ABOUT CROSS GATE GALLERY
Founded 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
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.
R| Auctioneer
yan Mahan considered following his stepfather, Dr. Robert Copelan, into veterinary medicine. Instead, he finds himself in the auction stand at the leading Thoroughbred sales company in the world.
Mahan initially had his own auction company but in 1977 he joined Keeneland as a bid spotter and later chief announcer. Promoted to auctioneer in the mid-1980s, he succeeded the late Tom Caldwell in 2001 as senior auctioneer. He has been involved with the Sporting Art Auction since its inception. |
Auctioneer
Justin 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.
L| Owner, Cross Gate Gallery
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.
Meet Cross Gate Gallery Staff
Grayson Bickett
Field Ladd
Catherine Ladd Kenneally
Linda Helton
Jacqueline LeMastus
Bill Evans Meng
Rogelio Bautista
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.
■ 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.
Fine Sporting Art, American Paintings, and Sculpture
Friday • November 15, 2024 • 2:00 p.m. EST
Keeneland Sales Pavilion Lexington, Kentucky
Oil on canvas, 18” x 15”
Signed, dated ’34
$500. – 1,000.
1 | Bonnier (French, 20th Century) PADDOCK DAY
2 | Henry Barraud (British, 1811–1874)
PENELOPE, LITTLE WONDER, & IMOGENE
Oil on canvas, 28” x 38”
Signed, dated 1856
$4,000. – 6,000.
Provenance: The Sporting Gallery and Bookshop; Frost and Reed
3 | Edward Robert Smythe (British, 1810–1899)
THE HORSE FAIR Oil on canvas, 32 ½” x 66”
$30,000. – 40,000.
Provenance: Oscar and Peter Johnson, Ltd.; Christie’s, London, The Country House Sale: Pomfret House and Tetworth Hall, November 5, 2008, lot 469
The Horse Fair is one of Edward Robert Smythe’s greatest works, one of his largest canvases and one of his most complex in terms of composition.
The only comparable work Smythe is known to have produced is thought to be a companion piece to the painting currently being offered, titled The Wool Pit Horse Show, Suffolk. The two paintings both brought record prices for works by Smythe when they were auctioned; with The Horse Fair bringing more than $51,000 in 2008 and The Wool Pit Horse Show, Suffolk bringing more than $52,000 in 2011.
4 | Harry Hall (British, 1814–1882) WATCHING THE SET
Oil on canvas, 23” x 30”
Signed, dated 1850
$6,000. – 9,000.
Provenance: The collection of the late Countess Bunny Esterhazy
Obituary in the Daily Telegraph, December 24, 2021: “Countess Bunny Esterházy, who has died aged 82, was a wellknown figure in international society in the mid-1950s and in the racing world, where she had notable success in the 1970s and 1980s. She was the only daughter of Count Tamás (Thomas) Esterházy, and his wife ‘Etti,’ Countess Wurmbrand, who had six husbands by the age of 40 and was latterly known as Mrs Arpad Plesch, a legendary figure on the turf and the only female owner to win the Derby twice.”
5 | William Joseph Shayer (British, 1811–1891)
SOUTHAMPTON
Oil on canvas, 25” x 30”
Signed, inscribed, dated 1830
$4,000. – 6,000.
Provenance: Pawsey & Payne, London
A HUNTER IN A LANDSCAPE Oil on canvas, 34 ¾” x 46”
$6,000. – 9,000.
6 | Attr. to John Boultbee (British, 1753–1812)
7 | Henry Charles Woollet (British, 1826–1893)
THE CHESTER HORSE FAIR Oil on canvas, 38” x 60” Signed, indistinctly dated $10,000. – 15,000.
Fairs have played a central role in the city of Chester for nearly a millennium and can be traced back to 1092, when Earl Hugh I granted Chester Abbey all the tolls, rents, and issues of a threeday fair for the feast of St. Werburg, held in mid-June. In the late 14th and early 15th centuries, the fairs still lasted a month at Midsummer and a fortnight at Michaelmas. By the mid16th century, the city had begun to host horse fairs as well.
In the late 17th century, attendance at the Chester fairs was in decline until Charles II granted the city a third fair, held on the last Thursday in February 1685, for horses and horned cattle. In 1705, the fair was moved to a new location on Foregate Street.
In 1830, the fairs were still “great marts for the sale of various sorts of goods,” usually inaugurated by a horse and cattle fair. By 1850, Chester began holding livestock fairs
more frequently, and by 1892, 13 livestock fairs were held annually. In the 1880s, there was a separate monthly horse fair, held on Thursdays near the entrance to the Union Hall in Foregate Street.
Woollett’s Chester Horse Fair was likely painted circa 1880 and depicts the last of Chester’s traditional fairs. The painting depicts the junction of Love and Foregate Streets, which had become a major center for shopkeepers during the 19th century. In 1884, the horse fair was moved to George Street, but the monthly horse fairs in Chester remained largely unchanged until the 1930s.
The present work is related to Woollett’s 1887 painting Chester Horse Fair, Foregate Street, currently in the Grosvenor Museum, Chester.
8 | Harry Hall (British, 1814–1882)
GEORGE MURE OF HERRINGSWELL Oil on canvas, 41” x 60” $60,000. – 90,000.
Provenance: Miss Mure of Perceton; Anonymous Sale; Sotheby’s, New York, 9 June 1989, lot 97
Exhibited: Rountree Tryon, 2015 Sporting Exhibition
Literature: J.N.P. Watson, Collection Sporting Art, London, 1988, illustrated facing page 57
George Mure (1797–1868) was one of the pioneers of the East Suffolk Hunt—now called the Suffolk Hunt—which was founded by the Dukes of Grafton at Euston. He was Master of the Foxhounds for nearly 20 years, during which time the hounds were kenneled at Herringswell. Herringswell is approximately seven miles northeast of Newmarket. Mure’s huntsman was Will Rose and the whip was Sam Hibbs. Mure was also painted by John Frederick Herring, Sr. and the brothers
William and Henry Barraud. The present painting is one of the finest examples of Hall’s work, with extreme attention paid to all four horses and riders and a rabble of hounds showing great personality. Harry Hall was an English equestrian painter, whose works were in high demand by 19th-century horse owners. Born in Cambridge, he was trained by another sporting artist of note, Abraham Cooper. Hall first exhibited at the Royal Academy in 1838 and continued to show in artistic society exhibitions throughout his life. Living in Newmarket, he was a prolific painter, and after J. F. Herring, Sr.’s death, he was considered the foremost racehorse portraitist of his time. Hall first appeared at Tattersalls, where he worked on several of the publications: British Racehorse, The Sporting Review, and The Field to name but a few. He also worked for the Illustrated London News
9 | John Frederick Herring Sr. (British, 1795–1865)
FEEDING TIME
Oil on canvas, 20” x 30”
Signed, dated 1849
$20,000. – 30,000.
10 | William Henry Turner (British, act. 1849–1887) HORSE FAIR AT DONEGAL
Oil on canvas, 14” x 20”
Signed, dated 1863
$3,500. – 4,500.
Provenance: Grubbs Auction, June 8, 1984; Christie’s, New York; Bartlett Burnap
11 | John Frederick Herring Jr. (British, 1820–1907)
FARMYARD SCENE
Oil on canvas, 28” x 36”
Signed
$18,000. – 25,000.
12 | John Frederick Herring Sr. (British, 1795–1865)
HORSE WITH GREYHOUNDS
Oil on canvas, 22” x 30”
Signed, dated 1839
$25,000. – 35,000.
13 | John Frederick Herring Jr. (British, 1820–1907)
FAMILY FARM
Oil on canvas, 28” x 44”
Initialed JFH on barrell
$25,000. – 30,000.
Provenance: Anon. sale, Christie’s, London, 5 June 1998, lot 32 (£25,300)
14 | Attr: John Sinclair (British, 1795–1865) after John Frederick Herring Sr. DONCASTER GOLD CUP, 1825; LOTTERY, LONGWAITS, CEDRIE, AND FIGARO
Oil on canvas, 18 ½” x 36 ½”
Signed $3,000. – 5,000.
John Sinclair after John Fredrick Herring Sr. Preparing for the Doncaster Gold Cup, 1825, with Mr. Whittaker’s ‘Lottery,’ Mr. Craven’s ‘Longwaist,’ Mr. Lampton’s ‘Cedric,’ and Mr. Farquharson’s ‘Figaro’
The 1825 Doncaster Gold Cup was won by Lottery, a large dark bay by Tramp out of Mandane, seen here on the left being held by a groom and with his jockey, G. Nelson, up. Bred by Richard Watt, at Bishop Burton in Yorkshire, Lottery was an attractive, 16-hand racehorse with a nervous and uncertain temperament but extraordinary natural ability. Owned by Thomas Whitaker of Downthorpe Hall, he displayed a number of undesirable traits as a colt, such as getting down and rolling when he could not rid himself of his rider in any other way. But when he did run, he was outstanding and was considered by some to be the horse of a century.
In 1824, as a 4-year-old, Lottery won the King’s Plate at Newcastle and beat Abron at York by six lengths, going on to win the Cup at the same meeting by 10 lengths. His greatest victory, however, was the 1825 Doncaster Gold Cup. In this famously hard-fought race, Lottery led throughout, beating Mr. Craven’s Longwaist by a neck, but leaving the rest of the field more than half a mile behind. These included Mr. Lumley’s second-place finisher, Falcon; Mr. Farquharson’s Figaro (the horse on the far right of the group of three depicted here); Lord Silgo’s Starch; Mr. Lambton’s Cedric (the middle horse in the group of three); the Duke of Leeds’ Crowcatcher; Lord Exeter’s Zealot; and Mr. Duncome’s bay filly, St. Helena. In all, Lottery won 11 races. However, his always uncertain temper and naturally erratic behavior was aggravated by over-training and mismanagement, but for which many contemporaries thought he would otherwise have been one of the most brilliant performers on the British turf.
15 | Studio of John Frederick Herring Sr. (British, 1795–1865)
THE FLYING DUTCHMAN & VOLTIGEUR AT YORK, 13TH OF MAY, 1851
Oil on canvas, 24 ¾” x 48 ¾”
Signed, dated 1851
$12,000. – 15,000.
16 | Attr. to Richard Ansdell (British, 1815–1885)
SPANISH LANDSCAPE
Oil on canvas, 28” x 36”
$4,000. – 6,000.
17 | Friedrich Wilhelm Keyl (German/British, 1823–1871) AT THE BLACKSMITH’S SHOP Oil on canvas, 27 ¼” x 44 ½” $10,000. – 15,000.
Provenance: Private Collection; Cross Gate Gallery / Fasig-Tipton Auction, Saratoga Springs, New York, August 8, 1997, lot 27; William and Bernadette Joan Berger / Berger Collection Educational Trust
Exhibited: The Denver Art Museum, 600 Years of British Painting: The Berger Collection at the Denver Art Museum, October 10, 1998 –March 28, 1999
Illustrated: Page 194 of the catalogue for the above exhibition
18 | John Sargent Noble (British, 1846–1898)
PASSION AND PATIENCE
Oil on canvas, 48” x 72”
Signed, dated 1883, inscribed verso $30,000. – 40,000.
Provenance: Bonhams, London, 12/4/1985, Lot 207
19 | Henry Stull (American, 1851–1913) EOLE
Oil on canvas laid on board, 20” x 30”
Signed, dated 1882
$15,000. – 20,000.
Eole was a champion American Thoroughbred racehorse who was one of the last of the great long-distance runners. Eole was bred by Richard J. Hancock (father of Claiborne Farm founder Arthur B. Hancock) at Ellerslie Stud in Albemarle County, Virginia in 1878. Unraced as a 2-year-old, Eole was purchased by Frederick Gebhard and began his racing career in 1881 at the age of 3. His 3-year-old season yielded no wins, with his best major race results being second-place finishes in the Dixie Stakes, Gravesend Handicap, and Belmont Stakes. However, in 1882, the year that Henry Stull completed the painting currently on offer, Eole proved to be one of a longdistance runner, winning the Champion Stakes and the Great Metropolitan Stakes at 1½ miles, the Jockey Club Handicap at 2 miles, the Monmouth Cup at 2¼ miles, and the Autumn Cup at 3 miles at Sheepshead Bay Race Track.
At 5, Eole’s wins included the first of his two consecutive victories in the 1½-mile Freehold Stakes at Monmouth
Bonnibert was owned by Frank J. Farrell, a casino owner, gambler, and founder of the New York Highlanders baseball team. Farrell and his partner purchased a defunct franchise called the Baltimore Orioles in 1903 for $18,000 and moved the club to New York City. The Highlanders would be renamed the New York Yankees in 1913 and Farrell would go on to sell the club in 1915 for $460,000.
Bonnibert won the National Stallion Stakes, the Laureate Stakes, the Brooklyn Derby and the Islip Handicap at Brighton Beach, where he set a world record for 11⁄8 miles on dirt, running the distance in 1:51 flat. Bonnibert also ran second in the Withers Stakes and the Seagate Stakes, as seen in Lot 21.
Park, his second straight win of the 3-mile Autumn Cup, and victories in the Coney Island Cup, Stirrup Cup Handicap, Navesink Handicap, and Monmouth and Long Island Stakes. Eole’s performances that year earned him retrospective American champion older male horse honors from Thoroughbred Heritage.
Eole would go on to race for three more years, which included a trip to England, where he ran second in the Ascot Gold Cup to Epsom Derby winner St. Gatien. His last victory would come in the Kearney Stakes at Saratoga as a 9-year-old.
20 | Henry Stull (American, 1851–1913)
BONNIBERT WITH MARTIN UP
Oil on canvas, 25” x 30”
Signed, dated 1901
$10,000. – 15,000.
The Herald Democrat reported on the Islip Handicap as follows:
BONNIBERT’S RACE
New York, July 30 – Frank Farrell’s Bonnibert, with J. Martin in the saddle, won the Islip Handicap at Brighton Beach today and also lowered the world’s record for one mile and a furlong. The previous record, 1:51 1-5, was held by Watercure, made July 18, 1900, at the same track. Today’s time was 1:51 flat and Bonnibert’s performance was wonderful, as he carried 120 pounds. Martin rode a good race on him, nursing him over half the journey and then sending him to the front, having little speed left with which to stall off Tom Kenney, the determined challenger in the stretch. The winner was an odds-on favorite and Tom Kenney and Ten Candles were well played to beat him, while Contend was the extreme outsider. Contend made the running to the turn out of the backstretch where Martin sent his mount to the front and in doing so slightly interfered with Contend, who then dropped back. In the stretch Tom Kenney closed very strongly but was never able to catch the leader, who won by half a length.
21 | Henry Stull (American, 1851–1913) FINISH OF THE SEA GATE STAKES, 1901 GOLD HEELS FIRST AND BONIBERT SECOND
Oil on canvas, 20” x 30”
Signed $20,000. – 30,000.
