The Sporting Art Auction Catalog (2014)

KEENELAND / CROSS GATE GALLERY

The

Auction

THE SPORTING ART AUCTION NOVEMBER 19, 2014

IN AFFILIATION WITH

Keeneland Sales Pavilion

Lexington, Kentucky

November 19, 2014

The

Auction Sale No. 2 In sending written bids or making inquiries, this sale should be referred to as Sporting Art Auction No. 2.

Cover Illustration: Lot No. 98

Back Cover Illustration: Lot No. 32

N. C. Wyeth (American, 1882-1945)

Emmanuel Frémiet (French, 1824-1910)

The Horse Race

A Pair of Mounted Jockeys

Oil on canvas | 40 ⁄4” x 32 ⁄4” 1

Bronze | 19” x 22 1⁄2”

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Auction Wednesday, November 19, 2014 at 4 p.m.

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

advance VIEWING The works will be available for viewing in the Keeneland Sales Pavilion, September 8 – 21 and November 4 – 14 from 10 a.m. – 5 p.m.

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

For additional viewing times visit: www.thesportingartauction.com

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

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INTRODUCTION

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

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

Art enthusiasts agreed. The inaugural Sporting Art Auction, held November 20, 2013, proved a success as spirited bidding pushed total sales past $3.1 million. LeRoy Neiman’s Flat Racing, a one-of-a-kind glazed ceramic tile mural, sold for $291,000 to top the sale. More than three-quarters of the 174 lots in the inaugural auction sold.

Nearly half of those works brought final bids in excess of their high estimate value.

“We are delighted with the great support we received from the Central Kentucky community, the horse industry, and sporting art collectors, who turned out in force to participate in the auction,” said Ladd, whose Cross Gate is the country’s premier gallery of fine sporting art and

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contemporary British figurative painting.

With demand for fine sporting art confirmed, Cross Gate and Keeneland will conduct the second Sporting Art Auction on November 19, 2014. This year’s auction will feature 175 high-quality lots representing fine sporting art, American paintings, and sculpture from renowned artists.

One of the auction’s most prominent pieces is N.C. Wyeth’s The Horse Race, a 40 ¼” x 32 ¼” oil on canvas depicting two jockeys and their horses battling neck and neck, originally painted for James Boyd’s book Drums, published by Charles Scribner’s Sons in 1928.

Another significant piece is French artist Isidore Jules Bonheur’s Un Taureau Et Un Ours (The Bull and Bear), a 30” x 41 ¼” bronze first shown at the Paris Salon in 1857.

Bonheur is known to have produced only two of this subject in this size. One sat in the Luncheon Club of the New York Stock Exchange for decades and now resides in the Museum of American Finance. The second bronze is the one offered here.

An intriguing oil on canvas by equine portraitist Richard Stone Reeves, titled Three Kings, depicts champions Nijinsky II, Spectacular Bid, and Secretariat with grooms at renowned Claiborne Farm.

The auction also will feature 19th and 20th century works by such celebrated artists as Sir Alfred Munnings, Edward Troye, Sir John Frederick Herring Sr., Henry Stull, and the French sculptor Emmanuel Frémiet, as well as contemporary pieces by André Pater, Larry Wheeler, noted British marine painter Richard Firth, and Theodore Waddell, an American artist specializing in the West.

Organizers are confident that the auction will become the premier sale of its kind, particularly as Christie’s and Sotheby’s no longer sell sporting art as a separate genre.

“This Sporting Art Auction has the potential to become the most important of its kind in the world,” said Ladd. “We have all the right elements to make it a success — a worldclass venue in Keeneland, which provides in-house expertise in conducting major auctions and the ability to reach the

most enthusiastic sporting art collectors in the world through Keeneland’s racing and sales clientele.”

From Keeneland’s perspective the auction is compatible with the association’s mission, both sporting and altruistic.

Keeneland’s portion of the auction proceeds will benefit its non-profit initiatives, including the Keeneland Library Foundation.

