2015 Sporting Art Auction Catalog

KEENELAND / CROSS GATE GALLERY

THE

AUCTION

THE SPORTING ART AUCTION NOVEMBER 18, 2015

IN AFFILIATION WITH

Keeneland Sales Pavilion

Lexington, Kentucky

November 18, 2015

The

Auction Sale No. 3 In sending written bids or making inquiries, this sale should be referred to as Sporting Art Auction No. 3.

Cover Illustration: Lot No. 139

Back Cover Illustration: Lot 69

Sir Alfred Munnings (British, 1878-1959)

Carl Dahl (American, born 1952)

Mon Talisman, Chantilly

Homage To Papinta

Oil on canvas | 20” x 24 1⁄4”

Bronze | 19 1⁄2” x 14 x 5

Auction Wednesday, November 18, 2015 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 14 – 26 and November 2 – 14 from 10 a.m. – 5 p.m.

By appointment October 3 – 25: 859-233-3856.

For additional viewing times visit: www.thesportingartauction.com

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

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INTRODUCTION

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n its brief history, the Sporting Art Auction has become one of the most eagerly anticipated events on the art enthusiast’s calendar.

When officials at Keeneland partnered with Cross Gate Gallery owner Greg Ladd to introduce a sporting art auction in 2013, it was considered a natural fit.

Globally recognized as the premier Thoroughbred auction house, Keeneland offered the perfect venue with its state-ofthe-art sales pavilion and auctioneering expertise. Perhaps most importantly, many of its racing and sales clientele are avid collectors of sporting art.

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

In 2015, Keeneland and Cross Gate will once again team to conduct the third annual Sporting Art Auction on Wednesday, November 18, at 4 p.m. ET. The success of the first two auctions confirms the strong demand for quality sporting art.

LeRoy Neiman’s Flat Racing, a one-of-a-kind glazed ceramic tile mural, sold for $291,000 to top the inaugural sale in 2013. More than three-quarters of the 174 lots in that first auction sold. Nearly half of those works brought

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final bids in excess of their listed high estimate value.

Last year’s auction saw large crowds and brisk bidding, with the massive triptych Hercules, by American artist Ashley Collins, selling for top price of $149,500. Seventyfive percent of the 175 pieces sold, with 40 percent of those lots bringing final bids above their listed high estimate value.

“It’s been very rewarding to have such strong support from the Central Kentucky community, the horse industry and sporting art collectors from around the world, who enthusiastically participate in the auction,” Ladd said.

This year’s auction will feature 175 high-quality lots representing fine sporting art, American paintings, and sculpture from renowned artists.

One of the auction’s most significant pieces is Sir Alfred James Munnings’ Mon Talisman, a 20” x 24½” oil on canvas, signed and inscribed, depicting the winner of the Prix du Jockey-Club and Prix de l’Arc de Triomphe at Chantilly in 1928.

Also cataloged is The Heythrop Hunt, by British artist Lionel Edwards, a 16½” x 23” signed watercolor. Before 1835, what is now known as Heythrop County in England was hunted by the Duke of Beaufort’s hounds.

Other notable pieces to be offered include LeRoy

Neiman’s Racing, a signed 7¾” x 10” oil on board; The Athlete, a 30” x 30” oil on canvas by award-winning VietnameseAmerican artist Quang Ho; and Loading the Barrels, Truman’s Brewery, by British artist Peter Biegel, a 30” x 40” signed oil on canvas.

The auction also will feature works by such celebrated artists as Edward Troye, John Frederick Herring, Sr., and Henry Stull, as well as contemporary pieces by Andre Pater, Larry Wheeler, Peter Howell, Charles Church, and Richard Stone Reeves.

“Each year we travel throughout the U.S. and Europe to acquire important pieces we feel confident will generate interest,” Ladd said.

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

“We are very proud of the fact that this will benefit our charitable giving arms, with proceeds directed to support the horse industry and the community,” Keeneland President and CEO Bill Thomason said.

The 2015 collection will be on display in the Keeneland Sales Pavilion beginning with the September Yearling Sale (Sept. 14-26) and continuing through the art auction’s November date.

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

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

The Conditions of Sale begin on page 193.

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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. In 2015, Keeneland will host for the first time the Breeders’ Cup World Championships on Oct. 30-31.

RACING Since the gates opened for the track’s first race on Oct. 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 who come out to enjoy “racing as it was meant to be.” Top-class horses compete for some of the country’s richest 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, Claiborne Breeders’ Futurity, and Queen Elizabeth II Challenge Cup presented by Lane’s End. Over the years numerous champion Thoroughbreds have graced Keeneland, and its spring and fall race meetings have served

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as a springboard to success for many Triple Crown and Breeders’ Cup winners.

AUCTIONS As the world’s largest Thoroughbred auction house, Keeneland is the preeminent market for yearlings and breeding stock. Its three annual sales attract buyers from nearly every state and more than 50 countries. Keeneland’s accomplished graduates include 82 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, New York. But a wartime restriction on rail transport forced breeders to keep their yearlings at home, prompting the inaugural summer sale that was held under a tent in the Keeneland paddock.

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.

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

■ Champion Royal Delta, who sold in 2011 for $8.5 million, 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 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,

Team Coyle

“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, for capital improvements, and for the benefit of civic and charitable entities. Since 1936, Keeneland has contributed approximately $20 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

F

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 country ladies and gentlemen.

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 Polishborn Andre 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 recently held its first show of works by Stephen Scott Young, the American watercolorist renowned for his paintings of everyday life.

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 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 Andre 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.

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

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Auctioneer emeritus, Keeneland

W

alt Robertson, a long-time leader in the equine auction industry, recently retired as Keeneland’s vice president of sales. He continues to serve as part of the Keeneland sales team and to assist with special projects.

Roberston, a graduate of the University of Kentucky, joined Keeneland in January 2011 after 35 years at the Fasig-Tipton Co. In addition to his vast experience in the Thoroughbred industry, Robertson also has been active in the Central Kentucky community for many years. He has served as 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.

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 early masters, Ladd has cultivated a group of prominent contemporary artists.

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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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.

■ Catalogue Descriptions Statements made by us in the catalogue or any condition report, or made orally or in writing elsewhere, regarding the authorship, origin, date, age, size, medium, attribution, provenance, condition or estimated selling price of any Lot are merely statements of opinion, and are not to be relied on as statements of definitive fact. Catalogue illustrations are for guidance only, and should not be relied on either to determine the tone or color of any item or to reveal imperfections. Many items are of an age or nature that precludes their being in perfect condition.

Estimates of the selling price should not be relied on as a statement that this price is either the price at which the Lot will sell or its value for any other purpose.

The abbreviations fl. and op. mean that the artist worked, “flourished,” and/or “operated” during this time span.

The abbreviation A/C means Artist’s Copy.

Unless otherwise stated in the description, all pictures are framed and all measurements are given with the height preceding the width. All sizes for sculpture are given with the height preceding the width.

■ Estimates The estimated selling price of each Lot is printed beneath the Lot description and does not include the Buyer’s Premium. This sale will be conducted in U.S. Dollars. Bidders should bear in mind that estimates are prepared well in advance of the sale, are not definitive, and are subject to revision.

■ Important Notice No reference to any imperfection is made in individual catalogue descriptions of property offered for sale. Notwithstanding any condition report or catalogue descriptions provided, all Lots are offered and sold “AS IS” in accordance with the Conditions of Sale.

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

■ Registration Before Bidding Prior to sale, all bidders must register and receive a bidding number. PLEASE NOTE: AT THE TIME OF REGISTRATION, DEALERS MUST COMPLETE A RE-SALE TAX EXEMPTION CERTIFICATE; OUT-OF-STATE DEALERS MUST PRESENT AN EXEMPTION FORM FROM THEIR STATE. A bidding number is required of the successful bidder at the fall of the auctioneer’s hammer for each Lot. For your convenience bidder registration can be completed at any pre-sale inspection and prior to sale.

CONTINUED ON NEXT PAGE

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CONTINUED FROM PAGE 9

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

■ Written/absentee Bids If you cannot attend the auction in person, KCG Enterprises, LLC (“KCG”) can bid for you according to your instructions. There is no extra charge for this service, which is known as commission bidding. If successful, the price you pay will be the final bid price plus the Buyer’s Premium, as set forth in the Conditions of Sale. Bids must always be made or confirmed in writing, using the form printed in this catalogue. Bank references may be requested and should be supplied with enough lead time to confirm before the auction. For further information please call (859) 233-3856, Monday-Friday, 9 a.m.–5 p.m. EST, before November 19, 2014. After November 19, 2014, call Keeneland at (859) 288-4186 • Fax (859) 2884249. Email info@thesportingartauction.com ■ Telephone Bids Bidders who cannot attend the auction and who wish to bid by telephone should make arrangements for this service at least two (2) days in advance of the sale as the number of telephone lines is limited. For further information please call (859) 233-3856, Monday–Friday, 9 a.m.–5 p.m.

EST before November 18, 2014. On November 19, 2014, 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 any property can be obtained from our staff at KCG. If you are attending

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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 21, 2014 at 5:30 p.m. unless prior arrangements have been made with KCG to store property at a warehouse.

TO COLLECT ITEMS IN PERSON YOU MUST PRESENT A PAID RECEIPT TO KCG STAFF. ■ Insurance Purchasers are requested to arrange clearance for Property as early as possible and in any event, no later than fourteen (14) days following the day of the sale, at which time KCG’s liability for loss or damage to sold property shall cease. Purchasers must arrange to insure the purchased property as of the time of sale, as they deem appropriate, and regarding which KCG shall have no obligation or liability whatsoever.

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

■ Storage and Storage Charges For a period after the auction, uncollected purchases and unsold Lots may be held at the Sales Pavilion. Thereafter they will be removed for storage and charges will be incurred. All uncollected and unsold property not collected from the Sales Pavilion by 5:30 p.m. on Friday, November 21, 2014, 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 18, 2015 • 400 P.M.

Keeneland Sales Pavilion Lexington, Kentucky

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1 | John Frederick Herring, Jr. (British, 1820-1907) A Farmyard Scene Oil on canvas, 14” x 14” Signed $3,000. – 5,000.

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2 | John Beer (British, 1860-1930)

1906 GRAND NATIONAL STEEPLECHASE (set of 5) Watercolor, (1) 15” x 22”, (4) 10” x 18” Signed, dated 1906 $5,500. – 6,500.

John Beer was one of several artists employed by noted sporting print makers Messrs. Fores. In the days before widespread photography use and certainly before images could be circulated quickly, the wire service would relay race results immediately to the gallery where Beer could quickly produce racing images that were placed in the windows for the public to see what had occurred.

Mostly on the market are images of race finishes. Presented here is a rarer and more involved series of one race, in this case the important Grand National Steeplechase.

The 1906 Grand National began with a false start from Comfit

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before Phil May took an early lead. At Valentine’s Brook Oaklands and Timothy Titus led the way over the water until the fence by the Canal when Timothy Titus and Gladiator went down. At this point Ascetic’s Silver took the lead for the rest of the way, winning by a decisive 10 lengths with Red Lad following and Aunt May in third.

Crautacaun and Pierre are also noted on the works. John M.P. Had been the favorite of the 23-horse field with 7-2 odds, while eventual winner Ascetic’s Silver had gone off at 20-1.

The chestnut Ascetic’s Silver was an Irish-bred chestnut by Ascetic, out of Silver Lady. He won the Irish Grand National

of 1904 and had actually run in and crossed the line first in the Grand National of 1905 but unfortunately was riderless and thus disqualified. He would run in the Grand National again in 1907 and 1909, both times carrying high weight.

As noted by Beer on the work, Ascetic’s Silver was owned by Prince Franz von Hatzfeldt, a member of the noble German family originally from Hesse. He was married to the adopted daughter of American railroad baron Collis P. Huntington.

Aubrey Hastings. An excellent polo player who won the All Ireland Open Cup, Rugby Open Cup, Roehampton Cup, County Cup, and Junior Championship at Roehampton, he was an all-around horseman. The 1906 Grand National was his only victory as a rider.

However, he also trained Lady Nelson’s Ally Sloper to win the 1915 event; Ballymacad, the 1917 champion; and Lord Arlie’s Master Robert, the 1924 winner, thus giving Hastings four Grand National champions.

Ascetic’s Silver was trained as well as ridden by the Honourable The Sporting Art Auction

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3 | George Derville Rowlandson (British, 1861-1928) LEFT BEHIND Oil on canvas, 24” x 36” Signed $8,000. – 10,000.

Provenance: Sotheby’s, New York, December 2, 2005

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4 | John Frederick Herring, Jr. (British, 1820-1907) A Farmyard Scene Signed Oil on canvas, 28” x 36” $15,000. – 20,000.

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5 | Henry Thomas Alken, Sr. (British, 1785-1851) Steeplechase Scenes (set of 4) Watercolor, 10 1⁄4” x 14 1⁄2” each $6,000. – 8,000.

Provenance: Arthur Ackerman & Son

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6 | Richard Barrett Davis (British, 1782-1854)

The Donnybrook Horse Fair, Dublin Oil on canvas, 25” x 34” Signed $6,000. – 8,000.

Provenance: Vicar Brothers, London Christie’s New York, Important British and American Sporting Paintings, June 8, 1984 The historic Donnybrook Fair was founded in 1204 by a royal charter of King John. Held in late August to mid-September, the fair became one of Ireland’s principal markets. Today’s dictionaries

define donnybrook as a free-for-all or brawl owing to the “rough merriment” for which the fair came to be known. The fair was abolished in 1868.

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7 | Adrian Jones (British, 1845-1938)

Major-General Thomas Edmond Byrne’s Amphion Oil on canvas, 44” x 56” Signed, dated 1891 $20,000. – 30,000.

Amphion, a chestnut colt, was bred by J. Chandler, foaled in 1886, sired by Rosebery, out of Suicide by Hermit. MajorGeneral Thomas Edmond Byrne, of the Royal Artillery, owned and campaigned Amphion, whose most notable wins included the Doveridge Handicap (1889), the Jubilee Handicap (1889), the Fern Hill Stakes (1889), the New Biennial Stakes (1890), the

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Champion Stakes (1890), the March Stakes (1891), and the Rous Memorial Stakes (1891). As a stallion, Amphion’s most successful get were Amphora, Rampion, King Amphion, Altesse, Dieudonne, Sundridge and Lally. Amphion was humanely destroyed on October 30, 1906.

8 | Auguste Nicolas Cain (French,1822-1894)

Coq FranÇais Chantant Bronze, 23 1⁄2” x 17 1⁄2” x 9 3⁄4” Signed: A. Cain and Inscribed “LE RÉVEIL 1914” Foundry mark of Susse Frères Paris A presentation plate reads: “Exposition Internationale de Chicago, 1920. Prix d’Honneur, Offert par la Société Hippique Percheronne de France” $9,000. – 12,000.

The Gallic rooster has been an unofficial symbol of France since the collapse of the Roman Empire and the formation of Gaul.

The French often used “Cocorico” — their version of Cocka-doodle-doo — as a slightly sarcastic affirmation of their patriotism. However, in the years leading up to World War I, as Germany became increasingly aggressive and war loomed on the horizon, an “awakening” of national spirit began to take form.

The Gallic rooster’s crow was no longer laden with sarcasm and the deflated sense of patriotism began to swell until it was a nationwide sentiment. “Le Réveil” or “The Awakening” of an entire nation had commenced and had reached a fever pitch by the start of the war in 1914.

Auguste Cain’s Coq Français Chantant as he stands firmly on his rock with head held high, full of pride, was the perfect depiction of the new French nation. It lacked only one thing, which the French foundry Susse Frères would remedy by making a small addition to Cain’s original composition, “Le Réveil1914” a common phrase for all to crow. The national pride and the awakening that the people of France had experienced was still evident, even in the wake of destruction that the great war heaped upon them. So it comes as no surprise that the “French Percheron Society” would offer a large casting of their beloved Coq Français “Le Réveil 1914” as their Prix d’Honneur (Prize of Honor) at the International Livestock Exposition in Chicago in 1920.

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9 | John Willis Good (British, 1845-1879) THE WHIP Bronze, 12” x 11” x 3” Signed $4,000. – 6,000.

Illustrated: J. Horswell, Bronze Sculpture of “Les Animaliers”, Woodbridge, Suffolk, The Antique Collectors’ Club, 1971, p. 288

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10 | Pierre-Jules Mêne (French, 1810-1879)

L’Amazone No. 2 (Equestrienne Riding Sidesaddle) Bronze, 10” x 9 1⁄2” x 3” Signed $4,000. – 6,000.

Mêne originally exhibited a wax model in Paris at the Salon of 1865 of this figure in a larger size of L’Amazone No. 1 and two years later had the piece done in bronze. He then cast the identical work presented here as a half size version titled L’Amazone No. 2. It depicts a “Mme. L” riding Monte-Cristo, an English Thoroughbred.

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11 | Joseph Raymond Paul Gayrard (French, 1807-1855) SIX TOURS Bronze, 9” x 9” x 4 1⁄2” Signed with signature of Boyer foundry $6,000. – 9,000.

Led by Gayrard and Christophe Fratin, bronzes depicting animals in human situations were a popular subject in the mid 19th century.

First studying under his father Raymond, Gayrard began exhibiting at the Paris Salon in 1827 and continued to do so until 1855. A notable bust sculptor who was popular among French high society,

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he became a noted animal sculptor, creating most of these works during the years 1846-1848. Gayrard won a second-class medal at the Salon of 1834 and a first-class medal at the Salon of 1846. One of the edition of this work offered here was exhibited at the Salon of 1846.

12 | Jules Moigniez (French, 1835-1894) Carte de Viste (Game Tray) Bronze, 12” x 10” x 10” Signed $3,000. – 5,000.

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13 | Auguste Nicolas Cain (French,1822-1894) HuntING Platter Bronze, 3” x 12” x 12” signed $3,000. – 5,000.

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14 | Pierre-Jules Mêne (French, 1810-1879) Nanny Goat Bronze, 6” x 9 3⁄4” x 3 3⁄4” Signed and dated 1844 $2,000. – 3,000.

Listed as no. 149 in the Mêne catalogue as Chévre Broutant.

The Sporting Art Auction

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15 | Pierre Lenordez (French, 1815-1892) AT FULL SPEED Bronze, 20” x 22” x 10” Signed $6,000. – 8,000.

Lenordez’s bronze At Full Speed is mounted on a large decorative base, its top depicting the racecourse surface, while its four sides show bas reliefs of other related racing scenes, including racehorses and jockeys at the finish, trotters and drivers at the finish, and those of mares and foals at pasture. This model was cast by Victor Boyer (French, fl. 1828-1887), who was a founder renowned for producing a limited number of bronzes of the highest quality.

He is known to have collaborated with only two of “Les Animaliers”: Pierre Lenordez and Paul Gayrard. As Boyer’s name occasionally appears on its own on some models it is thought that he was also a sculptor.

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16 | Boris Riab (Russian/French 1898-1975)

A FIELD SPANIEL, A BLACK LAB & A GRIFFIN (set of 3) Watercolor, 19” x 13 3⁄4” each Signed $3,000. – 4,000.

Provenance: Private Collection, North Carolina

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17 | Edward Troye (Swiss/American, 1808-1874) ENGLISH Eclipse Oil on canvas, 12” x 16 1⁄2” Signed and dated: E. Troye March, 1865 $10,000. – 15,000.

Provenance: Painted for R. A. Alexander by family decent With Kennedy Galleries, New York Present Owner Literature: The Race Horses of America, Alexander MacKay Smith, pg. 226 The Race Horses of America: “In March 1865, Mr. Alexander had apparently run out of horses of his own for Troye to paint. Instead he asked him to copy the famous 1770 portrait of Eclipse by George Stubbs, the greatest master of the British School of Sporting Painting, now in the possession of the British Jockey Club at Newmarket. As an avowed disciple of Stubbs

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this must have been a particularly pleasing commission…Troye also painted a smaller version of the horse only, 12 x 16 ½ inches” The current offering is the smaller version of the Eclipse painting with “the horse only, 12 x 16 ½ inches” that MacKay Smith refers to on pg. 226. MacKay Smith notes on pg. 7 in The Race Horses of America that in Troye’s statement of 1857 (referring to a brochure from an exhibition on Troye’s Paintings of the Holy Land) that: “he commenced his profession as an animal painter after the style of Stubbs and Sartorious.” While Troye may have begun his career after the style of Stubbs, by 1865 he had certainly developed a style that was all his own. However, in the present work, Troye remains faithful to Stubbs’ original depiction of the great Eclipse.

18 | Edward Troye (Swiss/American, 1808-1874) Idlewild Oil on canvas, 12” x 16 1⁄2” Signed and dated: E. Troye February 27, 1865 $10,000. – 15,000.