Provenance: The costly furnishings and embellishments removed from the residence of the late James Buchanan Brady, widely known as “Diamond Jim” Brady; Public Auction 1917, American Art Association, Lot 1280: Finish of the Sea Gate Stakes, 1901, Gold Heels First and Bonibert Second
Gold Heels was an American Thoroughbred champion racehorse who, in a two-year period, set one new stakes record and four track records, including a world record. Gold Heels was purchased by William C. Whitney but after racing for a short time at age 2, the colt was deemed to have limited potential and, in June 1900, was sold for $1,500 to trainer David Sloan, a cousin of future Hall of Fame jockey Tod Sloan. Sloan raced the colt during the remainder of 1900 in mainly lower-class races, finishing the year with five wins from 24 starts, including the Chappaqua Handicap at Empire City Race Track. Facing financial problems, Sloan put Gold Heels up for sale and, on the advice of trainer Matthew Allen, the horse was purchased for $7,000 by the racing partnership of Fred C. McLewee and Diamond Jim Brady.
In 1901, under the conditioning of Matthew Allen, 3-yearold Gold Heels won seven of his 12 starts while setting three track records. On June 27, he won the Spindrift Stakes, in which he set a new Sheepshead Bay Race Track record for one
mile and one furlong on dirt. On July 2, he won the Long Island Handicap at Sheepshead Bay, and then on July 25 won the richest race for 3-year-olds at Brighton Beach Race Course, the mile and one furlong Seagate Stakes.
He followed this up with a 10-length victory on September 25, 1901, in the one mile and one furlong Monarch Stakes at Gravesend Race Track. In winning the October 5 Oriental Handicap at Gravesend, he set a new track record time for a mile and a quarter on dirt. On October 26, at Morris Park Racecourse, Gold Heels showed that he was not only capable at longer distances but a truly outstanding stayer when he won the 2¼-mile Woodlawn Vase in a track-record time of 3:56.00. At age 4 in 1902, Gold Heels won four of his five starts, setting a stakes record and a world record. With jockey Otto Wonderly aboard, Gold Heels won the June 14 Suburban Handicap at Sheepshead Bay. Not only did he win what was then America’s most prestigious race, he broke the stakes record on an off track while carrying top weight. On June 28, Gold Heels won the 1½-mile Advance Stakes at Sheepshead Bay and was top-weighted again when he won the July 5 Brighton Handicap at Brighton Beach Race Course in a world-record time of 2:03.80 for a mile and a quarter on dirt. For the July 26 Brighton Cup, Gold Heels was again given high weight but still earned the win in the 2¼-mile endurance test. Even though he still won by 20 lengths, near the finish jockey George Odom slowed Gold Heels to a canter due to an injury that ended his racing career.
The New York Times wrote on October 5, 1902, that Gold Heels was the “accepted champion of the year,” and Thoroughbred Heritage selected him as the retrospective American champion older male horse for that year.
22 | Adolphe-Gustav Binet (French, 1854–1897)
TO THE START
Watercolor, gouache, pencil, 21” x 28 ½”
Signed $4,000. – 6,000.
23 | Alfred Wheeler (British, 1851–1932) FLYING FOX
Oil on canvas, 12” x 14”
Signed, inscribed, dated 1899
$5,000. – 7,000.
SUMMER AND WINTER (a pair)
Oil on board, 22” x 33 ½” (each)
Signed $7,000. – 10,000.
24 | Samuel Henry Gordon Alken (British, 1810–1894)
25 | Henry Thomas Alken (British, 1785–1851)
THE MEET, THE KILL (a pair)
Oil on board, 8 ½” x 7 ½” (each)
$4,000. – 6,000.
Exhibited: Museum of Hounds and Hunting, Middleburg, VA, Summer 2024
26 | John Frederick Herring Jr. (British, 1820–1907)
FULL CRY
Oil on canvas, 18” x 26”
Signed, dated ’71, inscribed verso
$9,000. – 12,000.
Provenance: Knoedler & Co., then by family descent
Exhibited: Museum of Hounds and Hunting, Middleburg, VA, Summer 2024
27 | William Henry Standing (British, act. 1894–1931) DRAFT HORSES (set of three)
Watercolor, 15” x 22” (each)
Signed $3,000. – 5,000.
28 | Isidore Bonheur (French, 1827–1901)
BULL
Bronze, 10 ¾” x 18 ¼” Signed, Peyrol mark
$6,000. – 9,000.
Plaque reads: Societe Nationale / D’Encouragement A L’Agriculture / A Monsieur Grosjean / Hommage de Reconnaissance
LE
Bronze, 24” x 29”
Signed, Peyrol mark
$25,000. – 35,000.
29 | Isidore Bonheur (French, 1827–1901)
GRAND JOCKEY
30 | Paul Joseph Reymond Gayrard (French, 1807–1855)
SIX TOURS (THE MONKEY STEEPLECHASE)
Bronze, 9” x 9”
Signed and signature of Boyer Foundry
$4,000. – 6,000.
Led by Gayrard and Christophe Fratin, bronzes depicting animals in human situations were a popular subject in the mid 19th century. First studying under his father Raymond, Gayrard began exhibiting at the Paris Salon in 1827 and continued to do so until 1855. A notable bust sculptor who was popular among French high society, he became a noted animal sculptor, creating most of these works during the years 1846–1848. Gayrard won a second-class medal at the Salon of 1834 and a first-class medal at the Salon of 1846. One of the edition of the work offered here was exhibited at the Salon of 1846.
31 | Isidore Bonheur (French, 1827–1901)
TWO LES JOUEURS DE POLO Bronze, 13 ⅞” x 23” Signed, Peyrol mark
$40,000. – 50,000.
Signed
$5,000. – 7,000.
32 | Henri Alfred Marie Jacquemart (French, 1824–1896) CHIEN ET TORTUE
Bronze, 6” x 7”
33 | Ferdinand Pautrot (French, 1832–1874)
COCK AND HEN (PHEASANTS)
Bronze, 28 ½” x 33”
Signed
$12,000. – 15,000.
34 | Henry Thomas Alken Sr. (British, 1785–1851)
COCKFIGHTING (set of four) Oil on board, 10” x 12” (each)
Signed $7,000. – 10,000.
Provenance: The Sporting Gallery and Bookshop
THE PROUD OWNER
Oil on canvas, 24 ¾” x 33 ¾”
Signed, dated 1827
$18,000. – 25,000.
35 | William Smith (British, fl. 1813–1859)
36 | Joseph Farquharson (Scottish, 1846–1935) WILDEBEASTS
Oil on canvas, 14” x 18”
Signed $7,000. – 10,000.
37 | John Frederick Herring Sr. (British, 1795–1865) DEER AT WINDSOR PARK
Oil on board, 9 ⅞” x 12”
Signed, dated 1835
$9,000. – 12,000.
Exhibited: Museum of Hounds and Hunting, Middleburg, VA, Summer 2024
38 | Arthur Wardle (British, 1860–1949) LIONS
Oil on board, 15” x 20”
Signed $4,000. – 6,000.
39 | John Emms (British, 1841–1912) LUNCH IN THE STABLE
Oil on canvas, 17” x 22”
Signed $10,000. – 15,000.
40 | John Emms (British, 1841–1912)
PORTRAIT OF A WORKHORSE
(STUDY OF A LADY VERSO)
Oil on canvas, 21” x 17”
Signed, dated March ’95
$5,000. – 7,000.
41 | John Alfred Wheeler (British, 1821–1903)
THREE TERRIERS
Oil on board, 7 ½” (diameter)
Signed
$3,000. – 5,000.
42 | Francisco Domingo Marques (Spanish, 1842–1920)
HOUND STUDIES
Oil on canvas, 18 ¼” x 23”
Signed
$3,000. – 5,000.
Signed $5,000. – 7,000.
43 | Arthur Wardle (British, 1860–1949) SPANIEL WITH GAME Oil on canvas, 33 ½” x 44”
44 | Alfred Wheeler (British, 1851–1932)
ROUGH-COATED JACK RUSSELL
Oil on board, 7 ¾” x 9 ¾”
Signed, dated 1896
$4,000. – 5,000.
45 | Carl Emil Mücke (German, 1847–1923)
UNEXPECTED VISITOR
Oil on canvas, 12 ¼” x 10 ½”
Signed
$5,000. – 7,000.
THE DERBY, 1932 Oil on canvas, 28” x 40” Signed, dated 1932 $12,000. – 18,000.
Exhibited: National Society – Royal Institute Galleries, 195 Piccadilly, London
The 1932 Derby was won by an outsider, April the Fifth, ridden by Fred Lane and owned and trained by Tom Walls. April the Fifth remains the most recent Epsom-trained horse to win the Derby and was the latest since Amato’s victory in 1838. Walls was a comic actor, producer, and director of stage and screen, best known for presenting and co-starring in the Aldwych farces in the 1920s. He was also passionate about horse racing and trained about 150 winners, although many doubted whether he had the necessary ability to prepare a horse for the Derby, particularly since he had been seriously ill in the preceding year.
The Sketch wrote on June 8, 1932: “Possibly half-a-dozen Derby winners since the war have been better horses than April the Fifth, but his was surely the greatest win of its kind in memory. [...] for Tom Walls to enter the horse in the Derby at all was almost unbelievable, but to train it when he was lying at death’s door for six months, and then acting and producing before and after his illness, make it literally the most wonderful feat of the century. The race itself was the most exciting imaginable, and stirred the great crowd to a frenzy.”
Cundall was best known for his panoramic scenes, and he painted the Epsom Derby on several occasions. His work of the following year, Derby Day, 1933, is in the Government Art Collection.
46 | Charles Cundall (British, 1890–1971)
47 | Doris Zinkeisen (British, 1898–1991)
NEWMARKET HEATH
Oil on canvas, 20” x 40”
Signed $6,000. – 9,000.
48 | Godfrey Douglas Giles (British, 1857–1941)
REFUSING THE JUMP
Oil on canvas, 22” x 30”
Signed $5,000. – 7,000.
49 | Cecil E.L. Cutler (British, fl. 1886–1934) SANDOWN PARK
Watercolor/gouache, 14 ½” x 21 ½”
Signed $2,000. – 3,000.
50 | George Denholm Armour (British, 1864–1949) RACING, EPSOM AND AINTREE (a pair)
Watercolor, 12” x 7 ½” (each)
Signed $3,000. – 5,000.
51 | Lionel Edwards (British, 1878–1966) RACING SCENE
Watercolor, 6 ½” x 9 ½” Signed $1,000. – 2,000.
52 | Peter Biegel (British, 1913–1987) DOWN TO THE START, SALISBURY
Watercolor, 15” x 21”
Signed, inscribed, Down to the Start, Salisbury, Champion apprentice L Piggott
$4,000. – 6,000.
53 | Vanity Fair (19th/20th Century)
THE FOXHUNTERS OF VANITY FAIR
(together with 3 large folio prints of Foxhunters)
Set of 30 Chromolithographs, Approx 16” x 11” (each)
$5,000. – 7,000.
54 | Francois Gall (Hungarian/French, 1912–1987) AT THE RACES
Oil on canvas, 10 ½” x 18”
Signed $6,000. – 9,000.
55 | Ayerst Young (British, 1895–1952) POLO PONIES AT COWDRAY
Oil on canvas, 22” x 30”
Signed $4,000. – 6,000.
56 | Sir Alfred J. Munnings (British, 1878–1959)
HUNT STUDY
Oil on board, 14 ½” x 15 ½”
Signed $14,000. – 18,000.
Provenance: Christie’s Paris
57 | Sir Alfred J. Munnings (British, 1878–1959)
HEATH MEETING
Pencil, 6 ¼” x 4 ¾”
Signed
$4,000. – 6,000.
Provenance: Mr. and Mrs. William Coxe Wright
Exhibited: California, Palace of the Legion of Honor, 1962
58 | Sir Alfred J. Munnings (British, 1878–1959)
FOUR GREY HORSES: STUDIES OF THE 9TH DUKE OF MARLBOROUGH AND LORD IVOR SPENCER-CHURCHILL
Oil on panel, 11 ½” x 15 ¾”
Signed, inscribed, dated 1923 $60,000. – 80,000.
Provenance: Acquired directly from the artist by Sir Jack Jarvis; then by descent
This double-sided panel of sketches in oil features studies for one of Munnings’ most important commissions in the 1920s: the Duke of Marlborough and Lord Ivor Spencer-Churchill. The painting, which depicts the Duke and his son changing horses while out hunting, was exhibited at the Royal Academy in 1924 and remains today in the Spencer-Churchill collection at Blenheim Palace.
Munnings describes the commission extensively in the second volume of his memoirs (The Second Burst, A.J. Munnings, Bungay, 1951, pages 155-156), recounting how plans were set in motion during a dinner with the Duke at The Other Club.
“He [the Duke] launched into the subject of traditional composition: a hunting picture of himself and Lord Ivor Churchill on horseback, on grey horses—Lord Ivor had already suggested the picture to me. ‘A signpost to Melton was the thing,’ said the Duke; ‘we must have a signpost in it! Changing horses, four greys, with the second horseman in full rig; what a subject! Mind you put me on the best horse.’ ”
Munnings’ account continues to describe how both the Duke and Lord Ivor came for sittings at his London studio at Glebe Place, while he painted the grooms and horses at Blenheim. He prepared meticulously for portraits, making preparatory sketches to get to know a subject, and the present studies represent part of his process for this commission.
The first side of the panel is a compositional study, which is especially intriguing in light of Munnings’ conversation with the Duke about composition referenced above and may well be the original concept. It closely resembles the beautifully balanced assembly of the finished work—Lord Ivor on the gray horse on the right having its curb chain adjusted by a
second horseman, the Duke in the center, and on the left, a second horseman holding the two grays from which father and son have just dismounted. There is a wonderful confidence and immediacy to the mark making and we can see Munnings developing his palette and exploring the effects of light with subtle tones and dashes of blue, purple, and yellow.
The other side of the panel provides a different perspective, with three intricate workings of Lord Ivor on his horse in hunting pinks and top hat. Munnings tries out different positions for his head and arms against light and dark backgrounds, combining a soft and delicate handling of the faces with more expressive strokes elsewhere. This was presumably executed from life during the sitter’s visit to Munnings’ studio.
Several other preparatory works relating to the commission have appeared on the market, including four panels of the same size as the present work which all sold for between $156,000 and $296,000 at Christie’s New York on December 1, 2006 (lots 62-65). These panels had passed by descent through the Spencer-Churchill family, whereas this work was purchased directly from Munnings by renowned racehorse trainer Sir Jack Jarvis (1887–1968), before being passed by descent. Jarvis trained nine British Classic winners and in 1967 became the first trainer to be knighted for services to racing.
Charles Richard John Spencer-Churchill, 9th Duke of Marlborough (1871–1934) succeeded his father in 1892, and famously married prominent American socialite Consuelo Vanderbilt at Blenheim Palace in 1895. They had two children together: John Spencer-Churchill, 10th Duke of Marlborough (1897–1972) and Lord Ivor Spencer-Churchill (1898–1956).