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

The 2014 collection will be on display in the Keeneland sales pavilion beginning with the September Yearling Sale (Sept. 8-21) and continuing through the art auction’s November date.

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

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

The Conditions of Sale begin on page 193.

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ABOUT

KEENELAND

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

prestigious international events, recently announced that Keeneland has been chosen as the site of the 2015 Breeders’ Cup World Championships.

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

Keeneland conducts racing every April and October, drawing international participants and legions of dedicated fans that come out to enjoy “racing as it was meant to be.” Top-class horses compete for some of the country’s richest purse money in such storied stakes races as the Toyota Blue Grass, Darley Alcibiades, Central Bank Ashland, Juddmonte Spinster, Shadwell Turf Mile, Maker’s 46 Mile, Claiborne Breeders’ Futurity, and Queen Elizabeth II Challenge Cup presented by Lane’s End. Over the years numerous champion Thoroughbreds have graced Keeneland, and its spring and fall race meetings have served as a springboard to success for many Triple Crown and Breeders’ Cup winners.

The Breeders’ Cup, one of racing’s most

Auctions As the world’s largest Thoroughbred auction house, Keeneland is the preeminent market for yearlings and breeding stock. Its four annual sales attract buyers from nearly every state and more than 50 countries. Keeneland’s accomplished graduates include 77 Breeders’ Cup World Championships winners; 19 Kentucky Derby winners; 21 Preakness winners; 18 Belmont winners; 11 Horses of the Year; and five Epsom Derby winners.

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

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

The success of Kentucky-bred racehorses in prestigious international events attracted buyers from Europe and Japan in

the 1960s and ’70s, giving rise to Keeneland’s sustained position as the unrivaled source of the world’s best horses.

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

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

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

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

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

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

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

Team Coyle

and improve the sport and to provide a course that is intended to serve as a symbol of the fine traditions of Thoroughbred racing.”

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

For generations Keeneland has fulfilled

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

Giving Keeneland’s tradition of giving is another hallmark. A privately held company with a not-for-profit mission, Keeneland reinvests earnings in purse money for

horsemen, for capital improvements, and for the benefit of civic and charitable entities. Since 1936, Keeneland has contributed approximately $19 million to the Central Kentucky community and the Thoroughbred industry. Funding is focused primarily on the areas of health and human services, education, arts, culture and community, and Thoroughbred industry-related causes.

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

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ABOUT

CROSS GATE GALLERY

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

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

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

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

Today the genre continues to cater to the lifestyle of country ladies and gentlemen.

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

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

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

In this stimulating environment Ladd found a loyal following of serious collectors who appreciate his expertise and gentlemanly approach to selling art. In addition to top owners and breeders from around the world, Cross Gate’s clients include Keeneland Race Course, Fasig-Tipton Company, Breeders’ Cup Ltd., and many other prominent equine organizations.

Ladd also is known for his eye for young talent and over the years has nurtured and represented such artists as the Polishborn André Pater, Larry Wheeler, Sandra Oppegard, Alexa King, Valerie Hinz, and

many others. Cross Gate regularly exhibits their work in Lexington and at equine venues from Saratoga Springs, New York, to Aiken, South Carolina, and Wellington, Florida. Cross Gate recently held its first show of works by Stephen Scott Young, the American watercolorist renowned for his paintings of everyday life.

Cross Gate also is well known for featuring the works of such earlier luminaries as Edward Troye, Sir Alfred Munnings, and Henry Stull.

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

Cross Gate Has INternational Stature In 1998, as Sotheby’s prepared to sell 10 paintings by Munnings from Santa Anita racetrack’s collection, the venerable auction house chose Cross Gate to display the works on their journey east.

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

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

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

American clientele on a regular basis,” Ladd said.

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

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

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Vice President of Sales, Keeneland

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

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

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

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

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

Owner, Cross Gate Gallery

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

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

In addition to showcasing the sporting art of early masters, Ladd has cultivated a group of prominent contemporary artists.

