2021 Sporting Art Auction Catalog

KEENELAND / CROSS GATE GALLERY

THE SPORTING ART AUCTION NOVEMBER 21, 2021

Lexington, Kentucky Keeneland Sales Pavilion

November 21, 2021 | 1pm

THE

AUCTION Sale No. 9 In sending written bids or making inquiries, this sale should be referred to as Sporting Art Auction No. 9.

Cover Illustration: Lot No. 109

Back Cover Illustration: Lot No. 46

La Coupe D’Argent A Deauville

Weathervane of Lexington

Oil on canvas | 51 ⁄4” x 38 ⁄4” | Signed

Copper and zinc | 26 1⁄2” x 34 1⁄4”

Claude Grosperrin (French, 1939–1977) 1

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19th Century American

AUCTION Sunday • November 21, 2021 • 1:00 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 October Race Meet, Race Days, 9:00 a.m. – 2:00 p.m.

November 9–20, or by appointment: 859-233-3856.

For additional viewing times, visit: www.thesportingartauction.com.

BIDDING Bidding will be conducted by phone, absentee bid, or online through www.crossgategallery.com, www.liveauctioneers.com, or www.invaluable.com.

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

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BIDDING This sale will be conducted in person.

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

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

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

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

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

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INTRODUCTION

T

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

In 2021, Keeneland and Cross Gate again will team to conduct the ninth annual Sporting Art Auction on Sunday, November 21, at 1 p.m. ET. The partnership between Keeneland and Cross Gate Gallery is a natural fit. Keeneland, recognized as the world’s premier Thoroughbred auction house, offers the perfect sale venue with its state-of-the-art sales pavilion and auctioneering expertise. Perhaps most importantly, many of its racing and sales clientele are avid collectors of sporting art.

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

Each year, Ladd travels throughout the U.S. and Europe to acquire important works that will capture the interest of ardent collectors.

The success of the first eight auctions, which have been characterized by large crowds and brisk bidding, confirms the strong demand for quality sporting art. LeRoy Neiman’s Flat Racing, a one-of-a-kind glazed ceramic tile mural, sold for $291,000 to top the inaugural sale in 2013. The 2015

auction was highlighted by the sale of Sir Alfred James Munnings’ signed painting Lord Astor’s Broodmare and Foal, which brought $207,000. In 2016, Andre Pater’s Red Arrow topped the auction with a winning bid of $276,000.

This year’s auction will feature 192 high-quality lots representing fine sporting art, American paintings, and sculpture from renowned artists.

Notable works in 2021 include a 19th-century weathervane of the legendary Thoroughbred Lexington in perhaps the finest condition for a piece of that era. Also of more local interest, eight Henry Faulkner paintings will be included. The two official paintings for the 2021 Breeders’ Cup at Del Mar by Valeriy Gridnev will be sold. Richard Stone Reeves will be represented with three paintings comprising several of the best Thoroughbreds of the 20th century. Individual portraits of Affirmed and Citation will be two different lots, while his monumental Three Kings portrays Nijinsky II, Spectacular Bid, and Secretariat.

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

The 2021 collection will be on display in the Keeneland sales pavilion through the art auction’s November date.

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

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

The Conditions of Sale begin on page 197.

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ABOUT

KEENELAND

L

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

RACING Created by its founders to be a model racetrack, Keeneland celebrated its 85th anniversary during the 2021 Fall Meet.

Today, Keeneland’s racing program perennially ranks among the nation’s best in terms of purse money, field size, and quality competition. From 2-year-old races to events for classic contenders and veteran turf stars, Keeneland racing affords outstanding opportunities for horsemen to showcase their talented stables.

Keeneland conducts racing every April and October, drawing legions of loyal fans. The nation’s leading trainers, jockeys and stables converge at Keeneland to compete for some of the country’s richest purse money. The Spring Meet is anchored by such storied stakes as the Toyota Blue Grass (G2) and Central Bank Ashland (G1), which are premier prep races for the Kentucky Derby and Kentucky Oaks, respectively. The Fall Meet opens with Fall Stars Weekend, featuring nine graded stakes led by the Keeneland Turf Mile (G1), Claiborne Breeders’ Futurity (G1) and Juddmonte Spinster (G1). Ten Fall Meet stakes are Breeders’ Cup Challenge races, awarding each winner automatic and free entry into the Breeders’ Cup World Championships.

Through the years, numerous

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champion Thoroughbreds have graced Keeneland, and its spring and fall meets have served as a springboard to success for many Triple Crown and Breeders’ Cup winners.

Keeneland has successfully hosted the Breeders’ Cup World Championships in 2015 and 2020. The inaugural Breeders’ Cup at Keeneland was headlined by Triple Crown winner American Pharoah’s victory in the Breeders’ Cup Classic (G1). Last year, Kentucky Derby (G1) winner Authentic won the Classic at Keeneland on his way to Horse of the Year and champion 3-year-old colt honors. The Breeders’ Cup returns to Keeneland in 2022.

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

Graduates of Keeneland sales include 23 Kentucky Derby winners, 26 Preakness winners, and 21 Belmont winners.

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

Thoroughbred auctions have taken place on the Keeneland grounds since 1938, and annual sales commenced in 1943. Prior to World War II, many Central Kentucky breeders sent their

yearlings each summer to the sale in Saratoga, New York. But a wartime restriction on rail transport forced breeders to keep their yearlings at home, prompting the inaugural summer sale that was held under a tent in the Keeneland paddock. That sale produced Hoop, Jr., winner of the 1945 Kentucky Derby. The Breeders’ Sales Company held the sale at Keeneland in subsequent years, and that entity eventually merged with Keeneland.

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

Today, Keeneland’s annual sales attract buyers from nearly every U.S. state and more than 50 countries. In 2021, the calendar featured four auctions: the September Sale, November Breeding Stock Sale, January Horses of All Ages Sale, and the April Horses of Racing Age Sale.

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

As Hal Price Headley, Keeneland’s

TEAM COYLE

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

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

The Keeneland Library, established in 1939, is a public research/reference library that is one of the world’s largest repositories of information related

to the Thoroughbred. Located in a 10,000-square-foot facility that opened in July 2002, the library houses nearly 30,000 books, approximately 1 million photographic negatives, and thousands of newspaper and magazine articles about the equine industry. Among its most prominent collections are the Daily Racing Form archives dating back to 1896; some 3,000 caricatures and equine cartoons by the internationally celebrated artist known as “Peb”; and the works of noted equine photographers Charles Christian Cook, Bert T. Morgan, Joel Clyne “Skeets” Meadors, and Katey Barrett.

GIVING Keeneland’s philanthropic mission dates to 1936 when its founders conceived a model racetrack intended

to serve as a leader in the horse industry and the Central Kentucky community.

Today, this vision — known as The Keeneland Way — continues to guide Keeneland employees in their daily work.

Keeneland blends financial and in-kind sponsorships to benefit numerous civic and charitable organizations and lends its grounds as a backdrop for fundraising events. In the community, giving focuses on health and human services, education, arts and culture. Keeneland is at the forefront of the horse industry, with a rich history of lending support to safety and welfare initiatives, fan education, racing promotion and Thoroughbred aftercare organizations, among others.

In furtherance of its mission, Keeneland’s portion of the proceeds from the Sporting Art Auction benefits its nonprofit initiatives.

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ABOUT

CROSS GATE GALLERY

F

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

Lexington’s Cross Gate Gallery specializes in equine-related art, and its impressive collection ranges from 19th and early-20thcentury classic works to contemporary paintings and sculpture.

Its Central Kentucky location makes the focus on sporting art a natural one.

Sporting art has its roots in the early 18th century when British noblemen commissioned top artists to depict their favorite horses, dogs, and sporting scenes in paintings, drawings, and sculpture. The genre continues to the present, catering to the lifestyle of town and country ladies and gentlemen.

Greg Ladd laid the cornerstone of what would become Cross Gate Gallery while still a student at the University of Kentucky.

Working part-time for an upscale gift shop, he developed an appreciation for art and an eye for sporting art. His growing interest in the genre made him set aside initial plans to

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become an architect. Instead, he graduated with a bachelor’s degree in animal science, married his wife, Laura, soon after graduation, and rented two small rooms in downtown Lexington with $1,000 in startup capital.

The business was named Cross Gate Gallery. College friends and their parents were among early patrons and as Ladd traveled the world in search of inventory, Laura Ladd and her sorority sisters ran the shop. Early on, Ladd recognized that Lexington’s stature as the Horse Capital of the World made it an ideal locale to sell sporting art. His timing could not have been better as the 1970s and early ’80s saw tremendous growth in Kentucky’s horse industry. Buyers from around the world flocked to Kentucky to pay robust prices for Thoroughbred yearlings and many developed showplace farms with houses filled with sporting art.

In this environment, Ladd found a loyal following of serious collectors from around the world. He is recognized for his expertise

in the genre and gracious approach to selling art. In addition to top owners and breeders from around the world, Cross Gate’s clients include (but are certainly not limited to) Keeneland Race Course, FasigTipton Company, Breeders’ Cup, Ltd., and a wealth of other prominent equine organizations.

Ladd also is known for his eye for quality and over the years has nurtured and represented artists such as Andre Pater, Valeriy Gridnev, Larry Wheeler, Sandra Oppegard, Jean-Bernard Lalanne, and many others. Cross Gate regularly exhibits their work in Lexington and at equine venues such as Saratoga Springs, New York; Aiken, South Carolina; and Wellington, Florida.

Cross Gate is also well known for featuring the works of earlier luminaries such as Edward Troye, Sir Alfred Munnings, and Henry Stull. “Our focus is on quality artwork,” says Ladd. “We are confident that we’re offering the finest sporting art available anywhere in the world today. There is a limited supply of really

good artwork out there, and the best part of our job is finding that quality work and offering it to our clients.”

CROSS GATE HAS INTERNATIONAL STATURE In 1998, as Sotheby’s prepared to sell 10 paintings by Sir Alfred Munnings from Santa Anita Park’s collection, the venerable auction house chose Cross Gate to display

the works on their journey from California to New York.

This association with Sotheby’s led to a London exhibition of Andre Pater works in 2002 at Sladmore Gallery. Astoundingly, the 31 paintings in the show sold in 21 minutes while people waiting outside the gallery clamored to get in.

Cross Gate’s success has necessitated three moves over its 45 years in business.

Today the gallery operates from a pinkhued Greek revival mansion that spans 11,000 square feet. Its airy, light-filled rooms make the ideal setting to display the gallery’s broad range of artworks.

After more than four decades in the business, Greg Ladd has found full expression for his youthful vision in the achievements and international influence of Cross Gate Gallery.

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| Auctioneer

W

alt Robertson, a longtime leader in the equine auction industry, retired in 2015 as Keeneland’s vice president of sales.

Roberston, a graduate of the University of Kentucky, joined Keeneland in January 2011 after 35 years at the Fasig-Tipton Co. In addition to his vast experience in the Thoroughbred industry, Robertson also has been active in the Central Kentucky community for many years. He has served as chairman of the Kentucky Horse Park Commission, is a former director and past president of the Thoroughbred Club of America, and is a past member of the Sayre School and The Lexington School boards of trustees. He is president and auctioneer for Swinebroad-Denton Inc., a full-service real estate auction company in Lexington.

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

| Auctioneer

R

yan Mahan considered following his stepfather, Dr. Robert Copelan, into veterinary medicine.

Instead, he finds himself in the auction stand at the leading Thoroughbred sales company in the world.

Mahan initially had his own auction company but in 1977 he joined Keeneland as a bid spotter and later chief announcer. Promoted to auctioneer in the mid-1980s, he succeeded the late Tom Caldwell in 2001 as senior auctioneer. He has been involved with the Sporting Art Auction since its inception.

| Owner, Cross Gate Gallery

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exington, Kentucky, native Greg Ladd founded Cross Gate Gallery in 1974 and has developed it into one of the world’s premier sources of sporting art.

While studying at the University of Kentucky, Ladd laid the foundation for what was to become Cross Gate, and he is now regarded as an expert in the genre of sporting art.

Ladd has been on the advisory board of the Art Museum at the University of Kentucky, the Living Arts & Science Center, and the Kentucky Horse Park Museum. He has served as an Elder at the Second Presbyterian Church. He and his wife, Laura, have four children, two of whom — Catherine and Field — participate in the operation of Cross Gate Gallery.

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Meet Cross Gate Gallery Staff

Brittany Deen

Linda Helton

Catherine Ladd Kennealley

Field Ladd

Bill Evans Meng

Alex Thornbury

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The following are examples of the terminology used in this catalogue.

Please note that all statements in this catalogue as to authorship, period, culture, source, or origin are qualified statements and are made subject to the provision of the Conditions of Sale printed in this catalogue.

(The artist’s name, “Peter Biegel” is used here as an example, and the following expressions will apply to the artist’s name and the Lot number with which it is associated.)

“Peter Biegel” In our opinion, a work by the artist. While this is the highest category of authenticity, no unqualified statement as to authorship is made or intended.

“Attributed to Peter Biegel” In our opinion, probably a work by the artist, but less certainty as to authorship is expressed than in the preceding category.

“After Peter Biegel” In our opinion, a copy of a known work of the artist.

The term signed and/or dated and/or inscribed means that, in our opinion, a signature and/or date and/or inscription are from the hand of the artist.

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

The abbreviation A/C means Artist’s Copy.

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

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

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

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

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

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

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

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

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

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

RECEIPT TO KCG STAFF. *Please note both Keeneland Association and Cross Gate Gallery offices will be closed on November 25 and 26 in observance of the Thanksgiving holiday.

■ 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, MondayFriday, 9 a.m. – 5 p.m. EST, before November 17, 2021. After November 17, 2021, call Keeneland at (859) 280-4724 • Fax (859) 288-4249. Email info@thesportingartauction.com

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

You must notify us if you wish to arrange for this service or if you will be supplying it yourself.

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

EST before November 17, 2021. On November 17, 2021, call Keeneland at (859) 280-4724.

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

■ SHIPPING/REMOVAL OF PROPERTY If you are an absentee bidder, we can arrange for the shipment of your purchases as per your written instructions. Estimates for the shipping of any property can be obtained from our staff at KCG. If you are attending the sale and desire us to arrange shipping, this must be done immediately after the sale.ALL PURCHASES MUST BE REMOVED FROM THE BUILDING NO LATER THAN WEDNESDAY, NOVEMBER 24, 2021 at 2:00 p.m. unless prior arrangements have been made with KCG to store property at a warehouse. TO COLLECT ITEMS IN PERSON YOU MUST PRESENT A PAID

■ STORAGE AND STORAGE CHARGES For a period after the auction, uncollected purchases and unsold Lots may be held at Cross Gate Gallery Thereafter they will be removed for storage and charges will be incurred. All uncollected and unsold property not collected from Cross Gate by 2:00 p.m. on Wednesday, November 24, 2021, will be removed by KCG to a warehouse of their choice. The Seller and/or Buyer will not be entitled to collect the stored property until all outstanding charges are paid in full. Seller and Buyer grant KCG a security interest in all goods in our possession for payment of storage and other related charges due. PLEASE NOTE: KCG SHALL HAVE NO LIABILITY OR RESPONSIBILITY WHATSOEVER FOR DAMAGE OR LOSS DUE TO NEGLIGENCE OR OTHERWISE AS A RESULT OF THIS REMOVAL AND STORAGE. ■ PHOTOGRAPHS AND ILLUSTRATIONS/PRIVACY NOTICE KCG may record any or all portions of the Sale by video, audio or other means, which may be used by KCG in its sole discretion. All participants consent to the use, reproduction and distribution of such recordings, biographical and other information or descriptions, and images that may be provided, for inclusion in the catalogue or other marketing of the Sale or for any other advertising or promotional purpose as deemed appropriate by KCG. To the extent any provision in the foregoing (Glossary for Paintings and Sculpture or Tips for Buying and Selling at the Auction) conflicts with the Conditions of Sale, the Conditions of Sale shall govern.

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Fine Sporting Art, American Paintings, and Sculpture Sunday • November 21, 2021 • 1:00 p.m.

Keeneland Sales Pavilion Lexington, Kentucky

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1 | Johanne Nesne (19th/20th Century)

DANISH ROYAL RIDING ACADEMY Oil on canvas, 26” x 46 ½” Signed, dated 1907 $4,000. – 6,000.

This work depicts the indoor riding arena of Denmark’s Royal Stables, located in Christiansborg, the former royal palace, on the island of Slotsholmen in central Copenhagen. Still in use, the arena began construction in 1738. The stable complex and the two stable wing buildings are the only buildings

to survive from Christian VI’s baroque palace. Historically the stables functioned as a stud farm for the royal family with horses bred and trained for riding and hunting, and with draft horses used for the royal carriages.

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2 | Harry Hall (British, 1815–1882) GLADIATEUR Oil on canvas, 17” x 21” Signed, dated 1867 $4,000. – 6,000.

Provenance: J. Leger & Son, London Bred and owned by Count Frederic de Lagrange, Gladiateur was foaled in 1862 at Haras de Dangu in Normandy, France. The colt was sired by the French stallion Monarque, and out of the mare Miss Gladiator. Gladiateur was sent to trainer Tom Jennings Sr. at Newmarket in Kent, England, where he would prepare for his racing debut as a 2-year-old. Slow to mature, the colt began running in the fall of the 1864 racing season and achieved moderate success, winning one of his three starts. Nonetheless, at age 3 Gladiateur proved to be the most dominant horse in Europe, if not the world, at the time. During the 1865 season Gladiateur would not only win the majority of his 16 career starts but also become the first foreign horse to win the English Triple Crown. Arguably his most remarkable win, however, came at age 4 when he won the 1866 Ascot Gold Cup by an astonishing 40 lengths. At the end of his 4-year-old season Gladiateur was retired to stud in Kent, at Middle Park Stud, where he stood for the 186768 breeding seasons. Gladiateur then was moved back to de Lagrange’s Haras de Dangu for the following year. However, the Franco-Prussian war

broke out in 1870, and Count Frederic, fearing for the safety of his stock, shipped all his horses to England, where Gladiateur was sold at auction to William Blenkiron who returned him once again to Middle Park Stud.

Following Blenkiron’s death in 1873, Gladiateur was moved again, this time to Dunmow Stud, in Essex, where he remained until his death at age 14 in 1876.

3 | Benjamin Herring Jr. (British, 1830–1871) DEVON BULL IN BARN Oil on canvas, 15”x 20” Signed, dated 1857 $5,000. – 7,000.

Provenance: Frost and Reed

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4 | Henri DeLattre (French, 1801–1876) A GENTLEMAN’S CARRIAGE Oil on canvas, 26 ½”x 36” $9,000. – 12,000.

Henri DeLattre was born in St. Omer, France. Mostly self-taught, he was a prolific painter of animals and genre pictures but did not become interested in equine portraiture until his first visit to the United States in 1836. DeLattre quickly became one of the best-known equestrian artists of the era, and it is said that he received instruction from Edward Troye, America’s earliest and foremost equestrian portraiture artist. DeLattre’s paintings were published in many early American sporting publications, including The American Turf Register, The Spirit of the Times, the 1857 publication of Horses of America, and the first volume of Wallace’s American Stud Book. Perhaps DeLattre’s

best-known work, which depicted the match race between famous trotters Mac and Zachary Taylor, was published by famed printmakers Currier and Ives. DeLattre was often commissioned by wealthy patrons to produce a portrait to immortalize their favorite horses or other livestock. The painting on offer is a prime example of both the subject matter and composition that characterize much of DeLattre’s work. There is a record of this painting in the Art Inventory Catalog of the Smithsonian American Art Museums: control number IAP 80044585.