Provenance: Painted for R. A. Alexander by family decent With Kennedy Galleries, New York With Newhouse Galleries (1972) Present Owner Literature: The Race Horses of America, Alexander MacKay Smith, pgs. 225226 and listed in the index of Troye’s Paintings on pg. A429 The Race Horses of America: “The Year 1865 brought no slackening in the stream of Alexander commissions. A small portrait of Idlewild, 13 x 18 inches, is signed “Edw. Troye, Feb. 27, 1865.) Idlewild was a brown mare bred by W. S. Buford of Lexington and foaled in 1857 (the Stud Book date of 1859 is incorrect). She was one of Lexington’s first full crop of foals

and was out of Florine by Glencoe. Running in the colors of Capt. T. G. Moore, she won both her starts at 3, seven out of eight at 4, and six out of seven at 5. At the 1861 autumn meeting at the Woodlawn Course, Louisville, she won a 3 mile dash, the second running for the Woodlawn Vase. At 6 years old at the Centreville, Long Island Trotting Track, she ran four miles in 7:26 ¼, a world’s record for a mare. She won one out of four stars at 7 and then was acquired by “Woodburn,” which continued to campaign her. At Jerome Park in 1866 when she was 9, Idlewild ran fourth to Kentucky in the Inauguration Stakes on September 25th and second in the Post Stakes on October 1st. In both races she was ridden by the famous black jockey Abe Hawkins, formerly the property of Duncan Kenner. She was bred to imported Australian in 1869, producing the good racehorse and California Leading sire Wildidle. Troye painted her pointing right with her head slightly cocked to the right so as to conceal her left eye which she lost early in life. Her full sister Aerolite was the dam of Spendthrift.”

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19 | Henri DeLattre (French/American, 1801-1876) Horace Terry’s Spotted Arabian Oil on canvas, 22” x 27” Signed, dated 1852 $10,000. – 15,000.

Henri DeLattre appears to have painted two versions of Terry’s Spotted Arabian: the present example, depicting the stallion in an extensive landscape, and another in which the horse, in an identical pose, is placed in his box stall.

The sire of this purebred Arabian was said to have been either imported Bussorah or imported Amurath, who were both in the New York City area between 1825 and 1832; there is no information regarding his dam. Horace Terry, a cattle dealer and drover who lived at Waterville in Oneida County, New York, bought the colt while on a trip to New York City. Terry’s Spotted Arabian is famous as the sire of Madam Temple (foaled in 1836), the dam of Flora Temple (foaled in 1840), one of the greatest trotting mares in history.

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As Alexander MacKay-Smith notes in his unpublished manuscript on DeLattre, the foaling date of Madam Temple in 1836 would make Terry’s Spotted Arabian about 20 years old in 1852. The February 18, 1857, issue of the Spirit of the Times included a letter to the editor written by James H. Tower of Waterville regarding Terry’s Spotted Arabian, describing the horse as, “a remarkably strong, restless, fast trotting horse, and is said to have been got by a full-blood Arabian stallion on Long Island. He was a great favorite in this section, and his stock for general use possesses probably more excellent qualities than that of any other horse ever known in this vicinity.”

20 | John Frederick Herring, Sr. (British, 1795-1865) Touchstone Oil on panel, 10” x 12” Signed, inscribed and dated 1834 $8,000. – 12,000.

Provenance: Collection of Mrs. E Huxley Collection of Mr. and Mrs. Jack R. Dick Sotheby’s, “The Mr. and Mrs. Jack R. Dick Collection of English Sporting and Conversation Paintings, Part One,” October 31, 1973, lot 16 Foaled in 1831, Touchstone was bred and owned by Robert Grosvenor, the Marquess of Westminster. Described as a frail foal, Touchstone matured to 15.2 hands and was noted for his muscular legs and hindquarters, as well as his long back which resulted from an extra dorsal vertebrae and partial ribs. He won 15 of 22 starts, including the St. Leger Stakes over Derby

winner Plenipotentiary, the Ascot Gold Cup over St. Leger winner Rockingham, and the Doncaster Cup over the great mare Beeswing. Touchstone was the leading sire in Great Britain and Ireland four times and sire of two leading sires in his sons Newminster and Orlando.

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21 | William Joseph Shayer (British, 1811-1891)

Lord Lyon Winning the Derby at Epsom, 1866 Oil on canvas, 30” x 40” Signed, inscribed, and dated. $25,000. – 35,000.

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Provenance: Mr. and Mrs. J. F. Byers, Jr. Vicars Brothers London // Exhibited: “Hunting and Racing Exhibition,” The Baltimore Museum of Art, 1939

finish. His whip is put away and there seems to be no urgency on his part; he knows that he is sitting on the winner. The following description appeared the day after the race and helps one to truly experience the greatness of both Lord Lyon’s win and Shayer’s ability to capture that incredible moment.

The names of the horses are inscribed in the foreground: Redan, Blue Riband, Vespasian, Strathconan, Janitor, Knight of the Crescent, Rustic, Savernake, and Lord Lyon.

The Daily News, May 17, 1866

Exhibited Hunting and Racing Exhibition, Baltimore Museum of Art April 21-May 10 1939 No. 84 lent by Mr. and Mrs. J. F. Byers Jr. In 1866, Lord Lyon won the 2,000 Guineas Stakes, the Derby Stakes, and the St. Leger Stakes and became the third horse ever to win the English Triple Crown. With Harry Custance at the reins, wearing the infamous black and scarlet colors of Sir Richard Sutton, both horse and rider completed the most elusive trio of wins in all of racing. Only 15 horses have claimed the English Triple Crown since 1809, the first year all three races were held. The concept of a Triple Crown was born only after the great West Australian swept all three races in 1853, giving owners a new high mark for which many would aim but very few would ever achieve. Some other horses that have won the crown include such greats as Ormonde, Flying Fox, Bahram, and Diamond Jubilee, and the jockeys who have piloted their mounts to such a rarefied achievement include the likes of Steve Donoghue (twice), Fred Archer, Herbert Jones, and Morny Cannon. Forty-five years and many great horses have come and gone since Lester Piggott rode Nijinsky to capture the Crown.

The present work depicts Lord Lyon, winning the Derby Stakes at Epsom, the most coveted leg of the English Triple Crown as it offers the largest purse and the most prestige. Lord Lyon is at full stretch as he crosses finish line to win by a head. Lyon’s jockey Harry Custance seems very calm and confident despite such a tight

“Lord Lyon was not taken into the paddock, and did not make his appearance in public until the other horses were about to leave it.

He was then walked quietly down the course to a point opposite the grandstand, and back to near Tattenham Corner. The preliminary canters having been got over, with the usual result that every man must admire the going of the animal which be had previously made up his mind was the best, the horses were taken to the post. There were about half a dozen false starts, but at last all the competitors got away upon pretty equal terms, and rushed together up the hill. The pace both here and round the back of the course was pretty fast, but though there was some tailing, a fair number of horses were together as they rounded Tattenham corner, and a cry of admiration burst from the spectators as the varied colours of the riders flashed upon the eye. As they descended the hill, and came towards the straight, the Bribery colt was well in advance. The cry was raised, “Lord Ailesbury wins,” and more than one of Lord Lyon’s supporters asked, with evident anxiety, “Where’s the favourite?” The inquiry was not answered till the leading horses were within a short distance of the stand enclosure, when Custance brought up Lord Lyon, easily passed Rustic, who even then seemed clearly beaten, and ran alongside of the Bribery colt. For a moment it seemed as though the colt would getaway from this new competitor, but the superiority of Lord Lyon told at every stride, and he finished a winner by a head. Rustic was a bad third, and the others were nowhere. When the number of the winning horse was hoisted upon the telegraph, it was received with a deafening shout; and as Custance rode to the stand to weigh out, Lord Lyon was surrounded by a large crowd of admirers, who enthusiastically cheered both horse and jockey.”

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22 | Henri DeLattre (French/American, 1801-1876)

The Race between Mac and Zachary Taylor aT Hunting Park Course, Philadelphia, July 18, 1849 Oil on canvas, 23 3⁄4” x 43 3⁄4” Signed, dated 1850 $75,000. – 100,000.

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Provenance: Harry T. Peters, Orange, Virginia The Estate of Harry T. Peters, Christie’s sale, New York, June 4, 1982, Lot 95 Frost & Reed, Ltd, London Mr. Arthur I Appleton, Ocala, Florida Christie’s, New York, Sporting and Wildlife Art, December 3, 2008, Lot 32 Exhibited: New York, Metropolitan Museum of Art, Life in America, April 24 – October 29, 1939, no.151. Boston, Boston Museum of Fine Arts, Sport in American Art, 1944, no.2.

Literature: Harry T. Peters, Currier and Ives, 1929, nos. 14 & 15. Frederick A. Conningham, Currier and Ives Prints, 1970, no 3848 F. Turner Reuter, Jr., Animal & Sporting Artists in America, The National Sporting Library, Middleburg, Virginia , 2008, pg. 192.

Engraved: Currier and Ives, 1851 Mac, a brown gelding by Morgan Post Boy out of a mare by Bush Messenger, had a highly successful racing career from 1848 to 1854, beating such greats as Lady Suffolk, Jack Rossiter, Grey Eagle, and Tacony.

On November 8, 1848 at Hunting Park Race Course, Philadelphia, Zachary Taylor, a chestnut gelding by Quimby Messenger, had beaten Grey Eagle in a race under saddle for a purse of $2,000.

In consequence, his backers issued a challenge to the whole racing world, which culminated in the match race at the same course on July 18, 1949 for a purse of $500.

Zachary Taylor, owned by William King of Philadelphia and ridden

by George Young, was opposed by Mac, owned by John McArdle of Albany, New York, and ridden by Gil Crane. The excitement of the race attracted over 50,000 spectators, and Mac was the victor.

Race between Mac and Zachary Taylor at Huntington Park Bred in Maine of Morgan and Messenger blood, Mac was one of the fastest and most famous trotters of his day. His fame became so great that the owner of Zachary Taylor challenged Mac’s owners to a match in Philadelphia. The race took place on July 18, 1849, at Hunting Park Course and was a best three of five heats at one mile under saddle. Mac won the first three heats in 2:31, 2:30, and 2:35. Remnants of Hunting Park can still be seen today in the north Philadelphia neighborhood bearing its name. The estate originally belonged to James Logan, William Penn’s secretary, and in 1815 a parcel of 45 acres was sold for a racecourse. The track had a short lifespan as betting on horses was outlawed in Philadelphia in 1854.

The Henri DeLattre painting of the great trotters Mac and Zachary Taylor was reproduced in 1851 by Currier, and it is considered to be one of the best large folios done by Currier & Ives.

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23 | John Frederick Herring, Sr. (British, 1795-1865) Plenipotentiary Oil on board, 22” x 30” Signed, dated 1835 $30,000. – 40,000.

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Provenance: Stanlake Baston Newhouse Galleries, New York Sotheby’s, New York, 1987 Sotheby’s, New York, 1988 PLENIPOTENTIARY, or ‘Plenipo’ as he was often called, was bred by long-time Jockey Club member Stanlake Batson, of Horseheath, Cambridgeshire in 1831. Plenipo stood 15.2 hands and was said to have been an incredibly muscular and extraordinarily beautiful horse. He did not run until the age of three but he was such an astonishing sight that a bookmaker offered odds of 30-1 for Plenipo to win the 1834 Derby in October of 1833. Apparently the betting public liked the price because the odds quickly shrank to 15-1. In April at Newmarket, Plenipo made his first start, a £50 sweepstakes, which he won with ease. At the same meet he ran again, in a £100 sweepstakes against a stronger field, and one horse in particular, Glencoe, was expected to give Plenipo a real challenge. Theo Taunton, author of Famous Horses, relays the following encounter between Jem Robinson, Glencoe’s jockey, and Patrick Conolly, who rode Plenipoteniary. “Robinson whose orders were to try and cut down Plenipo by the severity of the pace remarked after the race ‘I came the first half mile as hard as I could lick; but on looking round, I saw the great fat bullock cantering by my side.’

Conolly, at the same time exclaiming ‘I’m here Master Jemmy, only waiting till I’m wanted’ Glencoe, believed till then to be the fastest horse of his day, was beaten four lengths.”

In the Derby at Epsom, Plenipo overtook Glencoe early and needed only a hand ride from Conolly to beat the field by two lengths. His performance was so convincing that the editor of The Sporting Review, John William Carelton (AKA Craven,) recalled Plenipo’s Derby performance nearly 30 years later in 1865: “Where we asked however to name the best horse that ever won a Derby, we should be inclined to say this was Mr. Batson’s Plenipotentiary, the hero

of 1834. Certainly one of the very best colts Lord Jersey ever brought out was Glencoe whose blood is now amongst the most fashionable alike in England and America who won the Two Thousand Guineas Stakes and the Goodwood Cup of the same year and yet Glencoe could never make Plenipotentiary gallop. Plenipotentiary was a horse of extraordinary power and substance, but withal very blood-like and with beautiful action.” It was reported by multiple sources that Plenipotentiary defeated one of the best horses of the era, Glencoe, while at a canter.

In the 1835 St. Leger Stakes, Plenipotentiary suffered his first and only loss. Plenipo was the favorite at 12-10 and he was expected to coast to victory. But something went terribly wrong and Plenipo finished 10th out of 11 horses. What caused the lapse in form was a matter of widespread speculation, but it was generally thought that the great horse had been poisoned and that the bookmakers (perhaps the gent that had Plenipo at 30-1) were the culprits. Theo Taunton wrote the following account of the incident: “Plenipo was dead beaten early in the race and the further he went, the further he was left behind. Foul play had most effectually done its work and he was not only made safe for the day, but his constitution was utterly ruined. Plenipo was a very difficult horse to saddle and still more so to mount, rearing, plunging and kicking and using every effort to prevent Conolly getting into the saddle, but on the St. Leger day he made not the slightest show of resistance. Indeed Conolly after an attempt at a preliminary canter observed to John Scott “my horse is as dead as a stone” Despite Taunton’s assertion that Plenipo’s constitution had been ruined he won his last two races, one being the Craven Stakes at Newmarket, before he was retired to stud.

“He retired to 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 unequaled - the ill-used ‘Plenipo.’ ” Richard Ulbrich, The Great Stallion Book.

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

The Hon. Edward Petre’s Brown Colt Sir John at Stapleton Park, Yorkshire Oil on canvas, in a carved wood frame, 21 1⁄2” x 29 1⁄2” Signed l.r.: J.F.Herring 1823 $50,000. – 70,000.

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Sir John, by Smolensko out of a Weathercock mare, is displayed standing in front of one of the great sporting estates of its time, Stapleton Park. The owner of Sir John was the Honorable Robert Edward Petre, son of Robert, 9th Baron Petre. After the death of his father in 1816 Hon. Edward Petre inherited Stapleton Park, gained the title Lord Mayor of York, and received a per annum of £20,000. Petre built a racecourse at Stapleton Park so that he could hold private race meets for his friends, meets that would often extend into three-day affairs. These meets were recalled by John William Carleton or “Craven” the editor of The Sporting Review: “In days gone by the gentlemen riding meetings of Bibury and Maddington flourished. For many years the Stapleton Races “bore off the bell” commencing in 1822 and were carried on with great spirit, that year and the following, in the park of the late Honourable Edward Petre, than whom a more liberal and straightforward supporter of the Turf never existed.”

Craven refers to the Stapleton Races commencing in 1822, the year in which Petre would capture his first classic race, the St. Leger with the horse Theodore. Also in 1822, Petre commissioned John Frederick Herring, Sr. to complete a number of paintings of his horses and other animals, thus commencing their relationship as artist and patron. In the book Herring & Sons by Beckett, in the chapter titled Good Friends in Yorkshire (1821-1830), Beckett tells us that: “He (Herring) proceeded to Stapleton Park where he painted eight hunters for the Hon. Edward Petre. This marked the beginning of a long association with that dashing Sprig of the nobility who had the incredible good fortune to win four St. Legers in 1822, 1827-28 and 1829, all of which were to be immortalized in paint and engravings all in due time by Herring. He also painted other race winners for Petre.”

Beckett points out an 1822 article from The Annals of Sporting, in a lengthy and flattering review of Herring’s progress, mentioned that ‘he’d executed in the finest style of excellence’ portraits of animals for the Honorable E. Petre” After the 1822 victory, Petre won the prestigious St. Leger Stakes three more times in succession with Matilda 1827, the Colonel in 1828, and Rowton in 1829. While many feats in racing are considered rare or hard to attain, one owner winning three consecutive St. Leger Stakes has been accomplished only three times in the 239-year history of the race. The July 1855 issue of the New Sporting Magazine contained short histories of the past winners of the St. Leger Stakes. Of the Hon. Mr. Edward Petre’s remarkable run the author writes: “Without pretending to explain the run of good luck which characterizes the career of one individual or the recurrence of disaster after disaster which marks the fortune of another, the double victory of Mr Petre, in the two preceding years, with Matilda and The Colonel was destined to be crowned with a third triumph in succession, this year 1829 with Rowton. Nor were these victories begrudged by the racing community During his residence at Stapleton Park he had won golden opinions from all parties. His generosity his hospitality and his goodness of heart formed the theme of universal admiration and to mention the name of the Hon. Edward Petre was to associate with it every quality that adorns the character of the English country gentleman.”

Herring Senior indeed ‘immortalized in paint and engravings’ many of Petre’s horses, and in doing so, the all but forgotten story of the turf devotee and his beloved Stapleton Park lives on.

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25 | Isidore Jules Bonheur (French, 1827-1901) KINcsEM, WITH MICHAEL MADDEN UP Bronze, 29 1⁄2” x 34” Signed, with a Peyrol Foundry stamp $20,000. – 30,000.

KINCSEM: THE MYSTERY AND MAJESTY OF AN IMMORTAL Excerpts from an article by Abigail Anderson, THE VAULT: Horse racing past and present’ The tale of The Ugly Duckling is a family classic. A swan who was mistaken for a duck and who had to learn that he wasn’t so much an unacceptable duck as he was “a bird of a different colour.” Kincsem’s story is much like the tale of the little cygnet who transformed into a swan.

Something went awry when Kincsem was conceived: her dam had been booked to Buccaneer (1857) but was mistakenly covered by Cambuscan (1861) instead.

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Born at the Hungarian National Stud, some said she was downright ugly. ”She was as long as a boat and as lean as a hungry leopard … she had a U-neck and mule ears … she had a tail like a badly-used mop … she was lazy, gangly, shiftless … a daisy-eating, sleepy-eyed and slightly pot-bellied hussy …” (Beckwith in “Step And Go Together”) It is said that Mr. Ernest von Blascovich, Kincsem’s owner and breeder, attempted to sell all of the colts and fillies born in Kincsem’s year as a lot, to Baron Orczy. Orczy took all but two — Kincsem and another were rejected as “too common-looking.” By an intervention of fate Kincsem remained under de Blascovich’s ownership.

One tale about Kincsem’s early life is that she was stolen from the National Stud but police eventually located her at a nearby gypsy

camp. When asked why he had stolen such a plain-looking horse, the man replied: ”Gypsy gold does not chink and glitter. It gleams in the sun and neighs in the dark. This filly may not be as handsome as the others, but she will prove the greatest of them all ” Kincsem’s name reflects the impact that the gypsy’s prediction had on her owner: it translates to “my treasure” or “my precious one.”

Kincsem’s first race was in June of 1876: the filly wasn’t forced to fly, so she waited, when she finally decided to run, it was all over: she won by 12 lengths. In her second start, the field included Double Zero (who won the German Derby later that year), Kincsem won by daylight. She concluded her 2 year-old campaign, with 10 wins in 10 different cities in 3 different countries. The filly was quickly becoming a Hungarian favorite and no-one cared that she wasn’t as dazzling as Eclipse.

Kincsem habitually walked to the start looking like “… an old gal with rheumatoid arthritis,” ears flapping and neck bobbing. On one race day, she wasn’t really thinking about racing, as her young jockey, Elijah Madden, would later confess: she was thinking about grazing. At the start, Kincsem found a succulent plot and began to munch away. After repeated attempts to get her into line, the starter gave up and let the field go. Kincsem just stood there, chewing thoughtfully and watching the other horses recede into the distance.

Then, suddenly, she seemed to decide that it was time to move and was off after them. She won with ease — some said with a mouthful of grass still hanging from her lip — and the crowd went wild. As she was led into the winner’s circle, Blascovich unwittingly added another quirk to his already-quirky filly’s repertoire by fastening a bouquet of flowers to Kincsem’s bridle. In all of her subsequent races, Kincsem refused to enter the winner’s circle until she had received her customary flowers.

Kincsem became a veteran of railroad travels, which she seemed to love. Throngs of admirers appeared to greet her and Kincsem acknowledged their affection with a regal dip of her head. She had her own railway car, which she welcomed with a spirited neigh but refused to board without the company of her two very best friends: a stableboy named Frankie and a cat named Csalogany. Kincsem shared a deep, loving bond with Frankie who accompanied her everywhere. Known to the racing public as “Frankie Kincsem,” this was the name that appeared on his tombstone. Csalogany the cat was just as important to the filly who once refused to board her railway car in France because Csalogany was missing. Kincsem stood unmoving

for 2 hours, until finally the cat emerged, she neighed a greeting, at which point Csalogany jumped up onto her back. Together, cat, filly and Frankie entered the railway car.

The 1878 Goodwood Cup marked Kincsem’s only trip to England where she raced the only two horses dared to meet her: Pageant and Lord Falmouth’s Lady Golightly (both multiple stakes winners). The race was greeted with tremendous enthusiasm, but when Kinscem arrived in Dover shaken and sickly-looking from her voyage, many predicted that her first defeat was at hand. Kincsem shuffled to the start, her head hanging and her neck bobbing crookedly; the crowd of thousands had no idea that Hungary’s National Treasure always went to the post this way. As usual, she stalled at the start, gazing at the heels of Pageant and Lady Golightly as they sped away and gained what looked to be an insurmountable lead, before Kincsem, like a lightning bolt, was off after the leader.