This work has been specially framed, making it possible to easily switch between displaying either side of the panel.
59 | Sir Alfred J. Munnings (British, 1878–1959)
Signed
$700,000. – 900,000.
LADY MUNNINGS ON MAGNOLIA Oil on canvas, 36” x 36”
Provenance: Ian MacNicol; Richard Green
Illustrated: facing page 72, The Autobiography of Sir Alfred Munnings, Volume III, The Finish
According to Sir Alfred Munnings’ aesthetics, a woman riding sidesaddle was the epitome of elegance. Therefore, it was not surprising that when Munnings first laid eyes on Violet McBride, his future wife, at the salubrious 1919 Richmond Horse Show at Olympia, he was struck by her poise and unrivalled horsemanship in the sidesaddle hack class. With a gardenia in her buttonhole and well-deserved confidence, she was the first to enter the ring, commanding the judges and spectators’ attention. Riding sidesaddle is as much about the “look” as it is about one’s riding skills. Munnings was awed and proclaimed Violet unsurpassable. He quickly obtained an introduction to this paragon of grace but was denied a sitting for a portrait. It was only after their engagement in 1920 that the artist began to paint Violet, and her portraits began to appear in prestigious Royal Academy.
Even when not in formal sidesaddle or hunting attire, Lady Munnings exudes a commanding presence. She sits properly erect with her right shoulder slightly back to maintain purchase while both legs drape to the left side. Nonetheless, she has control of her mount as indicated by the horse’s head being almost vertical or bent “at the poll.” Lady Munnings has reins in one hand and her right hand casually in her lap. What is particularly of interest is that this cocked elbow position has historic precedent in equestrian portraiture. Velasquez, Titian, and Van Dyck used this relaxed posture in their royal equestrian portraits to illustrate effortless ease and control
of the horse, but even more important, it was symbolic of successful leadership.
Lady Munnings is shown on her hunter Magnolia, a mare by the 1923 Ascot Gold Cup winner Happy Man. As she was foaled in 1928, she appears as a dark dappled grey in Munnings’ celebrated Epsom paintings of 1931. In the present painting, the mare still maintains her dark mane, which dates this work to the mid to late 1930s. Lady Munnings frequently hunted in the west counties of Devon and Somerset, renowned for endless swathes of barren moorland and jagged stone walls which are depicted in this composition.
This work illustrates Munnings’ mastery of subtle transparent shadows cast by the gray sky. The artist’s limited pallet is frequently seen in his paintings of gray horses under cloudy skies, as though the picture’s main theme is the study of diffused light. The flat light, however, has not hindered the artist’s ability to beautifully express the volume and musculature of the animal.
Compositionally, Munnings has given the subject monumentality by painting from a low vantage point, high against an endless sky and deep landscape. However, at the same time, he has placed the figures in an enclosed space defined by the stone wall and foreground shadow, creating a form of intimacy. These same elements, painted on diagonal lines, support the sense of movement that the horse’s raised foreleg suggests.
This work is one of a handful of portraits depicting Lady Munnings on a casual ride.
60
| Sir Alfred James Munnings (British, 1878–1959)
THE HALFWAY HOUSE
Pencil, watercolor, bodycolor, 16” x 20” Signed, dated 1907
$20,000. – 30,000.
Provenance: Sotheby’s, London, June 4, 2003, lot 8; Richard Green, London; Christie’s London, November 23, 2017, lot 121
Painted during the time Munnings lived at Mendham in Norfolk, this work most likely depicts “Old Bob Riches.” Riches was also the subject of an oil painting called The Old Thatcher, Bob Riches.
Munnings remarked in his autobiography: “Old Bob Riches, the thatcher—pipe in mouth, wearing a slouch hat, sleeve waistcoat and cords, sits in his cart, driving an aged, dark chestnut mare, at a slow walk along the lane behind
the church... This was a forty-by-thirty canvas, painted in sunlight, and Riches posed for it two mornings running. Having seen the work of the Spaniard, Sorolla, I was trying to paint more swiftly. When painting Riches in the lane, Mr. Wharton, my landlord, who farmed Walsham Hall and Shearings, came along in his low gig, pulled up and stopped. Knowing that I was contemplating a move, he sat watching the picture. His kind, bearded face was thoughtful, the reins hung loosely on the dashboard, his sixteen stones weighed down the springs of his gig on one side. He gave his warning: ‘Don’t leave this country, Alfred. It’s brought you luck. Mark my word,’ said he, and drove slowly on.”
—Sir Alfred Munnings, An Artist’s Life, 1950, page 189
61 | Lee Townsend (American, 1895–1965) MONDAY AUCTION
Oil on canvas, 20” x 24”
Signed $5,000. – 7,000.
Painted c. 1933
Provenance: Collection of Marjorie and Irwin Goodman
Exhibited: Montross Gallery, Young American Moderns, 1933; National Museum of Racing and Hall of Fame, The Art of Lee Townsend, Saratoga Springs, New York, July 10 – September 6, 1999
62 | Roger Bertin (French, 1915–2003) IN THE PADDOCK
Oil on canvas, 25 ¾” x 32”
Signed $4,000. – 6,000.
63 | Camille Hilaire (French, 1916–2004) COURSES HIPPIQUES
Oil on canvas, 10 ½” x 18”
Signed $3,000. – 5,000.
64 | Paul Lucien Maze (French, 1887–1979)
KING GEORGE VI AND QUEEN ELIZABETH DRIVING TO THE MANSION HOUSE
Oil on canvas, 10” x 24”
Signed $6,000. – 9,000.
Exhibited: Wildenstein & Co., “Paul Maze and the Guards,” May – June 1973, Catalogue #21
65 | Ricardo Arenys Galdón (Spanish, 1914–1977) TO THE TRACK
Oil on canvas, 18 ½” x 24 ½”
Signed $5,000. – 7,000.
Durazna was bred by Brownell Combs on his Spendthrift Farm in Lexington, Kentucky. Durazna won the Prairie State Stakes, the Hawthorne Juvenile Handicap, and the Breeders’ Futurity Stakes as well as the Beverly, Sheridan, and Clang
66 | Franklin Brooke Voss (American, 1880–1953) DURAZNA
Oil on canvas, 18” x 24”
Signed $4,000. – 6,000.
handicaps. Durazna was named the American champion 2-year-old filly of 1943. This painting by Franklin Voss depicts the champion filly in the paddock of Spendthrift Farm with the training track in the background.
67 | Franklin Brooke Voss (American, 1880–1953)
FAMOUS AMERICAN THOROUGHBREDS (set of 12)
Hand-colored engravings, 18” x 22 ½” each Signed and numbered 192/260, $12,000. – 15,000.
Provenance: Arthur Ackermann & Son
The complete set of 12 Hand Coloured Prints After Original Paintings of Famous American Thoroughbreds by Franklin Brooke Voss. Various numbers from an edition of 260.
In Richard Stone Reeves’ introduction to Crown Jewels of Thoroughbred Racing, he mentions only Franklin B. Voss as among the other great equestrian artists over the past three centuries. Voss was held in such high esteem that his client list for commissions was a veritable “who’s who” of the sporting world at the time. Given such popularity, it is no surprise that the rest of the public desired his work as well. In 1934 a set of 10 hand-colored prints of famous racehorses, after paintings by Voss, was offered for $250, and $30 for a single print.
Noted printmakers At the Sign of the Gosden Head, the same company that produced the popular prints of Edward Troye’s work, published the set with the plan to release more in the following years. Gosden Head published the 11th print in 1936 and The Sporting Gallery and Bookshop Inc., New York published the 12th in 1940. Due to company buyouts, the series was discontinued. Each print was signed and numbered by Voss who painted a square in the owner’s colors in the lower right corner. At the bottom of each print is a biography of the horse written by legendary turf writer Neil “Roamer” Newman. Newman had taken “Roamer” as his pseudonym after the racehorse Roamer, Horse of the Year in 1914 and 1915 and for whom a stakes race at New York’s Jamaica Race Course was named.
The list of each print subject, owner, and publication year is as follows:
Man o’ War - winner of the Travers Stakes, Jockey Club Gold Cup, Preakness, and Belmont Stakes, all in 1920. OwnerSamuel D. Riddle. 1934.
Twenty Grand - winner of the Wood Memorial, Travers Stakes, Kentucky Derby, and Belmont Stakes, all in 1931. OwnerGreentree Stable. 1934.
Equipoise - winner of the Havre de Grace, Whitney, Metropolitan, Arlington, and Suburban.
Billy Barton - winner of the Maryland Grand National twice, Virginia Gold Cup, and Pennsylvania Hunt Cup. OwnerHoward Bruce. 1934.
Blue Larkspur - winner of the 1929 Belmont Stakes, inducted into the Horse Racing Hall of Fame in 1957. Owner - Colonel Edward Riley Bradley. 1934.
Sun Beau - Inducted into the Horse Racing Hall of Fame, three times U.S. Champion Older Male Horse (1929, 1930, 1931).
Owner - Willis Sharpe Kilmer. 1934.
Jolly Roger - winner of the Elkridge Steeplechase, twice winner of the American Grand National. Owner - Mrs. Payne Whitney. 1934.
Exterminator - winner of the 1918 Kentucky Derby, inducted into the Horse Racing Hall of Fame in 1957. Owner - J. Cal Milam and Willis Sharpe Kilmer. 1934.
Top Flight - American Champion Two-Year-Old Filly (1931), American Champion Three-Year-Old Filly (1932). OwnerCornelius Vanderbilt Whitney. 1934.
Gallant Fox - winner of the United States Triple Crown (1930) and 1957 Hall of Fame inductee. Owner - Belair Stud. 1934.
Discovery - U.S. Champion Male Handicap Horse (1936) and Horse Racing Hall of Fame (1969). Owner - Adolphe Pons and Alfred G. Vanderbilt II. 1936.
Seabiscuit - U.S. Champion Handicap Male (1937 & 1938), U.S. Horse of the Year (1938). Owner - Charles Howard. 1940.
68 | Frank B. Hoffman (American, 1888–1958)
QUIDADO AMIGO TOGETHER WITH FOUR DRAWINGS BY THE SAME HAND Oil on canvas, and 4 dry brush and ink, 34” x 40” (oil), 8 ½” x 11” (each drawing)
Drawings signed, All Estate Stamped $6,000. – 9,000.
Provenance: Robert Parsons Fine Art, Taos
69 | S. Rourke (Irish School, early 20th Century) JOCKEY STUDY
Oil on canvas, 18” x 14”
Signed, dated 1924
$2,000. – 3,000.
70 | John Skeaping (British, 1901–1980) TAKING THE FENCE
Oil on canvas, 28 ½” x 36”
Signed, dated ’70
$5,000. – 7,000.
71 | Leesa Sandys-Lumsdaine (British, 1936–1985) RHEINGOLD
Oil on canvas, 24” x 28”
Signed, dated ’73, inscribed verso $4,000. – 6,000.
72 | Leesa Sandys-Lumsdaine (British, 1936–1985)
THE RUNNERS BEFORE THE KING GEORGE VI & QUEEN ELIZABETH STAKES, ASCOT, 27TH JULY, ’68
Oil on canvas, 25” x 30”
Signed, dated ’68, On verso: A. Breasley, Sandy Barclay, Lester Piggott, Gianfranco Dettori, Bill Pyers and Roger Poincelet
$6,000. – 8,000.
The 1968 Derby presented a truly international line up of legendary jockeys and horses.
Provenance: The Tryon Gallery
73 | Ricardo Arenys Galdon (Spanish, 1914–1977)
ANTES DE LA CORIDDA
Oil on canvas, 24” x 36”
Signed
$6,000. – 8,000.
Provenance: David Bendann’s, Baltimore, MD
74 | Richard Stone Reeves (American, 1919–2005)
MINNETONKA AND COLT BY DR. FAGER Oil on canvas, 32” x 38”
Signed, inscribed, dated 1977
$20,000. – 25,000.
Provenance: Mr. and Mrs. Gary Wolfson, Happy Valley Farm, Ocala, Florida
Several letters and telegrams between Reeves and the Wolfsons will accompany the lot.
Possibly exhibited at the National Museum of Racing and Hall of Fame, c. 1978, per a letter from Reeves.
Minnetonka was a beloved mare owned by the Wolfsons, depicted here with her foal Domain by, Dr. Fager. Some of her more noted offspring were Barrera by Raise a Native, also painted by Reeves, and Calumet Farm’s Katonka.
75 | Richard Stone Reeves (American, 1919–2005)
FLY SO FREE
Oil on canvas, 26” x 32 ⅛”
Signed, inscribed, dated ’95
$15,000. – 20,000.
Provenance: Tommy and Elizabeth Valando
Illustrated: Richard Stone Reeves, Crown Jewels of Thoroughbred Racing, Lexington, Kentucky: The Blood-Horse Inc., 1997, page 53
“When I went to Scotty Schulhofer’s barn at Belmont Park in 1991, Fly So Free was a 3-year-old and the apple of the late Tommy Valando’s eye. When they led Fly So Free out of the barn, I thought, ‘What an eyeful!’ A tall, strapping, liver chestnut with good bone and nearly perfect conformation,
he stood like a peacock. The Valandos loved that horse so much that he gave both Tommy Valando and his lovely wife, Elizabeth, more pleasure than anything they had known for many years. After the unfortunate death of Tommy, Elizabeth decided to keep her stable and Fly So Free was sent to Three Chimneys Farm, where this painting was done. Elizabeth still loved the horse so much that she wanted a second painting showing Fly So Free as a mature stallion. If his progeny are as good as they look, he’ll be a great sire.”
—Richard Stone Reeves, Crown Jewels of Thoroughbred Racing, page 53
76 | Richard Stone Reeves (American, 1919–2005) SAFELY KEPT
Oil on canvas, 20” x 24” Signed, inscribed, dated ’90 $15,000. – 20,000.
Safely Kept was a Maryland-bred bay filly sired by Horatius. She was bred by David and JoAnn Hayden and began her career in 1988 racing in their colors. Her sensational 2-yearold season caught the attention of Jayeff B Stable’s Rich Santulli and Barry Weisbord, who purchased her privately and turned her over to trainer Alan Goldberg.
Safely Kept won 24 of her 31 starts. Most of her runs were against colts and geldings because there were few sprint races for females at the time. She finished “in the money” in 30 of 31 starts.
As a 2-year-old, she won four of five races, including two stakes races in the Playpen Stakes and the Smart Angle Stakes. At age 3, she separated herself from every other sprinter in North America by recording eight wins in nine races. Among her eight stakes wins in 1989 were the Test Stakes (G1) at
Saratoga and the Genuine Risk Handicap (G2) and Prioress Stakes (G2). Those performances, as well as her 9-8-1-0 record that year, earned her the Eclipse Award for champion sprinter. At age 4, Safely Kept went seven for seven, all stakes races. The final race of her 4-year-old season was a victory over a star-studded international field of 14 sprinters in the Breeders’ Cup Sprint (G1). At age 5, Safely Kept won five of seven races and finished third in the other two. She threepeated in the Genuine Risk Handicap (G2), three-peated in the Maryland Million Distaff Handicap, three-peated in the Garden Stakes Handicap (G3), repeated in the Meadowlands Handicap (G3), and won the Chicago Handicap at Arlington Park. Safely Kept’s career earnings of $2,194,206 rank her as the greatest earner among any filly or mare bred in the state of Maryland. In 2011 Safely Kept was inducted into the Racing Hall of Fame.