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5 | John Ferneley Sr. (British, 1782–1860)

J. OLIVER AND ROBIN HOOD Oil on canvas, 34”x 44” Signed, inscribed “Melton Mowbray,” dated 1857 $14,000. – 18,000.

The portraits of Grand Master and Robin Hood with their grooms were commissioned by W. S. L. Crawfurd, Esquire and are listed in John Ferneley’s Catalogue of Paintings as having been executed in 1851 and 1859, respectively. The basis of the index are John Ferneley’s three account books, which were transcribed by Guy Paget and published in the latter’s 1931 book The Melton Mowbray of John Ferneley. Both paintings on offer are listed in Ferneley’s original handwritten account books and numbered with Paget’s identification number: Grand Master having the

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identification number 629 and Robin Hood listed as 698. In addition to listing the subjects of each painting, Ferneley recorded the price paid for each commission; both Grand Master and Robin Hood are recorded as having cost £15.15. Crawfurd’s name appears beside 29 paintings in Ferneley’s catalogue, making him the second-largest patron of Ferneley’s work, behind only Lord Gardner, who is listed as having purchased one more work than Crawfurd.

6 | John Ferneley Sr. (British, 1782–1860)

JOHN HARKER AND GRAND MASTER Oil on canvas, 34”x 44” Signed, dated 1859 $14,000. – 18,000.

One of the paintings W. S. L. Crawfurd purchased is titled Sterling Crawfurd’s ‘The Shaver’ in a Stable. Crawfurd was known as a consummate horseman of his generation. The estate he inherited from his father — known as Milton, adjoining the growing city of Glasgow — was very valuable. In 1848 Crawford won the Cesarewitch with The Cur and in 1850 he was elected a member of the Jockey Club. In 1859 he won the 1,000 Guineas with his mare Mayonaise, which won by a record 20 lengths.

The first classic winner to be produced at Manton, the famed training

ground of trainer Alec Taylor, was Crawfurd’s colt Gang Forward, which won the 2,000 Guineas in 1873. In 1875 Crawfurd won the St Leger with Craig Millar. Had Ferneley still been alive in the 1870s and 1880s there is no doubt that he would have produced faithful representations of dozens more of Crawfurd’s winning horses.

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7 | John Frederick Herring Sr. (British, 1795–1865) ELLINGTON Oil on canvas, 12”x 16” Initialed, inscribed “Ellington,” various inscriptions verso $3,000. – 4,000.

Ellington was a British Thoroughbred racehorse and sire. In a career that lasted from 1855 to 1856, he ran 11 times and won four races. A leading 2-year-old in 1855, when his wins included the Champagne Stakes at Doncaster, he won only one of his seven races the following year. That win, however, came in the Derby, where his ability to handle soft ground proved to be decisive. Ellington was retired to stud at the end of his 3-year-old season.

Ellington was a long, low brown horse standing 15.2½ hands high with a “coarse” head and unusually large feet. He was owned by Octavius Vernon Harcourt, an admiral in the Royal Navy and was trained at Middleham, North Yorkshire, by Thomas Dawson, the older brother of the more famous Mathew Dawson. Ellington’s sire, The Flying Dutchman, was one of the outstanding horses of the mid-19th century, winning 14 of

his 15 races, including the Derby and the St. Leger.

Ellington became a moderately successful stallion in England but had much greater success after being exported to France. Ellington’s dam Ellerdale was a notable broodmare, who also produced the Oaks winner Summerside and the Champagne Stakes winner Gildermire.

8 | Benjamin Herring Sr. (British, 1830–1871) BAY HUNTER IN A LANDSCAPE Oil on canvas, 13”x 16” Signed, dated 1829 $2,000. – 3,000.

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9 | John Frederick Herring Jr. (British, 1820–1907) FARM YARD SCENE Oil on canvas, 23”x 33” Signed $6,000. – 9,000.

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10 | John Frederick Herring Sr. (British, 1795–1865) HORSES AND PIGEONS AT A STABLE DOOR Oil on canvas, 24” circular Signed $20,000. –30,000.

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11 | John Frederick Herring Sr. (British, 1795–1865) RABBITS Oil on canvas, 10”x 12” Signed $9,000. – 12,000.

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12 | John Frederick Herring Sr. (British, 1795–1865) DUCKS AND DUCKLINGS Oil on board, 10”x 12” Signed, dated 1853 $9,000. – 12,000.

Provenance: Arthur Ackermann and Son

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13 | John Frederick Herring Jr. (British, 1820–1907) FARM YARD SCENES (a pair) Oil on board, 10” x 12” (each) Signed $6,000. – 9,000.

Provenance: Frost and Reed,

The Sporting Gallery and Bookshop

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14 | J.F. Stephens (American, 19th/20th Century) HEIST Gouache, 22” x 28” Signed, inscribed, dated 1902 $3,000. – 5,000.

Inscribed “From Life by J.F. Stephens, 1902. Heist 2043. Imp. German Coach Stallion. Property of Atlas & Pleasant Hill Co. Ill.” Current research has not uncovered the stallion Heist, though the number 2043 should indicate some form of registry record. The towns of Atlas and Pleasant Hill are situated in Pike County, Illinois, seven miles apart. While

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an “Atlas and Pleasant Hill Company” has not been found in historical records, given the towns’ proximity and small sizes, this horse might have been used by both communities. While one possible scenario could have been the transport of fire department wagons, the inscription of “Coach” might indicate transport of citizens to nearby Rockport, the closest local port on the Mississippi River.

15 | Henry Frederick Lucas-Lucas (British, 1848–1943) OCEAN SWELL Oil on canvas, 23 ½” x 30 ¾” Signed, dated 1945 $5,000. – 7,000.

Ocean Swell was by Blue Peter, winner of the 1939 2,000 Guineas and Epsom Derby and champion sire on three occasions. His dam was Jiffy, whose descendants include Kentucky Derby winners Tomy Lee and Genuine Risk. In 1944 Ocean Swell won the New Derby at Newmarket, the substitute race for the Derby during both world wars. In the latter part

of 1944, he captured the Jockey Club Cup and in 1945 won the Ascot Gold Cup. Due to the shuffling of track venues during World War II, Ocean Swell is the only Derby winner to win the Gold Cup at Ascot since Persimmon in 1897.

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16 | Simon Simonsen (Danish, 1841–1928) FRA SPORVOGNSSTALDEN Oil on canvas, 18” x 13 ½” Signed, dated 1882 $3,000. – 5,000.

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17 | John McAuliffe (Irish/American, 1830–1900) MOLLY Oil on canvas, 20” x 24” Signed, inscribed “Molly” $4,000. – 6,000.

Provenance: Hirschl & Adler,

H.V. Allison Galleries, New York,

Berry-Hill Galleries

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18 | Henry Stull (American, 1851–1913) THE INAUGURAL RUNNING OF THE CONNAUGHT CUP, 1912, OLD WOODBINE Oil on canvas, 24” x 29” Signed, dated 1912 $35,000. – 40,000.

The Connaught Cup was first run in 1912 on the dirt at Toronto’s old Woodbine Race Course. The 1912 running of the King’s Plate marked the first time that members of the Royal Family attended the running of the “fifty guineas,” the original prize bequeathed by the family for the prominent Canadian horse race. Their Royal Highnesses the Duke and Duchess of Connaught and Princess Patricia watched as Plate Glass captured the inaugural running of the prestigious race that has borne their familial name for more than a century.

The day was described in the Quebec Chronicle: “Bright sunshine and a summer temperature lured a big crowd to the Woodbine track today for the fifth day of the Ontario Jockey Club’s spring meeting. The track, which yesterday was deep in mud, was transformed to a dry and at times dusty expanse. The Duke of Connaught was present to witness the first race for the Connaught Cup, the challenge trophy donated by himself and the Duchess

of Connaught for Canadian-owned Thoroughbreds. The race was captured

by Robert Davies with Plate Glass, the horse which he bought especially with a view to winning this and other coveted events. Plate Glass carried top weight, 132 pounds, but easily disposed of the other four starters. Rockville ran second and Bwana Tumbo third.”

Plate Glass won the title of American champion older male horse in 1911 and was purchased in the spring of 1912 by Robert Davies for the staggering sum of $5,000. Davies did not have to wait long for his investment in the champion to pay off: Plate Glass won the Connaught Cup, the Rothschild Cup, and the Windsor Hotel Cup in his 6-year-old season. Plate Glass repeated his great victory in 1913, winning the Connaught Cup in backto-back appearances, a feat just five other horses have accomplished in the race’s long and rich history.

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19 | Henry Stull (American, 1851–1913) STRATHSPEY Oil on canvas, 18” x 28” Signed, dated 1884 $8,000. – 10,000.

Strathspey was foaled in 1878, a son of the great sire Glenelg. His grandsire was none other than the greatest American sire of the 19th century, the mighty Lexington. In 1880, Strathspey raced eight times, and while he hit the board on six of those occasions, he managed only one win. However, in 1881, Strathspey raced 20 times and boasted an impressive record of 6-6-5.

Strathspey was bred by Milton Sanford at the once-renowned Preakness Stud in Lexington, Kentucky — which was subsequently purchased by Daniel Swigert and renamed Elmendorf, parts of which are still intact.

Strathspey was purchased by notable turf enthusiast Daniel Dunham Withers, the namesake of the long-standing Withers Stakes, which has been in existence since 1874. And while the Withers Stakes is certainly

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a prestigious race, Sanford has the honor of having one of the jewels of American racing, the Preakness Stakes, named after his famous farm.

Strathspey’s jockey, William Donohue, won all three of the modern-day Triple Crown races, winning the 1876 Belmont Stakes, the 1883 Kentucky Derby, and the 1874 and 1887 Preakness Stakes. Donohue rode some of the greatest horses of his time, ultimately earning enough money to buy some of the horses that he used to ride for others. He ultimately would purchase, train, and ride Strathspey to victory in his own colors. Donohue apparently thought so much of Strathspey that he commissioned Henry Stull, the greatest horse painter of the day, to immortalize the colt with his owner and trainer. Perched on Strathspey’s back is his jockey, proudly sporting Donohue’s red and black silks.

20 | Henry Stull (American, 1851–1913) TROUBADOUR Oil on canvas, 18” x 28” Signed, dated 1886 $8,000. – 10,000.

Bred in Kentucky by A. J. Alexander at his famous Woodburn Stud, Troubadour was sired by Lisbon, a son of the imported British stallion Phaeton. His dam was Glenluine, a daughter of the mighty Glenelg.

Troubadour was sold as a yearling to Daniel Swigert, owner of the famed Elmendorf Farm at the time, who raced him once at age 2 and then sold the winner for a whopping $7,500 to Col. Milton Young of McGrathiana Stud.

On May 17, 1884, Troubadour ran second in the Alexander Stakes at the Louisville Jockey Club. A week later he went unplaced in the Tennessee Stakes but bounced back and won the June 6 Sensation Stakes at Latonia and the Criterion Stakes in Chicago. After running third in the Kenwood Stakes on July 1, he shipped to Saratoga, where placed in a 2-year-old race and then won again just five days later. Troubadour returned to Kentucky in September, scoring wins at the Louisville Jockey Club and capturing the Kimball and Barrett Stakes at Latonia. Troubadour won five times in 1885, including the St. Leger Stakes in St. Louis by 20 lengths. In December 1885 Milton Young sold off his entire stable, and Troubadour ultimately ended

up in the hands of Capt. Samuel S. Brown, owner of Senorita Stud Farm near Lexington, Kentucky.

Brown sent Troubadour to future Hall of Fame trainer John W. Rogers in 1886 and on June 1, Troubadour won a race at Latonia and was immediately shipped to Brooklyn. Nine days later he won the most prestigious and valuable race of the day, the Suburban Handicap at Sheepshead Bay, and then beat the great Miss Woodford. Troubadour was retroactively given the title of the 1886 American champion older male. After recovering from an injury, Troubadour returned to the track in 1887 and ran second to The Bard, one of the great cracks of the day. However, he regained the upper hand in short order, beating The Bard in the July 4 Ocean Stakes and again in the Monmouth Cup 10 days later. In August, Troubadour suffered a career-ending injury in the Freehold Stakes and was retired to stud at Brown’s Senorita Stud, where the champion sired 1893 Kentucky Derby winner Lookout.

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21 | Alfred Wheeler (British, 1851–1932) STEEPLECHASERS Oil on canvas, 24” x 36” Signed $4,000. – 6,000.

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22 | Arthur Wardle (British, 1860–1949) HIGHLAND BEAUTIES Oil on canvas, 20” x 16” Signed, noted “Highland Beauties” is inscribed under the frame $6,000. – 8,000.

23 | John Emms (British, 1843–1912) DACHSHUND Oil on canvas, 12 ¾”x 12 ⅝” Signed, inscribed, dated ’90 $7,000. – 10,000.

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24 | Thomas Sherwood LaFontaine (British, 1915–2007) WHITE BULL WITH CATTLE BEHIND Oil on board, 18”x 24” Signed $4,000. – 6,000.

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25 | Thomas Sherwood LaFontaine (British, 1915–2007) HORSE AND DONKEYS Oil on board, 20”x 30” Signed $5,000. – 7,000.

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26 | William Webb (British, 1780–1846)

THOMAS HARGREAVES ESQ. WITH THE HOLCOMBE HARRIERS Oil on canvas, 28” x 36 ½” $6,000. – 9,000.

The Holcombe Hunt can trace its lineage to the 11th century. Its hounds are believed to be direct descendants of the Blue Gascoignes, which were brought across the English Channel by the Normans.

Bright. An Ashworth was often Master of Harriers and all three men were Quakers, thus enduring the criticism of the Society of Friends for hunting and shooting.

Members are proud of their heritage, which includes the royal patronage of three kings: Edward I, James I, and George V. In 1617, when James I visited Houghton Tower, he was welcomed and much charmed by Sir Gilbert de Houghton’s extravagant gesture of laying velvet along the whole of the halfmile drive to the tower. The cost of this extravagance nearly ruined the de Houghton family, but the king was impressed and so enjoyed the hunt with Sir Gilbert that he granted him a royal warrant to hunt over 12 townships, granted him the privilege of wearing scarlet livery, and knighted the loin of beef that evening, “Sir-Loin.”

The booming Lancashire textile towns produced many rival harrier packs by the turn of the century, which led to the great point-to-point races. The first one hosted by the Holcombe was in April 1921, when 40,000 gathered at Affetside, near Bolton. Mills and shops closed to let everyone gather for the races, which popular newspapers of the day dubbed “The Mill Workers Grand National.” Such was the respect that during World War II a warship was named after the Holcombe. In 1943, one year after the hunt-class destroyer HMS Holcombe was launched, she was sunk by a U-Boat, still carrying the six solid silver tankards inscribed with HH, presented to her by hunt members.

Until the 1920s, although the Masters and followers had always been mounted, the hunt staff had to follow on foot. By then, three generations of the famous Jackson family had hunted on foot with the Holcombe. They astounded strangers by jumping the fences like horses and landing on their hands and knees.

Prominent in the Holcombe Hunt were many of the titans of Lancashire textiles, including the anti-corn law triumvirate of Ashworth, Cobden, and

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The hunt rode out through the war years between 1939 and 1945 and when petrol rationing started to bite, the Hunt secretary saw to it that the bus timetables for Bolton and surrounding areas were printed on the backs of meet cards to give foot followers the chance to support their beloved hunt.

Today, supporters love and practice the ancient sport while hunting within the law.

27 | Alfred De Dreux (French, 1810–1860) AMAZONE ET CHEVALIER Oil on canvas, 15”x 22” Signed $5,000. – 7,000.

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28 | James Barenger (British, 1780–1831) SHOOTING Oil on canvas, 20”x 28” $9,000. – 12,000.

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29 | Frederick Stanton Perkins (American, 1832–1899) WILLIAM F. “BUFFALO BILL” CODY Oil on board, 22” x 28” Signed $4,000. – 6,000.

William F. “Buffalo Bill” Cody needs no introduction. The famed “Wild West” showman seems to have favored white horses as he most often is portrayed in photographs and paintings, notably by William Herbert Dunton and Rosa Bonheur, aboard white steeds. It is not known which mount is depicted here — Isham, Billy, Tucker, and McKinley were just some of the white horses he owned. One story emphasizing his fondness for his depiction on white horses is that when his house in North Platte, Nebraska, caught fire and word was sent to him, he telegraphed back “Save Rosa Bonheur’s picture and the house may go to blazes.”

Buffalo Bill would have been a subject that especially interested Perkins, given Buffalo Bill’s connection to the American West and Native Americans.

In his lifetime the artist-turned-archaeologist was especially known for his collection and study of Native American material. He procured items for the Smithsonian Institution, American Museum of Natural History, and the Wisconsin State Historical Society, among others.

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30 | Samuel Walters (British, 1811–1882) FAIRFIELD Oil on canvas, 28” x 42” Signed, dated 1860 $6,000. – 9,000.

The USS Fairfield was an 18-gun sloop-of-war in the United States Navy.

Fairfield was launched June 28, 1828, with Commander Foxhall A. Parker Sr. in command. Reaching Port Mahon in the Balearic Islands in September 1828, Fairfield cruised the Mediterranean Sea until returning to Hampton Roads in May 1831. Her second cruise was in the West Indies as flagship for Commodore Jesse Elliott. During much of this time, she patrolled off the coast of Mexico to protect Americans and their property during political disturbances.

On May 30, 1833, Fairfield sailed from New York for duty in the Pacific Squadron, arriving in Valparaiso, Chile, in September. During this cruise she supervised the disarmament and dismantling of a group of ships belonging to an Ecuadorian revolutionary force after American mediation had ended a civil war. Fairfield returned to Norfolk, Virginia, in December 1835. In April 1837, she departed for the Brazil Station; her commanding officer

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Commodore Isaac Mayo was senior officer of the squadron. She served as a protector for American commerce and interests, guarding against a blockade of Argentina set by French warships.

Returning to New York in April 1840, Fairfield was recommissioned in May 1841. She sailed for the Mediterranean, carrying Commodore Charles W. Morgan, who was to take command of the squadron based on Port Mahon, and served as his flagship while he conducted negotiations with the Emperor of Morocco to obtain redress for the arrest and detention of the United States Consul at Tangier. The USS Fairfield returned to Hampton Roads from this, her last cruise, on January 17, 1845, and was decommissioned at Norfolk. Later that year she served briefly as a receiving ship housing newly recruited sailors until they could be reassigned. In 1852 she was broken up.

31 | William Woodhouse (British, 1857–1939) GROUSE IN FLIGHT Oil on canvas, 20” x 24” Signed $3,000. – 4,000.

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32 | Mauritz Drougge (Norwegian, 1874–1949) BLACK GROUSE AT THE LEK Oil on canvas, 32”x 40” Signed $3,500. – 5,500.

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33 | Mauritz Drougge (Norwegian, 1874–1949) PTARMIGAN IN AUTUMN Oil on canvas, 32”x 40” Signed $3,500. – 5,500.

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34 | Andrew Beer (British, 1862–1954)

LITTLE LADY, YOUNG GLADSTONE, GROUP (Set of 3) Oil on canvas, (2) 12” x 16”, (1) 16” x 24” Signed $4,000. – 6,000.

These works portray pigeons owned by Art Wiltshire, who originally owned the paintings. Andrew Beer was a noted pigeon enthusiast and served as a judge of pigeon racing around Bristol, where his studio was located, and a major center of pigeon racing.