Kincsem won by 3 lengths, going away. At first, the crowd was stunned into silence, then the applause and shouts began, until the roar was deafening. Kincsem pulled herself up and headed back to the winner’s circle to receive her bouquet of flowers. It is claimed that the Prince of Wales attempted to buy Kincsem.

Blascovich refused, telling the future king, ” If I sold Kincsem I would not dare return to my native soil.”

The Entourage made their way to France where Kincsem won the Grand Prix de Deauville. In 1878 she won at distances from 8f – 20f carrying an average of 144.9lbs. In 1879 she went 12 for 12 running distances from 12f – 18f carrying an average of 153.3lbs. Kincsem ended her career on the turf undefeated, a perfect 54 for 54. Kincsem proved a very successful broodmare, only adding to the legendary status that Europe and particularly her homeland had conferred upon her. Kincsem suffered a severe bout of colic and less than a day later, the champion was gone.

Like everything else about her life, even her untimely death was marked by the kind of “sign” one expects to find in a fairy tale or myth: Kincsem died in 1887 on March 17, the same day on which she was born. A circle had closed. Hungary lost more than a great thoroughbred when Kincsem died: they lost a quirky and majestic figure who had raced right into their hearts.

In her homeland, her passing was officially mourned for three days. Flags stood at half-mast and the borders of Hungarian newspapers were framed in black. Frankie, her beloved friend, died 39 days after Kincsem.

The Sporting Art Auction

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26 | Dan Smith (American, 1865-1934)

Rochester, NY, Excursion, Edward Higgins Driving Oil on canvas, 36” x 90” Signed, dated 1902 $15,000. – 20,000.

Provenance: Collection of the Rochester, New York Historical Society Edward Higgins was a Rochester native born to Timothy Higgins, the first man to run a public vehicle in Rochester. After working in a butchering enterprise and a coaching business, Higgins struck out on his own in 1883. By 1899 his livery business had expanded dramatically and he kept anywhere from 125 to 150 horses. Equipped with everything from onepassenger vehicles to those which could carry 50 passengers, Higgins had very extensive patronage and a profitable stable.

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Uncas by Lexington, son of Boston, was bred at Woodburn Stud in Kentucky, foaled 1876 from Coral by Vandal son of Glencoe.

The Horse Breeder’s Guide and Handbook: Sanders D. Bruce writes: UNCAS (WINNER OF THE KENTUCKY STAKES AT SARATOGA AND WESTCHESTER CUP AT JEROME PARK NY) Uncas will be used as a private stallion in the Brookdale Stud Monmouth County, near Holmdel NJ. Mr. D.D. Withers proprietor.

27 | Henry Stull (American, 1851-1913)

Uncas Oil on canvas, 25” x 30” Signed, dated 1894 Inscribed on verso: Uncas by Henry Stull, Brookdale, Jany. 1894. Foaled 1876 Lexington-Coral $12,000. – 15,000.

Provenance: David A. “Sony” Warbling, New York, Sotheby’s, New York, The Sporting Sale, November 30, 2006, lot 106

Uncas is a blood bay stands 15 ½ hands high, with his right fore foot white, and a small star in his forehead. He is quite a compact, well and evenly-formed horse all over, having a neat head and neck with good shoulders and depth of girth, with extra good body, hips, stifles, and excellent legs and feet. The pedigree is one of the best in the Stud Book and from a distinguished racing family. His dam is by Glencoe’s best son, and he traces back through an own sister to Glencoe, to a Natural Barb Mare.

If the blood of Lexington and Glencoe is to be preserved to the country, it is through just such pure channels as Uncas presents.

From the Mid-Atlantic Thoroughbred: Brookdale Farm, which stood the nation’s best stallions, boasted the finest bloodlines in its broodmare band, and provided a superb training facility utilized by industry giants named Withers, Keene and Whitney. At the farm’s height, more than 100 employees kept things running smoothly, and hundreds of horses galloped over the fertile soil. D.D. Withers created it, Colonel William P. Thompson had great plans for it, legendary Hall of Fame horseman James G. Rowe Sr. utilized it, and Harry Payne Whitney preserved it. For more than a half century, Brookdale Farm was the base of operation for some of the most powerful stables in the world.

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28 | Henry Stull (American, 1851-1913)

Dobbins, The Race Horse, with Jockey Up Oil on canvas, 20” x 28” Signed, dated 1893 $15,000. – 20,000.

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Provenance: The Greenwich Gallery, Greenwich, Connecticut, Doyle’s NY Dobbins, a rival of the great Domino, was owned by Richard “Boss” Croker of Tammany Hall. Dobbins was foaled in Tennessee in 1891, the year his half sister Yorkville Belle was sweeping the races on the Eastern turf. Under the advice of Mike Dwyer, brother of Philip J. Dwyer, Croker purchased Dobbins as a yearling for the large sum of $20,000. As a two-year-old Dobbins seldom lost except to Domino. After a somewhat miscalculated ride in the very rich Futurity Stakes, Dobbins again lost to Domino. This chided Croker to challenge Domino’s owner James R. Keene to a match race, with each side putting up $10,000.

The incident was reported thusly in Frank Leslie’s Weekly, Vol. 77: The excitement after the race was simply of the fever heat variety talk of a match for $25000 a side filled the air and were further intensified by a visit Mr. Keene to Mr. Croker during which much picturesque gesticulating was indulged in and then when Mr. Croker crossed over to the club house and interviewed Mr. Keene people fairly held their breath. One did not know but that the argument might result in a foot race between Keene and Croker over the Futurity course. Croker to carry Tammany Hall and Keene the Stock Exchange. What a chance for the handicappers At first it was thought that the match talk would

end in vapor but on the morning of the 3lst tilt the turf world was startled and excited by the announcement of a match to take place that day for $l0,000 a side with $2.500 added by the Coney Island Jockey Club between Richard Croker’s ch c Dobbins by Mr. Pickwick Thora 118 pounds Simms and JR and FP Keene’s blk c Domino by Hamyar Mamie Grey ll8 pounds Taral. Futurity course: The match was started at 5.16 and resulted in a dead heat. At the turn into the home stretch Dobbins plainly had a slight advantage a great shout of “Dobbins” went up this was intensified when Taral went to the whip and Simms continued to sit still then Simms raised his whip and the Domino people shouted and howled and in another breath the gallant chestnut and gallant black flushed under the wire so close together that no human eyesight could separate them. Mr. Keene thought he had won by a nose and Mr. Croker thought the same thing of Dobbins.

More talk resulted of course and more intense and pent up excitement existed for at least half an hour after the match had been run than I ever saw before on a race course. Finally both owners realized that to agree to a run off would surely ruin both colts for life they are only babies and it was decided to divide the stakes. For once the public were satisfied as the greenest of the green understood what a repetition of such a terrific struggle meant to the horses. Both Simms and Taral rode with superhuman energy and deserve the heartiest praise. The result will surely intensify thc interest in the next meeting of these equine heroes but which will hardly take place until next season.

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29 | George Wright (British, 1860-1942)

‘Around the Bend, Goodwood’ & ‘Coming for Home, Goodwood’ (a pair) Oil on canvas, 14 1⁄2” x 28 1⁄2” each Signed $15,000. – 20,000.

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30 | George Ford Morris Man O’ War Pastel, 19” x 24 1⁄2” Signed $12,000. – 15,000.

(American, 1873-1960)

Man o’ War was retired by his owner Samuel D. Riddle after his perfect Horse of the Year three-year-old campaign. In 1921 Man o’ War started his stud duties at Hinata Farm outside of Lexington, which was managed by Elizabeth Daingerfield. The next year he was moved to Riddle’s new farm, Faraway Farm.

Here Man o’ War became a Kentucky tourist attraction. Today his monumental statue greets visitors to the Kentucky Horse Park.

The Sporting Art Auction

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31 | Franklin Brooke Voss Roman Oil on canvas, 18” x 24” Signed, dated 1945 $12,000. – 15,000.

Roman, a product of Joseph E. Widener’s Elmendorf Farm in Lexington, Kentucky, was a crack sprinter at two, three, and four. Roman won 18 of his 40 career starts, including nine stakes events. He accomplished his greatest feat at age four in Belmont Park’s 1941 Fall Highweight Handicap in which he carried top

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(American, 1880-1953)

weight of 140 pounds and set a six-furlong track record of 1:10.

He retired to a full book of mares at Elmendorf Farm in 1942. His 53 stakes winners included juvenile champions Hasty Road and Romanita. His daughters produced such champions as Roman Brother and Tom Rolfe.

32 | Franklin Brooke Voss Misty Isle Oil on canvas, 18” x 24” Signed, dated 1945 $12,000. – 15,000.

The May 26, 1945, issue of The Blood-Horse reported that Franklin B. Voss was in town and working on a painting for Mr. P. A. B. Widener’s Elmendorf Farm. The subject was Widener’s stakeswinning mare Misty Isle. She was an outstanding two- and threeyear-old of 1940 and 1941, winning six stakes and placing in another 11. It was reported that her 2-year-old filly by Eight Thirty had stepped on a nail and would probably not race, and that she had a yearling filly by Roman and a suckling by colt by Eight Thirty.

This painting would later in the year be used as “decoration” for the

(American, 1880-1953)

cover of the Christmas issue of The Blood-Horse.

The 2-year-old by Eight Thirty, later named Evening Mist, became the foundation of stakes-winning fillies Taboo, Islay Mist, Ole Liz, Kittiwake, Beaconaire, Issues n’ Answers, Fire Water, Mississippi Mud, Ionian Raja, Anna Yrrah D., and more. The yearling filly became Ashland and Gazelle stakes winner Cosmic Missile, and the suckling colt was track record-setter Misty Eight.

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33 | Ignac Konrad (Hungarian/French, 1894-1969)

Fair Play Oil on canvas, 28” x 36” Signed, inscribed: Paris, Fair Play Inscribed on verso: Fair Play, 6 months after August Belmont sale $10,000. – 15,000.

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Illustrated: “Catalogue of the National Museum of Racing, Saratoga Springs, New York: Equine, Portraits, Sculptures, and Histories, I”, 1963, pg. 50, text pg. 51

By Hastings out of Fairy Gold Fair Play was foaled in 1905 and bred by August Belmont, Jr. Like both his sire and his dam, Fair Play was one of the top runners of his generation. Fair Play made 32 starts with 10 wins, 11 seconds, and three third-place finishes.

Fair Play won the Montauk Stakes, the Flash Stakes at Saratoga, the Coney Island Jockey Club Stakes, and the Realization Stakes as well as winning the Jerome Handicap and the Municipal Handicap and setting a track record at Gravesend. In 1908 when anti-wagering laws forced racing to shut down in New York, Fair Play was sent to England to continue his racing career. Fair Play never took to racing on the turf and returned to the United States in 1910 to begin his career as a stallion at his birthplace, Belmont’s Nursery Stud in Kentucky.

Fair Play sired 49 stakes winners out of 260 foals and was the leading stallion in America in 1920, 1924, and 1928. Among his best were Display, who won the Preakness in 1926 and was a true stayer known as the “Iron Horse;” Mad Hatter, who won the Jockey Club Gold Cup and Metropolitan Handicap as well as the Toboggan, Suburban, and Queens County Handicaps; and Chance Play, who stood at Calumet and was America’s leading sire both in 1935 and 1944. Chance Shot won the Belmont Stakes and Wither Stakes and became a solid producer, standing at Elmendorf Stud. Fair Play also produced many classic runners such as Sun King, Robinetta, Flitaway, and Stromboli.

While the list of great runners that he produced is extensive and quite impressive without him, Fair Play’s best son, foaled in 1917, out of Mahubah, was the beloved Man o’ War. Man o’ War took the racing world by storm, winning the Tremont Stakes, Hopeful Stakes, Futurity Stakes, Youthful Stakes, Travers Stakes, the Jockey Club Gold Cup, Lawrence Realization Stakes, Withers Stakes, Dwyer Stakes, and the Preakness and Belmont Stakes. Man o’ War was also champion two-year old and the Horse of the Year as a thee-years old. When he began his own stud career he followed in his father’s footsteps, producing such greats as American Flag and Crusader, who both won the Belmont Stakes; Clyde Van Dusen, who won the Kentucky Derby in 1929; Battleship, a steeplechaser who won the English Grand National; Hard Tack, who sired Seabiscuit; War Relic whose sire line includes the now famous Tiznow; and of course the 1937 Triple Crown winner War Admiral.

Upon the death of August Belmont, Jr. in 1924, a dispersal sale of is bloodstock was held and Fair Play was purchased by Joseph E. Widener for $100,000 and taken to his famous Elmendorf Farm.

Fair Play would spend the remainder of his life at Widener’s expansive Elmendorf where he would ultimately be laid to rest in 1929. Joseph E. Widener commissioned a three-quarter life-sized bronze statue of the great stallion. It was placed at Fair Play’s grave as a memorial to the beloved father of champions.

The present work was painted for Joseph E. Widener and depicts Fair Play as a stallion in the sweeping landscape of what was once the great Elmendorf Stud.

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34 | Franklin Brooke Voss

(American, 1880-1953) ‘Harold Thurber aboard Nimba’ & ‘Harry Richards aboard Peanuts’ (a pair) Oil on board, 14” x 11” each $8,000. – 10,000.

Included in this lot is a note discussing initial research into the subjects depicted from noted trainer Tom Voss, great-nephew of the artist.

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Provenance: Kenneth Field Kenneth Field was a successful steeplechase jockey in the 1950s and a leading flat and steeplechase trainer in the following decades.

During his racing career in the early 1950s, he was invited by Franklin Voss into his studio and could pick out what he wanted.

The lot here was two of the pieces he chose.

Harold Thurber Aboard Nimba This was done as a study for Nimba, H. Thurber Up. The finished painting is illustrated on page 96 of Racing in America 19221936 by John Hervey, privately printed for the New York Jockey Club by The Scribner Press in 1937. Thurber is portrayed in the silks of Marshall Field III. Harold Thurber’s greatest achievement might have been guiding Nimba throughout her racing career. Born in North Dakota in 1892, Thurber lived and was reported as a jockey in Louisiana, Kentucky, and New York. Twice he applied to ride in Cuba. He passed away in California in 1968.

Champion three-year-old filly of 1927, Nimba had her knocks.

Her two-year-old campaign had to be delayed after she was kicked in the stifle in the spring. She won her only start at two. Then over the winter before her championship season, she was kicked in the jaw and it was feared she would miss another summer. But she won the Coaching Club American Oaks, the Alabama Stakes, and the Lawrence Realization Stakes at three. Nimba opened her four-year-old season on May 26, 1928, winning the Metropolitan Handicap, pulling away from the colts. But after that victory she began to sulk and never returned to form. Bred in Kentucky by Arthur B. Hancock, Nimba was sold privately as a yearling to Marshall Field III, who raced her and returned her to Claiborne Farm as a broodmare. Her first foal was Nimbus, who ran second in the 1933 Belmont Stakes for his breeder.

Harry Richards Aboard Peanuts This was done as a study for Peanuts, the finished painting of which is in the collection of the National Museum of Racing and Hall of Fame. That 34” x 42” oil on canvas was executed in 1926 and is illustrated on page 39 of The Sporting Art of Franklin B. Voss by Peter Winants, published in 2005 by Eclipse Press, Lexington, Kentucky.

Born in Brooklyn in 1908, Richards began riding professionally in 1924. Riding for such owners as Walter Jeffords, George Widener, and William duPont Jr., Richards captured the Belmont Futurity Stakes, Jockey Club Gold Cup, Travers Stakes, and Whitney Handicap. In 1937 he led Pompoon to a second-place finish in the Kentucky Derby behind War Admiral. That same year he defeated Seabiscuit in the Santa Anita Handicap aboard Rosemont. After retiring in 1940, he was a founding member of the Jockey’s Guild and served as the first president. Hall of Fame jockey Eddie Arcaro said Richards “was strong in character and who maintained a steady belief in our organization [Jockeys’ Guild]. Incidentally, he was one of the greatest riders of my time, the first switch-hitter in our business and the one from whom I copied switch-hitting.”

About Peanuts: “He must have had a great heart, for he had little stature; today, after half a dozen years in the stud, he stands only 15.2.” – J. A. Estes, The Blood-Horse, February 29, 1936 Foaled May 19, 1922, the aptly named Peanuts was bred by The Jockey Club chairman William Woodward and sold as a yearling at Saratoga to Robert L. Gerry for $2,100. Peanuts was a moderate juvenile, an improved sophomore, but a standout handicap horse at four and five. In the 1926 Edgemere Handicap at Aqueduct, Peanuts set a new world record of 1:48 3/5 for a mile and one furlong. In the 1927 running of the Brooklyn and Brookdale handicaps, he came with in a fifth of a second of that record.

Peanuts was retired to Gerry’s Aknusti Stud at Delhi, New York.

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35 | Essie Leone Seavey Lucas (American, 1872-1932) ‘Nancy Pansy’ & ‘Silver Tip’ (a pair) Oil on canvas, 22” x 31” each Signed, dated 1922 & 1923 $6,000. – 8,000.

Provenance: Commissioned by William E. du Pont, Jr. directly from the artist.

Thence by family decent to the present owner.

Essie Leone Seavey Lucas was commissioned by William du Pont Jr. to paint many of his favorite hounds and horses. The SeaveyLucas portraits above are of two of his favorite horses: Silver Tip and Nancy Pansy.

Du Pont was an avid foxhunter and the consummate horseman.

His skill in the saddle was recognized and reported to the readership of the New York Times in an article on April 22, 1920 and titled The Brooklyn Spring Horse Show Opens. “Second place went to Silver Tip, a bay gelding owned and ridden by William

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du Pont who developed the horse on Foxcatcher Farm Rosemont, Pa. Mr. du Pont was one of the few owners who rode their own horses and, he showed considerable skill in guiding Silver Tip over the bars.”

On July 30, 1921, the New York Times reported “NANCY PANSY FIRST IN TWO CLASSES Du Pont Hunter scores twice at Monmouth County Show—Owner is Injured.” The story goes on to detail that du Pont had sustained a shoulder injury but still won the Qualified Hunters class with Nancy Pansy and also took third place in the same competition on Silver Tip. Du Pont also won the ‘Hunters or Jumpers Shown Over Jumps 3 Feet 6 Inches’ again on Nancy Pansy and again in the same class took the third place honors on Silver tip.

36 | Essie Leone Seavey Lucas (American, 1872-1932) ‘Belle of Erin’ & ‘Training ToDay’ (a pair) Oil on canvas, 12” x 9” each Signed and inscribed $3,000. – 4,000.

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37 | Lee Townsend (American, 1895-1965) The Betting Parlor Oil on canvas, 32” x 40” Signed $6,000. – 8,000.

Exhibitions: Montross Gallery, New York,“Young American Moderns,” 1933 Montrose Gallery, New York, “Country Fair Race Tracks” (solo show), 1935 The National Museum of Racing, Saratoga Springs, N.Y., “The Art of Lee Townsend,” 1999 Bibliography: Illustrated p. 21 of “The Art of Lee Townsend,” National Museum of Racing: Saratoga Springs, NY: 1999

38 | Lee Townsend (American, 1895-1965)

The Grandstand at Garden State Park Oil on canvas, 12” x 34” Signed $4,000. – 6,000.

Exhibitions: National Museum of Racing, 1999

The original home of the Jersey Derby and the only home of the Garden State Stakes, Garden State Park hosted such horses as Citation, Whirlaway, and Secretariat. The park opened in 1942 after a delay as most raw materials at the time were being rationed due to the United States’ entry into World War II. When authorities seized 30,000 tons of structural steel, the ornate Georgian-style

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grandstand was constructed mostly of wood by developer Eugene Mori with small amounts of steel from elevated railways in New York City that had been destroyed. Despite the grand design, the materials would prove to be the track’s undoing as the grandstand was consumed by fire in 1977.

39 | Peter Biegel (British, 1913-1989)

Loading the Barrels, Truman’s Brewery Oil on canvas, 30” x 40” Signed, dated 1953 $9,000. – 12,000.

Founded in 1666 as Black Eagle Brewery, Truman’s later came under the ownership of Benjamin Truman, who led the brewery to new heights. By 1737 Truman’s was the brewery of the Royal family, its beverage served to celebratethe birth of the Duchess of Brunswick. The Prince of Wales ordered a celebratory bonfire built in front of Carlton House with four barrels of beer placed around for those wishing to partake. Some of the mob pronounced the beer to be of inferior quality, leading to people throwing beer in

each other’s faces and the barrels into the fire. The prince ordered another bonfire the following night and four more barrels from the brewery, this time pleasing the crowd.

By the later 1800s, Truman’s was the world’s largest brewery but when the mid-1900s arrived, the brewery faltered before shutting its doors in 1989. The brand has since been revived.

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40 | Peter Biegel (British, 1913-1989)

The Warwickshire Hounds AND MASTER CLARENCE WEBSTER Oil on canvas, 20” x 30” Signed, dated 1965 $4,000. – 6,000.

Provenance: Major Harold Stanley Cayzer and Mrs. Beatrice Cayzer

Clarence Webster was a professional huntsman with the Warwickshire Hounds for 25 years. Pictured in the background are the Warwickshire Hunt Kennels and staff accommodations in Little Kineton, built in 1839.

Major Harold Stanley Cayzer, an officer of the Eleventh Hussars and master of the Warwickshire Hounds, was the son of Major Harold Stanley Cayzer, Master of the Pytchley Hunt. He and his wife invited Peter Biegel

41 | Eric Meade-King (British, 1911-1987) The Worcestershire Hounds at Broadheath Gouache, 14” x 23” Signed, inscribed “Worcestershire, Broadheath,” dated 1974 $2,000. – 3,000.

