribed en verso “Portrait of Lexington in his 4.y.o. form Taken 17th April 1855 Match against time 2nd Apr. 1855 7:19 ¾ Match against LeComte 14th Apr. 7:23 ¾ Painted for his owner R. Ten Broeck by Moise” On April 1, 1854, four horses, their owners, and scores of racing fans gathered at Metairie Course in Louisiana for the Great State Post Stakes. The race would be run in four-mile heats for a purse of $20,000 (the equivalent of $700,000 today). Lexington, representing the state of Kentucky, raced against LeComte, who represented Mississippi; Highlander, running for the state of Alabama; and Arrow, racing for Louisiana. Lexington won the Great State Post Stakes and owner R. Ten Broeck claimed the $20,000 purse.

Just one week later, on April 8, 1854, Lexington and LeComte would meet again in the $2,000 Jockey Club Purse. Ten Broeck’s partners were not in favor of running Lexington again on such a short turnaround. Broeck, ever the gambler, bought the partners out for $5,000 on the spot, and went forward with the race. The Jockey Club Purse was contested over four one-mile heats and LeComte not only won, he set the record for a four-mile race with a time of 7:26.

Ten Broeck, believing Lexington to be the better horse, offered a bet of $10,000 to T.J. Wells, LeComte’s owner, that Lexington could beat LeComte’s world record time of 7:26, and another $2,500 that Lexington could come back two weeks later and beat LeComte head-to-head. Wells, believing the feat impossible, happily accepted. On April 2, 1855, Lexington, racing against the record time of 7:26, turned in a time of 7:19¾, shattering the record set by LeComte.

After the race, Ten Broeck, having collected $26,000 in purses, engaged Theodore Sydney Moise to immortalize the occasion with a portrait of Lexington, “The King of the Turf.” Moise was born in Charleston, South Carolina, and had moved to New Orleans in 1841, where he garnered a reputation as “one of the finest portrait and horse painters active in the South during Reconstruction,” according to The Encyclopedia of New Orleans Artists. Moise spent time in Kentucky, where he painted two portraits of Henry Clay, which now reside in the Metropolitan Museum of Art and the Tennessee State Museum. According to the inscription on the back of the painting, Moise was already at work on the portrait by April 17, just three days after the race.

The date is confirmed by an announcement posted on the 18th in the Daily Picayune: The Celebrated Race Horse Lexington.

We speak with authority when we announce to the sporting world that the Champion Lexington, the winner of the two fastest races of four miles ever run in the world, 7:19¾, 7:23¾— and these within two weeks of each other—has been taken out of the training stable, and his exercise discontinued. He may be seen at Metairie Course, where he is reposing upon his laurels, and enjoying his otium cum dignitate. The celebrated artist, Mr. T. S. Moise, is engaged to take his portrait, and we need scarcely add, that it will doubtless be a lifelike picture.

Daily Picayune, April 18, 1855 Theodore Sydney Moise’s portrait of Lexington was taken while he was still stabled at Metairie and is the earliest known image of the mighty horse.

Twelve days later, on April 14, Lexington and LeComte met again in a match race of four-mile heats with a total purse of $6,000. In the final race contested between the two great horses, Lexington won the first heat in the astonishing time of 7:23¾, prompting T.J. Wells to decline a second heat and concede.

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14 | John Martin Tracy (American, 1843–1893) SALVATOR Oil on canvas, 20” x 30” Signed $5,000. – 7,000.

Bred by Daniel Swigert at Elmendorf Farm in Kentucky, Salvator was foaled in California after his dam, Salina, was purchased by James Ben Ali Haggin, who then shipped the mare to his 44,000acre Rancho Del Paso. Salvator won the Flatbush and the Titan Stakes as a 2-year-old; won the September, Tidal, and Lawrence Realization Stakes as a 3-year-old; and at 4 won the Champion Stakes, Monmouth Cup, and the prized Suburban Handicap.

Salvator was named the 1889 U.S. champion 3-year-old colt and the Horse of the Year in 1889 and 1890. Salvator was inducted into the National Museum of Racing and Hall of Fame in 1955.

During his racing career Salvator would battle other prominent horses of the day in Proctor Knott and Tenny. After defeating rival Tenny in the Realization Stakes in 1889, Salvator beat Tenny again in the Suburban Handicap in 1890. After the loss in the Suburban, Tenny’s owner, David Pulsifer, convinced he had the better horse, challenged Haggin to a match race for $10,000

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dollars. The race was one for the ages and was immortalized in a lithograph produced by Currier and Ives, and in a poem by noted American poet Ella Wheeler Wilcox. The final stanza of the poem reads: Cheer, hoar headed patriarchs; cheer loud, I say; Tis the race of a century witnessed to-day! Though ye live twice that space that’s allotted to men, Ye never will see such a grand race again. Let the shouts of the populace roar like the surf, For Salvator, Salvator, king of the turf! He has broken the record of thirteen long years; He has won the first place in a vast line of peers. ’Twas a neck-to-neck contest, a grand honest race, And even his enemies grant him his place. Down into the dust let old records be hurled, And hang out 2.05 in the gaze of the world.

Salvator’s journey would come full circle in 1899 when he returned to take up his career as a stallion at Haggin’s newly purchased Elmendorf Farm, the place of the great horse’s conception.

15 | Henry Stull (American, 1851–1913) MAID Oil on canvas, 10” x 12” Signed, dated 1907 $3,000. – 5,000.

Bred in Kentucky at William H. Brown’s Senorita Farm, Maid won the Rosedale Stakes under the ownership of William S. Fanshawe of New Jersey. Maid’s sire, Broomstick (by 1896 Kentucky Derby winner Ben Brush), was a multiple stakes winner, a two-time leading sire in the U.S., the 1932 and 1933 leading broodmare sire, and was inducted into the Racing Hall of Fame.

Maid was purchased shortly after her win in the Rosedale and sent to Barbados, where she won the Governor’s Cup and went on to become a champion broodmare and Hall of Fame inductee.

Brown’s Senorita Stock Farm, Maid’s birthplace, was situated on the land that now makes up the Kentucky Horse Park.

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16 | Henry Stull (American, 1851–1913)

LITHOS & BLUE AWAY IN THE RACING COLORS OF TROWBRIDGE & CO Oil on canvas, 20” x 28” Signed, dated 1897 $15,000. – 20,000.

Provenance: Maxwell Galleries, California

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Henry Stull Lithos and Blue Away, Winners of the 1896 and 1897 Manhasset Stakes at Gravesend, in the Colors of Trowbridge & Co.

“At that,” said Mr. Trowbridge, “I did not think we had won from where I stood, and was not certain of it until I walked over to the track and saw the numbers up.” Mr. Trowbridge paid $5,000 to the Messrs. Morris for Lithos on Wednesday, and nearly won him out, as the guaranteed value to the winner of the Expectation was $4,000.

In 1896 Samuel Trowbridge’s talented 2-year-old Lithos won the Surf Stakes, Manhasset Stakes, and Expectation Stakes. The Journal related the story of Trowbridge’s Manhasset Stakes win: While the horses were at the post for the Expectation Stakes, Samuel Trowbridge, one of the owners of Lithos, was over in the infield. He found a four-leaved clover which he transferred to his buttonhole, and remarked to his trainer, “That’s a lucky omen. We will win sure.”

The following year, Trowbridge was lucky to find himself in possession of another talented 2-year-old in Blue Away, who won the Champagne Handicap, the Zephyr at Sheepshead Bay, the Fairview Handicap, and the Manhasset Stakes at Gravesend.

Trowbridge, having won the prestigious Manhanset Stakes twice in a row, decided to commemorate the accomplishment by commissioning Henry Stull to paint his two spectacular horses.

17 | Henry Stull (American, 1851–1913)

BARNES WITH JIM MCLAUGHLIN UP IN THE DWYER BROTHERS COLORS Oil on canvas, 16” x 24” Signed, dated 1883 $7,000. – 9,000.

Bred in Kentucky at Runnymede Farm by Ezekiel Clay and Catesby Woodford in 1880, Barnes was owned and raced by the Dwyer Brothers Stables, one of the most successful stables of the time. Hall of Fame jockey Jim McLaughlin rode Barnes to victory in the Autumn, Stock Yard, and Virginia stakes in 1882 and the Travers, Coney Island Derby, Seaboard, and Tidal stakes during

his 3-year-old season in 1883. McLaughlin shares the record for most Belmont Stakes victories by a jockey, with six victories in the prestigious race. Five of those wins were on horses owned by the Dwyer brothers. McLaughlin was posthumously inducted into the National Museum of Racing and Hall of Fame in 1955.

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18 | Henry Stull (American, 1851–1913) RACE MARE, 1892 Oil on canvas, 25” x 30” Signed, dated 1892 $8,000. – 10,000.

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

SUN BRIAR Oil on canvas, 49 ½” x 59 ½” Signed, inscribed “Paris, 1929” and “Sun Briar, 1915.

By Sweet Briar—Sundridge. New Market, USA” $12,000. – 15,000.

Provenance: Normandy Farm, Pennsylvania Strassburger Family Willis Sharpe Kilmer was so infatuated with Sun Briar that he named his training facility in honor of the French-born horse and sent his agent to Europe to find prospective mares before he had even run a race. The U.S. champion 2-year-old colt of 1917, Sun Briar was an overwhelming favorite to win the 1918 Kentucky Derby. As a 3-year-old, he went through a training slump, and trainer Henry McDaniel went in search of a partner to push him.

The horse he settled on was the then little-known Exterminator.

In the lead up to the Derby, Exterminator was training better

than Sun Briar, so Sun Briar was pulled from the race, opening the way to Exterminator’s victory. By the Saratoga meet in the fall, Sun Briar was back in form. In the Travers Stakes he became the first horse to defeat three winners of American Triple Crown races from that same year in a single race: Belmont Stakes winner Johren (second), Preakness Stakes winner War Cloud (third), and, of course, Exterminator (fourth). Continuing this success, he was named U.S. champion older male in 1919. The Hall of Famer Sun Beau was the most notable of his progeny, being a three-time U.S. champion older male (1929, 1930, 1931) and the all-time leader in race earnings upon his retirement. It is through Pompey that he appears in Secretariat’s line.

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

CRUSADER Oil on canvas, 28” x 36” Signed, inscribed “Crusader, 1923,

by Man o’ War – Star Fancy” and “1929, Lexington” $7,000. – 10,000.

Provenance: Normandy Farm, Pennsylvania Strassburger Family Bred by Samuel D. Riddle and raced by Glen Riddle Farm, Crusader saw the majority of his success during his 3-year-old season. Winning the Havre de Grace Handicap, Jockey Club Gold Cup, and Belmont Stakes, he was named U.S. champion 3-year-old colt and the U.S. Horse of the Year. In 1927 he won the Suburban Handicap for the second year in a row and was later elected to the Racing Hall of Fame.

21 | Ignac Konrad (Hungarian/French, 1894–1969) MAD HATTER Oil on canvas, 28” x 36” Signed, inscribed “Lexington, 1929” and “Mad Hatter, 1915, by Map Cap, by Fair Play” $7,000. – 10,000.

Provenance: Normandy Farm, Pennsylvania Strassburger Family Foaled in 1915, Mad Hatter was bred by the same cross of Fair Play to Rock Sand mares. Lightly raced as a 2-year-old, according to Charles Hatton of the Daily Racing Form, Mad Hatter was so contrary that if urged hard he was apt to pull himself up, yet would attempt to run off with his rider if the jockey hauled on the reins. In 1919, he won the inaugural Latonia Championship Stakes and defeated Sir Barton in the Pimlico Autumn Handicap.

In 1921 and 1922 he was in top form, winning the Jockey Club Gold Cup and Metropolitan Handicap both years, and being named U.S. champion older male in 1921.

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

MAN O’ WAR Oil on canvas, 26” x 30” Initialed, dated, and inscribed “TPE 20 Glen Riddle Farm” $6,000. – 9,000.

Provenance: Property from the collection of The Jockey Club Painted from life at Glen Riddle Farm when Man o’ War was a 3-year-old.

Man o’ War, born in 1917, was a chestnut colt by Fair Play out of the Rock Sand daughter Mahubah. Bred by August Belmont Jr., Man o’ War was purchased at auction by Samuel D. Riddle, for whom he won 20 of his 21 starts. Man o’ War was the 2-yearold and 3-year-old U.S. champion and was named Horse of the Year in 1920. He was widely regarded as one of the greatest

Proven

In a ra 15 tim runnin of his s Stakes, old sea the 2,0 Stakes, Stakes.

Thoroughbred racehorses of all time, and many believe he was the best American racehorse of the 20th century.

Man o’ War had as much success as a stallion as he did a racehorse. He was the leading North American sire in 1926 and runner-up for the title in 1928, ’29, and ’37. He started his stud duties at Hinata Farm outside Lexington, which was managed

by Elizabeth Daingerfield, and then moved to Riddle’s Faraway Farm (now known as Mt. Brilliant Farm). While there, Man o’ War became a Kentucky tourist attraction.

Lord G his int his ow for his Lichfie

From a a leadin in late a week

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23 | Charles-Fernand de Condamy (French, 1855–1913) POLO INCIDENTS (set of 4) Watercolor, 12 ½” x 9 ½” (each) Signed $6,000. – 8,000.

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24 | William Henry Standing (British, act. 1894–1931) SHIRE HORSES (a pair) Watercolor, 10 ½” x 28 ½” (each) Signed, dated 1926, 1928 $2,000. – 3,000.

25 | Charles Hunt Jr.

(British, 1829–1900) BEAUTY AND THE BEAST Oil on canvas, 28” x 36” Signed, dated ’70 $4,000. – 6,000.

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26 | John Alfred Wheeler (British, 1821–1903) MASTER OF THE MENDIPS HUNT Oil on canvas, 34” x 42” Signed, inscribed Bath, 1855 $9,000. –12,000.

Provenance: Lot 64, Sotheby’s, New York, Celebration of the English House, New York, April 16–17, 1998

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27 | Emil Meyer (French, 1823–1893)

HIPPODROME IN PARIS COUNT POTOCKI Oil on canvas, 18” x 21 ¾” Signed, titled, inscribed $10,000. – 15,000.

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28 | Andrew Beer (British, 1862–1954)

‘A JUBILEE LASS’ & ‘SLOW BUT SURE’ (a pair) Oil on canvas, 12” x 16” (each) Signed and inscribed $3,000. – 5,000.

29 | Edward Wilkins Waite (British, 1854–1924) FOLLOW THE LEADER Oil on canvas, 20” x 30” Signed, dated 1893 $7,000. – 10,000.

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30 | A. Roland Knight (British, 1879–1921)

WHIPPING THE WILLOWS FOR CHUBB (a pair) Oil on canvas, 12” x 18” (each) Signed $6,000. – 10,000.

Provenance: Frost and Reed

31 | J. Werle (British, 19th Century) GAMECOCKS (a pair) Pastel, 26” x 20” (each) Signed $4,000. – 6,000.

A note on the back of this lot states these were painted in 1877 for her father, Charles T. Rickshaw of London, “owner of these two champion fighting cocks for England, Ireland,

and Wales.” Further, the author says they won first prize in an exhibition at the “Lord Albert Museum” in London.

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32 | Aiden Lassell Ripley (American, 1896–1969) PHEASANT COUNTRY Oil on canvas, 27” x 40” Signed, dated 1944, titled verso $70,000. – 90,000.

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33 | Aiden Lassell Ripley (American, 1896–1969) A WINTER MORNING Oil on canvas, 27” x 40” Signed, titled verso $35,000. – 50,000.

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34 | Aiden Lassell Ripley (American, 1896–1969) THE GROUSE’S BROOD Oil on canvas, 30” x 36” Signed, dated 1948, titled verso $35,000. – 50,000.

Provenance: The Sporting Gallery and Bookshop

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35 | Sir Edwin Landseer (British, 1803–1873) THE BULL AND THE FROG Oil on canvas, 23” x 28” $30,000. – 50,000.

Sir Edwin Landseer (British, 1803–1873) and Patrick Nasmyth (Scottish, 1787–1831) The Bull and the Frog Provenance: Collection of R. Nicholson, Esq. Christies, July 13, 1849. Purchased by Daubeny (misspelled, should be Rev. John Daubuz) Owned by the Daubuz family in 1882. Reverend John Daubuz died in 1883

Exhibited: Royal Academy’s Exhibition of Works by the Old Masters and Deceased Masters of the British School, Winter Exhibition, 1882. Catalogue number 20. Lent by Reverend John Daubuz. Bull Described as “Red and white bull, standing in a meadow, looking l.; pollard willow in r. foreground; distant landscape beyond; cloudy sky. Signed ‘EL’ Canvas, 22 ½ by 27 ½ inches. (Two exhibition labels en verso)”

Literature: The Catalogue of Works of the Late Sir Edwin Landseer RA, compiled by Algernon Graves, painted 1822.

The Bull and the Frog, The landscape is painted by Patrick Naysmith. The picture belonged to R. Nicholson, Esq., and was sold at his sale, July 13, 1849, lot 215, to Mr. Daubeny, for £95

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36 | Joeseph Francis Walker (British, 1831–1906) SHORTHORN BULL Oil on canvas, 20” x 26” $6,000. – 9,000.

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37 | Isidore Jules Bonheur (French, 1827–1901) GOING TO THE START Bronze,18 ¼” x 21” Signed, stamped Peyrol $20,000. – 25,000.

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38 | Georges Malissard (French, 1877–1942) POLO Bronze, 15 ½” x 14” Signed, stamped ‘France’ $15,000. – 20,000.

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39 | Ferdinand Pautrot (French, 1832–1874) PARTRIDGE Bronze, 13 ½” x 9” Signed $3,000. – 5,000.

40 | Henri Amédée Fouques (French, 1857–1903) FIVE O’CLOCK Bronze, 15 ¾” x 10 ½” $2,000. – 3,000.

The plaque reads: “Five O’Clock” Hunting Dog Acquired by the city of Paris Fouques, Sculptor, Salon des Beaux-Arts

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41 | Anna Hyatt Huntington (American 1876–1973) FOAL Bronze, 14” x 12” Signed, Gorham Co. Founders foundry mark $3,000. – 5,000.

42 | Charles Marion Russell (American, 1864–1926)

THE LAST LAUGH Bronze, 4 1⁄4” tall Inscribed: CM Russell [skull cipher] / © 1916 / B. Zoppo Foundry, N.Y. [Benjamin Zoppo] $4,000. – 6,000.