“Jack’s Choice,” “Speed Well,” and “Sweet and Lovely” These birds all won races at Bristol and Durham, and placed second for a £50 Gold Cup. Although current research has not determined which Gold Cup, it would have been a major race similar to, for example, the current Millar Gold Cup, a pigeon race across the length of Ireland.

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“Young Gladstone” and “Little Lady” These two birds painted individually were winners of several different races. As noted in the inscription of the works, Beer himself presented these pieces to Wiltshire, as prizes for their respective races. It was common practice in America and England for the winning owners of animals in stock fairs and other competitions to be awarded a painting of their champion animal.

Full text of all inscriptions is available online.

35 | Brett James Smith (American, b. 1958) WOODCOCK HUNTING Watercolor, 21” x 30” Signed $4,000. – 6,000.

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36 | Robert Millikin (Irish, 1920–2014) QUAIL Watercolor/gouache, 12” x 9” Signed, dated ’75 $1,000. – 1,500.

37 | Suzy Smith (American, b. 1951) READY FOR THE BIRDS Pastel, 28” x 20” Signed $3,000. – 5,000.

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38 | Diana Tremaine (American, b. 1964) EARTH & SKY Oil on canvas, 50” x 40” Signed $9,000. – 12,000.

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39 | John Skeaping (British, 1901–1980) EL CORDOBES Bronze, 9 ¾” x 11” Signed $3,000. – 5,000.

Provenance: Estate of George Blackwell

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40 | Ferdinand Pautrot (French, 1832–1874) CHIEN DE CHASSE Bronze, 13 ½” x 10 ½” Signed $6,000. – 9,000.

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41 | Isidore Jules Bonheur (French, 1827–1901) A BRACE OF HOUNDS Bronze, 8 ½”x 15” Signed $7,000. – 10,000.

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42 | Isidore Jules Bonheur (French, 1827–1901) BULL AND COW Bronze, 12 ¼”x 22” Signed $7,000. – 9,000.

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43 | Ary Jean Leon Bitter (French, 1883–1973) STAG BRAMANT Bronze, 11 ¼” x 10 ¾” Signed $2,000. – 3,000.

Cire Perdue, C. Valsuani foundry mark

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44 | Jules Moigniez (French, 1835–1894) COQ ET POULE DE HOUDAN Bronze, 16” x 10 ½” Signed $5,000. – 7,000.

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45 | Alfred Jacquemart (French, 1824–1896) HOUND & TURTLE Bronze, 6” x 7” Signed $4,000. – 6,000.

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46 | 19th Century American

WEATHERVANE OF LEXINGTON Copper and zinc, 26 ½” x 34 ¼” $25,000. – 35,000.

A hollow-body copper weathervane with a cast zinc head of the Thoroughbred Lexington, attributed to the New York maker A.B. & W. T. Westervelt, dates to the last quarter of the 19th century. This example has a rich natural verdigris surface from a long tenure exposed to the elements.

It has not been restored and it exhibits bullet holes. This vane, illustrated in the Westervelt 1883 catalog, titled Lexington, was almost certainly the stylistic inspiration for Kenneth Lynch’s vane of Nashua, which tops the Keeneland sales pavilion.

Bred by Dr. Elisha Warfield near Lexington, Kentucky, Lexington was by Boston, out of Alice Carneal. The winner of six of his seven starts on the track, he had even greater influence at stud. He was the most successful sire of the second half the 19th century and was the leading North American sire 16 times. A member of the inaugural class of the National Museum of Racing and Hall of Fame, his bloodline still lives on today through his daughters. Spendthrift, Hanover, Himyar, Holy Bull, Mucho Macho Man, and Tiznow are just some of his descendants.

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47 | 19th Century American

ETHAN ALLEN WEATHERVANE Copper, iron and gilding, 18 ½”x 31” $2,000. – 3,000.

This weathervane, with a molded copper body and cast-iron head, depicts Ethan Allen, one of the most famous horses of the 19th century. This example retains much of the original gilding that covered the piece, an uncommon occurrence. Ethan Allen was one of the most depicted horses of the 19th century, so determining which company produced this example might not be possible. While the firm of Cushing & White advertised in 1875 a 29-inch version for $25, the Westervelt catalogue of 1883 advertised a 31-inch version, the length of the example here, for $20. Westervelt also noted of theirs: “Our vanes are gilded with the finest gold leaf, and on copper, warranted to stand the weather in any climate, and not tarnish or corrode.”

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Such was Ethan Allen’s dominance on the track he was poisoned on three different occasions to prevent him from racing. In The Horse of America, John H. Wallace wrote, “His trotting gait was recognized by the best judges and experts as probably more perfect than that of any horse of his day. Others have gone faster singly, but no one has done it in greater perfection of motion. In his great flights of speed, he was not bounding in the air, but down close to the ground with a gliding motion that steals from quarter-pole to quarter-pole with inconceivable rapidity.” In modern times his greatest influence was at stud. There is probably not a Morgan horse today that cannot trace its line back to him.

48 | George Wright (British, 1860–1942) ON SCENT Oil on canvas, 30” x 28” Signed $9,000. – 12,000.

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49 | Jeanne Herrick Mellin (American, 1927–2015) THE MORGAN HORSE Gouache on paper, 22” x 29 ½” Signed, inscribed, dated ’64 $3,000. – 5,000.

This work is most likely an illustration for one of the artist’s books. Herrick is the author of The Morgan Horse, The Complete Morgan Horse, Morgan Horse Handbook, The Book of Horse & Horsemanship, Illustrated Horse Back Riding for Beginners, America’s Own Horse Breeds, Horses Across the Ages, and Ride a Horse.

50 | Andre Marchand (French, 1877–1951) ROSETTE Oil on board, 8 ¾” x 10 ½” Signed, inscribed $900. – 1,200.

Provenance: Galerie Lefevre-Warme, Paris

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51 | Gilbert Scott Wright (British, 1880–1958)

A FALL OVER THE FENCE & CLEARING THE CREEK (a pair) Oil on canvas, 14” x 24” (each) Signed $9,000. – 12,000. (pair)

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52 | Peter Biegel (British, 1913–1988)

POINT TO POINT AT WINCANTON Oil on board, 14”x 11” Signed, inscribed $4,000. – 6,000.

Wincanton Racecourse is a Thoroughbred horse racing venue in Wincanton, Somerset, England. The steeplechase fences are large, making it a good test of a chaser. Three fences in quick succession in the second half of the home straight make for exciting racing and often change the complexion of a finish dramatically, resulting in a great many close finishes.

In 1893 the Wincanton Hunt Steeplechases were formed and on Easter Bank Holiday held the first meeting under what was known as the “Grand National Rules.” In 1897 a company was officially incorporated, leases were obtained on the land at Hatherleigh Farm, and Wincanton Hunt Steeplechases were instituted under National Hunt Rules. This body remained in operation until 1913, when ownership passed to the Wincanton Races Company. However, racing ceased during World War I and was not resumed until 1920. In 1925 the lease of Hatherleigh Farm expired. With Lord Stalbridge’s help, the company purchased Kingwell Farm on the high ground above Wincanton, and a new course was laid out and constructed at considerable expense. The first meeting on the present site was held on Easter Monday 1927, and a third meeting was added the same year.

53 | Lionel Edwards (British, 1878–1966) THE REFUSAL Watercolor, 12 ½”x 19 ½” Signed, dated ’61, indistinctly inscribed under mount $4,000. – 6,000.

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54 | 19th Century French

LES CALECHES (COACHES) Gouache, watercolor, and charcoal on paper laid down on canvas 31” x 67” Monogram M lower right $12,000. – 15,000.

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55 | John Leigh-Pemberton (British, 1911–1997) THE STATE COACH STUDY I Oil on canvas, 20” x 31” $4,000. – 6,000.

John Leigh-Pemberton was a British illustrator who was commissioned in the 1950s to paint the Royal Coaches, housed at the Royal Mews, in the stables of Buckingham Palace.

The Irish State Coach, an enclosed, four-horse-drawn carriage used by the British Royal Family, is the traditional coach in which the British monarch travels from Buckingham Palace to the Palace of Westminster for the formal opening of the new legislative session of the UK Parliament. John Hutton & Sons of Dublin, which held a Royal Warrant as coachbuilders to Queen Victoria, built the original Irish State Coach as a speculative venture in 1851. It was exhibited in 1853 at the Great Industrial Exhibition in Dublin. The coach maker was hoping to attract the attention of two distinguished visitors — and when Queen Victoria and her husband, Prince Albert, saw it, they bought it. It went on to become one of Queen Victoria’s favorite carriages, and she used it often after her husband’s death.

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In 1911 the coach was sent for refurbishment to the workshops of Barker & Co. of Notting Hill. While there, it was extensively damaged by fire (with only the metal framework left intact). However, Barker & Co. completely reconstructed it to the original design in the space of 19 weeks, in time for it to be used in the coronation procession of George V. The Irish State Coach boasts dark brown body panels decorated with golden scrolls. At the front of the carriage, arching up over the wheels, is a large curved guard, designed to protect the carriage from mud. The carriage’s most distinctive feature is its ornate gilded roof. From a central gold crown on a red cushion, four elaborate scrolling friezes radiate out to each corner; each corner is adorned with a small gold crown. Linking these crowns along the edge of the roof is a delicate frieze: Roses for England alternate with thistles for Scotland, shamrocks for Ireland, and palm trees.

The palms represent India and were added to the coach in 1876 when Queen Victoria was proclaimed Empress of India. In 1989 the Royal Mews carriage restorers undertook a complete restoration of the Irish coach, and it was entirely repainted and regilded. Until recently, Queen Elizabeth II traveled in it to the state opening of Parliament each year.

56 | Lionel Edwards (British, 1878–1966) GROOMING Watercolor, 14”x 10” Signed $9,000. – 12,000.

Illustrated: Lionel Edwards, Sketches in Stable and Kennel, London: G.P. Putnam and Sons, 1933, page 21

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57 | Peter Biegel (British, 1913–1988)

DOG STUDIES (Set of 50) Watercolor, gouache, approx. 6 1⁄2” x 3 1⁄2” each Signed with initials, inscribed on verso $12,000. – 15,000.

The history of cigarette cards dates to around 1875, when U.S.-based Allen & Ginter began to issue collectable cards in every pack of cigarettes. The cards usually depicted baseball players, national flags, Native American chiefs, and other popular subjects of the era. Other tobacco companies both in the United States and abroad shortly followed suit, but it was John Player & Sons, a company based in the United Kingdom, that produced one of the first general interest sets, known as “Castles and Abbeys,” in 1893.

Player’s cigarette cards became highly collected in the UK, and as their popularity and collectability grew, the company enlisted some of England’s top working artists to produce images for their cards. With the cards’ having reached peak production and popularity in the late 1950s, John Player &

Sons commissioned the well-known artist Peter Biegel to produce the set of current watercolors on offer, which was released in 1955. Each watercolor is accompanied by the corresponding cigarette card which shows an image of the breed on the front of the card and text on the back of the card with general information about the breed. These 50 sketches are a rare offering indeed.

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58 | Peter Biegel (British, 1913–1988)

BLACKLANDS, HEADING FOR CASTOR HANGLANDS Oil on canvas, 16”x 20” Signed $4,000. – 6,000.

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59 | Lionel Edwards (British, 1878–1966)

LEAVING THE KENNELS AT DAWN, THE ASHFORD Watercolor, 12 ½”x 19 ½” Signed $6,000. – 9,000.

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60 | James Lawrence Clark (British, 1812–1884)

FOUR IN HAND TEAM Oil on canvas, 20”x 24” Signed, inscribed “67 Riversdale Rd., Highbury, London” $4,000. – 6,000.

Clark moved to the address inscribed on the canvas in 1879, thus dating this work to the last 5 years of his life. It was possibly done between 1879 and 1881, as many of his works after 1881 were also signed by his son, James Albert Clark.

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61 | Charles Cundall (British, 1890–1971) DERBY DAY, EPSOM DOWNS Watercolor and bodycolor, 10”x 17” Signed $4,000. – 6,000.

The Derby Stakes, also known as the Epsom Derby, was first run on May 4, 1780, and was named in honor of the Earl of Derby. The Derby Stakes is Britain’s most valuable horse race and considered to be the most prestigious of the three races that make up the British Triple Crown, the other two being the St. Leger Stakes and the 2000 Guineas. The massive crowds that flock to Epsom Downs for the illustrious race have become one of its enduring traits, a tradition that reaches back to the beginning of the classic race.

Although many artists have depicted the massive crowds at the Derby, perhaps William Powell Firth produced one of the most iconic images of British horseracing in his masterpiece known as “The Derby Day.” Charles Cundall carries on this long-standing artistic tradition of capturing the crowds and chaos of the Epsom Derby in the superb painting that is now on offer. One can feel the frenzy of the crowd as the race patrons await another edition of the classic Derby Stakes.

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62 | John Beer (British, 1860–1930)

THE GRAND NATIONAL, 1915, AT THE 5TH FENCE & THE GRAND NATIONAL, 1915, AT THE LAST JUMP (a pair) Watercolor, 10”x 14” (each) Signed, inscribed as titled and with horse’s names, dated 1915 $2,000. – 3,000. (pair) Provenance: Estate of George Blackwell

Under the late March sky of Liverpool, 20 horses lined up for the start of the 77th renewal of the Grand National. An annual steeplechase race, the Grand National was first run in the 1830s. The course involves two laps totaling more than four miles of track and 30 harrowing obstacles, which the winner usually traverses in just under 10 minutes. Of the 20 horses that set out in the 1915 Grand National just nine would finish, with

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the 5-year-old Ally Sloper emerging victorious.

Ally Sloper, sired by Travelling Lad out of Sally in Our Alley, claimed a second Grand National victory for trainer Aubrey Hastings while also establishing Lady Margaret Nelson as the first female owner to win the race.

63 | Maurice Taquoy (French, 1878–1952)

COURSES À AUTEUIL, RÉUNION D’ÉTÉ, JEUDI 16 JUILLET 1925, PRIX GONTRAN, PRIX GALANTIN Watercolor, 12” x 17 ½” Signed $3,000. – 5,000.

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64 | George Wright (British, 1860–1942)

SET OF 3, RACING SCENE AND 2 HORSE AND JOCKEYS Oil on canvas, (2) 8” x 12”, (1) 9” x 12” Signed $6,000. – 9,000.

During Wright’s early career he illustrated many racing scenes for publications, working en grisaille. These most likely were published at the time, though current research has yet to uncover their printing.

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65 | Lynn Bogue Hunt (American, 1878–1960)

FAMOUS AMERICAN THOROUGHBREDS: COUNT FLEET, GALLANT FOX, WHIRLAWAY, SEABISCUIT, MAN O’ WAR, AND TWENTY GRAND (set of 6) (together with glasses and plates produced from the images)

Oil on board, 6” x 6” (each) Signed, inscribed with each horse’s name $4,000. – 6,000.

The paintings on offer were produced by famed sporting artist Lynn Bogue Hunt and used by Canonsburg Pottery, Lenox Silver Company, Goss China, and several other companies in the latter half of the 20th

century. The images appear on glassware, decanters, mugs, plates, coasters, ashtrays, and other items. The set of six paintings by Lynn Bogue Hunt is generally referred to as the “Champion Horse Series.”

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66 | Richard Stone Reeves (American, 1919–2005)

THREE KINGS, CLAIBORNE FARM (NIJINSKY II, SPECTACULAR BID & SECRETARIAT) Oil on canvas, 28 ¼” x 36” Signed $70,000. – 90,000.

Pictured from left to right in a field at Claiborne Farm near Paris, Kentucky, are Nijinsky II, Spectacular Bid, and Secretariat. While three grooms made their way into the work, the only one that can be specifically identified is Bobby Anderson with Secretariat. Nijinsky II arrived at Claiborne in the fall of 1970 and was joined by Secretariat after his retirement in the fall of 1973.

Reeves painted this scene in 1981, shortly after Spectacular Bid joined the other two great champions at Claiborne in the fall of 1980 when he was syndicated for a then-record $22 million.

At the time of this painting, Claiborne was one of the world’s top breeding operations as evidenced by the farm’s Eclipse Awards as outstanding breeder in 1979 and again in 1984. Nijinsky II, the great British Triple Crown winner, would sire 155 stakes winners in his time at stud and is the only stallion to have sired a winner of the Kentucky and Epsom derbies in the same year. He was the leading broodmare sire in North America in 1993 and 1994.

and Belmont Stakes winner Risen Star, Kingston Rule, and General Assembly. He was the leading broodmare sire in North America in 1992.

Given their place in history, Reeves would paint all three horses numerous times over the years, all being favorite subjects of his. They have made numerous appearances in all of his books and in his writings he remembered them fondly: “Perhaps Nijinsky II could be considered one of the six best horses I ever painted.”

Reeves, Crown Jewels of Thoroughbred Racing, Lexington, KY: The BloodHorse, Inc., 1997, page 137 “I painted him shortly after he was retired to Claiborne. He was a very goodlooking horse. He posed very well, and he handled very well.”

Reeves on Spectacular Bid, Royal Blood, Fifty Years of Classic Thoroughbreds, Lexington, KY: The Blood-Horse, Inc., 1994, page 190

Spectacular Bid achieved most of his legend on the track, never reaching the same heights at stud. Despite his record syndication price, his initial stud fee of $150,000 dropped over the years. He did sire 416 winners, including 44 stakes winners, who grossed more than $22 million in purse money.

“From all perspectives Secretariat was the very essence of the ideal Thoroughbred ... I don’t remember an easier or more rewarding subject to paint.”

Reeves, Belmont Park, A Century of Champions, Lexington, KY: BloodHorse Publications, 2005, page 104

The story of Secretariat’s racing career is well told, but his time at stud was more fruitful than some people have been led to believe. Among his bestknown progeny are 1986 Horse of the Year Lady’s Secret, 1988 Preakness

This painting was reproduced as a signed and numbered lithograph in an edition of 850.

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67 | Richard Stone Reeves (American, 1919–2005) AFFIRMED Oil on canvas, 14” x 18” Signed, inscribed, dated ’90 $20,000. – 25,000.

Illustrated: Richard Stone Reeves, Crown Jewels of Thoroughbred Racing, Lexington, KY: The Blood-Horse, Inc., 1997, page 33 “Affirmed always meant something very special to me. His owners, Louis and Patrice Wolfson, are old friends and clients of whom I was always very fond. When Affirmed matured into a stallion in Kentucky, he developed

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into one of the most attractive stallions I have painted. His neck arched and became a little fuller. His body proportions were a little heavier and more picturesque than as a racehorse, and his disposition was always one of the kindest that I have known. When Affirmed was at Calumet Farm, I had the pleasure of going out to his paddock and being able to visit and pet him, and he acted like an old friend.”

68 | Richard Stone Reeves (American, 1919–2005) CITATION Oil on board, 14” x 16” Signed, inscribed “Citation, A. Snider Up” $15,000. – 20,000.

Illustrated: Richard Stone Reeves, Crown Jewels of Thoroughbred Racing. Lexington, KY: The Blood-Horse, Inc., 1997, page 59 “No three-year-old colt, even Secretariat, has ever impressed me more than Citation, Horse of the Year in 1948. He won twenty-seven starts at two and three and could have won all of his races had his riders used their whips. I always admired his fluid way of moving — he could accelerate with

perfect ease from a gallop to full speed in a moment. He was a husky colt, slightly over 16 hands, with excellent conformation and a handsome head, intelligent eyes, and large nostrils. Although he was tough and masculine, his disposition was quite friendly, despite a little playful nipping so typical of young stallions. This painting shows Citation with Albert Snider up, going to the post for the 1948 Flamingo Stakes at Hialeah. The Flamingo was to become Snider’s last ride.”

