The Sporting Art Auction Catalog (2013)

KEENELAND / CROSS GATE GALLERY

THE

AUCTION

THE SPORTING ART AUCTION NOVEMBER 20, 2013

IN AFFILIATION WITH

Keeneland Sales Pavilion

Lexington, Kentucky

November 20, 2013

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THE

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

Cover Illustration: Lot No. 122

Back Cover Illustration: Lot No. 23

Sir Alfred J. Munnings, P.R.A. (British, 1878-1959)

John Willis Good (British, 1845-1879)

Blue Prince II with Harry Carr up on Newmarket Heath

The Tired Hunter (head turned)

Oil on unlined canvas | 26 ⁄2” x 39 ⁄4”

Bronze, Signed | 11 1⁄4” x 16” x 7”

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AUCTION Wednesday, November 20, 2013 at 4 p.m.

Keeneland Sales Pavilion Lexington, Kentucky Auctioneers: Walt Robertson and Ryan Mahan

ADVANCE VIEWING The works will be available for viewing in the Keeneland Sales Pavilion, September 9 – 21 and November 5 – 15 from 10 a.m. – 5 p.m.

For additional viewing times visit: www.thesportingartauction.com

This auction and all information in this catalogue are subject to the Conditions of Sale printed in this catalogue and to reserves.

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INTRODUCTION

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hen Keeneland executives and Cross Gate Gallery owner Greg Ladd first considered the idea of establishing a sporting art auction company in Lexington, Kentucky, they quickly realized it would be a natural fit.

Keeneland offered the perfect venue with its state-of-the-art sales pavilion as well as its auctioneering expertise. Cross Gate would deliver a first-class collection of paintings and sculpture. Perhaps most importantly, many people who buy and race horses at Keeneland also collect sporting art. Why not bring the art to a knowledgeable, enthusiastic audience?

The inaugural Sporting Art Auction will take place November 20, 2013, and it represents an inspired collaboration between the world’s largest Thoroughbred auction house and the country’s premier gallery of fine sporting art and contemporary British figurative painting.

The auction features 174 high-quality lots focusing on “sporting” paintings and sculpture by British and American artists and works by important American realist and impressionist painters. Artists represented range from Sir John Frederick

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Herring, Sir Alfred Munnings, and Edward Troye to Franklin Voss, Peter Curling, and André Pater. The auction also includes works by three generations of Wyeths — grandfather N.C., father Andrew, and son Jamie — and the renowned American painter Mary Cassatt.

Ladd, as the collection’s curator, traveled throughout the United States and Europe to acquire important pieces for the auction. At Keeneland, vice president of sales Walt Roberston has leant his expertise as a knowledgeable collector and an experienced auctioneer.

Among the auction’s most important pieces are several by Munnings, including Blue Prince II, a 26 1⁄2” x 39 1⁄4” painting commissioned by Thoroughbred owner and breeder Walter Jeffords. Munnings, who died in 1959, is regarded as one of the world’s finest equine painters.

Other important 19th and early 20thcentury works include: ■ The Grand Jockey, a bronze sculpture by the French-born Isidore Bonheur, which depicts a victorious jockey patting his horse on the neck in congratulation

■ Troye’s iconic portrait of the 19thcentury stallion Lexington ■ Herring’s Bee’s-wing, a 28” x 36” oil on canvas signed and dated 1842 ■ Julius Caesar by John Ferneley, Sr., a 34 1⁄2” x 42 1⁄2” oil on canvas signed and dated 1816 In addition to Troye and Voss, the Sporting Art Auction includes works by racehorse portrait artists Henry Stull (1851-1913), Milton Menasco (1890-1974), and Richard Stone Reeves (1919-2005). One of the larger pieces is a 7’ x 17’ mural by the late American artist LeRoy Neiman commissioned by Charles W. Bidwill Jr. for Sportsman’s Park in 1976.

Contemporary sporting works include: The Gift of Scent by André Pater (Polish/American, born 1953) Work Morning by Peter Curling (Irish, born 1955) Goldikova by Charles Church (British, born 1970) Walking Leopard III by sculptor Dylan Lewis (South African, born 1964)

While the auction highlights some of the best in available sporting art, well-known American realists and impressionists are represented as well, giving the event added appeal. “We knew we wanted a quality group of sporting pictures,” Ladd said, “but we also knew that our clientele has a broad range of interests. We decided to go after some of the top American realists that are working today.”

Among those works is Jamie Wyeth’s That Dog’s House, a 32” x 40” mixed media on toned paper board.

Additionally, the auction will feature two works by iconic American nonsporting painters: Marsh Hawk, a signed 30 1⁄2” x 45” tempera on masonite by Andrew Wyeth, and Children Playing with a Cat, a 32” x 39 1⁄2” oil on canvas by Mary Cassatt, signed and dated 1908.

Hopes are high that the Sporting Art Auction will become the premier sale of its kind, particularly as major auction houses no longer sell sporting art as a separate genre.

“This Sporting Art Auction has the potential to become the most important of its kind in the world,” said Ladd. “We have all the right elements to make it a success

— a world-class venue in Keeneland, which provides in-house expertise in conducting major auctions and the ability to reach the most enthusiastic sporting art collectors in the world through Keeneland’s racing and sales clientele.”

From Keeneland’s perspective the auction is compatible with the association’s mission, both sporting and altruistic. Keeneland’s portion of the auction proceeds will benefit its nonprofit initiatives, including the Keeneland Library Foundation.

“We saw this as an opportunity to do something good for the industry and community,” Keeneland president Bill Thomason said. “Everything from the art auction will go to our charitable giving arms. This is a project I’m very proud of.”

Like Ladd, Thomason sees great potential in the auction’s future and envisions it becoming a “major community event.”

The 2013 collection will be on display in the Keeneland Sales Pavilion beginning with the September Yearling Sale (Sept.

9-21) and continuing through the auction’s Nov. 20 date.

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

The Sporting Art Auction will accept bids from patrons in person, by phone through prior arrangement, and online via: www.liveauctioneers.com www.artfact.com www.the-saleroom.com www.invaluable.com The Conditions of Sale begin on page 192.

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ABOUT

KEENELAND

L

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

RACING Since the gates opened for the track’s first race October 15, 1936, Keeneland’s racing program perennially has ranked among the nation’s best in terms of purse money, field size, and quality competition. From two-year-old races to events for classic contenders and veteran turf stars, Keeneland racing affords horsemen outstanding opportunities to showcase their talent.

Keeneland conducts racing every April and October, drawing international participants and legions of dedicated fans that come out to enjoy “racing as it was meant to be.” Top-class horses compete for some of the country’s highest purse money in such storied stakes races as the Toyota Blue Grass, Darley Alcibiades, Central Bank Ashland, Juddmonte Spinster, Shadwell Turf Mile, Maker’s 46 Mile, and Dixiana Breeders’ Futurity.

Over the years numerous champion Thoroughbreds have graced Keeneland, and its race meetings have served as a springboard to success for many Triple Crown and Breeders’ Cup winners.

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AUCTIONS As the world’s largest Thoroughbred auction house, Keeneland is the preeminent market for yearlings and breeding stock. Its four annual sales attract buyers from nearly every state and more than 50 countries. Keeneland’s accomplished graduates include 78 Breeders’ Cup World Championships winners; 19 Kentucky Derby winners; 21 Preakness winners; 18 Belmont winners; 11 Horses of the Year; and five Epsom Derby winners.

Thoroughbred auctions have taken place on the Keeneland grounds since 1938 and annual sales commenced in 1943. Prior to World War II, many Central Kentucky breeders sent their yearlings each summer to the Fasig–Tipton sale in Saratoga Springs, New York. But a wartime restriction on rail transport forced breeders to keep their yearlings at home, prompting the inaugural summer sale, which was held under a tent in the Keeneland paddock.

Breeders’ Sales Company held the sale at Keeneland in subsequent years, and that entity eventually merged with Keeneland.

The success of Kentucky-bred racehorses in prestigious international events attracted buyers from Europe and Japan in the 1960s and ’70s, giving rise to Keeneland’s sustained position as the unrivaled source of the world’s best horses.

Record prices also have been associated with Keeneland over the years.

Horses sold at Keeneland that have set world price records include: ■ Seattle Dancer, a Northern Dancer yearling who sold for a July yearling record of $13.1 million in 1985.

■ Meydan City, a Kingmambo colt, who sold for a September sale record of $11.7 million in 2006.

■ Moon’s Whisper, a Storm Cat filly, remains the highest priced filly in a September sale. She sold for $4.4 million in 2000.

■ Playful Act, who brought a November sale record price of $10.5 million in 2007 for a broodmare or broodmare prospect.

■ Champion Royal Delta, who sold for $8.5 million in 2011, a Keeneland record for a horse in training.

HISTORY Keeneland’s iconic brand is rooted in the ideals of its founders, a determined group of Central Kentuckians who more than 75 years ago built a track that would exemplify Thoroughbred racing’s highest standards. Their vision, outlined in the track’s original prospectus, was “to create a model racetrack to perpetuate and improve the sport and to provide a course

TEAM COYLE

that is intended to serve as a symbol of the fine traditions of Thoroughbred racing.”

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

For generations Keeneland has fulfilled

its founders’ vision, embracing the sport’s finest traditions while offering its customers and participants an unmatched experience. With its ivy-covered limestone buildings, ancient trees, and beautifully maintained grounds, Keeneland is a National Historic Landmark and source of community pride.

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

earnings in purse money for horsemen, capital improvements, and for the benefit of civic and charitable entities. Since 1936, Keeneland has contributed more than $18 million to the Central Kentucky community and the Thoroughbred industry.

Funding is focused primarily on the areas of health and human services, education, arts, culture and community, and Thoroughbred industry-related causes.

One hundred percent of Keeneland’s proceeds from the Sporting Art Auction will benefit its non-profit initiatives.

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ABOUT

CROSS GATE GALLERY

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ounded in 1974, Cross Gate Gallery in Lexington, Kentucky, is a leading source of the world’s finest sporting art.

Cross Gate Gallery specializes in equinerelated art, and its impressive collection ranges from 19th and early 20th century classic works to a wealth of contemporary paintings and sculpture. Cross Gate also is recognized as a leading gallery in contemporary British figurative painting.

Lexington native Greg Ladd laid the cornerstone of what would become Cross Gate Gallery while still a student at the University of Kentucky. Working parttime for an upscale gift shop, he developed an appreciation for sporting art and the traditions it embraces.

Sporting art has its roots in the early 18th century when British noblemen commissioned top artists to depict their favorite horses, dogs, and sporting scenes in paintings, drawings, and sculpture.

Today the genre continues to cater to the lifestyle of a country gentleman.

Ladd’s growing interest in sporting art made him set aside initial plans to become an architect. Instead, he graduated with a bachelor’s degree in animal science, married his wife, Laura, soon after college, and rented two small rooms near downtown Lexington with $1,000 in startup capital. He named his business Cross

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Gate Gallery and started out by selling prints by Kentucky artist Paul Sawyier and photographs by noted Thoroughbred racing chronicler Tony Leonard.

College friends and their parents were among early patrons, and as Ladd traveled far and wide in search of inventory, Laura Ladd and her sorority sisters ran the shop. During the gallery’s infancy 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 Keeneland to pay robust prices for Thoroughbred yearlings, and many developed showplace farms.

In this stimulating environment Ladd found a loyal following of serious collectors who appreciate his expertise and gentlemanly approach to selling art.

In addition to top owners and breeders from around the world, Cross Gate’s clients include Keeneland Race Course, Fasig-Tipton Company, Breeders’ Cup Ltd., and many other prominent equine organizations.

Ladd also is known for his eye for young talent and over the years has nurtured and represented such artists

as the Polish-born André Pater, Larry Wheeler, Sandra Oppegard, Alexa King, Valerie Hinz, and many others. Cross Gate regularly exhibits their work in Lexington and at equine venues from Saratoga Springs, New York, to Aiken, South Carolina, and Wellington, Florida. Cross Gate also is well known for featuring the works of such earlier luminaries as Edward Troye, Sir Alfred Munnings, and Henry Stull.

“Our focus is on quality artwork.

We are confident that we’re offering the finest ‘sporting art’ available anywhere in the world today,” Ladd said. “There is a limited supply of really good artwork out there, and the best part of our job is finding that quality work and offering it to our clients.”

CROSS GATE ALSO HAS INTERNATIONAL STATURE In 1998, as Sotheby’s prepared to sell 10 paintings by Munnings from Santa Anita racetrack’s collection, the venerable auction house chose Cross Gate to display the works on their journey east.

The association with Sotheby’s led to a London exhibit of André Pater’s works in 2002. Astoundingly, the 31 paintings sold in 21 minutes while people waiting outside the gallery clamored to get in.

Ladd’s frequent trips to England and Europe in quest of sporting art introduced him to British non-sporting figurative painters, leading to an association with the New English Art Club and such artists as Thomas Coates, Benjamin Sullivan, Peter Brown, and the late John Ward.

“We have made remarkable strides in gaining exposure for contemporary British painters, and this has allowed us to grow our clientele and expand our market,” Ladd said. “The Federation of British Artists has a wealth of quality painters that we are honored to exhibit for our

American clientele on a regular basis,” Ladd said.

Cross Gate’s success has necessitated three moves over the years. Today the gallery operates from a pink-hued Greek revival mansion that spans 11,000 square feet. Its airy, light-filled rooms make the ideal setting to display the gallery’s broad range of artwork.

Approaching his 40th year in business, Greg Ladd has found full expression for his youthful vision in the achievements and international influence of Cross Gate Gallery.

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WALT ROBERTSON Vice president of sales, Keeneland

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alt Robertson, a long-time leader in the equine auction industry, joined Keeneland in January 2011 as vice president of sales. A graduate of the University of Kentucky, Robertson spent 35 years at the Fasig-Tipton Co. before coming to Keeneland.

In addition to his vast experience in the Thoroughbred industry, Robertson also has been active in the Central Kentucky community for many years.

He has served as the chairman of the Kentucky Horse Park Commission, is a former director and past president of the Thoroughbred Club of America, and is a past member of the Sayre School and The Lexington School boards of trustees.

He is president and auctioneer for Swinebroad-Denton Inc., a full-service real estate auction company in Lexington.

Robertson lives in Lexington with his wife, Charlene (Corky). They have two children.

GREG LADD Owner, Cross Gate Gallery

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exington, Kentucky native Greg Ladd founded Cross Gate Gallery in 1974 and has developed it into one of the world’s premier sources of sporting art. In addition, Cross Gate is a leading gallery in contemporary British figurative painting.

While still at the University of Kentucky, Ladd laid the foundation for Cross Gate, getting his start by selling Paul Sawyier prints and Tony Leonard photographs. Given Lexington’s prominence as a Thoroughbred racing and breeding center, Ladd soon recognized the potential for a gallery specializing in sporting art. He is regarded as an expert in the genre.

In addition to showcasing the sporting art of earlier masters such as Edward Troye, Sir Alfred Munnings, and Henry Stull, Ladd has nurtured and represents a group of prominent contemporary artists, among them Andre Pater, Thomas Coates, Larry Wheeler, Sandra Oppegard, and Valerie Hinz.

Ladd and his wife, Laura, have four children, two of whom — Catherine and Field — participate in the operation of Cross Gate Gallery.

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GLOSSARY FOR PAINTINGS AND SCULPTURE 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.

BUYING AND SELLING AT THE AUCTION ■ 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-OF-STATE DEALERS MUST PRESENT AN EXEMPTION FORM FROM THEIR STATE. A bidding number is required of the successful bidder at the fall of the auctioneer’s hammer for each Lot. For your convenience bidder registration can be completed at any pre-sale inspection and prior to sale.

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

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 FRIDAY, NOVEMBER 22, 2013. TO COLLECT ITEMS IN PERSON YOU MUST PRESENT A PAID RECEIPT TO KCG STAFF.

■ 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, Monday-Friday, 9 a.m.–5 p.m. EST, before November 19, 2013. After November 19, 2013 call Keeneland at (859) 288-4186 • Fax (859) 2884249. Email info@thesportingartauction.com

■ INSURANCE Purchasers are requested to arrange clearance for Property as early as possible and in any event, no later than fourteen (14) days following the day of the sale, at which time KCG’s liability for loss or damage to sold property shall cease. Purchasers must arrange to insure the purchased property as of the time of sale, as they deem appropriate, and regarding which KCG shall have no obligation or liability whatsoever.

Transit Insurance can be arranged by the shipper to cover your property from collection at the sales premises to arrival at your destination, if requested. You must notify us if you wish to arrange for this service or if you will be supplying it yourself.

■ TELEPHONE BIDS Bidders who cannot attend the auction and who wish to bid by telephone should make arrangements for this service at least two (2) days in advance of the sale as the number of telephone lines is limited. For further information please call (859) 233-3856, Monday–Friday, 9 a.m.–5 p.m.

EST before November 19, 2013. After November 19, 2013, call Keeneland at (859) 288-4186.

■ 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

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■ STORAGE AND STORAGE CHARGES For a period after the auction, uncollected purchases and unsold Lots will be held at the Sales Pavilion. Thereafter they will be removed for storage and charges will be incurred. All uncollected and unsold property not collected from the Sales Pavilion by 5:30 p.m. on Friday, November 22, 2013, will be removed by KCG to a warehouse of their choice. The Seller and/or Buyer will not be entitled to collect the stored property until all outstanding charges are paid in full. Seller and Buyer grant KCG a security interest in all goods in our possession for payment of storage and other related charges due. PLEASE NOTE: KCG SHALL HAVE NO LIABILITY OR RESPONSIBILITY WHATSOEVER FOR DAMAGE OR LOSS DUE TO NEGLIGENCE OR OTHERWISE AS A RESULT OF THIS REMOVAL AND STORAGE. ■ PHOTOGRAPHS AND ILLUSTRATIONS/PRIVACY NOTICE KCG may record any or all portions of the Sale by video, audio or other means, which may be used by KCG in its sole discretion. All participants consent to the use, reproduction and distribution of such recordings, biographical and other information or descriptions, and images that may be provided, for inclusion in the catalogue or other marketing of the Sale or for any other advertising or promotional purpose as deemed appropriate by KCG.

Fine Sporting Art, American Paintings and Sculpture Wednesday, November 20, 2013 • 4:00 P.M.

Keeneland Sales Pavilion Lexington, Kentucky

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1 | Charles Hancock (British, 1795-1868) A PAPILLON AND A MONGREL Oil on board, 8” x 11 1⁄4” Signed $1,500. – 2,000.

2 | Emil Adam (British, 1843-1924) FLORENCE Oil on board, 8 ¾” x 11 1⁄2” Signed and dated 1888 $3,000. – 4,000.

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3 | Edward Troye (American, 1808-1874) LEXINGTON Oil on board, on photographic base 8 3⁄4” x 11 1⁄2” Signed $3,000. – 4,000.

Now an icon of the Bluegrass region, Lexington, the Thoroughbred, reigned supreme as 16-time leading sire between 1861 and 1878. Among the first inductees into the National Museum of Racing Hall of Fame in 1955, Lexington’s fame and importance continue today with his likeness gracing the top of Pimlico’s Woodlawn Vase. Additionally, both Belmont Park and Keeneland feature races named in his honor.

4 | Abraham Cooper (British, 1787-1868) PLENIPOTENTIARY Oil on panel, 8 1⁄2” x 11 1⁄2” $3,000. – 4,000.

A member of the vintage 1831 crop, which also included Glencoe and Touchstone, Plenipotentiary outshone his rivals winning the 1834 Derby after going off the 9/4 favorite. By many he was considered the equal if not better than Priam, who captured the public’s imagination just four years earlier.