Literature: Rick Stewart, Charles M. Russell: Sculptor, Fort Worth, Texas: Amon Carter Museum, 1994, page 222, no. R-17 While there are several casts of The Last Laugh, there were only an estimated 10 examples cast during Russell’s lifetime according to the Amon Carter Museum. There is a sketch for the piece in the C.M. Russel Museum detailed in an essay titled “Russell’s Studio Practice” that reads: “The Flood Collection sketches also include drawings of finished bronze sculptures. In one instance Russell drew three ideas for sculptures

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on one sheet of paper, The Last Laugh, Indian Family [Indian Man], and [Indian Woman]. In all three cases the sketches are fairly general, consisting mainly of the outline of each piece. The Last Laugh is drawn with an outline of a wolf looking at a round object to one side. Russell wrote ‘Skull’ in large letters next to it.” Russell sculpted several works that featured a flat, dishlike form and were originally intended to serve as ashtrays.

An identical cast was sold at Coeur d’Alene Art Auction, July 28, 2018, lot 29.

43 | Emmanuel Fremiet (French, 1824–1910) GREYHOUNDS Bronze, 9 ¾” x 12 ½” Signed $4,000. – 6,000.

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44 | John Emms (British, 1841–1912) FORESTER WITH DOGS Oil on canvas, 24” x 30” Signed $12,000. – 15,000.

45 | John Emms (British, 1841–1912) WAITING FOR MASTER Oil on canvas,16” x 14” Signed $8,000. – 10,000.

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46 | George Wright (British, 1860–1942) HOUNDS IN A KENNEL Oil on canvas, 36” x 55 ½” Signed $15,000. – 20,000.

With: Picton House, Broadway, Worcestershire

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47 | Franklin Voss (American, 1880–1953)

‘BEG’ & ‘CLUNY’ TWO TERRIERS (a pair) Oil on canvas, 12” x 16” (each) Signed, dated 1923, inscribed $3,000. – 5,000.

48 | George Wright (British, 1860–1942) A COUNTRY CROSSING Oil on canvas en grisaille, 10” x 20” Signed $3,000. – 5,000.

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49 | Sir Edwin Landseer (British, 1802–1873)

STUDY FOR NEWFOUNDLAND IN A LANDSCAPE, NEAR A LAKE Oil on board, 11 ½” x 14 ½” $12,000. – 15,000.

Provenance: Frost and Reed

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50 | Milton Menasco (American, 1890–1974) JANUARY MORNING, HOT SPRINGS Oil on canvas, 25” x 30” Signed $5,000. – 7,000.

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51 | Milton Menasco (American, 1890–1974) EXTERMINATOR (OLD BONES) Oil on canvas, 16” x 20” Signed, inscribed “Old Bones” on the stretcher $3,000. – 5,000.

Exterminator was foaled at Almahurst Farm, but there is great speculation as to which member of the Knight family was his breeder. Exterminator was never considered a great beauty. He passed through the Saratoga yearling sales with little fanfare and was described by his buyer, trainer J. Calvin Milam, as “too lean and growthy.” Even though his sire, McGee, had sired the Kentucky Derby winner Donerail just two years before Exterminator’s birth, Exterminator was so lanky and coarse as a 2-year-old that he was gelded.

Despite this, the horse formed the basis of Milam’s success at Merrick Place Farm (his manor house still stands today as Lexington’s Merrick Inn). By the end of his eight-year career, Exterminator had earned the nickname “Old Bones” because of his bony, aged appearance. But beauty is as beauty does, and Exterminator won 50 of his 99 starts, including the 1918 Kentucky Derby. Exterminator was elected to the Hall of Fame in 1957, the first gelding to receive the honor.

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52 | Milton Menasco (American, 1890–1974) GOING AWAY Oil on canvas, 18” x 24” Signed $4,000. – 6,000.

53 | Milton Menasco (American, 1890–1974) FOREVER YOURS Oil on canvas, 22” x 28” Signed $4,000. – 6,000.

Bred by A.B. Hancock, Forever Yours was purchased by Ethel Mars, the wife of Mars Candy Company founder Franklin Clarence Mars.

Racing for their Milky Way Farm, Forever Yours won the 1935 Arlington Lassie Stakes and Spinaway Stakes before being named that year’s Champion 2-year-old filly.

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54 | Vaughn Flannery (American, 1898–1955) MAHMOUD FILLY, JUDY O’GRADY, WITH SNOW GOOSE AT FOOT Oil on board, 14” x 20” Signed, inscribed verso $12,000. – 15,000.

Provenance: Walter M. Jeffords Sotheby’s, October 28, 2004, lot 165, The Collection of Mr. and Mrs. Walter M. Jeffords Exhibited: Saratoga, National Museum of Racing, Thoroughbred Scenes – Paintings by Vaughan Flannery, June 22 – October 15, 1991 A note on the back of the panel reads: “When I first saw Snow Goose, she was a black foal with a black tail and mane and her face was shedding off and revealing grey.

Judy O’Grady objected to my easel and wanted to run me out of the paddock so I painted them that day in the box stall after the noon feeding. The mare slept while the foal rested and watched every move I made while painting her. – V.F.”

Inscribed: “Mahmoud Filly, Judy O’Grady, with Snow Goose at Foot / Vaughn Flannery Lexington Kentucky 1944. To Walter Jeffords, Breeder of Snow Goose / From Her First Admirer, Vaughn Flannery” Snow Goose was sired by the Aga Khan’s English champion and Epsom Derby winner Mahmoud and was out Walter Jeffords’ mare Judy O’Grady, a daughter of the great Man o’ War. Snow Goose won the Beldame Handicap, the Ladies Handicap, and the Saratoga Cup. Flannery painted Judy O’Grady and her foal Snow Goose shortly after her birth and gave the painting to Walter Jeffords as a gift.

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55 | Jean-François Raffaëlli (French, 1850–1924)

LE GRAND PRIX A LONGCHAMP Oil, gouache and pencil on paper laid on canvas, 24” x 42” Signed $200,000. – 300,000.

Provenance: Galerie Simonson, Paris Lucien Lefebvre-Foinet, Paris (acquired from the above) Carroll Carstairs Gallery (acquired from the above) Sale: Parke-Bernet Galleries, New York, March 16, 1944, N° 78, illustrated Knoedler Galery, New York (acquired at the above sale) Private collection of Josephine Abercrombie (acquired from the above on January 9, 1959) Stanley D. Petter, Jr. (acquired from the Estate of Josephine Abercrombie, Pin Oak Stud, 2022) Exhibition: 1929 (November 5-20), Paris, Galerie Simonson, Oeuvres par J.-F. Raffaëlli, N° 60

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Related work: Le Grand-Prix de Paris, 1906, engraving, 59 x 97.8 cm, illustrated in: Loys Delteil, Le peintre graveur illustré, (XIXe et XXe siècles), Tome seizième, Jean-François Raffaëlli, Paris, 1923, N° 74 Born in France in 1850 to a bourgeoise family of Tuscan decent, Jean-François Raffaëlli enjoyed a privileged upbringing until his teenage years, when his father’s textile business failed and JeanFrançois was forced to fend for himself. Raffaëlli is considered a “realist” by most art historians and by the art critics of his time, and while he had deep ties to the early Impressionist movement, Raffaëlli did not consider himself a part of any one movement and rejected all attempts to classify his art. He believed that, above all, an artist’s duty was to render the essence of the contemporary society in which he lived, stating: “My subject is all of Paris,

I aim to paint the beauty of Paris as well as its wretchedness.”

He is primarily remembered for his depictions of the latter: “the wretched,” the poor downtrodden peasants that populated Paris. Art critic Albert Wolff wrote: “Like Millet he [Raffaëlli] is the poet of the humble. What the great master did for the fields, Raffaëlli begins to do for the modest people of Paris. He shows them as they are, more often than not stupefied by life’s hardships.”

Raffaëlli formed a friendship with Degas in the late 1870s, and at Degas’ continued insistence he exhibited a large number of works at the Fifth and Sixth Expositions Impressionnistes in 1880 and 1881. Raffaëlli’s paintings, of which there were far more of than any other artist (44 in ’80 and 34 in ’81), were universally praised by the critics, while many of the other artists’ entries were disregarded and even mocked. One critic wrote: “Quite apart I place Mr. Raffaëlli whose research differs absolutely from that of the rest of the group. This one is, on the contrary, refined in detail, an outrageous rendering.” Another critic articulated Raffaëlli’s divergence from the “impressionists” in these terms: “M. Raffaëlli is a sincere artist who makes not an impression, but a deliberate kind of painting, very studied, finished, of compact design.” Monet withheld his works from the ’80/’81 exhibitions to protest Degas’ insistence on Raffaëlli’s inclusion. Before the 1882 exhibition, Monet banded together with Caillebotte, Gauguin, and Guillaumin and told Degas that Raffaëlli was out.

Degas, Rouart, Cassatt, Forain, and Tillot resigned from the group in protest.

Le Grand Prix a Longchamp, painted circa 1906, is most certainly a deviation from the works for which Raffaëlli is known, both in style and subject matter. The painting on offer could be classified as highly impressionistic; the viewer can see a touch of Monet’s pallet, technique, and style in the trees bracketing the grandstand; the subject matter is reminiscent of Manet, Monet, and Forain.

The use of color and light, and the way the image is cut off in the middle of the composition, are decidedly impressionistic traits. One can even see a bit of the Post-Impressionists’ influences in the distorted forms of the horses and the almost pointillist manner in which Raffaëlli handled the spectators in the grandstand. Perhaps the most noticeable difference between Le Grand Prix a Longchamp and many of Raffaëlli’s other notable works is the deviation in subject matter: Where are the “modest people of Paris,” the wretched souls “stupefied by hardship?” We will allow Raffaëlli to answer this question. The following comes from his foreword in the catalogue for an 1899 exhibition at the

Art Institute of Chicago, where Raffaëlli had previously exhibited in 1894.

You will find what, perhaps, to you will be an indefinable change between my present work and that of a few years since. I desire to explain this change to you as I have explained it to myself. My life has not been an easy one, for I was brought up in luxury until I was fifteen, when within a few years my family lost its entire fortune and I became acquainted with the most grinding poverty. At that period, I painted with the greatest sincerity my hopelessness, my bitterness, my anger, my madness. It follows then that my art was a violent art, somber, bitter, hopeless. I was at that time consumed with the greatest pity and commiseration for those who had been defeated in the great battle of life. I passed several years in such a state of mind as could only inspire an art sad and vibrating with a generous pity.

But as the years rolled by they brought great changes into my life.

First, my poverty was changed if not into immense riches at least into a comfortable independence. Then, too must I make the confession, my artistic successes have been such that all my bitterness has fled.

Many of my pictures are in the best galleries in the world. The strange effects of my first trip to America, with its vivid impressions, must also be taken into account. I here discovered an unending hope for all men who have confidence in their own power. Why not also acknowledge that the success of my own efforts has brought me to believe in happiness. Since by sad sights my melancholy was not soothed, I was forced to supply by my art my great desire for charm, for beauty, grace, elegance, poetry, tenderness and the sweetness which could not flourish during my years of hardship. So that at this period I paint the portraits of young girls, the portraits of children, flowers, the sun light, all things pleasing.

So after all the storms of youth I have gradually arrived at some degree of serenity, with which it is so well to finish; it is the expression most suitable to the whitening beard. Thus, if life be a succession of accidents, it must be that the oftener they are overcome the less they move us. Why not confess that one finally is tempted to laugh at it all? Again, I say it is well, it is good to quit life in an amiable and generous fashion. It is the attitude of a man who has suffered, thought, loved, worked, in a word, lived, and who is none the vainer for it. — November 9, 1899, JF Raffaelli We thank Galerie Brame & Lorenceau for kindly confirming the authenticity of this work, which will be included in their forthcoming Jean-François Raffaëlli computerized catalogue critique now in preparation.

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56 | Richard Stone Reeves (American, 1919–2005) LUCKY LUCKY LUCKY Oil on canvas, 28” x 36” Signed, inscribed, dated ’85 $20,000. – 30,000.

Bred in Kentucky by Leslie Combs II’s Spendthrift Farm, Lucky Lucky Lucky raced for Combs and Equites Stable. Trained by D. Wayne Lukas, she retired with six wins from 22 starts and earnings of $847,126. As a 2-year-old, she won the Matron, Alcibiades, and Gardenia stakes, and at 3 she won the Kentucky

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Oaks, Black-Eyed Susan, and Arlington Oaks. In her 22 starts, Lucky Lucky Lucky either won or placed in 15 stakes—14 of them graded, and seven of them grade 1. Lucky Lucky Lucky, then in foal to Northern Dancer, brought a record price of $3 million at the 1986 Keeneland January Horses of All Ages Sale.

57 | Richard Stone Reeves (American, 1919–2005) SARATOGA Oil on canvas, 20” x 29” Signed, inscribed $25,000. – 35,000.

Illustrated: Richard Stone Reeves, Crown Jewels of Thoroughbred Racing, Lexington, Kentucky: The Blood-Horse Inc., 1997, page 109 This work also appears on the cover of Crown Jewels of Thoroughbred Racing.

“No track anywhere in America is more hallowed than Saratoga, which opened its gates in 1864, despite the Civil War. It is the oldest course still in operation in North America. The ancient but stately grandstand has been extended over the years but still retains its magical charm. A majority of the really great American

champions have raced here for almost a century and a half. To me, the steeplechasing events, now abandoned at all other major American tracks, are amongst Saratoga’s treasured traditions.

This painting shows six champion steeplechasers of former years circling for the start of an imaginary race. From left to right, they are: Highland Bud (1989), Soothsayer (1972), Neji (1955, ’57 & ’58), Flatterer (1983, ’84, ’85, & ’86), Zaccio (1980, ’81 & ’82), and Café Prince (1977 & ’78). An outrider looks on.”

— Richard Stone Reeves, Crown Jewels of Thoroughbred Racing, page 190.

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58 | Richard Stone Reeves (American, 1919–2005) RIVA RIDGE Oil on canvas, 22” x 28” Signed, inscribed, dated 1972 $20,000. – 25,000.

Provenance: The Chenery/Tweedy family While often overshadowed by his more famous younger stablemate Secretariat, Riva Ridge was a champion in his own right. Penny Chenery considered Riva Ridge the horse that “saved the farm.” As a juvenile, the speedy front-running colt swept nearly all of the major East Coast stakes, winning seven of nine starts and a 2-year-old championship. His success continued at 3, garnering the prestigious 1972 Kentucky Derby and Belmont

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Stakes among other victories. In his final season as a 4-year-old, Riva Ridge earned yet another championship while establishing two track records and one world record in the process, retiring with career earnings totaling $1,111,347. Depicting the horse in Saratoga with groom Eddie Sweat and trainer Lucien Lauren, this particular painting adorned the cover of the July 14, 1973, issue of the Thoroughbred Record following Riva Ridge’s world record-breaking performance in the Brooklyn Handicap to become racing’s 12th million-dollar earner.

59 | Richard Stone Reeves (American, 1919–2005) HILL PRINCE Oil on canvas, 18” x 26” Signed, dated ’50 $15,000. – 20,000.

Provenance: The Chenery/Tweedy family Bred and owned by Cristopher Chenery, Hill Prince was sired by Princequillo, a great racehorse in his own right, and out of the Blue Hen mare Hildene. Hill Prince won the Babylon Handicap, the Cowdin Stakes, and the World’s Playground Stakes as a 2-year-old. In his 3-year-old campaign he was victorious in the Preakness Stakes, American Derby, Jerome Handicap, Jockey Club Gold Cup, Wood Memorial, Withers Stakes, and Sunset Handicap, as well as running second in the Kentucky Derby. At 4 and 5 years old, Hill Prince won the New York and San Marco

handicaps. Hill Prince was named champion 2- and 3-year-old male, Horse of the Year in 1950, and Champion handicap horse in 1951.

Hill Prince stood at Claiborne Farm, where he sired 23 stakes winners, including the 1957 American champion 3-year-old Filly Bayou, as well as Coaching Club American Oaks winner Levee and Gardenia Stakes winner Pepperwood. He was more important as a broodmare sire and was the damsire of Hall of Fame horses Shuvee and Dark Mirage.

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60 | John Skeaping (British, 1901–1980)

IN THE TURN, HEADING FOR HOME Watercolor, 21” x 30” Signed, dated ’70 $3,000. – 5,000.

Provenance: Arthur Ackermann and Son

61 | John Gregory King (British, 1929–2014) EPSOM DOWNS Watercolor, 21 ½” x 29 ½” Signed, inscribed ‘Epsom, 1979’ $2,000. – 3,000.

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62 | Emilio Grau-Sala (Spanish, 1911–1975) AUTOMNE, 1964 Oil on canvas, 25 ½” x 32” Signed, titled verso $20,000. – 25,000.

Provenance: Ansorena Auctions, Madrid, Spain, February 19, 2009

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63 | Camile Hilaire (French, 1916–2004) HORSES BEFORE THE RACE Oil on canvas, 15” x 24” Signed $6,000. – 9,000.

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64 | Paul Lucien Maze (French, 1887–1979) ROYAL PROCESSION Oil on canvas, 15” x 36” Signed $9,000. – 12,000.

65 | Paul Lucien Maze (French, 1887–1979) THE PADDOCK Pastel, 15” x 22” Signed $4,000. – 6,000.

Provenance: Red Fox Gallery THE SPORTING ART AUCTION

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66 | Paul Ambille (French, 1930–2010) RACING Oil on canvas, 25 ½” x 36” Signed, dated ’87 $4,000. – 6,000.

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

PARK TOP WITH LESTER PIGGOTT UP IN THE COLORS OF THE DUKE OF DEVONSHIRE Oil on board, 25” x 30” Signed $7,000. – 10,000.

Park Top was owned by the 11th Duke of Devonshire and predominantly ridden by champion jockey Lester Piggott. Her wins included the King George VI and Queen Elizabeth Stakes, the Coronation Cup, Ribblesdale Stakes, Hardwicke Stakes, Cumberland Lodge Stakes, Brighton Cup (twice), and the Prix d’Hédouville in France. She ran a close second in the Prix de l’Arc de Triomphe, as well as in several other prominent races.

Park Top was named Horse of the Year in England in 1969, was named champion older female in England from 1968 through 1970, and was named champion older female in France. The Duke of Devonshire was so enamored with his champion that he wrote a book about the experience titled: Park Top, A Romance of the Turf.

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68 | Doris Clare Zinkeisen (British, 1897–1991) ROYAL ASCOT, BERKSHIRE Oil on canvas, 20” x 24” Signed $3,000. – 5,000.