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to stay with them and to do several paintings for them, one of which is offered here. On the way to stay with the Cayzers, Biegel dropped his wife off where she would be staying for the next few days. Unfortunately Mr. and Mrs. Biegel both had matching suitcases and Mrs. Biegel took his by mistake. Peter Biegel didn’t discover the mistake until he was already with the Cayzers and had to wear the same clothes all three days, supposedly sleeping in his wife’s nightgown.

42 | Michael Lyne (British, 1912-1989) Various Forms of Trot Watercolor, 11 1⁄4” x 13 3⁄4” $3,000. – 5,000.

Illustrated: page 30 of “The Horse in Action,” Wynmalen, Henry, illustrated by Michael Lyne, Burke Publishing, London, 1954.

43 | John Beer (British, 1860-1930) Racing Vignettes Watercolor, 14 3⁄4” x 22 1⁄4” Signed “John B” $3,000. – 5,000.

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44 | Milton Menasco

(American, 1890-1974) Saratoga Yearling Sale Oil on canvas, 25” x 30” Signed $9,000. –12,000.

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45 | Allen F. Brewer, Jr. (American, 1921-1967) Northern Dancer Oil on board, 18” x 22” Signed, inscribed and dated 1964 $4,000. – 6,000.

Northern Dancer cemented his status as a Canadian hero with a record-setting 2:00-flat victory in the prestigious Kentucky Derby. A homebred from E. P. Taylor’s Windfields Farm, Northern Dancer was trained by Horatio Luro. He was named champion at two in Canada after major stakes victories on both

sides of the border. At three he was named champion colt in the U.S. and Horse of the Year in Canada. While not a Triple Crown winner, he won three classics — the Kentucky Derby, the Preakness Stakes, and the Queen’s Plate.

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46 | Allen F. Brewer, Jr. (American, 1921-1967) Man O’ War Pencil drawing, 11” x 14” Signed, inscribed 1947 $2,000. – 3,000.

47 | Allen F. Brewer, Jr. (American, 1921-1967) ‘Iron Liege’ & ‘Bold Ruler’ (a pair) Pencil drawings, 12 1⁄2” x 17 1⁄4” each signed, Bold Ruler dated 1957 $3,000. – 4,000.

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The 1957 renewal of the Kentucky Derby is a story of dreams and nightmares, specifically the nightmare of Gallant Man’s owner Ralph Lowe, who prior to the Derby had dreamed that his colt lost the race when the jockey stood up in the irons before the finish line. Coming into race week, the contest appeared to be among Wheatley Stable’s Bold Ruler, Lowe’s *Gallant Man, and Calumet Farm’s Gen. Duke. By Wednesday, Gen. Duke was out with a sore foreleg, and the forecast for *Gallant Man looked much brighter. In the Derby, Calumet’s off-the-bench entry, Iron Liege, had gained the lead at the eighth pole, but by the sixteenth pole *Gallant Man came even with the Calumet color-bearer.

And this crucial point Lowe’s nightmare became reality: Gallant Man’s jockey Willie Shoemaker mistook the sixteenth pole for the finish line and briefly stood in the saddle. Shoemaker resumed riding and fought to the wire, but the camera declared Iron Liege the victor. In terms of influence on future pedigrees, the 83rd Kentucky Derby had a standout field that in addition to Bold Ruler, *Gallant Man, and Iron Liege included Round Table, Better Bee, and Federal Hill.

Foaled at Claiborne Farm near Paris, Kentucky, Bold Ruler was bred and owned by Mrs. Henry Carnegie Phipps’ Wheatley Stable.

Despite a career plagued with injuries and physical problems, Bold Ruler won 23 of 33 lifetime. His 11 victories at three, including the Preakness Stakes, garnered him the Horse of the Year title. Bold Ruler retired to his birthplace and sired 82 stakes winners. He was America’s leading sire eight times.

48 | Peter Biegel (British, 1913-1989) Mud in Your Eye Oil on canvas, 16” x 18” Signed $4,000. – 6,000.

Provenance: Tryon Gallery, London

49 | Henry Frederick Lucas-Lucas (British, 1848-1943) The Lucky Four--Hyperion, King Salmon, Statesman, and Scarlet Tiger Oil on canvas, 14” x 18” Signed and inscribed as titled on verso $5,000. – 7,000.

Provenance:

Anonymous sale Christie’s, London, June 11, 1954 The Old Print Shop, New York Mr. Howard Adams, Connecticut Mr. Peter Adams, New York

Of the 24 starters in the 1933 Derby, the first four finishers were Lord Derby’s Hyperion, Sir Hugo Cunliffe-Owen’s King Salmon, Mr. Victor Emmanuel’s Statesman, and Lord Durham’s Scarlet Tiger. Run on May 31, the conditions at Epsom were ideal and the

course was on the slightly firm side. The weather was delightful and the Royal Box included the King, Queen, Prince of Wales, Duke and Duchess of York, Princess Royal (Countess of Haywood), and Prince George

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50 | Milton Menasco (American, 1890-1974)

‘Parade to the Post, Saratoga’ & ‘Schooling at the Gate, Saratoga’ (a pair) Pastel, 10” x 13” each Signed $3,000. – 5,000.

Provenance: Estate of Martha and Mack Miller

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51 | Milton Menasco (American, 1890-1974) Pronto Oil on canvas, 9” x 12” Signed $2,000. – 3,000.

In 1969 Claiborne Farm announce the importation of *Pronto, Argentina’s leading sire the previous season. Standing his first season in America as a 12-year-old, *Pronto was reportedly syndicated for $1,600,000 with the syndicate including Ogden Phipps, Wheatley Stable, Pin Oak Stud, A. B. Hancock Jr., and others. An undefeated stakes winner at three in Argentina, *Pronto sired three Horses of the Year in Argentina: *Practicante, *Indian Chief II, and *Uruguayo, all three of whom were imported to America. *Pronto led the Argentine sire list three times and in 1976 was repatriated to his native land.

52 | Milton Menasco (American, 1890-1974) Horses at Fort Riley, Kansas Oil on canvas, 12” x 16” Signed $3,000. – 5,000.

Provenance: Estate of Martha and Mack Miller

Established in 1853 to protect the people moving westward along the Oregon and Santa Fe trails, Fort Riley soon became a major cavalry post and school. In the years following the Civil War it served as a base for skirmishes with the Native Americans.

By 1887 the fort had become the home of the United States Cavalry School and over time developed into one of the finest in the world, rivaling the French and Italian Cavalry Schools.

Due to the amount of excellent horsemen stationed there, horse shows, hunts, and polo matches flourished at the fort.

Despite the horse being phased out of the current military, the fort is still an important infantry post and is home to the U.S. Cavalry Museum. Once the home of the famed Buffalo Soldiers at various points in the 19th and 20th centuries, the home of George Custer from his time stationed there is still standing and today is a house museum.

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53 | Milton Menasco (American, 1890-1974) Assault Pastel, 16” x 20” $3,000. – 5,000.

Framed with the original mat inscribed Assault, by Bold Venture out of Igual by Equipoise and with design that appears to be a layout for information if this piece was to be reproduced as a print

Nicknamed the “Club-Footed Comet,” Assault defied a youthful injury to become the seventh Triple Crown winner in 1946. He was bred in Texas by Robert Kleberg Jr.’s King Ranch. Barely 15.2 hands tall Assault was described by jockey Eddie Arcaro as being “on the delicate side.” Assault was plagued by injuries and illness throughout his career and yet he posted 18 wins in 42 starts from ages 2 through 7. Assault was inducted into the National Museum of Racing Hall of Fame in 1964. Retired to King Ranch, he proved to be sterile and remained there until his death in 1971.

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54 | Jose Serra Santa (Argentinian/Spanish, 1916-2000) After the Hunt Oil on canvas, 51 1⁄4” x 38 1⁄4” Signed $5,000. – 7,000.

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55 | Henry Thomas Alken, Sr. (British, 1785-1851) Pointers (Collection of 22 drawings) Pencil, watercolor, various sizes, smallest being 2 1⁄2” x 2” and largest being 9” x 12 1⁄2” Signed $7,000. – 10,000.

Custom-made book with marbled endpapers, matted original drawings with gilt edges. Bound in red leather featuring gilt lettering and design. Contained in a custom-made red slipcase.

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56 | David Hagerbaumer (American, 1921-2014) Late Season Grouse Watercolor, 18” x 27 3⁄4” Signed Together with a print after the same $3,000. – 5,000.

57 | Dan Brown (American, born 1949) A Goose in the Shed Oil on canvas, 24” x 30” Signed, dated 2005 $3,000. – 4,000.

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58 | Brett James Smith (American, born 1958) Start of Spring Watercolor, 21” x 29” Signed $5,000. – 7,000.

59 | Joseph H. Sulkowski (American, born 1951) English Setters Oil on panel, 13” x 15” Signed $8,000. – 12,000.

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60 | A.B. Frost (American, 1851-1928)

Shooting PICTURES (Portfolio of 12) 12 chromolithograph prints. Image 12” x 20” each Published by Charles Scribner’s Sons, New York 1895-1896. $8,000. – 10,000.

Frost is probably considered America’s best shooting artist at the end of the 19th century. Well established by his illustrations for Joel Chandler Harris’ Uncle Remus books of Brer Rabbit and other well known characters, Frost’s sporting work, which included regattas, shooting, and golf, was being widely published in Harper’s Weekly.

In order to more widely distribute his masterful watercolors, Charles Scribner’s Sons published the 12 chromolithographs offered here during the years 1895-1896. Immensely popular with the public, they soon became collector’s items and many of the sets were

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broken up. As Henry M. Reed notes in The A.B. Frost Book when he spoke with a former Scribner’s employee, “He recalls Frost’s visits to the office, usually to pick up his royalty checks. He told me that Scribner’s had the complete set of originals for the shooting pictures framed and displayed along with a set of the prints similarly framed and displayed and if one backed away six or eight feet, you couldn’t tell which were the originals and which were the prints!”

Autumn Grouse Shooting

AutumnWoodcock Shooting

Bay Snipe

Duck Shooting From a Blind

Ducks from a Battery

English Snipe

Prairie Chickens

Quail Shooting

Quail-A Dead Stand

Rabbit Shooting

Rail Shooting

Summer Woodcock

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61 Pleissner (American, 1905-1983) 61 | Ogden Minton M. Pleissner (American, 1905-1983)

QUAIL SHOOTING-WALKING IN, and and SETTING SETTING OUT OUT DECOYS DECOYS -- THE THE FIRST FIRST FLIGHT FLIGHT (verso) (verso) Two-sided 15”xx22 22” Two sided watercolor, 15 Signed signed $40,000. – 60,000.

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62 | David Quinn (British, born 1959) Pair of Black Storks Acrylic, 21” x 16” Signed, dated 2015 $5,000. – 7,000.

63 | David Quinn (British, born 1959) Fire-Tailed Sunbird Acrylic, 8” x 12” Signed, dated 2015 $4,000. – 5,000.

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64 | Aiden Lassell Ripley (American 1896-1969) Flushed, the Covey Rise Watercolor, 14” x 19” Signed, dated 1939 $22,000. – 28,000.

Provenance: The Sporting Gallery and Bookshop, New York, NY

Literature: O’Brien, Jr., Stephen B and Julie Carlson Wildfeuer.

The Art of Aiden Lassell Ripley. Boston, MA: Stephen O’Brien Jr. Fine Arts, LLC, 2009.

The study for this watercolor is illustrated on pg. 11.

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65 | Alexa King (American, born 1952)

Good Day Hunting Bronze, 8 1⁄2” x 15” x 7”, edition 1 of 9 Signed, inscribed, dated 2015 $3,000. – 5,000.

66 | Carroll K. Bassett (American, 1906-1972) Polo Bronze, 9” x 9” x 2 1⁄4” Signed, dated 1929 $2,000. – 3,000.

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67 | Emma MacDermott (Irish, born 1957) On the Bend Bronze, 12 1⁄2” x 27” x 15” Signed A/C 86 $5,000. – 7,000.

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68 | Stephanie Revennaugh (American, born 1973) Reach Recklessly Bronze, 18” x 12” x 5”, edition 7 of 21 Signed $3,500. – 4,500.

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69 | Carl Dahl (American, born 1952) Homage to Papinta Bronze, 19 1⁄2” x 14” x 5” Unique $10,000. – 15,000.

Papinta, born Caroline Holpin, is often credited with being the first modern dancer. Taught by the father of Flo Ziegfeld Jr., she opened the Chicago World’s Fair and led the opening act and procession in front of the Chicago Art Institute in 1893. Known as the flame dancer, she was famous for suspending hundreds of yards of fabrics in the air at the same time during her performances. The design for the fire dance called for 10 six-foot mirrors reflecting lights on Papinta while she danced barefoot on a lighted plate glass platform. The first time she tried it her feet blistered.

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Her lifelong dream had been to raise horses and so in 1897 she and her husband Billy bought 160 acres in the Ygnacio Valley. She had loved horses since her childhood, badgering milk truck drivers to let her ride their horses.

70 | Nic Fiddian-Green (British, born 1963)

Model for “Trojan” Bronze, 11” x 14”, 25 inches high including plinth, Edition 5 of 9 Signed $12,000. – 18,000.

A model for Trojan, Fiddian-Green’s monumental 15-foot-high horse head was inspired by the Parthenon’s Selene Horse, one of the famous Elgin Marbles.

The large scale version was displayed at The Economist Plaza in London and in the Royal Enclosure for Royal Ascot Week in 2013. It was also temporarily displayed on The Trundle above Goodwood Racecourse.

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71 | Dylan Lewis (South African, born 1964) Pair of Stalking Leopards Bronze, 45 1⁄2” x 18 1⁄2” x 18 1⁄2” Edition 10 of 15 Signed $20,000. – 25,000.

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72 | Thomas Ostenberg (American, born 1949) give us grace for today Bronze, 34” x 12 1⁄2” x 8” Edition 6 of 12 Signed $9,000. – 12,000.

73 | Dylan Lewis (South African, born 1964)

Leopard BusT Bronze, 7 1⁄2” x 6” x 4”, with base overall 15” high Edition 21 of 36 Signed $3,000. – 5,000.

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74 | Nick Bibby (British, born 1960) Game Cock Bronze, 20” x 14”, edition 5 of 12 Signed $14,000. – 18,000.

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75 | Mark Coreth (British, born 1958) Racing Frankel Bronze, 28” x 16” x 8”, edition 1 of 9 Signed $25,000. – 30,000.

Prince Khaled Abdullah and Lord Grimthorpe invited a number of the top equestrian sculptors to submit their works to Sladmore Contemporary Gallery in a contest to sculpt Frankel. In the bidding process, the artists were asked to produce a maquette of Frankel racing, and when Henry Cecil saw Coreth’s he said, “No question; that’s the one.” Next, the artists had to produce a standing Frankel, and once Prince Khaled saw Coreth’s, he commissioned him. As Lord Grimthorpe, Khaled Abdullah’s racing manager told The Telegraph, “The Prince always said we must have something

that people would know for sure was Frankel. This is unmissably Frankel – in the Coreth style.”

The bronze offered here is the one Cecil saw. Of Coreth’s standing version of Frankel, four life-size ones will be done. HM the Queen unveiled the first at Royal Ascot in 2015 while the other three will be installed at York Racecourse, the National Racing Museum at Newmarket, and Banstead Manor, the headquarters of Juddmonte where Frankel was born and now stands.

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76 | Richard M. Firth (British, born 1954)

“Vigilant & Valkyrie II, America’s Cup, 1893” Oil on canvas, 30” x 52” Signed $25,000. – 30,000.

Vigilant and Valkyrie II squared off in the eighth America’s Cup in 1893. Built by Nathanael Greene Herreshoff, Vigilant was owned by a syndicate that included August Belmont, Jr. and Cornelius Vanderbilt among others and represented the defending champion New York Yacht Club. Valkyrie II was the British challenger from the Royal Yacht Squadron and was built alongside HMY Britannia for owner Lord Dunraven. Taking place off Sandy Hook, New Jersey,

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Vigilant crossed the finish line seven minutes ahead of Valkyrie II in the first race on October 7. On October 9, Vigilant won the second race by 12 minutes and 30 seconds, thus setting Valkyrie II up for elimination in the third race in the best of five series. In the third race Valkyrie II led the windward leg but lost a spinnaker at the two thirds mark of the downward run and Vigilant won by 40 seconds in corrected time, successfully defending the cup.

77 | John R. Skeaping (British, 1901-1980) Canal Turn Charcoal, 14.25” x 18.77” Signed, dated 1968 $4,000. – 6,000.

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78 | Richard Stone Reeves (American, 1919-2005) Dr. Fager Oil on canvas, 16” x 20” Signed, inscribed and dated 1968 $11,000. – 16,000.

Illustrated: pg. 17, Richard Stone Reeves, Crown Jewels of Thoroughbred Racing

“When Dr. Fager won the Washington Park Handicap at Arlington in August of 1968, he set a world’s record for a mile on the dirt, which has never been equaled — 1:32 1/5. At that time, he was four years old and had matured into a big, handsome, bay colt of slightly over 16 hands. While in training, he was always very spirited and ready to go out onto the track. Even when posing, he had an eager and almost impatient way about him. John Nerud, who really loved Dr. Fager, brought him out of the barn and held him for me, all the

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while talking either to me or the horse. They seemed to understand each other. ‘He was the fastest horse for a mile who ever raced in this country and at his best, I don’t think there was a horse in the world who could beat him,’ said Nerud. I think he was right.” — Richard Stone Reeves, Crown Jewels of Thoroughbred Racing, pg. 17

79 | Richard Stone Reeves (American, 1919-2005) Mill Reef Oil on board, 10” x 12” Signed and inscribed $10,000. – 15,000.

“One of the best ever to run at Sandown was the champion Mill Reef, the Epsom Derby and Prix de l’Arc de Triomphe winner of 1971. In between those two races, Mill Reef captured the Eclipse Stakes, considered one of England’s most prestigious races, won by such great horses as Royal Palace, Brigadier Gerard, Sadler’s Wells and others. Paul Mellon’s homebred was a rather small colt, compactly and neatly put together and perhaps slightly under 16

hands. I last saw Mill Reef at the National Stud in Newmarket when he was getting on in age in the mid-1980s. He was handled by his loyal groom who very deeply cared for the old stallion and patiently held him for almost an hour while I made my studies. A few years later Mill Reef died.” — Richard Stone Reeves, Crown Jewels of Thoroughbred Racing, pg. 155

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

Tom Fool, Morning Workout, Belmont Park, 1953 Oil on canvas, 18” x 24” Signed, inscribed and dated 2003 $10,000. – 15,000.

Horse of the Year Tom Fool is shown working over the Belmont Park surface. This was a track that Tom Fool loved, having won at least one stakes there every year he raced. During his championship two-year-old season Tom Fool won Belmont’s lucrative Futurity Stakes. At three he posted a seven-length victory in the Jerome Handicap, followed two weeks later by a victory in the Sysonby Handicap. During his Horse of the Year campaign at four, Tom Fool proved his versatility winning three straight at Belmont Park – the six-furlong Joe H. Palmer Handicap, the one-mile Metropolitan Handicap, and 10-furlong Suburban Handicap.

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

Busted Oil on canvas, 26 1⁄8” x 32 1⁄4” signed and dated 1969, inscribed on verso: “Busted, as a 6 year old, England’s Horse of the Year 1967 // Owned by Mr. Stanhope Joel Painted by Richard Stone Reeves” $15,000. – 20,000.

Nearly gelded after a lackluster season at two and three, Busted matured to be elected 1967 British Horse of the Year in a poll organized by the Racecourse Association. Busted had been left intact at three in order to serve as a lead horse for stable companion Royal Palace in the classics. By four he had proved too good for that role. Busted went on to win the historic King George VI & Queen Elizabeth Stakes at Ascot, Britain’s most prestigious weight-for-age race.

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82 | Valeriy Gridnev (Russian, born 1956) Willie Shoemaker Oil on canvas, 24” x 20” Signed, dated 2015 $5,000. – 7,000.

Born August 19, 1931, in Fabens, Texas, William Lee Shoemaker became a giant in Thoroughbred racing despite his 2.5-pound beginning. Riding professionally from March 19, 1949, to February 3, 1990, “The Shoe” won 8,833 of 40,350 races, including 11 Triple Crown races. In 1958 at the age of 27, Shoemaker was inducted into the National Museum of Racing Hall of Fame.

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83 | Richard Stone Reeves (American, 1919-2005) Natashka Oil on canvas, 26” x 38” Signed and dated 1968 $12,000. – 15,000.

Provenance: Collection of Victor Heerman

A true “blue hen” Thoroughbred of the late 20th century, Natashka was named Broodmare of the Year in 1981. She herself 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

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., Natashka’s owner George F. Getty, jockey Bill Shoemaker, and trainer Bill Peterson.

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

Successor, Hostage & Exotic Treat & Entente (collection of 3)

Oil on canvas, (25 1⁄2” x 29 1⁄2”), (27” x 31”), (29” x 35”) (respectively) Signed, inscribed and dated 1970, 1982 “Oaklawn Park”, 1983 (respectively) $25,000. – 35,000.