“He retired with the accolade: ‘Here stands ‘the crack’ of his day, as well as every other – a horse such as we ne’er shall look upon the like again, the wonderful – the unequalled – the ill-used ‘Plenipo.’ ” –Richard Ulbrich, The Great Stallion Book

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5 | John Frederick Herring, Jr. (British 1820-1907) FARM YARD SCENE Oil on prepared mill-board, 8” x 6” Signed $4,000. – 6,000.

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6 | John Nost Sartorius (British, 1759-1828) GENTLEMAN ON A BAY HUNTER Oil on board, 13 1⁄4” x 16 1⁄2” Signed $7,000. – 9,000.

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7 | William Joseph Shayer (British, 1811-1891) CHARMING POLLY Oil on board, 18” x 24” $9,000. – 12,000.

Provenance: Scott & Fowles, New York; Mr. E. J. Rousuck, Wildenstein’s, New York Exhibited: Dec. 11 – Jan. 3, 1954 at The Society of the Four Arts, Palm Beach, FL Jan. 14 – Feb. 7, 1954 at The Lowe Gallery, University of Miami, Gables, FL

Owned by E. O’Neill and bred in 1837 by Earl Spencer, Charming Polly was by the 1835 Derby winner Mundig and out of a halfbred mare. Captain Harper bet H. England £200 to £100 that the mare, ridden by Peter Paget, could not gallop 20 miles and jump 20 hurdles in an hour. Charming Polly performed

this unprecedented task in 69 minutes, 45 seconds on July 23, 1844 at Hatcham Park course in the presence of thousands.

– Engraved on a plaque on the front of the frame and on a tag on the back

An engraving of this painting by J. Macready was published by J. Moore.

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8 | Alfred Wheeler (British, 1851-1932)

A MATCH RACE: THE DUKE OF BEAUFORT’S ‘PETRONELLE’ AND THE DUKE OF HAMILTON’S ‘MOONSHINE’ Oil on board, 11 1⁄4” x 18 1⁄2” Signed and dated 1890 $8,000. - 12,000.

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9 | John Alfred Wheeler (British, 1821-1903) HOUNDS AND A TERRIER Oil on board, 12” x 19” Signed $10,000. – 13,000.

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10 | John Emms (British, 1841-1912) THE PROUD MOTHER Oil on canvas, 20” x 30” Signed $30,000. – 40,000.

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11 | Edward Lloyd (British, c. 1846-1891)

MR. INGRAM AND HIS COB, ‘JOHN OF GAUNT’ Oil on canvas, 25” x 36” $20,000. – 25,000.

With: Frost and Reed, Ltd., London Mr. Ingram was farm bailiff to B. Borough of Chetwynd Park.

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12 | Sir John Frederick Herring, Sr. (British, 1795-1865)

SIR GILBERT HEATHCOTE’S ‘AMATO’ (BY VELOCIPEDE) WINNER OF THE DERBY 1838 Oil on canvas, 17” x 21” Signed and dated 1838 $25,000. – 35,000.

Provenance: The Estate of Leslie Combs II, Spendthrift Farm

After three false starts to the 1838 Derby, jockey James Chapple aboard Amato found his way to the lead at the halfway point.

Amato held his only challenger, Ion, at bay and won by a length.

Standing a slight 15 hands and having picked up a cough a week before the race, “the coughing pony,” as he was referred to by a

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contemptuous press, was hardly thought to be a challenger at all.

Compounding his odds with his stature and health was the fact that he had never raced before the Derby. Bred and owned by Sir Gilbert Heathcote, Amato was raised and trained adjacent to Epsom at The Durdans. He never raced again after his Derby triumph.

13 | William Douglas (British, 1780-1832)

THE MARQUIS OF QUEENSBERRY’S RACEHORSE ‘KING DAVID’ WITH HIS TRAINER, JOCKEY, AND GROOM AT NEWCASTLE Oil on canvas, 25” x 30” Signed with initials “W.D.”, inscribed “King David”, and dated 1818 $30,000. – 40,000.

Provenance: Arthur Ackemann & Son, Ltd., London, 1962; Edward Speelman, London; Private collection, England; Private collection, New York

From the middle of the 18th century to the early 19th century some of the most important races in England were the Great Subscription Purses. The races were held in August at York racecourse at distances

over four miles. King David won divisions of the races at five and six in the years of 1816 and 1817. He was owned by the Scottish peer Charles Douglas (1777–1837), sixth Marquess of Queensberry.

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14 | Edward Troye (American, 1808-1874) AMERICAN ECLIPSE Oil on canvas, 25” x 30” Signed and dated April 1834 $30,000. – 40,000.

Bred on Long Island, New York, Eclipse was by Duroc and out of Miller’s Damsel by Messenger. Owned by General Nathaniel Coles, he was named for the great English champion Eclipse. Racing very sparingly in his career, he was purchased at age five by Cornelius Van Ranst. At the age of nine a challenge was issued to race Eclipse, who represented the North, against five horses from the South in a best two of three four-mile heats. The South’s noted horseman William Johnson trained six horses before deciding upon Henry as the challenger while the other horses pulled out. At the Union Course in front of Andrew Jackson, Aaron Burr and Vice President Daniel Tompkins on May 27,

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1823, Henry bested Eclipse in the first heat before Eclipse came back to win the next two in the epic match race. Eclipse retired afterwards, having won all eight starts of his career.

Literature Alexander Mackey-Smith, The Race Horses of America 1832-1872, Portraits and Other Paintings by Edward Troye, 1982, p. 413, illustrated p. 23 Genevieve Baird Lacer, Edward Troye, Painter of Thoroughbred Stories, 2006, illustrated p. 170

15 | Edward Troye (American, 1808-1874)

‘REALITY’ IN A WOODED LANDSCAPE Oil on canvas, 21” x 25” Signed and dated July 1833 $40,000. – 50,000.

Provenance: Christies New York, June 7, 1985. Lot #53

Reality, by Sir Archy out of Old Medley, was owned by William Johnson, who often claimed that the mare was the equal to her great sire Sir Archy on the Turf. Indeed, Reality was one of the greatest turf mares of the 19th century. Reality also was successful as a broodmare, producing Johnson’s Medley, Slender, and Bonnets o’ Blue.

There are several known paintings of Reality in a similar landscape,

but they are all dated 1835. The present work is signed “E. Troye July 1833,” and Troye would go on to paint Reality at least twice more, according to Alexander Mackay-Smith. Based upon the date of July 1833, the present painting was most likely painted for owner Johnson when Troye was completing a series of commissions (including Golliah and Trifle) all dating between June and August of that year.

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16 | John E. Ferneley, Sr. (British, 1782-1860) JULIUS CAESAR Oil on canvas, 34 1⁄2” x 42 1⁄2” Signed and dated 1816 $75,000. – 100,000.

Provenance: Enrich-Newhouse, Inc., NY

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17 | Sir John Frederick Herring, Sr. (British, 1795-1865)

BEE’S-WING (MR. WME. ORDE’S BAY FILLY ‘BEE’S-WING’ BY DR. SYNTAX OUT OF A MARE BY ARDOSSAN) Oil on canvas, 28” x 36” Signed and dated 1842 $90,000. – 120,000.

Provenance: Richard Green Gallery, London

Bee’s-wing was rated a favorite among racegoers, and they had plenty of chances to form their opinion. During an eight-year career Bee’s-wing won more than 50 races, including the Ascot Gold Cup, the Doncaster Cup four times, and the Newcastle Cup six times. For the first year off the track she was used as a park hack

before being covered by Touchstone. Her unions with Touchstone produced the 2,000 Guineas winner Nunnykirk and two-time champion sire Newminster. Bee’s-wing is the taproot mare of such classic winners as Sassafras and Assert, as well as Breeders’ Cup Mile (gr. I) winner Last Tycoon.

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18 | Hans Müller (German, 1873 - 1937) PAYSAN ALSACIEN À CHEVAL Bronze, 11” x 4 1⁄4 ” x 13” Signed $1,000. – 1,500.

19 | Auguste Nicholas Cain (French, 1822-1894) ANE D’AFRIQUE Bronze, 5 3⁄4” x 6 1⁄2” x 3 3⁄4” Signed $3,000. – 5,000.

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20 | Henri Alfred Jacquemart (French, 1824-1896) HOUND AND TORTOISE Bronze, 6” x 7” x 3 3⁄4” Signed $4,000. – 6,000.

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21 | Pierre-Jules Mene (French, 1810-1879) HUNTING URNS (PAIR) Bronze, 17 1⁄2” x 8 1⁄4” x 6 1⁄2” each Signed $7,500. – 10,000. Pair

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22 | John Willis Good (British, 1845-1879)

THE TIRED HUNTER (HEAD STRAIGHT) Bronze, 14” x 18” x 5 3⁄4” Signed $9,000. – 12,000.

The outstanding sculptor John Willis Good was on par with the French masters of the animalier school of the mid-19th century.

Some considered him the pre-eminent English sporting sculptor of his time. The inventory of his work consists primarily of dogs and horses, both in hunt and racing scenes, cast in bronze and

done in terra cotta. Before Good’s death at age 34, his works were exhibited at the Royal Academy from 1870 to 1878. This work is illustrated in Bronze Sculpture of “Les Animaliers” Reference and Price Guide, by Jane Horswell, p. 289.

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23 | John Willis Good (British, 1845-1879) THE TIRED HUNTER (head turned) Bronze, 11 1⁄4” x 16” x 7” Signed $9,000. – 12,000.

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24 | Joseph Raymond Paul Gayrard (French, 1807-1855) CARRIAGE HORSE Bronze, 12 3⁄4” x 4” x 11 1⁄4” c. 1850 Signed $25,000. – 30,000.

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25 | Isidore Jules Bonheur (French, 1827-1901) LE GRAND JOCKEY Bronze, 39 1⁄2” x 43” x 10” Signed $80,000. – 100,000.

Stamped: Peyrol Editeur

The most famous of Bonheur’s mounted equestrian sculptures, Le Grand Jockey portrays a winning jockey rewarding his winning mount with a pat on the neck. Titled Un Jockey, the bronze was first exhibited at the Salon in 1879 along with the equestrian grouping, Un cavalier, époque de Louis XV (nos. 4817 & 4816 respectively;

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see Christie’s New York, October 28, 2003, Lot 257 for a cast of the latter). Bonheur and his brother-in-law, celebrated Parisian founder Hippolyte Peyrol, worked closely producing excellent castings and finely chased bronzes indicated here by the stamp of Peyrol Editeur.

26 | Isidore Jules Bonheur (French, 1827-1901)

HORSE AND JOCKEY, AFTER THE RACE 1879 Bronze, 13 3⁄4” x 15 3⁄4” x 4 1⁄2” Signed $20,000. – 25,000.

Stamped: Peyrol

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27 | Henry Stull (American, 1851-1913) SIR WALTER Oil on canvas, 12” x 10” Signed and dated 1896 $3,000. – 5,000.

Sir Walter was bred by James Ben Ali Haggin at his Rancho Del Paso near Sacramento, California. Haggin had imported his sire, Midlothian, from Great Britain. Sir Walter’s dam was La Scala, a daughter of the important Nevada/California sire Joe Hooker.

Sir Walter won 21 stakes races between 1892 and 1898 including the Great American and Great Eclipse Stakes in 1892, the Union

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Handicap and the Lorillard Stakes in 1893, and the Long Island and the Sheepshead Bay Handicaps in 1894. Sir Walter continued his strong racing career in his later years, capturing the coveted Brooklyn Handicap and several more stakes races as a six year old. Sir Walter is remembered as one of the greatest horses of his generation.

28 | Henry Stull (American, 1851-1913)

HAMBURG BELL Oil on artist’s palette, 8 3⁄4” x 13” Inscribed “From the artist to his friend Wilf. P. Pond, Xmas 1903” $4,000. – 6,000.

29 | Lionel D.R. Edwards (British, 1878-1966) CAMDEN Watercolor, 13 3⁄4” x 20 1⁄2” Signed and dated 1904 $3,000.- 5,000.

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30 | Lionel D.R. Edwards (British, 1878-1966)

THE FRESH TEAM, “LET ‘EM GO AND TAKE CARE OF YOURSELVES” Watercolor, 14 1⁄2” x 20” Signed $5,000. – 7,000.

31 | Leesa Sandys-Lumsdaine (British, 1936-1985) UNEXPECTED INTERRUPTIONS Oil on board, 21” x 30” Signed and dated 1985 $3,000. – 5,000.

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32 | John Sanderson Wells (British, 1872-1955) THE MEET Watercolor, 15 1⁄4” x 25 3⁄4” Signed $3,000. – 5,000.

33 | Peter Biegel (British, 1913-1989)

FOX HOUNDS, THE NATIONAL STUD Watercolor, 14 3⁄4” x 21 3⁄4” Signed $3,000. – 5,000.

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34 | Peter Biegel (British, 1913-1989)

POINT TO POINT AT WINCANTON Oil on board, 14” x 11” Signed $3,000. – 5,000.

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35 | Peter Biegel (British, 1913-1989) FLAGS ON THE FENCES Oil on canvas, 20” x 28” Signed $10,000. – 15,000.

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36 | Henry Stull (American, 1851-1913) RAMAPO, 1894 Oil on canvas en grisaille, 12” x 16” Signed and dated 1984 $7,000. – 10,000.

Ramapo was owned by David Gideon and John Daly and later by the Duke brothers. Ramapo was a winner of the Metropolitan Handicap, the Suburban Handicap, and the Long Island Handicap as well as numerous other stakes races from 1892 through 1895.

When Ramapo and Sir Walter met in the Long Island Handicap, the New York Times called the race the “Contest of the Year.”

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Lots 36 and 37 were produced by Stull en grisaille for the reproduction of a lithograph, The First Twelve Winners of the Suburban Handicap, 1884-1895. Obtained from the estate of August Belmont II, the lithogragh can be found at the New York Historic Society. The lithograph was produced by the Coney Island Jockey Club.

37 | Henry Stull (American, 1851-1913) LAZZARONE, 1895 Oil on canvas en grisaille, 14” x 18” Signed and dated 1895 $7,000. – 10,000.

Lazzarone was a beautifully bred racehorse, out of the champion Leamington mare Spinaway and by the champion Spendthrift, who was owned by Daniel Swigert and J.R. Keene and was namesake of the famous Spendthrift Farm. He was owned by Erie Stable’s Robinson Beard and trained by “Billy” Donohue. Lazzarone won the Suburban Handicap in 1895, beating the famed Domino and Sir Walter, prompting inquiries by authorities. A New York Times article written in 1895 suggests that Lazzarone had not been true

to form in his previous two starts but romped to a win in the Suburban Handicap at a price of 15-1. He had previously been ridden by famous African American jockey Isaac Murphy, but the mount was mysteriously given to Anthony Hamilton for the Suburban. The accusations reached a fever pitch when information was revealed that Donohue, a man who almost never bet, had put $600 to win on his horse and had done so through three separate wagers.

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38 | Allen F. Brewer, Jr. (American, 1921-1967) CITATION AND MAN O’ WAR Oil on board, 38” x 62” Signed $9,000. – 12,000.

Considered two of the best racehorses of the 20th century, Man o’ War and Citation won a combined 41 stakes events during their championship campaigns. This composite image of the two greats was exhibited at the Kentucky Governor’s Mansion from April 2011 until August 2013.

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39 | Allen F. Brewer, Jr. (American, 1921-1967) VITAL FORCE Oil on canvas, 20” x 24” Signed and dated 1960 $5,000. – 7,000.

**Painting together with Gold Cup. “Keeneland ‘The Lafayette Stakes’ 1959”

Run from 1937 to 2008, Keeneland’s Lafayette Stakes was named for the venerable downtown Lafayette Hotel, which was a popular meeting place for both local and visiting horsemen. Shown here is a 1959 divisional winner, Vital Force, who was one of the top 10 two-year-olds of the year. Included with this Brewer painting is the 14-karat-gold julep cup presented by Keeneland to the winning connections of Vital Force. A gold julep cup has been presented to the owners of graded stakes winners since the fall meet of 1952.

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40 | Martin Frank Stainforth (British, 1866-1957)

QUICKLY, COUNT FLEET, AND REIGH COUNT Watercolor, 7” x 16 1⁄2” Signed and dated 1943 $4,000. – 6,000.

A composite study of Hall of Famer and Triple Crown winner Count Fleet with his sire, Reigh Count, and dam, Quickly.

Count Fleet was among the first crop of foals bred by John D. and Fannie Hertz at their Stoner Creek Stud in Paris, Kentucky.

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Count Fleet’s pedigree was a balance of Reigh Count’s Hall of Fame ability to run a distance and Quickly’s precocious speed that gave her 32 wins. As they are portrayed in this image, the three were buried together at Stoner Creek Stud.

41 | Martin Frank Stainforth (British, 1866-1957) BLACK TARQUIN AT 3 Watercolor gouache, 9” x 11” Signed $4,000. – 6,000.

One of the most successful European runners owned by William Woodward, Sr., Black Tarquin was also one of the most traveled, crossing the Atlantic three times. A product of Woodward’s Belair Stud in the United States, Black Tarquin was sent in 1946 to race in England. At two he was second highweight to champion

My Babu, and at three, after winning the St. Leger, he was titled champion three-year-old in England. After his stellar career, he was retired to Claiborne Farm in 1949 for stud duty. Black Tarquin was sold to a syndicate of Irish breeders and sent to Ireland in 1954.

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PRINCEQUILLO Oil on board, 8” x 10” Signed

NASRULLAH Oil on board, 8” x 10” Signed and dated 1954

The Grandsires of Secretariat Claimed by Hall of Fame trainer Horatio Luro for $2,500, Princequillo was transformed into a Jockey Club Gold Cup winner. Princequillo retired with a dozen wins from 33 starts to the Hancock family’s Ellerslie Stud in Virginia. With American champion Hill Prince and English champion Prince Rose in his second crop, he graduated to the family’s first-tier stud barn at Claiborne Farm in Kentucky.

“Whatever else may be said of Nasrullah, it is clear that he is a colt of character. In appearance he is a rich bay of commanding proportions. His quarters are immensely powerful, and any good judge of a horse would put down this fine-looking colt as near perfect as possible if considering him apart from racecourse performance.”

– Bloodstock Breeders’ Review 1942 Nasrullah’s racing quirks may have kept him from his true potential on the turf, but nothing hampered his influence on American Thoroughbred breeding. Sold in 1950 to Claiborne Farm, he led the sire list five times with his progeny including Jaipur, Bold Ruler, Nashua and Nasram.

42 | Milton Menasco (American, 1890-1974) $5,000. – 7,000. Pair

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43 | Jean Bowman (American, 1917-1994) TO THE PADDOCK Oil on canvas, 10” x 22” Signed $3,000. – 5,000.

44 | Milton Menasco (American, 1890-1974) SARATOGA Oil on canvas, 18” x 24” Signed $4,000. – 6,000.

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45 | Milton Menasco (American, 1890-1974)

BIG HURRY, BIMELECH, BLACK HELEN, AND BRIDAL FLOWER Set of 4 pastels, 8” x 10” each Signed $6,000. – 9,000. Set of 4

This lot features studies of four foals of the famed broodmare La Troienne with the jockeys wearing Colonel E.R. Bradley’s silks.

Originally bred and owned by Marcel Boussac, La Troienne was sold to Bradley and after his death was purchased by a syndicate

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that included John Hay Whitney’s Greentree Stud. Whitney commissioned Milton Menasco for a painting of the mare in 1953 surrounded by vignettes of her foals for which these four studies were sketched.

46 | Milton Menasco (American, 1890-1974) STRETCH RUN Oil on canvas, 28” x 50” Signed $9,000. – 12,000.