69 | Jacques Bartoli (French, 1920–1997) RACING Pastel, 18” x 24” Signed $2,000. – 4,000.

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70 | Louis Ferdinand Malespina (French, 1874–1940) RACING SCENE Oil on board, 20” x 39 ½” Signed $4,000. – 6,000.

71 | Katie O’Sullivan (Irish, b. 1959) BEFORE THE RACE Oil on board, 19 ½” x 23 ½” Signed $3,000. – 5,000.

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72 | Allen F. Brewer Jr. (American, 1921–1967)

‘HAIL TO REASON’ & ‘AFFECTIONATELY’ (a pair) Watercolor, 13” x 16” (each) Signed $3,000. – 5,000.

Hail to Reason was named the American champion 2-year-old colt of 1960, a year in which he raced 18 times in nine months and won nine races. He set a track record of :581⁄5 for 5 furlongs in his debut at Aqueduct, followed up by wins in the Youthful, Great American, and Tremont stakes, as well as the Sapling Stakes, World’s Playground Stakes, and Sanford Stakes. The highlight of his campaign was winning the prestigious Hopeful Stakes at Saratoga while setting a new track record of 1:16 for 6½ furlongs. He later became a leading sire whose offspring included 1972 Epsom Derby winner Roberto and leading sire Halo, who in turn sired 1989 Kentucky Derby and Preakness Stakes winner Sunday Silence.

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Affectionately was foaled in 1960 at the farm of Dr. Charles Hagyard in Kentucky, having been bred by the partnership of owner/trainer Hirsch Jacobs and Isidor Bieber. Affectionately won nine of her first 10 starts as a 2-year-old, and at ages 3 and 4 she was very good, winning two Interborough Handicaps, the Vosburgh, and the Correction Handicap. When she turned 5, however, she gained the successes that put her on the list of the 100 best racehorses of the 20th century. Under high weights, she took the Top Flight Handicap, the Vagrancy Handicap, and a number of other important stakes races. She retired sound with 18 stakes wins, one of only two females to break the half-milliondollar earnings mark at that time.

73 | Eugene Pechaubes (French, 1890–1967) COURSE DE CHEVAUX Oil on canvas,13” x 36” Signed $3,000. – 5,000.

74 | Eugene Pechaubes (French, 1890–1967) RACING (a pair) Oil on canvas, 18” x 22” (each) Signed $4,000. – 6,000.

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75 | Randall Davey (American, 1887–1964) WOMAN AT THE RACES Oil on board, 35” x 27” Signed $5,000. – 7,000.

Provenance: Christies: Randall Davey: 100 Works, Auction to Benefit the Audubon Randall Davey Center, Santa Fe, New Mexico, Lot 55, 1985 Exhibited: Santa Fe, New Mexico Fine Arts Museum, Randall Davey, May, 1963 The Jamison Galleries, Santa Fe, NM. Randall Davey, October, 1977 Santa Fe, Museum of Fine Arts, Randall Davey, Artist/Bon Vivant: A Retrospective Exhibition, December – January 1985, no. 29, illustrated (This exhibition traveled on to Midland, Texas, Museum of the Southwest, January – March, 1985 and to Louisville, Kentucky, J.B. Speed Art Museum, March – May 1985)

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76 | Randall Davey (American, 1887–1964) AFTER THE RACE Oil on canvas, 26” x 32” Signed $5,000. – 7,000.

Provenance: Berry Hill Galleries

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77 | Michael Lyne (British, 1912–1989) AT FULL STRETCH Oil on canvas, 28” x 36” Signed $5,000. – 7,000.

Provenance: Frost and Reed The Sportsman’s Gallery

78 | Raoul Millais (British, 1901–1999) THE START Oil on canvas, 20” x 24” Signed $7,000. – 10,000.

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79 | Henry Kohler (American, 1927–2018)

BRAULIO BAEZA AT THE ARC, COLOURS OF J.W. GALBREATH (DARBY DAN) Watercolor, 23” x 18” Signed $3,000. – 4,000.

Provenance: Wildenstein & Co.

80 | Henry Kohler (American, 1927–2018)

ROYAL COLOURS; LESTER PIGGOTT IN THE COLOURS OF HM THE QUEEN Oil on canvas, 16” x 20” Signed, titled, dated 2002 verso $3,000. – 4,000.

Lester Piggott first wore Queen Elizabeth II’s silks as an 18-yearold aboard her horse Perambulator. By the time the legendary jockey’s career was over, he was known as “the Queen’s favorite jockey.” The Queen knighted Piggott in 1975 and at the 2019 Epsom Derby unveiled a statue of him by the winner’s enclosure.

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81 | Sir Alfred James Munnings (British, 1878–1959) YOUNG HERDSMAN AT MENDHAM Oil on canvas, 28” x 36” Signed $250,000. – 350,000.

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Provenance: Private collection, New Jersey Sotheby’s New York, June 9, 1989, no. 372 Artis Group Ltd., New York Private collection, Minneapolis, Minnesota Exhibited: Hillstrom Museum of Art, Animal and Sporting Paintings in the Penkhus Collection: The Very English Ambience of it All, Saint Peter, Minnesota, September 12 – November 6, 2016, illustrated on page 18 Gibbes Museum, Charleston Collects: British Sporting Art from the Penkhus Collection, Charleston, South Carolina, February 7, 2020 – October 4, 2020 Literature: Turner Reuter Jr., “Sporting Art–Thoroughly Modern Munnings,” Spur Magazine, July/August 1991, page 89 During the first decade of the 20th century, there was a renewed national interest in English rural life and its native people. This “back to the land” movement had begun by the end of the 1880s and continued through the Edwardian era. Various societies and magazines such as Country Life were established during this period to broaden the awareness of the British countryside. Rural genre scenes were commonplace in the Royal Academy exhibitions at the time and were highly collected and desirable pictures. The subject matter was a natural fit for Munnings, who was well equipped to produce such imagery as he frequently traveled the English countryside on painting expeditions.

The current work depicts a young herdsman in Mendham, not far from the artist’s Suffolk home at Castle House, Dedham.

Emerging from the foliage in a moment of rest, the boy appears indistinguishable from the land, the earthen color of his jacket and trousers suggesting the intrinsic relationship between the land and its agrarian workers. There are many bovine subjects in Munnings’ oeuvre, but brown and white cows featured in his works as early as 1902. And though the title of the painting describes the farmhand, the cow is the true subject of the work.

Encircled with incidental elements such as the form of the farmhand and the light shades of color parallel to the bovine’s back, the cow emerges dramatically from the canvas. Munnings has laid down bright patches on brilliant white on her back, and sensitively highlighted the tip of the ear and horn. The care taken with these select strokes contrasts greatly with the fluidity of the surrounding brushwork and suggest the sensitivity with which he treated his bovine subject.

Painted in 1910, this work is characteristic of Munnings’ early experimentation within the Impressionist tradition and exhibits the expressive and loose brushstrokes favored by the artist in his early career. Despite being remembered as one of the finest equestrian artists of all time, Munnings proclaimed in his memoirs that cows were a superior subject to paint. In fact, Munnings was so fond of painting cattle the he purchased his own to model for pictures between 1911-14.

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82 | Sir Alfred James Munnings (British, 1878–1959) AFTER THE FAIR Watercolor, 11” x 14” Signed, dated 1904 $15,000. – 20,000.

Provenance: Frost and Reed Sotheby’s London, December 14, 2017 The back of the infamous Nags Head Inn on Ber Street, Norwich, forms the backdrop to this typically well-observed early Munnings scene. Every Saturday morning the local Norwich community and characters from the surrounding country would come to the fair to buy and sell all manner of items. Continually seeking equestrian models for his pictures, Munnings was a regular at the East Anglian horse fairs. He was an avid observer of the colorful characters in attendance and enjoyed the lively banter of the dealers and their picturesque clothing. Working quickly in watercolor, he was able to capture the spontaneity of the interactions.

At this time, free from his years of study at the Norwich School of Art and working long hours in his duties at Page Brothers

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Lithographers, Munnings was now making a living and enjoying life to the fullest. He had established a reliable source of models among the sometimes less-than-reliable. “Artists in the country have drawn their models from the young, aged, or loafing fraternity not engaged in regular work. And there they were for the asking. They loved posing, and still better, they loved seeing a sovereign or a pint of beer.” (An Artist’s Life, pages 110-113) The figure standing to the right is wearing a traditional horse dealer’s costume with his distinctive black velvet coat pockets.

Munnings had one of these made up for his models to wear, and it was featured in several of his finished oils. This evocative and colorful picture so wonderfully brings to life the lively atmosphere of those bustling mornings at Norwich below the towering castle, mornings that would lead to long afternoons and evenings at Nags Head Inn.

83 | Sir Alfred James Munnings (British, 1878–1959) PORTRAIT OF A LADY, SKETCH OF FARMERS AND HOGS (double-sided) Pencil, 8” x 6 ½” Initialed $2,000. – 3,000.

84 | Sir Alfred James Munnings (British, 1878–1959) HORSES’ HINDQUARTER AND LEG STUDIES Pencil, 8 ½” x 6” (each) Initialed, dated ’26, variously inscribed $4,000. – 6,000.

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85 | Larry Dodd Wheeler (American, b. 1942) CROSSING THE CREEK Oil on canvas, 18” x 36” Signed $5,000. – 7,000.

86 | Melinda Brewer (Canadian, b. 1957) FOCUS Watercolor, 10” x 19” Signed $3,000. – 5,000.

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87 | John Rotherham (British, b. 1968) WIRE HAIRED Charcoal, 23” x 17” Signed $1,500. – 2,500.

88 | Andre Pater (Polish/American, b. 1953) BLACK LAB STUDY Charcoal, 14” x 11” Signed $4,000. – 6,000.

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89 | Dede Gold (Irish, b. 1971) HEAVENLY HARVEY Oil on canvas, 48” x 30” Initialed $6,000. – 9,000.

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90 | Julie Ann Bull (British, b. 1964) YOUNG FOX Oil on board, 16” x 12” Signed $1,000. – 2,000.

91 | Kelly Robertson Brewer (American, b. 1970) HOUNDS Oil on canvas, 28” x 22” Signed $6,000. – 9,000.

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92 | John Trickett (British, b. 1963) ELK IN LANDSCAPE Oil on canvas, 16” x 30” Signed $4,000. – 6,000.

93 | John Trickett (British, b. 1963) BLACK LAB CHASING Oil on canvas, 20” x 24” Signed $3,000. – 5,000.

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94 | Jeffrey T. Larson (American, b. 1962) PINTAIL Oil on canvas, 20” x 30” Signed $18,000. – 22,000.

95 | Suzy F. Smith (American, b. 1951) WHITE LAB Pastel, 17” x 16” Signed $3,000. – 5,000.

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96 | David Hagerbaumer (American, 1921–2014)

‘THROUGH THE PINES,’ ‘GAMEBIRDS I,’ AND ‘GAMEBIRDS II’ (group of three) Watercolor, 11 ½” x 15” (two), 9 ½” x 12 ½” (one) Signed $5,000. – 7,000.

“About 35 years ago, on a freelance dove hunt in South Carolina, I ran across this burned-over patch of ground. Across a swale was the remains of an old homestead. Only the stone chimney of the house remained but a few of the outbuildings had been spared. Charred snags were scattered about the burn

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among a few new pines that were doing their best to reforest.

I’m a sucker for poking about abandoned buildings and such, and would have done so here, but an afternoon flight of doves commenced and I sorta got sidetracked!”

— David Hagerbaumer

97 | David Hagerbaumer (American, 1921–2014)

‘STORMCLOUD: PINTAILS,’ ‘MALLARDS,’ AND A PAIR OF GAMEBIRDS (group of four) Watercolor, 21 ½” x 29 ½” (Stormclouds), 13 ½” x 19” (Mallards), 7 ½” x 9 ½” (two) Signed $15,000. – 20,000.

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98 | Jim Starr (British, b. 1976)

PHEASANT STUDY III Oil on canvasboard, 24” x 48” $5,000. – 7,000.

99 | David Quinn (British, b. 1959)

BLACKBURNIAN WARBLER IN A SPRUCE TREE Acrylic on board, 16” x 12” Signed, dated ’23 $4,000. – 6,000.

Quinn has been an illustrator for Bird Watcher’s Digest, National Geographic’s Field Guide to Birds of North America and National Geographic’s Complete Birds of North America.

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100 | Raymond Booth (British, 1929–2015) BARN OWL ON A WINTER EVENING Oil on board, 39” x 41” Signed, dated 1982 $15,000. – 20,000.

Provenance: Peter Tillou, Leitchfield, Connecticut Exhibited: The Fine Art Society, London, November, 1982, No. 34, illustrated in the catalogue

Family tradition says that Tillou heard that Queen Elizabeth II had visited an exhibition of paintings by Booth and purchased several, and that he subsequently went to the gallery and bought what remained of the artist’s work.

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101 | Rachael Van Dyke (American, b. 1972) TWO TURKEYS Acrylic on paper, 57” x 51” Signed $5,000. – 7,000.

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102 | Leslie Peck (American, b. 1965) ROYAL PALM TURKEY Oil on canvas, 30” x 30” Signed $4,000. – 6,000.

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103 | Tony Henneberg (German/American, b. 1966) BELTED KINGFISHER Watercolor, 17” x 24” Signed, dated ’99 $2,000. – 3,000.

104 | Emma Faull (British, b. 1956)

GOLDFINCH IN SUMMER MEADOW, ENGLAND Watercolor, 22 ½” x 19” Signed, dated 2023 $4,000. – 6,000.

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105 | Diana Tremaine (American, b. 1964)

BY THE SHORE Oil on canvas, 40” x 40” Signed, titled, dated 2023 verso $6,000. – 9,000.

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106 | Beatie Clay (American, b. 1951) HERON Oil on canvas, 25 ½” x 25” Signed $4,000. – 6,000.

107 | Tyler Robertson (American, b. 1981)

‘RAINBOW TROUT’ & ‘RED DRUM’ (a pair) Pastel, 10” x 24” (each) Signed $5,000. – 7,000.

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108 | Chet Reneson (American, b. 1934) SURF CASTING Oil on board, 22” x 36” Signed $3,000. – 5,000.

Provenance: King Gallery/The Sportsman’s Edge

109 | Larry Dodd Wheeler (American, b. 1942) BOCA GRANDE Oil on board, 18” x 24” Signed $3,000. – 5,000.

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110 | Andrew Bolam (British, b. 1971) NORTHERN GENTLEMAN Oil on canvas, 40” x 40” Signed, titled verso $8,000. – 10,000.

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111 | Steve Burgess (British, b. 1960) RIVALS Oil on board, 36” x 24” Signed $7,000. – 10,000.

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112 | Serhiy Hai (Ukranian, b. 1959) BIG BLUE Oil on canvas, 51” x 51” Signed, dated ’23 $20,000. – 25,000.

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113 | Julie T. Chapman (American, b. 1963) FIRE OF BEING Mixed Media, 30” x 40” Signed $12,000. – 16,000.

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114 | Michael J. Austin (British, b. 1959) AFTERLIGHT Oil on canvas, 51” x 35 ½” Signed $7,000. – 10,000.

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115 | Jaime Claire Corum (American, b. 1973)

Proven

SEPTEMBER Oil on canvas, 35” x 42” Signed $7,000. – 10,000.

In a ra 15 tim runnin of his s Stakes, old sea the 2,0 Stakes, Stakes.

Lord G his int his ow for his Lichfie

116 | Larry Dodd Wheeler (American, b. 1942) CUMBERLAND RUINS Oil on board, 18” x 24” Signed $3,000. – 5,000.

From a a leadin in late a week

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117 | Jo Taylor (British, b. 1969) POWER Mixed Media, 45” x 68” Signed $12,000. – 15,000.

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118 | Jo Taylor (British, b. 1969) HARMONY Mixed Media, 34 ½” x 59” Signed $9,000. – 12,000.

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119 | Jill Soukup (American, b. 1969) TINK & PICKLES Oil on board, 38” x 26” Signed, titled, dated 2022 verso $9,000. – 12,000.

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120 | David Noalia (Spanish, b. 1980) SEVILLANO, CABALLO Oil on canvas, 39 ½” x 39 ½” Signed, titled, dated 2021 verso $6,000. – 9,000.

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121 | Diana Tremaine (American, b. 1964) LOOKING FORWARD Oil on canvas, 48” x 48” Signed, titled, dated 2023 verso $9,000. – 12,000.

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122 | Connor Liljestrom (American, b. 1995)

THOUSAND 141 Oil, oil stick, and oil pastel on paper, 30” x 22 ½” $2,500. – 3,500.

The model for this work is the Julliard-trained actor Golden Garnick, taken from a day of shooting at 3 Spear Ranch in Wyoming.

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123 | David Kammerzall (American, b. 1953) TOM MIX AND THE MISSING DOT Oil on canvas, 28” x 28” Signed $5,000. – 7,000.

“This piece is a portrait of early Western film star Tom Mix. Mix was a fascinating blend of a real, working cowboy and a Hollywood cowboy. He starred in nearly 300 films, most of them lost today.

He befriended Wyatt Earp and was a pallbearer at Earp’s funeral in 1929. Newspapers reported that Mix cried during the service.

I’ve painted Tom Mix several times as his personae, wardrobe, and facial features all are of interest to me. He is the embodiment of the nostalgic, glamorized, Hollywoodized West that I try to capture in my pieces.

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Tom Mix & The Missing Dot is so named because there’s one dot in the background pattern that I neglected to paint. At first, I was going to paint it in but then decided not to for a bit of whimsy and the title. Sounds a bit like an adventure story, doesn’t it? Tom did have a line of comic books to add to his notoriety.

I also thought this would add kind of a fun Where’s Waldo thing to the piece and viewers can search for the missing dot.”

— David Kammerzell

124 | David Kammerzall (American, b. 1953) PEARL O MY HEART Oil on canvas, 30” x 24” Signed $5,000. – 7,000.

Pearl Hart was a Canadian-born outlaw of the American Old West. She committed one of the last recorded stagecoach robberies in the United States, and her crime gained notoriety primarily because of her gender. She was also known as “Bandit Queen” and “Lady Bandit.” Many details of Hart’s life are uncertain, with available reports being varied and often contradictory. Born Pearl Taylor in the Canadian village of Lindsay, Ontario, Hart’s parents were both religious and affluent and, when she was 16, enrolled her in a boarding school where she became enamored with— and married—a young man named Hart. In 1893 the couple attended the World’s Fair in Chicago, where Pearl developed a fascination with the cowboy lifestyle while watching Buffalo Bill’s Wild West Show. When the fair was over, Hart left her husband and headed West, where she worked as a cook and singer, possibly supplementing her income as a saloon girl, and reportedly developing a fondness for cigars, liquor, and morphine.