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69 | Isaac Cullin (British, 1881–1920)

BAYARDO IN THE PADDOCK AT EPSOM Watercolor, 10 ½”x 14 ½” Signed, inscribed “Bayardo” and “Epsom,” dated 1909 $2,000. – 3,000.

Considered by many to be one of the greatest horses ever to grace the British turf, Bayardo had a rare ability to compete at almost any distance; from a sprint to a 2½-mile grind, Bayardo could do it all. Boasting an impressive record of 22 wins in 25 starts, Bayardo won some of England’s biggest races including the coveted St. Leger Stakes.

He began his career by taking the New Stakes at Royal Ascot and continued his winning form throughout his 2-year-old season, adding the Breeders’ Produce Stakes, the Richmond Stakes, the Buckenham Stakes, the Rous Memorial Stakes, the Middle Park Plate, and the Dewhurst Plate. Bayardo’s 2-year-old racing career was a perfect seven for seven.

His 3-year-old season saw Bayardo lose in both the 2,000 Guineas and the Epsom Derby due to injury and other external factors. After the disappointing losses, Bayardo found his form and won 11 races in a row, including the Prince of Wales’s Stakes, the Sandringham Foal Stakes, the Eclipse Stakes, and the St. Leger Stakes. In his 4-year-old season he won

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the Ascot Gold Cup, the Biennial Stakes at Newmarket, and the Chester Vase. His career earnings amounted to £44,535. Bayardo’s race distances ranged from five furlongs to 21⁄2 miles, showing not only his great speed but also his versatility.

With his very impressive record on the turf, Bayardo was instantly popular as a sire, standing at his trainer’s Manton Stud. His stud fee soon rose to 300 guineas. Bayardo was champion sire in 1917 and 1918, and leading broodmare sire in 1925. He produced three classic winners, two of whom went on to win the English Triple Crown: Gainsborough, winner of the 1918 English Triple Crown and sire of four classic winners, and Gay Crusader, winner of the 1917 English Triple Crown. His other progeny include Bayuda, winner of the Oaks. His granddaughter Saucy Sue, put him on the top of the “sire of broodmares” list by winning the 1,000 Guineas, the Oaks, and the Coronation Stakes.

70 | Michael Lyne (British, 1912–1989)

THE 1966 GRAND NATIONAL, VIGNETTES Oil on canvas, 28” x 36” Signed $6,000. – 8,000.

Provenance: Frost and Reed It might be hard to believe now, but when this work was completed it looked as though the 1966 Grand National might be the last one at Aintree. The owner of the course, Tophams Ltd., was embroiled in a legal battle to sell the racecourse to housing developers. When they purchased Aintree from Lord Sefton in 1949, the deal carried stipulations that the area could only be used for agriculture or horse racing during his lifetime. Four days after the 1966 race, the House of Lords upheld Tophams’ appeal to sell to developers but, thankfully for racing, the Liverpool City Council never approved housing plans for the property and Aintree remains to this day.

The 1966 edition was won by Anglo and jockey Tim Norman, who had been injured in a car accident just two days before the race. Their victory came by 20 lengths over Freddie with Pat McCarron aboard, who placed for the second straight year. With a field of 47 runners to start, 12 managed to finish. While some of the silks in the painting have been hard to identify, two horses unseated their riders, as depicted: Flamecap with Frankie Carroll up, and Dorimont, who had been carrying William Shand-Kydd.

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71 | Louis Ferdinand Malespina (French, 1874–1940) L’ARIVEE Oil on board, 18” x 24” Signed $3,500. – 5,500.

72 | Louis Ferdinand Malespina (French, 1874–1940) LE DERNIER OBSTACLE Oil on board, 17” x 24” Signed $3,500. – 5,500.

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73 | Milton Menasco (American, 1890–1974) POST PARADE Oil on canvas, 11” x 14” Signed $2,500. – 3,500.

74 | John Skeaping (British, 1901–1980) LEADING THE PACK Watercolor, 21” x 28” Signed $3,000. – 5,000.

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75 | Sir Alfred James Munnings (British, 1878–1959) RACING DRAWINGS (2) Pencil, 4 ½” x 6 ¾” (each) 2 sets of images – 4 drawings total $3,000. – 5,000.

Provenance: Frost and Reed

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76 | Sir Alfred James Munnings (British, 1878–1959) HOT TODDY Watercolor, 6” x 9” Signed $6,000. – 9,000.

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77 | George Ford Morris (American 1873–1960) MAN O’ WAR Oil on canvas, 21” x 15” Signed, dated ’22, inscribed “Man O War” $4,000. – 6,000.

Provenance: Patricia Morris Davis (his daughter) Man o’ War lost only once and finished atop the rankings in Thoroughbred Champions: Top 100 Racehorses of the 20th Century, published by The BloodHorse in 1999. The superlatives attributed to Man o’ War have been equaled by few. Bred by August Belmont at his Nursery Stud in Kentucky, Man o’

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War was sold at Saratoga to Samuel D. Riddle of Pennsylvania. Nicknamed “Big Red,” the high-headed chestnut son of Fair Play went on to win 20 of 21 starts and was considered a champion at 2 and 3 as well as Horse of the Year in 1920. Man o’ War was a leading sire, and his influence on American breeding was immense.

78 | Pierre (PEB) Bellocq (French/American, b. 1926) JOHN HENRY & WILLIE SHOEMAKER Watercolor and bodycolor, 25”x 23” Signed $4,000. – 6,000.

PEB produced this work to commemorate jockey Bill Shoemaker’s win aboard John Henry in the inaugural running of the Arlington Million in 1981. With their narrow victory over The Bart, the duo became the first to win a million-dollar race. This work was reproduced as prints that were given away at the second running of the Arlington Million in 1982.

One of horse racing’s legendary riders, Shoemaker captured almost every conceivable race and award in the sport. John Henry retired with 39 wins, more than $6.5 million in earnings, and two Eclipse Awards for Horse of the Year. John Henry would win the Arlington Million again in 1984, becoming the oldest horse to win the race and its only two-time winner.

Today a bronze statue of Shoemaker aboard John Henry and just ahead of The Bart overlooks the Arlington Park paddock.

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79 | Secretariat Winning the 1973 Belmont Stakes by 31 Lengths Photo, 11” x 96” Signed by Penny Chenery $2,000. – 3,000.

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Secretariat is the most iconic racehorse of the 20th century. He captured the imagination of the entire racing community and sports fans at large with a Triple Crown bid that remains perhaps the greatest feat in racing history to date. He not only won the Triple Crown, an incredibly rare accomplishment in horse racing, but did so in spectacular fashion — setting record times in all three races — records that stand to this day. Secretariat showed amazing versatility as well, winning all three races from different positions, coming from mid-pack to win the Derby, from dead last to win the Preakness, and from the lead in the Belmont. It was in the 1973 Belmont Stakes that Secretariat delivered a win that will never be duplicated — winning the classic race, the third jewel in the Triple Crown, by an astonishing 31 lengths and setting a track and race record with the unbelievable 1½-mile time of 2:24 (nearly three full seconds faster than the previous record).

When Secretariat reached the wire, the rest of the field was so far behind they were no longer in the camera’s field of view. The photograph on offer is a rare depiction of just how dominant a performance Secretariat turned in on his way to capturing the Triple Crown.

When describing the race for a project titled, “In Their Own Words,” produced by the New York Racing Association, jockey Ron Turcotte said, “My plan was to sit behind Sham in the early going. That changed when I felt the power beneath me and Secretariat broke sharply. I let him get his feet under him and picked his head up entering the first turn…I never felt such strength under me as I did that day. We were flying along. We

covered the opening half-mile in 461⁄5 seconds, three-quarters in 1:094⁄5 and the mile in 1:344⁄5…Lucien and others in the stands thought I was crazy.

But I am the one on the horse. I knew he was well within himself. He was doing everything easily. His stride was beautiful. His breathing was good.

Everything was going to my liking. My job, as I saw it, was to be a good passenger and stay out of his way. The only encouragement I gave him was to occasionally whisper in his ear. ‘Easy boy,’ I would tell him…I peeked and the other horses must have been 15-20 lengths behind…Now, the only race was against the clock. After the Preakness timing controversy, I wanted Secretariat to set a record that would stand a long time. With 70 yards to go, I chirped to him to make sure he did not lose focus. He responded by finding still another gear…I was able to soak in everything. The crowd that was going wild. The teletimer. Track announcer Chic Anderson’s memorable race call. ‘Secretariat is widening now. He is moving like a tremendous machine!’ When I peeked that last time, it was not to see where the other horses were. I was looking for the time. When I finally pulled up Secretariat and the outrider came to meet us, he said, ‘Do you know how fast you went?’ ‘Yup, 2:24 flat.’ ” Looking back on the race 40 years later, owner Penny Chenery was asked how often she had watched Secretariat’s Belmont victory. She answered: “Countless. I watch it and I kind of choke up. Even today. It is such a perfect moment.” The photograph, which is signed by Mrs. Chenery, captures just that — a perfect moment.

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80 | Carl Dahl (American, b. 1952) CHEVAL II Porcelain, Unique, 22”x 15 ½” $4,000. – 6,000.

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81 | Thomas Ostenberg (American, b. 1959) THE POLITICIAN Bronze, Ed 2/12, 17” x 22” Signed, inscribed $20,000. – 25,000.

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82 | 20th Century Spanish

LA TAUROMAQUIA ‘MARTINCHO’ Bronze, 12 ½”x 8” $2,000. – 3,000.

Provenance: Estate of George Blackwell

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83 | Cindy Wolf (American, b. 1946) CANDLE STICKS (pair) Bronze, 24” height, 7 ½” dia. each Signed, dated 1990 $1,000. – 1,500.

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84 | Cindy Wolf (American, b. 1946)

BORN TO RUN Bronze, 8 ½” x 23 ½” (including base) Signed, titled, dated 1982, Artist’s Proof $3,000. – 5,000.

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85 | Max Tannahill (British, b. 1959) SOLE II Wood Sculpture, 32” x 8 ½” Signed, dated 2021 $1,200. – 1,500.

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86 | Max Tannahill (British, b. 1959)

BLUE BOAT, SCHOOL OF FISH Wood Sculpture, 22” H x 63” W x 16” D $6,000. – 8,000.

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87 | Nicola Lazzari (Italian, b. 1961) BOATMAN II Bronze, Ed of 11, 22” x 59” $40,000. – 60,000.

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88 | Peggy Kaufmann (American, b. 1951)

HOLDING TIGHT Bronze, 18 ½” x 18” Signed, dated 2018, edition 3/7 $8,000. – 10,000.

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89 | Simon Erland (British, b. 1961) LEVADE AND PAIFFE (2) Bronzes, 10 ¾”x 9 ¾” Signed, inscribed, dated under base $8,000. – 10,000. (2)

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90 | William Hunt Diedrich (Hungarian/American, 1884–1953) EL TORERO Papercut, 10 ½”x 10 ½” $2,000. – 3,000.

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91 | LeRoy Neiman (American, 1921–2012) JOE LOUIS Oil on canvas, 18 ¼” x 10 ½” Signed $20,000. – 25,000.

One of the greatest boxers in history, Joe Louis reigned as the world heavyweight champion from 1937 until 1949. During this time he defended his championship an astounding 25 times. Both of these feats are still records.

“Boxing is my real passion. I can go to ballet, theatre, movies, or other sporting events … and nothing is like the fights to me. I’m excited by the visual beauty of it. A boxer can look so spectacular by doing a good job.” – LeRoy Neiman

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92 | LeRoy Neiman (American, 1921–2012) THE WINE GODDESS Oil on canvas, 30” x 24” Signed $70,000. –90,000.

Provenance: Ceasars Palace

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93 | Tyler Robertson (American, b. 1981)

NATIVE AMERICAN INDIAN STUDIES (set of 4) GREY EAGLE, LITTLE HAWK, FOOL BULL, RED CLOUD Oil on canvas | 20” x 16” (each) | Signed | $6,000. – 9,000.

Fool Bull – Fool Bull was Brule Lakota Sioux of the Chokatowela band born in 1844. Like his father, Fool Bull was a great medicine man and belonged to the Kit Fox Society. He was present and fought at the Battle of the Little Bighorn, otherwise known as Custer’s Last Stand, in 1876. His account of the battle reads, “We rode into battle with War Chief Buffalo Horse with Hollow Horn Bear in the lead. We started toward the fighting, but Hollow Horn Bear saw soldiers riding down from the Northeast ridge, so we turned and rode into a group of soldiers. We had the Cheyenne to our left and Crazy Horse’s Oglala to our right. No one shot; it was quiet. Then the Cheyenne charged. I watched as a man, still on his horse blew his horn many times. Most of the horse soldiers on the ground were dead. I wanted the horn, so I rode straight for him. The man with the horn was stilling blowing it when I killed him with my stone war club. I took the horn and his revolver; Chief Buffalo Horse took the soldier’s horse that still had his carbine on it.”

Little Hawk – Little Hawk, born in 1836, was an Oglala Lakota war

chief and a half brother of Worm, Crazy Horse’s father. Through the 1860s and 1870s, Little Hawk participated in the fights alongside his famous nephew Crazy Horse and was one of the participants in the Battle of the Little Bighorn. He was committed by political and personal imperatives to preserve his people’s hunting grounds and was reluctant to follow Sitting Bull into Canadian exile. Little Hawk chose to fight alongside his nephew against the U.S. troops. According to General George Crook, “Little Hawk appeared to rank next to Crazy Horse in importance, was much like his superior in size and build, but his face was more kindly in expression and he was more fluent in speech.” After years of fighting, Little Hawk participated

in the Lakota Delegation to Washington on 1888 and on January 6, 1891, after the Wounded Knee Massacre, Little Hawk and others negotiated their terms of surrender.

Gray Eagle – Gray Eagle was a Hunkpapa of the Wakan band and was later known as Gabriel Gray Eagle. Gray Eagle was among the northern or “non treaty” bands living away from the agencies. In the spring of 1872, Sitting Bull married Gray Eagle’s sister, Four Robes. As a brother-in-law of Sitting Bull, Gray Eagle became closely aligned with the noted Hunkpapa headman. In 1876 Gray Eagle fought against the army at the Battles of the Rosebud and the Little Bighorn. Agent James McLaughlin described Gray Eagle as “a man of determination and strong will power... an influential leader of his people.” Gray Eagle later served as a tribal judge and went to Washington, D.C., as a delegate from Standing Rock in 1888.

Red Cloud – Red Cloud was a respected Sioux Indian chief and the only chief who won a war with the United States of America, the so-called “Red Cloud’s War.” The Sioux, along with the Cheyenne, defeated the North American Army, and the government was obligated to sign the Treaty of Fort Laramie, in which it gave up forts that it had built on the Bozeman Trail, which was on Lakota land. In turn, it granted them their own autonomous lands. Although the U.S. did not keep its word, Red Cloud did not participate in the later Great Sioux War, led by Sitting Bull and Crazy Horse. Despite the famous Battle of the Little Bighorn, since then the Native Americans lost what little they had, and hunger made the tribes give up little by little and move to the reservation.

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94 | Serhiy Hai (Ukranian, b. 1959) JUMPER Oil on canvas, 47 ¼”x 31 ½” Signed $12,000. – 15,000.

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95 | W. Owen Ward (British, Contemporary) DRESSAGE Watercolor, 25” x 45” Signed $2,000. – 3,000.

96 | Stephen Mangan (Scottish, b. 1964)

THE OWNER Oil on canvas, 24” x 20” Signed, inscribed “The Owner,” dated 2020 verso $6,000. – 9,000.

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97 | Peter Max (American, b. 1937) KENTUCKY DERBY, 2000 Oil on canvas, 48” x 36” Signed $6,000. – 8,000.

Max was the official artist of the 2000 Kentucky Derby.

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98 | Yang Yang (Chinese/American, b. 1953) IN THE STRETCH Acrylic, 36” x 48” Signed $3,000. – 5,000.

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99 | Theo Waddell (American, b. 1941) ARCO HORSES #14 Oil on canvas, 42” x 48” Signed $12,000. – 15,000.

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100 | Rachel Van Dyke (American, b. 1972) RED MANE ON BLUE HORSE Oil on canvas, 59 ¼” x 47 ¼” Signed $4,000. – 6,000.

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101 | Mike Austin (British, b. 1959) EQUUS III Oil on canvas, 35 ½” x 23 ½” Signed $5,000. – 7,000.

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102 | Mike Austin (British, b. 1959) EQUUS V Oil on canvas, 47” x 31 ½” Signed $6,000. – 9,000.

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103 | Jeaneen Barnhart (American, b. 1967) DRIVING Charcoal/pastel, 36” x 65” Signed $4,000. – 6,000.

104 | Jeaneen Barnhart (American, b. 1967)

2020 PREAKNESS STAKES, SWISS SKYDIVER WITH ROBBY ALBARADO UP Charcoal/pastel, 15 ½” x 68” Signed $4,000. – 6,000.

Swiss Skydiver’s victory in the 2020 Preakness Stakes produced one of the most electrifying moments in recent horse-racing history. The prerace story lines were numerous and varied: from the oddity of classic races’ being run in the fall amidst a global pandemic and Bob Baffert’s sending out a potential third Triple Crown winner in six years to the question of whether Art Collector could give Authentic a true test, and the always popular fairy-tale story line of the filly against the colts.

The morning-line odds gave Swiss Skydiver a reasonable amount of respect, making her co-third choice at 6-1, but by the time she reached the post, Swiss

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Skydiver had moved to sixth choice at 11-1. Unaware that she was a relative longshot, that she was facing Authentic, a horse that many fancied to win the Triple Crown, and that she was a filly to boot, Swiss Skydiver went out and gave it her all; the result … pure magic. Not only did the filly beat the boys but she did it in spectacular fashion.

The stretch duel between Swiss Skydiver and Authentic was one of the greatest and grittiest finishes that any railbird could claim to have seen in many years. The heart, determination, and the will to win that each of these magnificent athletes showed was beyond amazing. Swiss Skydiver outpaced the field by nearly 10 lengths and became just the second filly to win the Preakness Stakes in nearly 100 years.

The race stands on its own as one of the greatest Preakness Stakes performances the racing community has ever witnessed. The true story line of the 2020 Preakness Stakes was a little bit of everything: The world was in the midst of a pandemic, May sundresses had been exchanged for October shawls, Authentic proved to be a truly exceptional, and the filly did beat the boys.

105 | Charles Church (British, b. 1970)

JUSTIFY Oil on canvas, 12”x 14” Signed, dated 2021, inscribed “Triple Crown Winner, Justify” $8,000. – 10,000.

Despite not making a single start as a 2-year-old, Justify took the racing world by storm. After winning a maiden special weight and an allowance race — in which his odds were 1 to 20 — Justify was pointed toward the grade 1 Santa Anita Derby in an attempt to earn enough points to be eligible for the rapidly approaching Kentucky Derby. Justify won the Santa Anita Derby, beating graded stakes winner Bolt d’Oro by three lengths, and earned enough points to be included in the field of 20 starters for the Kentucky Derby. Justify would go on to win the Kentucky Derby by 2½ lengths and become the first horse unraced as a 2-year-old to win

the Kentucky Derby since Apollo accomplished the feat in 1882. He went on to win the Preakness Stakes by a half-length and the Belmont by 1½ lengths. By completing the Triple Crown, Justify became just the second horse to win the American Triple Crown with an undefeated record; the other being Seattle Slew, from whom Justify is descended. Other Justify ancestors include Secretariat, Count Fleet, War Admiral, Omaha, and Gallant Fox, all of whom also won the American Triple Crown. He is also a descendant of English Triple Crown winner Nijinsky.