Provenance: Collection of Victor Heerman

Successor Successor was a homebred product of Wheatley Stable, an enterprise of siblings Gladys Phipps and Ogden L. Mills. He was named champion two-year-old in 1966 when he defeated the previously unbeaten Dr. Fager in the Champagne Stakes. At the age of four he was sold for a reported $1,050,000 to Hastings Harcourt’s Flag Is Up Farms in Solvang, California, for stud duty.

Hostage An allowance winner by nearly eight lengths and placed in Aqueduct’s Nashua Stakes at two, Hostage opened his sophomore year second to eventual Horse of the Year Conquistador Cielo in a Hialeah allowance event. Hostage went on to win the 65th running of Oaklawn’s Grade 1 Arkansas Derby. Unfortunately, he fractured a sesamoid the week of the Kentucky Derby and was retired to Domino Stud. Hostage was bred in Kentucky by Mr. and Mrs. Paul L. Hexter and raced under Mrs. Hexter’s name.

Exotic Treat & *Entente II Exotic Treat and *Entente II proved better producers than race mares for their owners Mr. and Mrs. Paul L. Hexter. Foals by unraced Exotic Treat include multiple champion and Epsom Derby winner Golden Fleece and Arlington Park Stakes winner Office Queen. *Entente II, a placed runner in France, produced 1982 Grade 1 Arkansas Derby winner Hostage.

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85 | Richard Stone Reeves (American, 1919-2005) The Fighting Finish Oil on canvas, 14” x 16” Signed, inscribed “1933 Derby” $8,000. – 12,000.

The 59th running of the Kentucky Derby went down in history as the “Fighting Finish” Derby. The economy had plummeted over the winter of 1932-1933, the worst years of the Great Depression, and Americans needed to see a winner.

“What kept the two horses running on such even terms through the last eighth of a mile may have been the fact that their riders (Donald Meade on Brokers Tip and Herbert W. Fisher on Head Play) were engaged in a hand-to-hand struggle which included

leg-locking, saddle-cloth-grabbing, bumping, and slashing with whips, and which did not terminate until the two riders engaged in a fist fight in the jockeys’ room after the race. As soon as he had brought Head Play back to the stands, jockey Fisher climbed the steps to the stewards and made the first claim of foul against a Kentucky Derby winner in recollection of most experienced racing men present. For all practical purposes the stewards were deaf.”

– The Blood-Horse, Saturday, May 13, 1933

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

Troy with W. Carson Up Winning the 200th Derby, Epsom, EngLAND 1979 Oil on board, 14” x 20” Signed and dated 1979, inscribed on verso: “Europe’s Race of the Year, 1979, Troy Winning the Derby at Epsom, England” $10,000. – 12,000.

Illustrated: “Decade of Champions; The Greatest Years in the History of Thoroughbred Racing, 1970-1980” by Richard Stone Reeves and Patrick Robinson. p. 59

Troy was bred and raced by Sir Michael Sobell and Lord Weinstock’s Ballymacoll Stud of Ireland. He was named champion colt in both England and Ireland and Horse of the Year in England at three. In 1979 he won four straight Group 1 events, including the 200th running of the Epsom Derby by seven lengths (the largest margin in 54 years) and the Irish Derby. The dual classic winner had a short stallion career, dying in 1983 after only four years at stud.

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87 | Booth Malone (American, born 1950) On Top of It Oil on canvas, 12” x 16” Signed $1,500. – 2,000.

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

Ack Ack Oil on canvas, 13” x 12” Signed and dated 1973, inscribed on verso: “Ack Ack, Horse of the Year 1971, To my friend, Victor Heerman, with Best Wishes, Richard Stone Reeves, April 30, 1973” $3,000. – 4,000.

Provenance: Collection of Victor Heerman

Ack Ack was champion sprinter, champion older horse, and Horse of the Year in 1971 at the age of five. That year Ack Ack won seven straight at Santa Anita and Hollywood Park from the 5½-furlong Hollywood Express Handicap to the 1¼-mile Hollywood Gold Cup and Santa Anita Handicap. In 1986 he was inducted into the National Museum of Racing and Hall of Fame. At stud his 54 stakes winners included Grade 1 winner and leading sire Broad Brush.

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89 | Rodrigo Avila (Chilean, born 1961) Thomas Coates (British, born 1941) Peter Curling (Irish, born 1955) Valerie Hinz (Canadian, born 1956) Peter Howell (British, born 1932) Sandra Faye Oppegard (American, born 1941)

Andre Pater (Polish/American, born 1953) Larry Wheeler (American, born 1942) Memorable Races in Breeders’ Cup History (Set of 9) Oil on canvas/panel 14” x 18” each. (9 paintings) Together in a screen. Wood and Gilt.

Overall size: 73” x 65” Each signed, racing charts on verso. $70,000. – 90,000.

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1. Peter Howell Breeders’ Cup Turf November 1, 1986 | Santa Anita Park

2. Larry Wheeler Breeders’ Cup Classic November 10, 1984 | Hollywood Park

3. Thomas Coates Breeders’ Cup Distaff November 5, 1988 | Churchill Downs

4. Peter Curling Breeders’ Cup Mile October 27, 1990 | Belmont Park

5. Rodrigo Avila Breeders’ Cup Classic October 28, 1995 | Belmont Park

6. Sandra Faye Oppegard Breeders’ Cup Classic November 4, 1989 | Gulfstream Park

7. Andre Pater Breeders’ Cup Mile November 6, 1993 | Santa Anita Park

8. Valerie Hinz Breeders’ Cup Juvenile Fillies November 5, 1994 | Churchill Downs

8. Larry Wheeler Breeders’ Cup Juvenile November 2, 1991 | Churchill Downs The Sporting Art Auction

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90 | Valeriy Gridnev (Russian, born 1956)

Charlie Wittingham & SUNDAY SILENCE Oil on canvas, 24” x 34” Signed, dated 2015 $9,000. – 12,000.

Charles Edward “Charlie” Whittingham trained with distinction for nearly half a century and was the U.S. champion trainer by earnings seven times, Eclipse Awardwinning trainer three times, and National Museum of Racing and Hall of Fame inductee in 1974. Whittingham trained the winners of 252 stakes races, including Kentucky Derby winners Ferdinand and Sunday Silence. Sunday Silence’s victory in the 1989 Derby gave Whittingham the distinction of being the oldest person to have trained a Kentucky Derby winner.

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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 in his defeat of his nemesis in the Breeders’ Cup Classic at Gulfstream later that year. The nearly black stallion with a blue-collar pedigree took up residence at Japan’s Shadai Stallion Station, where he ranked number one on the country’s leading sire list from 1995 through 2007.

91 | Lionel D.R. Edwards (British, 1878-1966) Good Morning Watercolor, 13 3⁄4” x 19 3⁄4” Signed $18,000. – 22,000.

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92 | Lionel D.R. Edwards (British, 1878-1966) The HeythROp Hunt Watercolor with bodycolor, 16 1⁄2” x 23” Signed, inscribed “Heythrop,” dated 1931 $18,000. – 22,000.

Before 1835, the Heythrop country was hunted by the Duke of Beaufort’s hounds. Since that time there have only been 14 different huntsmen. Some of the more notable Heythrop Masters have been Albert Brassey, Charles Sturman, and Ronnie Wallace. Current British Prime Minister David Cameron has hunted with the Heythrop Hunt.

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93 | Lionel D.R. Edwards (British, 1878-1966) The Warwickshire Hunt (set of 4) W/C gouache, 9 1⁄2” x 13” each Signed, dated 1921 $6,000. – 8,000.

Provenance: Major Harold Stanley Cayzer and Mrs. Beatrice Cayzer

The Warwickshire Hunt was started in 1791 by a Mr. Corbet. On its own website the hunt notes that “The halcyon days for the Warwickshire were between the 1st and 2nd World Wars. Very much recognised as one of the leading packs in the midland shires, it had a succession of legendary huntsmen including Bob Champion, Ted Cox and George Gillson.” The works offered here were executed during this time frame.

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94 | Peter Howell (British, born 1932)

Winter Morning After Snow, Newmarket Oil on canvas, 24” x 36” Signed $15,000. – 20,000.

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95 | Peter Howell (British, born 1932)

Towards the Town, Newmarket Oil on canvas, 24” x 30” Signed $12,000. – 15,000.

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96 | Quang Ho (Vietnamese/American, born 1963) The Athlete Oil on canvas, 30” x 30” Signed $14,000. – 18,000.

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97 | Quang Ho (Vietnamese/American, born 1963) Cool Morning at Keeneland Oil on panel, 36” x 48” Signed $20,000. – 25,000.

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98 | Randall Davey (American, 1887-1964) Derby Day Oil on masonite, 23 1⁄2” x 28 1⁄2” Signed $20,000. – 25,000.

Provenance: Christie’s Randall Davey Sale, Santa Fe, New Mexico, July 2, 1985, Lot 53

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99 | LeRoy Neiman (American, 1921-2012) Longchamp Paddock Acrylic on canvas, 28 1⁄2” x 46” Signed and dated 1961 $100,000. – 125,000.

“Longchamp is a top contender for the title of the world’s most beautiful hippodrome. It attracts an international crowd, for Longchamp, with its charming windmill and its joie de vivre, belongs to the world of sophistication. Here can be found the world’s most seductive twolegged fillies. Deposed kings, princes, and princesses of times past, as well as barons, dukes, counts, earls, all bussing and shaking hands,

are gathered here to enjoy one of their favorite pastimes and to wager ensemble on this lovely June day, when the running of the Grand Prix de Paris, France’s finest race, takes place.”

- LeRoy Neiman, pg. 56 in Horses.

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100 | LeRoy Neiman (American, 1921-2012) Racing Oil on board, 7 3⁄4” x 10” Signed, dated 1958 $15,000. – 20,000.

“I have rarely neglected this horsey milieu for long during the past thirty years.

It’s a passion I’ll never outgrow.”

- LeRoy Neiman, pg. 32 from his book Horses.

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101 | LeRoy Neiman (American, 1921-2012) Horse and Groom Oil on board, 13” x 8 1⁄8” Signed, dated 1958 $15,000. – 20,000.

“My vote for the top man at the back track goes to the groom, who may well be the most important man in the world of the racetrack. The groom is the horse’s best friend as well as his bedside companion, an indispensable presence, like boxing’s cut man in the fighter’s corner and golf ’s caddy who nurse and coddle their charges. The fact is, the groom actually lives in with his horses. He looks after their best interests and skillfully attends to their needs. Horses rise at dawn and so does the groom to begin his finest hour – his spirits are high, he feels needed, and loves his responsibility.”

- LeRoy Neiman, pg. 74 in Horses.

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102 | LeRoy Neiman (American, 1921-2012) Saint-Cloud Watercolor, 18” x 22 1⁄2” Signed, inscribed and dated 1962 $15,000. – 20,000.

Founded in 1901 by politician and Thoroughbred owner and breeder Edmond Blanc, Saint-Cloud racecourse overlooks the western side of Paris. Saint-Cloud offers patrons a special venue of open-air relaxation, panoramic views, and grassy picnic areas. The racecourse has been popular with American trainers as it is the only left-hand-

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ed, or counter-clockwise, track near Paris. Saint-Cloud also offers other horse-based entertainment, especially during the “Hauts de Seine at the Races,” a lively country fair event held on the first day of May every year.

103 | LeRoy Neiman (American, 1921-2012) Epsom Derby, ‘Placing Bets’ Mixed media, 10” x 14” Signed, inscribed and dated 1960 $10,000. – 12,000.

“Epsom is the supreme equestrian pageant of the racing world.

Steeped in tradition,it has the same festive feeling and prestige today as it had when the nineteenth-century English artists captured its essence in prints...having arrived in their Rollses and Bentleys, the upper-class, top-hatted racegoers in their gray waistcoats, striped trousers,and cutaways, with their ladies in flowered dresses and hats, file into the grandstands and members’ enclosure. Like their countrymen in the infield, they lug an assortment of paraphernalia,

but theirs is more elegant: important binoculars hang around their necks, leather cases swing from their shoulders, a shooting stick is tucked under one arm (which makes doffing the top hat a problem).

Almost everyone carries an umbrella, but because unexpected movement is frightening to horses, it is bad form to open one in the paddock on a rainy day in Britain.”

- LeRoy Neiman, pg. 44 in Horses.

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104 | LeRoy Neiman (American, 1921-2012)

Epsom Derby, ‘Top Hats and Tails’ Mixed media, 14” x 10” Signed, inscribed and dated 1960 $10,000. – 12,000.

“Holding to the rigid rule of morning coat and top hat, the gents look tall as bobbies or the Royal Guards at St. James Palace. They all become immediately shorter when they remove their toppers in the presence of the Queen. On occasion, the English enjoy looking taller than they really are. The cutaway coat was originally tailored for ease in sitting resplendently on a horse, and its cavalier’s panache fits well into this “My Fair Lady” setting. The scene is liberally seasoned with frivolous coiffures, blossoming hats, frills, and extravagant regalia – the full range of trappings and finery with which Englishwomen garnish themselves at the races.”

- LeRoy Neiman, pg. 169 in Horses.

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105 | LeRoy Neiman (American, 1921-2012)

Hunt Ball, Southern Pines, NC, 1959 Mixed media, tempera, ink, 17” x 11” Signed, inscribed and dated 1959 $8,000. – 10,000.

In LeRoy Neiman: Art and Lifestyle, it is noted that the artist traveled to Southern Pines, North Carolina, to paint and sketch Moore County Hounds Fox Hunt and Hunter Trials. A recurring theme in Neiman’s writing about his own works is his love of the pageantry surrounding horse events whether they’re racing, the hunt, or polo. He made an effort always to note his attraction to portraying the glitz and the glamour of the people who made up the crowds and followed these events, whether it was Ascot, the hunt balls, or the gamblers.

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106 | LeRoy Neiman (American, 1921-2012) Oxford-Cambridge Rowing Mixed media on paper, 19” x 26” Signed $12,000. – 15,000.

The Oxford Cambridge Boat Race, also known as just The Boat Race, is an annual rowing race between Oxford and Cambridge Universities’ Boat Clubs. The race has been held annually since 1829 (except for during the First and Second World Wars) usually on the last weekend of March or the first weekend of April. The race covers a 4.2-mile stretch of the Thames in East London and an estimated 15 million people watch it on television.

Both teams are called the “blues” with Oxford in dark blue and Cambridge in light blue. As of 2015, Cambridge has won the race

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81 times and Oxford 79 times, with one dead heat in 1877, though that verdict is suspect as the race judge was blind in one eye. The race is rowed upstream but is timed to start on the incoming tide so that the teams have the fastest possible currents. The Oxford Cambridge Boat Race has traditionally proceeded even in conditions that would typically cancel an international regatta of the same standards. All competitors must be current students at the respective universities as the contest is strictly between amateurs.

107 | Larry Dodd Wheeler (American, born 1942) Saratoga Paddock Oil on board, 16” x 24” Signed $4,000. – 6,000.

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108 | Jean-Bernard Lalanne (French, born 1952)

Horse & Groom in Keeneland Paddock Oil on canvas, 48” x 36” Signed and dated 2015 $10,000. – 12,000.

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109 | Jean-Bernard Lalanne (French, born 1952) Romeria del Rocio (Andalusian Pilgrimage of Rocio) Oil on canvas, 29” x 25” Signed $6,000. – 8,000.

The Andalusian pilgrimage of El Rocío, or the Romería del Rocío, is a pilgrimage that takes place annually honoring the Virgin of El Rocío, the patron saint of Almonte, a town in Huelva, Andalusia.

While the celebration itself begins the Sunday before Pentecost, pilgrims typically travel one to seven days beforehand, often on horseback or in horse-drawn wagons. Many consider the travel to be the most important part of the pilgrimage. They wear traditional Andalusian dress—flamenco dresses for women and traditional

riding costumes for men. There are several routes taken by the pilgrims: the Seville way (through the Andalusian capital), the Sanlúcar way through Cadíz, the plains way from the countryside, and the Mogul way from Huelva. Each route is taken by different religious confraternities who carry their own copies of the Virgin of El Rocío with them along the way. In recent years, El Rocío has brought together roughly a million visitors.

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110 | Joanne Mehl (American, born 1960)

No. 8 Horse in Keeneland Paddock Oil on board, 24” x 36” Signed $4,000. – 6,000.

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111 | Larry Dodd Wheeler (American, born 1942) MORNING STEAM Oil on board, 9” x 12” Signed $1,500. – 2,000.

112 | Gabriel Spat (American/French, 1890-1967)

At The Races Oil on newsprint (French racing form), 10 3⁄4” x 7 1⁄2” Signed $2,000. – 3,000.

Provenance: Long and Company, Houston, Texas Painted on a racing program for Bois de Boulogne, September 14, 1947.

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113 | Gen Paul (French, 1895-1975)

Cavaliers dans le Parc Watercolor/gouache, 18 1⁄2” x 25 1⁄2” Signed $4,000. – 6,000.

114 | Joanne Mehl

(American, born 1960) Before the Race, Keeneland Oil on canvas, 24” x 30” Signed $4,000. – 6,000.

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115 | Peter Smith

(British, born 1949) Night Race, Majis, Spain Oil on canvas, 26” x 38” Signed $12,000. – 15,000.

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116 | Susie Whitcombe

(British, born 1957) Wickham Horse Fair Oil on board, 12” x 15” Signed $3,000. – 4,000.

117 | Susie Whitcombe

(British, born 1957) Tattersalls, Newmarket Oil on board, 9” x 12” Signed $2,000. – 3,000.

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118 | Henry Koehler (American, born 1927)

Riva Ridge, Ron Turcotte Up Oil on canvas, 20” x 30” Signed, inscribed on verso “Riva Ridge, Henry Koehler, New York, 1973, (with lead pony before winning the Kentucky Derby, Ron Turcotte up)” This painting was reproduced as a signed and numbered lithograph. $9,000. – 12,000.

Like his sire First Landing, Riva Ridge was a Christopher T. Chenery homebred that went on to be champion at two. Riva Ridge won two legs of the Triple Crown: the Kentucky Derby and the Belmont Stakes. However, his subpar performances after the Belmont kept him from the champion’s title at three. He returned

at four to be named champion older horse after his victory in Aqueduct’s Brooklyn Handicap (gr. I) in world-record time. Riva Ridge retired to his birthplace of Claiborne Farm and went on to sire 29 stakes winners. He died in 1985 and was elected to the Racing Hall of Fame in 1998.

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119 | Sandra Faye Oppegard (American, born 1941) American Pharoah (Set of 3) Watercolors, 11 1⁄2” x 14 1⁄2” each Signed and inscribed with race and date $4,000. – 6,000.

“And here it is! The 37-year wait is over! American Pharoah is finally the one! American Pharoah has won the Triple Crown!”

– Larry Collmus, Belmont Park’s track announcer

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120 | Sandra Faye Oppegard (American, born 1941) Warming Up, Keeneland Watercolor, 13” x 19” Signed, dated 2015 $3,000. – 5,000.

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When British settlers originally came to the area now known for the Pimlico course in the 1660s, they named it for a favored landmark back near London, Olde Ben Pimlico’s Tavern.

Pictured is the old Pimlico Clubhouse, a grand Victorian building with the weather vane that was painted with the current Preakness Stakes winner’s silk colors. The second floor was home to the National Jockey’s Hall of Fame, while the third floor housed dining rooms named for Triple Crown winners and the Maryland Jockey Club’s library and archives, containing materials dating back to 1764. On June 17, 1966, a fire broke out, taking the venerable building along with the archives and many valuable paintings. The only thing to survive was the weather vane, which today stands atop a replica cupola, still painted immediately after each Preakness Stakes with the winning colors.

121 | John P. Cowan (American, 1920-2008) THE CLUBHOUSE at Pimilico Watercolor, 17 1⁄2” x 24” Signed $6,000. – 8,000.

122 | Sandra Faye Oppegard (American, born 1941) Groom Watercolor, 10” x 13” Signed, dated 2015 $2,000. – 3,000.

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123 | Andre Pater (Polish/American born 1953) EARLY SUMMER Oil on canvas, 48” x 60” signed $150,000. –200,000

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124 | Andre Pater (Polish/American born 1953)

Jockeys Up, 1999 Breeders’ Cup Study, Gulfstream Oil on board, 13 1⁄2” x 11 1⁄2” Signed, dated 1999 $15,000. – 20,000.

Exhibited at the Kentucky Governor’s Mansion, May, 2015.

A catalogue from that exhibition in which this painting was illustrated will accompany the lot.

Andre Pater was the official artist for the 1999 Breeders’ Cup at Gulfstream Park for which he produced a large painting commemorating the event.

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125 | Andre Pater (Polish/American born 1953) Smarty Jones Pastel, 24” x 22 1⁄2” Signed $10,000. – 15,000.

The Eclipse Award winner of 2004, Smarty Jones was a multiple classic winner and near Triple Crown winner. He became the first undefeated winner of the Kentucky Derby since Seattle Slew in 1977. He set a new win margin record in the Preakness Stakes of 11½ lengths. Smarty Jones’ popularity led to a record Belmont Stakes attendance of 120,139. Smarty Jones was upset by the late charge of 36-to-1 longshot Birdstone.

Smarty Jones was bred and raced by Roy and Patricia Chapman’s Someday Farm of Chester County, Pennsylvania. They named their champion for Patricia’s mother Milly “Smarty Jones” McNair because the colt shared both a strong will and the same birth date as Mrs. McNair.

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126 | Andre Pater (Polish/American born 1953) Run Smarty Run Pastel, 24” x 28” Signed $10,000. – 15,000.