Looking to raise money, Hart and an acquaintance known only as “Joe Boot” decided to rob a stagecoach in Arizona in 1899.

The pair were ultimately caught and taken to jail. But the novelty of a female stagecoach robber quickly spawned a media frenzy, and national reporters soon joined the local press in clamoring to interview and photograph Hart. One article in Cosmopolitan said Hart was “just the opposite of what would be expected of a woman stage robber.” Boot and Hart were acquitted, then committed another crime and returned to jail—from which Hart escaped, only to be quickly recaptured. The attention that Hart had received in jail continued once she was imprisoned.

The warden, who enjoyed the attention she attracted, provided her with an 8-by-10 foot mountainside cell that included a small yard and allowed her to entertain reporters and other guests, as well as pose for photographs. After being released from prison, Hart largely disappeared from public view. It is said that she worked, under an alias, as part of Buffalo Bill’s Wild West Show.

Hart’s exploits would be memorialized in Western pulp fiction comics, books, musicals, and plays. Her gun is on display at the Yuma Territorial Prison Museum.

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125 | Hubert de Watrigant (French, b. 1954) PRIDE OF THE SIOUX Oil on paper, 38 ½” x 26” Signed $7,000. – 10,000.

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126 | Andre Pater (Polish/American, b. 1953) STUDY FOR RED ARROW Pastel, Charcoal, 36” x 25 ½” Signed $20,000. – 25,000.

Provenance: The Sporting Art Auction, lot 132, November 21, 2016 Illustrated: A Matter of Light: The Art of Andre Pater, Lexington, Kentucky: Fincastle Publishing, 2019, page 229 “Depicted here is a Lakota warrior, approx. 1870, in full regalia; wearing a buckskin war-shirt decorated in locks of horsehair and scalps along his arm, and draped in a buffalo robe. Each aspect of this warrior’s dress signifies honor and accomplishment. In his right hand he holds a fan made from the right wing of an

eagle, itself adorned with yellow and orange beads made from porcupine quills. On his chest hangs a peace medal alongside his war-whistle; one, a guarantee of peace given to prominent Native American war chiefs; the other, a tool to communicate during battle. It was fashionable to dress in an asymmetrical way; i.e., the seashell earring on only one ear, the marking on only one side of his face, the hair-braids on either side, one wrapped in skunk fur, the other in crimson wool, and lastly, the red arrow adorning his head, which signified his status in the war council. All of these elements are an expression of the noble nature of his culture, and his individual pride.” — Andre Pater THE SPORTING ART AUCTION

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127 | Andre Pater (Polish/American, b. 1953) WISE MAN Pastel/Charcoal, 19 ½” x 12 ½” Signed $4,000. – 6,000.

Illustrated: A Matter of Light: The Art of Andre Pater, Lexington, Kentucky: Fincastle Publishing, 2019, page 238

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128 | Andre Pater (Polish/American, b. 1953) SUMMER Oil on canvas, 28” x 34” Signed $40,000. – 60,000.

Exhibited: The Colorado Historical Society

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129 | Beatie Clay (American, b. 1951) COW Oil on canvas, 29” x 28” Signed $4,000. – 6,000.

130 | Suzy F. Smith (American, b. 1951) HEIFER 23 Oil on board, 12” x 12” Signed $1,000. – 1,500.

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131 | Eyvind Earle (American, 1916–2000) CATTLE IN A LANDSCAPE’ Oil on board, 24” x 36” Signed, dated 7-10-98 $18,000. – 22,000.

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132 | Hunt Slonem (American, b. 1951) FLY HIGH MORNING CLOAK Oil on board, 20” x 15 ¾” Signed, titled, dated 2023 verso $10,000. – 15,000.

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133 | Walter Matia (American, b. 1953) TURKEY Bronze, 37” x 34” Signed, dated 2002 $9,000. – 12,000.

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134 | Nick Bibby (British, b. 1960) INGRID, ROYAL SHOW BREED CHAMPION Bronze, #6/12, 6” x 11” Signed $10,000. – 15,000.

“Large Blacks are one of my favorite breeds of pig — I love the long lines of these gorgeous, glossy black, pigs! This is Crane Nocturne 56, or ‘Ingrid’ to her friends. A Royal Show Breed Champion and mother of champions, she is a superb example of her breed and [I think] her portrait makes an equally beautiful little bronze, showing off all that I love about these charming animals in its deceptive, almost Art Deco, simplicity.” — Nick Bibby

135 | Walter Matia (American, b. 1953)

‘A POINTER’ & ‘A SETTER’ (Book Ends) Bronze, #4/100, 7” x 5” each Signed $2,000. – 3,000.

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136 | George Claxton (American, 1947–1995) HORSE AND JOCKEY Bronze, 14 ¾” x 15” Signed, Tallix Foundry mark $5,000. – 7,000.

137 | Susan Leyland (British, b. 1952) TERRA DI CAVALLI Fired Clay, 14 ½” x 15 ½” $6,000. – 8,000.

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138 | Tristram Lewis (British, b. 1964)

FRANKIE DETTORI - GOING OUT AT ASCOT Bronze, #2/5, 23” x 26” Signed, Morris Singer Foundry mark $18,000. – 22,000.

This piece was originally conceived as a tribute to mark Frankie Dettori’s retirement from racing in 2023. The first of these casts is part of the Jockey Club’s collection and is on display at their headquarters in Newmarket, England. This second cast is one of the original quarter-scale maquettes and was shown at Royal

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Ascot throughout the 2022 and 2023 seasons, after which Ascot Racecourse commissioned a life-sized cast of this sculpture, which was to be unveiled on Quipco Champions Day, October 21, by Her Majesty Queen Camilla.

139 | Charlie Langton (British, b. 1983) THE FOAL AND THE WAGTAIL Bronze, 27 ⅓” x 16 ½” Signed, titled $10,000. – 15,000.

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140 | Dr. Adrian E. Flatt (British/American, 1921–2017) ANDREW WYETH’S HANDS Bronze, 2 ½” x 7” (each) Stamped ‘AW’ $15,000. – 20,000.

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Provenance: Dr. Peter M. Coggins, Wilmington, Delaware Included with a note from Betsy Wyeth to Dr. Coggins that reads: “A Valentine for Peter – Who saved the most important right hand in American Art and a neck to squeeze.

Love – Betsy February 14, 2006” While our hands are important to all of us, Wyeth once said, “I wish I could paint without me existing – that just my hands were there.” (Life Magazine, May 14, 1965, page 114) The artist was never one for self-portraits, though in his 1994 work Breakup, he painted a set of these hands coming through the ice of a winter riverscape.

In 1976 Betsy Wyeth commissioned Dr. Flatt to make a cast of her husband’s hands in fiberglass. In 1985 they were cast in bronze by the Laran Bronze Foundry of Chester, Pennsylvania.

Flatt had been the director of the division of hand surgery at the University of Iowa, chief of surgery at Norwalk Hospital, and a clinical professor at Yale by the time he was contacted by Mrs. Wyeth. What began as casting patients’ hands before surgery became a hobby that led Dr. Flatt around the world, eventually creating casts of multiple U.S. presidents, British prime ministers, Louis Armstrong, Joe DiMaggio, and many others. Today this collection can be seen at the Baylor University Medical Center in Dallas. A cast of these hands is a part of that collection.

Wyeth suffered from Dupuytren’s contracture in his right hand, a condition that causes an abnormal thickening of tissues in the hand that might develop into a hard lump and cause the fingers to curl into the palm. Given this condition, Wyeth thought he would no longer be able to continue his work. Dr. Coggins was a friend and neighbor of the Wyeths and performed the surgery that allowed the “most important right hand in American Art” to continue working.

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141 | Max Tannahill (Irish, b. 1959) SMOKEHOUSE Wood, Metal, 25 ½” x 16” Signed, dated 2022 $5,000. – 7,000.

142 | Max Tannahill (Irish, b. 1959) SARDINES Wood, Metal, 4 ½” x 11 Signed, dated 2023 $3,000. – 5,000.

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143 | John Skeaping (British, 1901–1980) LESTER PIGGOTT Bronze, #17/20, 11” x 19” Signed, dated ’78 $6,000. – 9,000.

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Secretariat: 50th Anniversary Man o’ War and Secretariat were about a half-century apart from each other. Man o’ War retired to stand as a Kentucky stallion in 1920. Secretariat was foaled in Virginia in 1970, and his artful performances graced American racing some half-century after Man o’ War left the racetracks of his own youth. Both went down in history having summoned the affectionate nickname of Big Red. When the 20th century had run its course, Man o’ War and Secretariat were voted first and second among racehorses who had graced American tracks. The vote was conducted by a panel convened by The Blood-Horse, an enduring publication dedicated to the Thoroughbred industry.

As we near the final month of 2023, the 50th anniversary of Secretariat’s Triple Crown has been celebrated anew over the course of the year. Tonight, 15 pieces of Secretariat in art are presented, and they represent a combination of professionalism, respect, awe, and innovation that touched the spirit and talent of a variety of sensibilities.

From our viewpoint, in some 60 years of observing and commenting on Thoroughbred racing, we have on occasion — very rarely — been moved to turn to specific words of Ralph Waldo Emerson and steal them for a horse. And so, we would quote: “Born for success he seemed, with grace to win, with heart to hold, with startling gifts that took all eyes.” Secretariat certainly was deserving of those lines.

Secretariat was a colt of stunning looks, a glossy chestnut coat, rippling power suggested from every vantage point, a large intelligent eye, and majestic bearing. His performances bore out the highest ambitions and hopes such a colt would summon in any breeder, owner, trainer, and jockey. Here, too, Secretariat was touched by magic. His breeder was a distinguished industrialist and sportsman, Christopher Chenery; his main manager-owner the vivacious and charming Penny Chenery Tweedy; his trainer and his jockey, Lucien Laurin and Ron Turcotte, respectively, with their individual accents from origins in Canada.

The times were right for a horse to be appreciated by the public in a special way. The strife of the Vietnam War and 1960s/70s civil unrest meant that this equine cover boy of Times, Newsweek, and Sports Illustrated brought the gifts of beauty and nobility

to public conscience, if even for a few minutes at a time. His exhibitions of elegance, power, and perfection were savored by racetrack crowds and TV viewers alike.

The Triple Crown series of the Kentucky Derby, Preakness Stakes, and Belmont Stakes had emerged as the centerpiece of American horse racing. It had been swept by eight champions from 1919 through 1948, and then a perplexing thing happened: Drought! No horse, however brilliant and well equipped, had managed to win all three races for 25 years — a full quartercentury. Capriciously, the sporting fates had decreed that the Triple Crown in absentia became more of a cherished Everest than it had in years of frequent conquest.

Secretariat broke that dry spell in the spring of 1973. He won all three races in the fastest times of their history, and his incomparable performance in the final race, the Belmont, was a spellbinding symphony never to be forgotten. He was in front from the beginning and his gradual increase of margin led to race caller Chic Anderson’s legendary phrase “like a tremendous machine” from. Secretariat won by 31 lengths and his time of 2:24 remains the American record for 1½ miles on a dirt track.

Seldom does one recognize the magnitude of what is being seen at the very moment of achievement. This was such a case.

Mankind has honored Secretariat in many ways: statues at the Kentucky Horse Park and at a roundabout on Old Frankfort Pike outside Lexington; celebrations, murals, and parks in Paris, Kentucky, where he stood at stud at Claiborne Farm; and in Virginia, his birthplace. Many books and even a movie have been devoted to the grand champion.

From the art depicted on the following pages, additional evidence of such devotion reaches out — in brush strokes, sculpture, and the like. In elegance, devotion of detail, or whimsical fondness, each pays homage to Secretariat and to the magical species which moved the author D. H. Lawrence: “Far back, far back in our dark soul the horse prances … The horse, the horse! The symbol of surging potency and power of movement, of action.”

— Edward L. Bowen

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144 | Richard Stone Reeves (American, 1919–2005) SECRETARIAT Oil on canvas, 20” x 24” Signed, inscribed $75,000. – 100,000.

Illustrated: Richard Stone Reeves, Belmont Park: A Century of Champions, Lexington, Kentucky: The Blood-Horse Inc., 2005, page 105 “From all perspectives Secretariat was the very essence of the ideal Thoroughbred. He had ‘box office’ appeal like no other horse since Man o’ War and drew large crowds wherever he raced. Even non-racing fans were drawn to the track. I don’t remember an easier or more rewarding subject to paint. He seemed to enjoy

posing. This painting shows the chestnut champion in the historic paddock at Saratoga. Held by groom Eddie Sweat, he eyed his jockey and friend Ron Turcotte while exercise rider Charlie Davis looked on. All three men played a big part during the thrilling racing career of America’s most beloved Thoroughbred.”

— Richard Stone Reeves, Belmont Park: A Century of Champions, page 104

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145 | Jim Reno (American, 1929–2008)

SECRETARIAT CONFORMATION Bronze, #7/100, 15” x 19 ½” Signed $7,000. – 10,000.

146 | Jim Reno (American, 1929–2008) SECRETARIAT Bronze, #9/50, 20” x 29” Signed $9,000. – 12,000.

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147 | LeRoy Neiman (American, 1921–2012) SECRETARIAT Oil on board, 20” x 24” Signed, dated ’73 $125,000. – 150,000.

Illustrated: Leroy Neiman: Art & Lifestyle, New York: Felicie Publishers, 1974, page 31 This work was reproduced as a limited-edition signed and numbered serigraph.

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148 | Jaime Claire Corum (American, b. 1973)

THE STRIDE OF SECRETARIAT (MUYBRIDGE SERIES) (set of 18) Oil on canvas, 18” x 24” each Signed verso $25,000. – 30,000.

With a clear nod to Edweard Muybridge’s famous stop-motion photography of the galloping horse, these 18 paintings represent 18 “moments” still-framed from a single gallop stride. But they do not depict just any horse — these represent the stride of the great Secretariat. Still-framed from grainy 1970s slowmotion footage of Secretariat breezing, it took much research to accurately describe his musculature on each still frame and capture the way his body uniquely moved at full gallop on the track. The compression and extension that his stride exhibits

are phenomenal, much like a powerful piston-driven engine.

These still frames allow the viewer to analyze and “deconstruct” his beautifully efficient stride in a new and unique way. When re-animated into a digital “moving painting,” you can watch these individual paintings transform into the gallop stride of the “tremendous machine” himself, Secretariat.

Follow the QR code to watch the animation.

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149 | Jenness Cortez (American, b. 1944)

SECRETARIAT TRIPLE CROWN SERIES (set of three) Oil on canvas, 15” x 20” (each) Signed, dated 1993 $30,000. – 40,000.

This trio of original oil paintings depicts Secretariat in various compositions from each of his respective record-breaking Triple Crown races: the Kentucky Derby, Preakness, and Belmont Stakes. The dynamic imagery representing the Meadow Stable champion in each respective jewel in the 1973 Triple Crown may be familiar to those within the racing community as they were collectively published in 1993 by Classic Gallery of Sport as a popular and long sold-out lithographic suite.

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150 | Edwin Bogucki (American, 1932–1921)

SECRETARIAT Bronze, #2/5 maquette of life-sized at Kentucky Horse Park 32” x 41” Signed and inscribed $50,000. – 60,000.

The historical significance of this magnificent bronze is manifested in its life-sized counterpart, which resides at the entrance of the Kentucky Horse Park and is seen by thousands of visitors each year. So enamored was Secretariat’s owner Penny Chenery upon first seeing Bogucki’s one-third-sized portrayal of the 1973 Triple Crown winner, along with jockey Ron Turcotte and groom Eddie

Sweat, that she personally commissioned the artist to recreate the moment in life-sized form as an enduring tribute to the chestnut champion. The bronze was originally cast in 1991 and released by the artist as part of a long sold-out edition consisting of only four numbered pieces and an artist’s proof.

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151 | Lisa Palombo (American, b. 1965)

BIG RED Acrylic and gold leaf on canvas, 40” x 60” Signed $16,000. – 20,000.

Exhibited: Secretariat Golden Anniversary – 50 Years of Greatness, Spa Fine Art Gallery, Saratoga Springs, New York, August 4 – September 4, 2023 This work was the signature image for Palombo’s Secretariat exhibition.

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152 | Jeaneen Barnhart (American, b. 1967) SECRETARIAT Pastel, 17” x 25” Signed $3,000. – 5,000.

Barnhart was the last artist Penny Chenery approved to be an officially licensed artist of Secretariat.

This work was reproduced as a signed and numbered limited-edition print.

153 | Larry Dodd Wheeler (American, b. 1942) SECRETARIAT AT BELMONT PARK Oil on canvas, 22” x 28” Signed $5,000. – 7,000.

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154 | Carl Dahl (American, b. 1952)

BIG RED Porcelain, Unique, 21 ¾” x 17 ½” Signed $5,000. – 7,000.

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155 | LeRoy Neiman (American, 1921–2012) SECRETARIAT Oil on board, 13 ¾” x 9 ¼” Signed, dated ’78 $14,000. – 16,000.

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156 | LeRoy Neiman (American, 1921–2012) DISCUSSING A RACE PLAN Oil on board, 35 ½” x 12” Signed, titled verso $25,000. – 35,000.

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Proven

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157 | LeRoy Neiman (American, 1921–2012) THE RACKETEERS Oil on board, 39 ½” x 29” Signed, dated ’74 $75,000. – 100,000.

From a a leadin in late a week

This work was reproduced as a limited-edition signed and numbered serigraph.

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158 | LeRoy Neiman (American, 1921–2012) MANTLE AT HOME Oil on canvas, 22” x 27” Signed, titled verso $80,000. – 110,000.

Provenance: Hammer Galleries Depicting Mickey Mantle of the Yankees attempting to slide by Detroit Tigers catcher Bill Freehan, this work appears similar to an Associated Press wire photo that circulated in the 1960s. Mantle and Freehan were the subject of a footnote in baseball history.

With the Tigers leading the Yankees in the eighth inning on September 19, 1968, Tigers pitcher Denny McLain purportedly told Freehan, “I’m going to let him hit one,” referring to a home

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run. Mantle’s career was at an end, and he was tied for third place in the all-time home run standings. Freehan purportedly told Mantle when he came up to the plate what pitch was coming, and Mantle hit his 535th home run to take sole possession of third place. Mantle recalls it was Freehan catching for that moment and Yankees announcer Phil Rizzuto said Freehan’s name while broadcasting the moment as well, but Tigers catcher Jim Price claims he was catching then. It is Price who shows up on the box score that day, and not Freehan.