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47 | Lynwood Palmer (British, 1868-1941) REIGH COUNT Oil on canvas, 38” x 48” Signed $9,000. – 12,000.

Legend has it that John D. Hertz had a group of pretty good horses that he gave to an up-and-coming young trainer, Bert Michell, to help further his career. One of those horses, Reigh Count, proceeded to win the Kentucky Derby and Jockey Club Gold Cup in America and then went to Europe and won the Coronation Cup at Epsom. Hertz was very pleased and commissioned Lynwood Palmer to do a painting of Reigh Count, the jockey Chick Lang, and the trainer Michell.

A few months later Hertz was in England and called the popular

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young trainer to invite him to lunch to discuss the horse’s condition and the upcoming Gold Cup at Royal Ascot. However, Michell replied that he “would like to but he was having tea that day with the Crown princess.”

Of course, Hertz attributed Michell’s overnight stardom to the horses he had given him. Reigh Count came in second to Invershin in the Gold Cup, infuriating Hertz, who blamed the loss on Michell. He sent the painting back to Lynwood Palmer and had the trainer painted out.

48 | Lucy Kemp-Welch (British, 1869-1958) EXERCISING, RUSSLEY PARK Oil on board, 16” x 24” $12,000. – 15,000.

Provenance: Commissioned in 1919 by The Imperial War Museum; Illustrated in The Life and Work of Lucy Kemp-Welsh by David Messum, published by The Antique Collectors’ Club, 1976, p. 34

In February of 1919 Lady Norman, a trustee of the Imperial War Museum, commissioned Kemp-Welch to paint the Russley Park Remount Depot in Wiltshire. The remount depots were used as training facilities for horses that were to be ridden into battle by

the British Army. The remount stations were operated by some 200 female volunteers and played a vital role in the war efforts.

The present work is a sketch of Kemp-Welch’s and depicts the female trainers out for exercise in Russley Park.

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49 | Sir Alfred J. Munnings (British, 1878-1959) A SKETCH DONE IN CORNWALL Pencil drawing, 9” x 7” $7,000. – 9,000.

Provenance: Frost & Reed, No. D16002; Illustrated in An Artist’s Life: The Autobiography of Sir Alfred Munnings, published by Readers Union, London, 1955, p. 103

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50 | Sir Alfred J. Munnings (British, 1878-1959)

TOWN CRIERS CONVERSING OUTSIDE A GATE Watercolor, 14” x 8 3⁄4” Signed and dated 1903 $6,000. – 8,000.

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51 | W. Smithson Broadhead (American, 1888-1960) HUNTSMEN AND HOUNDS Oil on canvas, 24” x 30” Signed $12,000. – 15,000.

Provenance: Private collection, Virginia; by descent in the family until the present

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52 | Franklin B. Voss (American, 1880-1953) ARDAN AND GROOM Oil on canvas, 18” x 24” Signed and dated 1949 $10,000. – 12,000.

Ardan was bred and raced by Marcel Boussac, who owned the iconic fashion company House of Dior. With Ardan, Boussac garnered his sixth victory in the Prix du Jockey Club (Derby) and his fourth victory in the Prix de l’Arc de Triomphe. A major stakes winner every year from two to five, Ardan won 16 stakes and

championship honors at three and four in his native France. After covering mares for three years at Boussac’s Haras de Fresnay-leBuffard, Ardan was purchased by Leslie Combs II and imported to stand at his Spendthrift Farm in Kentucky.

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53 | John Skeaping (British, 1901-1980)

SPRING MEETING, LORD DERBY’S FILLY BY A HALF Gouache, 22” x 30” Signed and dated 1966 $4,000. – 6,000.

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54 | Henry Stull (American, 1851-1913)

PATRICIAN WITH S.J. DOGGET UP Oil on canvas, 22 1⁄4” x 27 1⁄4” Signed and dated 1895 $15,000. – 18,000.

Many years ago the late John A. Bell brought a color photograph of Mrs. Helen Carruthers’ painting by Henry Stull, dated 1895, to the Keeneland Library for help in identifying the horse. The librarian, Mrs. Amelia Buckley, forwarded the picture to Fred Burlew, a scholar of racing. The inquiry revealed an article on Henry Stull by The Blood-Horse in 1968 that focused heavily on the work in question. The article additionally revealed that the painting portrayed a colt named Patrician, with jockey S.J.

Doggett wearing the red colors with blue braces of Phil Dwyer and son.

Patrician was owned by August Belmont II, for whom he won two races as a two-year-old. Phil Dwyer purchased Patrician in 1893. This game thoroughbred went on to win the 1893 Nursery Stakes at Morris Park, the 1894 Bayshore and Parkville Stakes at Gravesend, and the 1895 Myrtle Stakes. Patrician won 25 races over a seven-year career.

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55 | Sir Alfred J. Munnings (British, 1878-1959) GOLDEN GORSE Oil on board, 9 1⁄2” x 12 1⁄2” Signed and dated 1910 $20,000. – 25,000.

“During the first rehearsal in my new environment I developed a passion for the gorgeous, blazing yellow of gorse in bloom, and looking back, I am sorrowful to think how little I indulged it and how many springs and summers have slipped away since then.

Now lying in the sun, breathing almond scented airs, dreaming, listening to the hum of bees and the tiny snapping of gorse-beans bursting in the heat and stillness of noon. Each year when as

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President I sat in the center of a dozen men in a half circle in Gallery III, searching and looking for the best work, or later moving through the crowd on Private View day, whilst gorse in bloom on Ringland Hills was scenting the air. Another spring passing to summer in vain for me!”

Sir Alfred Munnings, An Artist’s Life, Collector’s Book Club, 1950, p. 212

56 | Sir Alfred J. Munnings (British, 1878-1959) MR. SPONGE ON HERCULES Graphite on paper, 8 1⁄2” x 10 1⁄2” Signed and dated December 1952 $7,000. – 9,000.

With: Frost & Reed, Ltd., London

Inscribed: “Mr. Sponge, the raspers taking, sets the funkers nerves a shaking.

Surtees” from Robert Smith Surtees, “Soapey Sponge’s Sporting Tour,” p. 129

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57 | Sir Alfred J. Munnings (British, 1878-1959) AUTUMN AFTERNOON Oil on canvas, 20” x 24” Signed $25,000. – 35,000.

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58 | Sir Alfred J. Munnings (British, 1878-1959)

THROUGH THE BRUSH Watercolor and bodycolor with scratching out, 9” x 11 1⁄4” Signed and dated ’09 $25,000 – 30,000.

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59 | Sir Alfred J. Munnings (British, 1878-1959) OVER THE DITCH Watercolor and bodycolor, 9 1⁄4” x 10 1⁄2” Signed and dated 1913 $25,000. – 30,000.

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60 | Henry Stull (American, 1851-1913)

DIAMOND JUBILEE, NEWMARKET STAKES, 1900 Oil on canvas, 24” x 29” $25,000. – 35,000.

Diamond Jubilee, out of Perdita II, was owned by Edward, Prince of Wales. Diamond Jubilee was an English Triple Crown winner, winning the 2000 Guineas, the Epsom Derby, and the St. Leger Stakes. The same year, Diamond Jubilee won the Newmarket Stakes against Chevening by a nose. The present work is one of several pieces Stull painted of Diamond Jubilee. As noted in Animal and Sporting Artists in America, “In 1899 he went to England and France, painting for patrons there, including the

Prince of Wales, for whom he painted the future English Triple Crown winner Diamond Jubilee, both as a foal at the foot of his dam, Perdita II, and later as a two-year-old.” Stull’s racing scenes are some of his most coveted works, and Diamond Jubilee winning the Newmarket Stakes is a fantastic example. The prominence of both Diamond Jubilee and Prince Edward make this work a unique piece of racing history by one of America’s most highly regarded equestrian artists.

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61 | Vaughn Flannery (American, 1898-1955)

INSPECTING YEARLINGS, SARATOGA, FASIG-TIPTON SALES BARN Oil on board, 28” x 40” Signed and inscribed $50,000. – 70,000.

Retiring from a successful career in advertising to paint, Flannery took a more modernist approach to his work than other sporting artists of the period. While other artists would churn out commissions left and right, Flannery felt no need to, thus less work of his exists. To get around this problem, John Hay Whitney sent Flannery to his Greentree Stud in Lexington, KY with the understanding of buying what he painted while the Maryland

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Jockey Club went through a similar process with the Pimlico racetrack. As such, Flannery’s work ended up residing mainly in three major collections: Whitney’s Greentree, Mr. Walter Jeffords’, and Mr. John Gaines’. Depicted here is legendary trainer “Sunny Jim” Fitzsimmons inspecting horses while the artist and his wife are seated on the bench.

62 | Brett James Smith (American, born 1958) BLINDSIDE Oil on board, 22” x 35” Signed and dated 1993 $10,000. – 12,000.

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63 | Frank Weston Benson (American, 1862-1951) A NORTHWEST DAY Oil on canvas, 36” x 44” Signed and dated 1934 $500,000. – 700,000.

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Time and again, it has been said of Benson’s paintings and etchings of birds against the sky that they were like true, living creatures. “His birds are alive – miraculously alive!” wrote one critic. “They are not merely ornithological studies, stuffed birds that, like Mohomet’s coffin, remain eternally suspended between heaven and earth, incapable of the slightest movement. These ducks can fly-they do fly- the spirit of the wild animates their wondrous bodies.” (The Sporting Art of Frank W. Benson, David R. Godine, 2000, p. 227) Benson had the rare combination of innate artistic ability and love for his subject matter that allows his viewers to momentarily forget that they are viewing a work of art, and truly experience the piece. There are many talented wildlife painters that have great technical ability but lack an emotional connection to their subjects. Benson’s love of painting nature is so apparent, and his approach is so direct; that we forego the normal academic assessments and simply experience the work of art. It has been suggested that Benson was a perfectionist and that he grappled with each piece, rarely satisfied with the outcome, yet his paintings retain an effortless feel that make them accessible and appealing to all viewers.

As a child he spent many hours at the Museum of Comparative Zoology at Harvard. Benson’s mother, who was herself a painter, encouraged him in this pursuit. In 1880, Benson enrolled at the School of the Museum of Fine Arts in Boston. He studied with the school’s founding teachers, Otto Grundmann (1844-1890) and Frederick Crowninshield (1845-1918). Among his classmates were Willard Metcalf (1858-1925), William Bicknell (1860-1947), Edmund C. Tarbell (1862-1938), and Joseph Lindon Smith (1863-1950). Benson learned quickly and was recognized as a particularly gifted student.

In 1882, while still attending classes at the Museum School, Benson

began to teach free evening drawing classes in Salem. In 1885 Benson rented a painting studio in Salem. He began to exhibit at the Boston Art Club and the National Academy of Design in New York, receiving much critical acclaim and numerous awards. After his marriage to Ellen Peirson in 1888, he taught at the Boston Museum School with his friend Edmund Tarbell intermittently until 1930. The year 1898 was the turning point in Benson’s career. He joined a number of other leading painters from New York and Boston, including Tarbell, Childe Hassam (1859-1935), and J. Alden Weir (1852-1919) to form the “Ten American Painters.” This group of radical avant-garde painters, mostly working in the French Impressionist style, rejected and resigned from the National Academy and the Society of American Artists to exhibit independently and without juries. Benson exhibited in all of the “Ten’s” annual exhibitions, which were held for twenty years, to critical acclaim. This oil on canvas of Canadian Geese taking off demonstrates Benson’s expertise not only in the medium, but also in depicting waterfowl. A classic composition, this work shows the artist in his transitional period from his earlier, tighter brushwork to the more expressive strokes that are the hallmark of his later pieces.

Benson’s natural ability, his passion for his subject matter, and his relentless pursuit of excellence have placed him at the top of the sporting art world and have given him a firm position as one of America’s greatest painters.

Faith Andrews Bedford devoted an entire page to this image in The Sporting Art of Frank W. Benson and noted that the size and present location were unknown. The massive scale and beautiful brushwork of this canvas places it among the most important pieces that Benson completed.

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64 | A. Lassell Ripley (American, 1896-1969) THE BROOK COVER Watercolor on paper, 18” x 24” Signed and dated 1938 Inscribed as titled on verso $20,000. – 30,000.

Provenance: Private collection, New England

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65 | A. Lassell Ripley (American, 1896-1969) GROUSE IN THE BIRCHES Watercolor on paper, 16 3⁄4” x 23 1⁄8” Signed $15,000. – 20,000.

Provenance: William Tudor Gardiner, Governor of Maine, 1928-1932; Thomas Gardiner, son of William Tudor Gardiner, by descent; Russell P. Mahan, Lincoln, Massachusetts, gift from Thomas Gardiner, 1980; Private collection, by descent from Russell P. Mahan

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66 | A. Lassell Ripley (American, 1896-1969)

THE POND COVER Oil on canvas, 27 3⁄16” x 40 1⁄8 ” Signed and dated 1947; signed, titled, and dated on verso $80,000. – 100,000.

Provenance: The artist; Private collection, Massachusetts, until 1994; Private collection, Maine, by descent

The original owner of The Pond Cover was a member of The Laurel Brook Club in Uxbridge, Massachusetts, a club to which the artist also belonged.

Born in Massachusetts, Ripley eventually enrolled at the Boston Museum School where Frank Benson, the celebrated Impressionist and wildlife painter, was teaching. Benson’s impressionistic influence was clearly visible in Ripley’s early work, and by the 1940s and 1950s, their works were connected even more. Ripley’s career began

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as the sporting life was becoming firmly entrenched in the American conscience after the presidency of Theodore Roosevelt and men such as Ernest Hemingway served as cultural icons. His work soon came in great demand by the new corporate gentleman who regarded hunting, fishing, and the sporting life as more than sport, but also tradition and adventure. This scene of two men and their setters hunting what appears to be a woodcock (the artist’s favorite subject) and the rolling hills with the estate looming in the background are a perfect example of Ripley’s specialty, the masculinity of the hunt.

67 | Ogden M. Pleissner (American, 1905-1983) TO THE NORTH BLIND Watercolor, 16” x 28” Signed $50,000. - 75,000.

Ogden Pleissner was born in Brooklyn but spent the summers of his formative years riding, fishing, and hunting in the West. Studying at New York’s Art Students League under Impressionist landscape painter Frank Vincent DuMond among others, he frequently had summer workshops under DuMond on Nova Scotia’s Cape Breton Island. There, he began Atlantic salmon fishing on the Margaree River. At age 27, his painting Backyards, Brooklyn was purchased by the Metropolitan Museum of Art, making him the youngest

artist in their collection at the time. Originally painting in oils, when World War II broke out, he was sent to the Aleutian Islands as a war artist. Being forced to work fast, he had to switch to the faster drying watercolors. After his wartime service he returned to the landscapes, fishing, and hunting scenes for which he is so well known. In addition to being in the Metropolitan’s collection, his work can also be found in the Los Angeles County Museum of Art and the Smithsonian American Art Museum among others.

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68 | Percival Rosseau (American, 1859-1937) THREE SETTERS Oil on board, 10” x 14” Signed $16,000. – 19,000.

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69 | Edwin Penny (British, born 1930) THE SECLUDED ROCK Watercolor, 29” x 20” Signed $6,000. – 9,000.

Provenance: With Frost and Reed, Ltd, London

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70 | Mary Cassatt (American, 1845-1926)

CHILDREN PLAYING WITH A CAT Oil on canvas, 32” x 39 1⁄2” Signed and dated 1908 $5,000,000. – 6,000,000.

Provenance Durand-Ruel, Paris, 1908 Durand-Ruel, New York, 1942 M. Knoedler & Co., New York, 1965 Private Collection, North Carolina Sotheby’s, New York, December 3, 1998, Lot 24 (The painting was illustrated on the front of the auction catalogue) Private Collection Sotheby’s New York, November 29, 2006, Lot 136 Private Collection

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Exhibited Paris, Durand-Ruel, Tableaux et pastels par Mary Cassatt, 1908, no. 21 (as Enfants jouant avec un chat) Boston, Massachusetts, St. Botolph Club, Pictures by Mary Cassatt, 1909, no. 2 (as Enfants jouant avec un chat) New York, National Academy of Design, 84th Annual Exhibition, 1909, no. 192 Buffalo, New York, Buffalo Fine Arts Academy, Albright Art Gallery; St. Louis, Missouri, St. Louis City Art Museum, 4th Annual Exhibition of Selected Paintings by American Artists, 1909, no. 30 Philadelphia, Pennsylvania, Pennsylvania Academy of the Fine Arts,

105th Annual Exhibition, no. 682 Pittsburgh, Pennsylvania, Carnegie Institute, 10th Annual Exhibition, 1910, no. 41, illustrated Chicago, Illinois, Art Institute of Chicago, Annual Exhibition of American Paintings & Sculpture, 1910, no. 41, illustrated Cincinnati, Ohio, Cincinnati Art Museum, 22nd Annual Exhibition of American Art, 1915, no. 122 St. Louis, Missouri, St. Louis City Art Museum, 17th Annual Exhibition of Paintings by American Artists, 1922, no. 23 New York, Durand-Ruel, 1923, no. 7 (as Enfants jouant avec un chat) Washington, D.C., Corcoran Gallery of Art, 10th Exhibition of Contemporary American Oil Paintings, 1926, no. 125 (as Enfants jouant avec un chat) Chicago, Illinois, Art Institute of Chicago, Memorial Collection of the Works of Mary Cassatt, 1926-27, no. 2 Philadelphia, Pennsylvania, Pennsylvania Museum of Art, Mary Cassatt Memorial Exhibition, 1927, no. 4 New York, Durand-Ruel, Paintings by Mary Cassatt and Berthe Morisot, 1930, no. 5 (as Enfants jouant avec un chat) Philadelphia, Pennsylvania, McClees Galleries, 1931, no. 15 (as Enfants jouant avec un chat) Brooklyn, New York, The Brooklyn Museum, Paintings by American Impressionists “1880-1900,” 1932, no. 13 New York, College Art Association, Memorial Exhibition, Since 1900, 1932-33, no. 15 Dallas Museum of Fine Arts, Texas Centennial Exposition, 1936, no.

16, illustrated Brooklyn, New York, The Brooklyn Museum, Leaders of American Impressionism: Mary Cassatt, Childe Hassam, John H. Twachtman, J. Alden Weir, 1937, no. 30 (as Enfants jouant avec un chat) Baltimore Museum of Art, Mary Cassatt, 1941-42, no. 54 Palm Beach, Florida, Society of the Four Arts, French Impressionist Paintings, 1947, no. 1, illustrated (as Enfants jouant avec un chat) New York, M. Knoedler & Co., The Paintings of Mary Cassatt, 1966, no. 41, illustrated in color on the cover (as Mère et enfants jouant avec un chat) Tokyo, Japan, Isetan Museum of Art; Nara, Japan, Prefectural Museum of Art, The Art of Mary Cassatt, 1981, no. 44, illustrated Literature Fine Arts Journal, vol. 23, July 1910, p. 15, illustrated Craftsman, vol. 19, March 1911, p. 543, illustrated Bulletin of Syracuse Museum of Fine Arts, Syracuse, New York,

October 1911, illustrated (as Happy Children and Cat) Achille Segard, Mary Cassatt: Peintre des Mères et des Enfants, Paris, 1913, illustrated facing p. 128 Art Digest, vol. 16, December 12, 1942, p. 8, illustrated Margaret Breuning, Mary Cassatt, New York, 1944, p. 40, illustrated Adelyn Dohme Breeskin, Mary Cassatt: A Catalogue Raisonné of the Oils, Pastels, Watercolors and Drawings, Washington, D.C., 1970, no.

505, p. 189, illustrated Nancy Mowll Mathews, Mary Cassatt, New York, 1987, no. 121, p.