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a.

b.

c.

d.

a. “Affirmed was away first, soon to be joined by Judge Advocate on the outside. Alydar off in good order, soon let it be known that he indeed would race close to the leaders.”

– Dan Farley, The Thoroughbred Record, June 21, 1978 b. “You know that Alydar went at it the only way he could, since he had been beaten using his own style. He went to the throat of Affirmed early, a mile or so from the finish, and he fought on Affirmed’s ground, at Affirmed’s game.”

– Edward L. Bowen, The Blood-Horse, June 19, 1978 c. “One hundred and nine runnings of the Belmont had taken place, and a lot more would follow. Yet the 110th Belmont Stakes on June 10, 1978, is widely regarded as the great classic’s finest hour.”

– Timothy T. Capps, Affirmed and Alydar, Racing’s Greatest Rivalry, Thoroughbred Legends Series, Blood-Horse Publications

127 | Guy Coheleach (American, born 1933) Affirmed & Alydar, 1978 Belmont Stakes (Set of 4) Oil on canvas, 16” x 20” each Signed $12,000. – 15,000.

d. “Affirmed inched ahead and held that lead to the wire. Near the finish, one could see Alydar thrusting his neck forward, straining with every muscle to catch his rival. But he missed by a head as Belmont Park erupted in an explosion of fervor. Some in the stands weren’t certain about the outcome but Cauthen rose in his irons, a stride or two past the finish line, and waved his whip in exultation.”

– Joe Hirsch, 1978 Racing in Review, The American Racing Manual, 1979 Edition The Sporting Art Auction

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128 | Charles Church (British, born 1970) Study of Sky Lantern Oil on canvas, 16” x 20” Signed, inscribed and dated 2014 $5,000. – 7,000.

Four-time Group 1 winner Sky Lantern was bred in Ireland by Tony and Anne O’Callaghan’s Tally-Ho Stud. She was trained by Richard Hannon for owner Ben Keswick. The highweighted filly at two on the 2012 Irish Free Handicap, Sky Lantern was undefeated in her native Ireland, having won the Group 1 Moyglare Stud Stakes. At three she won three Group 1 events in England: the Qipco One Thousand Guineas, Coronation Stakes, and the Kingdom of Bahrain Sun Chariot Stakes.

129 | Guy Coheleach (American, born 1933)

Affirmed Watercolor/gouache mixed media, 30” x 40” Signed $5,000. – 7,000.

Affirmed became America’s 11th Triple Crown winner in 1978, and the last until 2015. The Harbor View Farm homebred was trained by Lazaro S. Barrera and ridden to victory by Steve Cauthen. Affirmed earned five Eclipse Award titles during his three seasons of racing, including Horse of the Year in 1978 and 1979. At stud Affirmed sired 86 stakes winners and nine champions, including Canadian Triple Crown winner Peteski.

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130 | Charles Church (British, born 1970) Two Geese Oil on canvas, 25” x 30” Signed, dated 2015 $15,000. – 20,000.

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131 | Julie T. Chapman (American, born 1963) Joie de Vivre Oil on canvas, 24” x 36” Signed $7,000. – 9,000.

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132 | Valerie Hinz (Canadian, born 1956) Herd Sire Oil on canvas, 16” x 20” Signed $3,000. – 5,000.

133 | Kelly Robertson Brewer (American, born 1970) Keep on the Sunny Side Oil on linen panel, 20” x 20” Signed $3,000. – 5,000.

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134 | Michael J. Austin (British, born 1959) The Golden Hind Oil on canvas, 36” x 40” Signed $6,000. – 8,000.

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135 | Michael J. Austin (British, born 1959) ATLAS Oil on canvas 34” x 50” Signed $14,000. – 18,000.

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136 | Jean Bowman (American, 1917-1994) Arkle Oil on canvas, 24” x 30” Signed, dated 1960 $6,000. – 9,000.

Considered by many to be the greatest steeplechaser ever to race, Arkle was a legend in his native Ireland. With his great reputation he gained the simple nickname “Himself.” Arkle won 27 of 35 starts including the Irish Grand National Steeplechase Handicap and three straight runnings of the Cheltenham Gold Cup Steeplechase. His Timeform rating of 212 is still the highest every bestowed on a steeplechaser.

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137 | Pierre Bellocq a.k.a. PEB (French, born 1926) red pollard and Seabiscuit Pastel, 21” x 16” Signed $5,000. – 7,000.

This piece was commissioned by the Daily Racing Form and was reprinted as a promotional poster in conjunction with the release of the movie Seabiscuit.

The bond between champion Seabiscuit and his jockey Red Pollard was, in fact, the thing movies are made of. When both

Seabiscuit and Pollard returned from injuries in 1940 they became America’s symbols of hope during the Great Depression. The story of Seabiscuit and Pollard was captured in 2001 by author Laura Hillenbrand in her bestseller Seabiscuit: An American Legend. And in 2003 Universal Studio turned that into the movie Seabiscuit, which received an Academy Awards nomination as best picture.

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138 | Pierre Bellocq a.k.a. PEB (French, born 1926) Belmont Park 2000 (study for a mural) Watercolor, gouache, mixed media, 21 1⁄2” x 95” Signed $15,000. – 20,000.

The piece offered here is a study for a mural located in Belmont Park that was completed around the year 2000. Pictured in the mural are various horsemen including jockeys, owners, trainers, and others who have been associated with Belmont Park over the last 100 years. This is a study for the second half of the mural, containing figures who were prominent at the park from 1950-2000.

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139 | Sir Alfred James Munnings (British, 1878-1959) Mon Talisman, Chantilly, 1928 Oil on canvas, 20” x 24 1⁄4” Signed, inscribed “Mon Talisman, Chantilly,” dated 1928 $300,000. – 400,000.

Provenance: Sotheby’s New York, Important Sporting Paintings and Prints, June 5, 1986. Lot 274.

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Munnings dedicated an entire chapter of his memoirs to the time he spent painting champion racehorses at Chantilly. It was, and still is, a breathtaking place that greatly appealed to Munnings as a landscape painter. It was there, on the Continent, that Munnings grew to appreciate painting en plein air, as the French impressionists did. His enthusiasm for painting light is evident in this portrait and others of that era. Moreover, between the wars, his fame as a racehorse painter had extended beyond England and he found himself greatly in demand in places such as France, Canada, and the United States.

Munnings painted his first racehorse, Poethyn, in 1919. Less than 10 years later, his racehorse portraits were very much in demand and he was painting French champions across the channel. Though this painting of Mon Talisman is what Munnings himself would have called a cut and dry horse portrait, there are several compositional aspects that make this painting an exceptional work. Consider the groom, for instance. He is in profile—the perspective that reveals the fewest characteristics—while Mon Talisman gazes slightly out of the frame and towards the viewer. As this was a commissioned portrait, the patron, whether knowingly or not, would have appreciated that Mon Talisman, and not his groom, is looking out from the canvas out of the corner of his eye. Mon Talisman is seen in profile, displaying his athleticism and conformation. He is sculpted with highlights made by the early morning sunshine during exercise on the gallops at Chantilly. Munnings was the first artist to use pastel tones to create highlights and shadows on horses’ coats.

The story of Mon Talisman is bookended by the 20th century’s two World Wars. His sire, Craig an Eran, was foaled in 1918 at the end of the first “Great War.” Bred and raced by Lord Astor in England, Craig an Eran won the Two Thousand Guineas and was upset by Humorist in the Derby. Mon Talisman was bred by Argentine M. G. Ham and foaled in France in 1924. Ham sold him as a yearling for 570,000 francs, the top price of the year at the Deauville sales.

Racing for M. E. Martinez de Hoz of Buenos Aires, Argentina, Mon Talisman was an easy winner of the Prix du Jockey Club, France’s

equivalent of the English Derby run at Chantilly. He then ran second in the Grand Prix de Paris and the Prix Royal Oak. By October it was time for the Prix de l’Arc de Triomphe, an international race established in 1920 for three-year-olds and up. Mon Talisman came quietly around into the stretch and drew away by two lengths. At age four, Mon Talisman won the Prix du President de la Republique for Martinez de Hoz, raising his earnings to a then record 1,994,800 francs.

By 1937 Mon Talisman had made his way to the top of the French sire list, boosted by the earnings of his son, French Derby winner Clairvoyant. Sadly, Mon Talisman and Clairvoyant became “spoils of war” in 1939 after the Nazi invasion of France, when some 300 exceptional Thoroughbreds were taken.

Munnings modulates his brushwork, from the crispness of Mon Talisman’s tail to the faint impressions of horses going to work in the background and though he uses a somewhat limited palette, his repetition of tones throughout the composition create balance.

The distant vignettes of horses working seen through Mon Talisman’s legs are a device that helps put the horse into context.

Moreover, the diagonal line the other horses create, combined with the bands of light and dark, help draw the viewer’s eye to the main subject.

The 1920s were Munnings’ era of international fame. The boom between the wars combined with a widespread desire to return to civilized life helped fuel this success. His second wife, Violet, whom he married in 1920, encouraged him to accept consignments both at home and abroad and it is perhaps due to her support that he found such success. He painted for the upper echelons of society; however, he never lost sight of his rural upbringing and his pictures reflect a countryman’s adoration of animals and landscapes. The wisps of clouds in this work are still tinged with pink from the sunrise and the blue from the sky carries through into the hills in the background.

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140 | Sir Alfred James Munnings (British, 1878-1959) The Return from Market Oil on canvas, 11 1⁄2” x 20” Signed $40,000. – 60,000.

Provenance: Frost & Reed, London Estate of Martha and Mack Miller

“When Dad purchased this Munnings from Frost and Reed, Mom thought it a bit “showy”. She was never quite comfortable with it, and it’s ironic that it never received the proper lighting it deserved!”

- Martha Miller Queen, daughter of Mack and Martha Miller

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141 | Sir Alfred James Munnings (British, 1878-1959) The Ferry Watercolor, 12” x 10” Signed $30,000. – 40,000.

Provenance: Frost & Reed

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142 | Sir Alfred James Munnings (British, 1878-1959) lord astor’s Broodmare AND Foal Oil on board, 13 1⁄2” x 16” Signed $100,000. – 150,000.

Provenance: Property of Lord Astor Scott & Fowles, New York Mr. and Mrs. John W. Hanes

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This painting was painted in the late 1930s, when Munnings was adding to his numerous commissions for William Waldorf, 2nd Viscount Astor. The present work strongly relates to A Summer Evening at Cliveden, 1939, which was shown at the Royal Academy in 1943 (no. 63). Munnings most likely painted this work as a highly finished study for the final piece commissioned by Lord Astor which features him surrounded by a parade of his broodmares and foals.

The trees on the horizon in this painting are similar to those in Summer Evening at Cliveden, which suggests the setting of Lord Astor’s Broodmare and Foal to be the paddock beyond the formal gardens at Cliveden, Lord Astor’s estate in Buckinghamshire. It was at Cliveden that Lord Astor kept his string of broodmares, many of whom would prove useful dams. Lord Astor’s son, “Jakie,” remembers his father as “a perfectionist and a master of detail.

No particular system can be seen over the years, except a strict adherence to quality in pedigree, conformation, and performance.

His aim was to breed a Classic winner.” (Alan Yuill Walker, The European Racehorse, July 1982, p. 108) Munnings evidently enjoyed his time at Cliveden and found it an inspiring place to paint: “…lying on a long sort of garden settee on the terrace at Cliveden, listening to the silvery sounds of fountains on the lawns below, I looked into the western sky and at the elm trees silhouetted against its light. Cutting through the sound of playing fountains, a shrill whistling of happy families of swifts, birds whose ancestors wheeled and whistled over the same site centuries ago and whose descendants will wheel and whistle above the shell

of Cliveden in years to come…” (Reginald Pound, The Englishman, 1962, p.117). Munnings’ appreciation of this landscape is evident in the present work. His attention not only to the light of the afternoon hitting the horses’ coats but also to the foliage in the background creates a balanced and harmonious composition. The flecks of pastel tones hitting the mare’s bay coat to reflect light are a technique that Munnings is credited with being the first to use when painting horses. It is evident here why Munnings is thought of as not only a great painter of horses, but a great painter of light and landscape.

Lord Astor was one of the most successful owner-breeders of his generation who produced winners of 11 classic races between 1917 and 1945. The only major race to elude him was the Derby although he had the runner-up on five occasions. He had some 44 wins in all, and almost all of them were with horses he himself had bred. He was leading owner in 1925 and 1936.

He commissioned Munnings to paint 10 of his mares out at grass over the course of several years. The two men developed a wonderful working relationship. Munnings, in a letter to his wife, wrote, “Shall soon be off to Cliveden. Looking forward to seeing it again…Trees will be coming into leaf and I leak Lord Astor and all his family.” (The Second Burst, p. 220) His foresight in hiring Munnings to paint horses early in his career parallels the foresight he had in breeding racehorses.

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143 | Sir Alfred James Munnings (British, 1878-1959) Shrimp, the Groom Oil on canvas, 14” x 16 1⁄2” Signed $15,000. – 20,000.

Provenance: Anonymous sale, Sotheby’s, London, November 15, 1978, Lot 104 Collection of Mr. and Mrs. Montgomery Fisher, purchased from the above Christie’s, New York, January 27, 2010 Christie’s, London, June 16, 2010 Leslie Hindman, Chicago, May 20, 2015

Perhaps Munnings’ best model, the two often had a love/ hate relationship. Munnings writes about Shrimp often in his autobiography, at one point calling the illiterate, diminutive, wild gypsy boy “an indispensable model, an inspiring rogue, an annoying villain” (Sir Alfred Munnings, An Artist’s Life, London, 1950, p. 207). Introduced to Munnings by the Norwich horse trader Drake, Shrimp was the best model Munnings had and posed for him extensively from around 1908 until 1912. Munnings went on to say Shrimp “slept under Drake’s caravan and when not wanted he lay on the dusty ground or grass, smoked cigarettes,

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and played with the lesser dogs, lurchers and children. He was a good bare-back rider and sly as a fox. On my instruction Shrimp had gone to Norwich to a tailor in Dove Street who made clothes for the [gypsy] fraternity, to be measured and fitted for the usual cut of tight cord trousers and black-fronted, sleeve waistcoat — a garment of the past, a Georgian relic…Shrimp, thus attired, with a yellow handkerchief round his neck, was a paintable figure” (An Artist’s Life, p. 211). As can be seen, the young rogue is wearing what Munnings had purchased for him and is often portrayed in these same clothes.

144 | Sir Alfred James Munnings (British, 1878-1959)

Racetrack Sketches, Including the Duke of Norfolk Pencil on card, 8” x 9 1⁄2” Signed, dated Brighton 1954 $4,000. – 6,000.

Provenance: Christie’s New York, May 1, 1981 (lot 101)

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145 | David Grossman (American, born 1984) Sunlight Over the Valley Oil on linen panel, 20” x 34” Signed, dated 2015 $5,000. – 7,000.

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146 | Peter Smith (British, born 1949) first hurdle, last race Oil on canvas, 26” x 36” Signed $12,000. – 15,000.

Provenance: Frost & Reed, London

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147 | Adriana Zaefferer (Argentinian, born 1952) Mill Reef Pastel, 20” x 16” Signed $2,000. – 3,000.

Provenance: Estate of Martha and Mack Miller

Mill Reef was the star homebred of Paul Mellon’s Rokeby Farms in Upperville, Virginia, being named European Horse of the Year at three in 1971. At two he was assigned the second highweight on the English Free Handicap, one pound below My Swallow. At three Mill Reef scored five victories in six starts, including the Epsom Derby and the Prix de l’Arc de Triomphe. At stud Mill Reef was twice leading sire in England, siring 62 stakes winners and eight champions, including Epsom Derby winners Reference Point and Shirley Heights.

This drawing was given to Mack Miller by Paul Mellon.

148 | Randall Davey (American, 1887-1964)

Racing Mixed media, pastel and crayon, 12 1⁄2” x 8 3⁄4” Signed $4,000. – 6,000.

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149 | Heather St Clair Davis (British/American, 1937-1999) In All Weathers Oil on canvas, 18” x 24” Signed $4,000. – 6,000.

Provenance: Estate of Martha and Mack Miller

150 | Randall Davey (American, 1887-1964) At the Start, Steeplechase Watercolor, 11 1⁄2” x 19 7⁄8” Signed $5,000. – 7,000.

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151 | Thomas J. Coates (British, born 1941) Punters at Keeneland Oil on canvas, 33” x 40” Initialed $12,000. – 15,000.

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152 | Thomas J. Coates (British, born 1941) in the Paddock, Keeneland Pastel, 32” x 42” Initialed $7,000. – 9,000.

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153 | Thomas J. Coates (British, born 1941) riders up Pastel, 30” x 42” Initialed $7,000. – 9,000.

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154 | Thomas J. Coates (British, born 1941) Blue and Yellow Silks Oil on canvas, 20” x 20” Initialed $4,000. – 6,000.

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155 | Wolf Kahn (German/American, born 1927) Showgrounds Oil on canvas, 23” x 31” Signed $15,000. – 20,000.

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156 | Andre Pater (Polish/American born 1953) Fresh Scent Pastel, 18” x 24” Signed $15,000. – 20,000.

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157 | Dede Gold (Irish, born 1971) Kilkenny Hounds Oil on canvas, 30” x 48” Signed $8,000. – 10,000.

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158 | Juli Kirk (American, born 1957) Hounds on Scent Oil on canvas, 24” x 36” Signed, dated 2015 $6,000. – 8,000.

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159 | Juli Kirk (American, born 1957) Watching Oil on canvas, 36” x 24” Signed, dated 2015 $5,000. – 7,000.

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160 | Ashley Collins (American, born 1967) Reve Mixed media, 96” x 120” Signed $145,000. – 165,000.

“Reve” (to dream), which was three years in the making, includes among obscured and partially obscured pages of collage historical pages of the Treasure Hunt; linotype pages from Grahams magazine, 1890; partially obscured images of the photographs of Edward Muybridge; 19th-century poems; and historical book covers, including Samantha at Saratoga, written in 1897 by Marrieta Holley. Varied as these images may seem, it is the dreams of life that tie each together.

The figurative image of the horse is a study of power, strength and confidence—the nostrils flare as the horse rears toward its full

height, taking on all doubters. Note the coloration and placement of the license plate from 1935. The year Seabiscuit ran 35 races as a two-year-old, three of them claiming races where he could have been bought for $2,500, finishing first five times and second seven times, no one could look beyond the small size and confirmation of the horse. No one could see the dream unfolding of this horse that would become one of the most famous racehorses in history.

Collins has chosen this year as a reminder that while others may underestimate us, we should never underestimate ourselves. Most of all, we should never forgo our dreams, our own “Reve.”

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161 | Theo Waddell (American, born 1941) Arco Horses #19 Oil on canvas, 36” x 36” Signed $12,000. – 15,000.

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162 | Jo Taylor (British, born 1969)

The Promise Mixed media on paper, 43” x 33” Signed $6,000. – 8,000.

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163 | Jo Taylor (British, born 1969)

The Horse Thief Mixed media on paper, 35” x 60” Signed $7,000. – 9,000.

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164 | Jeaneen Barnhart (American, born 1967)

Speed Chaser Charcoal/pastel on brown paper, 32 1⁄4” x 49 3⁄4” Signed $4,000. – 6,000.

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165 | Jeaneen Barnhart (American, born 1967) Going to Post Charcoal/pastel, 40” x 26” Signed $3,000. – 5,000.

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166 | Abel Kesteven (British, born 1969) Circus Horses Pastel, 13 1⁄2” x 18 1⁄4” Signed, inscribed “Circus Horses” $1,500. – 2,500.

167 | Abel Kesteven (British, born 1969) Blue Saddle Cloth Pastel, 13 3⁄4” x 18 1⁄2” Signed $1,500. – 2,500.

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168 | Claude Grosperrin

(French, 1938-1977) La Moisson Oil on canvas, 32” x 39 1⁄2” Signed $8,000. – 10,000.

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169 | Claude Grosperrin

(French, 1938-1977) Concours Hippique a la Houssaye Oil on canvas, 32” x 39 1⁄2” Signed $9,000. – 12,000.

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170 | Katherine Landikusic (American, born 1965) Greentree Silks Pastel, 28” x 22” Signed $4,000. – 6,000.

The Greentree silks remain one of the most storied and well-known silks in racing history. Established in 1914 by brothers Payne Whitney and Harry Payne Whitney, the operation had farms in Saratoga Springs, New York; Aiken, South Carolina; and Lexington, Kentucky. The name came from Payne Whitney’s steeplechase win in the 1911 Greentree Cup and following Payne Whitney’s death in 1927, his widow Helen Hay Whitney took control of the operation with her children John Hay Whitney and Joan Whitney Payson.

The famed salmon pink with black striped sleeves and black cap were said to have been designed by Helen Hay Whitney after a favorite tea dress. By the time her daughter Joan became the majority

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owner of the expansion New York Mets baseball team, a contest was held for a new team logo. An ad that ran in The Sporting News made note of Greentree’s colors for those entries wishing to curry favor with Mrs. Payson, and the logo design winner Ray Gotto had indeed initially submitted his design in pink and black. In the end, however, the Mets colors were changed to orange and blue.

Some of the notable Greentree horses include Kentucky Derby and Belmont Stakes winners Twenty Grand and Shut Out, 1953 Horse of the Year winner Tom Fool, two time Grand National winner Jolly Roger, and Belmont Stakes winner Stage Door Johnny.