77 | Henry Koehler (American, 1927–2018)
TWO CEREMONIAL SADDLES
Oil on canvas, 14” x 11”
Signed. Inscribed and dated 2010 verso
$3,000. – 4,000.
78 | Henry Koehler (American, 1927–2018)
THREE DERBY PUNTERS
Oil on paper, 11” x 8”
Signed. Inscribed and dated 2002 verso
$2,000. – 3,000.
Signed $5,000. – 7,000.
79 | Roy Petley (British, b. 1950) AT THE START Oil on board, 24” x 36”
NORTHERN DANCER
Oil on board, 25 ½” x 29”
Signed and inscribed
$4,000. – 6,000.
Northern Dancer cemented his status as a Canadian hero with a record-setting 2:00-flat victory in the prestigious Kentucky Derby. A homebred from E. P. Taylor’s Windfields Farm, Northern Dancer was trained by Horatio Luro. He was named champion 2-year-old in Canada after major stakes
victories on both sides of the border. At 3 Northern Dancer was champion colt in the United States and Horse of the Year in Canada. While not a Triple Crown winner, he won three classics: the Kentucky Derby, the Preakness Stakes, and the Queen’s Plate.
80 | Katie O’Sullivan (Irish, b. 1959)
Oil on canvas, 68” x 39”
Signed, inscribed verso
$9,000. – 12,000.
81 | Frank Nelson Ashley (American, 1920–2007)
FINISH OF STADIUM, JUMPING AROUND, BALLSBRIDGE ARENA, DUBLIN
82 | Henry Koehler (American, 1927–2018)
THE BELVOIR, CHECKED
Oil on canvas, 24” x 40”
Signed. Signed, inscribed, dated 1986 verso $10,000. – 15,000.
83 | Antoine de la Boulaye (French, b. 1951)
CHASSE AU SANGLIER AND CHASSEURS D’AUTOMNE (a pair)
Watercolor, 10 ½” x 16” (each)
Signed
$2,000. – 3,000.
84 | Charles Church (British, b. 1970) THE BELVOIR HUNTSMAN Oil on canvas, 20” x 24”
Signed $15,000. – 20,000.
Church painted this large-scale study as a preliminary work for his equestrian portrait of renowned Belvoir huntsman John Holliday. This final monumental work was commissioned by the British Sporting Art Trust for the collection at the National Horseracing Museum, Newmarket, where it was unveiled by Queen Camilla in 2023.
Signed $6,000. – 9,000.
85 | Larry Dodd Wheeler (American, b. 1942)
CROSSING THE CREEK
Oil on canvas, 40” x 30”
CHASSE A COURRE
Oil
Signed $15,000. – 20,000.
86 | Jean-Bernard Lalanne (French, b. 1952)
on canvas, 59” x 50”
87 | Chet Reneson (American, b. 1934) POLING IN
Acrylic on board, 21” x 35”
Signed
$5,000. – 7,000.
Provenance: Copley, July 23, 2020, lot 59
88 | Roy Martell Mason (American, 1886–1972) TURTLE CREEK CABIN
Watercolor, 22” x 30”
Signed
$3,000. – 5,000.
Provenance: Valley National Bank
89 | Steve Burgess (British, b. 1960) A LEFT - AND RIGHT - AT WOODCOCK Oil on board, 24” x 36”
Signed, dated ’24. Signed, inscribed, and dated verso
$7,000. – 10,000.
Oil
Signed $10,000. – 12,000.
90 | Jeffrey Larson (American, b. 1962) GROUSE
on canvas, 20” x 16”
91 | Henry Koehler (American, 1927–2018) FISHING THE USK
Oil color on canvas, 12” x 18”
Signed, inscribed verso
$2,000. –3,000.
92 | Larry Dodd Wheeler (American, b. 1942) BOCA FISHING (pair)
Oil on board, 12” x 16” (each)
Signed, inscribed verso
$4,000. – 6,000.
A GOOD DAY
Oil on canvas, 47 ¼” x 23 ½”
Signed
$4,000. – 6,000.
93 | Reza Samimi (Iranian/French, 1919–1991)
94 | David Quinn (British, b. 1959) GREY SPOTTED WOODPECKERS
Acrylic on canvas, 35 ½” x 23 ½”
Signed
$9,000. – 12,000.
“This painting depicts a pair of adult Great Spotted Woodpeckers and one of their chicks within a day or so of it flying the nest. The adult male, with the red nape patch, is flying toward its hungry male chick, with its extensive red cap, looking out expectantly from the nest hole. The female is perched toward the upper right of the tree.
“The white-spotted pattern across the wings of both parents is revealed in this male, who also fans his tail before coming to rest close to the chick.
“The painting is based on my studies made over many
woodpecker nesting seasons. In particular, this tree, a characterful dead beech, allowed undisturbed observations through telescope and binoculars for the entirety of the breeding cycle, between early March and the first of June, in this case. The Sycamore leaves and developing pink-flushed ‘helicopter’ seeds in the background pre-empt the fledging process.
“The light coming from the viewer’s right is based on the evening sunlight finding its way through the woodland to dapple on the sapwood, casting the chick’s shadow from the nest hole across the heavily pitted surface towards an old sunlit bough stump.” —David Quinn
95 | Charles Livingston Bull (American, 1874–1932)
PHEASANT AND TURKEYS (a pair)
Watercolor, gouache, 19” x 12 ½”, 21” x 12 ½”
Signed
$4,000. – 6,000.
96 | John Skeaping (British, 1901–1980) HORSES AND LONGHORNS
Pastel, 18” x 25”
Signed, inscribed Trinithires, dated ’60
$3,000. – 5,000.
97 | Suzy Smith (American, b. 1951) YOUNG LONGHORNS
Pastel on board, 18” x 24”
Signed $4,000. – 6,000.
98 | Bill Fletcher (American, b. 1958) IN PERFECT HARMONY
Oil on canvas, 30” x 40”
Signed
$5,000. – 7,000.
“Cattle graze in the golden fields of Shaker Village under a majestic cloudscape. A world of quiet, sunlight, and majesty is revealed. In Perfect Harmony captures a fleeting but breathtaking moment of nature’s magnificence, highlighting the beauty and tranquility found in the natural world.” —Bill Fletcher
99 | Jonathan Daly (American, b. 1982) IN THE WIND
Oil on canvas, 25” x 48”
Signed, inscribed, dated 2008 verso $5,000. – 7,000.
SUCH A PERFECT DAY
Oil on canvas, 36” x 36”
Signed, inscribed verso
$7,000. – 9,000.
“In my landscape series I am trying to capture the feelings that I have from my memories of travels across the West. I want to paint the silence of nature and the fleeting moments that you can feel in your bones.” —Andrew Bolam
100 | Andrew Bolam (British, b. 1971)
101 | Howard Rogers (American, b. 1932) HIGH COUNTRY MEADOWS Oil on canvas, 30” x 40”
Signed $10,000. – 15,000.
Provenance: Trailside Galleries
102 | Eyvind Earle (American, 1916–2000) CATTLE IN A LANDSCAPE Oil on board, 24” x 30” Signed, dated 1970
$15,000. – 20,000.
Provenance: Zantman Galleries, Carmel-by-the-Sea
103 | Andrew Bolam (British, b. 1971) STOUT HEARTED Oil on canvas, 36” x 36”
Signed, inscribed verso
$7,000. – 9,000.
“My fascination with this subject matter stems from a childhood watching Western movies and TV shows. I am interested in the iconography of Native American portraits and how it relates to our heritage and its continued prevalence in pop culture.” —Andrew Bolam
104 | Connor Liljestrom (American, b. 1995)
SIXIE FROM DIXIE
Oil on canvas, 42 ½” x 34”
Signed, inscribed, dated 2023 on the side
$4,000. – 6,000.
105 | David Kammerzell (American, b. 1953) MMXO
Oil on canvas, 30” x 15” Signed $4,000. – 6,000.
“Throughout the years the West has been idolized, glamorized, and Hollywoodized. It has become a perception of what we think of the West as opposed to what it really is. It has become a state of mind. That thought is informing the direction of my work.
I work with vintage black and white photos of real working cowboys and cowgirls. But to further my idea of glamorizing and Hollywoodizing actual western figures, I will often photoshop more beautiful and glamorous faces onto the body. In this case I used Marilyn Monroe’s beautiful face to further the notion of Hollywood meeting the real West.” —David Kammerzell
106 | David Kammerzell (American, b. 1953)
TANGLED UP IN BLUE
Oil on canvas, 34” x 28”
Signed
$5,000. – 7,000.
This is a portrait of early Western film star Buck Jones who, like Tom Mix, worked as a cowboy on a ranch in Oklahoma before moving to Los Angeles to work in the film industry. Jones started out as a bit player and stuntman but soon landed a starring role in “The Last Straw.” He went on to star in more than 160 films.
Jones also had some side hustles, with radio broadcasts, pulp magazines, cereal sponsorships, and even a book series. “The title, Tangled Up In Blue, is because I was listening to that song by Bob Dylan while trying to figure out a title for this pieceLOL!” —David
Kammerzell
107 | David Kammerzell (American, b. 1953) JOELLA IRWIN
Oil on canvas, 16” x 16”
Signed $3,000. – 5,000.
Joella Irwin was known as one of the best horsewomen of her era. She learned her craft performing in the Irwin Bros. Cheyenne Frontier Days Wild West Show, which was owned and operated by her father, Frank Irwin, and her uncle, Charlie Irwin. Frank Irwin pioneered the early rodeo and Western films and owned the 10,000-acre Y6 Ranch in Wyoming.
Joella honed her horseback skills by performing in the Wild West Show and in 1911 she became the champion relay racer, inventing the “flying change” in which she would jump from one horse to the next using three different horses. After seeing her perform in the Cheyenne Frontier Days Wild West Show, Theodore Roosevelt called her “the best rider he had ever seen.”
108 | Hubert de Watrigant (French, b. 1954) THE WARRIOR
Oil on paper, 12” x 7 ½”
Signed $3,000. – 5,000.
109 | Kelly Brewer (American, b. 1970)
TANGLED UP IN BLUE
Oil on canvas, 36” x 48”
Signed $9,000. – 12,000.
“In Tangled Up in Blue, I explore my love for bold color and the rich texture of oil paint. Inspired by both contemporary and historical artists from the West, I have always been drawn to the subject of cowboys, particularly this one I encountered in Cody, Wyoming. Through the use of shapes, color, values, texture, and edges, I strive to create a dialogue with the viewer. This journey of exploration and expression in oil painting brings me immense joy, and it is my hope that this passion resonates with those who experience my work.” —Kelly Brewer
Signed, dated 2008 verso
$20,000. – 30,000.
110 | Theo Waddell (American, b. 1941)
BARJO #2
Oil on canvas, 60” x 54”
THE OBSERVERS
Oil color on paper, 7” x 10”
Signed, inscribed verso $1,000. – 2,000.
TWO LABS
Oil on canvas, 20” x 24”
Signed $4,000. – 6,000.
111 | Henry Koehler (American, 1927–2018)
112 | John Trickett (British, b. 1953)
113 | Melinda Brewer (Canadian, b. 1957) HEADS OR TAILS
Watercolor, 9” x 21”
Signed, dated 2017
$3,000. – 5,000.
114 | Richard Stone Reeves (American, 1919–2005)
FOXHOUND STUDY
Oil on board, 6” x 6”
Signed $3,000. – 5,000.
115 | Charles Church (British, b. 1970) HOUNDS IN A KENNEL Oil on canvas, 19” x 48”
Signed $60,000. – 80,000.
Signed
$60,000. –80,000.
116 | Andre Pater (Polish/American, b. 1953)
TWO YOUNG HOUNDS
Pastel, 38” x 30”
Oil
Signed, dated 2024 verso
$12,000. – 15,000.
117 | Diana Tremaine (American, b. 1964) SUBLIME
on canvas, 50” x 60”
Signed
$7,000. – 10,000.
118 | Malcolm Coward (British, b. 1948) APPLEBY HORSE FAIR, RIVER EDEN
Oil on canvas, 30” x 42”
119 | Larry Dodd Wheeler (American, b. 1942) CUMBERLAND ISLAND, NOON Oil on canvas, 23 ½” x 35 ½”
Signed. Signed and inscribed verso $5,000. – 7,000.
120 | Marcus Hodge (British, b. 1966) POLO PONIES, MARIPUIR
Oil on panel, 31 ½” x 39 ½”
Signed $12,000. – 15,000.
“The painting was made after a trip to Manipur in the northeast of India, a beautiful mountainous region of India bordering Myanmar. This trip was made in order to research the background to modern-day polo for a commission at the National Horse Racing Museum in Newmarket. Manipur is the original birthplace of modern-day polo. It is believed that this original game, called sagol kangjei, was played in Manipur as far back as 3000 BC. The game we know today had its beginnings in 1859 when British military officers and Lieutenant Joe Sherer
saw it being played by locals and they went on to found the Silchar Polo Club very soon afterwards.
“The Manipur pony is only one of three native breeds left in India, and while they are small, they are incredibly fast for their size. The man in the painting was a member of one of the local Manipur teams in the capital of Imphal. Each year they hold a sagol kangjei festival where teams of players from around the state compete.” —Marcus Hodge
121 | Marcus Hodge (British, b. 1966) GREY HORSE,
Oil on board, 13” x 20 ½”
Signed $5,000. – 7,000.
PUSHKA
Oil on canvas, 50” x 40 ½”
Signed
$7,000. – 10,000.
122 | Michael J. Austin (British, b. 1959) NUZZLE BUDDIES
123 | LeRoy Neiman (American, 1921–2012)
TO THE WIRE
Oil on board, 47” x 95”
Signed, dated ’71
$200,000. – 300,000.
This monumental work offers a rare and powerful glimpse into what Neiman believed was the height of excitement in horse racing: horses thundering to the finish. To the Wire exemplifies the magic moment that all race fans live for: the finish. In his book Horses, Neiman describes this moment sublimely:
“After all the paddock pageantry, the colorful post-parade, and the clang of the starting bell, what is more dramatic than viewing a race along the rail near or at the finish?
“It is all rather orderly as the crowd of horses string out, making its way around the course until, to the observer leaning out over the rail and looking up the straight into the pack, the horses appear to bunch up again as they round the curve, coming head on. Careening diagonally to their left around the bend, the horses thunder into the stretch.