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

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

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

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

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

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

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

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

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

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

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

The abbreviation A/C means Artist’s Copy.

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

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

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

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

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

CONTINUED ON NEXT PAGE

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CONTINUED FROM PAGE 9

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

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

EST before November 18, 2014. On November 19, 2014, call Keeneland at (859) 288-4186.

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

■ Shipping/Removal of Property If you are an absentee bidder, we can arrange for the shipment of your purchases as per your written instructions. Estimates for the shipping of any property can be obtained from our staff at KCG. If you are attending

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the sale and desire us to arrange shipping, this must be done immediately after the sale. ALL PURCHASES MUST BE REMOVED FROM THE BUILDING NO LATER THAN FRIDAY, NOVEMBER 21, 2014 at 5:30 p.m. unless prior arrangements have been made with KCG to store property at a warehouse.

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

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

■ Storage and Storage Charges For a period after the auction, uncollected purchases and unsold Lots may be held at the Sales Pavilion. Thereafter they will be removed for storage and charges will be incurred. All uncollected and unsold property not collected from the Sales Pavilion by 5:30 p.m. on Friday, November 21, 2014, will be removed by KCG to a warehouse of their choice. The Seller and/or Buyer will not be entitled to collect the stored property until all outstanding charges are paid in full. Seller and Buyer grant KCG a security interest in all goods in our possession for payment of storage and other related charges due. PLEASE NOTE: KCG SHALL HAVE NO LIABILITY OR RESPONSIBILITY WHATSOEVER FOR DAMAGE OR LOSS DUE TO NEGLIGENCE OR OTHERWISE AS A RESULT OF THIS REMOVAL AND STORAGE. ■ Photographs and Illustrations/PRIVACY NOTICE KCG may record any or all portions of the Sale by video, audio or other means, which may be used by KCG in its sole discretion. All participants consent to the use, reproduction and distribution of such recordings, biographical and other information or descriptions, and images that may be provided, for inclusion in the catalogue or other marketing of the Sale or for any other advertising or promotional purpose as deemed appropriate by KCG.

Fine Sporting Art, American Paintings and Sculpture Wednesday, November 19, 2014 • 4:00 P.M.

Keeneland Sales Pavilion Lexington, Kentucky

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1 | Albertus Verhoesen (Dutch, 1806-1881) CHICKS WITH THEIR HEN Oil on board, 5” x 6 ½” Signed $3,000. – 4,000.

The depiction of farmyard animals has a long tradition in European art, especially in the works of Flemish and Dutch painters. As the Industrial Revolution took hold in Europe, many more people began moving to cities but found they missed the tranquil country life. Longing for reminders of the countryside in their homes, animal and farmyard paintings underwent an explosion in popularity in the 19th century. Verhoesen found himself in demand and became one of the leading painters of this genre in his time. Today his work can be found in museums throughout the Netherlands.

2 | Thomas Sidney Cooper (British, 1803-1902) SHEEP IN A WINTRY LANDSCAPE Watercolor, 11 ½” x 17” Signed $4,000. – 6,000.

So well-known for his depictions of cattle and sheep, Cooper eventually became known as “Cow Cooper.” A member of the Royal Academy, Cooper often collaborated with fellow member Frederick Richard Lee, where Lee would paint the landscapes and Cooper would add the animals. Eventually he would be appointed a Commander of the Royal Victorian Order by King Edward VII, and today his work is held by the Tate Gallery and the Victoria and Albert Museum among others.

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3 | Isaac James Cullin (British, 1881-1947) WOOL WINDER Watercolor, 10 ½” x 14 ½” Signed and inscribed $1,500. – 2,500.

Wool Winder was a colt of imposing presence both in height and substance and was a blood-bay with black points sporting a small white star. He was bred and raced

by Colonel Edward “Ned” W. Baird of Exning, England.

Lightly raced at two owing to his late development, Wool

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Winder’s only loss in eight starts as a three-year-old was second in the Derby to Orby. He finished the season with a six-length win as the betting favorite in the St. Leger Stakes.