137, illustrated Nancy Mowll Mathews, Mary Cassatt: A Life, New York, 1994, p.

285, illustrated Catalog Notes While this piece adheres to many of the thematic and compositional elements for which Cassatt became known and adored, in the present work Cassatt attempted one of her more complex and compelling paintings on record. “Cassatt conferred on the feminine a greater degree of realism, for she subtly represented the structures of the world of women, the artifice and the process by which the child was made the feminine woman,” (Mary Cassatt, New York, 1980, p. 23).

In this work, the common experience of a child interacting with a pet, grounds the work in a way that makes it accessible to all viewers.

Careful to adhere to a realistic depiction of this intimate moment, each figure in the composition is separately engaged while sharing a tender moment.

Cassatt’s focus on color in the present painting demonstrates a new direction for the artist. Nancy Mowll Mathews comments: “Rather than finding all the colors of the spectrum within a few square inches of flesh, we find them in discrete areas on the canvas.

From the red-blue of the vase on the mantel to the blue-green of the child’s dress, to the yellow of the mother’s dress and its yelloworange accents, and finally to the red of the chairback behind her, Cassatt has arranged the colors in the order in which they would appear on a color chart. It is surprising to find this kind of color experimentation in Cassatt’s work at this time. It hints not only at an awareness of current Divisionist color theories being proposed

by Matisse and other radical artists but also at an interest, albeit restrained, in putting them into practice. Despite her well-known disdain for Matisse’s work and his followers, Cassatt, like most older artists in Paris during this tumultuous decade, could not shut out his influence entirely” (Mary Cassatt, New York, 1987, p. 135).

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71 | Carroll K. Bassett (American, 1906-1972) HUNTER WITH DOCKED TAIL Bronze, 6” x 10” x 2 1⁄2” Signed $2,000. – 3,000.

72 | Susanna Holt (British, contemporary) RACE-HORSE Bronze, 7 3⁄4” x 15” x 2 1⁄2” Signed $1,200. – 1,500.

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73 | Elsa Horne Voss (American, 1895-1982)

MORNING GALLOP (Tommy, Jack Ball Up) Bronze, 9” x 12” x 3 1⁄4 ”, Edition of 18 Signed $3,000. – 5,000.

This spirited bronze was one of Voss’ most popular works, with sales listed from 1948 through 1972. First recorded in her account book in April, 1939 as “Tommy Galloping,” Voss came to refer to it as “Morning Gallop.” It depicts her horse Desert Storm (nicknamed

Tommy) with rider Jack Ball. “Morning Gallop” was featured at Voss’ major exhibition at Newhouse Galleries in New York in 1940.

The description is from The Voss Family, Artists of the American Sporting Life published by the National Museum of Racing.

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74 | Gill Wiles (British, born 1942) HORSE AND JOCKEY Bronze, 12” x 17 1⁄2” x 3” Signed $4,000. – 6,000.

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75 | Gill Wiles (British, born 1942) POLO Bronze, 15 1⁄4” x 13 1⁄4” x 5” Signed $4,000. – 6,000.

With: Sladmore Gallery, London

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76 | Guy Taplin (British, born 1939)

A PAIR OF ROSATE TERN Carved and painted driftwood, 10 3⁄8” x 15 3⁄4” x 12 5⁄8” $5,000. – 7,000.

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77 | Guy Taplin (British, born 1939)

BLACK WINGED STILT GROUP Carved and painted driftwood, 28 3⁄4” x 43 1⁄4” x 15 3⁄8” $18,000. – 22,000.

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78 | Guido Righetti (Italian, 1875-1958) THREE FOWL Bronze, 13 1⁄2” x 13” x 9 1⁄4” Signed $5,000. – 7,000.

With: Sladmore Gallery, London Literature Guido Righetti, 1875-1958 catalogue de l’oeuvre sculpté

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79 | Walter Matia (American, born 1953)

STANDING TURKEY WITH JACK-IN-THE-PULPIT Bronze, 44” x 28” x 12” Edition of 20 Signed $9,000. – 12,000.

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80 | Alexa King (American, born 1952) KALAHARI Bronze, 28 1⁄2” x 27” x 22” Edition 3/9 Signed $12,000. – 15,000.

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81 | George Claxton (American, 1947-1995)

HORSE AND JOCKEY, GOING TO POST Bronze, 14 3⁄4” x 15” x 5 1⁄2”, Edition of 18 Signed $5,000. – 7,000.

Exhibited at the Kentucky Governor’s Mansion from April 2011 until August 2013.

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82 | Philip Blacker (British, born 1949) CHESTER, A TIGHT TURN Bronze, 8 1⁄4” x 17” x 9”, Edition of 9 $9,000. – 12,000.

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83 | Philip Blacker (British, born 1949)

DUNWOODY AND MCGUIRE FIGHTING OUT THE CHAMPIONSHIP Bronze, 11 1⁄2” x 18 1⁄2” x 9”, Edition of 9 $9,000. – 12,000.

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84 | Olivia Musgrave (British, born 1958)

STANDING AMAZON…AFTER STUBBS Bronze, 16” x 14 3⁄4” x 5 1⁄4”, Edition: 7/9 $9,000. – 12,000.

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85 | Thomas Ostenberg (American, born 1949) THE LADDER Bronze, 73” x 35” x 16”, Edition of 12 Signed $40,000. –50,000.

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86 | Cindy Wolf (American, born 1946)

SUNDAY SILENCE Bronze, 18” x 22” x 9”, Edition of 9 Hot acid patina with nickel plate; sterling silver bit Signed $16,000. – 19,000.

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 three-year-old rivalry with Easy Goer was one for the books, encompassing the 1989 Triple Crown season and culminating

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in the defeat of his nemesis at Gulfstream in the Breeders’ Cup Classic later that year. The near-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.

87 | Nick Bibby (British, born 1960) RED RUBY DEVON BULL Bronze, 15” x 21” x 6” Edition of 9 Signed $20,000. - 25,000.

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88 | Mark Coreth (British, born 1958) LEAPING IMPALA SPRAY Bronze, 13” x 12” x 10” Edition of 9 Signed $16,000 – 20,000.

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89 | Gill Wiles (British, born 1942) RHINO Bronze, 10 1⁄4” x 15 1⁄4” x 5 3⁄4” Signed $4,000. – 6,000.

With: Sladmore Gallery, London

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90 | Dame Elisabeth Jean Frink (British, 1930-1993) MEDIUM SITTING DOWN HORSE Bronze, 5 1⁄2” x 9” x 4” Signed and dated 1972 $120,000. – 125,000.

This piece was cast at the Meridian Bronze Foundry in London, the sixth in an edition of 12.

One of the 20th century’s most important sculptors, Dame Elisabeth Frink brings a very strong sense of life to her bronzes while being contained in their calm, muscular energy. Believing art must be made in man’s image, her pieces depict subjects that could not be more familiar to the average person; man, birds, dogs and horses. Simple, but yet highly sophisticated in her approach, horses represented several

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meanings: wildness, sexuality, sensitivity, and the freedom from both the mental and the physical. A rider who grew up in the English countryside, she managed to capture the power of the horse, but also the relaxation and the bond between man, nature and beast.

Literature “Elisabeth Frink Sculpture,” catalogue raisonne, Harpvale Books, 1984, catalogue number 204, p. 180.

91 | Dylan Lewis (South African, born 1964)

WALKING LEOPARD III, MAQUETTE Bronze, 19 3⁄4” x 10 1⁄4” x 38” Edition: 3/15 $25,000. – 30,000.

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92 | Dylan Lewis (South African, born 1964)

LEOPARD LYING ON ROCKS, MAQUETTE Bronze, 27” x 17” x 35” Edition: 10/15 $25,000. – 30,000.

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93 | Nicola Lazzari (Italian, born 1961) BOATMAN II Bronze, 22” x 59” 12” Edition of 11 Signed $40,000. – 50,000.

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94 | Dylan Lewis (South African, born 1964) LEOPARD ON BOULDER (S336) Bronze, 69”x 32 3⁄4” x 73 1⁄2” Edition: 6/12 $100,000. – 120,000.

Dylan Lewis has always drawn his biggest inspiration from the natural environment around his home. Starting in early childhood he collected the rocks, bone fragments, and other parts of the natural world from the canyons, plains, and ancient rock formations of his native South Africa. Today, he begins his creative process outside of his current home and studio in Stellenbosch, in the mountain range that forms the barrier between the Cape Peninsula and the interior of South Africa.

Over time his subject matter has flowed from the wilderness to the animal to fragmented forms and to the human/animal interface.

This last subject is one in which Lewis searches wilderness, myth, and ancient belief for inspiration and answers. A major theme through his works is the wild and primitive within, where does animal kind end and humankind begin. Lewis’ large cat sculptures began as a response to the animal in its natural environment.

They embodied the same untamed freedom he experienced in the wilderness while showing the physical attitudes and expressions of the wild beasts they were.

While his work breaks from realism, there is the influence of the great French animalier Antoine-Louis Bayre and the Italian sculptor Rembrandt Bugatti. As Bayre caused controversy in Paris elevating the position of animals to a spot previously reserved for the human form, and Bugatti depicted them in a stylized form; Lewis has combined both of these aspects into his work. The animals’ elevated positions accentuate the elevated position Lewis bestows upon the animal; while at the same time, the artist’s visible handprints in the sculpture is another acknowledgement of the human and animal connection.

In June of 2007, Christie’s did a solo auction of Lewis’ work, titled “Predators and Prey,” featuring work from his early animal period. He became one of a handful of living artists to have such an event at such a prestigious auction house. This achievement was repeated in June of 2011 with “Predators and Prey II,” featuring work from his later animal period. A major commission was completed in 1997 of 18 life-sized leopard sculptures for the Leopard Creek Country Club in Malelane, South Africa. While continually exhibiting in South Africa, his works are also regularly shown in London, San Francisco, and Toronto.

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95 | Rene Paris (French, 1881-1970) ROPING Bronze, 18” x 17 1⁄2” x 6 1⁄2” Signed $8,000. – 10,000.

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96 | Alexa King (American, born 1952) 360 LEFT Bronze, 18” x 22” x 8” Edition 4/35 Signed $8,000. – 10,000.

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97 | Prince Paul Troubetzkoy (Russian, 1866-1938) THE OLD WEST Bronze, 10 1⁄2” x 23 1⁄2” x 11 1⁄2” Signed and dated 1924 $100,000. – 125,000.

Seeing Buffalo Bill’s show in Milan, Italy in 1891, Troubetzkoy created several Western American pieces. After visiting the United States in 1914, he created several more in the 1920s.

Cast by the Claude Valsuani Foundry, Paris in 1924, this work is signed, dated, and stamped: ‘Paul Troubetzkoy’ ‘1924 ©’ ‘Cire Perdue C. Valsuani.’

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98 | Dean Mitchell (American, born 1957) CLAPBOARD HOUSE Watercolor, 20” x 30” $14,000. – 16,000.

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99 | Stephen Scott Young (American, born 1957) GLORY Watercolor, 21” x 13” Signed $30,000. – 40,000.

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100 | N.C. Wyeth (American, 1882-1945) PYLE’S BARN, c. 1912 Oil on canvas, 16” x 19 3⁄4” $110,000. – 125,000.

Often called the “Father of American Illustration,” Howard Pyle leased this Chadds Ford, Pennsylvania property to Wyeth, his most famous student, from 1908-1911. Pyle’s method of instruction emphasized personal knowledge of a subject and painting from experience. It should come as no surprise then that this barn became a favorite subject of Wyeth’s for a decade, serving as a valuable connection between two of the most famous American illustrators of all time.

Provenance The Artist Joseph D. Craven, Wilmington, Delaware to 1957 Private Collection, Maryland to 2006 Somerville Manning Gallery, 2006

Exhibition Greenville, Delaware, Somerville Manning Gallery, “N.C. Wyeth, Illustrations and Landscape Paintings,” October 13 – November 11, 2006, illus. (unpaginated) Literature Christine B. Podmaniczky, N.C. Wyeth, Catalogue Raisonne of Paintings (London: Scala, 2008), L.124, p. 739

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101 | Jamie Wyeth (American, born 1946)

MATINICUS Charcoal, colored pencil, gouache, and watercolor on rag board, 30” x 24” Signed Executed in 2004 $125,000. – 150,000.

Provenance: Adelson Galleries, New York. Private Collection

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102 | Jamie Wyeth (American, born 1946)

THAT DOG’S HOUSE Mixed media on toned paper board, 32” x 40” Signed and dated 2008 $200,000. – 250,000.

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103 | Andrew Wyeth (American, 1917 - 2009) MARSH HAWK Tempera on masonite, 30 1⁄2” x 45” Signed Executed in 1964 $5,000,000. – 7,000,000.

Provenance Dr. Margaret I. Handy, Chadds Ford, Pennsylvania Coe Kerr Gallery, New York Mr. and Mrs. Henry G. Fownes Sale: New York, Sotheby’s, December 10, 1981, lot 191 Terra Museum of American Art, Chicago, Illinois, Daniel J. Terra Collection Private Collection Literature A. Winchester, “Living with Antiques–The Pennsylvania home of Mr. and Mrs. Andrew Wyeth,” Antiques, November 1964, vol. 86, no. 5, p. 593

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L.H. Lione, “The World of Andrew Wyeth,” The Sun Magazine, December 11, 1966, p. 26 R. Meryman, Andrew Wyeth, Boston, Massachusetts, 1968, pp. 70-71, 73, illus.

“Wyeth–Outsider on the Right,” American Masters--The Voice and the Myth of Brian O’Doherty, New York, p. 240 D. McCord, “The Private World...of Andrew Wyeth,” Boston Sunday Globe, July 12, 1970 M. Evans, “Wyeth Country–An American Treasury,” American Home, October 1970, vol 73, no. 10, p. 74 E. Denver, “The Beautiful Millhouse of Artist Andrew Wyeth,” American Home, February 1975, vol. 78, no. 2, p. 54

Sunday News Journal, “The Private World of Andrew Wyeth,” October 10, 1976 “Reviews,” Art & Auction, February 1982, vol. 4, no. 6, p. 59 “Art Market ’82–American Paintings,” Institutional Investor, September 1982, p. 367 J.R. Kirshner, “The Terra Collection,” United, December 1982, vol.

26, no. 11, p. 54 Art at Auction–The Year at Sotheby’s 1981-82, New York, 1982, p. 117 Terra Museum of American Art, A Proud Heritage–Two Centuries of American Art, Chicago, Illinois, 1987, p. 293 Contemporary Great Masters–Andrew Wyeth, Tokyo, Japan, 1993, p. 66 A. Wyeth, Andrew Wyeth–Autobiography (Introduction by Thomas Hoving), Boston, Massachusetts, 1995, p. 63 Exhibited Chadds Ford, Pennsylvania, Andy Wyeth Day–Paintings by Andrew Wyeth, May 1964 New York, The American Academy of Arts and Letters, Work by Newly Elected Members and Recipients of Honors and Awards, MayAugust 1965 (This exhibition also traveled to New York, The National Institute of Arts and Letters.)

Philadelphia, Pennsylvania, Pennsylvania Academy of the Fine Arts, Andrew Wyeth, Temperas, Watercolors, Dry Brush, Drawings, 19381966, October-November 1966, no. 200, (This exhibition also traveled to Baltimore, Maryland, Baltimore Museum of Art, December 1966–January 1967; New York, Whitney Museum of American Art, February–April 1967; Chicago, Illinois, The Art Institute of Chicago, April-June 1967.)

Boston, Massachusetts, The Museum of Fine Arts, Andrew Wyeth, July–September 1970, no. 68 Evanston, Illinois, Terra Museum of American Art, Solitude–Inner Visions in American Art, September-December 1971 Chadds Ford, Pennsylvania, Brandywine River Museum, Brandywine Heritage, May-September 1975 Tokyo, Japan, Mitsukoshi Main Store, Nihombashi, Andrew Wyeth, October–November 1978, no. 16 (This exhibition also traveled to Sapporo, Japan, Mitsukoshi Sapporo Branch Store, November 1978; Kobe, Japan, Mitsukoshi Kobe Branch Store, November– December 1978.)

Kioicho, Japan, Pisa Gallery, Impressionist and Modern Paintings 1991, January 1991 Nagoya, Japan, Aichi Prefectural Museum of Art, Andrew Wyeth Retrospective, February-April 1995, no. 50 (This exhibition also

traveled to Tokyo, Japan, The Bunkamura Museum of Art, April– June 1995; Fukushima, Japan, Fukushima Prefectural Museum of Art, June-July 1995; Kansas City, Missouri, The Nelson-Atkins Museum of Art, September-November 1995.)

Catalog Notes Andrew Wyeth’s paintings have the rare ability to draw the viewer into the past, a past that is distinctly his, yet he allows one to feel as if it is somehow a shared memory. Marsh Hawk is an extraordinary example of this ability; you can’t help but feel a twinge of nostalgia for the old millhouse and the long forgotten wagons. Like a great storyteller, Wyeth presents a scene that is altogether foreign, but makes one feel as if you are looking through an old family photo album.

“Time stops as his paintings make permanent what we know to be transitory. Paths and tracks in the snow or sand, or birds in flight become as fixed and static as ancient hieroglyphs; a sunbeam’s playfulness on a wall, a patch of snow in the sun, or a fleeting flush of anger on his wife’s cheek are made timeless and unchanging.” (The Art of Andrew Wyeth, San Francisco, California, 1973, p. 155) The painting gained its title because of the hawk perched on a post in the background and depicts the Wyeths’ Millhouse in Chadds Ford, Pennsylvania as it was in 1964. While the piece depicts a very specific time and place, Wyeth’s use of color and shadows combined with fine details makes you feel as if you are recalling an old memory or a forgotten dream. Wyeth described the painting in his autobiography thusly: “This tempera was done in Pennsylvania. The hay wagons were given to me by the Harveys, who lived nearby. I found their colors wonderful and their craftsmanship beautiful. I was taken by the shape of the carts and the way the wheels were built. They dated back to around 1850 – 1860. Their wheels and hubs were magnificently constructed. Some of my best drawings are details of them. To think that these very wagons rolled over those rugged hills of Chadds Ford! The title comes from the marsh hawk sitting on the fence in the left distance. Late afternoon light is streaking across. The wagons were all swept away in a flood down the river to Wilmington.

Nothing lasts. Shouldn’t.” The last line: “Nothing lasts. Shouldn’t.” tugs at the heart and makes one wish they could preserve the precious memories in life as Wyeth has done so masterfully in Marsh Hawk.

When this painting was sold at Sotheby’s in 1981, it achieved the highest price ever paid for a living American painter at the time.

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104 | Dean Mitchell (American, born 1957) DOWNTOWN CHARLESTON Watercolor, 15” x 10” $7,000.- 9,000.

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105 | Ken Carlson (American, born 1937)

17 Pencil drawings, 11” x 14” each From the book “Fair Chase in North America”* Signed $9,000. – 12,000.

*Book included: Fair Chase in North America by Craig Boddington, Volume 13 of 100, Limited Edition, Published by Boone and Crockett, Missoula, Montana, 2004

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106 | Nelson Boren (American, born 1952) TAKING A BREAK Watercolor, 44” x 67” $9,000. – 12,000.

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107 | Carl Hantman (American, born 1935) SCOUTING THE FORT Oil on canvas, 23” x 33” Signed $14,000. – 17,000.

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108 | Valerie Hinz (Canadian, born 1956) SECONDS LATER Oil on board, 16” x 20” $2,000. – 3,000.

109 | Valerie Hinz (Canadian, born 1956) KEENELAND LINE-UP Oil on board, 12” x 16” Signed $1,000. – 1,500.