171 | Lesley Humphrey (British, born 1957)

The Long Shot, Animal Kingdom, 137th Kentucky Derby Oil on canvas, 24” x 36” Signed, inscribed on verso: Inspired by my 137th Kentucky Derby and all ‘long shots who defy odds’ Lesley Humphrey, 2014 $6,000. – 8,000.

Lesley Humphrey was the official artist of the 137th Kentucky Derby.

Going off at odds of 20 to 1, Animal Kingdom won the 137th running of the Kentucky Derby in 2011. Well rated early on, he advanced between rivals with three furlongs to go and swung six wide in the stretch. At the wire Animal Kingdom was 2¾ lengths ahead of Nehro and Mucho Macho Man. In all, Animal Kingdom put together a record of five wins and five second in 12 starts, including the 2013 Dubai World Cup. The Sporting Art Auction

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172 | Henry Robertson Craig (Scottish, 1916-1984) Morning Gallops, The Curragh Oil on canvas, 37” x 47” Signed $6,000. – 8,000.

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173 | Frank Nelson Ashley (American, 1920-2007) Pulling Up Acrylic on canvas, 42 1⁄2” x 33” Signed $3,000. – 5,000.

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174 | Elmyr de Hory (Hungarian, 1906-1976) after Raoul Dufy ‘At the Races’

Watercolor, 20” x 26” Apocryphal signature $4,000. – 6,000.

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Provenance: Galeria Moli, Ibiza, Spain Christie’s Included in this lot will be copies of several letters from Bonham’s and Galeria Moli concerning this work.

Elmyr de Hory is perhaps the 20th century’s greatest and most well-known forger. His life became the subject of several books including Clifford Irving’s Fake! The Story of Elmyr de Hory: The Greatest Art Forger of our Time and was the subject of Orson Welles’ last major film, F for Fake. At one point before 2005 it was estimated that if his works had been genuine, they would have a market value of more than $60 million.

As might be suspected, and as attested in these various sources, it can be difficult to find the truth about de Hory’s early life when sorting between what he told people and what can be learned from records. He claimed he was born into an aristocratic family, but he was actually born in 1906 into more middle-class means.

He studied painting in Budapest and Berlin and by 1926 he was in Paris studying under Fernand Leger. He served time in a Transylvanian prison for political dissidents, and when World War II broke out, he was imprisoned in a German concentration camp.

After the war, de Hory made his way back to Paris, and as most forgers seem to start out, made a legitimate attempt at being an artist in his own right. He shortly discovered that he had the ability to copy works by more famous painters and thus supposedly got his start when “the widow of British racing driver Sir Malcolm Campbell visited him. Spying a line drawing de Hory had done of a girl’s head, she asked, ‘Isn’t that a Picasso?’

He just sighed tragically and agreed reluctantly to sell it. Lady Campbell was hardly out the door before he had dashed off seven similar drawings.” (Brian Innes, Fakes and Forgeries, pg. 79, New York, 2005) At this point, de Hory went into business with his close friend Jacques Chamberlin and they sold his Picasso fakes under the guise of being the remainder of Chamberlin’s father’s collection.

Expanding his horizons, de Hory soon moved on to faking Renoir, Matisse, and Modigliani but to help stay undetected he made new works in their style, not copies of existing pieces.

His work was in several galleries, but a recurring problem for de Hory was the dealers seemed to be making much more than he, always angering him. He met another man, Ferdinand Legros, with whom he had a stormy partnership for many years. Legros too was keeping more of the profit, but pulled maybe his greatest trick when he called a hotel posing as de Hory and claimed he would send a man named Legros to fetch his work stored there.

Legros picked up the work and sold it, keeping the money for himself. By 1962, Legros had become fairly wealthy off of de Hory’s back and built a home in Ibiza, Spain to pacify him.

Several times de Hory’s work had been put under scrutiny. In 1955 one of his Matisse works sold to Harvard’s Fogg Art Museum and was discovered. Chicago dealer Joseph Faulkner pressed charges and de Hory was imprisoned in Mexico, but he paid a lawyer with a fake painting to get him out. The end came when Texas oil magnate Algur Meadows discovered some 46 to 60 works he had purchased from Legros were fakes and Legros and de Hory were finally taken into custody. Though sales took place in various countries, they were arrested in Spain due to living in Ibiza and they had attracted interest from every law enforcement agency.

By this time de Hory was something of a minor celebrity. He tried again to sell his original works, never finding great success.

He befriended American ex-pat Irving, to whom he told his story, and made the film with Welles before he passed away in 1976 due to a fatal overdose of sleeping pills. After his death, his work became collectible and fakes of de Hory’s fakes later appeared on the market.

Racing scenes were a major part of Dufy’s oeuvre. He was drawn not only to the racing itself, but the glamour, fashion, and social interaction at the track, themes that show themselves in his work.

It should come as no surprise then that de Hory would be drawn to Dufy’s racing work, seeking to portray the same celebrity he was unable to achieve for himself.

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175 | Henry Lawrence Faulkner (American, 1924-1981) Glorious Oil on board, 6 3⁄4” x 32 1⁄2” Signed $9,000. – 12,000.

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ARTIST

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

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

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

Avila, Rodrigo Chilean, born 1961 Born in Santiago, Chile, Avila studied at the Columbus College of Art and Design in Columbus, Ohio. He has worked in Chicago, Boston, New York, and Portland, Oregon, and his paintings have been widely exhibited and appreciated by collectors. In 1996 he was the featured artist in an exhibition sponsored by the Saratoga County (New York) Arts Council.

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.

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.

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

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

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

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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.

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.

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.

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.

Brewer, Kelly Robertson American, born 1970 Kelly Brewer’s love of art formed her focus on the past, helping her to graduate from the University of North Carolina with an art history degree. Brewer has become an acclaimed Lexington, Kentucky, artist with a growing national reputation. Master painters Joaquin Sorolla, John Singer Sargent, and Nicolai Fechin greatly influence her impressionistic approach.

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

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

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Cain, Auguste Nicolas 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-inlaw, Pierre-Jules Mêne, Cain operated Mêne’s foundry, where he continued to cast Mêne’s works and sculptures for the Chantilly and Luxembourg Gardens.

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

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

Coheleach, Guy American, born 1933 Paintings by Guy Coheleach have received the Society of Animal Artists’ Award of Excellence eight times, and the artist has received the group’s Lifetime Achievement Award. Coheleach’s paintings have been featured in more than 100 one-man commercial shows worldwide. He has authored four art books and has been the subject of two PBS films as well as numerous magazine articles.

Collins, Ashley American, born 1967 “Oversized” and “massive” are words usually used to describe the equine art works of Ashley Collins. Collins’ mega-sized contemporary pieces are achieved through a layering collage technique of equine painting with printed pages and

obscured historical images. Collins was mentored by famed modern artist Robert Rauschenberg and has now achieved her own increased level of collectability.

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.

Cowan, John P. American, 1920-2008 One of America’s premier wildlife artists, John P. Cowan graduated from the Pratt Institute in Brooklyn, New York, having studied under Norman Rockwell. An avid outdoorsman, his works are recognizable by their accurate representation of landscapes that all sportsmen would appreciate. His paintings graced the covers of and were used as illustration in Sports Afield, Outdoor Life, Life, Look, Esquire, Fortune, and many other publications. Cowan was also honored many times over for his work as a conservationist.

Craig, Henry Robertson Scottish, 1916-1984 Born in 1916 to Scotch-Irish parents, Henry Robertson Craig, also called Harry Robertson Craig, was a Scottish painter who worked extensively in the UK and Ireland. He studied under James MacIntosh Patrick at the Dundee College of Art in the mid-1930s. There he met his life-long partner, Irish artist Patrick Hennessey. During World War II Craig served in the intelligence branch, forging maps and documents to be used by the espionage forces in occupied Europe.

After the war, in 1947, he moved to Ireland, alternating between Cork and Dublin. He and Hennessey eventually settled in a studio on Raglan Lane in Ballsbridge. He moved to the Algarve, in Portugal, for health reasons in 1980 and lived there until his death in 1984.

about great things, art was his passion. With more than 20 years dedicated to art, Dahl has been exhibited in America, France, and Japan. Dahl states “In horses, I find beauty, power, and freedom; their legs, that seemed overly long to me as a child, rise to complete the perfect form. They remain one of life’s great joys.”

Davey, Randall American, 1887-1964 Randall Davey studied architecture at Cornell University in 1905 and art at the New York School of Art in 1908. He also studied under art academics Robert Henri and Charles W. Hawthorne. He became Henri’s assistant instructor and traveled through Europe with him. By 1919, Davey and his wife had moved to Santa Fe, New Mexico, where he established his studio. Due to the expense of his polo hobby, Davey took numerous positions at major art institutes across the country. His works are collected by major museums nationwide.

Davis, Richard Barrett British, 1782-1854 The son of a huntsman to King George III’s private harriers, Richard Barrett Davis’ self-taught skills and talents were noticed by the King and he received proper training. He attended the Royal Academy Schools, as well as studying under William Evans of Eton and William Beechey. He first exhibited at the Royal Academy in 1802 and continued to exhibit for more than 50 years. He was appointed animal painter for King George III’s successors, King George IV and King William IV, as well as for Queen Victoria. de Hory, Elmyr Hungarian, 1906-1976 Admired by many as one of the great art forgers in history, Elmyr de Hory trained in classical painting at the Akademie Heinmann art school in Munich, Germany, and at the Academie la Grande Chaumiere in Paris, France. Unable to sell his own paintings, de Hory created his first forgery, a Picasso reproduction.

His forgeries were not direct copies of the masters, but a plagiarism of their styles. After the discovery of his forgery, he continued to paint in the style of the masters, signing the backs of his paintings.

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

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

Dahl, Carl American, born 1952 An American sculptor, Carl Dahl holds multiple degrees from Arizona State University, including an MBA and a master’s degree in fine arts. Even though his upper-level corporate positions allowed him to travel, experience, and learn

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

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working relationship with Country Life magazine and The Graphic and then progressed to traditional painting in watercolor and in oils. He ranks just below Alfred J. Munnings as an important 20th century painter of the hunting field.

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

Fiddian-Green, Nic British, born 1963 Working in his studio near the stables of Wintershall, Surrey, Nic Fiddian-Green is inspired by those horses as live models. His sculptures range in size from smaller to the much larger-than-life Still Water, a 35-foot tall portrayal of a horse’s head as it drinks. Still Water is on public display at London’s Marble Arch. In addition to bronze, Fiddian-Green works in clay, soapstone, marble, and riveted sheet metal.

Firth, Richard M. 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.

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

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

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

Gold, Dede Irish, born 1971

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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 sculptor 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 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 the USSR Academy of Arts. Gridnev worked for four years from 1990 at the St. Petersburg Academy of Art’s postgraduate “creative” studio. Since 1999 Gridnev has lived and worked in England. He is a member of the Pastel Society, Royal Institute of Oil Painters, and Federation of British Artists and Royal Society of Portrait Painters.

Grosperrin, Claude French, 1938-1977 A painter and lithographer, Claude Grosperrin trained at the Ecole Nationale Superieure des Beaux-Arts, Paris, the Ecole Nationale Superieure d’Art Plastique, and the Ecole Nationale des Arts Appliqués. Shortly after completing his studies, he exhibited his works in Paris at the Galerie A. Weil and at the Galerie Espace.

Later he was exhibited widely in France and abroad, including at Wildenstein, Charpenetier, and Durand-Ruel. Various public galleries in France as well as galleries in Cologne, Los Angeles, and San Francisco contain his works.

Grossman, David American, born 1984 Continually encouraged by his family in the love of art, David Grossman was first exposed to the use of oil paints at the age of ten by his grandmother. He studied at the Colorado Academy of Art in Boulder. The outdoors has been a constant presence in Grossman’s life as he grew up in Chile before moving back to the Rocky Mountains of Colorado. He has exhibited in shows sponsored by Oil Painters of America, The Impressionist Society, and Salon International.

Hagerbaumer, David American, 1921-2014 David Hagerbaumer was born in Quincy, Illinois, on January 31, 1921. When he was eight years old, his father took him duck hunting on Turtle Lake, and the boy shot his first duck. Instantly, a bond formed between young Hagerbaumer and waterfowl that never diminished. After serving in World War II, he enrolled

in San Diego State College while simultaneously working as staff artist and assistant ornithologist at the Carson City Museum. The year 1951 was famous for the Korean “Police Action,” and Sgt. Hagerbaumer was recalled to active duty. Lady Luck smiled on him this time, and he did his tour as an artist, creating propaganda posters and making maps. Returning to civilian life, he continued to paint and was promoted by Ralph Terrell of Crossroads of Sports. Through the Crossroads catalogs and their Manhattan gallery, Hagerbaumer’s paintings were presented to most of the sporting art collectors of the day. His career skyrocketed, and demand for his paintings increased nationwide.

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

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.”

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

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

Howell, Peter British, born 1932 Introduced to the world of racing at age 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 is not traveling to racetracks and stables all over the world.

Humphrey, Lesley British, born 1957 Being the daughter of a commercial artist and painter, 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. Jones, Adrian British, 1845-1938 A sculptor and painter of considerable renown, Adrian Jones specialized in animals, most notably horses. He studied at the Royal Veterinary College and served as a veterinary officer in the Royal Horse Artillery. After an extensive military career he set himself up as an artist and exhibited at the Royal Academy as early as 1884. His public works include the equestrian sculptures Peace descending on the Quadriga of War on the Wellington Arch at Hyde Park Corner and the statue of Prince George, Duke of Cambridge, in Whitehall, both in London.

Kahn, Wolf German/American, born 1927 Wolf Kahn was born in Stuttgart, Germany, in 1927 and immigrated to the United States as a child. After attending classes at the New School for Social Research, he studied with Hans Hofmann at his school of fine art in New York City. In 1951 Kahn received his B.A. from the University of Chicago.

An internationally acclaimed artist, Kahn has been honored with numerous awards, including both Fulbright and Guggenheim fellowships. He is an elected member of the National Academy of Design and the American Academy and Institute of Arts and Letters. He also has served on the New York Arts Commission. Kahn has come to be widely considered the premier landscape painter in America.

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.

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

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

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

Landikusic, Katherine American, born 1965 Landikusic studied art at the Marchutz School of Art in Aix-En-Provence, France, and received a B.F.A. from Utah State University. She has created equine-oriented designs and a calendar for Hallmark Cards, and he paints commissioned portraits of people and horses. An avid equestrian, Landikusic has owned horses and

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competed in three-day eventing. Her works can be found in the collections of such prestigious farms as Gainesway Farm, WinStar Farm, and Three Chimneys Farm .

Lenordez, Pierre French, 1815-1892 Pierre Lenordez first exhibited at the Exposition Universelle in 1855 and went on to exhibit at the Paris Salon between 1855 and 1877. A sculptor, Lenordez concentrated on animals, specifically horses, though his works include some figural subjects. The horses he rendered followed the anatomical conventions reminiscent of the paintings of the early to mid 19th century.

Lewis, Dylan South African, born 1964 Born into 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.

Lucas, Essie Leone Seavey American, 1872-1932 Born in Vermont, Essie Lucas began formal art training at age sixteen in Boston and later studied under noted animal painter Scott Leighton. She is know to have worked in New York and visited Lexington, Kentucky, for the first time in 1912.

Over the years she executed many portraits of famous trotters and Thoroughbreds , including Man o’ War. She was commissioned by the top owners, including Colonel E. R. Bradley, August Belmont, Mrs. Marian DuPont Somerville, and Frank Bishop.

Lucas-Lucas, Henry Frederick British, 1848-1943 Originally from Lincolnshire, Henry Frederick Lucas-Lucas later lived in Rugby. As he lived in horse country, he painted portraits of racers and hunters, horses in action, including racing, hunting and polo, and foxhounds. According to Charles Lane’s book British Racing Prints 1700-1940, Lucas-Lucas was commissioned to create a number of paintings of horses in every sporting activity.

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.

MacDermott, Emma Irish, born 1957 Emma MacDermott has known horses her entire life. Her father is Nick MacDermott, ex-chairman of the Kildare Hunt and a trustee of Punchestown

racecourse. She studied at St. Martins College of Art in London. Her commissioned sculptures include Nijinsky II for Vincent O’Brien, Ridgewood Pearl for Sean Coughlan, Sadler’s Wells for Coolmore Stud, Caerleon and Vintage Crop for Dr. Michael Smurfit, Ouija Board for the Earl of Derby, and more. Her most noted public piece is that of the great steeplechaser Arkle, which is displayed in Ashbourrne, County Meath, Ireland.

Malone, Booth American, born 1950 A member of the American Academy of Equine Art, Booth Malone has been the official artist of numerous equestrian events, including the Breeders’ Cup and the Virginia Gold Cup. He is also a member of the Oil Painters of America and the Portrait Society of Atlanta (member of merit). A visual design major, Malone is influenced by Sir Alfred Munnings, John Singer Sargent, and N.C. Wyeth.

Meade-King, Eric British, 1911-1987 Eric Meade-King specialized in portraying English county life, and many of his works depict hunting, fishing, and shooting. So versed in the ways of the gentry, Meade-King penned and illustrated The Silent Horn: Summer Sketches of Horses and Hounds, in 1938. His formal training came at Westminster School of Art and privately with Lionel Edwards, and he was widely exhibited during his lifetime at the Royal Institute of Painters in Watercolours and major London galleries.

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.

Mêne, Pierre-Jules French, 1810-1879 Son of a metalsmith, Mêne’s artistic talent, especially in animal sculpture, was outstanding. He exhibited at the Paris Salon of 1838 while still in his 20s, and he became one of the most appreciated sculptors of the animalier school.

Mêne enjoyed a fulfilling life in Paris, producing bronzes from his own foundry with his son-in-law, Auguste Cain.

Moigniez, Jules French, 1835-1894 The son of a metal gilder and a student of animal sculptor Paul Comolera, Jules Moigniez produced works that were widely popular in France, England, and America. In 1855 he debuted at the Exposition Universelle with his works Pointer and Pheasant and Falcon and Weasel. In 1857 his father opened a foundry for the purpose of casting his son’s work. Moigniez’ works include dogs, horses, farm animals, birds, and numerous decorative pieces with animal motifs.

Morris, George Ford American, 1873-1960 George Ford Morris was born in St. Joseph, Missouri, and was largely selftaught. However, he did attend the Art Institute of Chicago in 1888 and the Julina Academy in Paris in 1925. He is known as a painter, printmaker, sculptor, illustrator, and a very active and astute equine art collector. He was a Founding Member of the American Animal Artist Association. He wrote and published Portraitures of Horses and George Ford Morris Animals and contributed regularly to equestrian and racing magazines. He painted horses for more than 70 years.

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.

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,

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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.

Pater, Andre 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.

Paul, Gen French, 1895-1975 Eugene Paul, known as Gen Paul, was an impressionist painter, lithographer, engraver, and draftsman. Although never formally trained, Paul learned from his artist friends Maurice de Vlaminck, Maurice Utrillo, and Frank Will. Paul first exhibited at the Salon d’Automne and the Salon des Independants in Paris in 1920. Until early 1930 his works have an exceptionally strong, vibrant expressionism, when he became seriously ill. After his recovery, Paul’s style evolved to include calligraphic forms in his works and expressed more rhythm.

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.

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.

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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.

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

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

Riab, Boris Russian/French, 1898-1975 Due to his family’s affluence, Boris Riab was able to study at many different art schools in his native Moscow. To escape political unrest, the Riab family fled Russia in 1917 and eventually, after travelling the world, Boris Riab settled in France in 1927. Hunting dogs and wild fowl dominate Riab’s watercolors.

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

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

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

Serra Santa, Jose Argentinian/Spanish, 1916-2000 Jose (Josep) Serra Santa was born in Buenos Aires, Argentina and lived in Barcelona, Spain until his death. He work straddled impressionism and realism.

Serra Sant painted mainly landscapes as well as the occasional figures and still lifes.

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.

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

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

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, Dan American, 1865-1934 Born in Greenland and raised in New York City, Dan Smith attended the Public Arts Institute in Copenhagen and returned to the United States to study in Philadelphia at the Pennsylvania Academy of the Fine Arts. He first worked as a magazine illustrator for Frank Leslie’s Illustrated Weekly, traveling and doing “on the spot” illustrations of such events as Wounded Knee. During the Spanish American War he was an artist/correspondent for Hearst newspapers.

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.

Spat, Gabriel American/French, 1890-1967

Born in New York City, Gabriel Spat worked primarily in France, but on occasion returned to New York. Working in oils and watercolors with bright colors and loose brush strokes, he paints in the style of classic impressionism.

His subject matter varies from still life to street life, from dancers to racehorses, but most all are done in a small-scale format he learned from his thrifty artistic beginnings.

St Clair Davis, Heather British/American, 1937-1999 Heather St Clair Davis was one of the most gifted artists and skilled horsewomen of her era. Born in Whittington in the Cotswolds, St Clair Davis was brought up amid horses and art. After graduating in art at Cheltenham, she set out for America and eventually settled on a farm in Vermont. Over the years St Clair Davis established a distinguished reputation as a leading equine artist. Her outstanding ability as a painter of landscape and her professional first-hand knowledge of horses, were fundamental to her success as an artist. Her work was inspired and original, and for every painting she had a story. In a review of St Clair Davis’ second exhibition with Frost & Reed in London in 1989, Walter Summers wrote: Times change and in response produce the man or woman to record them. Edwards and Munnings have left the scene. On the evidence here, we need not fear a vacuum. Davis died in 1999 and the headstone she designed simply says, “She tried.”