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

PORTRAIT OF TWO HORSES AT AN OPEN GATE Oil on canvas, 24 ½” x 34 ⅝” Signed and inscribed on front Ranksborough Gorse 10.27, inscribed on verso: Painted for Owen H. Smith, Esq. Old Langham Hall, Langham, Rutland $10,000. – 15,000.

British-born Stainforth is perhaps remembered best for his work painting the horses of Australia. The publication of Racehorses in Australia with Paintings by Martin Stainforth cemented his place as an equine artist, and the publication remains an important reference work today. Returning to

England in 1930, he was commissioned to do many notable portraits including Hyperion for the 17th Earl of Derby and also works for King George V. Stainforth spent some time in America, and was commissioned to paint War Admiral, Sir Archy, and Man o’ War among others.

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5 | Thomas J. Scott (American, 1824-1888) HAMBRINO Oil on canvas, 16” x 23” Signed and dated 1879 $4,000. – 5,000.

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Hambrino was a record-setting trotter of the 19th century.

His record of 2:21¼ was set at Charter Oak Park in Hartford, Connecticut in 1879. By Edward Everett and out of Mambrina, he was arguably the top trotter of his day. Both his sire, Edward Everett, and grandsire, Hambletonian, were horses owned by Woodburn in Spring Station, Kentucky.

T. J. Scott may have borne witness to this horse’s impressive display of speed, as the day Hambrino set his record, Scott was in Hartford at Charter Oak Park painting a portrait of another trotter, Bonesetter. The portrait is described in Turf, Field, and Farm as “him standing in his stall at ease, and is the very image of him.” The publication goes on to commend Scott’s talent and artistry, leading one to believe that the portrait of Hambrino was as good, if not better, than Bonesetter’s likeness.

In February 1880, a letter was sent to the Spirit of the Times concerning Hambrino, stating: Having a few leisure hours in Indianapolis, we recently made a harried inspection of a few of the prominent horses wintering here. The horse in which we felt the most interest was Hambrino, whose achievements upon the turn in 1879 gained him an enviable reputation as both fast and stout…At Hartford we saw him win one of the most stubbornly contested races of the circuit, showing speed, game, and courage, stamping him as one of the best stallions in America, and reflecting great credit upon his careful and painstaking driver and trainer, Captain W. H. Boyce.

Hambrino is a “big little” horse; he is but fifteen hands. To see him in a race you would call him fifteen-and-a-half; a solid bay, clean cut head, and even and symmetrical in conformation…

He is an Everett that will stay, the Mabrino Chief cross giving him the courage wanting in some of his progeny.

Hambrino raced in 1878 and 1879. In 15 starts, he won an impressive 11 races, was second in two, fourth in one, and unplaced in the remaining. Hambrino also proved to be an influential sire, producing stallions and mares that beat even his impressive record. He sired 40 trotters and 10 pacers; his son Delmarch beat his record by 10 seconds, at 2:11. He was grandsire to 113 trotters, and 106 pacers. Fifty-seven of his fillies went on to be influential mares, producing 70 trotters and 45 pacers, the mares Hawthorne and Silicon being the fastest.

Trained by a Lexington native, owned by a Hoosier, and raced in New England, Hambrino certainly made a tour of the country.

While this may seem normal by today’s standards, this was the 19th century. Yet despite significant travel and record-setting race times, Hambrino at 10 was described “as free from blemishes as a suckling colt, in lusty health, and taking daily jogging.” T. J. Scott renders him here as such, capturing the strength and energy of one of the preeminent trotters of the 19th century.

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6 | Renato (René) Berti (ItalianFrench, 1884-1939) RACING AT AUTEUIL Oil on board, 19 ⅜” x 25 ½” Signed and dated 1938 $7,000. – 9,000.