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110 | Richard Firth (British, born 1954)

SHAMROCK V AND ENTERPRISE, AMERICA’S CUP 1930 Oil on canvas, 12” x 16” Signed $5,000. – 7,000.

Both J-class yachts, Shamrock V was commissioned by Sir Thomas Lipton for his fifth and last America’s Cup challenge, while Enterprise was built for the Vanderbilt syndicate of the defending New York Yacht Club. Outfitted with the world’s first duralumin mast, Enterprise captured the first four races in the best-of-seven series between the two as skipper Harold Vanderbilt denied Lipton the victory that had always eluded him.

111 | Richard Firth (British, born 1954)

LULWORTH AND WESTWARD, RACING OFF NORRIS CASTLE Oil on canvas, 12” x 16” Signed $5,000. – 7,000.

Five racing yachts met in August of 1926 at Cowes to battle for supremacy in the Royal Yacht Squadron Regatta.

Westward, owned by T.B.F. Davis, and Lulworth, owned

by Sir Mortimer Singer, finished first and second that day ahead of Shamrock, White Heather II, and the legendary royal cutter Britannia owned by King George V. Norris.

The castle in the background was built for Lord Henry Seymour and is located on the Isle of Wright.

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112 | Sandra Oppegard (American, born 1941) QUAIL HUNTING Watercolor, 16” x 18” Signed $2,000. – 3,000.

113 | Scott Yeager (American, born 1965) ONE IN THE NET Oil on canvas, 12” x 16” Signed $2,000. – 3,000.

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114 | Michael Lyne (British, 1912-1989) AFTER A PARTRIDGE DRIVE Watercolor, 16 1⁄2” x 23” Signed and dated 1956 $4,000. – 6,000.

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115 | Don Powers (American, 1950-2010) RAINBOW IN A STREAM Oil on board, 16” x 24” Signed $5,000. – 7,000.

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116 | Arthur Shilstone (American, born 1922) SUMMER GREENS Watercolor, 15 1⁄4” x 22 1⁄4” Signed $7,000. – 9,000.

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117 | Richard Stone Reeves (American, 1919-2005) NORTHERN DANCER Oil on canvas, 16” x 20” Signed and dated 1981 $20,000. – 25,000.

“Going back in my career, E.P. Taylor was one of my first patrons.

And when Northern Dancer came along, it was my hope that he liked my work enough to contact me again. Sure enough, I was not disappointed. I saw Northern Dancer shortly after his retirement from racing. Mr. Taylor called and asked me if I would go to Canada to see his great little champion. I subsequently

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painted Northern Dancer at least three more times over the years.

He was the most independent, headstrong little horse I ever saw.”

— Richard Stone Reeves, Crown Jewels of Thoroughbred Racing Illustrated in Legends: The Art of Richard Stone Reeves, Oxmoor House, 1989, p. 91

118 | Richard Stone Reeves (American, 1919-2005)

ARISTIDES: WINNER OF THE FIRST KENTUCKY DERBY 1875 Oil on canvas, 26” x 32” Signed and inscribed “Aristides” $40,000. – 50,000.

On May 17, 1875, Col. M. Lewis Clark opened his Louisville racetrack which would eventually become known as Churchill Downs. The feature race of the four-race card that day was the Kentucky Derby, which has been held every year since and stands

as the oldest continuously held sporting event in the United States.

African Americans Ansel Williamson and Oliver Lewis trained and rode, respectively, the first winner, Aristides, for his owner, Hal Price McGrath of Fayette County, Kentucky.

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119 | André Pater (Polish/American, born 1953) STAY Pastel, 18” x 14” Signed and dated ‘11 $12,000. – 15,000.

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120 | André Pater (Polish/American, born 1953)

SECRETARIAT, HEADING TO THE TRACK, THE PREAKNESS Pastel, 19” x 23” Signed and dated ‘04 $40,000. – 50,000.

Few things over the past forty years have evoked such powerful memories as the combination of the bright chestnut coat and blue-and-white-checkered silks of Secretariat. Here the racing legend strides confidently forward to the post one more time.

When André Pater moved to Lexington, his studio at the time was located on Penny Chenery’s farm, and Secretariat became a subject he wished to explore.

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MENEVAL, WINNER IRISH ST. LEGER 1976 Oil on board, 10” x 12” Signed and dated 1977

“No classic race in England, France or Ireland in 1976 was won with more authority than that with which Meneval won the Irish St. Leger.

He hacked up by eight lengths from General Ironside after the latter had led clear into the straight.” – Timeform Racehorses of 1976 Meneval went undefeated as a three-year-old, winning not only the group I St. Leger, but also the Nijinsky Stakes and the Gallinule Stakes.

Purchased as a yearling by Mrs. Jacqueline Getty Phillips, Meneval was named in honor of Baron de Meneval, an ancestor of Mrs. Phillips as well as an associate and biographer of Napoleon.

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LORD DARNLEY, WIDENER HANDICAP 1982 ARTAIUS, CHAMPION MILER OF EUROPE 1977 Oil on board, 10” x 12” Oil on board, 10” x 12” Signed and dated 1979 Signed and dated 1983

With only a half-length separating them at the wire, five horses could have won the 1982 Widener Handicap (gr. I). So the most noteworthy aspect of the 1982 race might be the history-making ride by the winning jockey.

Trainer Roger Laurin had enlisted apprentice jockey Mary Lynn Russ for the mount aboard Lord Darnley. Russ sat mid-pack until the second turn, then took an outside route to win by a head. That win became the first grade I win in U.S. history by a female jockey. Russ and Lord Darnley went on to win the Gulfstream Park Handicap (gr. I) only 30 days later, this time by a nose.

Bred in Kentucky by Mrs. John W. Hanes, Artaius was purchased at the Keeneland September Yearling Sale by the BBA (Ireland) and sent to trainer Vincent O’Brien. His frontrunning speed led him to victories in the group I Joe Coral Eclipse Stakes, where he set a new record, and the group I Sussex Stakes. “Unlike a fair proportion of front runners Artaius was a thoroughly genuine racehorse,” stated the Timeform Racehorses of 1977. The son of American Horse of the Year Round Table was campaigned by his owner, Mrs. Jacqueline Getty Phillips, who retained half interest in Artaius when he was syndicated to Airlie Stud in Ireland.

PROPERANTES, WINNER SAN JUAN CAPISTRANO S. 1977 Oil on board, 10” x 12” Signed and dated 1978

Not only do the swallows return to San Juan Capistrano, but also Properantes. “Properantes came home from Europe accused of lacking stamina, but at 1¾ miles he won the San Juan Capistrano (gr. I) at Santa Anita.”

– Robert Hebert, The Blood-Horse, April 18, 1977 After a less than stellar career at two and three in France, Properantes was sent to A.T. (Tommy) Doyle in California for his four-year-old season and he got his number on the board in 12 of 15 starts over the next two years, including eight graded stakes.

PENTAQUOD, HIALEAH SPRINT CHAMPIONSHIP 1982 Oil on board, 10” x 12” Signed and dated 1983

BLOOD ROYAL, QUEEN’S VASE 1975 Oil on canvas, 10” x 12” Signed and dated 1976

Luck did not always favor the racehorse Pentaquod. In 1982 a pari-mutuel equipment malfunction forced the postponement of the Hialeah Sprint Championship Handicap for eight days. However, when finally run, Pentaquod came home the winner over favorite King’s Fashion. Later in the fall he also had to miss the Vosburgh Stakes over a question of his identity due to his changing gray color.

Pentaquod, was Pentaquod and again he returned to the races a week later to win at Aqueduct.

Raced a limited number of times, Blood Royal remained undefeated throughout his career.

In winning the Queen’s Vase at Royal Ascot, Blood Royal gave jockey Lester Piggott his 3,112th win, and in Newmarket’s Jockey Club Cup he posted a new course record. The third foal from the great mare Natashka, Blood Royal was sold for a record price of $275,000 as a two-year-old in 1973.

“It’s a pity Blood Royal will not be seen in action again for there were few better stayers around in 1975.” – Timeform Racehorses of 1975

121 | Richard Stone Reeves (American, 1919-2005) $20,000. – 25,000. Set of 6.

Provenance: The Estate of Jacqueline Getty Phillips

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122 | Sir Alfred J. Munnings (British, 1878-1959)

BLUE PRINCE II WITH HARRY CARR UP ON NEWMARKET HEATH Oil on unlined canvas, 26 1⁄2” x 39 1⁄4” signed AJ Munnings and inscribed “Blue Prince/ My last painting of a race horse!!!”

Signed and inscribed again verso “This is perhaps more as the horse looked... a crest on him at the time. More like her head…This canvas also done at Newmarket…Carr is the jockey/ Alfred Munnings” $800,000. – 1,200,000.

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Provenance Sotheby’s 11/28/2004 The Collection of Mr. And Mrs. Walter M. Jeffords Lot number 180 Acquired by the present owner from the previous sale.

The present work was commissioned by Walter M. Jeffords at the height of Sir Alfred Munnings’ talent and fame in the 1950s. Jeffords is considered, by most sporting art enthusiasts, to have been one of the foremost collectors of sporting art in the United States. Jeffords’ collection showed a strong slant toward American sporting painters, a trend that was well ahead of its time. Despite Jeffords’ strong American art collection (that included the most prominent Edward Troye collection ever assembled as well as works by DeLattre, Stull, Voss, Flannery, and Haseltine) this portrait of Blue Prince II was considered the “crown jewel of the collection.” Jeffords’ love affair with flat racing is well documented through the artwork and trophies that he and his wife collected over the years; but looking at the collection as a whole, including the silver and furniture, one can easily see that the Jeffords put together one of the finest private collections of their generation. It is extremely rare that a painting by such a coveted artist as Sir Alfred Munnings, with provenance from such a prominent collection, should be made available for public offering.

Blue Prince II is painted in the traditional English manner, seen for centuries, with jockey up and horse in profile, proudly displaying the Jeffords silks. However, Munnings’ adaptation of this classic composition has a decidedly modern feel. In the Jeffords’ commission, Sir Alfred demonstrates his ability to meld the traditions of the past with a fresh color palette and graceful modern strokes. Munnings’ incorporation of the traditional forms speaks to his keen knowledge and respect for the past masters such as George Stubbs and Sir John F. Herring, Sr. This bold and stylized depiction of Blue Prince II leaves no doubt for the viewer that Munnings was aware of, yet not bound by tradition.

Jeffords’ Kentucky-bred colt Blue Prince II was sent to Newmarket as a yearling to be trained by Captain Boyd-Rochfort. Boyd-Rochfort was appointed the trainer for King George VI and continued in this position after Queen Elizabeth II’s ascension to the throne. Blue Prince won several stakes at two, three, and four, including the Zetland Gold Cup. Blue Prince’s partnership with W. Harry Carr produced a number of memorable races for both rider and owner including a remarkable second at Royal Ascot.

Harry Carr was born in 1916 and made his racing debut in 1931. At the start of World War II Carr joined a cavalry regiment and by 1946 he was appointed the King’s jockey, riding the King’s horses trained at Newmarket. His career highlight was winning the Epsom Derby in 1959 aboard Parthia but he also won the 1000 Guineas, Oaks, and the St. Leger three times before retiring in 1964.

“Like most artists who seek their livelihood by painting commissions, Munnings grumbled with each new request. Occasionally, his sense of humor would come out as is evident in his inscriptions on this painting as well as the small initial study of Blue Prince done in 1957.

Despite these demands, Munnings would frequently find a horse to paint that he connected with and this connection would show in his work. Blue Prince is sensitively painted with a soft expression and a kind eye, both indicators of the horse’s personality.

Munnings includes the ancient Anglo-Saxon earthworks ‘Devil’s Dyke’ as the background, referencing the centuries-old Sport of Kings when racing began at Newmarket during the reign of Charles II. This gap in the earthwork is a common element in paintings of Newmarket since the 18th century.” – Lorian Peralta-Ramos This work will be included in the forthcoming catalogue raisonne of Sir Alfred Munnings prepared by Lorian Peralta-Ramos.

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123 | Peter Curling (Irish, born 1955) WORK MORNING Oil on canvas, 24” x 48” Signed $25,000. – 30,000.

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124 | Emily Lamb (British, born 1985) LION SKETCH Oil on canvas, 31” x 39” Signed $3,000. – 4,000.

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125 | Emily Lamb (British, born 1985) SAVE THE RHINO Oil on canvas, 47” x 59” Signed $5,000. – 7,000.

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126 | David Quinn (British, born 1959) HORNBILLS Oil on panel, 25 1⁄2” x 20” Signed $4,000. – 6,000.

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127 | Jeaneen Barnhart (American, born 1967) FULL CHARGE Charcoal on paper, 38 1⁄2” x 20 1⁄2” Signed $1,000. – 1,500.

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MOUNTING THE RUNNER Pastel, 12 1⁄2” x 19 3⁄4” Signed

128 | Abel Kesteven (British, born 1969) $3,000. – 5,000. Pair

THE PADDOCK, PLUMPTON Pastel, 13” x 19 3⁄4” Signed

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129 | Frank Nelson Ashley (American, 1920 - 2007) LOS ALTOS HUNT TRIALS Oil on board, 15” x 18” Signed $3,000. – 5,000.

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130 | Frank Nelson Ashley (American, 1920 - 2007) JOCKEYS WAITING Oil on board, 12 1⁄4” x 16 1⁄4” Signed and dated 1961 $3,000. – 5,000.

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131 | Camille Hilaire (French, 1916 – 2004) L’ARRIVEE Oil on canvas, 15 3⁄4” x 31 1⁄2” Signed $6,000. – 8,000.

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132 | André Brasilier (French, born 1929) COURSES DE CHEVAUX Oil on canvas, 18” x 21 1⁄2” Signed $7,000. – 10,000.

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133 | Theo Waddell (American, born 1941) REINHEIMER’S HORSES #4 Oil on canvas, 60” x 66” Signed and dated 2009 $25,000. – 30,000.

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134 | Jean-Bernard Lalanne (French, born 1952) DEAUVILLE Oil on canvas, 35” x 47” Signed $8,000. – 10,000.

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135 | Jean-Bernard Lalanne (French, born 1952) MOZOS Y LOS TOROS Oil on canvas, 29” x 46” Signed $8,000. – 10,000.

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136 | Jo Taylor (British, born 1969)

RUNNING HORSES Watercolor, gouache, mixed media, 29” x 59” Signed $7,000. – 9,000.

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137 | Jo Taylor (British, born 1969)

GRANDFATHER Watercolor, gouache, mixed media, 33” x 59” Signed $7,000. – 9,000.

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138 | Leslie Humphrey (British, born 1957) ESCAPE VELOCITY : NUMBER 1, SNOWMAN SERIES Oil on board, 48” x 24” Signed $8,000. – 10,000.

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139 | Bernie Fuchs (American, 1932 - 2009) SARATOGA PADDOCK, SUNLIGHT Oil on canvas, 32” x 24” Signed with initials $5,000. – 7,000.

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140 | Valeriy Gridnev (Russian, born 1956)

LESTER PIGGOTT ON ROYAL ACADEMY Oil on board, 23 1⁄2” x 39” $9,000. – 12,000.

Valeriy Gridnev divides his time between St. Petersburg and London. He has won many awards in Russia and in England. He is a member of the Pastel Society and the Royal Institute of Oil Painters and is the only non-British member of The Royal Society of Portrait Painters. He has completed numerous commissioned portraits, notably those of Bobby and Phoebe Tudor of Houston, Texas, benefactors of Rice University; Louis Frosio, leader of the

Monte-Carlo Orchestra; and such members of British royalty as Henry George Reginald Molyneux Herbert, 7th Earl of Carnarvon; Jean Margaret Wallop, Countess of Carnarvon; George Reginald Oliver Molyneux Herbert, 8th Earl of Carnarvon; and the wife of the Hon. Harry Herbert, Chica Herbert, (nee Bevan) and her daughters Chloe and Francesca.

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141 | Ashley Collins (American, born 1967)

ARCHIDEMES Mixed media, oil and acrylic on aged paper, historical documents, Historic objects, hand-fired resin finish, 84” x 96” (diptych) Signed $75,000. - 85,000.

Archimedes, born in 282 BC, changed the course of history with his brilliant invention of the lever and pulley. The system enabled a single man to lift stone weights and sails of heavy tarpaulin and to build higher and greater than ever before imagined. Collins challenges the viewer to be open to this work’s symbolic levers and pulleys that allow individuals to leap ahead by immeasurable gains.

Collins centers the meaning of this work on a small interactive pulley within the painting combine itself – the wheel spins by the

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viewer’s hand, a metaphor for movement forward and a physical break into the third wall between viewer and painting. The intricate work is deeply layered and meant for ongoing exploration, containing historical documents, Collins’ brushes, and a license plate from 1932. For Collins this reference is to underdogs Burgoo King and jockey Eugene James, who together won the Kentucky Derby and the Preakness. The figurative horse in this work has a forward power, his eyes on the cup, ready to take on all contenders.

142 | LeRoy Neiman (American, 1921-2012)

N.Y. JETS – DENVER, SHEA STADIUM, OCT. 13 ‘68 Watercolor, 19 1⁄2” x 24 1⁄4” Signed and dated 1968 $12,000. – 15,000.

**Description of play depicted inscribed on verso

“The high-priced star enjoys no favor on the field. He endures the same hardships of weather the fans do…from the 100-plus heat of a preseason night in the south…to the brain freezing cold of a 15-above day in December…or a rain-and-sleet chilled November afternoon at Shea Stadium…Football is the only sport where, legitimately, 50 people can be on the field at one time (44 players and 6 officials), as the teams change sides…When at the age of 24, Stephen Crane wrote The Red Badge of Courage, he had never seen combat…unable to gain a perspective of war from the vantage of an ordinary, unromantic soldier, he drew his insights by recalling the fierce physical combat he had experienced on the college football field…From my vantage point along the sidelines,

the hawkish fans – many have forsaken church for stadium services – seem engaged in a holy war…at my back comes a vibrating barrage of vocal artillery fire…from the other side of the stadium the enemy returns the fire…while on the battlefield the infantry collide head-on, making the earth tremble…in the middle of this madness, sketching can become a shaky proposition.” – annotation from the back of this painting and described in LeRoy Neiman Art and Lifestyle.

Illustrated and described in LeRoy Neiman Art and Lifestyle, Wittenborn Art Books, 1974, p. 218.

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143 | LeRoy Neiman (American, 1921-2012)

FLAT RACING High-temperature glazed ceramic tile mural, 84” x 204” (119 tiles at 12” x 12” each) $250,000. – 350,000.

Provenance: Charles Bidwill III, Sportsman’s Park

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masterful use of color and his ability to accurately portray the power and grace of a racehorse in motion. The large scale of this work allowed Neiman to truly recreate the thunderous action of horses coming down the stretch. With a broad view of the entirety of Neiman’s work, this mural is perhaps one of the most important and truly unique examples of Neiman’s passionate pursuit to depict the sport that he loved so immensely.

“I went to art school on the G.I. Bill. Bored with the limitations and narrow range of the inbred academic classroom I turned to Thoroughbred horses and their ambiance of pageantry, glamour, and earthiness. In 1948 I began my serious study of horses at the Chicago racetracks, Arlington and Sportsman’s, where I spent hours drawing in the paddock and around the back-track barns. The first racetrack painting I exhibited in Chicago in 1949 prompted a local critic to write: “What is this young artist, Neiman, doing painting horse racing in Chicago? Didn’t Dufy already do racing scenes in Paris?” I must have been a real novelty in the area.