“A roar surges from the fans at the far end of the stretch and tension mounts as the horses head for home. The racing
machines’ power to excite increases as a crescendo of highvoltage emotion passes through the grandstand, reaching the point of bedlam near the clubhouse.
“At the infield rail the very ground you are standing on trembles. The jockeys lean forward in their irons, shouting and swearing as the saddles they no longer occupy creak and strain, while the snorting horses labor under cracking whips.
“Then, as the Thoroughbreds’ tumultuous hooves flash across the finish, the frenzy lets up. The roar subsides, a murmur lingers on, then quiet settles over the crowd and all tension slacks.
“All immediate emotions are spent—the crowd’s, the athletes’, and the quivering, steaming steeds’. It is a mighty and absorbing scene. To be close up is to feel it all.”
124 | LeRoy Neiman (American, 1921–2012) STAKE RACE
Oil on board, 9 ⅞” x 18 ⅜”
Signed, dated ’71, inscribed verso $12,000. – 15,000.
Provenance: Hammer Galleries
(This exact image, at the same size, was made into a serigraph as an edition of 300 and is illustrated in The Prints of Leroy Neiman on page 87. Another identical image called Charging Cavalcade appears as a spread on pages 26 and 27 of Leroy Neiman’s Horses 12” x 24”.)
LeRoy Neiman’s colorful and spontaneous depictions of athletes in action have become iconic images in American art. The seemingly effortless fluidity and unique style with which Neiman painted horses has cemented his legacy as one of the most innovative and authentic artists ever to tackle the genre. However, as the artist is quick to point out in the introduction to his book Horses, his work is built upon the great foundation that was laid by the artists that came before him.
“The horse’s many and varied appearances in art have served me well. My paintings and drawings of the horse were influenced from the beginning by the art that preceded my own. I consider the work of the great masters throughout the centuries my inheritance. The spirited, lively, rearing horse has been a favorite subject since the time of the Greeks; it was adopted by Leonardo, developed by Rubens and Bernini, and perpetuated by Delacroix. The innovations of each of these artists were influenced by the societies of their time.”
Neiman embraced and respected the lessons and traditions of the past and incorporated them into a style that is truly unique.
“An artist must not allow himself to become too dependent on the artists who preceded him. By the same token, it is hazardous to concentrate only on the precepts and examples of one’s own contemporaries. However, it is common practice for an artist to borrow elements from everything around him, whether it be art, life, television, or whatever he feels suits his needs, and incorporate them in his own work.
“To the horseman, confirmation is very important, but for the artist, silhouette and movement are everything. Form, grace, and beauty, the horse’s mane and tail flying in the air as he gallops by leaving his hoof prints behind him—these are what count. The artist, with a solid groundwork of equine anatomy feels free to violate and exaggerate any of the horseman’s criteria of ideal form in order to create the essential Horse. In my paintings light builds all solid forms where colors echo one another until at last the horse emerges. The line of intention, though ever changing, maintains its purpose of describing the horse and the result is, always respectfully, the horse.”
125 | LeRoy Neiman (American, 1921–2012) FROM THE HORSE’S MOUTH
Mixed media, 15” x 11”
Signed, inscribed Ascot ’72 $15,000. – 25,000.
Oil on board, 36” x 48”
Signed, dated ’72
$125,000. – 150,000.
“The Royal Ascot, showpiece of British racing, is England’s greatest meet of the year, where fashion and racing come together under starter’s orders, but decorum, be it Regency or Victorian, comes first. The grand promenade from the Royal enclosure to the Ascot paddock (the sacred inner circle) is treated by the classconscious as if it were the road to the Promised Land. Holding to the rigid rule of morning coat and top hat, the gents look tall as bobbies or Royal Guards at St. James Palace. They all become immediately shorter when they remove their toppers in the presence of the Queen. On occasion, the English enjoy looking taller than they really are!
“The cutaway coat was originally tailored for ease in sitting resplendently on a horse, and it’s cavalier’s panache fits well into this ‘My Fair Lady’ setting.
“The scene is liberally seasoned with frivolous coiffures, blossoming hats, frills, and extravagant regalia—the full range of trappings and finery, with which Englishwomen garnish themselves at the races.
“It is said that the rich are more eager to become gentlemen than the gentlemen are to become rich. In any event, you will find them all in the Royal Ascot paddock, an impartial showcase for the wealthy as well as the knighted. Whether practiced by the real aristocracy or by pretenders, this difficult pastime of doing nothing must be done well, with distinction, effortlessness, natural poise, ease, and affability. The sprightly, nonchalant jockeys, elegant and indifferent, are tolerant of all this idleness and leisure.
“But as always, the integrity of English racing is assured and must be preserved. The Thoroughbreds running in Royal Ascot are the ‘cream of horseflesh,’ their blood a patent of nobility. In the Sport of Kings the Thoroughbred is the King of Horses. Polished and pampered, he reigns supreme in beauty, speed, grace, courage, stamina, and heart. He is bred for one reason: to race against his kind, and he does so in nearly fifty countries. Like irreverence for Art, irreverence for these fine racing machines strikes me as an impossibility.” —LeRoy Neiman, Horses, page 169
126 | LeRoy Neiman (American, 1921–2012)
ASCOT RACING
127 | LeRoy Neiman (American, 1921–2012)
EDDIE ARCARO
Mixed media, 26” x 17”
Signed, inscribed ‘Milano,’ dated ’74
$20,000. – 30,000.
Provenance: Franklin Bowles Galleries
128 | LeRoy Neiman (American, 1921–2012)
GEORGE FOREMAN, WORLD HEAVYWEIGHT CHAMPION
Mixed media, 24” x 18”
Signed, inscribed, dated Jan. ’74
$15,000. – 25,000.
Provenance: Franklin Bowles Galleries; this lot is autographed by Foreman
Oil on board, 62 ½” x 51”
Signed, dated ’61, inscribed verso
$125,000. – 150,000.
129 | LeRoy Neiman (American, 1921–2012)
SAX MAN
130 | Quang Ho (Vietnamese/American, b. 1963)
WARM UP
Oil on board, 24” x 30”
Signed, inscribed and dated 2024 verso $12,000. – 15,000.
“As an artist, I am intrigued by the training and the preparation that leads up to the actual race. The morning runs to exercise the horses, the interaction between the trainers and the caretakers, all the details involved are so intentional and beautiful. I love
how in these moments, both horses and trainers become as one movement—one abstract shape. So many visual ideas just from these morning exercises.” —Quang Ho
131 | Quang Ho (Vietnamese/American, b. 1963)
KEENELAND’S BARN
Oil on board, 27” x 29”
Signed, inscribed and dated 2024 verso $15,000. – 20,000.
“As an artist to study the inner workings of a subject is one of the most satisfying activities for me, like studying dancers rehearsing in the studio between rest and action. Seeing the horses in their daily routines and care is beautiful. Just a simple walk around the barn in the morning draped in the colorful blankets is so rich visually. The morning light creating shapes and patterns on the horses and surroundings are beautiful abstract patterns.” —Quang Ho
132 | Quang Ho (Vietnamese/American, b. 1963)
TO THE START
Oil on board, 23” x 27”
Signed, inscribed and dated 2024 verso $12,000. – 15,000.
“The movement and colors of the horses and riders as they approach the gate. I can feel the tension and anticipation in the crowd and the horses. Here I try to capture the momentary calm before explosion—before all the colors become a blur as the horses explode out of the gates.”
—Quang Ho
133 | Valeriy Gridnev (Russian, b. 1956)
CHARLIE WHITTINGHAM & SUNDAY SILENCE
Oil on canvas, 26 ¾” x 35”
Signed $9,000. – 12,000.
Charles Edward “Charlie” Whittingham trained with distinction for nearly half a century and was the U.S. champion trainer by earnings seven times, Eclipse Awardwinning trainer three times, and National Museum of Racing and Hall of Fame inductee in 1974. Whittingham trained the winners of 252 stakes races, including Kentucky Derby winners Ferdinand and Sunday Silence. Sunday Silence’s victory in the 1989 Derby gave Whittingham the distinction of being the oldest person to have trained a Kentucky Derby winner.
From a yearling that nobody would buy to a Racing Hall of Fame inductee, Sunday Silence defied all the odds in his remarkable rise as one of the most influential Thoroughbreds of modern times. His 3-year-old rivalry with Easy Goer was one for the books, encompassing the 1989 Triple Crown season and culminating in his defeat of his nemesis in the Breeders’ Cup Classic at Gulfstream later that year. The nearly black stallion with a blue-collar pedigree took up residence at Japan’s Shadai Stallion Station, where he ranked number one on the country’s leading sire list from 1995 through 2007.
134 | Valeriy Gridnev (Russian, b. 1956) STUDY FOR GOING TO POST, CHANTILLY Pastel, 24” x 36”
Signed
$6,000. – 9,000.
135 | Valeriy Gridnev (Russian, b. 1956)
PAT DAY
Oil on canvas, 24” x 20”
Signed $5,000. – 7,000.
Pat Day retired in 2005 as the No. 1 jockey of all time, with career earnings of $297,912,019. His accolades include four Eclipse Awards, the George Woolf Memorial Jockey Award, and his 1991 induction into the National Museum of Racing’s
Hall of Fame. Day’s nine American classic wins include the 1990 Preakness Stakes (G1) aboard Summer Squall for Dogwood Stables, whose silks he is depicted wearing.
136 | Valeriy Gridnev (Russian, b. 1956) GOING TO POST, CHANTILLY
Oil on canvas, 43” x 70 ½”
Signed, dated 2024
$15,000. – 20,000.
Signed
$8,000. –
137 | Stephen Mangan (Scottish, b. 1964) AT THE RACES
Oil on canvas, 27 ½” x 27 ½”
10,000.
138 | Julie Ann Bull (British, b. 1964)
MAREMMANO
Oil on canvas, 23 ½” x 15 ¾”
Signed, inscribed verso
$2,500. – 3,500.
The Maremmano is a breed of horse originating in the Maremma area of Tuscany and northern Lazio in Italy. Traditionally a hardy working horse used by the Butteri for livestock management.
139 | Rebecca de Mendonca (British, Contemporary)
SUNLIGHT AND STEAM
Mixed media, 15” x 20”
Initialed
$2,500. – 3,500.
Winner of the Yoshimoto Prize at the Pastel Society 2024 Annual Exhibition.
140 | Susie Whitcombe (British, b. 1957) GOING OUT, GOODWOOD
Oil on canvas, 18” x 24”
Signed $12,000. – 15,000.
“This painting is a study to explore a composition of figures and colors and race horses in a landscape.
“The figures are therefore not portraits of specific horses and jockeys. The landscape was painted from life at the Glorious Goodwood meeting held at the end of July each year.” —Susie Whitcombe
141 | Sandra Oppegard (American, b. 1941)
SPORTING PURPLE
Watercolor, 15” x 21 ¼”
Signed
$3,000. – 5,000.
142 | Booth Malone (American, b. 1950) FALL
Oil on canvas, 22” x 28”
Signed $5,000. – 7,000.
143 | Sandra Oppegard (American, b. 1941) GUNRUNNER, BREEDERS’ CUP CLASSIC, DEL MAR Watercolor, 22” x 30”
Signed and inscribed $4,000. – 6,000.
Bred in Kentucky and born in 2013, Gun Runner, the 2017 Horse of the Year and a leading sire, has continued to add to his legacy both on and off the track. A Hall of Fame inductee, Gun Runner has produced 10 grade 1 winners and 13 millionaires, cementing himself as No. 3 on the sire list for the second year in a row. Gun Runner continues to leave behind a remarkable legacy, siring recent stars like Sierra Leone, winner of both the Blue Grass and Risen Star Stakes and second-place finisher in the 2024 Kentucky Derby; Gun Pilot, winner of the Churchill Downs Stake; and Vahva, winner of the Derby City Distaff, among other impressive offspring.
Signed
144 | J. Boyd Kirkman (American, b. 1958) THE QUEEN’S COLOURS
Pastel, 27” x 16”
$4,000. – 6,000.
Watercolor collage, 18” x 17 ¾”
Signed
$3,000. – 5,000.
145 | Lesley Humphrey (American, b. 1957) DISTRACTION
146 | Hubert de Watrigant (French, b. 1954) RACING STUDIES (set of four)
Oil on panel, 6” x 6” (each)
Signed $5,000. – 7,000.
147 | Charles Church (British, b. 1970) CIRCLING THE PADDOCK, DEL MAR Oil on canvas, 20” x 16”
Signed $10,000. – 15,000.
“I went last August to study the characteristics of the track,” Church said of visiting Del Mar for the first time to capture the uniqueness of the seaside oval. “It’s quite different from tracks in the U.K. I have visited many of the big U.S. tracks, but Del Mar has been top of my wish list. I was eager to
include the iconic yellow towers overlooking the paddock. Experiencing the atmosphere there was vital in helping me to capture all that encompasses the quintessential charm of Del Mar.”
148 | Charles Church (British, b. 1970) STUDYING THE FIELD AT DEL MAR Oil on canvas, 30” x 24” Signed $15,000. – 20,000.
Signed $3,000. – 5,000.
149 | Arthur Sarnoff (American, 1912–2000) IN FRONT BY A MILE Oil on canvas, 24” x 36”
150 | Peter Howell (British, 1932–2024)
STRETCH RUN
Oil on canvas, 72” x 96”
Signed
$120,000. – 150,000.
151 | Peter Howell (British, 1932–2024) THE STALLION YARD
Oil on canvas, 40” x 50”
Signed, inscribed verso
$30,000. – 40,000.
152 | Peter Howell (British, 1932–2024)
SANTA ANITA, THE CHUTE
Oil on canvas, 24” x 30”
Signed, inscribed verso
$12,000. – 15,000.
Signed $15,000. – 18,000.
Exhibited: The University Club, Cincinnati, OH, Annual Art Exhibition, 1997
153 | Peter Howell (British, 1932–2024)
PALACE STREET, SHOWING PALACE HOUSE STABLES AND NELL GWYN’S HOUSE Oil on canvas, 36” x 28”
154 | Peter Howell (British, 1932–2024) JUMPERS COMING INTO LINE Oil on canvas, 36” x 50”
Signed $20,000. – 30,000.
155 | Peter Howell (British, 1932–2024)
EXERCISING, WINTER MORNING
Oil on canvas, 14” x 18”
Signed, inscribed verso
$5,000. – 7,000.
HORSES AT EXERCISE, NEWMARKET Oil on canvas, 20” x 24” Signed, inscribed verso $9,000. – 12,000.
156 | Peter Howell (British, 1932–2024)
157 | Peter Howell (British, 1932–2024) TO THE POST
Oil on canvas, 72” x 96”
Signed, inscribed verso
$120,000. – 150,000.
CLINGING ON
Oil on board, 14” x 24”
Signed $3,000. – 5,000.
159 | Jaime Corum (American, b. 1973) AMERICAN PHAROAH
Oil on board, 30” x 36”
Signed $4,000. – 6,000.