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106 | Antonio Palmieri (Italian, 1946–2020) RODEO Oil on canvas, 47” x 35” Signed $3,000. – 5,000.

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107 | Jo Taylor (British, b. 1969) DREAM RIDE Mixed media, 59” x 33” Signed $8,000. – 10,000.

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108 | Jo Taylor (British, b. 1969) THE SILVER HORSE Mixed Media, 33” x 59” Signed $8,000. – 10,000.

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109 | Claude Grosperrin (French, 1939–1977) LA COUPE D’ARGENT A DEAUVILLE Oil on canvas, 51 ¼”x 38 ¼” Signed $12,000. – 15,000.

Polo has been played since 1880 in the center of the Deauville racecourse, which has been home to the famous Coupe d’Or tournament since 1950. This work was owned

by Daniel Robinowitz, founder of the Willow Bend Polo Club in Dallas, Texas, and a member of a United States Polo team that played at Deauville.

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110 | Paul Brown (American, 1893–1958)

NEAR SIDE BACK SHOT Watercolor, 10”x 13” Signed, dated ’55, inscribed verso on label “Winston F.C. Guest” $1,000. – 1,500.

Provenance: Sporting Gallery & Bookshop Born May 20, 1906, Winston Frederick Churchill “FC” Guest was the top American polo player of his time. Competing for the U.S. international team, Guest won three International Polo Cups between 1930 and 1939 and would later be elected head of the Indoor Polo Association. Furthermore, he holds the distinction of being the only individual to reach the highest ranking of 10 goals under the Indoor Polo Association. Guest graduated from Yale and later earned a law degree from Columbia University.

111 | Henry Koehler (American, 1927–2019) CHANGING PONIES AT COW NECK, SOUTHAMPTON, NY Oil on canvas, 12”x 20” Signed, dated 2001 verso $3,000. – 4,000.

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112 | Hubert de Watrigant (French, b. 1954) ROUGE POLO Oil on canvas, 51” x 38” Signed $12,000. – 15,000.

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113 | Hubert de Watrigant (French, b. 1954) CAMAIL ROUGE Oil on canvas, 38” x 51” Signed $12,000. – 15,000.

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114 | Reza Derakshani (Iranian, b. 1952) SPRING HUNT Oil on canvas, 39 ½”x 31 ¼” Signed, titled, dated 2018 verso $30,000. – 40,000.

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115 | Valeriy Gridnev (Russian, b. 1956) 2021 BREEDERS’ CUP, DEL MAR Oil on canvas, 24”x 20” Signed $5,000. – 7,000.

The two paintings by Valeriy Gridnev will be used for the official programs of 2021 Breeders’ Cup at Del Mar. The image for the Friday cover shows a famous tradition of horses being exercised on the beach with the Del Mar grandstand in the background. The Saturday cover depicts the iconic view of the Del Mar saddling paddock before the starters make their way to the track.

116 | Valeriy Gridnev (Russian, b. 1956) 2021 BREEDERS’ CUP, DEL MAR Oil on canvas, 27”x 20” Signed, dated ’21 $5,000. – 7,000.

“Breeders’ Cup is proud to feature two vibrant works from renowned painter Valeriy Gridnev at the 2021 World Championships,” said Drew Fleming, President and CEO of Breeders’ Cup. “His work skillfully captures the iconic nature of the oceanside venue, Del Mar Racetrack, along with the festive traditions of our event and the sport more broadly.”

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117 | Valeriy Gridnev (Russian, b. 1956) THE ROYAL PROCESSION Pastel, 34”x 48” Signed $9,000. – 12,000.

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118 | Valeriy Gridnev (Russian, b. 1956) VINCENT O’BRIEN Oil on canvas, 24”x 30” Signed $6,000. – 9,000.

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119 | Quang Ho (Vietnamese/American, b. 1963)) OCTOBER WOODS Oil on panel, 20”x 30” Signed $12,000. – 15,000.

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120 | Quang Ho (Vietnamese/American, b. 1963)) SADDLING RING AT KEENELAND Oil on paper laid down, 26”x 35” Signed $15,000. – 20,000.

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121 | Peter Howell (British, b. 1932)

HORSES EXERCISING, NEWMARKET Oil on canvas, 40”x 50” Signed $30,000. – 40,000.

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122 | Peter Howell (British, b. 1932) SARATOGA, GOING OUT Oil on canvas, 20”x 30” Signed $15,000. – 20,000.

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123 | Peter Howell (British, b. 1932)

WINTER EXERCISE, NEWMARKET Oil on canvas, 24”x 30” Signed $15,000. – 20,000.

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124 | Peter Howell (British, b. 1932)

ON THE WAY TO THE DOWNS Oil on canvas, 20”x 30” Signed $15,000. – 20,000.

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125 | Peter Howell (British, b. 1932)

THE PADDOCK AT DEL MAR TOGETHER WITH A STUDY FOR THE SAME (a pair) Oil on canvas and oil on paper, 28” x 20” and 16 ½” x 11 ½” respectively Signed $15,000. – 20,000.

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126 | Peter Howell (British, b. 1932) HEADING HOME Oil on canvas, 32”x 32” Signed $15,000. – 20,000.

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127 | Peter Howell (British, b. 1932)

STUDIES OF THE DEL MAR PADDOCK (a pair) Oil on paper, 11 ½” x 16 ½” each Signed $4,000. – 6,000. pair

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128 | Patricia Mitchell (British, b. 1971) HOOF BEATS Paper cut, 29 ½” x 29 ½” $15,000. – 18,000.

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129 | Patricia Mitchell (British, b. 1971) JAMBO JAMBO Paper cut, 39 ½” x 39 ½” $18,000. – 20,000.

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130 | Melinda Brewer (Canadian, b. 1957) BEHIND BARS Watercolor, 11”x 17” Signed $2,000. – 3,000.

131 | Melinda Brewer (Canadian, b. 1957) TRAILER HOUNDS Watercolor, 10”x 15” Signed $2,000. – 3,000.

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132 | Peter Curling (Irish, b. 1955) OCTOBER MORNING Oil on canvas, 54”x 36” Signed $20,000. – 30,000.

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133 | Antoine de La Boulaye (French, b. 1951)

CHASSEURS EN VESTES VERTES & CAVALIERS VENANT SUR LA COLLINE (a pair) Watercolor, 6 ½”x 9 ½” (each) Signed $1,000. – 2,500.

134 | Antoine de La Boulaye (French, b. 1951) LA CHASSE Watercolor, 13”x 16 ½” each Signed $1,000. – 1,500.

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135 | Juli Kirk (American, b. 1957) SPECULATION Oil on canvas, 28”x 22” Signed $6,000. – 9,000.

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136 | Juli Kirk (American, b. 1957) WAITING IN THE WINGS Oil on canvas, 28”x 22” Signed $6,000. – 9,000.

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137 | Kelly Brewer (American, b. 1970) THINGS ARE LOOKING UP Oil on canvas, 30” x 40” Signed $8,000. – 10,000.

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138 | Peter Smith (British, b. 1949) TOP OF THE HILL Oil on canvas, 26” x 36” Signed $9,000. – 12,000.

Provenance: Frost and Reed

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139 | Tod Ramos (British, b. 1956)

THE DOUBLE BANK, PUNCHESTOWN Oil on canvas, 36” x 48” Signed $9,000. – 12,000.

Provenance: Richmond Gallery, London,

Estate of Mr. and Mrs. Bertram Firestone Racing at Ireland’s Punchestown has been taking place for nearly 200 years, with the first meeting said to have occurred there in 1824. When the Kildare Hunt Club took over in 1850, it set out to erect a grandstand, which was completed in time for the first two-day meeting in 1854. By the mid 1860s, when fences and hurdles were first introduced, attendance is said to have been close to 40,000. Among the crowd in 1868 was then Prince of Wales, Albert Edward. The feature race, the Prince of Wales Plate, was established that same year in honor of the royal visit. Other featured races during that era include the Kildare Hunt Cup and the Corinthian Cup. The Conyngham Cup, which was inaugurated in 1854, is historically the highlight of the season for amateur riders.

Punchestown Racecourse is a very fair track, with the hurdles course spanning one mile and six furlongs, while the chase track is two miles.

It is a right-handed, galloping, undulating track with a steady uphill run through the last five furlongs, providing a stiff finish. It is a very fair test of a jumper with 11 fences to a circuit. The hurdles track is slightly trickier, with a downhill section after the winning post while the cross-country course is long and twisting, with a variety of banks and other obstacles, with many hurdles and fences. The hills known as “Ruby’s Double” — named after jockey Ruby Walsh — are very testing with two banks in close proximity and can often see horses lose all momentum. The final brush fence is the sole obstacle jumped on the racecourse proper before the final straight.

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140 | Booth Malone (American, b. 1950) SUMMER SYNCOPATION Oil on canvas, 24” x 24” Signed $5,000. – 7,000.

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141 | Diana Tremaine (American, b. 1964) PRESENCE Oil on canvas, 50” x 60” Signed $10,000. – 15,000.

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142 | Sandy Oppegard (America, b. 1942)

STARS OF 2021 (set of four) MANDALOUN, LETRUSKA, HOT ROD CHARLIE, AND ALTHIQA Watercolor, 11” x 14” (each) Signed, inscribed $4,000. – 6,000.

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143 | Jean-Bernard Lalanne (French, b. 1952) ENCIERRO Oil on canvas, 35”x 47” Signed $7,000. – 10,000.

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144 | Jean-Bernard Lalanne (French, b. 1952) HEADING FOR HOME Oil on canvas, 19 ¾”x 27 ¾” Signed $4,000. – 6,000.

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145 | Jean-Bernard Lalanne (French, b. 1952) “LE RENARD ET LE CORBEAU” Oil on canvas, 39”x 21” Signed $6,000. – 9,000.

The Fox & the Crow One bright morning as the Fox was following his sharp nose through the wood in search of a bite to eat, he saw a Crow on the limb of a tree overhead. This was by no means the first Crow the Fox had ever seen.

What caught his attention this time and made him stop for a second look, was that the lucky Crow held a bit of cheese in her beak.

“No need to search any farther,” thought sly Master Fox. “Here is a dainty bite for my breakfast.”

Up he trotted to the foot of the tree in which the Crow was sitting, and looking up admiringly, he cried, “Good-morning, beautiful creature!”

The Crow, her head cocked on one side, watched the Fox suspiciously.

But she kept her beak tightly closed on the cheese and did not return his greeting.

“What a charming creature she is!” said the Fox. “How her feathers shine! What a beautiful form and what splendid wings! Such a wonderful Bird should have a very lovely voice, since everything else about her is so perfect. Could she sing just one song, I know I should hail her Queen of Birds.”

Listening to these flattering words, the Crow forgot all her suspicion, and also her breakfast. She wanted very much to be called Queen of Birds. So she opened her beak wide to utter her loudest caw, and down fell the cheese straight into the Fox’s open mouth.

“Thank you,” said Master Fox sweetly, as he walked off. “Though it is cracked, you have a voice sure enough. But where are your wits?”

The flatterer lives at the expense of those who will listen to him.

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146 | Jean-Bernard Lalanne (French, b. 1952)

TACKING UP, BEFORE THE RACE KEENELAND Oil on canvas, 23 ½”x 33 ½” Signed $6,000. – 9,000.

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147 | Jill Soukup (American, b. 1969) HOLDING STEADY Oil on canvas, 30” x 36” Signed $12,000. – 15,000.

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148 | Jill Soukup (American, b. 1969)

MORNING WARM-UP, KEENELAND Oil on canvas, 11” x 22” Signed $3,000. – 5,000.

149 | Alan Brassington (British, b. 1959)

THE EXPERIENCED ONE, JOHN REID AT ASCOT Watercolor, 18”x 21” Signed, dated ’01 $4,000. – 6,000.

Provenance: The Park Gallery, London

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150 | Larry Wheeler (American, b. 1942) FLAMINGOS Oil on canvas, 36” x 36” Signed $5,000. – 7,000.

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151 | Larry Wheeler (American, b. 1942) COOLING DOWN, KEENELAND Oil on board, 12” x 16” Signed $2,000. – 3,000.

152 | Larry Wheeler (American, b. 1942) GOING OUT AND COMING IN Oil on board, 11” x 15” Signed $2,000. – 3,000.

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153 | Susie Whitcombe (British, b. 1957)

BLACK AND WHITE MARE, WICKHAM HORSE FAIR Oil on canvas, 14” x 16” Signed $4,000. – 6,000.

154 | Susie Whitcombe (British, b. 1957) WASHING, GIFFORD’S CIRCUS Oil on board, 9” x 12” Signed $2,000. – 3,000.

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155 | Peter Williams (New Zealand/American, 1934–2018) KEENELAND OUTRIDERS Oil on canvas, 18” x 24” Signed $4,000. – 6,000.

Illustrated: Fran Taylor, Peter Williams Retrospective: Paintings and People Dear to Me, West High LLC, 2012, page 80

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156 | Peter Williams (New Zealand/American, 1934–2018) KEENELAND WALKING RING Oil on canvas, 24” x 30” Signed $5,000. – 7,000.

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157 | Andre Pater (Polish/American, b. 1953) ‘WAR’ AND ‘PEACE’ (a pair) Pastel on pastelboard, 36” x 24” (each) Signed, dated $75,000. – 100,000. (pair)

Illustrated: A Matter of Light: The Art of Andre Pater, Fincastle Publishing, 2019, page 95

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

THREE EPSOM WINNERS, VAN DYCK, SERPENTINE, GALILEO Pen and ink, 11 ½” x 28” Initialed, inscribed $6,000. – 9,000.

159 | Sam Robinson (American, b. 1953)

POST PARADE AT SHAWAN DOWNS Oil on board, 9” x 12” Signed, dated ’21 $1,000. – 1,500.

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160 | Joanne Mehl (American, b. 1960)

AFTERNOON SUN IN THE PADDOCK Oil on board, 24” x 34 ½” Signed $4,000. – 6,000.

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161 | John Fitzgerald (Irish, b. 1976) TATTERSALLS Oil on board, 19 ½”x 23 ½” Signed $4,000. – 6,000.

162 | Lesley Humphrey (British, b. 1957) NAVIGATING THE BLUES Mixed media, 16”x 12” Signed, titled, dated 2021 verso $2,000. – 3,000.

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163 | Abel Kestevan (British, b. 1969) SHOEING Pastel, 15” x 19” Signed $1,000. – 1,500.

164 | Abel Kestevan (British, b. 1969)

REGATTA Pastel, 14” x 17” Signed, inscribed “Young Rowers (Putney)” $1,000. – 1,500.

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165 | Julie Chapman (American, b. 1953) NATURE PRAYER #3 Mixed media, 20”x 24” Signed $3,000. – 5,000.

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166 | Julie Chapman (American, b. 1953)

WAITING FOR COFFEE AND BUFFALO (verso) Mixed media, 24”x 36” Signed $8,000. – 10,000.

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167 | Jamie Corum (American, b. 1973) TESS AND MAUDE Oil on board, 36”x 48” Signed $7,000. – 10,000.

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168 | Jamie Corum (American, b. 1973) L’AUTOMNE Oil on board, 36”x 24” Signed $4,000. – 6,000.

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169 | Dede Gold (Irish, b. 1971)

ONE HANDSOME HUNTER Oil on canvas, 40” x 30” Monogrammed $6,000. – 8,000.

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170 | Dede Gold (Irish, b. 1971) ON MAMA’S CHAIR Oil on canvas, 12”x 16” $3,000. – 5,000.

171 | John Trickett (British, b. 1953) TERRIER Oil on canvas, 24” x 18” Signed $2,000. – 3,000.

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172 | Leslie Peck (American, b. 1965) READY TO HUNT Oil on canvas, 30” x 40” Signed $8,000. – 10,000.

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173 | Dan Brown (American, b. 1949) YOU LOOKIN’ AT ME? Oil on board, 14 ½”x 20” Signed, titled verso $3,000. – 5,000.

174 | Dan Brown (American, b. 1949) AFTER HOURS Oil on board, 18”x 26” Signed, dated 8/21, titled verso $4,000. – 6,000.

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175 | David Quinn (British, b. 1959)

COMMON AND YELLOW-BILLED LOONS & RED-THROATED PACIFIC AND ARTIC LOONS (a pair) Watercolor, 17 ½” x 12” (each) Signed $5,000. – 7,000. (pair) Illustrated: Field Guide to the Birds of North America, National Geographic, Third Edition 1999, pages 21 & 23 Complete Birds of North America, Edited by Jonathan Alderfer, National Geographic, 2006, pages 58-61

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176 | Julie Ann Bull (British, b. 1964) AUTUMN GLORY Oil on canvas, 31” x 39 ½” Signed $6,000. – 8,000.

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177 | Justin Coburn (British, b. 1966) LION Oil on board, 15 ¾”x 15 ¾” Signed, dated 2021 verso $2,000. – 3,000.

178 | Justin Coburn (British, b. 1966) WHIPPET Oil on board, 15 ¾”x 15 ¾” Signed, dated 2021 verso $2,000. – 3,000.

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179 | Sam Robinson (American, b. 1953) MONTPELIER PADDOCK Oil on board, 20” x 24” Signed $3,000. – 4,000.

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180 | Henry Lawrence Faulkner (American, 1924–1981) MIDWAY Oil on board, 18”x 24” Signed $15,000. – 20,000.

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181 | Henry Lawrence Faulkner (American, 1924–1981) PENTHOUSE FOR ALICE Oil on board, 26”x 15” Signed, inscribed, dated ’74 verso $15,000. – 20,000.

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182 | Henry Lawrence Faulkner (American, 1924–1981) TAORMINA Oil on board, 44”x 32” Signed $30,000. – 40,000.

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183 | Henry Lawrence Faulkner (American, 1924–1981) IMAGINATION Oil on board, 18”x 14” Signed, poem written verso $12,000. – 15,000.

Poem Verso: Day hangs like a kite of God In the apple tree…

He is a Child in April And the worlds green Earth is

His Imagination Faulkner

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184 | Henry Lawrence Faulkner (American, 1924–1981) ODE TO EDITH PIAF Oil on board, 27 ½”x 22” Signed $15,000. – 20,000.

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185 | Henry Lawrence Faulkner (American, 1924–1981) SELF-PORTRAIT WITH ALICE Oil on board, 20”x 16” (oval) Signed $12,000. – 15,000.

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186 | Henry Lawrence Faulkner (American, 1924–1981) STRAWBERRY THE CAT Oil on board, 11 ½”x 11 ½” Signed $8,000. – 10,000.

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187 | Henry Lawrence Faulkner (American, 1924–1981) GLORY TO BEASTS AND FOWLS Oil on board, 12”x 10” Signed, inscribed, dated ’74 verso $8,000. – 10,000.

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188 | Harlan Hubbard (American, 1900–1988) HARLAN’S BOAT Oil on board, 17 ½”x 26 ¼” Signed, dated 1986 verso $2,000. – 4,000.

189 | Harlan Hubbard (American, 1900–1988) THROUGH THE BREAK Oil on board, 17” x 25” (overall) Signed, dated ’86; signed and dated verso $2,000. – 3,000.

Lots 188 and 189 were both in the collection of Emmett Wood, a Madison, Indiana, framer who sometimes worked with Hubbard and wrote William McKendree Snyder: Biography 1848–1930.

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190 | Paul Sawyier (American, 1865–1917)

KENTUCKY RIVER AT CANOE CREEK Watercolor, 12” x 18” Signed $9,000. – 12,000.