Encouraged by this lack of appreciation for my enthusiastic racetrack reportage, I expanded my horizons to include horse shows, hunt meets, and other equine sporting events, turning up with my sketchbook at just about every scene where the Horse did. I have sketched at all the leading racetracks in the United States, France, England, Ireland, Japan, Mexico, and at equestrian events all over the world. I have rarely neglected this horsey milieu for long during the past thirty years.

It’s a passion I’ll never outgrow.”

This flat racing mural is a one-of-a-kind piece commissioned by Mr. Charles Bidwill, Jr. in 1976, to be installed in Sportsman’s Park in Chicago. Neiman’s use of bright colors and his loose style perfectly capture the movement and essence of sports, a subject that he loved.

His depictions of sporting scenes have made Neiman an American icon, and his choice of subject matter has expanded his collector base beyond that of just art enthusiasts. While Neiman depicted many sporting events throughout his career, Thoroughbred racing remained a true passion. The present work exemplifies Neiman’s

Quotation from LeRoy Neiman’s book Horses p. 32

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144 | Susie Whitcombe (British, born 1957) WICKHAM FAIR Oil on canvas, 8” x 11” Signed $1,500. – 2,000.

145 | Larry Dodd Wheeler (American, born 1942) WASH DOWN Oil on board, 9” x 12” Signed $1,200. – 1,500.

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146 | Peter Williams (New Zealand/American, born 1934) AT THE START, LEOPARDSTOWN Oil on canvas, 36” x 48” Signed $15,000. – 18,000.

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147 | Sandra Oppegard (American, born 1941)

ENTRIES AND CLUBHOUSE KEENELAND, FALL Watercolor, 19” x 30” Signed $4,000. – 6,000.

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148 | Henry Koehler (American, born 1927) FOUR JOCKEYS, UP Oil on board, 10” x 12” Signed $5,000. – 7,000.

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149 | Henry Koehler (American, born 1927)

STARTERS WAITING, CLAIREFONTAINE Oil on canvas, 13” x 21 1⁄2” Signed $8,000. – 10,000.

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150 | Katie O’Sullivan (Irish, born 1959)

TATTERSALLS I Oil and mixed media on board, 17” x 19” Signed $9,000. – 12,000.

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151 | Richard Stone Reeves (American, 1919-2005) BATES MOTEL Oil on canvas, 10” x 12” Signed and dated 1983 $5,000. – 7,000.

Provenance: The Estate of Jacqueline Getty Phillips

“Bates Motel’s status reached its apogee on Aug. 20 (1983), the day he slammed a strong field in the Monmouth Handicap (gr. I).” — Edward L. Bowen, The Blood-Horse, January 7, 1984. Bates Motel sealed his divisional title of Eclipse Champion Older Male winning four straight stakes including the historic Santa Anita Handicap (gr. I) in the west and the Monmouth Handicap (gr. I) in the east.

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Bred by Mrs. Jacqueline Getty Phillips in Kentucky, he was offered for sale as a yearling in England. Not reaching his reserve price, Bates Motel was brought back to the U.S. and campaigned by Mrs. Phillips and her children. In 1984 he was retired to Gainesway Farm, where he stood his entire breeding career.

152 | Peter Howell (British, born 1932)

SANTA ANITA, EARLY MORNING Oil on canvas, 14” x 18” Signed $6,000. – 8,000.

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153 | Peter Howell (British, born 1932) CHANTILLY Oil on canvas, 39” x 54” Signed $35,000. – 50,000.

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154 | Thomas J. Coates (British, born 1941) OUTRIDERS, KEENELAND Pastel on board, 32” x 44” Signed with monogram $4,000. – 6,000.

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155 | Thomas J. Coates (British, born 1941) GOING TO POST, KEENELAND Oil on canvas, 30” x 40” Signed with monogram $8,000. – 10,000.

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156 | Peter Curling (Irish, born 1955) GONE FOR HOME Oil on canvas, 48” x 72” Signed $35,000. – 40,000.

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157 | Richard Stone Reeves (American, 1919-2005) NATASHKA Oil on canvas, 26” x 38” Signed and dated 1968 $25,000. – 30,000.

Provenance: The Estate of Jacqueline Getty Phillips

A true “blue hen” Thoroughbred of the late 20th century, Natashka was named Broodmare of the Year in 1981. She produced five stakes winners, four being graded winners, including Blood Royal. Worldwide more than 150 stakes horses count Natashka as a foundation female. Bred in Kentucky by Greentree Stud, Natashka was sold privately to Mr. George F. Getty II along with her dam Natasha. Mr. Getty campaigned Natashka to eight victories in a career spanning two years and 16 starts. Natashka was co-highweighted with champion Lady Pitt and Destro on the Daily Racing Form Handicap for Three-Year-Old Fillies of 1966

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after being declared the winner over the champion in Saratoga’s Alabama Stakes and was weighted ahead of the 1965 Horse of the Year Moccasin. Following the death of Mr. Getty, the mare and her Sir Ivor filly (later named Ivory Wand) were sold to Harry T. Mangurian. Natashka was later sold to William S. Farish, who owned her until her death in 1982.

Depicted in this scene from left to right are Victor Heerman, Jr., jockey Bill Shoemaker, trainer Bill Peterson, and Natashka’s owner, George F. Getty.

158 | André Pater (Polish/American, born 1953) SANDSTORM Oil on canvas, 28” x 22” Signed and dated 1985 $50,000. – 60,000.

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159 | André Pater (Polish/American, born 1953) THE GIFT OF SCENT Oil on canvas, 34” x 40” Signed $125,000. – 150,000.

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160 | André Pater (Polish/American, born 1953) STUDY FOR ‘THE GIFT OF SCENT’ Charcoal, 32” x 40” Signed $15,000. – 20,000.

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AMERICAN RACE OF THE YEAR 1977  HOLLYWOOD PARK CRYSTAL WATER DEFEATING CASCAPEDIA AND CAUCASUS Oil on board, 14” x 20” Signed and dated 1977

EUROPEAN RACE OF THE YEAR 1977  THE DERBY THE MINSTREL, L. PIGGOTT UP DEFEATING HOT GROVE Oil on board, 14” x 20” Signed and dated 1977

“Crystal Water, under top weight of 129 pounds, turned back the bids of Cascapedia and Caucasus in the $350,000 Hollywood Gold Cup, scoring his third major triumph in succession. His trainer plans an eastern foray in the fall, looking for a race against Forego and Seattle Slew.” – Robert Hebert, The Blood-Horse, June 27, 1977

“I loved this little chestnut horse. He was built similarly to his father, Northern Dancer, although The Minstrel was a bright chestnut while his sire was a bay. Each had a white face and white legs. The Minstrel had a calmer and friendlier disposition than Northern Dancer and was a pleasure to pose and paint.”

– Richard Stone Reeves, Crown Jewels of Thoroughbred Racing

Mrs. Connie M. Ring’s homebred Crystal Water performed at the top echelon of racing at four, garnering the second spot on the Daily Racing Form Handicap for Older Males of 1977. He was ranked second for the year, and only Forego was ranked ahead of him.

161 | Richard Stone Reeves (American, 1919-2005) $25,000. – 35,000. Pair

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162 | Dede Gold (Irish, born 1971) THE SCARTEEN COUPLE Oil on canvas, 30” x 40” Signed $5,000. – 7,000.

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163 | Juli Kirk (American, born 1957) A HUNT’S FAREWELL Oil on board, 22” x 30” Initialed and dated ’06 $4,000. – 6,000.

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164 | Charles Church (British, born 1970) CHAROLAIS BULL STUDY Oil on canvas, 20” x 32” Signed $15,000. – 20,000.

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165 | Peter Curling (Irish, born 1955) FIGHTING BULL Oil on canvas, 40” x 60” Signed $30,000. – 35,000.

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166 | Richard Stone Reeves (American, 1919-2005) HYPERION Oil on canvas, 16” x 24” Signed and dated 1975 $20,000. – 25,000.

English Derby and St. Leger winner Hyperion ranks as one of the most important Thoroughbreds of the 20th century. Aside from his stellar performance on the turf, Hyperion became a six-time leading sire. His offspring won numerous classic events and went on to make him a leading broodmare sire and famous sire of sires.

Illustrated in Classic Lines by Richard Stone Reeves and Patrick Robinson, Oxmoor House, 1975, pp. 18-19 THE SPORTING ART AUCTION

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167 | Pierre Bellocq a.k.a. PEB (French, born 1926)

STUDY FOR JOCKEY MURAL AT CHURCHILL DOWNS Study for Jockey Mural at Churchill Downs Watercolor, 21 3⁄4” x 113” $15,000. – 20,000.

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Churchill Downs commissioned PEB to create a mural as part of ongoing renovations, and this study for the final piece, now hanging in the second-floor clubhouse, was completed in October of 2004. Starting with Oliver Lewis and ending with Stewart Elliott, the mural depicts all 96 jockeys who captured the 130 Kentucky Derbies run from 1875 to 2004. Tracking down photos of the jockeys and their silks required a tremendous undertaking.

While the final painting measures 5 feet by 36 feet, the Lot shown here is approximately one-fifth of the final size.

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168 | Richard Stone Reeves (American, 1919-2005) NIJINSKY II, LIAM WARD UP Oil on board, 11” x 14” Signed $12,000. – 15,000.

Liam Ward, leading Irish jockey and Vincent O’Brien’s main jockey in Ireland, had the distinction of riding the great Nijinsky II to his first four straight victories. Winning three of the major juvenile races in Ireland, Nijinsky II was named Irish champion two-year-old. Under jockey Lester Piggott in England, Nijinsky

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II went on the win the English Triple Crown and claim the title of European Horse of the Year.

Illustrated in Decade of Champions, Oxmoor House, 1980, pp. 38-39

169 | Charles Church (British, born 1970) GOLDIKOVA STUDY Oil on board, 12” x 14 1⁄2” Signed $5,000. – 7,000.

Among Goldikova’s many international achievements was her distinction as the sole three-time Breeders’ Cup winner.

She alone has won three races, in fact, three consecutive races, since the championship series began in 1984. One can add to that her four highweight titles in France, three highweight titles in England, two overall European titles,

and two Eclipse championships thereby ranking her as one of the greatest female Thoroughbreds to grace the turf. A homebred champion for Alan and Gerard Wertheimer, Goldikova was victorious in 17 of 27 starts over a five-year career, and she earned the U.S. equivalent of nearly $7.2 million.

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170 | Joanne Mehl (American, born 1960) FLOWER BASKET, SARATOGA Oil on board, 16” x 24” Signed $4,000. – 6,000.

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171 | Larry Dodd Wheeler (American, born 1942) WINTER SUNLIGHT Oil on board, 16” x 20” Signed $4,000. – 6,000.

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172 | Peter Smith (British, born 1949) HEAVY GOING, AYR Oil on canvas, 20” x 30” Signed $6,000. – 8,000.

Provenance: Frost & Reed, Ltd., London

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173 | Peter Smith (British, born 1949) DAWN OVER DEAUVILLE Oil on canvas, 16” x 16” Signed $3,000. – 4,000.

174 | Michael Jeffery (British, contemporary) SEA THE STARS Watercolor, 21” x 27” Signed $5,000. – 7,000.

Considered one of the greatest European racehorses of all time, the Irish champion Sea the Stars won the 2,000 Guineas, Epsom Derby, Eclipse Stakes, and the Prix de l’Arc de Triomphe among others. In 2009, he took all of the available major awards across Europe including Champion Three-Year-Old and Horse of the Year.

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ARTIST

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

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

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

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exhibit titled “Peb: The Art of Humor” ran 18 months at the National Museum of Racing.

Benson, Frank Weston American, 1862-1951 Benson started his professional career painting portraits of distinguished families and murals for the Library of Congress. A founding member of the Ten American Painters, the American Academy of Arts and Letters, and The Guild of Boston Artists, Benson was an instructor and department head at the School of the Museum of Fine Arts, Boston. He was an avid wildfowl hunter and birdwatcher.

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’s professional career has ranged from director for a leading miniature figurine company to sculptor and modelmaker 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 then, 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.

Bassett, Carroll K. American, 1906-1972 Bassett began his association with horses early in life, graduating to a high goal polo player from childhood foxhunter. In the late 1920s his career as an amateur steeplechase jockey led to his becoming a leading steeplechase trainer. His inventory of sculptures is thought to be limited to 15 models of horse portraits, mares and foals, polo players, racehorses, and jockeys, and from a late-life interest — game cocks.

Blacker, Philip British, born 1949 A professional jockey for 13 years, Philip Blacker began sculpting while still riding. His first three editions, all racing bronzes based on The Grand National, sold out quickly. After retiring from the saddle, Blacker has expanded both his subject matter and his experience with different techniques. His ambitions have led him to complete more than 20 life-sized or greater equine bronzes.

Bellocq, Pierre, a.k.a. Peb French, born 1926 American racing fans have been entertained, amused, and delighted for over 50 years by the vividly colorful characters created by the fertile mind of Peb. Born into a family of French horsemen, Peb came to America in the mid 1950s, eventually landing at publisher Walter Annenberg’s Daily Racing Form and Philadelphia Inquirer, where he did both political and racing cartoons. The

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

Boren, Nelson American, born 1952 A native of Tempe, Arizona, Nelson Boren graduated cum laude in architecture at Arizona State University in 1978. After an award-winning career as an architect, Boren sold his firm in Arizona and moved to Idaho to paint full time in 1990. He has been featured in numerous national publications and was selected as one of the foremost contemporary artists in Leading the West, Northland Publishing, 1997, and was part of a national museum tour titled “The Other Side of the West” from 2000-2004.

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

Brasilier, André French, born 1929 Born to artist parents and a student of L’Ecole Nationale des Beaux-Arts de Paris, Brasilier quickly became distinguished as an artist. Brasillier’s catalog of canvases created over a half century are a blend of abstraction and expressionism, making them uniquely his. Works by Brasillier generally feature horses, nature, music, and women.

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

Broadhead, William Smithson British, 1888-1960 World travel and work in magazine illustration dominated the life of this talented British painter. However, horses were a primary love, and he worked in England, Canada, New York, and Los Angeles, where he painted equestrian portraits along with magazine work. Living for a time in Cleveland, Ohio, and Middleburg, Virginia, Broadhead was regarded as one of the most esteemed equestrian painters in America.

Cain, Auguste Nicholas French, 1822-1894 Cain was a prolific and successful member of the animalier school. He first exhibited at the Paris Salon in 1846 and went on to show a total of 38 models from 1846 to 1888, winning numerous awards at the Salon. After the death of his father-in-

law, Pierre-Jules Mene, Cain operated Mene’s foundry, where he continued to cast Mene’s works and sculptures for the Chantilly and Luxembourg Gardens.

Carlson, Ken American, born 1937 After a professional career as a commercial artist in Minnesota and California, Carlson moved to the Rocky Mountains of Montana and devoted his time to painting wildlife subjects. He is widely recognized as one of the foremost interpreters of North American wildlife. In 2011 in honor of his lifetime of artistic accomplishments, Carlson received the Briscoe Legacy Award.

Cassatt, Mary Stevenson American, 1844-1926 Mary Cassatt’s artistry provides a visual record of the life of women in the early 20th century, with particular emphasis on the bond between mother and children. In 1894 Gustave Geffroy described Cassatt as one of “les trois grandes dames” of Impressionism. However, by 1886 Cassatt had moved away from that technique in favor of experimenting with a variety of expressions.

Church, Charles British, born 1970 An internationally renowned painter of horses, landscapes, and country life, Church works from life to capture the moment. With more than 37 commissioned paintings of grade or group I winners, as well as hunting and polo scenes, the sell-out exhibition of his work prompted His Royal Highness the Prince of Wales to write of Charles’ “profound understanding of his subject matter.” His commissions include The Royal Pageant of Horses for H.R.H. Queen Elizabeth II. Claxton, George American, 1947-1995 Claxton arrived in Lexington, Kentucky, after graduating summa cum laude in Fine Art at Kent State University in 1973. Being both a painter and sculptor, he soon found himself established in the local artist colony. His expressive use of color and texture mark his innovative painting style, and his knowledge of anatomy and form compliment both his porcelain and bronze sculptural technique.

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

Collins, Ashley American, born 1967 Oversized and massive are adjectives usually used to describe the equine art works of Ashley Collins. Collins’ mega-sized contemporary pieces are achieved

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through a layering collage technique of equine painting with printed pages and obscured historical images. Collins was mentored by famed modern artist Robert Rauschenberg and has now achieved her own increased level of collectability.

Cooper, Abraham British, 1787-1868 While working as a groom at the age of 22, Cooper wanted a portrait of his favorite equine charge, and after doing the work himself, the horse’s owner purchased the portrait. The list of patrons for whom he painted included Queen Victoria, Queen Adelaide, and the Prince Regent. Noted as an English animal and battle painter, Cooper first exhibited at the Royal Academy in 1812 and was elected to the RA in 1819. Eventually artists studying under Cooper included J. F. Herring, Sr. Coreth, Mark British, born 1958 Growing up in Kenya, Coreth was deeply touched by the African animals and the passion this wildlife inspires. Now, living and working in Europe, his work continues to portray animals with a touching sensitivity. He was commissioned to sculpt the drum horse Belisarius for his regiment, The Blues and Royals. The work was cast in bronze as the Household Cavalry’s wedding present to The Duke and Duchess of York.

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

Douglas, William British, 1780-1832 After showing artistic aptitude as a youth and serving as an apprentice engraver, Douglas specialized in miniature painting. He also worked in full scale and his favorite subjects appeared to be sitters and their animals. His expertise in landscape depiction is seen in both his drawings and oil paintings.

Douglas was exhibited at both the Royal Scottish Academy and the Society of Associated Artists, and his work is on display at the Scottish National Portrait Gallery.

Edwards, Lionel D.R. British, 1878-1966 Edwards combined his love of the hunt with drawing to create exhilarating paintings full of life. He became the youngest member of the London Sketch Club and was committed to earning a living from his art. He enjoyed a close working relationship with Country Life magazine and The Graphic and then

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progressed to traditional painting in watercolor and in oils. He ranks just below Munnings as an important 20th century painter of the hunting field.

Emms, John British, 1841-1912 Son of an artist, Emms took up the life, and focused on painting the horses and hounds of his foxhunting friends in Lyndhurst. Exuberant by nature, he tended to spend a commission check immediately when it arrived. When he fell ill and could not paint, he and his family became nearly destitute. He died at 71 in Lyndhurst and is buried there. He created many paintings, mostly in oil, brimming with life and authenticity.

Ferneley, John E., Sr. British, 1782-1860 Early talent being recognized, Ferneley was both apprentice and friend to Benjamin Marshall, learning his lessons well. In 1809, he married an Irish woman and moved to Melton Mowbray where he painted successfully for the rest of his life. He was acclaimed by the gentry and provided them with beautiful, elegant pictures of their best hunters and hounds. Prolific until his death at age 78, he left a complete record of his work.

Firth, Richard British, born 1954 Producing only eight or nine paintings per year, Richard Firth is becoming one of the most sought after marine scene artists currently working. While mainly self-taught, Firth received instruction from well-known marine painter Brian May once he began painting marine subjects such as square riggers. He has exhibited at the prestigious Ferens Museum and Art Gallery in Hull, England.

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

Frink, Dame Elisabeth Jean British, 1930-1993 In her obituary the Times noted one of the essential themes of Frink’s work was ”the ‘horseness’ of horses.” As a sculptor her subjects included men, birds, dogs, horses, and religious motifs, but rarely the female form. She is best known for her bronze outdoor sculpture featuring worked and distinctive cut surfaces.

Fuchs, Bernie American, 1932-2009 Being the youngest illustrator ever to be elected to the Society of Illustrators

Hall of Fame speaks volumes on both the rise and the talent of Bernie Fuchs.