159 | LeRoy Neiman (American, 1921–2012)

Proven

ALI, JERRY QUARRY, THIRD ROUND Watercolor, 15 ½” x 23” Inscribed “Third Round / Muhammad Ali – Jerry Quarry / Atlanta Municipal Auditorium Oct. 26, ’70” $12,000. – 15,000.

The close friendship between Neiman and Ali has been well documented, with Neiman teaching Ali to draw and Ali being Neiman’s favorite athlete. The fight between Ali and Quarry was Ali’s comeback from his suspension for refusing to be drafted into military service, and Atlanta was the only city that would host

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the event. This work depicts a moment in the third round, which would turn out to be the final round of Ali’s comeback win.

Scan here to view the end of the third round and an appearance of Neiman in the ring with Ali after the fight.

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From a a leadin in late a week

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160 | LeRoy Neiman (American, 1921–2012) EPSOM Oil on board, 24” x 36” Signed, inscribed, dated ’63 $50,000. – 70,000.

Provenance: Hammer Galleries, New York “But internationally there are only two derbies that count. First and foremost is the original, at Epsom Downs in England, named after Edward Stanley, the 12th earl of Derby who in 1780 founded the Derby Stakes. Epsom is the supreme equestrian pageant of the racing world. Steeped in tradition, it has the same festive feeling and prestige today as it had when the 19th-century English artists captured its essence in prints. Fans start arriving at six in the morning. Prepared for a long day’s outing, they begin with English breakfast on the grass, complete with racing forms, hampers, blankets, and other racetrack picnic paraphernalia.

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Thousands arrive by bus and thousands more on foot, meandering over the soft hills to the infield circled by the track. Meanwhile, having arrived in their Rollses and Bentleys, the upper-class, tophatted racegoers in their gray waistcoats, striped trousers, and cutaways, with their ladies in flowered dresses and hats, file into the grandstands and members’ enclosure. Like their countrymen in the infield, they lug an assortment of paraphernalia, but theirs is more elegant: imported binoculars hang around their necks, leather cases swing from their shoulders, a shooting stick is tucked under one arm (which makes doffing the top hat a problem).”

— LeRoy Neiman, Horses, New York: Harry N. Abrams, pages 43-44

161 | Malcolm Coward (British, b. 1948) EARLY MORNING EXERCISE Oil on canvas, 20” x 40” Signed $6,000. – 9,000.

Proven

In a ra 15 tim runnin of his s Stakes, old sea the 2,0 Stakes, Stakes.

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162 | Neil Boyle (Canadian/American, 1931–2006)

From a a leadin in late a week

RACING ON THE BEACH AT LAYTOWN Oil on canvas, 24” x 36” Signed $3,000. – 5,000.

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163 | Charles Church (British, b. 1970) FLIGHTLINE Oil on canvas, 42” x 52” Signed $50,000. – 70,000.

Flightline (Tapit—Feathered, by Indian Charlie) is one of the greatest American racehorses in recent history. He retired undefeated after six starts, including the 2021 Malibu Stakes, the 2022 Metropolitan Handicap, Pacific Classic, and Breeders’ Cup Classic. In the January 2023 World’s Best Racehorse Rankings, he was given a rating of 140, the highest rating ever awarded to a runner on the dirt. He was named the 2022 American Horse of the Year and champion older horse and also earned the Eclipse Award for champion older male dirt horse.

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Purchased for $1 million, Flightline was owned in partnership by Hronis Racing, Siena Farm, Summer Wind Equine, West Point Thoroughbreds, and Woodford Racing. During his racing career he earned $4,514,800.

Painted by Charles Church, England’s top equestrian painter, this portrait captures a truly stunning likeness of the champion in a way that few other artists could hope to achieve.

Proven

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164 | Quang Ho (Vietnamese/American, b. 1963) BREEDERS’ CUP I Oil on canvas, 31 ½” x 30” Signed $18,000. – 22,000.

This work is the cover image of the Breeders’ Cup program for Friday, November 3, 2023.

Selected as the official artwork for the 2023 Breeders’ Cup World Championships, these paintings by plein air master Quang Ho highlight the natural beauty of the landscape surrounding Santa Anita in all its vibrancy. The two original paintings will

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be featured on the Breeders’ Cup Friday and Saturday program covers and tickets. This year’s design, emphasizing Santa Anita’s iconic mountainous backdrop and beautiful trees, serves as a welcoming symbol for athletes and guests from around the world.

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165 | Quang Ho (Vietnamese/American, b. 1963) BREEDERS’ CUP II Oil on canvas, 28” x 26 ¾” Signed $15,000. – 20,000.

This work is the cover image of the Breeders’ Cup program for Saturday, November 4, 2023.

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166 | Quang Ho (Vietnamese/American, b. 1963) IN THE STRETCH Oil on board, 24” x 30” Signed $12,000. – 15,000.

167 | David Shepherd (British, 1937–2017) JUDY ON SPRING FEVER AT THE ROME OLYMPICS Oil on canvas, 15” x 23” Signed $7,000. – 10,000.

This work depicts the artist’s sister, Judy, aboard Spring Fever at the 1960 Olympics. Judy was one of Great Britain’s most successful riders, winning all over Europe and appearing in several Nations Cups. Shortly after this Olympics she married top equestrian Brian Crago, and the two went on to win the

Queen Elizabeth II Cup together at the International Horse Show. Spring Fever retired in 1967 and produced five foals, including grand prix show jumpers Autumn Folly and Summer Games as well as Spring Fancy, the dam of prolific dressage sire Catherston Springsteen.

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168 | Peter Howell (British, b. 1932)

INTO THE STRAIGHT, CHANTILLY Oil on canvas, 24” x 36” Signed $18,000. – 22,000.

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169 | Peter Howell (British, b. 1932)

THE PADDOCK, KEENELAND Oil on canvas, 30” x 24” Signed $15,000. – 20,000.

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170 | Hubert de Watrigant (French, b. 1954)

HORSE AND HANDLER & TWO JOCKEYS (a pair) Oil on canvasboard, 10 ½” x 7 ½”, 7 ½” x 10 ½” Signed $3,000. – 5,000.

171 | David M. Dent (British, b. 1959) RACING STUDIES Mixed Media, 20” x 30” Signed $2,000. – 3,000.

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172 | Stephen Mangan (Scottish, b. 1964) THE COUPLE Oil on canvas, 39 ½” x 39 ½” Signed $9,000. – 12,000.

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173 | Stephen Mangan (Scottish, b. 1964) HANDICAPPING Oil on canvas, 39 ½” x 39 ½” Signed $9,000. – 12,000.

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174 | Thomas J. Coates (British, 1941–2023) WAITING TO MOUNT, KEENELAND Pastel, 24” x 30” Initialed $5,000. – 7,000.

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175 | Thomas J. Coates (British, 1941–2023) GOING TO POST Pastel, 32” x 40” Initialed $6,000. – 9,000.

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176 | Thomas J. Coates (British, 1941-–2023) RIDERS UP Oil on canvas, 16” x 20” $4,000. – 6,000.

This work appeared on the cover of the Spring 2002 issue of Keeneland Magazine.

177 | Marcus Hodge (British, b. 1966) JOCKY STUDY Oil on board, 16” x 12” Signed $4,000. – 6,000.

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178 | Marcus Hodge (British, b. 1966) POLO AT MANIPUR Oil on canvas, 24” x 30” Signed $12,000. – 15,000.

This painting features two Manipuri ponies, which are the breed used to play Sagol Kangjei, the game from which modern polo developed. Sagol Kangjei has been played in Manipur (a state in northeast India) since 3100 BCE and was one of the first team sports on record. The painting features a young rider in a traditional ceremonial outfit. The Manipuri pony is a traditional Indian breed of small horse or pony from Assam and Manipur in northeastern India. It appears in both the history and the

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mythology of Manipur, and was used for warfare and polo. It is believed to have been the polo pony in use in Assam in the mid-19th century when British tea planters first saw polo being played. The height limits later set for polo ponies were based on this breed. These ponies were numerous in the early 20th century, but their numbers have since fallen. A breed society was established in 1977, and a breed standard was drawn up by the Indigenous Horse Society of India in 2009.

179 | Susie Whitcombe (British, b. 1957) THE MAESTRO Oil on canvas, 26” x 36” Signed, inscribed verso $17,000. – 20,000.

Alexis Grüss is a circus artist who was trained in the family circus at the age of seven by his father, André, and his uncle Alexis. During his career he tried all the disciplines of circus arts: trapeze artist, aerialist, clown, and musician. But his true talent is rooted in the old-fashioned circus art that mixes the traditions of equestrian arts and acrobatics. Grüss founded his own company in Paris in 1974, along with the actress Silvia Monfort, and established

the first circus school in the country. He was in the vanguard of the revival and reinvention of the circus in France, helping earn respect for it as an art form and moving it away from a reliance on wild animals. The Cirque National Alexis Grüss, as it is now officially known, features only horses and elephants. More recently, the entire region of Provence has become an important center of circus- and street-theater arts.

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180 | Andre Pater (Polish/American, b. 1953) KEENELAND PADDOCK Oil on canvas, 24” x 30” Signed $30,000. – 50,000.

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181 | Andre Pater (Polish/American, b. 1953) TWO JOCKEYS Pastel, 36” x 24” Signed $25,000. – 30,000.

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182 | Andre Pater (Polish/American, b. 1953) THE LAST CHUKKER Oil on canvas, 42” x 46” Signed $30,000. – 50,000.

Exhibited: Atlanta ’96 Retrospective. July 18 – August 4, 1996 During the XXVI Olympic Games. The Polish House, Polish Cultural Center, Avondale Estates, Georgia. Illustrated in the catalogue, no. 20 Illustrated: A Matter of Light: The Art of Andre Pater, Lexington, Kentucky: Fincastle Publishing, 2019, pages 170-171

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183 | Andre Pater (Polish/American, b. 1953)

SIDE SADDLE STUDIES (set of three) Pen & Ink, Charcoal, Pastel, 11 ½” x 14 ½” (two), 11 ½” x 8” (single) Signed $7,000. – 10,000.

184 | Valeriy Gridnev (Russian, b. 1956) THE FINISH AT CHANTILLY Pastel, 21 ½” x 29 ½” Signed $4,000. – 6,000.

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185 | Valeriy Gridnev (Russian, b. 1956) KEENELAND Oil on canvas, 43” x 71” Signed, dated 2023 $30,000. – 40,000.

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186 | Sandra Oppegard (American, b. 1941) IN THE TURN Watercolor, 16” x 22 ½” Signed $3,000. – 5,000.

187 | Sandra Oppegard (American, b. 1941)

FLIGHTLINE, 2022 BREEDERS’ CUP CLASSIC Watercolor, 11” x 14” Signed $1,500. – 2,000.

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188 | Sandra Oppegard (American, b. 1941) RIDERS & BIRCHES Watercolor, 19 ¼” x 19 ¼” Signed $3,000. – 5,000.

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189 | Sam Robinson (American, b. 1953) SARATOGA SUNLIGHT Oil on canvas, 18” x 24” Signed $2,000. – 3,000.

190 | Joanne Mehl (American, b. 1960) #4 HORSE IN THE PADDOCK Oil on board, 31” x 24” Signed $4,000. – 6,000.

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191 | Jeaneen Barnhart (American, b. 1967) CLOSING FROM THE OUTSIDE Pastel, 40” x 26” Signed $3,000. – 5,000.

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192 | Paul Guiramand (French, 1926–2008) AT THE CIRCUS Oil on canvas, 32” x 24” Signed $9,000. – 12,000.

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193 | Claude Grosperrin (French, 1936–1977) DEPART POUR LE CHASSE Oil on canvas, 29” x 36” Signed $15,000. – 20,000.

Provenance: The Eric Gallery, New York

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194 | Claude Grosperrin (French, 1936–1977) CHASSE AU RENARD Oil on canvas, 8” x 24” Signed $4,000. – 6,000.

195 | Lesley Humphrey (British, b. 1957) STEPPING UP TO THE PLATE Watercolor on panel, 14” x 11” Signed $2,000. – 3,000.

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196 | Antoine de La Boulaye (French, b. 1951) COACHING Watercolor, 10 ½” x 16 ½” Signed $1,500. – 2,000.

197 | Julie Ann Bull (British, b. 1964) THE GOLDEN HOUR Oil on canvas, 24” x 30” Signed $3,000. – 5,000.

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198 | Jill Soukup (American, b. 1969) JUMPER IN RED Oil on board, 16” x 10 ½” Signed, titled, dated 2023 verso $3,000. – 5,000.

Proven

In a ra 15 tim runnin of his s Stakes, old sea the 2,0 Stakes, Stakes.

Lord G his int his ow for his Lichfie

199 | Jonathan Armigel Wade (American/British, b. 1960)

From a a leadin in late a week

STUDY FOR THE MAGI ARRIVING Oil on board, 8 ½” x 11 ½” Signed, signed and titled verso $3,000. – 5,000.

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200 | Jean-Bernard Lalanne (French, b. 1952) LE LIÈVRE ET LA TORTUE Oil on canvas, 35 ½” x 39 ½” Signed $6,000. – 9,000.

Aesop’s Fable: A Hare was making fun of the Tortoise one day for being so slow.

“Do you ever get anywhere?” he asked with a mocking laugh.

“Yes,” replied the Tortoise, “and I get there sooner than you think. I’ll run you a race and prove it.”

The Hare was much amused at the idea of running a race with the Tortoise, but for the fun of the thing he agreed. So the Fox, who had consented to act as judge, marked the distance and started the runners off.

The Hare was soon far out of sight, and to make the Tortoise

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feel very deeply how ridiculous it was for him to try a race with a Hare, he lay down beside the course to take a nap until the Tortoise should catch up.

The Tortoise meanwhile kept going slowly but steadily, and, after a time, passed the place where the Hare was sleeping. But the Hare slept on very peacefully, and when at last he did wake up, the Tortoise was near the goal. The Hare now ran his swiftest, but he could not overtake the Tortoise in time.

Moral: The race is not always to the swift.

201 | Richard Firth (British, b. 1954)

SCEPTRE AND COLUMBIA, AMERICA’S CUP, 1958 Oil on canvas, 24” x 36” Signed, inscribed verso $20,000. – 30,000.

The 1958 America’s Cup challenge was one of the more noteworthy in the history of the series. Previously run in 1937, World War II and economics had put a halt to the competition for 21 years, the longest drought since the series began in 1851.

The J-Class yachts previously used were now prohibitively expensive to build and so the teams used “12-Meter Class” boats for the first time. Used at the 1908, 1912, and 1920 Olympics, these boats measured 65 to 75 feet in length with masts approximately 85 feet tall, though builders were now allowed to experiment with all other variables as long as they added up to less than 12 meters.

In the long-awaited build up for the return of the race, the preview was featured on the cover of the September 15, 1958, issue of Sports Illustrated. With the race itself taking place off the coast of Newport, Rhode Island, President Eisenhower and his wife watched from the USS Mitscher destroyer. The Royal Yacht Squadron’s Sceptre was no match for the New York Yacht Club’s Columbia, falling in the race 4-0.

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202 | Vincent Haddelsey (British, 1934–2010)

NATIVITY IN THE CARIBOO, B.C. CANADA Oil on canvas, 20” x 24” Initialed, titled, signed verso $3,000. – 4,000.

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203 | Janis Price (American, b. 1934) AMISH HORSE AUCTION Oil on canvas, 22” x 30” Signed $4,000. – 6,000.

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204 | Robert James Foose (American, 1938–2013) THE MEETING HOUSE, PLEASANT HILL Watercolor, 25” x 40” Signed, dated 1975 $3,000. – 5,000.

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205 | Paul Sawyier (American, 1865–1917) A COUNTRY PIKE Watercolor, 6” x 11” Signed $5,000. – 7,000.

Provenance: Mr. and Mrs. Windell Reading Thompson and Riley Auctioneers Exhibited: No. 9, Paul Sawyier: An Exhibition of the Artist’s Work Held at Pleasant Hill, Kentucky, June 1 – June 14, 1964

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206 | Henry Faulkner (American, 1924–1981) ALICE MY DARLING Oil on board, 24 ½” x 16” Signed, titled, dated 1969 verso $15,000. – 20,000.

Inscribed with a poem verso: I met God today With a box of butterflies And blue birds, blue birds In his eyes…

Oh hurry spring and stop him Before he runs us mad!!

With beauty…

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207 | Henry Faulkner (American, 1924–1981) HOUSE IN KEY WEST Oil on board, 16” x 20” Signed $15,000. – 20,000.

208 | Henry Faulkner (American, 1924–1981) FOUNTAIN OF YOUTH Oil on board, 16” x 8 ¼” Signed $10,000. – 15,000.

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209 | Henry Faulkner (American, 1924–1981) STILL LIFE WITH FLOWERS Oil on board, 38 ½” x 27” Signed $40,000. – 60,000.

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210 | Henry Faulkner (American, 1924–1981) SIENA Oil on board, 9 ¾ x 13 ⅞ Signed $10,000. – 15,000.

211 | Henry Faulkner (American, 1924–1981) YELLOW VANITY Oil on board, 20 ½” x 16 ½” Signed $15,000. – 20,000.

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212 | Henry Faulkner (American, 1924–1981) ST. FRANCIS FEEDING Oil on board, 22” x 14” Signed, titled and dated 1968 verso $15,000. – 20,000.

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213 | Henry Faulkner (American, 1924–1981)

BY GRATZ PARK Oil on board, 28” x 38” Signed $40,000. – 60,000.

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ARTIST

BIOGRAPHIES Ambille, Paul French, 1930–2010 Ambille studied at the Ecole National des Beaux-Arts in Paris and exhibited in France, Italy, the United States, Germany, Japan, China, and Australia. He won numerous prizes, including the 1955 Gold Medal at the Grand Prix de Rome. Ambille captured equestrian scenes, still lifes, seascapes, and marine themes in his unique impressionistic style.

Austin, Michael J. British, born 1959 Using a wet-on-wet oil painting method, Austin has developed his technique of achieving a sculptural effect in his works. He began his professional career producing artwork for Marvel comics and 2000AD and was features artist for the Sunday Times from 1985-1992. Moving toward more serious themes in the 1990s, he achieved a one-man exhibition at the Jonathan Cooper Gallery in London in 1997. His talents have continued to be recognized, and he was named tour artist for the 2003 HRH The Prince of Wales’ official visit to India and Oman.