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191 | Paul Sawyier (American, 1865–1917) FISHING ON THE ELKHORN Oil on board, 17” x 11” Signed $20,000. – 30,000.

Bearing a signature that Sawyier used while living in Kentucky before moving to New York in 1913, this work most certainly dates to 1909-13.

The majority of his oeuvre was done in watercolor. However, by 1909 he had begun experimenting in oils — with the bulk of his oils having been created after 1913 when he lived in New York — making this a rarer Kentuckyperiod example. The most likely location for this piece would be Elkhorn

Creek, given the time period the work was painted and its focus, a favorite subject of Sawyier. A possibly original price of $25.00 is written on the back of the board in pencil. Sawyier’s oils were known to have been advertised

by C.F. Brower & Co., the Lexington firm that began representing him in 1908, for anywhere from $20 to $35 dollars during his lifetime.

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192 | Paul Sawyier (American, 1865–1917)

HOUSEBOATS ON THE KENTUCKY Watercolor, 13 ½” x 20 ½” Signed $22,000. – 26,000.

The boat on the far right of the image appears to be the one most often described as Sawyier’s.

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ARTIST

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

Barenger, James British, 1780–1831 Barenger was a British painter and known for his portraits of animals. He began his artistic career as a landscape artist and then went on to specialize in paintings of dogs, horses, deer, and other animals in hunting scenes. In 1807, at age 28, Barenger had his first exhibit at the Royal Academy. He went on to exhibit 48 paintings at the Royal Academy and eight at the British Institution before he died in 1831.

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

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 (aka Peb) French, born 1926 American racing fans have been entertained, amused, and delighted for more than 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.

Biegel, Peter British, 1913–1989 Born to a heritage of both art and horses, Biegel studied with Lucy Kemp-Welch and, after being wounded in Normandy during World War II, at Bournemouth School of Art. An accidental meeting with Lionel Edwards led to his being Edwards’ pupil. His paintings are full of accurate action and life.

Bitter, Ary Jean Leon French, 1883–1973 Born in Marseille, Bitter is best known for his animal sculptures. He began his studies in 1895 and by 1906 was admitted to the École Nationale Supérieure des Beaux-Arts. He began exhibiting at the Salon in 1912 and continued until 1939, winning a bronze medal in 1913 and a silver in 1921. Over the course of his career, he designed several public fountains and war memorials.

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

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

Bonheur, Isidore Jules French, 1827–1901 Studying painting at first with his father, Raymond, Bonheur then attended L’Ecole Nationale des Beaux-Arts de Paris, switching to sculpture. Exhibiting in both media at his first Paris Salon in 1848, he was a regular from then on. He routinely won medals and prizes, and his small groups of animals showed keen understanding of his subjects.

Beer, John British, 1860–1930 Little is known about the life of Beer, not to be confused with John Axel-Richard Beer (1853–1906). He spent most of his life working in London, at one time using the studio formerly used by A. C. Havell over Fores Gallery. For a short period he is recorded as living on Goldsmith Street, Nottingham. Beer worked

Brassington, Alan Irish, born 1959 Born in Rhodesia, Brassington grew up in his family’s native Ireland. He studied at the Northwich School of Art, Cheshire, and Stockport School of Art. Brassington’s acclaimed imagery of horse and rider led him to be the official artist at Ascot racecourse, where his works hang in the Racing Club rooms. As

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he has said, “I love painting horses and people. The racetrack is irresistible; it is an entire world of its own. If you see a special horse in the parade ring, it is easy to understand why one would be so inspired by this animal with its grace, its beauty, its intelligence, and its strength.”

Brewer, Kelly Robertson American, born 1970 Brewer’s love of art formed her focus on the past, helping her to graduate from the University of North Carolina with an art history degree. Brewer has become an acclaimed Lexington, Kentucky, artist with a growing national reputation.

Master painters Joaquin Sorolla, John Singer Sargent, and Nicolai Fechin greatly influence her impressionistic approach.

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

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

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

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

Bull, Julie Ann British, born 1964 Bull is a Kent-based artist specializing in animal portraiture, with horses being one of her favorite subjects. Only turning fully professional in 2013, she has exhibited work at the Mall Galleries London and Palace House Gallery Newmarket, and in 2018 won The Society of Equestrian Artists Chairman’s

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Award for her painting Roman Holiday. She prefers to paint in oils on canvas and travels to Newmarket regularly to gain inspiration for her work.

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

Church, Charles British, born 1970 An internationally renowned painter of horses, landscapes, and country life, Church works from life to capture the moment. With more than 37 commissioned paintings of grade or group 1 winners, as well as hunting and polo scenes, the sell-out exhibition of his work prompted His Royal Highness the Prince of Wales to write of Charles’ “profound understanding of his subject matter.” His commissions include The Royal Pageant of Horses for H.M. Queen Elizabeth II. Clark, James Lawrence British, 1812–1884 Born to James Clark, who took up painting in retirement, James Lawrence Clark was first noted as a painter in 1837. The majority of his work consists of prizewinning pigs, cattle, horses, and dogs. Many of the animals he portrayed were shown at Islington Agricultural Hall, near his home.

Coburn, Justin American, born 1966 Coburn was born in the Northeast and studied fine art in the 1980s before working in commercial design. He now paints professionally and is perhaps best known for his representation of animals. He is a regular contributor to group shows in the UK, Europe, and the U.S., and in 2018 he received the Lyon and Turnbull Award for painting from the Royal Scottish Academy. He is represented in the UK by Panter & Hall London.

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

character. Corum’s equine art and portraiture are collected widely in the United States, and her work can also be found in collections in Canada and the United Kingdom.

Cullin, Isaac James British, fl. 1881–1936 Cullen started his professional career as a portrait painter. However, his interest in horses and the adaptability of his skill led him to become one of the top equestrian artists. Cullen flourished as an artist between 1881 and 1920, producing racehorse portraits and watercolors of races, and equestrian events.

In 1883 he and J. A. Wheeler collaborated to paint the year’s Grand National winner. He later produced sporting illustrations for The Illustrated London News.

Cundall, Charles British, 1890–1971 A native of Lancashire, Cundall began designing pottery for a firm before studying at the Manchester School of Art and then the Royal College of Art. Wounded during World War I, he later competed in the art competitions at the 1928, 1932, and 1948 Olympics. During World War II, he was commissioned as an Admiralty artist to work on Merchant Navy subjects. He was a member of the Royal Academy and Royal Watercolour Society. His work can now be seen in the Tate, RAF Museum, and Imperial War Museum.

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 are still apparent in his work. Curling lives in the quiet countryside of Ireland.

Dahl, Carl American, born 1952 An American sculptor, Dahl holds multiple degrees from Arizona State University, including an MBA and a master’s degree in fine arts. Even though his upper-level corporate positions allowed him to travel, experience, and learn about great things, art was his passion. With more than 20 years dedicated to art, Dahl has been exhibited in America, France, and Japan. Dahl states, “In horses, I find beauty, power, and freedom; their legs, that seemed overly long to me as a child, rise to complete the perfect form. They remain one of life’s great joys.” de Dreux, Alfred French, 1810–1860 Born in Paris, de Dreux was the only son of noted architect Pierre-Anne Dedreux. He studied under Theodore Gericault and Leon Cogniet. He first

exhibited at the Salon in 1831, and his equestrian portraiture landed him an invitation to accompany King Louis-Phillippe to England. After the king’s exile, he also painted the portraits of Emperor Napoleon III and his family along with many other equestrian portraits of British aristocracy. de La Boulaye, Antoine French, born 1951 Possibly the most revered French painter of horses in France today, de La Boulaye studied at the Ecole Superieure d’Arts Graphiques of the Academie Julian in Paris. His work is in numerous museums, but he gained his greatest fame when the president of France commissioned him in 1984 to paint two works that were gifted to Queen Elizabeth II of England.

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

Derakshani, Reza Iranian, born 1952 Derakshani is a painter, poet, musician, and performance artist. He completed his formal artistic education at the University of Tehran, followed by the Pasadena School of Art in California. He returned to teach at the University of Tehran until the Islamic Revolution in 1979, when he fled his native country for New York City. While living in New York, Derakshani became engrossed by Abstract Expressionism and soon became associated with the Neo Expressionists of the 1980s. Running in the same artistic circles as Cy Twombly and Francesco Clemente, Derakshani’s style blends abstract and figurative elements from both Eastern and Western culture. His work is included in esteemed public collections such as the British Museum, London; the Metropolitan Museum of Art, New York; and the Russian Museum, St Petersburg. de Watrigant, Hubert French, born 1954 De Watrigant has worked for Hermes regularly since 1989 as one of the fashion brand’s most prolific designers. The son of a racehorse trainer, de Watrigant had several artist ancestors. A self-taught artist, he began sketching at his father’s stables and later won first prize at the Les Sept Collines de Rome exhibition.

His work is in the private collections of Queen Elizabeth II, the king of Morocco, Baron Guy de Rothschild, Stavros Niarchos, and Daniel Wildenstein.

Diederich, William Hunt American, 1884–1953 Born in Hungary to the daughter of American artist William Morris Hunt,

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Diederich originally studied in Switzerland before attending the Milford Academy in Boston and the Pennsylvania Academy of Fine Arts. He traveled Europe and Africa to see the landscape and wildlife before studying with renowned sculptor Emmanuel Fremiet in Paris. During the 1920s the Metropolitan Museum of Art, the Whitney Museum, and the Newark Museum all purchased his work.

Drougge, Mauritz Norwegian, 1874–1949 Drougge was born in Arendal, Norway, in 1874. His first major work was the decoration for the Jubilee Exhibition to mark the centennial of the 1814 Norwegian constitution. He specialized in animal, landscape, and portrait painting.

Edwards, Lionel D.R. British, 1878–1966 Edwards combined his love of the hunt with drawing to create exhilarating paintings full of life. He became the youngest member of the London Sketch Club and was committed to earning a living from his art. He enjoyed a close working relationship with Country Life magazine and The Graphic and then progressed to traditional painting in watercolor and in oils. He ranks just below Alfred J. Munnings as an important 20th-century painter of the hunting field.

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

Erland, Simon British, born 1961 Erland was educated at Westminster City School and Kings College London before studying as a postgraduate at the Sir John Cass School of Art. Both of his parents are artists, and their friends have included such major 20thcentury artists as Henry Moore, Jacob Epstein, and Anthony Caro. Erland began exhibiting briefly at the Sladmore Gallery in London before succeeding John Skeaping in 1984 as gallery artist at Arthur Ackermann & Son, where he exhibited every year until the demise of that gallery in 1992. Since then he has exhibited with the Bruton Street Gallery and Frank T. Sabin in London. He has exhibited in more than 26 major group exhibitions since 1980 including regularly at the Royal Academy of Arts in London — where he has been the only artist to exhibit horses regularly since John Skeaping’s retrospective there in 1980 — the Royal Glasgow Institute, and internationally.

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

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

Fitzgerald, John Irish, born 1976 The artist in residence at the Curragh Racecourse, Fitzgerald studied at the Industrial Design at Letterkenny RTC from 1994–1996 and the Industrial Design University of Wales, Swansea, from 1996–1997. Fitzgerald’s work has been acquired by Tattersalls Ireland & UK, Tony Smurfit, Eddie O’Leary’s Lynn Lodge Stud, Ger Lyons Racing, Meath County Council’s new head office, the New Curragh Racecourse, Tinakill House Stud, Moyglare Stud, and major corporate companies throughout Ireland, the United Kingdom, and the United States.

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

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

Grosperrin, Claude French, 1936–1977 A painter and lithographer, Grosperrin trained at the Ecole Nationale Superieure des Beaux-Arts, Paris, the Ecole Nationale Superieure d’Art Plastique, and the Ecole Nationale des Arts Appliqués. Shortly after completing his studies, he exhibited his works in Paris at the Galerie A. Weil and at the Galerie Espace.

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

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

Hall, Harry British, 1814–1882 Exceedingly accurate in his portraits of horses, Hall was employed much as a present-day photographer, rendering life-like images. He lived mostly in Newmarket but also did some work in London. Hall was extremely industrious, and much of his work was engraved and published. Turf historians rely on the validity of his work for conformational analysis of historic Thoroughbreds.

Herrick, Jeanne Mellin American, 1927–2015 Herrick studied at the Rhode Island School of Design, but her professors would not allow her to paint horses, which later became the focal point of her career.

As well as being an artist, she was also a major author in the Morgan horse world. Her books include The Morgan Horse, The Complete Morgan Horse, Morgan Horse Handbook, The Book of Horse & Horsemanship, Illustrated Horse Back Riding for Beginners, America’s Own Horse Breeds, Horses Across the Ages, and Ride a Horse. Jeanne also sculpted several Breyer Horses models, including Friesian (1992), Misty’s Twilight (1991), Pluto (1991), Roemer (1990), John Henry (1988), and Sherman Morgan (1987).

Herring, Benjamin Jr. British, 1830–1871 As Herring was a member of perhaps the most prominent family of sporting artists, his work is similar to that of other family members. He had a short career, dying at 41, but exhibited works at the British Institution and the Royal Society of British Artists.

Herring, Benjamin Sr. British, 1806–1830 The brother of John Frederick Herring Sr., Benjamin Herring Sr. also embarked on a career as a sporting artist, although he died young. He was the namesake of J.F. Herring Sr.’s youngest son, also a sporting artist.

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

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

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

Howell, Peter British, born 1932 Introduced to the world of racing at age 8, Howell spent his school holidays at Newmarket. He chose to pursue a racing career instead of art school, which actually helped the Welshman when he later made the switch to full-time painting in the 1960s. He lives in the quiet countryside of Devon when he is not traveling to racetracks and stables all over the world.

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

Hubbard and his mother followed his brothers to New York City, where he remained until he graduated from the National Academy of Design. He then attended the Cincinnati Art School. After completing his formal education, Hubbard settled in Fort Thomas in northern Kentucky until, distraught by

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industrial development’s impact on the natural world, he famously denounced modern society and moved to a cabin on the banks of the Ohio. Influenced by Thoreau, Hubbard wrote two books on his simple lifestyle at Payne Hollow.

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

Humphrey, Lesley British, born 1957 Being the daughter of a commercial artist and painter, Humphrey has always been involved with art. Her art has been influenced by Sir Alfred Munnings and the Russian itinerants — Nicolai Fechin and Wassily Kandinsky — and most recently Richard Diebenkorn. Humphrey has served as the official artist of the Kentucky Derby and has works in prominent collections throughout Britain and the U.S. Hunt, Lynn Bogue American, 1878–1960 Born in New York, Hunt moved to Michigan in his youth and attended Albion College before working as a staff artist for the Detroit Free Press. Returning to New York in 1903, he spent much of his career as one of America’s bestknown illustrators. He designed the 1939-40 Federal Duck Stamp in addition to illustrating many covers of Field & Stream magazine.

Jacquemart, Henri Alfred French, 1824–1896 Jacquemart studied both painting and sculpture at L’Ecole des Beaux-Arts de Paris as a pupil of Paul Delaroche. He exhibited at the Paris Salon from 1847 to 1879, winning numerous awards. Jacquemart produced major commissioned works in Egypt and Turkey, but gained fame through his commissions of monuments in France. He became a Chevalier of the Legion d’Honneur.

Kauffman, Peggy American, born 1951 Kauffman received a BA in Fine Arts from Bennett College in Millbrook, New York, and furthered her education at the Maryland Institute College of Art in Baltimore. Skilled in the life history of horses from years of training, grooming, and competition, Kauffman considers Paul Brown, preeminent American illustrator of equestrian subjects, the greatest influence on her work as an artist.

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.

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

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

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

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

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

Lazzari, Nicola Italian, born 1961 Lazzari’s artistry is strongly influenced by the Italian tradition of making small bronzes. However, Lazzari’s works are completely modern in concept while exhibiting this connection to works as early as the 16th century. His work is a strange mixture of the magical and natural and is perhaps also influenced by his cosmopolitan upbringing. He avoids the changes in scale when bringing a large sculpture down to tabletop proportions by creating his art as small works from concept on.

Leigh-Pemberton, John British, 1911–1997 The great grandson of Sir Edward Leigh Pemberton, Leigh-Pemberton was educated at Eton and studied art in London between 1928 and 1932. During World War II he was a flight instructor for the RAF and in 1945 was awarded the Air Force Cross. After the war Leigh-Pemberton pursued a career as an illustrator. He was involved with two major publication series: the Shell Guides, which were a series of English county guidebooks, and the Ladybird series of children’s books.

Lucas-Lucas, Henry Frederick British, 1848–1943 Originally from Lincolnshire, 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 4.

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

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

Some of his works have been reproduced through lithography.

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

Mangan, Stephen Scottish, born 1964 Born in Edinburgh, Mangan studied art at the Duncan of Jordanstone Art College in Dundee. Mangan has developed a distinctive style of figurative

portrayal. His works include unique human forms in a variety of backgrounds, such as the racecourse, the beach, the train station, and more. His paintings are held in private and public collections, including the Metropolitan Museum of Art in New York and the Royal Scottish Academy.

Marchand, Andre French, 1877–1951 Marchand was a French artist who specialized in portraits of horses.

Max, Peter German/American, b. 1937 Max is a German-American artist known for his use of bright colors in his work.

He was born in Berlin, Germany, but eventually settled in Brooklyn, New York, after his family fled during World War II. Max began his formal art training at the Art Students League of New York in Manhattan. Max’s artwork was first associated with neo-expressionism and psychedelic movements due to his bursts of color that often contain much or all of the work. He has had notable commissions, such as painting six U.S. presidents’ portraits, being the official artist for the 31st Annual Grammy Awards, and creating the first 40-cent U.S. postage stamp for the U.S. Postal Service.

McAuliffe, John Irish/American 1830–1900 “John McAuliffe was a well-known painter of horses. He was born in Ireland.

He came to this country in 1847, and had always resided in this city. He was originally a house painter, but, as he had a natural gift for drawing and painting horses, he soon took to that as a business. He painted extensively for the late Robert Bonner, Commodore Dickinson, Col. Kipp, Sheppard Knapp, Gabe Case, and Messrs. Wakeman, Hammond, and others.” New York Times obituary, December 10, 1900 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.

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Milliken, Robert W. Irish, 1920–2014 Working in both watercolor and oil, Milliken was a noted ornithological artist and served as president of the Northern Ireland Ornithology Society and as a member of the Northern Ireland Birds Record Committee. John Cyril Harrison was a major influence on his work.

Mitchell, Patricia British, born 1971 Mitchell draws inspiration from her extensive travels and conservation work in Africa. Her love of nature, botany, and global culture and tradition clearly resonates through her work as a mixed-media artist. Behind the awe-inspiring intricacy of her paper and mesh sculptures, there always lies an empowering story that can either be absorbed, viewed in passing, or used as an interesting topic for research or discussion.

Moigniez, Jules French, 1835–1894 The son of a metal gilder and a student of animal sculptor Paul Comolera, 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 Morris was born in St. Joseph, Missouri, and was largely self-taught. 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 British, 1878–1959 One of the two great masters of sporting art along with George Stubbs, Munnings began as an illustrator after attending art school in Norwich.

A keen sportsman, he hunted with both stag hounds and harriers, drawing and painting these events. Although he lost sight in one eye at age 21, his unique artistic vision and interpretation were unimpaired. Working in oils and watercolors and sketching wherever he went, Munnings documented racing and hunting horses, gypsies, and the sporting country life that he himself lived.