The American Sport Art Museum and Archives named Fuchs Sport Artist of the Year in 1991. His commissions included four U.S. postage stamps and five U.S. presidents.

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 Sainte Clotide Bascilica in Paris is the best-known example of his monumental work of the four evangelists.

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

Good, John Willis British, 1845-1879 Born in London, England, John Good lived a mere 34 years. In that period he exhibited at the Royal Academy 15 times between 1870 and 1878. Good studied under sculpture Sir Joseph Edgar Boehm and exhibited a collaborative work with painter and sculptor Charles Lutyens titled Prince of Wales, a Celebrated Clydesdale Horse.

Gridnev, Valeriy Russian, born 1956 Valeriy Gridnev was born in Russia in 1956. After studying at Sverdlovsk Art College, he enrolled at St. Petersburg Academy of Arts in 1983 and graduated in 1990. His graduation project, The Early Years, won The Gold Medal of USSR Academy of Arts. Gridnev worked for four years from 1990 at 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.

Hancock, Charles British, 1795-1868 One of 12 children of a cabinet maker, Hancock was well educated as a child and sent to continue his art education with James Stark in London and in Norfolk. He had numerous works published in prints and as illustrations in books, including Tattersall’s British Racehorses and The Sporting Review. Hancock was active with the Royal Society of Artists and exhibited at the Royal Academy.

Hantman, Carl American, born 1935 Carl Hantman found a specific niche of painting — the Apache Indians of the American Southwest during the period 1860 to 1900. Oddly, Hantman was born in the whaling town of New Bedford, Massachusetts and lived only in New York City, Washington, D.C., and Florida. After studying with the Frank J. Reilly School of Art, Hantman worked as an illustrator for over 200 covers for the western novels of Louis L’Amour, Zane Grey, Max Brand, and others.

Herring, Sir John Frederick, Sr. British, 1795-1865 A coach driver on the Doncaster-London route by trade, Herring’s 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.

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.”

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

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

Holt, Susanna British, contemporary Evolving her creativity through exploring and experimenting, Holt has developed a passion for monumental sculpture. While her projects cover a wide range of the animal kingdom she is not limited to animalia in bronze as she is versed in

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abstract sculpture in a wide variety of materials. Her bronze sculptures are on display around the world, even on ocean cruise vessels.

Howell, Peter British, born 1932 Introduced to the world of racing at age eight, Howell spent his school holidays at Newmarket. He chose to pursue a racing career instead of art school, which actually helped the Welshman when he later made the switch to full-time painting in the 1960s. He lives in the quiet countryside of Devon when he’s not traveling to racetracks and stables all over the world.

Humphrey, Leslie British, born 1957 Being the daughter of a commercial artist and painter, art has always been a part of Humphrey’s life. 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 Beaux-Arts 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.

Kemp-Welch, Lucy British, 1869-1958 Born in Bournemouth, Kemp-Welch studied art at Bushey under Herkomer from 1881. Just three years later, she began exhibiting at the Royal Academy. Her medium of choice was usually oils, but she did use watercolors for her animals and landscapes. She lived in Bushey and eventually took over Herkomer’s school. Her paintings are included in numerous public and private collections.

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

King, Alexa American, born 1952 King’s ability to capture the unique vitality and essence of her living subjects

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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-size War Memorial bronze at Camp Atterbury in Indiana; a trophy, Going to the Post, for the Breeders’ Cup Limited; and the Dogwood Dominion Award presented annually by Dogwood Stables in Aiken, S.C. Kirk, Juli American, born 1957 Kirk’s affinity for animals is apparent in her equine and animal portraits, her specialty of choice. A Cum Laude graduate of Boston University’s School of Fine Arts, Kirk also attended Queen’s College and the New York Studio School in New York as well as Cabrillo College and the University of Santa Cruz in California. Kirk’s impressionist style has great exuberance and animation.

Koehler, Henry American, born 1927 Born in Louisville, Kentucky, Koehler graduated from Yale University and worked in advertising in New York. Entering the freelance arena, his first big commission was 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 des Beaux-Arts in Pau. Lalanne painted while supporting himself as a policeman, the occupation of his father. He came to Colorado to work with American painter Kim English after Lalanne won 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 the Andalusian horses. He regularly exhibits in shows in Paris and Bayonne, France.

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

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

Her portfolio also includes equestrian art, especially polo.

Lazzari, Nicola Italian, born 1961 The artistry of Nicola Lazzari 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.

Lewis, Dylan South African, born 1964 From a family of artists and inspired by his mother and grandmother, Dylan Lewis first became a painter before switching to sculpture after the death of his father, the well-known sculptor Robin Lewis. His art is inspired by the natural world and especially his favorite subject, the big cats of Africa. Lewis’ work can be found in major private collections around the world and he is one of the few living artist to have a solo auction at Christie’s in London.

Lloyd, Edward British, circa 1846-1891 Lloyd was an equestrian artist from Ellesmere, England. His work includes paintings of sporting dogs and horses in landscapes. Lloyd painted for a number of patrons and exhibited at the Royal Academy in 1861.

Lyne, Michael British, 1912-1989 A precocious child, Lyne illustrated and dictated two small books at age four.

Lyne took a few lessons at the Cheltenham Art School, but was mainly a selftaught artist. His skillful portrayal of light ranges from razor-sharp contrast to muted, diaphanous glow. He held many exhibitions in London, New York, and elsewhere in the United States.

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.

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

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

Mene, Pierre-Jules French, 1810-1879 Son of a metalsmith, Mene’s artistic talent, especially in animal sculpture, was outstanding. He exhibited at the Salon of 1838, while still in his 20s and he became one of the most appreciated sculptors of the animalier school. Mene enjoyed a fulfilling life in Paris, producing bronzes from his own foundry with his son-in-law, Auguste Cain.

Mitchell, Dean American, born 1957 Few artists of his generation have such complete command of watercolor as does the award-winning Dean Mitchell. Formally trained at the Columbus College of Art and Design, Mitchell left a career with Hallmark Cards to pursue his realistic portrayal of both rural and urban America. His talents have been officially recognized through memberships to numerous artistic societies, through major awards, and even a U.S. Postal Service commission for a series on jazz.

Müller, Hans Austrian, 1873-1937 Born in Vienna, Austria, Müller was a student at the Vienna Academy of Art and a pupil of sculptor Edmund Hellmmer. Although he did model a few animal sculptures, mostly of hunting dogs, Müller is best know for his portraits and busts of the more famous Viennese society members. Much of his work is on permanent display in the Simu Museum in Bucharest, Hungary.

Munnings, Sir Alfred James KCVO, PRA, RWS, RP 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 the sight of 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.

Musgrave, Olivia British, born 1958 London-based Musgrave was born in Dublin to an Irish father and a Greek mother. Her knowledge and love of all three locations comes through in her

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sculpture — everything from the horse to ancient mythology. Her artistic influences have primarily been 20th-century Italian sculptors. She is a member of both the Royal Society of British Sculptors and the Society of Portrait Sculptors.

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. Nieman’s work is found in many museums and private collections.

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

Ostenberg, Thomas American, born 1949 At age 40 after a successful career in the financial world, Ostenberg entered the New York Studio School, moved on to the Kansas City Art Institute where he earned a bachelor’s degree in fine art and then earned his master’s degree from the Royal College of Art in London, England. Primarily in bronze, his works are described by such words as whimsical, joyful, and magical.

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.

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

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

Pater, André Polish/American, born 1953 Now a resident of Lexington, Kentucky, this Polish-born artist received his master’s degree from the Academy of Fine Arts in Krakow. Arabian horses were his first subjects and he was quickly one of the most sought after painters of this breed. In the late 1980s he developed a love of the Thoroughbred and again has risen to the top of his field with racing scenes as well as portrayals of hunting dogs, cattle, and wildlife.

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

Pleissner, Ogden Minton American, 1905-1983 Born and raised in Brooklyn, Pleissner studied at the Art Students League and gained critical acceptance at age 25 when the Metropolitan Museum of Art purchased a work. Taking to the road with salmon rod and easel, he fished and painted across the country, capturing the exigencies of light and weather. Widely acclaimed, exhibited, and awarded, Pleissner’s work is in many museums.

Powers, Don American, 1950-2010 As a child Powers began to draw and developed a bond with art that defined his soul. Powers studied at Tennessee Tech and David Lipscomb Universities and became art director for the Tennessee State Museum. Powers’ paintings vary from landscapes to portraits, including those of former President Jimmy Carter and the Dalai Lama. His works are in the collections of Emory University, Tibet House New York, the Memphis College of Art, and elsewhere.

Quinn, David British, born 1959 A 1982 graduate with a B.A. First Class Honours in Graphic Design (Illustration) from Manchester Polytechnic, Quinn won the 1987 “Bird Illustrator of the Year

Award” from the British Birds magazine. Among the publications to feature Quinn’s illustrations are the Helm Identification Guides and the National Geographic Guide to New World Warblers.

exhibited mainly horse portraits, but also painted sporting scenes. The Sartorius family was central in London artistic and social circles. Rounded horses being one of his trademarks, he is also lauded for his well-composed and intriguing scenes.

Reeves, Richard Stone American, 1919-2005 Quite simply, Richard Stone 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.

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.

Righetti, Guido Italian, 1875-1958 Righetti sculpted primarily for his own enjoyment with his works cast in the lost wax method in limited editions of 10 or fewer, and some being unique casts. A native of Milan, Italy, and a member of an aristocratic northern Italian family, Righetti was a student of Prince Paul Troubetzskoy, whose impressionistic influence can be seen in the student’s work. Although his works are considered very “modern,” they retain a fluid motion and action.

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

Rosseau, Percival American, 1859-1937 Born into a French-speaking family in Point Coupee Parish, Louisiana, Rosseau studied in Paris under Jules Lefebvre and Tony Robert-Fleury. He exhibited at (and won prizes in) the Paris Salon in 1900 and 1906 before returning to live in America.

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.

Sartorius, John Nost British, 1759-1828 Producing many works as did the rest of his prolific artistic family, Sartorius

Shilstone, Arthur American, born 1922 When legendary sportsman Ed Gray, founder of Gray’s Sporting Journal, was selecting an illustrator for his definitive book on fly fishing, he chose Arthur Shilstone for the job. Shilstone’s works have been featured in many publications — Life, Sports Illustrated, New York Times Magazine and the Smithsonian National Geographic to name a few. He is an award-winning member of the American Watercolor Society and the Society of Illustrators.

Skeaping, John Rattenbury 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.

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

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

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

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

Stull, Henry American, 1851-1913 Son of an Ontario coach driver, Stull landed in New York to pursue a career as an actor, got a job with an insurance firm, began to sketch pictures of boats and horses, and found his way to the staff of Leslie’s Illustrated. 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 long time patrons, Pierre and George Lorillard.

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

Taylor, Jo British, born 1969 Born in Lancashire, Taylor studied at Leed’s 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 Cheltham Gold Cup runners. Taylor has exercised racehorses in Newmarket and feels it’s necessary to always work from life.

Troubetzkoy, Prince Paul Russian, 1866-1938 Described by G. B. Shaw as “the most astonishing sculptor of modern times,” Troubetzkoy was a self-taught artist, although he did study sculpture with Giuseppe Grandi. The son of a Russian nobleman and an American woman, he worked in Russia, America, England, and Italy. His artistry is associated with impressionism due to his grasp of sketchy movement. Few of his bronzes are still available in the market.

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

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

Voss, Elsa Horne American, 1895-1982 A talented equestrian Voss married into a family of artists. While experienced in oils and watercolor, her most important works are her bronzes. She created for her own pleasure and on commission, with her pieces being exhibited often.

Her first solo show was in 1940 at Newhouse Galleries in Manhattan.

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 — out foxhunting with the Elkridge-Harford Hounds near his Maryland farm.

Waddell, Theo American, born 1941 A cattle rancher and painter, Waddell lives on the Musselshell River northwest of Billings, Montana. He studied at the Brooklyn Museum Art School, Eastern Montana College, and Wayne State University, Detroit, from which he earned his master’s degree. His works have been described as “sophisticated modernist paintings” and have been exhibited across the country, including the San Francisco Museum of Modern Art. Wells, John Sanderson British, 1872-1955 An English artist who specialized in sporting and animal painting, Wells was educated at the Slade School of Art in London and the Academie Julian in Paris.

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

Wheeler, Alfred British, 1851-1932 Wheeler shared a very close relationship with his father, the renowned artist John Alfred Wheeler. Many are confused by the two Wheelers’ works, as they are similar in style. The son painted many of the same racehorses as his father and both frequently signed their works ‘J.A. Wheeler.’ Alfred’s works are characterized as more photographic and lighter than those painted by his father.

Wheeler, John Alfred British, 1821-1903 Wheeler enlisted in the army at age 19, giving him first-hand exposure to horses that would later aid him in his artistic career. During his life, 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 over 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.

Wiles, Gill British, born 1942 Wiles is a South African-born contemporary sculptor and painter who worked in London from the 1970s. She specializes in racing and polo subjects.

Williams, Peter New Zealand/American, born 1934 A native New Zealander, Williams attended art school there, and as an artist developed a loyal following. In the early 1980s, he began to live, paint, and exhibit in the United States, settling in Louisville, Kentucky. A location painter, Williams strives for the immediacy and spontaneity he feels are essential to painting action subjects. For the past several years he has become a part of the equine scene, from training tracks in Japan and carriage driving at the Queen’s Sandringham Estate to famous tracks and events throughout the United States.

expressive portrayals of horses, maintaining a fine balance between traditional and contemporary interpretation.

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

Wyeth, Jamie American, born 1946 The artistic heir of the Brandywine School tradition of painters, Jamie Wyeth is the son of Andrew Wyeth and grandson of N. C. Wyeth. His artistic reach is broader than either of his ancestors, and he excels in drawing, lithography, etching, egg tempera, watercolor, and mixed media.

Wyeth, N. C. (Newell Convers) American, 1882-1945 Recognized as one of America’s greatest illustrators, N. C. Wyeth created over 3,000 paintings and illustrated 112 books. As a realist artist, his works had to compete with the advent of photography. His first commissioned work as an illustrator was a 1903 cover of The Saturday Evening Post.

Yeager, Scott American, born 1965 An avid fisherman and all around outdoorsman, Yeager’s paintings offer a visual diary of his love for the outdoors. Yeager studied at the Scottsdale Artists School in Arizona. Yeager has been exhibited widely, including the Scottsdale Art Auction, Arts for the Parks sponsored by the National Parks Academy of the Arts, and the Bennington Center for the Arts in Vermont.

Young, Stephen Scott American, born 1957 Inspired by Eakins, Homer, and Wyeth, Young has become an acclaimed watercolor and dry brush master. In 2012 he became the first living American artist to have a one-man exhibition at Christie’s private gallery in New York, and he is one of the youngest living artists to have works sold at both Christie’s and Sotheby’s.

Wolf, Cindy American, born 1946 An accomplished horsewoman, Wolf attended William Woods College in Fulton, Missouri, graduating with a bachelor of arts degree in history. She apprenticed with a Colorado foundry before artist Chuck Quigley helped her set up her bronze studio in her home in Kentucky. Wolf is known for her

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CONDITIONS OF SALE

THESE CONDITIONS GOVERN THIS SALE: This Sale (“Sale”) is governed by these Conditions of Sale (“Conditions of Sale”), as may be amended by KCG Enterprises, LLC d/b/a The Sporting Art Auction (“KCG”) by the posting of notices or by announcements made during the Sale from the auctioneer’s stand or otherwise (such “notices” and “announcements” shall be collectively referred to herein as the “Announcements”) (the “Conditions of Sale” and “Announcements” shall be referred to herein as a “Condition,” individually, or the “Conditions,” collectively, as the context permits). All Sellers, Agents, owners, prospective bidders/Purchasers, all other interested parties and all sales are therefore bound by and subject to the Conditions as set forth in this Catalogue. By participating in the Sale, you acknowledge you are bound by these Conditions.

Seller shall mean a person or entity who sells all or any interest in property sold at this Sale, and is referred to as “Owner” in the Consignment Agreement. Purchaser means a person or entity who buys all or any interest in property at this Sale.

1. KCG AS AGENT. Except as otherwise stated, KCG acts as agent for the Seller pursuant to the Consignment Agreement. The contract for sale of the property in this Sale is therefore made between the Seller of the property and the Purchaser.

2. PRESALE EXAM. All prospective purchasers and bidders are urged to examine carefully the property in which they may be interested (personally and/or by agents) to determine its condition, size and whether it has been repaired or restored, etc. BEFORE bidding, as they are accepting any property purchased with all faults, including all conditions and defects, except for the Limited Warranty set forth in

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Condition 9. Neither KCG nor SELLER provides any guarantee or warranty of any kind in relation to the nature of the property apart from the Limited Warranty in Condition 9. The property is sold “as is,” with all faults and defects.

3. PRIVACY NOTICE. Notice is hereby given to all participants that KCG may record any or all portions of the Sale by video, audio or other means, which may be used by KCG 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. 4. RIGHT OF EXCLUSION. KCG expressly reserves its common law right, at its sole discretion, to refuse admission to the premises or participation in any Sale and to reject any bid; provided, however, such refusal shall not be made on the basis of race, creed, color, national origin, sex, political affiliation or beliefs. By accepting the license granted to the public by KCG to attend the Sale, each individual likewise agrees to be bound by these Conditions.

5. CATALOGUE AND DESCRIPTIONS. All statements in the catalogue entry for property, or made orally or in writing elsewhere, are statements of opinion and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by KCG of any kind. References in the catalogue entry to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that

an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose.

Except for the Limited Warranty set forth in Condition 9, neither KCG nor Seller is responsible in any way for errors and omissions in the catalogue, Announcements, or any supplemental material.

6. BIDDING BIDDING BY LOT. Unless otherwise stated in these Conditions, all bids are per lot as numbered in this catalogue.

DISCLOSURE. In accordance with 355.2-328(4) and other applicable laws, the right to bid in this Sale is reserved for all Sellers, including their disclosed and undisclosed agents, unless otherwise announced at time of Sale. Purchasers therefore agree and acknowledge that Sellers have the right to set reserves implemented by the auctioneer upon property so entered which are not disclosed to Purchasers and also have the right to conduct by-bidding as related to their entries.

Sales results reported by KCG may or may not reflect the fair market value of any property going through the Sale.

REGISTRATION. A prospective purchaser must complete and sign a registration form and provide identification before bidding. KCG, in its sole discretion, may require the production of financial references, guarantees, deposits and/or such other security as KCG deems appropriate.

BIDDING AS PRINCIPAL. When making a bid, a bidder is accepting personal liability to pay the entire Purchase Price, which shall mean the aggregate sum of (i) the highest bid recognized by the auctioneer at the fall of the hammer (the “hammer” price), plus (ii) the Buyer’s Premium (as hereinafter defined), (iii) all applicable taxes, and (iv) all other applicable charges, which may include for example an additional fee and commission when bidding online

(the amounts set forth in subparts (i) through (iv) of this paragraph (d) shall be collectively referred to herein as the “Purchase Price”), unless it has been explicitly agreed in writing with KCG before the commencement of the Sale that the bidder is acting as agent on behalf of an identified third party acceptable to KCG, and that KCG will only look to the principal for payment.