Winner of both the legendary Triple Crown, the first to do so in 37 years, and the Breeders’ Cup Classic in 2015, American Pharoah has continued to leave a remarkable legacy on the racing industry through his progeny. His offspring include multiple grade 1 winners As Time Goes By, Harvey’s Lil Goil,
American Theorem, Marketsegmentation, and Van Gogh. The artist Jaime Claire Corum describes herself as being “in awe” of American Pharoah in 2015, following his Grand Slam of racing, and she has chosen to depict him in that era of his life, as a racing-fit 3-year-old, not yet having retired to stud.
158 | Jonathan Armigel Wade (British, b. 1960)
160 | Jaime Corum (American, b. 1973) SEASON OF SUMMER
Oil on canvas, 43 ⅝” x 25 ⅝”
Signed $9,000. – 11,000.
“Summer is the third in my series of the Four Seasons, having already completed Spring and Autumn in past years. For the Summer season, I chose a fiery chestnut (named Roi Soleil on halter) who appears to radiate with the colors of the sun against a playful landscape. In keeping with the Four Seasons series, I combined elements of realism with a background featuring oldworld tapestry blooming into the colorful flora of Summer.” —Jaime Courm
Signed $4,000.
161 | Rachael Van Dyke (American, b. 1972) FOX IN SNOW AND SAGEBRUSH
Acrylic, charcoal and wax crayon on canvas, 46” x 60”
– 6,000.
Signed $3,000.
162 | Jeaneen Barnhart (American, b. 1967) CHARGING
Pastel, 40” x 26”
– 5,000.
Signed
$1,500. – 2,500.
163 | Jeaneen Barnhart (American, b. 1967)
POLO (set of three)
Pastel, 1 - 10 ½” x 10 ½”, 2 - 8 ½” x 10 ½”
Signed
$90,000. – 120,000.
164 | Andre Pater (Polish/American, b. 1953) TO THE WINNER’S CIRCLE Oil on canvas, 32” x 38”
165 | Andre Pater (Polish/American, b. 1953) WHEN BARGAINING GETS TIGHT Oil on canvas, 24” x 30” Signed $90,000. – 120,000.
Illustrated: Cover of Authentic Arabian Horse Names
“When Bargaining Gets Tight, the painting by Andre Pater dated 1986, is a true description of events that precede the sale of a horse in certain parts of the Middle East. The spirit of a true ‘bargain’ is depicted when a horse is brought to the outskirts of the town where the buyer and seller will meet. Each brings his own agent. In this painting, the Bedouin in the white hood is the seller’s agent; the Bedouin near the back
of the horse is the buyer’s agent. The seller’s agent is trying to describe to the buyer the good qualities that the horse is blessed with while the buyer’s agent is trying to find faults with the horse to lower the bargaining price. When the two agents agree on a final price, ‘The deal is done.’ Congratulations will follow, exchange of horse and money will take place, and a great feast will be prepared in the town to celebrate the success of the ‘bargain.’ ” —Bachir Youseph Bserani, 2008
166 | Richard Firth (British, b. 1954) SHAMROCK V AND ENTERPRISE, RACING OFF NEWPORT, RI, AMERICA’S CUP, 1930 Oil on canvas, 24” x 36” Signed, inscribed verso $20,000. – 30,000.
Shamrock V was commissioned by Sir Thomas Lipton, owner of Lipton Tea, in 1929 to contest the America’s Cup race for his fifth and final time. The first J-Class yacht to be commissioned and built in the UK, she was constructed by naval architect Charles E. Nicholson. In response to Lipton’s challenge for the America’s Cup, the Americans designed, built, and launched four J-Class yachts as competitors for
Shamrock V: Enterprise, Whirlwind, Yankee, and Weetamoe. Launched on April 14, 1930, Enterprise was chosen as the America’s Cup defender. Despite being well matched, Shamrock V was defeated by Enterprise in the America’s Cup 4-0. Following the America’s Cup races, Enterprise was dry docked and would never sail again.
167 | Richard Firth (British, b. 1954)
RAINBOW AND RANGER, AMERICA’S CUP TRIALS, 1937; YANKEE AND RAINBOW, AMERICA’S CUP TRIALS, 1934 (a pair)
Oil on canvas, 14” x 21” (each) Signed, inscribed verso $20,000. – 30,000. (pair)
Built in 1934, during the Great Depression, and named in the hope of a brighter future, Rainbow was commissioned by Harold Vanderbilt at the Nat Herreshoff yard in Bristol. Champion of the 1934 America’s Cup, Rainbow defeated Endeavour with four wins. However, Rainbow’s win came with a host of controversy, provoking the headline, “Britannia rules the waves and America waives the rules.” Following the abandonment of the first race due to light winds, Endeavor easily won the first two races. But Rainbow triumphed in the next four races thanks to better tactics, including maneuvers that prompted unsuccessful protests to the Cup Committee.
Ranger, a J-Class racing yacht, would go on to defeat Rainbow in the trials to select the America’s Cup defender for the 1937
race. Ranger then triumphantly won the 1937 America’s Cup against Endeavor II, marking the last of the J-Class yachts to take part in the race. Ranger, often referred to as a “Super J,” took yacht design to an entirely new level. Ranger was built with highly efficient construction methods to reduce cost, and symbolized the transference of aviation technology to the America’s Cup.
Yankee was built as a contender for the New York Yacht Club’s defense of the 1930 America’s Cup. While not chosen as the defender in 1930, Yankee did take part in the trials for the 1934 America’s Cup, which Rainbow would go on to win.
168 | Max Tannahill (Irish, b. 1959) BLACK FISH
Wood Sculpture, 40” x 9”
$2,000. – 3,000.
169 | Walter Matia (American, b. 1953) BY DAWN’S EARLY LIGHT, PINTAIL DUCKS
Bronze, 31” x 23”
Signed, Edition 3/36
$4,000. – 6,000.
170 | Walter Matia (American, b. 1953) COMMON EGRET PAIR
Bronze, 19” x 13”
Signed, dated 2001, #10 of the edition
$3,000. – 5,000.
171 | Walter Matia (American, b. 1953) YELLOW LEGS
Bronze, 14” x 26”
Signed, dated ’93, Edition 2/24
$3,000. – 5,000.
Bronze,
Signed $9,000. – 12,000.
172 | Walter Matia (American, b. 1953) TURKEY
24” x 29”
173 | Walter Matia (American, b. 1953)
OSPREY
Bronze, 24 ½” x 18”
Signed, dated ’93, Edition 2/24
$3,000. – 5,000.
174 | Walter Matia (American, b. 1953)
HIGH PLAINS DRIFTER
Bronze, 11 ½” x 15 ½”
Signed, #9 of the edition
$3,000. – 5,000.
175 | Nick Bibby (British, b. 1960) SADDLEBACK PIG (HAPPY SOW)
Bronze, Edition of 12, 9 ¼” x 14 ½”
$10,000. – 15,000.
“I originally sculpted this piece for my wife, as a Valentine’s present (pigs simply make her smile). But she persuaded me to produce an edition, so that this happy young lady can make others smile too.” —Nick Bibby
176 | Nick Bibby (British, b. 1960)
ABERDEEN ANGUS BULL: ROSEMEAD JERONNY
Bronze, Edition of 12, 15” x 21” $20,000. – 25,000.
“Although I had already sculpted a head study of the champion Aberdeen Angus, Galawater Bold King, I also wanted to sculpt a full study of a champion Aberdeen Angus. I had seen a splendid Aberdeen Angus, Breed Champion at the Royal Show the previous year, called Rosemead Jerrony. I phoned his owner, Angus Stovold, and organized a trip over to Surrey to see him.
“The Stovolds are one of Surrey’s oldest farming families, with records dating back to 1367. The Rosemead herd of Aberdeen Angus cattle was established in 1936 by Percy Stovold, who recognized the Aberdeen Angus’ potential on Surrey’s light soils. The herd he originally purchased in Perth, Scotland, was hidden from his somewhat skeptical father for two years, in what is now the Refectory Restaurant, Milford, Surrey. His father was duly amazed when the new herd appeared on a tour of English shows, including the Royal, in 1938, winning many of them. So Rosemead Jeronny had quite a pedigree to live up to, but he did not disappoint.
“As I pulled into the yard, Tom Beadle, Angus’ stockman, was washing Jeronny down, ready to be measured and
photographed. Rosemead Jeronny was absolutely magnificent! 1.4 tons of gleaming black muscle. I introduced myself to Tom and Angus, who had just pulled up. As I took my reference shots and measurement, I was amazed to hear that Jeronny is so goodnatured that as he lay resting, after his win at the Royal Show, he allowed young children to climb all over him without protest. Watching Jeronny walk about the yard, I was struck by just how deep and broad he was and, like Galawater Bold King, his beautiful head—very different in character, but equally striking. After an evening visiting friends in London, I drove home and began work on the sculpture.
“Working long hours, fueled by copious coffee and enthusiasm for my subject, the clay was completed in just over a month. Once again, the patina of choice for the finished bronze was rich, deep, glossy black—a classic patina that really shows Jeronny at his best. I am proud to say that a cast of my sculpture of Rosemead Jeronny is included in the Aberdeen Angus Cattle Society’s own art collection.” —Nick Bibby
177 | Nicola Lazzari (Italian, b. 1961) ORACLE 2023
Bronze, 54” x 32” x 18 ¼”
$60,000. – 80,000.
178 | Nicola Lazzari (Italian, b. 1961) BULGHERI
Bronze, 15” x 29”
$9,000. – 12,000.
179 | Nicola Lazzari (Italian, b. 1961) GRACE AND POLITICS
Bronze, 19 ½” x 10 ¾”
$9,000. – 12,000.
180 | Susan Leyland (British, b. 1952) LE CRETE
Fired Clay, 19” x 10”
$6,000. – 8,000.
181 | Alexa King (American, b. 1952) RED OCTOBER
Bronze,
Edition 2/9
$6,000. – 9,000.
19” x 30”
Porcelain, Unique, 19 ½” x 19” Signed
$4,000. – 6,000.
182 | Carl Dahl (American, b. 1952) PINTO
183 | Peggy Kauffman (American, b. 1951) CANAL TURN, SGT MURPHY AND BRIGHT’S BOY Bronze, 13 ½” x 25” (including base) Signed, Edition #1 of 7 $6,000. – 8,000.
Won the American Academy of Equine Art Sculpture Prize, 1990.
This work depicts Sergeant Murphy and Bright’s Boy avoiding a collision at the Canal Turn fence during a running of the English Grand National. Both horses were owned by Stephen “Laddie” Sanford, Sergeant Murphy having the distinction of being the first American-owned horse to have won the race, in 1923. Bright’s Boy ran third in the 1926 Grand National before Mrs. Sanford used him as her hunter with the ElkridgeHarford Hunt in Monkton, MD.
184 | Claude Grosperrin (French, 1936–1977)
LE MANEGE DE MERICOURT Oil on canvas, 23 ¾” x 29”
Signed
$14,000. – 16,000.
Exhibited: Gemälde-Galerie Abels, Köln, Germany, 1974, Catalogue #12
185 | Paul Guiramand (French, 1926–2008)
THE CIRCUS
Oil on canvas, 18” x 22”
Signed $6,000. – 9,000.
186 | Paul Guiramand (French, 1926–2008)
HORSE AND JOCKEY
Oil on canvas, 9” x 11”
Signed $2,000. – 3,000.
Signed
$8,000. – 10,000.
187 | Jean-Bernard Lalanne (French, b. 1952) CAVALIERS DE CIRQUE FOUS Oil on canvas, 39” x 31”
188 | Jo Taylor (British, b. 1969)
‘FIRE’ AND ‘ICE’ (pair)
Mixed media, 59” x 34” (each)
Signed $18,000. – 22,000.
“Two great American women are the inspiration behind my paintings Ice Horse and Fire Horse: the sculptor Deborah Butterfield and the painter Susan Rothenberg, whose ability to harness the equine spirit with minimal detail and maximum expression is a constant fascination to me. Despite
being born from opposing elements, there is an unspoken dialogue between both these horses. My practice of working with the horse from the inside out always excites me and I continually strive to breathe life into these beautiful creatures and engage with their instincts.” —Jo Taylor
Signed $9,000. – 12,000.
189 | David Noalia (Spanish, b. 1980) ENÉRGICO BLANCO
Oil on canvas, 47 ½” x 47 ½”
190 | David Noalia (Spanish, b. 1980) ENÉRGICO AZUL
Oil on canvas, 47 ½” x 47 ½”
Signed
$9,000. – 12,000.
Oil
Signed
$28,000. – 35,000.
191 | Serhiy Hai (Ukrainian, b. 1959) FLYING
on canvas, 77 ½” x 59”
192 | Emma Faull (British, b. 1956) PHEASANT AND GOLDFINCH IN AUTUMN MEADOW Ink Wash with Watercolor, Pigment Crayons and Pen, 26” x 20”
Signed, dated 2024
$6,000. – 8,000.
Signed, dated 2024 verso
$11,000. – 14,000.
193 | Diana Tremaine (American, b. 1964) SUMMER RHAPSODY
Oil on canvas, 50” x 50”
194 | Leslie Peck (American, b. 1965)
Oil on canvas, 30” x 40”
Signed
$5,000. – 7,000.
SNOW BUNTINGS, BETWEEN EARTH AND SKY
CONURES
Oil on board, 20” x 16”
Signed, inscribed, dated 2024 verso
$12,000. – 15,000.
195 | Hunt Slonem (American, b. 1951)
196 | Keith Joubert (South African, 1948–2013)
Signed, dated ’34
$5,000. – 7,000.
LION & ZEBRA
Oil on canvas, 30” x 24”
LE PELOTON
Oil on canvas, 23 ½” x 32”
Signed, dated ’87
$4,000. – 6,000.
197 | Paul Ambille (French, 1930–2010)
198 | Edgar Tolson (American, 1904–1984) JOCKEY WITH HORSE
Carved and painted wood, 28 ½” x 23” x 11 ½”
Signed $20,000. – 30,000.
Provenance: Ellsworth “Skip” Taylor; “Decoy” Don Snyder; Clifton Anderson; Private Collection
This is one of two versions by Tolson. The other was in the collection of former University of Kentucky professor Michael Hall and is now in the collection of the Milwaukee Art Museum. Taylor, who conducted a survey of folk artists in Kentucky in 1976, the first of its kind in the U.S., commissioned Tolson for this work after seeing Hall’s.
Signed
$7,000. – 9,000.
199 | Paul Sawyier (American, 1865–1917)
SWITZER BRIDGE
Watercolor, 13 ½” x 7 ½”
Oil on board, 19 ¾” x 12 ¾”
Signed
$12,000. – 15,000.
200 | Henry Faulkner (American, 1924–1981) UNICORN
201 | Henry Faulkner (American, 1924–1981)
Oil on board, 10 ½” x 7”
Signed
$8,000. – 10,000.