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7 | Thomas Walker Bretland (British, 1802-1874) CAPTAIN CORNISH, 1854 Oil on canvas, 24 ¾” x 30” Inscribed Captain Cornish, dated 1854 Indistinctly inscribed ridden by J.H. Peart Senr, Signed T. Bretland, and inscribed Notts $16,000. – 18,000.

Captain Cornish was a chestnut colt by Iago. In 1853 under the ownership of the breeder Mr. William l’Anson, of Spring Cottage, Malton, England, the three-year-old Thoroughbred placed second three times — in the Convivial Handicap at Malton with Olliver up; the Sweepstakes at Ripon with Chilman in the irons; and the Dundas Handicap at York with Chilman up. That season he also won the Brocklesby Stakes piloted by Chilman at Lincoln. In 1854 he won the

Malton Handicap with Wells up listed under the ownership of G.B. Cornish, who is known to have shared partnership of another racehorse with l’Anson. The jockey in the present work is wearing l’Anson’s colors of straw and green and by the inscription is identified as J.H. Peart, a jockey active during the mid-1850s, possibly at the Nottingham Racecourse.

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8 | Michael Lyne (British, 1912-1989)

OVER THE STAKE AND BOUND Watercolor, 7 ½” x 13 ¼” Signed $2,000. – 3,000.

9 | Thomas Sherwood La Fontaine (British, 1915-2007) START OF A POINT TO POINT Oil on canvas, 11 ½“ x 15 ⅜” Signed $4,000. – 6,000.

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10 | Harry Hall (British, 1814-1882)

THE CELEBRATED RACEHORSE “THE DUKE” IN A STALL AT NEWMARKET Oil on canvas, 23” x 30” Signed and inscribed Newmarket and The Duke 3yrs old $8,000. – 12,000.

Provenance:

Frost & Reed, London The Sporting Gallery & Bookshop, New York Mr. Howard C. Adams, New York, circa 1980

“The Duke” was the first horse to win the Liverpool Steeplechase in 1836. The race became known as The Grand National in 1839. The race was run on February 29, 1836,

and he was ridden by Captain Beecher who gave his name to the famous jump “Beecher’s Brook.” “The Duke” was owned by a Mr. Sirdefield and won the race again the following year.

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11 | Charles L. H. Zellinsky (German/American, 1842-1905) PROCTOR KNOTT WITH SHELBY “PIKE” BARNES UP Oil on canvas, 28” x 34” Signed and dated 1888 $12,000. – 15,000.

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Proctor Knott Proctor Knott was an American Thoroughbred who was bred by the famous Belle Meade Stud in Nashville, Tennessee, and who was named for the governor of Kentucky, J. Proctor Knott. He was foaled in 1886 in Tennessee. His sire was the National Museum of Racing Hall of Fame horse Blackburn and his dam was Tallapaloosa. George Scoogan and Captain Sam Bryant owned Proctor Knott during his racing career. He won the Junior Champion Stakes and the inaugural running of the Futurity Stakes at Sheepshead Bay, which at the time was the richest race ever run in North America. Proctor Knott was the American champion two-year-old male horse of 1888. His career earnings were $80,350, which calculated for inflation, would be slightly more than $2 million today.

Shelby “Pike” Barnes Competing in an era when African-American jockeys ruled the sport of Thoroughbred racing, Shelby “Pike” Barnes was widely recognized by turf experts to be among the elite in his profession. Barnes was born in Beaver Dam, Kentucky, in 1871. Barnes became a star as a teenager. In 1888, Barnes led all other North American riders with 206 wins, becoming the first jockey to top 200 wins in a year. This record is even more remarkable when one considers that his closest pursuer, George Covington,

rode just 95 winners that year. Barnes secured his status as an outstanding rider with his star-making performance in the inaugural Futurity Stakes in 1888. Staged by the Coney Island Jockey Club at Sheepshead Bay in Brooklyn, New York, the Futurity offered an unheard of purse of $40,900. Aboard the favorite, Proctor Knott, Barnes battled future Hall of Fame horse Salvator and jockey Tony Hamilton in the six-furlong sprint for twoyear-olds. Barnes and Proctor Knott dug in during the stretch and secured a dramatic half-length victory in one of the most notable races of the 19th century.