AUCTIONEER’S DISCRETION. The auctioneer has absolute and sole discretion with respect to bidding, to refuse any bid, to advance the bidding in such a manner as he may decide, to withdraw or divide any lot, to combine any two or more lots, and, in the case of error or dispute, whether during or after the sale, to determine the successful bidder, to continue or re-open the bidding, to cancel the sale or to re-offer and re-sell the item in dispute. If any dispute arises after the sale, KCG’s sale record is conclusive. KCG, in its absolute and sole discretion, may execute order or absentee bids and accept telephone bids and online bids and will use commercially reasonable efforts to carry out such bids provided, however, KCG is not responsible for any errors or omissions in connection therewith, and KCG’s Conditions control and govern all sales through KCG. BIDDING. KCG reserves the right to reject any bid. Subject to the auctioneer’s discretion, as defined in paragraph (e) of this Condition 6, the highest bidder accepted by the auctioneer will be the Purchaser and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the Seller and the Purchaser.

BUYER’S PREMIUM. As part of the Purchase Price, Purchaser agrees to pay to KCG a Buyer’s Premium, together with any applicable taxes and fees. The “Buyer’s Premium” is fifteen percent (15%) of the hammer price of each lot up to and including $100,000, plus ten percent (10%) of the hammer price of each lot in excess of $100,000 up to and including $1,000,000, plus five percent (5%) of the hammer prices of each lot in excess of $1,000,0000. The parties acknowledge there may also be a Seller’s Premium, pursuant to the terms of the Consignment Agreement.

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RESERVE. Lots in this catalogue may be offered subject to a reserve, which is the confidential minimum hammer price below which the lot will not be sold. No reserve will exceed the low presale estimate stated in the catalogue, or as may be amended by the Announcements.

KCG may implement such reserve by opening the bidding on behalf of the Seller and may bid up to the amount of the reserve, by placing successive or consecutive bids for a lot, or bids in response to other bidders. In instances where KCG has an interest in the lot other than its commission, it may bid up to the reserve to protect such interest.

7. OBLIGATIONS OF PURCHASER PAYMENT OF PURCHASE PRICE. Subject to fulfillment of all of the conditions set forth herein, on the fall of the auctioneer’s hammer, the contract between the Seller and the Purchaser is concluded, and the Purchaser thereupon will immediately pay the Purchase Price to KCG. Title and risk of loss in a purchased lot (including frames or glass where relevant) will not pass until KCG has received the full Purchase Price in cleared funds. KCG is not obligated to release a lot to the Purchaser until title to the lot has passed and any earlier release does not affect the passing of title or the Purchaser’s unconditional obligation to pay the Purchase Price. In addition to other remedies available to KCG by law, KCG reserves the right to impose from the date of Sale a late charge of eighteen percent (18%) of the total Purchase Price per annum if payment is not made within seven (7) days from the date of the Sale.

REMOVAL OF PURCHASED PROPERTY. Unless otherwise agreed

by KCG, all property must be removed from KCG’s premises by the Purchaser at Purchaser’s expense not later than fourteen (14) calendar days following the Sale. KCG’s liability for loss or damage to sold property shall cease no later than fourteen (14) calendar days after the Sale. If any applicable conditions herein are not complied with by the Purchaser, the Purchaser will be in default and in addition to any and all other remedies available to KCG and Seller by law, including, without limitation, the right to hold the

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Purchaser liable for the total Purchase Price. KCG, at its option, may (i) cancel the sale of that, or any other lot or lots sold to the defaulting purchaser at the same or any other auction, retaining as liquidated damages all payments made by the Purchaser, (ii) resell the purchased property, whether at public auction or by private sale, or (iii) effect any combination thereof. In any case, the Purchaser will be liable for any deficiency, any and all costs, handling charges, late charges, expenses of both sales, KCG’s commissions on both sales at KCG’s regular rates, legal fees and expenses, collection fees and incidental damages. KCG may, in its sole discretion, apply any proceeds of sale then due or thereafter becoming due to the Purchaser from KCG, or any payment made by the Purchaser to KCG, whether or not intended to reduce the Purchaser’s obligations with respect to the unpaid lot or lots, to the deficiency and any other amounts due to KCG. In addition, each Purchaser grants and assigns to KCG a continuing security interest of first priority in any property or money of or owing to such Purchaser in KCG’s possession or in the possession of any of its affiliated companies, and KCG may retain and apply such property or money as collateral security for the obligations due to KCG. KCG shall have all of the rights accorded a secured party under the Kentucky Uniform Commercial Code.

KCG may file financing statements under the Kentucky Uniform Commercial Code (or any such applicable uniform commercial code if Purchaser is not a resident of Kentucky). Any claims relating to any purchase, including any claims under the Conditions, must be presented directly to KCG. In the event the Purchaser fails to pay any or all of the total Purchase Price for any lot and KCG nonetheless elects to pay the Seller any portion of the sale proceeds, the Purchaser acknowledges that KCG shall have all of the rights of the Seller to pursue the Purchaser for any amounts paid to the Seller, whether at law, in equity, or under these Conditions.

8. DISCLAIMER. EXCEPT FOR THE LIMITED WARRANTY EXPRESSLY STATED IN CONDITION 9, THERE IS NO WARRANTY OR GUARANTEE OF ANY KIND WITH RESPECT TO ANY PROPERTY OR ANY DESCRIPTION

THEREOF, INCLUDING WITHOUT LIMITATION ANY EXPRESS OR IMPLIED WARRANTIES BY KCG OR SELLER AS TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, OR THE CORRECTNESS OF THE CATALOGUE OR OTHER DESCRIPTION OF THE PHYSICAL CONDITION, SIZE, QUALITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITIONS, LITERATURE OR HISTORICAL RELEVANCE OF ANY PROPERTY. NO STATEMENT ANYWHERE, WHETHER ORAL OR WRITTEN, WHETHER MADE IN THE CATALOGUE, AN ADVERTISEMENT, A SALESROOM POSTING OR ANNOUNCEMENT, OR ELSEWHERE, SHALL BE DEEMED SUCH A WARRANTY, REPRESENTATION OR ASSUMPTION OF LIABILITY. KCG AND SELLER MAKE NO REPRESENTATIONS AND WARRANTIES, EXPRESS OR IMPLIED, AS TO WHETHER THE PURCHASER ACQUIRES ANY COPYRIGHTS OR LICENSES, INCLUDING BUT NOT LIMITED TO, ANY REPRODUCTION RIGHTS IN ANY PROPERTY. KCG IS NOT RESPONSIBLE FOR ERRORS AND OMISSIONS IN THE CATALOGUE, GLOSSARY, OR ANY SUPPLEMENTAL MATERIAL EXCEPT AS OTHERWISE SPECIFICALLY PROVIDED HEREIN, ALL SALES ARE MADE AS IS, WITH ALL FAULTS. 9. LIMITED WARRANTY OF AUTHORSHIP. As set forth below and in the Conditions of Sale and Announcements, KCG guarantees that the authorship, period, culture or origin (collectively “Authorship”) is as set out in the Bold or CAPITALIZED type heading in the catalogue description of the lot, as may be amended by the Announcements (“Authorship Limited Warranty”). KCG, in its reasonable discretion, shall determine whether the conditions for return of the property based on breach of the Authorship Limited Warranty have been satisfied. If so, KCG will refund the original Purchaser of record the Purchase Price. This Authorship Limited Warranty does not apply if: (i) the catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing that the

Authorship was not as described in the Bold or Capitalized heading at the date of the Sale would have been by means or processes not then generally available or accepted, unreasonably expensive or impractical to use or likely (in KCG’s reasonable opinion) to have caused damage to the lot or likely to have caused loss of value to the lot; or (iii) there has been no material loss in value of the lot from its value had it been in accordance with its description in the Bold or Capitalized type heading. This Guarantee is provided for a period of one (1) year from the date of the relevant auction, is solely for the benefit of the original Purchaser of record at the auction and may not be transferred to any third party. To be able to claim under this Authorship Limited Warranty, the original Purchaser of record must: (i) notify KCG in writing within three (3) months of receiving any information that causes the original Purchaser of record to question the accuracy of the Bold or Capitalized type heading, specifying the lot number, date of the Sale at which it was purchased and the reasons for such question; and (ii) return the lot to KCG at the original selling location in the same condition as at the date of the Sale to the original Purchaser of record and be able to transfer good title to the lot, free from any third party claims arising after the date of the Sale.

KCG has discretion to waive any of the above requirements. KCG may require the original Purchaser of record to obtain at the original Purchaser of record’s cost the reports of two (2) independent and recognized experts in the field, mutually acceptable to KCG and the original Purchaser of record. KCG shall not be bound by any reports produced by the original Purchaser of record, and reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a Sale and the refund of the original Purchase Price paid is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law, or in equity. KCG and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

10. DISCLAIMER OF IMPLIED DUTIES. KCG shall endeavor to protect the interests of all parties, but the duties and obligations

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of KCG to such persons shall be strictly limited to those expressly imposed upon KCG by these Conditions. All other duties and obligations, including fiduciary and other duties which might otherwise be imposed upon KCG by operation of law, are hereby expressly disclaimed, except that KCG shall be required to exercise that standard of care generally exercised by other comparable art auction companies.

11. RIGHT TO WITHDRAW. KCG retains the right to withdraw any property at any time before the sale for any reason in its sole discretion.

KCG shall have no liability whatsoever for such withdrawal.

statements or advertisements do not constitute warranties, shall not be relied upon by the Purchasers and are not part of the contract for sale. The entire contract of sale is embodied in these Conditions of Sale, the Announcements, and with respect to the Seller, the Consignment Agreement. These aforementioned documents constitute the final expression of the parties’ agreement, and are a complete and exclusive statement of that agreement. Notwithstanding the above, Seller, owner and Purchaser may enter into an agreement which modifies the limited warranties as provided herein; however, any such action by the Seller, owner and Purchaser cannot and shall not modify or alter the duties, responsibilities and rights of KCG as provided in these Conditions and the Consignment Agreement.

12. MISCELLANEOUS COPYRIGHT. The copyright in all images, illustrations and written material produced by or for KCG relating to a lot, including the contents of this Catalogue, is and shall remain at all times the property of KCG and shall not be used by the Purchaser, nor by anyone else, without prior written consent.

SEVERABILITY. The invalidity or unenforceability of any provision of these Conditions of Sale shall not affect the validity or enforceability of any other provision hereof, and any such invalid or unenforceable provision shall be deemed to be severable.

PACKING AND SHIPPING. KCG is not responsible for the acts or omissions in the packing or shipping of purchased lots. Packing and handling of purchased lots is at the entire risk of the Purchaser.

TAXES. Unless otherwise exempted by law, the Purchaser will be required to pay any Kentucky sales and use tax, any applicable compensating use tax of another state, and, if applicable, any federal luxury or other tax on the total Purchase Price.

MERGER OF AGREEMENT. The Seller, owner, or KCG may have made oral statements or published advertisements concerning the condition of the property described in this catalogue or this sale generally. Such

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FORCE MAJEURE. The lack of performance hereunder by KCG shall be excused without liability if the failure to perform is due to an act of God, fire, casualty, act or decision of a governmental authority, injunction, strike or labor dispute, or any other cause beyond the control of KCG. The invalidity or unenforceability of any provision of these Conditions shall not affect the validity or enforceability of any other provision hereof, and any such invalid or unenforceable provision shall be deemed to be severable.

HEADINGS. The descriptive headings of these Conditions of Sale are inserted for convenience only and shall not constitute a part of these Conditions of Sale.

LIMITATION OF ACTION. Any cause of action arising out of the purchase and sale of any property at this Sale, whether it is based in contract or tort, shall be commenced not more than one (1) year after the sale or be forever barred. Provided, however, this limitation of action shall not apply to an action for the recovery from the Purchaser of the Purchase Price, plus interest and expenses, and including repossession of the property purchased at this Sale.

GOVERNING LAWS; VENUE AND JURISDICTION; WAIVER OF JURY TRIAL. The laws of the Commonwealth of Kentucky shall

govern the construction of these Conditions and the rights, remedies and duties of the parties hereto. In the event of any litigation arising out of these Conditions or the transactions contemplated hereby, the parties agree that any action or suit shall be brought in a court of record in the County of Fayette, Commonwealth of Kentucky, or in the United States District Court for the Eastern District of Kentucky, and the parties hereby consent to the venue and jurisdiction of such courts. The owner, Seller, Purchaser and KCG and their respective agents, voluntarily and intentionally waive any right that they may have to a trial by jury in respect to any litigation arising from or connected with this sale.

PERSONAL INFORMATION. By agreeing to these Conditions, parties agree to the processing of their personal information and also to the disclosure and transfer of such information to any KCG affiliate and to third parties anywhere in the world for the above purposes, including to countries which may not offer equivalent protection of personal information to that offered in the United States. Parties can prevent the use of their personal information for marketing purposes at any time by notifying KCG. NO WAIVER. The failure of KCG to exercise or enforce any right(s) or provision(s) of these Conditions shall not constitute a waiver of such right(s) or provision(s).

LIMITATION OF LIABILITY. In no event will KCG’s liability to a Purchaser exceed the purchase price actually paid.

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ABSENTEE BIDDING INFORMATION

As a convenience to clients who cannot attend the auction, KCG will execute absentee bids without charge. Bids will be executed to purchase the Lots requested as inexpensively as will be permitted by other bids for those Lots. Bids should be submitted as early as possible and should be dated. In the event of identical bids, KCG has sole and complete discretion as to which bid to execute, but the first bid received normally will take preference.

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

To avoid delay in removing purchases, buyers planning to pay with a personal or business check are advised to supply us with a bank letter of credit prior to auction. All bids are subject to the “Conditions of Sale” which appear on page 192 of this catalogue.

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

SHIPMENT OF PURCHASES INFORMATION

If your bid is successful, KCG can help arrange shipment of your purchases to you. Estimates for the shipping of any purchases can be attained through KCG. All purchases must be removed no later than Friday, November 22, 2013. A paid receipt must be presented to KCG staff in order to release any property.

Please note the “Conditions of Sale” which appear on page 192 of this catalogue concerning prompt payment and clearance. In default of these conditions, lots may be transferred to a public warehouse at the risk and cost of the buyer.

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DATE SUBMITTED: ________________

THE

BIDDER NUMBER: ________________ (to be assigned by KCG)

AUCTION PRESENTED BY

ABSENTEE BID FORM THIS FORM SHOULD BE SENT OR FAXED TO BE RECEIVED BY KCG IN ADVANCE OF THE SALE. References should be supplied in enough time to be taken up before the sale.

KCG dba The Sporting Art Auction • 4201 Versailles Rd. • Lexington, Kentucky 40510 Phone: (859) 233-3856 • Fax: (859) 288-4249

Sporting Art Auction No. I • Wednesday, November 20, 2013 I request KCG, without legal obligations of any kind on its part, to bid on the following Lots up to the price given below. I UNDERSTAND THAT IF MY BID IS SUCCESSFUL THE PURCHASE PRICE PAYABLE WILL BE THE SUM OF THE FINAL BID AND A BUYER’S PREMIUM PLUS SALES TAX WHERE APPLICABLE. All bids shall be treated as offers made on the Conditions of Sale printed in this catalogue. I also understand that KCG provides the service of executing bids on behalf of clients for the convenience of clients and that KCG will not be held responsible for failing to execute these bids. If identical commission bids are received for the same Lot, the commission bid received first by KCG will take precedence.

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot No.

Description

Your Maximum Bid

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

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

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

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

Adam, Emil .....................................2

Firth, Richard ......................110, 111

Lyne, Michael ..............................114

Shayer, William Joseph ....................7

Ashley, Frank Nelson ...........129, 130

Flannery, Vaughan ........................61

Matia, Walter ................................79

Shilstone, Arthur .........................116

Barnhart, Jeaneen .......................127

Frink, Dame Elisabeth Jean ............90

Mehl, Joanne ..............................170

Skeaping, John Rattenbury ............53

Bassett, Carroll K. .........................71

Fuchs, Bernie ..............................139

Menasco, Milton .........42, 44, 45, 46

Smith, Brett James ........................62

Bellocq, Pierre, a.k.a. PEB ............167

Gayrard, Joseph Raymond Paul ..........24

Mene, Pierre-Jules .........................21

Smith, Peter ........................172, 173

Benson, Frank Weston ..................63

Gold, Dede .................................162

Mitchell, Dean ......................98, 104

Stainforth, Martin Frank ..........40, 41

Bibby, Nick ....................................87

Good, John Willis ....................22, 23

Müller, Hans .................................18

Biegel, Peter .....................33, 34, 35

Gridnev, Valeriy ...........................140

Munnings, Sir Alfred J. ............49, 50,

Stull, Henry ................27, 28, 36, 37,

Blacker, Philip .........................82, 83

Hancock, Charles ............................1

55, 56, 57, 58, 59, 122

Bonheur, Isidore Jules .............25, 26

Hantman, Carl ............................107

Musgrave, Olivia ...........................84

Boren, Nelson .............................106

Herring, Sir John Frederick, Sr. .........12, 17

Neiman, LeRoy ...................142, 143

Bowman, Jean ..............................43

Herring, John Frederick, Jr. ...............5

Oppegard, Faye Sandra .......112, 147

Brasilier, André ............................132

Hilaire, Camille ...........................131

Ostenberg, Thomas .......................85

Brewer, Allen F., Jr. ...................38, 39

Hinz, Valerie ........................108, 109

O’Sullivan, Katie .........................150

Broadhead, William Smithson ..........51

Holt, Susanna ...............................72

Palmer, Lynwood ...........................47

Cain, Auguste Nicholas .................19

Howell, Peter ......................152, 153

Paris, Rene ....................................95

Carlson, Ken ...............................105

Humphrey, Leslie ........................138

Pater, André ...............119, 120, 158,

Cassatt, Mary Stevenson................70

Jacquemart, Henri Alfred ...............20

159, 160

Church, Charles ..................164, 169

Jeffery, Michael ...........................174

Penny, Edwin ................................69

Claxton, George ...........................81

Kemp-Welch, Lucy ........................48

Pleissner, Ogden Minton ...............67

Coates, Thomas J. ................154, 155

Kesteven, Abel ............................128

Powers, Don ...............................115

Whitcombe, Susie .......................144

Collins, Ashley .............................141

King, Alexa .............................80, 96

Quinn, David ...............................126

Wiles, Gill .........................74, 75, 89

Cooper, Abraham ............................4

Kirk, Juli ......................................163

Reeves, Richard Stone .........117, 118,

Williams, Peter ............................146

Coreth, Mark ................................88

Koehler, Henry .....................148, 149

121, 151, 157, 161, 166, 168

Wolf, Cindy ...................................86

Curling, Peter ............. 123, 156, 165

Lalanne, Jean-Bernard .........134, 135

Righetti, Guido .............................78

Wyeth, Andrew Newell ...............103

Douglas, William ...........................13

Lamb, Emily ........................124, 125

Ripley, A. Lassell ................64, 65, 66

Wyeth, Jamie ......................101, 102

Edwards, Lionel D. R. ...............29, 30

Lazzari, Nicola ..............................93

Rosseau, Percival ..........................68

Wyeth, Newell Convers (N.C.) .........100

Emms, John ..................................10

Lewis, Dylan ......................91, 92, 94

Sandys-Lumsdaine, Leesa .............31

Yeager, Scott ...............................113

Ferneley, John E., Sr. ......................16

Lloyd, Edward ...............................11

Sartorius, John Nost ........................6

Young, Stephen Scott ....................99

54, 60 Taplin, Guy ..............................76, 77 Taylor, Jo .............................136, 137 Troubetzkoy, Prince Paul ...............97 Troye , Edward ....................3, 14, 15 Voss, Elsa Horne ...........................73 Voss, Franklin Brooke ....................52 Waddell , Theo ............................133 Wells, John Sanderson ..................32 Wheeler, Alfred ...............................8 Wheeler, John Alfred .......................9 Wheeler, Larry Dodd ...........145, 171

THE SPORTING ART AUCTION

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

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NOTES

THE SPORTING ART AUCTION

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NOTES

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