202 | Henry Faulkner (American, 1924–1981)
SICILIAN CHAIR AND TABLE
Oil on board, 11 ¼” x 9 ½”
Signed
$8,000. – 10,000.
Provenance: Closson’s
FLORAL
203 | Henry Faulkner (American, 1924–1981)
THE TIN BUTTERFLY Oil on board, 8” x 10”
Signed $8,000. – 12,000.
Provenance: Willeen and Paul Benedum Sr.; Paul Benedum Jr.
The Benedums, owners of Butterfly Farm, were longtime philanthropists in southwestern Pennsylvania and West Virginia. Benedum Hall and Benedum Library, both at West Virginia University, and the Benedum Theater in Pittsburgh are a few of the many marks they left on their region.
ARTIST BIOGRAPHIES
Alken, Henry Thomas, Sr. (aka Ben Tally Ho) British, 1785–1851
The finest artist of the Alken family of painters, Henry Sr., also know as Ben Tally Ho or Old Henry, handled oil or watercolor with ease. He also was a superior engraver. His subjects were active foxhunting or racing scenes, sometimes depicting humorous occurrences. He was a prolific artist, producing thousands of works.
Alken, Samuel Henry British, 1810–1894
The son of noted artist Henry Thomas Alken, Alken was born at Ipswich in Suffolk. Young Alken worked and studied under his father, and when the family moved to London, he continued to work as an artist, specializing in painting animals. His genre is most noted as equestrian, hunting, and rural scene painting. In 1852, when Arthur Duke of Wellington died, artist George Augustus Sala was commissioned to immortalize the funeral procession. Alken executed many of the horses in that 60-foot-long panorama.
Ambille, Paul French, 1930–2010
Ambille studied at the Ecole National des Beaux-Arts in Paris and exhibited in France, Italy, the United States, Germany, Japan, China, and Australia. He won numerous prizes, including the 1955 Gold Medal at the Grand Prix de Rome. Ambille captured equestrian scenes, still lifes, seascapes, and marine themes in his unique impressionistic style.
Ansdell, Richard British, 1815–1885
Ansdell was born in Liverpool and, as an orphan, attended the Liverpool Blue Coat School for Orphans. He loved painting from a young age and later worked for a silhouette portrait painter in Chatham and then as a sign painter in the circus. In 1836, he enrolled at the Liverpool Academy and later become its president. Between 1840 and 1885, Ansdell exhibited paintings each year at the Royal Academy, 149 paintings in all. He was elected an associate of the Royal Academy in 1861 and in 1870 became its royal academician. Ansdell went on to become one of the most popular sporting art painters of the time, collaborating on huge canvases with Thomas Creswick and William Powell Frith, with Ansdell painting his dogs in their landscape pieces.
Arenys Galdón, Ricardo Spanish, 1914–1977
A native of Barcelona, Arenys Galdon began specializing in equine art in the late 1940s. Arenys had his works exhibited in Barcelona, Madrid, Lisbon, Paris, London, and other major cities. He earned medals for top placings in the 1945 National Exhibition in Madrid and the 1955 National Exhibition of Fine Art in Madrid.
Armour, George Denholm British, 1864–1949
Born in Scotland, Armour grew up in Liverpool before graduating from the University of St. Andrews and the Edinburgh College of Art. After college he moved to Morocco to buy horses and later ran a stud farm in Wheathampstead, England. He later went to the Spanish Riding School in Austria to study military equitation before World War I when he commanded a remount depot in Greece. He is best known as an illustrator for Punch, CountryLife , and TheGraphic
Ashley, Frank Nelson American, 1920–2007
A native of the American Midwest, Ashley was born in Lincoln, Nebraska, raised in St. Paul, Minnesota, and studied art at the American Academy of Art in Chicago and the Minneapolis Art Institute. While stationed in London, England, he attended St. Martin’s School of Art. Ashley portrayed equine subjects primarily from 1960 to the early 1980s before his subject matter changed to pop culture.
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 SundayTimes 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.
Barraud, Henry
British, 1811–1874
Barraud, one of 17 children, was born in London in 1811. His family were originally French Huguenots who had emigrated to England. Barraud excelled at painting animals, but most of his works are subject paintings, focusing on dogs and horses. Many of his works were done in conjunction with his brother William, who mainly painted the animals while Henry painted the subjects. Barraud exhibited at the Royal Academy
of Art from 1833 to 1859 and at the British Institution and the Society of British Artists. The two brothers shared a studio from 1835 until William’s death. Henry later moved to Gloucester Place in London, where he lived the rest of his life.
Bertin, Roger
French, 1915–2003
After learning to paint from his godfather and studying technique at the Art Academy in Paris, Bertin soon began to exhibit his paintings at the Salon d’Automne in Paris. His work later took him to Morocco, Algeria, and other spots in the Middle East where his artwork was on display. In 1954 Bertin received the Prix Paquement award for a painting that was acquired by the Musee d’art Moderne in Paris. A critic of Bertin’s style once noted that, “Bertin is one of the freest artists I know of. His art is not dictated by fashion or dogma, and he has enough imagination and technique to create his own style of work.”
Bibby, Nick
British, born 1960
Largely self-taught, Bibby has become acknowledged as one of England finest animalier sculptors. Selling his first sculpture at age 16, Bibby has carved a professional career that has ranged from director for a leading miniature figurine company to sculptor and model maker for television and still advertising. His deep appreciation and knowledge of his subjects transform the bronze metal into fluid flesh and sinew.
Biegel, Peter
British, 1913–1989
Born to a heritage of both art and horses, Biegel studied with Lucy KempWelch and, after being wounded in Normandy during World War II, at Bournemouth School of Art. An accidental meeting with Lionel Edwards led to his being Edwards’ pupil. His paintings are full of accurate action and life.
Binet, Adolphe-Gustave
French, 1854–1897
Binet was a French painter skilled at painting sporting art and carriage scenes.
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.
Boultbee, John
British, 1753–1812
An equestrian artist and sporting painter, Boultbee was born in Osgathorpe, Leicestershire, in 1753. He and his twin brother entered the Royal Academy School of Art in 1775, which was under the presidency of Sir Joshua Reynolds at the time. Boultbee later exhibited six paintings in the Royal Academy and was commissioned by King George III, who gave Boultbee a residence in Windsor Great Park so he could work on his commissions more conveniently. Boultbee was influenced by George Stubbs and Sawrey Gilpin.
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, Charles Livingston
American, 1874–1932
Born in New York, Bull was one of the most well known and respected wildlife artists of his time, but his father disapproved of him pursuing a career in art, and Bull instead took up a career in taxidermy. This career pivot proved useful in the end, as his skill in taxidermy later influenced Bull’s artistic career. He worked at Ward’s Museum of Natural History as a teenager and later worked at the National Museum of Natural History in Washington, D.C. Bull’s work has appeared in multiple magazines, including Saturday Evening Post, Ladies Home Journal, and Boy’s Life , and in more than 125 books.
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 RomanHoliday. 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.
Church, Charles
British, born 1970
Church is an internationally renowned painter of horses, landscapes, and country life. Within the racing sphere, he has been commissioned to paint the portraits of more than 90 Grade 1 winners, including Flightline and Enable. King Charles III has described Church as having “a profound understanding of his subject matter.” In 2023, Queen Camilla unveiled a large-scale hunting portrait by Church for the British Sporting Art Trust. That work and his painting of the Royal Ascot Procession are now on permanent display at the National Horseracing Museum in Newmarket.
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.
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.
Cundall, Charles
British, 1890–1971
A native of Lancashire, Cundall began designing pottery for a firm before studying at the Manchester School of Art and then the Royal College of Art. Wounded during World War I, he later competed in the art competitions at the 1928, 1932, and 1948 Olympics. During World War II, he was commissioned as an Admiralty artist to work on Merchant Navy
subjects. He was a member of the Royal Academy and Royal Watercolour Society. His work can now be seen in the Tate, RAF Museum, and Imperial War Museum.
Cutler, Cecil E. L.
British, fl. 1886–1934
Cutler was a British artist from London, best known for his gouache portraits and drawings. Cutler often created portraits of Edwardian politicians, and impressively captured the character of his subjects through distinguished facial features.
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.”
Daly, Jonathan American, born 1982
Born in Buffalo, Daly was raised on a farm and has always lived in a creative environment. Both of his parents were painters and Daly started painting at a very young age, soon finding his style. In 2004, he graduated from Syracuse University and later attended the MFA painting program at Boston University. After graduation, Daly moved back to the countryside, re-acclimating himself to the environment he was born into and continuing to paint. He now lives in a small creekside cabin in Bliss, New York, and this environment inspires most of his paintings.
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 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.
De Mendonca, Rebecca
British
Born into a family of artists—her mother was a painter and a teacher and her father was an architect—De Mendonca developed a natural gift for art. After graduating from Wimbledon School of Art with a bachelor of arts degree in theater design, De Mendonca pursued a career in painting and drawing, mainly working with pastels. In 2018, she became an associate member of the Society of Equestrian Arts. De Mendonca won the Yoshimoto Prize at the Pastel Society for the 125th annual exhibition in 2024.
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.
Domingo Marques, Francisco
Spanish, 1842–1920
Domingo Marques was known for his eclectic style. He began his artistic studies in Valencia at the Real Academia de Bellas Artes de San Carlos. In 1864, he moved to Madrid to continue his studies but moved back to Italy after being awarded a scholarship by the government of Valencia to continue his studies in Rome. He received multiple awards for his work, including several awards from the National Exhibition of Fine Arts in Madrid for his Baroque-style paintings.
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.
Edwards, Lionel D.R.
British, 1878–1966
Edwards combined his love of the hunt with drawing to create exhilarating paintings full of life. He became the youngest member of the London Sketch Club and was committed to earning a living from his art. He enjoyed a close working relationship with CountryLifemagazine and The Graphic and then progressed to traditional painting in watercolor and in oils. He ranks just below Alfred J. Munnings as an important 20thcentury painter of the hunting field.
Emms, John British, 1841–1912
Son of an artist, Emms took up the life and focused on painting the horses and hounds of his foxhunting friends in Lyndhurst. Exuberant by nature, he tended to spend a commission check immediately when it arrived. When he fell ill and could not paint, he and his family became nearly destitute. He died at 71 in Lyndhurst and is buried there. He created many paintings, mostly in oil, brimming with life and authenticity.
Farquharson, Joseph Scottish, 1846–1935
Farquharson, “The Painting Laird,” was a Scottish landscape painter who trained at the Trustees Academy in Edinburgh. His first exhibit at the Royal Academy was in 1873, and he is most famous for works that depict sheep, although some of his other works include portraits or human figures. As a boy, he used his father’s paints but was given his own paints on his 12th birthday. One year later, his first painting was hung in the Royal Academy of Scotland.
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.
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.
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.
Fletcher, Bill
American, b. 1958
A native of Lexington, Kentucky, and an outdoorsman, Fletcher was involved in the field of toxicology before he took up painting. Until the mid-1990s painting always took a backseat for Fletcher, but he decided to paint and instruct full time beginning in 1996.
Gall, Francois Hungarian/French, 1912–1987
Gall was a Hungarian-born French painter known for his abstract expressionism and surrealism marked by bold colors, dynamic forms, and a deep sense of human emotion. Gall was educated at the Royal Academy of Fine Arts Workshop in Rome and was mentored by some of the leading contemporary artists of Europe. He later moved to Paris and in 1942 became a French citizen. Gall mostly painted women involved in such activities as ballet or sewing, but he is also known to have painted French landscapes, mostly of the beach or coastal scenes. While living in France, he befriended Pablo Picasso and many other prominent French artists. Gall won the Francis Smith Prize in 1947 and won his first award at the Paris Salon.
Gayrard, Joseph Raymond Paul French, 1807–1855
Born at Clermont, Gayrard studied under his father, Raymond. He exhibited at the Paris Salon from 1827–1855 and won several medals. Gayrard’s style of work is of particular interest, as it heralded in the animalier movement. On display at the Bascilica of Sainte-Clotilde in Paris is the best-known example of his monumental work of the four evangelists.
Giles, Godfrey Douglas British, 1857−1941
Born in Karachi, Pakistan, to Royal Navy Captain Edward Giles, Giles followed his father into military service and attained the rank of major in the British Army. Giles drew upon his experience serving in Afghanistan, Egypt, India, and South Africa to portray realistic military scenes and battles, especially the cavalry horses. He successfully exhibited at both the Paris Salon and the Royal Academy and his images were featured in such publications as Vanity Fair and Black &White Budget. His major works are collected by military organizations in Britain.
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, TheEarlyYears, 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.
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 wartorn 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.
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.
Hall, Harry
British, 1814–1882
Exceedingly accurate in his portraits of horses, Hall was employed much as a present-day photographer, rendering life-like images. He lived mostly in Newmarket but also did some work in London. Hall was extremely industrious, and much of his work was engraved and published. Turf historians rely on the validity of his work for conformational analysis of historic Thoroughbreds.
Herring, John Frederick Jr. British, 1820–1907
Known to his contemporaries as “Fred,” the junior Herring painted farm and equestrian scenes similar in subject matter and style to those of his father. His paintings are chiefly distinguished from those of J. F. senior by the intricate detail put into the appearance of straw and grass, such that the overall painting develops a “worrying appearance.”
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 Beaux-Arts in Nancy. His art won many prizes and was exhibited widely in Europe and he had one-man exhibits in New York in 1954 and 1956. His works vary from paintings, murals, tapestries, and stained glasses to mosaics.
Ho, Quang
Vietnamese/American, born 1963
Ho came to America with his family at age 12 in 1975. His interest in art was apparent as early as age 3, and he graduated from the Colorado Institute of Art in 1985 with the Best Portfolio Award. He continues his interest in art and education as a teacher at the Denver Art Students League. After graduation, Ho was promoted by art dealer Mikkel Saks, and the artist’s clients have included Adolph Coors Company, Upjohn, Safeway, The Colorado Symphony, and the Chicago Symphony.
Hodge, Marcus
British, born 1966
Hodge studied in Spain at the Escuela Libre del Mediterraneo for five years and after finishing became only the third person in the school’s history to be invited to remain as a tutor. By 1997 he had exhibited with the Royal Society of Portrait Painters. Some of his significant portrait commissions include the Scots Guard at Balmoral, the Jockey Club in Newmarket, and the King’s Troop Royal Horse Artillery.
Hoffman, Frank B.
American, 1888–1958
Growing up around his father’s New Orleans-based racing stable, Hoffman developed a love for animals. He worked as an illustrator for the Chicago American newspaper before moving West, eventually ending up in Taos, New Mexico. Hoffman worked under contract for the Brown & Bigelow Publishing Company and produced more than 150 paintings over a 14-year period. As a sculptor, he was hired by the Cooper Underwear Company to produce the Jockey Boy as a symbol for its Jockey brand of underwear.
Howell, Peter
British, 1932–2024
Introduced to the world of racing at age 8, the Welsh-born Howell spent his school holidays at Newmarket. He initially pursued a racing career but in the 1960s decided to focus more fully on his painting. His early love of racing informed his art, in which he sought to capture the essence of the sport scene. Howell’s work, influenced by the French Impressionists, is highly regarded and found in many collections.