Barnes repeated as North America’s leading jockey in 1889 with 170 wins—winning the Travers Stakes, the Champagne Stakes, the Belmont Stakes, the Brooklyn Derby, and the Alabama Stakes. Despite his enormous success as a rider, Barnes (like many of the other great African-American jockeys of his day) faded from the memory of the racing world, and his legacy was all but forgotten. In a letter to the National Museum of Racing, Hall of Fame trainer Fred Burlew ranked Barnes as one of the top five African-American jockeys in the history of the sport. In 2011, Shelby “Pike” Barnes received the long overdue honor of being inducted into the National Museum of Racing’s Hall of Fame.

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12 | Alfred Charles Havell (British, 1855-1928) THE STEEPLECHASE, c. 1880 Oil on canvas, 30” x 50” Signed with ACH monogram $40,000. – 50,000.

When A.C. Havell’s important work, The Steeplechase, traditionally identified as Racing in Ireland, was previously sold, the piece was accompanied by the following text: In 1959 this picture was bought as — and an old hand-written label attached to the reverse described it as — “Racing in Ireland.”

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While there is nothing obvious in the picture to confirm this, it does seem perfectly plausible that it represents an Irish steeplechase circa 1880. The riders appear to be amateurs and, if so, the race is quite likely to be the Conyngham Cup at Punchestown. This was by far the most important Irish race for amateurs and indeed was close in significance to the other two main Irish steeplechases of the period: the Irish Grand National and the Galway Plate.

13 | Henry Thomas Alken, Sr. (British, 1785-1851)

DEAD HEAT FOR THE DONCASTER ST. LEGER 1850 BETWEEN VOLTIGUER AND RUSSBOROUGH Oil on canvas, 14” x 21” Signed, inscribed Dead Heat for the Doncaster, St Leger and dated 1850 $25,000. – 35,000.

Provenance: Frost & Reed, London The Sporting Gallery & Bookshop, Inc., New York The Estate of Mrs. William R. Wister, Oldwick, New Jersey The 1850 St. Leger was run at Doncaster on September 18 and finished as a dead heat between Lord Zetland’s Voltigeur (red spots) and Mr. Mangan’s Russborough. As was customary at this period, the two horses then competed in a run-off with Voltigeur emerging triumphant. Voltigeur had already won the Epsom Derby and was a strong favorite for the race at odds of 8 to 13, while the Irish-bred Russborough was pegged at 20 to 1. Voltigeur was a brown colt by Voltaire out of Martha Lynn, bred by Mr. Stephenson, and foaled in 1847. He won a total of six races including the famous Doncaster Cup of 1850 in which he defeated the 1849 Derby winner, The

Flying Dutchman. This is the only occasion in the history of the British Turf that two Derby winners (both also won the St. Leger) have clashed on the racecourse. After the Flying Dutchman’s defeat his owner, Lord Eglington, challenged Lord Zetland to a private re-match, which was accepted. Known as “The Great Match” the race took place at Knavesmire on May 13, 1851, with The Flying Dutchman taking his revenge for the earlier defeat.

Alken also painted a smaller, preparatory oil sketch of this subject on panel, which was sold at Sotheby’s, London on November 30, 2000.

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14 | Henry Thomas Alken, Sr. (British, 1785-1851) SHOOTING AND FISHING Watercolor, 10” x 13 ¾” each Signed $6,000. – 8,000. (pair)

Provenance: Oscar and Peter Johnson

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15 | Henry Stull (American, 1851-1913)

CHESTNUT WITH JOCKEY UP IN SKY BLUE SILKS Oil on canvas, 18” x 28” Signed and dated 1884 $15,000. – 20,000.

Believed to be the Applegate brothers’ Mattie Rapture, a filly by Rapture, out of Lizzie Bellfield.