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

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

Each of his oils projects strong movement. Paying little attention to detail in figures and faces, the artist preferred to integrate them with the scene using color and form, resulting in a rhythmic flow of brushwork and individuality in coloring. His work can be found in numerous private collections in both Europe and the United States.

Beer, Andrew British, 1862–1954 Beer was a British artist known for painting racing pigeons. A racing pigeon enthusiast himself, he was also known to judge at competitive pigeon shows.

He typically painted pigeons at life-size, in small groups or individually. He would often include texts on the paintings, noting the names of the pigeons and their achievements. His works are in the collections of the Bristol Museum & Art Gallery, the Pontypridd Museum, and the Midsomer Norton & District Museum Society.

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.

Bogucki, Edwin American, 1932–1921 Bogucki built a reputation as one of the finest artists of his generation.

Bogucki’s bronze Thoroughbred monuments are familiar to racing fans across the globe. His work includes the life-sized monument of Secretariat at the Kentucky Horse Park and the breathtaking Against All Odds showcasing the stirring stretch battle of John Henry and the Bart, which was once was prominently displayed at Arlington Park and recently made news by moving to its new home at the National Museum of Racing and Hall of Fame in Saratoga Springs, New York.

Bolam, Andrew British, born 1971 Born in Northern England in 1971, Bolam studied graphic design at the Newcastle College of Art. In 1991 he moved to Southern California, worked as a freelance illustrator, and then moved in 1996 to Lake Tahoe to pursue his interest in painting full time. His work, which is mostly about the West, is shown across the western United States and in several galleries.

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.

Booth, Raymond British, 1929–2015 Booth was born in the area of Roundhay, a suburb in northeast Leeds. Booth was awarded a scholarship to the Leeds College of Art at age 17, but his studies were interrupted by his required two years of national service, during which he served in the Royal Air Force (RAF) in Egypt, guarding the Suez Canal. After his time in the RAF, he returned to college and finished his studies. In 1962 he had one of his first exhibits at the fine art society, and later had three more showings there, in 1975, 1982, and 1991. Most of Booth’s work is solely botanical. In 1992 he produced his greatest work, the Japonica Magnifica. This book contains images of most of Japan’s flora, and he hand painted all of them in 64 different color palettes. He lived in Japan for 40 years.

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Boyle, Neil Canadian/American, 1931–2006 Boyle trained at the Banff School of Fine Arts in his native Alberta before attending the Chouinard Art Institute in Los Angeles. He taught at the California Art Institute during two different periods and his illustrations appeared in several magazines, including The Saturday Evening Post, Reader’s Digest, Cosmopolitan, and Ladies’ Home Journal.

Brewer, Allen F., Jr. American, 1921–1967 Brewer’s exposure to the American equine was varied, from the cutting horses and Quarter Horses of his youth in Texas, his first major equine commission of Standardbred Deanna, to his love of the Thoroughbred, Brewer was a meticulous student of the equine athlete, and his drawings, oils, and watercolors exhibit exacting detail.

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.

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.

Burgess, Steve British, born 1960 Burgess was born in Bristol, England, in 1960 and lived with his father.

Because his father was a member of the Royal Air Force, Burgess grew up traveling and living in places such as England, Germany, and Cyprus. At age 19 he joined the Royal Air Force as a photographer and then began sketching some of the wildlife he saw on his tours. From sketching, he turned to oil painting. Burgess is the only living British wildlife artist selected to participate in the Coeur d’Alene Art Auction.

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Chapman, Julie T. American, born 1963 Growing up in central Ohio farm country, Chapman dreamed of having her own horse. She majored in computer engineering in college. Through her own exploration of graphic media, her art education came from books and observation. Chapman has explored the outdoors in South Africa and the great wilderness parks of America and Canada. Now residing in Montana, she is a regular observer of the modern American West and small-town rodeos.

Church, Charles British, born 1970 An internationally renowned painter of horses, landscapes, and country life, Church works from life to capture the moment. With more than 37 commissioned paintings of grade or group 1 winners, as well as hunting and polo scenes, the sell-out exhibition of his work prompted His Royal Highness the Prince of Wales to write of Charles’ “profound understanding of his subject matter.” His commissions include The Royal Pageant of Horses for H.M. Queen Elizabeth II. 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.

Clay, Beatie American, born 1951 Clay was born in Paris, Kentucky. She is primarily self-taught, although she took drawing classes in Chicago in the ’80s and migrated into painting through formal instruction at the University of Kentucky.

Coates, Thomas J. British, born 1941 At an early age, Coates won his first scholarship to study at the Birmingham College of Art. His work was again rewarded when he was invited to study at the Royal Academy Schools on scholarship. Now acclaimed and widely respected in the art world, he has been president of the Royal Society of British Artists, the Royal Pastel Society, the Royal Society of Watercolor Painters, and the Society of Equestrian Artists. Coates exhibits widely and keeps busy with commissions.

Cortez, Jenness American, born 1944 Cortez is one of the most recognized names in American equine art, and world renowned for her skillful portrayals of Thoroughbred racehorses.

Cortez has been exhibiting her work since 1975 and has had more than 40 solo shows throughout the United States. Her work is in numerous public and private collections, including those of the New York State Museum,

Skidmore College, SUNY Empire State College, and the personal collections of Presidents Ronald Reagan and Bill Clinton and Her Majesty Queen Elizabeth, II.

Julian in Paris. His work is in numerous museums, but he gained his greatest fame when the president of France commissioned him in 1984 to paint two works that were gifted to Queen Elizabeth II of England.

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.

DeLattre, Henri French, 1801–1876 This little-known Frenchman made several trips to the United States, where he painted portraits of noted Thoroughbreds of the day, including the great Boston. He was a friend of the French-speaking Edward Troye, who offered him hospitality and helped him gain commissions. In 1850 DeLattre is known to have done a portrait of the sitting President Zachary Taylor.

Coward, Malcolm British, born 1948 Born in Malton, North Yorkshire, Coward has been one of the more prominent members of the Society of Equestrian Artists, being the only member to win the President’s Medal three times. His work has also been accepted by the Royal Institute of Oil Painters, Royal Society of Marine Artists, and the Royal Birmingham Society.

Dahl, Carl American, born 1952 An American sculptor, Dahl holds multiple degrees from Arizona State University, including an MBA and a master’s degree in fine arts. Even though his upper-level corporate positions allowed him to travel, experience, and learn about great things, art was his passion. With more than 20 years dedicated to art, Dahl has been exhibited in America, France, and Japan.

Dahl states “In horses, I find beauty, power, and freedom; their legs, that seemed overly long to me as a child, rise to complete the perfect form. They remain one of life’s great joys.”

Davey, Randall American, 1887–1964 Davey studied architecture at Cornell University in 1905 and art at the New York School of Art in 1908. He also studied under art academics Robert Henri and Charles W. Hawthorne. He became Henri’s assistant instructor and traveled through Europe with him. By 1919 Davey and his wife had moved to Santa Fe, New Mexico, where he established his studio. Due to the expense of his polo hobby, Davey took numerous positions at major art institutes across the country. His works are collected by major museums nationwide. de Condamy, Charles-Fernand French, 1855–1913 de Condamy was a French artist and was known as an animal and sportingart painter. de La Boulaye, Antoine French, b. 1951 Possibly the most revered French painter of horses in France today, de La Boulaye studied at the Ecole Superieure d’Arts Graphiques of the Academie

Dent, David M. British, born 1959 Dent was born in Solihull in 1959 and moved with his family to Wales at age four. After attending school at Cwmbran, he was later educated at the University of the West of England in Bristol, where he obtained a master’s degree in education. He has also had experience in the fashion business and uses his extensive collection of 1950s Vogue and Tattler magazines as inspiration for some of his pieces. He acted as the creative director for Gabriella Rose London in 2015-16, and in 2017 he was a fashion stylist for London Fashion Week. 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.

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

Earle, Eyvind American, 1916–2000 Earle is a noted American animator as well as a designer, painter, and illustrator. His parents had separated by the time of his birth, and he was kidnapped at age 10 by his father, the artist and movie director Ferdinand Earle. He had his first one-person show at age 14 in Ascain, France.

That same year he ran away and rejoined his mother, who was living in Hollywood, California. During the Depression he worked as a sketch artist for United Artists Studios. He established an animation company and was known for backgrounds he created for such Disney films as Sleeping Beauty and Lady and the Tramp. He also created a popular line of greeting cards.

Emms, John British, 1841–1912 Son of an artist, Emms took up the life and focused on painting the horses THE SPORTING ART AUCTION

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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.

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

University and started the country’s first academic hand surgery program, where he trained more than 50 hand surgeons. While teaching, Flatt picked up the hobby of casting people’s hands, including those of President Harry S. Truman and seven other presidents as well as Wilt Chamberlain, Andre the Giant, and Margaret Thatcher. The collection is at Baylor University’s medical center. There are 86 castings of hands in the medical center, all of them belonging to prominent or famous figures in history.

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

Faull, Emma British, born 1956 Faull began her working life at the British School at Athens as an archaeological draughtsman. As a painter she specializes in watercolors of birds, portraying ornithological detail as well as the immediacy of birds in the wild. Faull has held more than twenty solo shows worldwide and has been exhibiting with the Tryon Gallery for more than twenty years. Her paintings are in many permanent collections, including the Audubon Society in the United States and the National Museum of Athens. Queen Elizabeth II and the Duke of Edinburgh were keen collectors of Faull’s work, possessing more than a dozen of her paintings. Faull is a passionate conservationist and this informs her art, with endangered species being well represented in her work. She lives in Jersey, where she carries out work on endangered species for the Durrell Wildlife Conservation Trust. She also returns to Greece every year to teach and runs workshops on endangered species focusing on Aldabra in the Seychelles.

Fouques, Henri Amédée French, 1857–1903 Fouques was a student of Jules Cavalier and Francois Trupheme at the Ecole des Beaux-Arts de Paris. He specialized in animal sculpture, mainly working in bronze. His first debut was at the Paris Salon in 1881, after which he won a variety of medals at smaller shows. He received a bronze medal at the Universal Exhibition of 1889 in Paris and again in 1900.

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.

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.

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

Goodall, John Strickland British, 1908–1996 Born in Heacham, Norfolk, Goodall came from a long line of doctors and attended Harrow School, a boarding school for boys in Harrow in the Hill, London. Later, his father permitted him to leave the school and train as an artist under family friends. From 1925 to 1929 he attended the Royal Academy of Arts. During the World War II he worked as a camouflage artist based in India and in 1943 had his first exhibition of paintings at the Government School of Art in Calcutta. His self-portrait, made during the war, is held by the National Portrait Gallery in London.

Flatt, Dr. Adrian British/American, 1921–2017 Born in England, Flatt graduated from Cambridge University in 1945 and completed his training in orthopedic surgery at the London Hospital in 1954.

Two years later, he moved to Iowa to become a professor of orthopedic surgery at the University of Iowa medical school. Later, he moved to Baylor

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Frémiet, Emmanuel French, 1824–1910 Jeanne d’Arc, the 1874 equestrian statue of Joan of Arc erected in Place des Pyramides, Paris, may well be Frémiet’s most famous work. By the 1850s Frémiet had established himself as a leader among the French animalier sculptors. During his career he also was a professor of drawing at the Jardin de Plantes (Paris zoological gardens) and director of sculpture at the Louvre.

His works are widely exhibited by museums around the world.

Grau-Sala, Emilio Spanish, 1911–1975 Grau-Sala studied at the Art Academy in his native Barcelona before moving to Paris. Grau-Sala became known for his works as a colorist in oil, watercolor, and pastel, and as an illustrator. He received one of the first

Carnegie prizes, in 1936, which led to regular exhibitions and a growing audience in the United States.

collectors of the day. His career skyrocketed, and demand for his paintings increased nationwide.

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, Serhiy 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.

Grosperrin, Claude French, 1936–1977 A painter and lithographer, Grosperrin trained at the Ecole Nationale Superieure des Beaux-Arts, Paris, the Ecole Nationale Superieure d’Art Plastique, and the Ecole Nationale des Arts Appliqués. Shortly after completing his studies, he exhibited his works in Paris at the Galerie A. Weil and at the Galerie Espace. Later he was exhibited widely in France and abroad, including at Wildenstein, Charpenetier, and Durand-Ruel. Various public galleries in France as well as galleries in Cologne, Los Angeles, and San Francisco contain his works.

Guiramand, Paul French, 1926–2008 Having moved to Paris in the 1930s, Guiramand was witness to war-torn France before entering the L’Ecole des Beaux-Arts in 1943. He was a pupil of the French painter and professor Maurice Brianchon. By the 1960s Guiramand was exhibiting around the world, including Geneva, Chicago, Paris, Tokyo, and Rome. His works are known for their use of vibrant colors on a simple, well-balanced background.

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

In 1989 he concentrated on the Quasimodo horses in Chile.

Hagerbaumer, David American, 1921–2014 Hagerbaumer was born in Quincy, Illinois, on January 31, 1921. When he was eight years old, his father took him duck hunting on Turtle Lake, and the boy shot his first duck. Instantly, a bond formed between young Hagerbaumer and waterfowl that never diminished. After serving in World War II, he enrolled in San Diego State College while simultaneously working as staff artist and assistant ornithologist at the Carson City Museum. The year 1951 was famous for the Korean “Police Action,” and Sgt. Hagerbaumer was recalled to active duty. Lady Luck smiled on him this time, and he did his tour as an artist, creating propaganda posters and making maps. Returning to civilian life, he continued to paint and was promoted by Ralph Terrell of Crossroads of Sports. Through the Crossroads catalogs and their Manhattan gallery, Hagerbaumer’s paintings were presented to most of the sporting art

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.

Henneberg, Tony German, born 1966 Born in Kiel, West Germany, Henneberg moved with his parents when he was young to his grandparents’ farm in Rhodesia. The African wildlife and the farm scenery inspired him to start painting. Henneberg works in both watercolor and oils, producing landscapes and wildlife portraits, especially birds. His ability to portray birds has given some to compare him to James Audubon. Henneberg currently lives and works in Pine Plains, New York.

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

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

Hilaire, Camille French, 1916–2004 Born in Metz, Hilaire moved to Paris to study at L’Ecole des Beaux-Arts and worked in Andre Lhote’s studio. Hilaire was named professor of drawing at Ecole des Beaux-Art in Paris in 1958 after having taught at Ecole des BeauxArts in Nancy. His art won many prizes and was exhibited widely in Europe and he had one-man exhibits in New York in 1954 and 1956. His works vary from paintings, murals, tapestries, and stained glasses to mosaics.

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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.

Kammerzell, David American, born 1953 Kammerzell began his career in the 1990s creating graphic illustrations for television stations CBS in Denver and then Starz. The winner of several regional Emmys and BDA silver awards, he eventually rose to the role of director of on-air design while beginning to paint on the side. After 20 years in television, he left to pursue painting full time. His work has appeared in Western Art and Architecture, Western Art Collector, and on the cover of Southwest Art.

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

King, John Gregory British, 1929–2014 King rose to fame on the basis of his illustrations for the London Illustrated News and Horse and Hound magazine. The Golden Thread, published in 1984, contained many of King’s illustrations of hunts that took place across the United Kingdom. King exhibited with the Royal Institute and the Society of Wildlife Artists and was also a founding member of the Society of Equestrian Artists.

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 fulltime 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.

Knight, A. Roland British, 1845–1914 Knight was born in Aston, Birmingham, in 1845, and by 1871 he had become a well-known artist in the area. During this time, he had moved to Tottenham, London, and was specializing in angling paintings, some of which included perch, trout, and pike. He would occasionally paint wildlife portraits or different landscapes, but Knight mostly specialized in fish.

Angling was becoming more popular during the time and many people traveled to go fishing. Knight was also able to travel with anglers and would paint the fish that he saw along the way or do commissions of the fish that people caught. Based on the detail of his paintings we can assume that he was an angler himself. He died at his home in London in 1914.

Humphrey, Lesley British, born 1957 Being the daughter of a commercial artist and painter, Humphrey has always been involved with art. Her art has been influenced by Sir Alfred Munnings and the Russian itinerants — Nicolai Fechin and Wassily Kandinsky — and most recently Richard Diebenkorn. Humphrey has served as the official artist of the Kentucky Derby and has works in prominent collections throughout Britain and the U.S. Hunt, Charles Jr. British, 1829–1900 As the son of artist Charles Hunt, he learned to see the world through his father’s eyes and always looked on everyday life with an artist’s view. In his later years, Hunt’s father often painted humorous scenes, such as children playing in court or different renditions of Shakespeare. Learning from his father, Hunt Jr. also painted such scenes, but in a more realistic manner. His paintings often contain donkeys, dogs, and other domesticated animals that were mostly placed inside a barn or cottage, while normal activities would be going on inside. Hunt died in Wandsworth in 1900.

Huntington, Anna Hyatt American, 1876–1973 Encouraged to develop her artistic techniques by her father, she was pushed into the animal-sculpting world and studied in Boston for a short time before being expelled for finding inaccuracies in anatomy studies done by her professors. Later, she joined the Art Students League of New York and displayed her work at the Summer Olympics. She specializes in animal sculptures and bronzes, modeling her sculptures after the animals in the Bronx Zoo.

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Koehler, Henry American, 1927−2018 Born in Louisville, Kentucky, Koehler graduated from Yale University and worked in advertising in New York. Entering the freelance arena, he received his first commission from Sports Illustrated. At first he documented his favorite sports, foxhunting and sailing, then added the world of horse racing. Koehler has enjoyed more than 60 one-man shows worldwide and has a loyal following of collectors.

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

La Fontaine, Thomas Sherwood British, 1915–2007 With an inventory spanning 50 years, La Fontaine had an impressive range of styles, from cartoons to photo-like realism to Rubenesque compositions.

La Fontaine began training as an artist while in preparatory school and

continued when he studied art in London. His commissions were global in demand, covering Europe, Africa, Asia, and North America. Owing to his extraordinary ability, La Fontaine’s works have been confused with those of Alfred J. Munnings and George Stubbs.

Lalanne, Jean-Bernard French, born 1952 Born in Madagascar, Lalanne grew up in the southwest of France. He attended the Ecole Supérieure d’Art des Pyrénées de Pau. Lalanne painted while supporting himself as a policeman, the occupation of his father.

Lalanne came to Colorado to work with American painter Kim English after winning a painting competition in the Paris suburb of Vincennes. His recent works have focused on life in the Pyrenees, including the racing bulls in Spain and Andalusian horses. He regularly exhibits at shows in Paris and Bayonne, France.