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.
Jacquemart, Henri Alfred French, 1824–1896
Jacquemart studied both painting and sculpture at L’Ecole des BeauxArts de Paris as a pupil of Paul Delaroche. He exhibited at the Paris Salon from 1847 to 1879, winning numerous awards. Jacquemart produced major commissioned works in Egypt and Turkey, but gained fame through his commissions of monuments in France. He became a Chevalier of the Legion d’Honneur.
Joubert, Keith
South African, 1948–2013
Born in Germiston, east of Johannesburg, Joubert studied at the Johannesburg School of Art from 1963 to 1967, after which he worked commercially for a few years. Beginning in 1970, Joubert began painting African wildlife and the environment. Although he also traveled extensively through South Africa, he spent a majority of his time in the Okavango Swamps of Botswana, where he had a houseboat and a studio camp at Linyanti. His studio reflected his preference of maintaining a carefree and simple existence: a tent during the winter and a simple tarpaulin in the summer. He owned a large farm near the northern part of Kruger Park where he was frequently visited by elephants and other game. One of Africa’s most successful contemporary artists, his work can be found in various corporate and private collections worldwide.
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 WesternArtandArchitecture, WesternArtCollector, and on the cover of SouthwestArt
Kauffman, Peggy
American, born 1951
Kauffman received a BA in Fine Arts from Bennett College in Millbrook, New York, and furthered her education at the Maryland Institute College of Art in Baltimore. Skilled in the life history of horses from years of training, grooming, and competition, Kauffman considers Paul Brown, preeminent American illustrator of equestrian subjects, the greatest influence on her work as an artist.
Keyl, William Frederick
German/British, 1823–1871
The son of a wine merchant, Keyl was born in Germany in 1823 and moved to England in 1847. He was the only pupil of Sir Edwin Landseer, through whom Keyl was introduced to Queen Victoria and Prince Albert. From this meeting, Keyl went on to receive many commission requests from the Royal Family, including oil paintings, watercolors, and sketches. A frequent exhibitor at the Royal Academy of Arts and the British Institution, Keyl’s other work, apart from royal commissions, included book illustrations and plates for the illustrated LondonNews
King, Alexa
American, born 1952
King’s ability to capture the unique vitality and essence of her living subjects in bronze has brought her national renown and made her work some of the most sought after by discriminating collectors. Public and private commissions include a life-sized War Memorial bronze at Camp Atterbury in Indiana; a trophy, GoingtothePost , for the Breeders’ Cup Limited; and the Dogwood Dominion Award presented annually by Dogwood Stables in Aiken, S.C. King’s most recent commission is the sculpture of Barbaro on display at Churchill Downs. She is an elected member of the National Sculpture Society.
Kirkman, Jay Boyd
American, born 1958
Born in Los Angeles, Kirkman moved to England at the age of 25 to study at the West Surrey College of Art and at the Camberwell School of Art from 1976–80. He began depicting sporting scenes in 1980 and has been regularly exhibiting since 1983, particularly in London and Dublin.
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.
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.
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.
Lazzari, Nicola Italian, born 1961
Lazzari’s artistry is strongly influenced by the Italian tradition of making small bronzes. However, Lazzari’s works are completely modern in concept while exhibiting this connection to works as early as the 16th century. His work is a strange mixture of the magical and natural and is perhaps also influenced by his cosmopolitan upbringing. He avoids the changes in scale when bringing a large sculpture down to tabletop proportions by creating his art as small works from concept on.
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.
Liljestrom, Connor
American, born 1995
In 2019 Liljestrom graduated from the University of Wyoming with a B.A in fine arts. His works often reference mythology, pop culture, and western-centric art history. He works primarily in oil and mixed media and his manipulation of color engages the viewer to strike up conversations about it. Liljestrom 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.
Malone, Booth
American, born 1950
The current president of the American Academy of Equine Art, Malone has been the official artist of numerous equestrian events, including the Breeders’ Cup and the Virginia Gold Cup. He is also a member of the Oil Painters of America and the Portrait Society of Atlanta (member of merit). A visual design major, Malone is influenced by Sir Alfred Munnings, John Singer Sargent, and N.C. Wyeth.
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.
Mason, Roy Martell
American, 1886−1972
Mason’s knowledge of hunting, fishing, and the outdoors gave him the ability to portray not only sporting life but an endless backdrop of themes. Raised on a farm, Mason had early instruction in drawing from his father who was himself an engraver. Self-taught through correspondence courses, Mason won the gold Medal of Honor of the American Watercolor Society in 1961. He was also an illustrator for Reader’sDigest and True magazines.
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.
Mücke, Carl Emil German, 1847–1923
Born in Düsseldorf in 1847, Mücke was a student of William Sohn (1830–1899), who was a significant figurehead in the field of genre painting. Mücke took after his father, also a painter, and began painting at a very young age, finding his own style quite early. He mostly painted groups of cats playing or resting.
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.
Noble, John Sargent
British, 1848−1896
Noble studied at the Royal Academy Schools and under Sir Edwin Landseer before exhibiting regularly at the Royal Academy from 1866 to 1895. He also exhibited at the Fine Art Society, Royal Institute of Oil Painters, and the Royal Institute of Painters in Water Colours. In 1872 he was elected a member of the Society of British Artists.
Oppegard, Sandra Faye
American, born 1941
A graduate of the Art Center College of Design in Los Angeles, Oppegard worked as a freelance illustrator for 23 years for clients such as Max Factor, Redken, Giorgio, and Mattel Toys. Her knowledge of Thoroughbred racing, gleaned from years spent watching her husband train race horses and traveling with him to tracks around the country, imbues her equine scenes with authenticity. Oppegard has exhibited widely and has won numerous awards.
O’Sullivan, Katie
Irish, born 1959
A lifelong involvement in the equestrian world from childhood to her marriage to horse trainer Jamie Osborne gives O’Sullivan a thorough knowledge for detail and accuracy. The originality of her works is
enhanced by an unorthodox use of unique surfaces and materials. O’Sullivan has been widely acclaimed through numerous one-woman shows, with many being sellouts.
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.
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.
Petley, Roy
British, born 1950
Known for his British coastal scenes, Petley studied at the Brighton School of Art and then hitchhiked across Europe to Italy, where he studied the masters in Florence. In 2003 he opened his own art gallery, called Petley Fine Art. His works have been purchased by and are in the collections of Queen Elizabeth II and other members of the Royal Family. Petley lives and works in the United Kingdom.
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 Guidesand the NationalGeographicGuidetoNewWorldWarblers
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.
Rogers, Howard
American, born 1932
An illustrator and fine art painter, Rogers specializes in female nude figures and fine art. He also depicts many Western scenes. Rogers studied at the ArtCenter College of Design.
Samimi, Reza
Iranian, 1919–1991
Samimi’s artistic style is said to have been heavily influenced by both Rembrandt and Joseph Wright of Derby. He began painting portraits in his 20s and at the age of 28 completed his first major commission: a portrait of Princess Shams, the sister of the Shah of Iran. He later painted the shah’s wife, Empress Farah Diba Pahlavi. Among the other notable portraits he painted one of President Eisenhower. Samimi worked primarily in oils in a variety of different styles including landscape, flowers, portraiture, still life, and even tasteful nudity.
Sandys-Lumsdaine, Leesa
British, 1936–1985
As the daughter of a tea merchant, Sandys-Lumsdaine spent her childhood in India. She was educated at Lawnside, Worcestershire, and Brilliantmont, Lausanne, and then spent a year at Cheltenham Art College. Her favorite subject was the country as she owned a variety of animals and hunted with the Duke of Buccleuch’s pack and the Lidderdale.
Sarnoff, Arthur Saron American, 1912–2000
A Brooklyn native, Sarnoff attended the Industrial School and the Grand Central Art School in New York City. There he was a student of John Clymer and Andrew Wyeth. Sarnoff had a celebrated and long career as an American illustrator. He produced a wide range of works from pin-up girl calendars to portraits of President and Mrs. Kennedy for a wide range of publications from GoodHousekeepingto Esquire.
Sawyier, Paul
American, 1865–1917
Kentucky’s most popular artist of the past, Sawyier was born in Ohio and moved at a young age with his family to Frankfort, Kentucky, where his maternal grandmother lived. His father recognized his ability early on and hired an art tutor for his son. Sawyier studied art extensively, including stints at the Cincinnati Art Academy and the Art Student’s League in New York City. A stylistic eclectic, he often adapted aspects of Impressionism in his art but also painted in the moody, darker mode of American tonalism.
Shayer, William Joseph
British, 1811–1891
First exhibiting at age 17, Shayer was forced to become a coach driver when his animal paintings did not provide him and his family with a living. Although he had a difficult life, he was known as a kind, gentle man whose paintings showed great understanding of and sensitivity to both horses and people.
Sinclair, John
British, 1872–1922
Sinclair was a British landscape and pastoral painter. He is known to have worked in both oils and watercolors. He was exhibited at major galleries in London, as well as the Royal Academy and the Royal Institute.
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.
Smith, William
British, 1813–1859
Smith is known as a sporting and animal painter who had 32 paintings exhibited at the Royal Academy.
Smythe, Edward Robert
British, 1810–1899
Elected as a member of the Ipswich Society of Professional and Amateur Artists in 1832, Smythe abandoned a military career for art. He exhibited five works at the Royal Academy and another five works at the British Institution over his lifetime. Today his work can be found at the Bury St Edmunds Museum and the Royal Albert Memorial Museum.
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.
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.
Tolson, Edgar
American, 1904–1984
A self-taught folk artist born into a poor family in the Appalachian region of Kentucky, Tolson is known for his poplar wood carvings. As a younger man, he whittled wood into chairs, sleds, and trains. He has worked as a carpenter and dabbled in stonemasonry and preaching. His religious experiences have influenced his carvings, which often depict biblical scenes such as Adam and Eve in the Garden of Eden.
Townsend, Lee
American, 1895–1965
A horse lover from childhood, Townsend was fascinated with racing. After a short stint working in his brother’s livery stable, and two years’ study at the Art Institute of Chicago, he became an illustrator in New York. After a trip to Paris in 1927, he gave up illustrating and devoted himself to horse racing, painting racing scenes at both well-known and obscure tracks.
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.
Turner, William Henry M. British, active 1849–1887
Turner was a British artist who has been referred to as “Horse Fair Turner,” given his tendency to depict horse fair scenes realistically with great detail.
Van Dyke, Rachael
American, born 1972
Van Dyke is an abstract landscape and figurative artist inspired by purposeful community and a sense of place. She is an avid artist-inresident, with more than 20 national and international residencies, including the U.S. National Park Service. Van Dyke anticipates an 18day Arctic Circle sailing expedition with the nonprofit science and arts research organization The Arctic Circle (April 2025). Corporate work includes the West Michigan Cancer Center, The Steelcase Corporation,
Renown Health, Henry Ford Cancer Institute, Trinity Health, Stand Together, Tyndale Publishing, Del Lago Resort, Bank of America, Marriott Hotels, and the Devos Children’s Hospital. Van Dyke has representation with galleries in Kentucky, Michigan, and the Carolinas. She has made public presentations on art and creativity, art and the spiritual, and on how space and place influence a body of work.
Voss, Franklin Brooke American, 1880–1953
From a family of sportsmen and artists, Voss studied at the Art Students League in New York, foxhunted and rode races in New York and Maryland, and painted racehorses and hunting horses for his sportsmen friends. Completing more than 500 commissions in a period between 1920 and 1950, Voss died as he would have liked — foxhunting with the ElkridgeHarford Hounds near his Maryland farm.
Waddell, Theo American, born 1941
A cattle rancher and painter, Waddell lives on the Musselshell River northwest of Billings, Montana. He studied at the Brooklyn Museum Art School, Eastern Montana College, and Wayne State University, Detroit, from which he earned his master’s degree. His works have been described as “sophisticated modernist paintings” and have been exhibited across the country, including the San Francisco Museum of Modern Art.
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.
Wardle, Arthur
British, 1860–1949
First exhibiting at the Royal Academy at the age of 16, Wardle, by 1938, had exhibited some 113 works there. Equally proficient in several media, he was elected to the Pastel Society in 1911 and The Royal Society of Painters in Watercolours in 1922. Exotic animals at the London Zoo inspired many of his works, but he is perhaps best known for his domestic animals, portraits, many of which hang at the London offices of the Kennel Club and in New York at the American Kennel Club.
Wheeler, Alfred
British, 1851–1932
Wheeler was born near Bath in Somerset to John Alfred Wheeler (1821–1903), who retired early from the army to pursue a successful painting career. Wheeler is thought to have studied under his father and
to have worked closely with him. He married Catherine Muspratt in 1874 and moved next door to his father at Raglan Villas, Bath. Wheeler then followed his father when he moved to Hanwell. Alfred and Catherine had six children, two of whom became artists: Walter Herbert and John Frederich. The Wheeler family specialized in sporting subjects such as horse racing and foxhunting. They were also commissioned frequently for animal portraits. Alfred Wheeler and his father are often confused due to their extremely similar styles and their signatures. Alfred’s work is thought to be less prolific, even though he contributed to many of his father’s paintings toward the end of the elder Wheeler’s life.
Wheeler, John Arnold Alfred British, 1821–1903
Wheeler enlisted in the army at age 19, giving him first-hand exposure to horses that would later aid him in his artistic career. The prolific Wheeler painted military, hunting, and racing scenes as well as equestrian portraits that were in demand among the gentry of the day. His vibrant works included both small and large vistas, animating a single subject or uniting more than 150 people, horses, and hounds in one painting.
Wheeler, Larry Dodd
American, born 1942
This distinguished painter received his formal training at the Maryland Institute College of Art and the Institute’s Hoffberger School of Painting. Wheeler has served as the painting conservator for both the Corcoran Gallery and the Smithsonian Institution in addition to teaching at the Maryland Institute. His skilled work is in great demand and hangs in the Supreme Court Building and the Federal Building in Washington and in many private collections.
Whitcombe, Susie British, born 1957
Whitcombe studied at the Heatherley School of Art in London and has been painting portraits of horses and people in oil and watercolor for more than 30 years. She has exhibited in London, Tokyo, and Melbourne. A versatile sportswoman, she has ridden races as an amateur jockey and is also a pilot, handling Super Cubs and Tiger Moths with ease.
Woollett, Henry Charles
British, 1826–1893
Woollett was a sporting painter and is known for his depictions of farm and stable scenes.
Young, Henry Ayerst
British, 1895–1952
Educated at Cheltenham College and the Royal Military Academy Woolwich, Young was commissioned into the Royal Field Artillery in 1914 and served throughout World War I. He rose through the ranks to command the Woolwich Garrison and Royal Academy Depot and served in the British Expeditionary Force during World War II. A lifelong horseman, polo player, and artist, Young retired in 1946.
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.