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Neiman, LeRoy American, 1921–2012 Born in St. Paul, Minnesota, Neiman studied at the Art Institute of Chicago where he also taught for 10 years before moving to New York in 1962. He gained renown as official artist for ABC Television’s coverage of the Olympic Games of 1972 and 1976, and as CBS artist for the 1978 Super Bowl. In addition, he was an official poster artist for the Kentucky Derby. Neiman’s work is found in many museums and private collections.

Nesne, Johanne 19th/20th century Very little is known of this artist, who seems to have also produced still life paintings.

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

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

Palmieri, Antonio Italian, 1946–2020 Born in Italy in October 1946, Palmieri is a largely self-taught artist. In his own words, the main goal of his art is the achievement of clarity, overcoming the obstacles arising between an artist and his idea, and by extension between the artist and the viewer. Depicting a wide array of subject matter, he is best known for his horse racing, regatta, and city scenes. His dynamic and expressive work has been exhibited around the world, namely in London, Rome, Milan, and New York.

Pater, Andre Polish/American, born 1953 Now a resident of Lexington, Kentucky, the Polish-born artist received his master’s degree from the Academy of Fine Arts in Krakow. Arabian horses were his first subjects, and he was quickly one of the most sought-after painters of this breed. In the late 1980s he developed a love of the Thoroughbred and

again has risen to the top of his field with racing scenes, as well as portrayals of hunting dogs, cattle, and wildlife.

Pautrot, Ferdinand French, 1832–1874 Little is known of Pautrot’s life aside from his place of birth in Poitiers, France.

He began exhibiting at the Salon in 1861 and continued through 1870, with his work representing various animal and hunting figures.

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

She paints animals at work and in their element, focusing on their eloquence, nobility, and anatomy.

Perkins, Frederick Stanton American, 1832–1899 Perkins was born in New York and when he was 4, his family moved to Wisconsin. At 21, he returned to New York to study under Jasper Cropsey, becoming possibly the only Wisconsin artist to study under the Hudson River School. Perkins became a noted collector of Native American antiquities and objects, with such institutions as the Smithsonian seeking objects from him.

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.

Ramos, Tod British, born 1956 Ramos’ father was Theodore Ramos, the Spanish portrait painter, and his mother was Julia Rushbury, the daughter of Sir Henry Rushbury, who was keeper of the Royal Academy in Munnings’ time. Ramos grew up around horses training at Lewes and spent time as an amateur jockey before studying at the Royal Academy. Also an author, he currently owns and operates an art academy.

Reeves, Richard Stone American, 1919–2005 Quite simply, Reeves is among the very top of American equine portraiture artists, ranking him with such names as Edward Troye, Henry Stull, and Franklin

Voss. A direct descendant of 19th-century portrait painter Thomas Sully, Reeves was trained at the Syracuse University School of Fine Art. His commissions included hundreds of the most famous racehorses from around the world.

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

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

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

Simonsen, Simon Danish, 1841–1928 The son of artist Niels Simonsen, Simonsen was born in Munich but moved with his family to Copenhagen at age 4. Learning first from his father, he attended the Academy of Fine Arts in Copenhagen from 1855 until 1860. Throughout his career his specialty was paintings depicting horses and dogs.

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

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portraits to architectural sculptures. His range and skill made him one of the great artists of the 20th century.

she receives awards, appears in national publications, and shows in important juried and solo exhibitions.

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

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

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

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.

Smith, Suzy F. American, born 1951 Smith, a Kentucky native, grew up riding horses across a Thoroughbred breeding farm. She began to draw and paint as a child with an interest in horses, dogs, and people. Married to a cattleman who is an avid wing shooter, Smith has found inspiration in their cattle herds and hunting dogs as well as in the splendid horses and talented horsemen of the region. She has sought instruction from other notable national and international sporting artists and considers Alfred Munnings, John Emms, Edgar Degas, Rosa Bonheur, and Maud Earl some of her favorite animal artists. Her work has been juried into The Pastel Society of America’s annual competition in New York City and has been exhibited in venues such as the Birmingham Spring Home and Garden Show in Alabama.

Her work can be seen through Cross Gate Gallery and Chisholm Gallery.

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

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Stull, Henry American, 1851–1913 Son of an Ontario coach driver, Stull landed in New York to pursue a career as an actor, got a job with an insurance firm, began to sketch pictures of boats and horses, and found his way to the staff of Leslie’s Illustrated Weekly. There he began to produce commissions for Mr. August Belmont Sr., and his career painting racehorses took off. Primarily an illustrator, his work is exceedingly accurate, especially regarding the color of the horse. He painted for many famous scions of the Turf, including his longtime patrons, Pierre and George Lorillard.

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

Taquoy, Maurice French, 1878–1952 Born in Mareuil-sur-Ay in the Marne region, Taquoy spent most of his life working around Paris. Beginning in 1905, he began exhibiting at the Salon des Independents and Salon d’Automne. He illustrated the book Le Pesage,

by Jean Trarieux; illustrated the publication Gazette du Bon Ton; and designed scarves for Hermès.

Taylor, Jo British, born 1969 Born in Lancashire, Taylor studied at Leeds Metropolitan University from 1988

until 1991. She has exhibited in numerous one-woman shows throughout England, including The National Horseracing Museum at Newmarket. Her pieces were included in a show at the Royal Academy in London, and she was commissioned for works on several Cheltenham Gold Cup runners. Taylor has exercised racehorses in Newmarket and feels it is necessary always to work from life.

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

Trickett, John British, b. 1953 Born in 1953 in Sheffield, England, Trickett is best known for his realistic depictions of hunting scenes with dogs, deer, and birds. After playing professional soccer for a number of years, he worked as an accountant. Trickett is a self-taught painter, yet he is now considered one of the prominent dog portraitists in Britain. Trickett lives and works in Nottinghamshire, England.

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

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.

Walters, Samuel British, 1811–1882 Walters was one of the most famous members of the Liverpool School of Marine Art. His father, Miles Walters, also a marine artist, taught him to paint.

Born in London, Walters became a member of the Liverpool Academy of Arts in 1841 and exhibited at the Royal Academy from 1842 until 1861.

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

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

Webb, William British, 1780–1846 A British oil painter specializing in equestrian and canine portraits, with a few nautical landscapes. In 1795, Webb appears to have been a watchmaker’s apprentice in Staffordshire, England and, as of 1810, was listed as a watchmaker himself.

Wheeler, Alfred British, 1851–1932 Wheeler was born near Bath in Somerset to John Alfred Wheeler (1821–1877), who retired early from the army to pursue a successful painting career. Wheeler is thought to have studied under his father and to have worked closely with him. He married Catherine Muspratt in 1874 and moved next door to his father at Raglan Villas, Bath. Wheeler then followed his father when he moved to Hanwell. Alfred and Catherine had six children, two of whom became artists: Walter Herbert and John Frederich. The Wheeler family specialized in sporting subjects such as horse racing and foxhunting. They were also commissioned frequently for animal portraits. Alfred Wheeler and his father are often confused due to their extremely similar styles and their signatures. Alfred’s work is thought to be less prolific, even though he contributed to many of his father’s paintings toward the end of the elder Wheeler’s life.

Wheeler, 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

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served as the painting conservator for both the Corcoran Gallery and the Smithsonian Institution in addition to teaching at the Maryland Institute. His skilled work is in great demand and hangs in the Supreme Court Building and the Federal Building in Washington and in many private collections.

Whitcombe, Susie British, born 1957 Whitcombe studied at the Heatherley School of Art in London and has been painting portraits of horses and people in oil and watercolor for more than 30 years. She has exhibited in London, Tokyo, and Melbourne. A versatile sportswoman, she has ridden races as an amateur jockey and is also a pilot, handling Super Cubs and Tiger Moths with ease.

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

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

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Woodhouse, William British, 1857–1939 Spending most of his life in Lancashire, Woodhouse specialized in paintings of working animals such as horses and dogs. He exhibited paintings at the Royal Academy, British Institution, Royal Scottish Academy, and Royal Society of Artists.

Wright, George British, 1860–1942 The Wright family of Leeds, England, is known to have produced three noted artists. Brothers George and Gilbert were respected equestrian-themed artist, and their sister, Louise, was a fashion illustrator for catalogs and magazines.

The subject matter for George Wright’s paintings included hunting, racing, and polo scenes; however, coaching scenes are his most appreciated work. George Wright was exhibited at the Royal Academy, as well as other venues, from 1892–1933.

Wright, Gilbert Scott British, 1880–1958 Born near Leeds, Wright was the younger brother of sporting artist George Wright. They are believed to have worked together until about 1925, producing many illustrations and calendars. He depicted many sporting subjects, but his coaching scenes with figures in period costume are his most famous. He exhibited at the Royal Academy in 1930, and during the ’30s the Princess Royal used his work on Christmas cards.

Yang, Yang Chinese/American, born 1953 At age 16, Yang met the painter Zhu Yu Hu, from whom he received his first training. In 1982 he began his studies at the art department of Jiangxi Teachers College in Nanchang, China. His work can be found in the Xi’an Art Museum (2004), the Minneapolis Institute of Arts (2007), and the Shandong Art Museum (2014).

CONDITIONS OF SALE

THESE CONDITIONS OF SALE GOVERN THIS SALE: This Ninth Annual Sporting Art Auction (“Sale”) is governed by these Conditions of Sale (“Conditions of Sale”), as may be amended by KCG Enterprises, LLC d/b/a The Sporting Art Auction (“KCG”) by the posting of notices or by oral announcements made during the Sale from the auctioneer’s stand, online, or otherwise (such notices and announcements shall be collectively referred to herein as the “Announcements”) (collectively, the “Conditions of Sale” and “Announcements” shall be referred to herein as the “Conditions,” or, individually, a “Condition,” as the context permits). All Sellers, consignors, agents, Owners, prospective bidders/purchasers (whether participating in person, online via a Bidding Platform, by telephone, by proxy-agent, or by written, online or telephone absentee bid, “Bidder/Purchasers”), and all other interested parties and all sales are therefore bound by and subject to these Conditions. By participating in the Sale, you acknowledge that you are bound by these Conditions.

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

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

Under these Conditions, “Seller” means a person or entity, including such person or entity’s agent (other than KCG), consignor, successor-ininterest, executor, trustee or personal representative, offering property for sale or selling all or any interest in property sold at this Sale, and is referred to as “Owner” in the Consignment Agreement.

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

2. PRESALE EXAM. All Bidders/Purchasers are urged to examine carefully and personally (or by agents, as the principal deems appropriate) the property in which you may be interested to determine its condition, size and whether it has been repaired or restored, etc.

BEFORE the Sale and BEFORE bidding, as you are accepting any property purchased with all faults, including all conditions and defects, except for the Limited Warranty set forth in Condition 9. In all other respects, the AS-IS nature of this Sale remains in full force and effect. All prospective Bidders/Purchasers further acknowledge presale exams may be conducted by physically viewing the property, if available, by video, by photos, or through an agent. All prospective Bidders/Purchasers further acknowledge that if the presale exam is insufficient as determined in the sole discretion of the prospective Bidder/Purchaser, said prospective Bidder/

Purchaser shall not bid on a lot. Neither KCG nor SELLER provides any guarantee or warranty of any kind in relation to the nature of the property apart from the Limited Warranty in Condition 9. Except for the Limited Warranty in Condition 9, the property is sold “AS IS,” with all faults and defects and without any warranty or assumption of liability by KCG or by the SELLER. 3. PRIVACY NOTICE. Notice is hereby given to all participants that KCG may record any or all portions of the Sale by video, audio or other means, which may be used by KCG or its affiliates in KCG’s sole discretion. You consent to the use, reproduction and distribution of such recordings, biographical and other information or descriptions, and images that may be provided, for inclusion in the catalogue or other marketing of the Sale or for any other advertising or promotional purpose by KCG or its affiliates, as deemed appropriate by KCG in its sole discretion.

4. RIGHT OF EXCLUSION. KCG expressly reserves its common-law right, at its sole discretion, to refuse admission to the premises or participation in any Sale and to reject any bid; provided, however, such refusal shall not be made on the basis of race, creed, color, national origin, sex, sexual orientation, political affiliation or beliefs. By accepting the license granted to the public by KCG to attend the Sale, you agree to be bound by these Conditions.

5. CATALOGUE AND DESCRIPTIONS. All statements in the catalogue entry or on a Bidding Platform for property, or made orally or in writing online elsewhere, are statements of opinion and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by KCG of any kind. References in the catalogue entry or on a Bidding Platform to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder/Purchaser or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose.

Except for the Limited Warranty set forth in Condition 9, neither KCG nor Seller is responsible in any way for errors and omissions in the catalogue, Announcements, or any supplemental materials. You are responsible for satisfying yourself concerning the condition of the property and the matters referred to in the catalogue entry or on a Bidding Platform, the Announcements, and any supplemental materials.

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6. BIDDING a. BIDDING BY LOT. Unless otherwise stated in these Conditions, all bids are per lot as numbered in this catalogue. b. DISCLOSURE AND RESERVE. In accordance with KRS 355.2328(4) and other applicable laws, the right to bid in this Sale is reserved for all Sellers, including their disclosed and undisclosed agents, unless otherwise announced at time of Sale. Purchasers therefore agree and acknowledge that Sellers have the right to set reserves implemented by the auctioneer upon property so entered which are not disclosed to Purchasers and also have the right to conduct by-bidding as related to their entries. No reserve will exceed the low presale estimate stated in the catalogue, or as may be amended by the Announcements. KCG may implement such reserve by opening the bidding on behalf of the Seller and may bid up to the amount of the reserve, by placing successive or consecutive bids for a lot, or bids in response to other bidders. In instances where KCG has an interest in the lot other than its commission, it may bid up to the reserve to protect such interest. Sales results reported by KCG may or may not reflect the fair market value of any property going through the Sale. c. REGISTRATION. Bidders may participate in a sale in person, by bidding online through a Bidding Platform or by telephone bid, subject to approval by KCG in its sole and absolute discretion. All prospective Bidders must complete and sign a Purchaser Registration Form and such other forms as KCG, in its sole discretion and absolute discretion, deems appropriate, and to provide identification before bidding if requested. To bid online or by telephone, Bidders must complete and register with KCG at least 24 hours before the start of the Sale. As noted in Condition 1 above, KCG encourages all Bidders, including online and telephone Bidders, to conduct pre-sale exams on any lot on which they may bid. All Bidders, including online and telephone Bidders, agree to these Conditions as well as such additional terms as KCG, in its sole and absolute discretion, deems appropriate, and to provide identification before bidding if requested. When making a bid, whether in person, on the telephone or online, a Bidder accepts personal liability to pay the Purchase Price, as described more fully in Condition 7 below. KCG, in its sole discretion, may require the production of financial references, guarantees, deposits and/or such other security as KCG deems appropriate. If in KCG’s sole discretion a prospective Bidder/Purchaser does not satisfy the registration procedures, KCG may refuse such prospective Bidder/Purchaser to register or bid in the Sale and/or cancel the contract for sale between such prospective Bidder/Purchaser and the Seller. d. PURCHASE PRICE. When making a bid, a Bidder/Purchaser is accepting personal liability to pay the entire Purchase Price and

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associated charges, which shall mean the aggregate sum of (i) the highest bid recognized by the auctioneer at the fall of the hammer (the “Hammer Price”), subject to KCG’s discretion as set out in paragraph (e) of this Condition 6, plus (ii) the Buyer’s Premium (as hereinafter defined), (iii) all applicable taxes, including, without limitation, sales or compensating use tax or equivalent tax, and (iv) all other applicable charges, which may include, for example, an additional fee and commission when bidding online (the sum of the amounts set forth in subparts (i) through (iv) of this paragraph (d) shall be referred to herein as the “Purchase Price”), unless it has been explicitly agreed in writing with KCG before the commencement of the Sale that the Bidder is acting as agent on behalf of an identified third party acceptable to KCG, and that KCG will only look to the principal for payment. e. AUCTIONEER’S DISCRETION. The auctioneer has absolute and sole discretion with respect to bidding and reserves the right to refuse or reject any bid, to advance the bidding in such a manner as he may decide, to withdraw or divide any lot, to combine any two or more lots, and, in the case of error or dispute, whether during or after the Sale, to determine the successful Bidder/Purchaser, to continue or re-open the bidding, to cancel the sale of any lot or to reoffer any lot and re-sell the item in dispute. If any dispute arises after the Sale, KCG’s sale record is conclusive. KCG, in its absolute and sole discretion, may execute order/absentee bids and accept telephone bids and online bids and will use reasonable efforts to carry out such bids; provided, however, KCG shall not be responsible for and does not accept any liability for any errors or omissions in connection therewith.

In the event of a technology issue of any type (including, but not limited to, malfunctions affecting, or resulting in a temporary inability to use, Bidding Platforms, computers, telephone servers, or any similar technological equipment or software), KCG reserves the right, exercisable in its sole and absolute discretion, to temporarily suspend bidding, extend the relevant bidding period, cancel the sale, or reoffer the property affected for sale. Any Bidder who places an order/absentee bid, a telephone bid, or an online bid expressly acknowledges and agrees as follows: (1) such bidding relies upon technology that may malfunction without warning and through no fault of KCG; (2) bidding is being provided on an “AS AVAILABLE” and “AS IS” basis, and KCG does not guarantee continual, uninterrupted or error free bidding; and (3) KCG shall be absolved from any and all liability related to or arising from any interruption in service, errors and/or omissions with respect to such bidding, and each Bidder/Purchaser who places any bid (regardless of its form) shall hold KCG harmless from any loss or claim resulting therefrom

f. BIDDING. KCG RESERVES THE RIGHT TO REJECT ANY BID. Subject to the auctioneer’s discretion as set out in paragraph (e) of this Condition 6, the highest Bidder accepted by the auctioneer will be the successful Bidder/Purchaser and the striking of the auctioneer’s hammer marks acceptance of the highest bid and the conclusion of the sale between the Seller and successful Bidder/ Purchaser. Winning online and telephone Bidders/Purchasers will receive an email notification of any successful bid. Online Bidders/ Purchasers are also requested to log in to the applicable Bidding Platform as soon as possible after the sale to obtain details of the outcome of their successful bid. KCG does not accept responsibility for notifying you of the result of your bids unless you are successful, and you should check as soon as possible after the sale to get details of the outcome of your bid. g. BUYER’S PREMIUM. As part of the Purchase Price, Purchaser agrees to pay to KCG a Buyer’s Premium, plus any applicable taxes and fees. The “Buyer’s Premium” is fifteen percent (15%) of the Hammer Price of each lot up to and including $500,000, plus twelve and one-half percent (12.5%) of the Hammer Price of each lot in excess of $500,000 up to and including $1,000,000, plus five percent (5%) of the Hammer Price of each lot in excess of $1,000,0000. The parties acknowledge there may also be a Seller’s Premium, pursuant to the terms of the Consignment Agreement.