Landseer, Sir Edwin British, 1803–1873 The son of an engraver, Landseer was something of a prodigy, and his artistic talents were recognized at a very young age. He was selected as an “honorary exhibitor” at the Royal Academy at 13; elected as an associate at 24; and elected as an academician at the Royal Academy in 1831 at the age of 29. He was knighted in 1850 and was later elected president of the Royal Academy, but he turned the offer down. Landseer was known for being a portrait, animal, and sporting painter using mostly oils. Later in life, he was produced some sculptures, mostly in bronze. Landseer died in 1873 in England.

Langton, Charlie British, born 1983 Anyone who has seen the life-sized statue of four-time Ascot Gold Cup winner Yeats gracing the parade ring at Royal Ascot will acknowledge Langton’s combined love of equines and art. Growing up among horses in the Wiltshire countryside, Langton has achieved an innate sense of equine form and athleticism. He has been able to take his artistic talent and transform such diverse media as pencil, charcoal, chalk, oil, plaster, bronze, and silver.

Larson, Jeffrey T. American, born 1962 Born in Minnesota, Larson began his studies at Atelier Lack before studying anatomy at the University of Minnesota and then museum studies in Europe. A four-time winner of Artists Magazine’s Annual Art Competition, he has been featured in American Art Collector, Fine Art Connoisseur, US Art Magazine, and on the cover of American Artist magazine. He is the founder and director of Great Lakes Academy of Fine Art. Lewis, Tristram British, born 1964 Lewis has always painted wildlife and portraits, but horses have always held a special place. His equine art includes historical scenes, hunting, and other horse sports. Lewis has been a hunter himself for more than 30 years, sometimes painting scenes he would see while hunting. Lewis has also been working on the first fully illustrated biography of Sir Alfred Munnings, which has taken 30 years of research to complete. Lewis lives in North Wiltshire with his wife and three children.

Leyland, Susan British, born 1952 Born near Cambridge, England, Leyland received a pony at age four from her grandfather, a horse breeder. The gift instilled a lifelong passion for horses. In 1973 she moved to Florence, Italy, and worked as a fashion model for seven years. Afterwards, she moved to Impruneta, Italy, and taught English and horseback riding. While she lived in Impruneta, the work of local terracotta artists inspired her to start sculpting with clay and she held her first exhibition in 1998. The exhibition was so successful she had a second showing at the Galleria Tornabuoni in 1999. In 2000 she became fully dedicated to the art of making horse sculptures.

Lilestrom, Connor American, born 1995 In 2019 Lilestrom graduated from the University of Wyoming with a B.A in fine arts. His works often reference mythology, pop culture, and westerncentric art history. He works primarily in oil and mixed media and his manipulation of color engages the viewer to strike up conversations about it. Lilestrom has had several solo showings of his art with New West Fine Art, but has since opened his own studio, where he can serve collectors more directly.

Lyne, Michael British, 1912–1989 A precocious child, Lyne illustrated and dictated two small books at age 4. Lyne took a few lessons at the Cheltenham Art School, but was mainly a self-taught artist. His skillful portrayal of light ranges from razor-sharp contrast to muted, diaphanous glow. He held many exhibitions in London, New York, and elsewhere in the United States.

Malespina, Louis Ferdinand French, 1874–1940 Malespina was a French painter who specialized in sporting- and equestrian-themed works. He was especially noted for steeplechase and harness racing scenes. A modern impressionist, his works are usually oils on canvas. Malespina exhibited at the Société des Artistes Français at the Palais de Tokyo in Paris. Some of his works have been reproduced through lithography.

Malissard, Georges French, 1877–1942 Born in Anzin, France, in 1877 Malissard is known for his sculptures of horses and various sporting activities. His work was exhibited as part of a sculpture competition in the 1932 Summer Olympics. He died in 1942 in Neuilly-sur-Seine in France.

Mangan, Stephen Scottish, born 1964 Born in Edinburgh, Mangan studied art at the Duncan of Jordanstone Art College in Dundee. Mangan has developed a distinctive style of figurative portrayal. His works include unique human forms in a variety of backgrounds, such as the racecourse, the beach, the train station, and more. His paintings are held in private and public collections, including the Metropolitan Museum of Art in New York and the Royal Scottish Academy.

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Matia, Walter American, born 1953 Matia’s knowledge of his subjects was gained through education and experience — he holds degrees in both biology and art design, he apprenticed in the Exhibits Department of the Cleveland Museum of Natural History, and he worked for the Nature Conservancy for 11 years. Matia has been producing bronze castings since 1980, his subjects including birds, sporting dogs, and other mammals. His Large Great Blue Heron Pair won the National Sculpture Society’s Gold Medal Award in 2003.

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

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

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

Meyer, Emil French, 1823–1893 Meyer was a 19th-century French painter with little known about him, and was mostly associated with sporting scenes and horse pictures. He also did portraiture as well.

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.

Moise, Theodore, Sydney American, 1808–1885 A portrait and animal painter, Moise was born in Charleston, South Carolina,

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and later worked in New Orleans, from 1841 to 1884. He was a member of the Southern Art Union and showed his work at the St. Charles Hotel.

The Encyclopedia of New Orleans Artists lists him as being “one of the best portrait and horse painters that was active during the reconstruction period.” Through the reconstruction period he traveled throughout the South painting portraits of wealthy landowners, include Senator Henry Clay and General Andrew Jackson on horseback.

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

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.

Noalia, David Spanish, born 1980 Noalia sold his first piece of art, at 17, to an art dealer, who quickly ordered 10 more paintings, and Noalia has been off and running ever since. Noalia revisits the classics under a more contemporary and much more vivid light, combining the beauty of the horse and bright colors to make the painting almost mesmerizing.

Oppegard, Sandra Faye American, born 1941 A graduate of the Art Center College of Design in Los Angeles, Oppegard worked as a freelance illustrator for 23 years for clients such as Max Factor, Redken, Giorgio, and Mattel Toys. Her knowledge of Thoroughbred racing, gleaned from years spent watching her husband train race horses and traveling with him to tracks around the country, imbues her equine scenes with authenticity. Oppegard has exhibited widely and has won numerous awards.

O’Sullivan, Katie Irish, born 1959 A lifelong involvement in the equestrian world from childhood to her marriage to horse trainer Jamie Osborne gives O’Sullivan a thorough knowledge for detail and accuracy. The originality of her works is enhanced by an unorthodox use of unique surfaces and materials. O’Sullivan has been widely acclaimed through numerous one-woman shows, with many being sellouts.

Palombo, Lisa American, born 1965 Palombo is a renowned contemporary American Impressionist known for her expressive brushwork and use of color. Her paintings capture the elegance and motion of the equine form. Palombo’s work has been featured on more than 40 book covers and showcased in House & Garden, Southern Living, and American Art Review. Her art can also be found in select galleries and private and corporate collections throughout the nation.

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 soughtafter 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.

Pautrot, Ferdinand French, 1832–1874 Little is known of Pautrot’s life aside from his place of birth in Poitiers, France. He began exhibiting at the Salon in 1861 and continued through 1870, with his work representing various animal and hunting figures.

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.

Peck, Leslie American, b. 1965 Born in Buffalo, Peck received a bachelor’s degree in fine arts at the Fashion Institute of Technology in New York City and then illustrated romance novels for more than 20 years. After marrying and moving to upstate New York, she became a fine art painter of farm scenes, and animal and human portraiture. She paints animals at work and in their element, focusing on their eloquence, nobility, and anatomy.

Price, Janice American, born 1934 An American painter born in Ohio, Price specializes in folk art and native scenes. She draws inspiration for her art from her grandparents’ farm. Most

of her paintings feature scenes from the farm and include some of the animals and people that are regularly there.

Quinn, David British, born 1959 A 1982 graduate with a B.A. First Class Honours in Graphic Design (illustration) from Manchester Polytechnic, Quinn won the 1987 “Bird Illustrator of the Year Award” from the British Birds magazine. Among the publications to feature Quinn’s illustrations are the Helm Identification Guides and the National Geographic Guide to New World Warblers.

Raffaëlli, Jean-François French, 1850–1924 Born in Paris, Raffaëlli first exhibited at the Salon in 1870 and in 1871 began his only formal training, studying under Jean-Léon Gérôme at the École des Beaux-Arts in Paris. He maintained an early friendship with Edgar Degas that enabled him to exhibit with the Impressionists in 1880 and 1881, though this proved highly controversial within the group, given Raffaëlli’s grittier and realist style. He won the Légion d’honneur in 1889, and his later works focused on Parisian street scenes.

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.

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

Reno, Jim American, 1929–2008 Growing up in Indiana, Reno got his first job at age 7 mucking horse stalls, and it was there that he fell in love with horses. He began sculpting animals in high school, which led to a scholarship to attend the Herron School of Art and Design. After college, he moved to Texas, where he began training horses and continued sculpting. An owner, trainer, and breeder of cutting horses, he served as president of the National Cutting Horse Association and is a member of its hall of fame. His work can be found in the White House permanent collection.

Ripley, Aiden Lassell American, 1896–1969 After studying at the Fenway School and the Boston Museum of Fine Arts School, Ripley won awards for his watercolors in many Eastern exhibitions before joining the faculty of the Harvard School of Architecture in 1929. The Works Progress Administration sponsored his mural in the U.S. Post Office in his hometown of Lexington, Massachusetts. Another mural of his art is at the Massachusetts Public Library in Boston.

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Robertson, Tyler American, born 1981 Robertson is known for his modern take on otherwise traditional subjects.

His use of size, bold compositions, colors, and a palette knife adds life to his paintings. Since becoming an artist, Tyler has moved quickly to form a buzz in the world of sporting art. He finds inspiration in traveling, advertisements, fashion, and the work of young, upcoming artists. He has sold paintings internationally and has been chosen as the official artist of the 2018 Breeders’ Cup. Robinson, Sam American, born 1953 Born in 1953, Robinson is an equine sporting artist in the tradition of Alfred Munnings, Franklin Voss, and many other painters who make horses, hounds, and country life their primary subjects. His home and studio are in the Greenspring Valley of north Baltimore County, an easy drive from Maryland’s Hunt Country and the rural courses that host timber racing in the region. He paints in a fluent representational style using gouache field studies and photo references to create his larger studio oils.

Rotherham, John British, born 1968 Working as a portrait artist in Lancashire, Rotherham has successfully exhibited at galleries and shows across the UK and in London as well as at art fairs in New York. He sells his own paintings in his studio and will occasionally exhibit them. He mainly does animal portraits with pastels and charcoal.

Russell, Charles Marion American, 1864–1926 One of the most prolific artists and illustrators of the American West, Russell moved from his native Missouri to Montana in 1880 to work as a rancher and cowboy. In 1888 he went to live with the Blood Indians, where he developed his most intimate knowledge of the Indian culture before embarking on a career as a full-time artist in 1892. Today his work can be seen in the White House, Amon Carter Museum of American Art, and the Denver Art Museum. He is one of two people to represent Montana in the National Statuary Hall Collection in the United States Capitol.

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

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

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a portrait of R. A. Alexander’s champion sire Lexington, which now hangs at Keeneland.

Shayer, William Joseph British, 1811–1891 First exhibiting at age 17, Shayer was forced to become a coach driver when his animal paintings did not provide him and his family with a living.

Although he had a difficult life, he was known as a kind, gentle man whose paintings showed great understanding of and sensitivity to both horses and people.

Shepherd, David British, 1937–2017 Shepherd studied drawing and painting with marine and portrait painter Robin Goodwin from 1950 to 1953, gaining a firm foundation for a successful artistic career. Following his time under Goodwin’s teaching, Shepherd began painting aviation scenes and met with success. In 1960, the Royal Air Force flew him to Kenya as their guest and asked if he could paint some local subject matter. After this point, the painter turned to wildlife subjects, with an emphasis on African wildlife, almost exclusively. A 1962 exhibition at London’s Tryon Gallery sold out, and Shepherd has since gone on to become one of the most highly esteemed wildlife painters of his era.

Shepherd has exhibited throughout the United States, Europe, and Africa, and has been the subject of many television documentaries chronicling his life as an artist, as well as his profound interests in wildlife conservation.

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.

Slonem, Hunt American, born 1951 Having graduated from Tulane University with a BA in painting and art history, Slonem also took courses at the Skowhegan School of Painting and Sculpture. Moving to New York in the 1970s and meeting other artists such as Andy Warhol, he became a part of the burgeoning art scene there.

His work today is found in many prominent private collections as well as in the collections of the Smithsonian American Art Museum, the National Gallery of Art, the Metropolitan Museum of Art, and the Whitney Museum of American Art. 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, her work continues to gain recognition as she receives awards, appears in national publications, and shows in important juried and solo exhibitions.

Standing, William Henry British, act. 1894–1931 Mostly working in watercolors, Standing preferred to paint coaching or driving scenes as well as horse-dealing pictures. Little is known about this artist and it is believed he worked from about 1895 to 1900. His birth and death dates are unknown.

Starr, Jim British, born 1976 Starr lives and works on Exmoor in North Devon, and his work includes painting, illustrations, and printmaking. He completed a foundation at Chelsea College of Art and a degree at Kingston University. His work has been exhibited in London, Paris, New York, Chicago, Palm Beach, Venice, Rome, Singapore, and Tokyo and can also be found in private collections worldwide.

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.

Tannahill, Max Irish, b. 1959 Born in County Down in Northern Ireland, Tannahill lived in London in the late 1970s and emigrated to Australia in the mid-1980s before returning to the U.K. to live in East Anglia. Aboriginal art was a huge inspiration for him, and his work continues to evolve. Now producing in bronze, he enjoys wagering on horse races and dining on southern Italian food.

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.

Tracy, John Martin American, 1843–1893 Tracy was born in Rochester, Ohio, in 1843 and died in 1893 in Ocean Springs, Mississippi. He discovered the sporting art genre late in life but the art he produced certainly did not go unnoticed. In his early life he attended Oberlin College and Northwestern, where he began his art studies. His college years were interrupted when he joined the Civil War as a member of the Nineteenth Illinois Infantry. He quickly reached the rank of lieutenant and started to test his artistic capabilities. After his service, he traveled back home to work a variety of jobs to save money to study with artists in Paris.

He returned to the United States in 1878.

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.

Trickett, John British, b. 1953 Born in 1953 in Sheffield, England, Trickett is best known for his realistic depictions of hunting scenes with dogs, deer, and birds. After playing professional soccer for a number of years, he worked as an accountant.

Trickett is a self-taught painter, yet he is now considered one of the prominent dog portraitists in Britain. Trickett lives and works in Nottinghamshire, England.

Van Dyke, Rachael American, born 1972 Van Dyke is a mid-career artist creating abstract landscape work inspired by living off the grid in the Blue Ridge Mountains and at her summer residence in Michigan. Van Dyke is an avid traveler as an artist-in-residence and has participated in national and international residencies, including StudioFaire (France). Previous residencies include Keeneland Race Course (KY), Golden Apple Art Studio (ME), Mackinac Island State Historic Parks (MI), Virginia Center for the Creative Arts (VA), Officina Stamperia del Notaio (Sicily), United States National Park Service (Isle Royale), Cill Rialaig (Ireland), Studio Ginestrelle (Italy), The Edgewood Cottage (NC), Le Jardin Botanique (France), TICA (Art Institute of Chicago), and Les Tasis (France). She is a Fulbright Memorial Fund teacher recipient to Japan.

Voss, Franklin Brooke American, 1880–1953 From a family of sportsmen and artists, Voss studied at the Art Students

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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 ElkridgeHarford Hounds near his Maryland farm.

Wade, Jonathan Armigel American/British, born 1960 Working with mostly oils and watercolors, Wade creates a “curvispective” style for many of his works. He is known for hunting, sporting, coastal, military, and rural landscape paintings. He used many “distorted perspectives” in which the subjects of the painting would be looking or placed in an inorganic way and the things surrounding them would be curved or wavy to try to make the picture make more sense.

Waite, Edward Wilkins British, 1854–1924 Waite was born in Leatherhead, Surrey, to a family of artists. His grandfather was a miniaturist, his father was an amateur watercolorist, and three of his brothers also became artists. Waite was educated at the Mansion House Grammar School in Leatherhead, and in 1874 he traveled to Canada to become a lumberjack. After returning home, he started painting full time, and from 1878 to 1919 he often showed his work at the Royal Academy in London. He became a member of the Royal Society of British Artists in 1893.

Waite was a landscape painter and worked mostly in oils.

Walker, Joseph Francis British, 1831–1906 As a 19th-century painter in Britain, Walker was known to do sporting and coaching scenes. Little is known about him, but his work has been offered at several auction houses. He died in 1906.

Walker, William Aiken American, 1838–1921 Born and raised in South Carolina, Walker joined the Confederate army.

Later, he was medically discharged and sent to become a draftsman for the engineers, making maps and drawings of Charleston’s defenses. After the Civil War, Walker moved to Baltimore to sell paintings of the “Old South” to tourists. He is best known for his post-reconstruction American South portraits of sharecroppers working in the fields and for close-up portraits of those sharecroppers.

Werle, J. British, 19th Century Werle was a member of an English academy of artists and reportedly exhibited at the “Lord Albert Museum” in London Wheeler, John Arnold Alfred British, 1821–1903 Wheeler enlisted in the army at age 19, giving him first-hand exposure to horses that would later aid him in his artistic career. The prolific Wheeler painted military, hunting, and racing scenes as well as equestrian portraits that were in demand among the gentry of the day. His vibrant works included both small and large vistas, animating a single subject or uniting more than 150 people, horses, and hounds in one painting.

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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.

Widdas, Richard Dodd British, 1826–1885 Widdas was born in Leeds and his father, John, was a portrait painter.

Widdas describes himself as a portrait and animal painter. It is reported that he learned his skills from his father and that he took up photography as well. In the 1860s he and his family relocated to Hull. While at this new location, Widdas painted harbor scenes and boats coming in and out of the harbor.

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 equestrianthemed 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.

Zinkeisen, Doris Clare British, 1897–1991 Born in Clynder House in Rosneath, Argyll, Scotland, Zinkeisen attended the Harrow School of Art for four years. During the 1920s and ’30s, she shared a studio with her sister in London, where she started her career as a commercial artist, theatrical designer, and painter. During World War II, she joined the St. John Ambulance Brigade and worked as a nurse in London. Following the liberation of Europe in 1945, she was commissioned by the War Artists Advisory Committee. After the war she continued to work in London, producing theatrical designs and occasionally exhibiting her paintings.