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.

Sulkowski, Joseph H. American, born 1951 From the age of five, Joseph Sulkowski knew he would be an artist. He studied at the Pennsylvania Academy of the Fine Arts in Philadelphia, the oldest art school in America. Later he studied under his mentor Frank Mason, the last protégé of Frank Vincent DuMond and the successor of DuMond as teacher in Studio 7 at the Art Students League in New York. Jospeh Sulkowski refers to his style of painting as “poetic realism.” His love for sporting life, especially dogs, is expressed in rich impastos and luminous transparent shadows on canvas.

Taylor, Jo British, born 1969 Born in Lancashire, Taylor studied at Leeds Metropolitan University from 1988 until 1991. She has exhibited in numerous one-woman shows throughout England, including The National Horseracing Museum at Newmarket. Her pieces were included in a show at the Royal Academy in London, and she was

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commissioned for works on several Cheltenham Gold Cup runners. Taylor has exercised racehorses in Newmarket and feels it is necessary always to work from life.

Townsend, Lee American, 1895-1965 A horse lover from childhood, Townsend was fascinated with racing. After a short stint working in his brother’s livery stable, and two years’ study at the Art Institute of Chicago, he became an illustrator in New York. After a trip to Paris in 1927, he gave up illustrating and devoted himself to horse racing, painting racing scenes at both well-known and obscure tracks.

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

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, 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. 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.

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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.

Wright, George British, 1860-1942 The Wright family of Leeds, England, is known to have produced three noted artists. Brothers George and Gilbert Wright were respected equestrian-themed artist, and their sister Louise Wright was a fashion illustrator for catalogs and magazines. The subject matter for George Wright’s paintings included hunting, racing, and polo scenes; however; coaching scenes are his most appreciated work. George Wright was exhibited at the Royal Academy, as well as other venues, from 1892 through 1933.

Zaefferer, Adriana Argentinian, born 1952 Adriana Zaefferer’s only formal training in art came in Buenos Aires at the Asociacion Biblioteca de Mujeres where she learned technical drawing, perspective, color, and composition. She is able to capture the bone structure and musculature of equine athletes at rest and in motion. Her works have been collected and exhibited around the world, including at the Wildenstein galleries in London and New York.

CONDITIONS OF SALE

THESE CONDITIONS GOVERN THIS SALE: This Second Annual Sporting Art Auction (“Sale”) is governed by these Conditions of Sale (“Conditions of Sale”), as may be amended by KCG Enterprises, LLC d/b/a The Sporting Art Auction (“KCG”) by the posting of notices or by oral announcements made during the Sale from the auctioneer’s stand 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 these Conditions. By participating in the Sale, you acknowledge that you are bound by these Conditions.

Under these Conditions, “Seller” means a person or entity, including such person or entity’s agent (other than KCG), successor-in-interest, executor, trustee or personal representative, offering property for sale or selling all or any interest in property sold at this Sale, and is referred to as “Owner” in the Consignment Agreement. “Purchaser” means a person or entity making the highest bid or offer accepted by the auctioneer at the fall of the hammer, and includes such person or entity’s principal when bidding as agent.

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.

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 the Limited Warranty of Authorship Condition. Neither KCG nor SELLER provides any guarantee or warranty of any kind in relation to the nature of the property apart from the Limited Warranty in the Limited Warranty of Authorship Condition.

Except for the Limited Warranty in the Limited Warranty of Authorship Condition, the property is sold “as is,” with all faults and defects.

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. 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.

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

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

Bidding Bidding by lot. Unless otherwise stated in these Conditions, all bids are per lot as numbered in this catalogue.

DISCLOSURE. In accordance with KRS 355.2-328(4) and other applicable laws, the right to bid in this Sale is reserved for all Sellers, including their disclosed and undisclosed agents, unless otherwise announced at time of Sale. Purchasers therefore agree and acknowledge that Sellers have the right to set reserves implemented by the auctioneer upon property so entered which are not disclosed to Purchasers and also have the right to conduct by-bidding as related to their entries. 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 Purchaser Registration Form, and such other forms as KCG, in its sole discretion deems appropriate, and provide identification before bidding. KCG, in its sole discretion, may require the production of financial references, guarantees, deposits and/or such other security as KCG deems appropriate.

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

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additional fee and commission when bidding online (the amounts set forth in subparts (i) through (iv) of this sentence 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 these Conditions of Sale, the highest bidder accepted by the auctioneer will be the Purchaser and the striking of the auctioneer’s hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the Seller and the Purchaser.

BUYER’S PREMIUM. As part of the Purchase Price, Purchaser agrees to pay to KCG a Buyer’s Premium, plus any applicable taxes and fees.

The “Buyer’s Premium” is fifteen percent (15%) of the hammer price of each lot up to and including $500,000, plus ten percent (10%) of the hammer price of each lot in excess of $500,000 up to and including $1,000,000, plus five percent (5%) of the hammer prices of each lot in excess of $1,000,0000. The parties acknowledge there may also be a Seller’s Premium, pursuant to the terms of the Consignment Agreement.

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.

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 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.

Packing, Shipping and INSURANCE. KCG is not responsible for the acts or omissions in the packing or shipping of purchased lots.

Packing, shipping and insuring purchased lots is at the entire risk of the Purchaser. Purchaser is responsible for obtaining adequate insurance coverage for any purchased lot(s) as of the fall of the hammer. Insurance costs through third-party carriers will be borne by the Purchaser and, in case of damage, insurance claims should be made to the third-party carriers.

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DISCLAIMER. Except for the limited warranty of authorship expressly stated in the Limited Warranty of Authorship Condition, there is no warranty or guarantee of any kind with respect to any property or any description thereof, including without limitation any express or implied warranties by KCG or Seller as to merchantability, fitness for a particular purpose, OR the correctness of the catalogue or other description of the physical condition, size, quality, rarity, importance, medium, provenance, exhibitions, literature or historical relevance of any property. No statement anywhere, whether oral or written, whether made in the catalogue, an advertisement, a salesroom posting or announcement, or elsewhere, shall be deemed such a warranty, representation or assumption of liability. KCG and Seller make no representations and warranties, express or implied, as to whether the Purchaser acquires any copyrights or licenses, including but not limited to, any reproduction rights in any property. Except for the limited warranty of authorship expressly stated in the Limited Warranty of Authorship Condition, KCG is not responsible for errors and omissions in the catalogue, glossary, or any supplemental material. Except for the limited warranty of authorship expressly stated in the Limited Warranty of Authorship Condition, ALL SALES ARE MADE AS IS, WITH ALL FAULTS. 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

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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 Limited Warranty of Authorship is provided for a period of one (1) year from the date of the relevant auction, is solely for the benefit of the original Purchaser of record at the auction and may not be transferred to any third party. To be able to claim under this Authorship Limited Warranty, the original Purchaser of record must: (i) notify KCG in writing within three (3) months of receiving any information that causes the original Purchaser of record to question the accuracy of the bold or capitalized type heading, specifying the lot number, date of the Sale at which it was purchased and the reasons for such question; and (ii) return the lot to KCG at the original selling location in the same condition as at the date of the Sale to the original Purchaser of record and be able to transfer good title to the lot, free from any third party claims arising after the date of the Sale. KCG has discretion to waive any of the above requirements. KCG may require the original Purchaser of record to obtain at the original Purchaser of record’s cost the reports of two (2) independent and recognized experts in the field, mutually acceptable to KCG and the original Purchaser of record. KCG shall not be bound by any reports produced by the original Purchaser of record, and reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a Sale and the refund of the original Purchase Price paid is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law, or in equity. KCG and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, attorneys’ fees, loss of profits or interest.

DISCLAIMER OF IMPLIED DUTIES. KCG shall endeavor to protect the interests of all parties, but the duties and obligations of KCG to such persons shall be strictly limited to those expressly imposed upon KCG by these Conditions. All other duties and obligations, including fiduciary and other duties which might otherwise be imposed upon KCG by operation of law, are hereby expressly disclaimed, except that KCG shall be required to

exercise that standard of care generally exercised by other comparable art auction companies.

or alter the duties, responsibilities and rights of KCG as provided in these Conditions of Sale and the Consignment Agreement.

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.

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.

MISCELLANEOUS Copyright. The copyright in all images, illustrations and written material produced by or for KCG relating to a lot, including the contents of the catalogue, is and shall remain at all times the property of KCG and shall not be used by the Purchaser, or by anyone else, without prior written consent.

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.

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 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

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 of Sale and the rights, remedies and duties of the parties hereto. In the event of any litigation arising out of these Conditions of Sale 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.

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Limitation of Liability. In no event will KCG’s liability to a Purchaser exceed the purchase price actually paid.

Personal Information. By agreeing to these Conditions of Sale, 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.

198

NO WAIVER. The failure of KCG to exercise or enforce any right or provision of these Conditions of Sale shall not constitute a waiver of such right or provision, and no waiver of any term of these Conditions of Sale shall be deemed a further or continuing waiver of such term or any other term.

ABSENTEE BIDDING INFORMATION

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

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

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

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

SHIPMENT OF PURCHASES INFORMATION

If your bid is successful, KCG can help arrange shipment of your purchases to you. Estimates for the shipping of any purchases can be attained through KCG. All purchases must be removed no later than Friday, November 20, 2015. A paid receipt must be presented to KCG staff in order to release any property. Keeneland is not responsible for the acts or omissions in the packing or shipping of purchased lots, and packing , shipping and insuring purchased lots is at the entire risk of the purchaser as set forth on the “Conditions of Sale,” which appear in this catalogue.

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

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INDEX OF ARTISTS

200

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

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

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

Alken, Henry Thomas, Sr..............5, 55

de Hory, Elmyr..............................174

Landikusic, Katherine....................170

Ashley, Frank Nelson.....................173

DeLattre, Henri.........................19, 22

Lenordez, Pierre..............................15

Austin, Michael J...................134, 135

Edwards, Lionel D.R............91, 92, 93

Lewis, Dylan.............................71, 73

Avila, Rodrigo.................................89

Faulkner, Henry Lawrence.............175

Lucas, Essie Leone Seavey.........35, 36

Rowlandson, George Derville............3

Barnhart, Jeaneen.................164, 165

Fiddian-Green, Nic..........................70

Lucas-Lucas, Henry Frederick...........49

Bassett, Carroll K............................66

Firth, Richard M..............................76

Lyne, Michael..................................42

Serra Santa, Jose............................54

Beer, John...................................2, 43

Frost, Arthur Burdett (A.B.)..............60

MacDermott, Emma.......................67

Artist...................................Lot(s) Riab, Boris......................................16 Ripley, Aiden Lassell........................64

Shayer, William Joseph....................21

Bellocq, Pierre (PEB).............137, 138

Gayrard, Joseph Raymond Paul.......11

Malone, Booth................................87

Skeaping, John R. ..........................77

Bibby, Nick.....................................74

Gold, Dede...................................157

Meade-King, Eric............................41

Smith, Brett James..........................58

Biegel, Peter.......................39, 40, 48

Good, John Willis..............................9

Mehl, Joanne........................110, 114

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

Gridnev, Valeriy.........................82, 90

Menasco, Milton.....44, 50, 51, 52, 53

Bowman, Jean..............................136

Grosperrin, Claude................168, 169

MĂŞne, Pierre-Jules....................10, 14

Smith, Peter..........................115, 146

Brewer, Allen F., Jr................45, 46, 47

Grossman, David..........................145

Moigniez, Jules...............................12

Spat, Gabriel.................................112

Brewer, Kelly Robertson................133

Hagerbaumer, David.......................56

Morris, George Ford........................30

Brown, Dan....................................57

Herring, John Frederick, Sr..............20,

Munnings, Sir Alfred James..........139,

Cain, Auguste Nicolas.................8, 13

23, 24

Chapman, Julie T...........................131

Herring, John Frederick, Jr..............1, 4

Neiman, LeRoy..............99, 100, 101,

Church, Charles....................128, 130

Hinz, Valerie............................89, 132

102, 103, 104, 105, 106

Coates, Thomas J. .89, 151, 152, 153,

Ho, Quang................................96, 97

Oppegard, Sandra Faye..........89, 119,

154

Howell, Peter......................89, 94, 95

120, 122

Townsend, Lee..........................37, 38

Coheleach, Guy....................127, 129

Humphrey, Lesley..........................171

Ostenberg, Thomas.........................72

Troye, Edward...........................17, 18

Collins, Ashley...............................160

Jones, Adrian....................................7

Pater, Andre...........89, 123, 124, 125,

Coreth, Mark..................................75

Kahn, Wolf....................................155

126, 156

Cowan, John P..............................121

Kestevan, Abel......................166, 167

Paul, Gen......................................113

Waddell, Theo...............................161

Craig, Henry Robertson.................172

King, Alexa.....................................65

Pleissner, Ogden Minton.................61

Wheeler, Larry Dodd.......89, 107, 111

Curling, Peter..................................89

Kirk, Juli................................158, 159

Quinn, David............................62, 63

Dahl, Carl.......................................69

Koehler, Henry..............................118

Reeves, Richard Stone........78, 79, 80,

Davey, Randall................98, 148, 150

Konrad, Ignac.................................33

81, 83, 84, 85, 86, 88

Wright, George...............................29

Davis, Richard Barrett.......................6

Lalanne, Jean-Bernard..........108, 109

Revennaugh, Stephanie..................68

Zaefferer, Adriana.........................147

140, 141, 142, 143, 144

Smith, Dan......................................26

St Clair Davis, Heather..................149 Stull, Henry...............................27, 28 Sulkowski, Joseph H. ......................59 Taylor, Jo...............................162, 163

Voss, Franklin Brooke..........31, 32, 34

Whitcombe, Susie.................116, 117

ONLINE BIDDING INSTRUCTIONS

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

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

The

Date Submitted: ________________

Bidder Number: ________________

■ Left Bid

Auction

■ Phone Bid

P resented b y

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 contacted before the sale.

KCG Enterprises, LLC d/b/a The Sporting Art Auction (“KCG”) • 4201 Versailles Rd. • Lexington, Kentucky 40510 • Phone: (859) 233-3856 • Fax: (859) 288-4249

The Sporting Art Auction No. 3 • Wednesday, November 18, 2015 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 PLUS A BUYER’S PREMIUM PLUS SALES TAX WHERE APPLICABLE. All bids shall be treated as offers made pursuant to 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 ________________________________________________________________________________________________________________________________ ________________________________________________________________________________________________________________________________ ________________________________________________________________________________________________________________________________ ________________________________________________________________________________________________________________________________ ________________________________________________________________________________________________________________________________ ■ I have established credit with Keeneland Association Name _________________________________________________________________________

Bank Name _________________________________________________________________

Address_______________________________________________________________________

Bank Address ______________________________________________________________

_______________________________________________________________________

______________________________________________________________

Tel. (Home) _____________________________________________________________________

Account No ________________________________________________________________

Tel. (Office) ___________________________________________

EMAIL: _________________________________________________

Purchaser claims an exemption from Kentucky Sales Tax (please initial if applicable): ___________ Resale certificate is attached. ___________ Non-Resident Purchasers Only. I hereby represent and warrant that I am a non-resident of Kentucky, and that any lot I may purchase at the Auction shall be immediately delivered to common carrier (including, without limitation, UPS, FedEx or the U.S. postal service) for transport outside the state for use solely outside Kentucky. I understand and agree that KCG will arrange for shipping and transportation of any lot I may purchase at the Auction.

By signing this form the undersigned individual authorizes KCG to perform a credit investigation and if the applicant is not an individual, the undersigned individual agrees to be personally responsible to KCG for payment of the applicant’s account pursuant to the Conditions of Sale, which are incorporated herein by this reference. Further, by signing this form, the undersigned individual agrees to comply with and abide by all payment terms, payment and sales conditions, and processes of KCG. I HAVE received, read, and accepted the Conditions of Sale. I understand that if my bid is ACCEPTED, I WILL BE RESPONSIBLE FOR THE PURCHASE PRICE, buyer’s premium, plus ALL APPLICABLE TAX, AND ANY AND ALL OBLIGATIONS PURSUANT TO THE CONDITIONS OF SALE. Signature ______________________________________________________________________________________________________________________

Date ____________________________

The

Date Submitted: ________________

Bidder Number: ________________

Auction P resented b y

PURCHASER REGISTRATION 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 contacted before the sale.

KCG Enterprises, LLC d/b/a The Sporting Art Auction (“KCG”) • 4201 Versailles Rd. • Lexington, Kentucky 40510 • Phone: (859) 233-3856 • Fax: (859) 288-4249

The Sporting Art Auction No. 3 • Wednesday, November 18, 2015 Complete this section to register to bid: PURCHASER _____________________________________________________________

SHIPPING Address___________________________________________________

Address_______________________________________________________________

(If differenT) ______________________________________________________

_______________________________________________________________

Bank Name _______________________________________________________

Tel. (Home) _____________________________________________________________

Bank ADDRESS _____________________________________________________

Tel. (Office)____________________________________________________________

Account No. _______________________________________________________

EMAIL__________________________________________________________________ ■ I have previously established credit with KEENELAND ASSOCIATION. Expected Amount of Purchase: $ _______________________ Payment is due within seven (7) days of the date of sale. If you do not wish to be invoiced, payment must be made within sixty (60) minutes of the fall of the hammer. The bank listed above may be contacted concerning your request for credit. Please advise them.

Purchaser claims an exemption from Kentucky Sales Tax (please initial if applicable): ___________ Resale certificate is attached. ___________ Non-Resident Purchasers Only. I hereby represent and warrant that I am a non-resident of Kentucky, and that any lot I may purchase at the Auction shall be immediately delivered to common carrier (including, without limitation, UPS, FedEx or the U.S. postal service) for transport outside the state for use solely outside Kentucky. I understand and agree that KCG will arrange for shipping and transportation of any lot I may purchase at the Auction.

By signing this form applicant and/or responsible party authorizes KCG to perform a credit investigation and if the applicant is not an individual, the undersigned individual agrees to be personally responsible to KCG for payment of the applicant’s account pursuant to the Conditions of Sale, which are incorporated herein by this reference. Further, by signing this form, applicant and responsible party agree to comply with and abide by all payment terms, payment and sales conditions, and processes of KCG. I HAVE received, read, and accepted the Conditions of Sale. I understand that if my bid is ACCEPTED, I WILL BE RESPONSIBLE FOR THE PURCHASE PRICE, buyer’s premium, plus ALL APPLICABLE TAX, AND ANY AND ALL OBLIGATIONS PURSUANT TO THE CONDITIONS OF SALE. Signature of Responsible Party ___________________________________________________________________________________________

Date ____________________

Date Submitted: ________________

The

Bidder Number: ________________ (to be assigned by KCG)

Auction P resented b y

PURCHASER’S AUTHORIZED AGENT FORM This form should be sent or faxed to be received by KCG in advance of the sale.

KCG Enterprises, LLC d/b/a The Sporting Art Auction (“KCG”) • 4201 Versailles Rd. • Lexington, Kentucky 40510 • Phone: (859) 233-3856 • Fax: (859) 288-4249

The Sporting Art Auction No. 3 • Wednesday, November 18, 2015 I have this day appointed:

Print Name of Agent_________________________________________________________________________________________________

Address: __________________________________________________________________________________________________________

__________________________________________________________________________________________________________

City, State, Zip Code_________________________________________________________________________________________________

Home Telephone_________________________________________

Business Telephone_______________________________________

Mobile ________________________________________________ Fax ___________________________________________________ Email address______________________________________________________________________________________________________ to act for me for such period as indicated below. Said appointee, as my duly appointed and authorized agent, shall have full power and authority to act for me in any and all matters in connection with or arising out of the purchase of any lots and/or interests therein at The Sporting Art Auction. Said agent is further authorized to execute any and all documents in connection with said purchase(s) including, without limitation, binding me to the following: (a) granting KCG (in its own capacity and/or in its capacity as agent for any person or entity that owns an interest in and to any lot or other property which may be purchased by Purchaser immediately prior to any sale to Purchaser) a security interest in and to any and all lots and other property and rights purchased and related property and rights, (b) granting KCG such other security interests and rights as the agent determines appropriate, and (c) incurring obligations on my behalf. I authorize said agent to do all things incidental to and in furtherance of the purchase of lots and/or interests therein, including without limitation providing information regarding me, associated entities and any purchaser of a lot or interest therein associated with me in order to comply with and abide by all terms of the Conditions of Sale, which are incorporated herein by this reference, including without limitation all payment terms, and processes of KCG. Specifically, I agree to pay for all purchases by said agent on my behalf in accordance with KCG’s Conditions of Sale, including the Buyer’s Premium, any applicable tax and any and all obligations pursuant to the Conditions of Sale. This agency is revocable only in writing.

Other Instruction____________________________________________________________________________________________________ Signature_________________________________________________________________________________________________________

Print Name________________________________________________________________________________________________________

Title (if applicable)___________________________________________________________________________________________________

Address __________________________________________________________________________________________________________

State of________________________________________________

County of ______________________________________________

KEENELAND / CROSS GATE GALLERY

THE

AUCTION

THE SPORTING ART AUCTION NOVEMBER 18, 2015

IN AFFILIATION WITH

Keeneland Sales Pavilion

Lexington, Kentucky

November 18, 2015