7. OBLIGATIONS OF PURCHASER a. PAYMENT OF PURCHASE PRICE; TITLE AND RISK OF LOSS; DEFAULT; REMEDIES FOR NON-PAYMENT; GRANT OF SECURITY INTEREST. Subject to fulfillment of all of the conditions set forth herein, on the fall of the auctioneer’s hammer, the contract between the Seller and the Purchaser is concluded, and the Purchaser thereupon will immediately pay the Purchase Price to KCG. Title and risk of loss in a purchased lot (including frames or glass where relevant) will not pass to the Purchaser until KCG has received the full Purchase Price in cleared funds. KCG is not obligated to release a lot to the Purchaser until title to the lot has passed and any earlier release does not affect the passing of title or the Purchaser’s unconditional obligation to pay the Purchase Price. If Purchaser fails to make timely payment of the full Purchase Price in cleared funds, the Purchaser will be in default and KCG, at its option, may exercise one (1) or more of the following rights or remedies (in addition to asserting any other rights or remedies available to KCG by law): (i) to impose from the date of Sale a late charge of eighteen percent (18%) of the total Purchase Price per annum if payment is not made within seven (7) days from the date of the Sale; (ii) to hold the defaulting Purchaser liable for the total Purchase Price and to commence legal proceedings for its recovery together with

interest, legal fees and costs to the fullest extent permitted under applicable law; (iii) to cancel the sale of the property; (iv) to resell the property, whether at public auction or by private sale; (v) to elect to pay the Seller any portion of the sale proceeds; (vi) to set off against any amounts KCG or any of its affiliates may owe to the defaulting purchaser in any other transactions, the outstanding amount remaining unpaid by the defaulting purchaser; (vii) where amounts are owed by the defaulting Purchaser to KCG or any of its affiliates, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the defaulting purchaser so directs; (vii) to reject at any future auction any bids made by or on behalf of the defaulting Purchaser or to obtain a deposit from the defaulting Purchaser before accepting any bids; (ix) to exercise all the rights and remedies of a person holding security over any property in KCG’s possession owned by the Purchaser, whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law; or (x) to take such other action as KCG deems necessary or appropriate.

If KCG elects to resell the property under subparagraph (iv) above, the defaulting Purchaser will be liable for payment of any deficiency between the total amount due to KCG and the price obtained upon resale as well as any and all costs, handling charges, late charges, expenses of both sales, KCG’s commissions on both sales at KCG’s regular rates, legal fees and expenses, collection fees and incidental damages. If KCG pays any amount to the Seller under subparagraph (v) above, the Purchaser acknowledges that KCG shall have all of the rights of the Seller, however arising, to pursue the Purchaser for such amount. In addition, each Purchaser grants and assigns to KCG a continuing security interest of first priority in any property or money of or owing to such Purchaser in KCG’s possession or in the possession of any of its affiliated companies, and KCG may retain and apply such property or money as collateral security for the obligations due to KCG. KCG shall have all of the rights accorded a secured party under the Kentucky Uniform Commercial Code.

KCG may file financing statements under the Kentucky Uniform Commercial Code (or any such applicable uniform commercial code if Purchaser is not a resident of Kentucky). Any claims relating to any purchase, including any claims under the Conditions, must be presented directly to KCG. b. REMOVAL OF PURCHASED PROPERTY; DEFAULT. Unless otherwise agreed by KCG, all property must be removed from KCG’s premises by the Purchaser at Purchaser’s expense not later than fourteen (14) calendar days following the Sale. KCG’s liability for loss or damage to sold property shall cease no later than fourteen (14) calendar days after the Sale. Where purchases are not collected within fourteen (14) calendar days from the date of the Sale, whether or not payment has been made, KCG shall be permitted to remove THE SPORTING ART AUCTION

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the property to a third party warehouse at the Purchaser’s expense, and only release the items after payment in full has been made for removal, storage, handling, insurance and any other costs incurred, together with payment of all other amounts due to KCG. c. PACKING, SHIPPING AND INSURANCE. The Purchaser is solely responsible for packing, shipping and insuring (including reimbursement for damage or loss) purchased lots and will bear all costs associated therewith. KCG is not responsible for the acts or omissions in the packing or shipping of purchased lots. Packing, shipping and insuring purchased lots is at the entire risk of the Purchaser. Purchaser is responsible for obtaining adequate insurance coverage for any purchased lot(s) as of the fall of the hammer.

Insurance costs through third-party carriers will be borne by the Purchaser and, in case of damage, insurance claims should be made to the third-party carriers. d. TAXES. Unless otherwise exempted by law, Purchaser will be required to pay any Kentucky sales and use tax, any applicable compensating use tax of another state or jurisdiction, and, if applicable, any federal luxury or other tax. Purchaser acknowledges and agrees to pay all applicable sales or compensating use tax or equivalent tax and indemnifies, defends, releases and holds harmless KCG, its affiliates, and Seller from and against any and all claims and damages related thereto. e. INTERNATIONAL DUTIES. For international Purchasers, the terms of sale are Delivered Duty Unpaid (DDU). It is Purchaser’s responsibility to ascertain and pay all international duties, customs charges, taxes and tariffs owed to the appropriate government entity or to be paid prior to shipment and/or delivery. f. RETENTION OF SOLD PROPERTY FROM PURCHASER. KCG shall be entitled to retain any items sold until all amounts due from Purchaser to KCG have been received in full, cleared funds or until the Purchaser has satisfied such other terms as KCG, in its complete discretion, may require, including, for the avoidance of doubt, completing any anti-money laundering or anti-terrorism financing checks we may require to our satisfaction. If such amounts are not paid or such checks are not satisfied by the Purchaser to KCG’s satisfaction, KCG shall be entitled to cancel the sale and to take any other actions that are required or permitted under applicable law.

8. DISCLAIMER. EXCEPT FOR THE LIMITED WARRANTY OF AUTHORSHIP EXPRESSLY STATED IN CONDITION 9, THERE IS NO WARRANTY OR GUARANTEE OF ANY KIND WITH RESPECT TO ANY PROPERTY OR ANY DESCRIPTION THEREOF, INCLUDING, WITHOUT LIMITATION, ANY EXPRESS

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OR IMPLIED WARRANTIES BY KCG OR SELLER AS TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, OR THE CORRECTNESS OF THE CATALOGUE, DESCRIPTION ON A BIDDING PLATFORM OR ANY OTHER DESCRIPTION OF THE 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, ON A BIDDING PLATFORM, AN ADVERTISEMENT, A SALESROOM POSTING OR ANNOUNCEMENT, OR ELSEWHERE, SHALL BE DEEMED SUCH A WARRANTY, REPRESENTATION OR ASSUMPTION OF LIABILITY. KCG AND SELLER MAKE NO REPRESENTATIONS AND WARRANTIES, EXPRESS OR IMPLIED, AS TO WHETHER THE PURCHASER ACQUIRES ANY COPYRIGHTS OR LICENSES, INCLUDING BUT NOT LIMITED TO, ANY REPRODUCTION RIGHTS IN ANY PROPERTY. EXCEPT FOR THE LIMITED WARRANTY OF AUTHORSHIP EXPRESSLY STATED IN CONDITION 9, KCG IS NOT RESPONSIBLE FOR ERRORS AND OMISSIONS IN THE CATALOGUE, GLOSSARY, OR ANY SUPPLEMENTAL MATERIALS, INCLUDING, BUT NOT LIMITED TO, ANY BIDDING PLATFORM. EXCEPT FOR THE LIMITED WARRANTY OF AUTHORSHIP EXPRESSLY STATED IN CONDITION 9, ALL SALES ARE MADE AS IS, WITH ALL FAULTS. 9. LIMITED WARRANTY OF AUTHORSHIP. As set forth below and in the Conditions of Sale and Announcements, KCG guarantees that the authorship, period, culture or origin, as the case may be, (collectively “Authorship”) is as set out in the BOLD or CAPITALIZED type heading in the catalogue description of the lot, as may be amended by the Announcements (“Heading”) (“Authorship Limited Warranty”). The Authorship Limited Warranty does not extend to any information other than that contained in the Heading even if shown in BOLD or CAPITALIZED text. Only BOLD or CAPITALIZED text in the Heading indicates what is being warranted by KCG pursuant to the Authorship Limited Warranty. The Authorship Limited Warranty does not apply to supplemental material which appears below the BOLD or CAPITALIZED Headings of each lot, and KCG is not responsible for any errors or omissions in such material. Notwithstanding anything herein to the contrary, the Authorship Limited Warranty does not apply to any Heading or part of a Heading that is qualified. Qualified means limited by a clarification in a lot’s description or by the use in a Heading of one of the terms listed in the section titled Glossary for Painting and Sculpture in the auction catalogue. For example, use of the term “attributed to” in a Heading means that the lot is in KCG’s opinion probably a work by the named artist, but no warranty is provided that the lot is the work of the named artist, and this Authorship Limited Warranty would not apply to any such opinion. KCG, in its reasonable discretion, shall determine

whether the conditions for return of the property based on breach of the Authorship Limited Warranty have been satisfied. If so, KCG will refund the original Purchaser of record the Purchase Price. This Authorship Limited Warranty does not apply if: (i) the catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the Sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing that the Authorship was not as described in the bold or capitalized heading at the date of the Sale would have been by means or processes not then generally available or accepted, unreasonably expensive or impractical to use or likely (in KCG’s reasonable opinion) to have caused damage to the lot or likely to have caused loss of value to the lot; or (iii) there has been no material loss in value of the lot from its value had it been in accordance with its description in the bold or capitalized type heading. This Authorship Limited Warranty is provided for a period of one (1) year from the date of the relevant auction, is solely for the benefit of the original Purchaser of record at the auction and may not be transferred to any third party. To be able to claim under this Authorship Limited Warranty, the original Purchaser of record must: (i) notify KCG in writing within three (3) months of receiving any information that causes the original Purchaser of record to question the accuracy of the bold or capitalized type heading, specifying the lot number, date of the Sale at which it was purchased and the reasons for such question; and (ii) return the lot to KCG at the original selling location in the same condition as at the date of the Sale to the original Purchaser of record and be able to transfer good title to the lot, free from any third party claims arising after the date of the Sale. KCG has discretion to waive any of the above requirements. KCG may require the original Purchaser of record to obtain, at the original Purchaser of record’s cost, the reports of two (2) independent and recognized experts in the field, mutually acceptable to KCG and the original Purchaser of record. KCG shall not be bound by any reports produced by the original Purchaser of record and reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a Sale and the refund of the original Purchase Price paid is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law, or in equity. KCG and the Seller shall not be liable for any losses or damages incurred or claimed, including but not limited to, (a) attorneys’ fees, loss of profits, loss of revenue, loss of business opportunity or goodwill, or interest; or (b) any special, incidental or consequential damages.

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

expressly disclaimed, except that KCG shall be required to exercise that standard of care generally exercised by other comparable art auction companies.

11. RIGHT TO WITHDRAW. KCG retains the right to withdraw any lot at any time before the sale for any reason in its sole discretion. KCG shall have no liability whatsoever for such withdrawal.

12. MISCELLANEOUS a. COPYRIGHT. The copyright in all images, illustrations and written material produced by or for KCG relating to a lot, including, without limitation, the contents of the catalogue, is and shall remain at all times the property of KCG and shall not be used by the Purchaser, or by anyone else, without prior written consent of KCG. KCG and Seller make no representation or warranty that the Purchaser of a lot will acquire any copyright or other reproduction rights in it. b. SEVERABILITY. The invalidity or unenforceability of any provision of these Conditions shall not affect the validity or enforceability of any other provision hereof, and any such invalid or unenforceable provision shall be deemed to be severable to the fullest extent permitted by law. c. MERGER OF AGREEMENT. The Seller, Owner, or KCG may have made oral statements or published advertisements concerning the condition of the property described in this catalogue or this Sale generally. Such statements or advertisements do not constitute warranties, shall not be relied upon by the Purchasers and are not part of the contract for sale. The entire contract of sale is embodied in these Conditions (including, but not limited to the Announcements), and with respect to the Seller, the Consignment Agreement. These aforementioned documents constitute the final expression of the parties’ agreement and are a complete and exclusive statement of that agreement. Notwithstanding the above, Seller, Owner and Purchaser may enter into an agreement which modifies the limited warranties as provided herein; however, any such action by the Seller, owner and Purchaser cannot and shall not modify or alter the duties, responsibilities and rights of KCG as provided in these Conditions and the Consignment Agreement. d. FORCE MAJEURE. The lack of performance hereunder by KCG (but by no other party) shall be excused without liability if the failure to perform is due to an act of God, fire, casualty, injunction, strike or labor dispute, pandemic or disease (specifically including, but not limited to SARS, Legionnaires, COVID-19), act or decision of a governmental authority (specifically including, but not limited to, any government measures enacted to protect the public health from any THE SPORTING ART AUCTION

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pandemic, disease, or other public health emergency), or any other cause beyond the control of KCG. As used herein, “without liability” means that there will be no additional costs, expenses, or damages of any nature whatsoever. e. HEADINGS. The descriptive headings of these Conditions of Sale are inserted for convenience only and shall not constitute a part of these Conditions of Sale. f. LIMITATION OF ACTION. Any cause of action arising out of the purchase and sale of any property at this Sale, whether it is based in contract or tort, shall be commenced not more than one (1) year after the sale or be forever barred. Provided, however, this limitation of action shall not apply to an action for the recovery from the Purchaser of the Purchase Price, plus interest and expenses, and including repossession of the property purchased at this Sale. g. GOVERNING LAWS; VENUE AND JURISDICTION; WAIVER OF JURY TRIAL. The laws of the Commonwealth of Kentucky shall govern the construction of these Conditions and the rights, remedies and duties of the parties hereto. In the event of any litigation arising out of these Conditions or the transactions contemplated hereby, the parties agree that any action or suit shall be brought in a court of record in the County of Fayette, Commonwealth of Kentucky, or in the United States District Court for the Eastern District of

Kentucky, and the parties hereby consent to the venue and jurisdiction of such courts. The Owner, Seller, Bidder/Purchaser and KCG and their respective agents, voluntarily and intentionally waive any right that they may have to a trial by jury in respect to any litigation arising from or connected with this sale. h. LIMITATION OF LIABILITY. If, in spite of the terms of these Conditions and all disclaimers set forth herein, KCG is found to be liable to you for any reason, KCG shall not have to pay more than the Purchase Price actually paid by you to KCG. Notwithstanding anything contained herein, KCG will not be responsible to you for any reason for loss of profits or business, expected savings or interest, costs, damages, or expenses. i. PERSONAL INFORMATION. The information KCG collects and its use policies are set forth in more detail in Keeneland’s Privacy Policy, available at https://www.keeneland.com/about/privacy-policy, which is fully incorporated into these Conditions by reference. To the extent there is any conflict between these Conditions and Keeneland’s Privacy Policy, these Conditions govern. j. NO WAIVER. The failure of KCG to exercise or enforce any right or provision of these Conditions shall not constitute a waiver of such right or provision, and no waiver of any term of these Conditions shall be deemed a further or continuing waiver of such term or any other term.

ONLINE BIDDING INSTRUCTIONS

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

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ABSENTEE BIDDING INFORMATION

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

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

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

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

SHIPMENT OF PURCHASES INFORMATION

If your bid is successful, KCG can help arrange shipment of your purchases to you. Estimates for the shipping of any purchases can be attained through KCG. All purchases must be removed no later than Wednesday, November 24, 2021.

A paid receipt must be presented to KCG staff in order to release any property. Keeneland is not responsible for the acts or omissions in the packing or shipping of purchased lots, and packing , shipping and insuring purchased lots is at the entire risk of the purchaser as set forth on the “Conditions of Sale,” which appear in this catalogue.

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

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

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

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

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

Austin, Mike ........................101, 102

Edwards, Lionel D. R...........53, 56, 59

Lazzari, Nicola................................87

Robinson, Sam.....................159, 179

Barenger, James..............................28

Emms, John....................................23

Leigh-Pemberton, John...................55

Sawyier, Paul................ 190, 191, 192

Barnhart, Jeaneen ................103, 104

Erland, Simon.................................89

Lucas-Lucas, Henry Frederick...........15

Simsonsen, Simon...........................16

Beer, Andrew..................................34

Faulkner, Henry Lawrence.....180, 181

Lyne, Michael..................................70

Skeaping, John R......................39, 74

Beer, John.......................................62

182, 183, 184, 185, 186, 187

Malespina, Louis Ferdinand......71, 72

Smith,Brett James...........................35

Bellocq, Pierre (PEB).......................78

Ferneley, John Sr............................5, 6

Malone, Booth..............................140

Smith, Peter..................................138

Biegel, Peter.......................52, 57, 58

Fitzgerald, John............................161

Mangan, Stephen...........................96

Smith, Suzy F...................................37

Bitter, Ary Jean Leon.......................43

Gold, Dede...........................169, 170

Marchand, Andre............................50

Soukup, Jill...........................147, 148 Stephens, J. F...................................14

Bonheur, Isidore Jules...............41, 42

Gridnev, Valeriy.... 115, 116, 117, 118

Max, Peter......................................97

Brassington, Alan..........................149

Grosperrin, Claude........................109

McAuliffe, John...............................17

Brewer, Kelly Robertson................137

Hai, Serhiy......................................94

Mehl, Joanne................................160

Brewer, Melinda...................130, 131

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

Mellin, Jeanne Herrick....................49

Brown, Dan..........................173, 174

Herring, Benjamin Jr..........................3

Menasco, Milton.............................73

Brown, Paul..................................110

Herring, Benjamin Sr.........................8

Millikin, Robert...............................36

Bull, Julie Ann...............................176

Herring, John Frederick Jr............9, 13

Mitchell, Patricia...................128, 129

Chapman, Julie.....................165, 166

Herring, John Frederick Sr............7, 10

Moigniez, Jules...............................44

Church, Charles............................105

11, 12

Morris, George Ford........................77

Clark, James Lawrence...................60

Ho, Quang............................119, 120

Munnings, Sir Alfred James.......75, 76

Coburn, Justin......................177, 178

Howell, Peter............... 121, 122, 123

Neiman, LeRoy.........................91, 92

Corum, Jaime Claire..............167, 168

124, 125, 126, 127

Nesne, Johanne................................1

Cullin, Isaac....................................69

Hubbard, Harlan...................188, 189

Oppegard, Sandra Faye.................142

Cundall, Charles.............................61

Humphrey, Lesley..........................162

Ostenberg, Thomas.........................81

Curling, Peter................................132

Hunt, Lynn Bogue...........................65

Palmieri, Antonio..........................106

Wheeler, Alfred...............................21

Dahl, Carl.......................................80

Jacquemart, Alfred..........................45

Pater, Andre..........................157, 158

Wheeler, Larry.............. 150, 151, 152

de Dreux, Alfred..............................27

Kaufmann, Peggy...........................88

Pautrot, Ferdinand..........................40

Whitcombe, Susie.................153, 154

de La Boulaye, Antoine.........133, 134

Kesteven, Abel......................163, 164

Peck, Lesley..................................172

Williams, Peter......................155, 156

DeLattre, Henri.................................4

Kirk, Juli................................135, 136

Perkins, Frederick Stanton...............29

Wolf, Cindy...............................83, 84

Derakshani, Reza..........................114

Koehler, Henry..............................111

Quinn, David................................175

Woodhouse, William.......................31

de Watrigant, Hubert............112, 113

LaFontaine, Thomas Sherwood..24, 25

Ramos, Tod...................................139

Wright, George.........................48, 64

Diedrich, William Hunt....................90

Lalanne, Jean-Bernard.................143,

Reeves, Richard Stone.........66, 67, 68

Wright, Gilbert Scott.......................51

Drougge, Mauritz......................32, 33

Robertson, Tyler..............................93

Yang, Yang.....................................98

144, 145, 146

Stull, Henry.........................18, 19, 20 Tannahill, Max..........................85, 86 Taquoy, Maurice.............................63 Taylor, Jo...............................107, 108 Tremaine, Diana......................38, 141 Trickett, John.................................171 Van Dyke, Rachel..........................100 Waddell, Theo.................................99 Walters, Samuel..............................30 Ward, W. Owen...............................95 Wardle, Arthur................................22 Webb, William................................26

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

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KEENELAND / CROSS GATE GALLERY

THE SPORTING ART AUCTION NOVEMBER 21, 2021

Lexington, Kentucky Keeneland Sales Pavilion

November 21, 2021 | 1pm