CONDITIONS OF SALE

THESE CONDITIONS OF SALE GOVERN THIS SALE: This Annual Sporting Art Auction (“Sale”) is governed by these 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, online, 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, consignors, agents, Owners, prospective bidders/ purchasers (whether participating in person, online via a Bidding Platform, by telephone, by proxy-agent, or by written, online or telephone absentee bid, “Bidder/ Purchasers”), and 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.

The following websites will be available for online bidding: www.liveauctioneers.com and www.invaluable.com (each a “Bidding Platform,” and collectively, the “Bidding Platforms”).

To the extent these Conditions conflict with any Bidding Platform’s terms and conditions, these Conditions shall prevail.

Under these Conditions, “Seller” means a person or entity, including such person or entity’s agent (other than KCG), consignor, successor-in-interest, 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.

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 Bidders/Purchasers 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 Condition 9. In all other respects, the AS-IS nature of this Sale remains in full force and effect.

All prospective Bidders/Purchasers further acknowledge presale exams may be conducted by physically viewing the property, if available, by video, by photos, or through an agent. All

prospective Bidders/Purchasers further acknowledge that if the presale exam is insufficient as determined in the sole discretion of the prospective Bidder/Purchaser, said prospective Bidder/Purchaser shall not bid on a lot. 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 and without any warranty or assumption of liability by KCG or by the SELLER. 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 commonlaw 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 or on a Bidding Platform for property, or made orally or in writing online 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 or on a Bidding Platform to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder/Purchaser 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

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for errors and omissions in the catalogue, Announcements, or any supplemental materials. You are responsible for satisfying yourself concerning the condition of the property and the matters referred to in the catalogue entry or on a Bidding Platform, 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 355.2-328(4) and other applicable laws, the right to bid in this Sale is reserved for all Sellers, including their disclosed and undisclosed agents, unless otherwise announced at time of Sale. Purchasers therefore agree and acknowledge that Sellers have the right to set reserves implemented by the auctioneer upon property so entered which are not disclosed to Purchasers and also have the right to conduct 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. Bidders may participate in a sale in person, by bidding online through a Bidding Platform or by telephone bid, subject to approval by KCG in its sole and absolute discretion. All prospective Bidders must complete and sign a Purchaser Registration Form and such other forms as KCG, in its sole discretion and absolute discretion, deems appropriate, and to provide identification before bidding if requested.

To bid online or by telephone, Bidders must complete and register with KCG at least 24 hours before the start of the Sale.

As noted in Condition 1 above, KCG encourages all Bidders, including online and telephone Bidders, to conduct pre-sale exams on any lot on which they may bid. All Bidders, including online and telephone Bidders, agree to these Conditions as well as such additional terms as KCG, in its sole and absolute discretion, deems appropriate, and to provide identification before bidding if requested. When making a bid, whether in person, on the telephone or online, a Bidder accepts personal liability to pay the Purchase Price, as described more fully in Condition 7 below. 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

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KCG’s sole discretion a prospective Bidder/Purchaser does not satisfy the registration procedures, KCG may refuse such prospective Bidder/Purchaser to register or bid in the Sale and/or cancel the contract for sale between such prospective Bidder/Purchaser and the Seller. d. PURCHASE PRICE. When making a bid, a Bidder/Purchaser is accepting personal liability to pay the entire Purchase Price and associated charges, which shall mean the aggregate sum of (i) the highest bid recognized by the auctioneer at the fall of the hammer (the “Hammer Price”), subject to KCG’s discretion as set out in paragraph (e) of this Condition 6, plus (ii) the Buyer’s Premium (as hereinafter defined), (iii) all applicable taxes, including, without limitation, sales or compensating use tax or equivalent tax, and (iv) all other applicable charges, which may include, for example, an additional fee and commission when bidding online (the sum of the amounts set forth in subparts (i) through (iv) of this paragraph (d) shall be 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 and reserves the right to refuse or reject 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/Purchaser, to continue or re-open the bidding, to cancel the sale of any lot or to reoffer any lot 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/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.

In the event of a technology issue of any type (including, but not limited to, malfunctions affecting, or resulting in a temporary inability to use, Bidding Platforms, computers, telephone servers, or any similar technological equipment or software), KCG reserves the right, exercisable in its sole and absolute discretion, to suspend bidding, extend the relevant bidding period, cancel the sale, or reoffer the property affected for sale. Any Bidder who places an order/ absentee bid, a telephone bid, or an online bid expressly

acknowledges and agrees as follows: (1) such bidding relies upon technology that may malfunction without warning and through no fault of KCG; (2) bidding is being provided on an “AS AVAILABLE” and “AS IS” basis, and KCG does not guarantee continual, uninterrupted or error free bidding; and (3) KCG shall be absolved from any and all liability related to or arising from any interruption in service, errors and/or omissions with respect to such bidding, and each Bidder/ Purchaser who places any bid (regardless of its form) shall hold KCG harmless from any loss or claim resulting therefrom f. BIDDING. KCG RESERVES THE RIGHT TO REJECT ANY BID. Subject to the auctioneer’s discretion as set out in paragraph (e) of this Condition 6, the highest Bidder accepted by the auctioneer will be the successful Bidder/ Purchaser and the striking of the auctioneer’s hammer marks acceptance of the highest bid and the conclusion of the sale between the Seller and successful Bidder/Purchaser. Winning online and telephone Bidders/Purchasers will receive an email notification of any successful bid. Online Bidders/ Purchasers are also requested to log in to the applicable Bidding Platform as soon as possible after the sale to obtain details of the outcome of their successful bid. KCG does not accept responsibility for notifying you of the result of your bids unless you are successful, and you should check as soon as possible after the sale to get details of the outcome of your bid. 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 seventeen and one-half percent (17.5%) 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. 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 transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the defaulting purchaser so directs; (vii) 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).

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Any claims relating to any purchase, including any claims under the Conditions, must be presented directly to KCG. b. REMOVAL OF PURCHASED PROPERTY; DEFAULT. Unless otherwise agreed by KCG, all property must be removed from KCG’s premises by the Purchaser at Purchaser’s expense not later than fourteen (14) calendar days following the Sale. KCG’s liability for loss or damage to sold property shall cease no later than fourteen (14) calendar days after the Sale. Where purchases are not collected within fourteen (14) calendar days from the date of the Sale, whether or not payment has been made, KCG shall be permitted to remove the property to a third party warehouse at the Purchaser’s expense, and only release the items after payment in full has been made for purchase(s) as well as all expenses related to 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. d. TAXES. Unless otherwise exempted by law, Purchaser will be required to pay any Kentucky sales and use tax, any applicable compensating use tax of another state or jurisdiction, and, if applicable, any federal luxury or other tax.

Purchaser acknowledges and agrees to pay all applicable sales or compensating use tax or equivalent tax and indemnifies, defends, releases and holds harmless KCG, its affiliates, and Seller from and against any and all claims and damages related thereto. e. INTERNATIONAL DUTIES. For international Purchasers, the terms of sale are Delivered Duty Unpaid (DDU). It is Purchaser’s responsibility to ascertain and pay all international duties, customs charges, taxes and tariffs owed to the appropriate government entity or to be paid prior to shipment and/or delivery. f. RETENTION OF SOLD PROPERTY FROM PURCHASER. KCG shall be entitled to retain any items sold until all amounts due from Purchaser to KCG have been received in

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full, cleared funds or until the Purchaser has satisfied such other terms as KCG, in its complete discretion, may require, including, for the avoidance of doubt, completing any antimoney laundering or anti-terrorism financing checks we may require to KCG’s satisfaction. If such amounts are not paid or such checks are not satisfied by the Purchaser to KCG’s satisfaction, KCG shall be entitled to cancel the sale and to take any other actions that are required or permitted under applicable law.

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, DESCRIPTION ON A BIDDING PLATFORM OR ANY OTHER DESCRIPTION OF THE CONDITION, COMPLETENESS, SIZE, QUALITY, RARITY, VALUE, IMPORTANCE, MEDIUM, FRAME, PROVENANCE, EXHIBITION HISTORY, LITERATURE OR HISTORICAL RELEVANCE OF ANY PROPERTY. NO STATEMENT ANYWHERE, WHETHER ORAL OR WRITTEN, WHETHER MADE IN THE CATALOGUE, ON A BIDDING PLATFORM, AN ADVERTISEMENT, A SALESROOM POSTING OR ANNOUNCEMENT, OR ELSEWHERE, SHALL BE DEEMED SUCH A WARRANTY, REPRESENTATION OR ASSUMPTION OF LIABILITY. KCG AND SELLER MAKE NO REPRESENTATIONS AND WARRANTIES, EXPRESS OR IMPLIED, AS TO WHETHER THE PURCHASER ACQUIRES ANY COPYRIGHTS OR LICENSES, INCLUDING BUT NOT LIMITED TO, ANY REPRODUCTION RIGHTS IN ANY PROPERTY. EXCEPT FOR THE LIMITED WARRANTY OF AUTHORSHIP EXPRESSLY STATED IN CONDITION 9, KCG IS NOT RESPONSIBLE FOR ERRORS AND OMISSIONS IN THE CATALOGUE, GLOSSARY, OR ANY SUPPLEMENTAL MATERIALS, INCLUDING, BUT NOT LIMITED TO, ANY BIDDING PLATFORM. 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 (“Heading”) (“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 opinion 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 losses or damages incurred or claimed, including but not limited to, (a) attorneys’ fees, loss of profits, loss of revenue, loss of business opportunity or goodwill, or interest; or (b) any special, incidental or consequential damages.

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 lot 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 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. 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

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upon by the Purchasers and are not part of the contract for sale.

The entire contract of sale is embodied in these Conditions (including, but not limited to the Announcements), and with respect to the Seller, the Consignment Agreement. These aforementioned documents constitute the final expression of the parties’ agreement and are a complete and exclusive statement of that agreement. Notwithstanding the above, Seller, Owner and Purchaser may enter into an agreement which modifies the limited warranties as provided herein; however, any such action by the Seller, owner and Purchaser cannot and shall not modify or alter the duties, responsibilities and rights of KCG as provided in these Conditions and the Consignment Agreement. d. FORCE MAJEURE. The lack of performance hereunder by KCG (but by no other party) shall be excused without liability if the failure to perform is due to an act of God, fire, casualty, injunction, strike or labor dispute, pandemic, endemic, or disease (specifically including, but not limited to SARS, Legionnaires, COVID-19), act or decision of a governmental authority (specifically including, but not limited to, any government measures enacted to protect the public health from any pandemic, endemic, disease, or other public health emergency), or any other cause beyond the control of KCG. As used herein, “without liability” means that there will be no additional costs, expenses, or damages of any nature whatsoever. e. 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. f. 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.

g. 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, Bidder/ 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. h. LIMITATION OF LIABILITY. If, in spite of the terms of these Conditions and all disclaimers set forth herein, KCG is found to be liable to you for any reason, KCG shall not have to pay more than the Purchase Price actually paid by you to KCG. Notwithstanding anything contained herein, KCG will not be responsible to you for any reason for loss of profits or business, expected savings or interest, costs, damages, or expenses. i. PERSONAL INFORMATION. The information KCG collects and its use policies are set forth in more detail in Keeneland’s Privacy Policy, available at https://www.keeneland.com/ about/privacy-policy, which is fully incorporated into these Conditions by reference. To the extent there is any conflict between these Conditions and Keeneland’s Privacy Policy, these Conditions govern. j. NO WAIVER. The failure of KCG to exercise or enforce any right or provision of these Conditions shall not constitute a waiver of such right or provision, and no waiver of any term of these Conditions shall be deemed a further or continuing waiver of such term or any other term.

ONLINE BIDDING INSTRUCTIONS

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

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ABSENTEE BIDDING INFORMATION

As a convenience to clients who cannot attend the auction, KCG will execute absentee bids without charge.

Bids will be executed to purchase the Lots requested as inexpensively as will be permitted by other bids for those Lots. Bids should be submitted as early as possible and should be dated. In the event of identical bids, KCG has sole and complete discretion as to which bid to execute, but the first bid received normally will take preference.

Bids submitted for each Lot should be in the maximum amount you would bid in attendance. KCG does not execute “Absolute Buy” bids. All bids must be submitted with a maximum amount. Unsuccessful bids are generally not acknowledged.

To avoid delay in removing purchases, buyers planning to pay with a personal or business check are advised to supply us with a bank letter of credit prior to auction. All bids are subject to the “Conditions of Sale” which appear in this catalogue.

WHILE EVERY EFFORT IS MADE TO PROPERLY EXECUTE ABSENTEE BIDS, KCG WILL NOT BE RESPONSIBLE FOR ERRORS OR FAILURE TO EXECUTE SUCH BIDS. For additional information on absentee bids, please contact KCG at: Tel (859) 233-3856.

SHIPMENT OF PURCHASES INFORMATION

If your bid is successful, KCG can help arrange shipment of your purchases to you. Estimates for the shipping of any purchases can be attained through KCG. All purchases must be removed no later than Wednesday, November 22, 2023. 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.

THE SPORTING ART AUCTION

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

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

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

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

Ambille, Paul...................................66

Firth, Richard M............................201

Lewis, Tristram..............................138

Robertson, Tyler............................107

Austin, Mike ................................114

Flannery, Vaughn............................54

Leyland, Susan..............................137

Robinson, Sam.............................189

Barnhart, Jeaneen ................152, 191

Flatt, Dr. Adrian E. ........................140

Liljestrom, Connor........................122

Rotherham, John............................87

Bartoli, Jacques...............................69

Foose, Robert James.....................204

Lyne, Michael..................................77

Russell, Charles Marion..................42

Beer, Andrew..................................28

Fouques, Henri Amédée..................40

Malespina, Louis Ferdinand............70

Bibby, Nick...................................134

Frémiet, Emmanuel.........................43

Sawyier, Paul.................................205

Malissard, Georges.........................38

Bogucki, Edwin.............................150

Gold, Dede.....................................89

Mangan, Stephen.................172, 173

Scott, Thomas J.................................1

Bolam, Andrew.............................110

Goodall, John Strickland...................6

Matia, Walter........................133, 135

Bonheur, Isidore Jules.....................37

Grau-Sala, Emilio............................62

Maze, Paul Lucien.....................64, 65

Booth, Raymond...........................100

Gridnev, Valeriy.....................184, 185

Mehl, Joanne................................190

Boyle, Neil....................................162

Grosperrin, Claude................193, 194

Menasco, Milton...........50, 51, 52, 53

Brewer, Allen F. Jr.............................72

Guiramand, Paul...........................192

Meyer, Emil.....................................27

Brewer, Melinda.............................86

Haddelsey, Vincent........................202

Millais, Hesketh Raoul Lejarderay....78

Bull, Julie Ann.........................90, 197

Hagerbaumer, David.................96, 97

Moise, Theodore Sydney.................13

Standing, William Henry..................24

Burgess, Steve..............................111

Hai, Serhiy....................................112

Morland, George..............................8

Starr, Jim.........................................98

Chapman, Julie T...........................113

Hall, Harry....................................2, 3

Munnings, Sir Alfred James............81,

Stull, Henry...................15, 16, 17, 18

Shayer, William Joseph......................5 Shepherd, David...........................167 Skeaping, John.......................60, 143 Slonem, Hunt................................132 Smith, Suzy F...........................95, 130 Soukup, Jill...........................119, 198

Church, Charles............................163

Henneberg, Tony...........................103

82, 83, 84

Tannahill, Max......................141, 142

Claxton, George...........................136

Herring, John Frederick Jr............9, 12

Neiman, LeRoy............147, 155, 156,

Taylor, Jo...............................117, 118

Clay, Beatie..........................106, 129

Herring, John Frederick Sr.......... 10,11

157, 158, 159, 160

Tracy, John Martin...........................14

Coates, Thomas J......... 174, 175, 176

Hilaire, Camille...............................63

Noalia, David................................120

Tremaine, Diana....................105, 121

Cortez, Jenness.............................149

Ho, Quang.................... 164,165, 166

Oppegard, Sandra........ 186, 187, 188

Trickett, John.............................92, 93

Corum, Jaime Claire..............115, 148

Hodge, Marcus.....................177, 178

O’Sullivan, Katie.............................71

Van Dyke, Rachael........................101

Coward, Malcolm.........................161

Howell, Peter........................168, 169

Palombo, Lisa...............................151

Dahl, Carl.....................................154

Humphrey, Lesley..........................195

Pater, Andre...........88, 126, 127, 128,

Voss, Franklin..................................47

Davey, Randall..........................75, 76

Hunt, Charles Jr...............................25

180, 181, 182, 183

de Condamy, Charles-Fernand........23

Huntington, Anna Hyatt..................41

Pautrot, Ferdinand..........................39

de La Boulaye, Antoine.................196

Kammerzell, David................123, 124

Pechaubes, Eugene...................73, 74

Delattre, Henri..................................4

King, John Gregory.........................61

Peck, Leslie...................................102

Dent, David M..............................171

Knight, A. Roland............................30

Price, Janis....................................203

de Watrigant, Hubert............125, 170

Koehler, Henry..........................79, 80

Quinn, David..................................99

Earl, Thomas Percy..........................22

Konrad, Ignac.....................19, 20, 21

Raffaëlli, Jean-François...................55

Earle, Eyvind.................................131

LaFontaine, Thomas Sherwood........67

Reeves, Richard Stone........56, 57, 58,

116, 153

Emms, John..............................44, 45

Lalanne, Jean-Bernard..................200

59, 144

Whicombe, Susie..........................179

Faulkner, Henry Lawrence.....206, 207

Landseer, Sir Edwin...................35, 49

Reneson, Chet..............................108

Widdas, Richard Dodd......................7

208, 209, 210, 211, 212, 213

Langton, Charlie...........................139

Reno, Jim..............................145, 146

Wright, George.........................46, 48

Faull, Emma..................................104

Larson, Jeffrey T...............................94

Ripley, Aiden Lassell............32, 33, 34

Zinkeisen, Doris Clare.....................68

Wade, Jonathan Armigel...............199 Waite, Edward Wilkins....................29 Walker, Joseph Francis....................36 Walker, William Aiken....................214 Werle, J...........................................31 Wheeler, John Alfred.......................26 Wheeler, Larry Dodd..............85, 109,

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

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KEENELAND / CROSS GATE GALLERY

THE SPORTING ART AUCTION

Lexington, Kentucky Keeneland Sales Pavilion NOVEMBER 18, 2023

November 18, 2023 | 12 noon