Colonel C.L. Applegate, described in his own ads as “Kentucky’s Leading Distiller,” was a member of a Louisville family that was immersed in the whiskey trade. In 1878 C.L. Applegate & Co. was owned and operated by the colonel and his brother Edward, with their operation being centered in Yelvington, Daviess County, Kentucky. The company made bourbon using the brand names “Rosebud” and “Beechwood.” At the same time, back in Louisville, on “Whiskey Row,” another member of the Applegate family,

William E. Applegate was engaged in the bourbon business under the name Applegate & Sons, the sons being William E. Jr. and Hamilton C. Applegate.

The Applegate-owned horses raced under the names Applegate & Co. and Rosebud Stables when in partnerships, and each racing stable had its individual colors. William E. Applegate was a known racing enthusiast and member of the board at Churchill Downs, and his son H.C. Applegate won the Kentucky Derby in 1914 with a horse named Old Rosebud.

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16 | Edward Troye (Swiss/American, 1808-1874) KENTUCKY Oil on laminated paper, 17” x 23” Signed $7,000. – 10,000.

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An exceptional Lot for both collectors of Edward Troye’s work and sporting art enthusiasts, it is a rare example of what the noted artist hoped would be his greatest work, The Race Horses of America. Presented in book form, the work was to contain multiple volumes in which Troye intended to include “Portraits in oil of the stallions which have contributed most to produce the present superior turf horse of America, with a memoir giving full pedigrees, performances, and the most noted of their gets,” as he described in an advertisement.

His work had long been engraved for turf magazine publications and stock books, but Troye planned this project as a valuable work of art, not to mention a useful reference. His method of production was to have his portraits photographed in sepia; he would hand-paint them in oil, and sign them. Known as “oiliographs,” Troye produced several images on a small scale, approximately 9” x 12”, which included Boston, Lexington, American Eclipse, and Henry. His desire was to produce them on a larger scale, approximately 22” x 24,” and the racehorse Kentucky was chosen as a subject. Unfortunately, Troye failed to find enough subscribers to complete his project.

One of the two known examples of the larger depiction of Kentucky resides in the National Sporting Library and Museum in Middleburg, Virginia. It was exhibited in a Troye exhibit at Georgetown College in 2003. The other example is offered here.

As noted by Alexander Mackay-Smith, Troye wrote, “Immediately after the Inaugural Stakes at Jerome Park, the services of Mr. Troye were secured to paint a number

of portraits of Kentucky, the hero of that event.” Leonard Jerome himself commissioned four portraits. One of these portraits of Kentucky would have been the basis for the work offered here; on the bottom part of this Lot it is noted “Painted immediately after winning the Inaugural Stakes at Fordham. By E. Troye.”

In the early 20th century, Harry Worcester Smith set about writing a book detailing the life and work of Troye.

He uncovered more than 150 of Troye’s paintings and recorded first-hand accounts of the artist’s life. In his research Smith discovered The Race Horses of America project after meeting Troye’s daughter. In Smith’s notes he refers to a discovered Kentucky image: “There has recently been found in Lexington, Ky., a colored photograph of the picture of Kentucky, 22” x 24,” with title, signed and dated, ‘Troye, 1867.’ ” Worchester Smith’s extensive research was continued by Alexander Mackay-Smith, who completed the book known today as The Race Horses of America, 18321872, Portraits and Other Paintings by Edward Troye.

The National Museum of Racing Hall of Fame inductee Kentucky was bred by John M. Clay, son of Henry Clay, at his Ashland Stud. After winning his initial start, the son of legendary Lexington was sold to John Hunter, the first chairman of The Jockey Club. Partners William R. Travers and George Osgood were brought in on the colt. After only one loss Kentucky went undefeated in his next 20 starts, including the inaugural running of the Travers Stakes.

Leonard Jerome purchased Kentucky in 1866 for $40,000, an enormous sum at the time. Kentucky sired the champion filly Woodbine and several other notable stakes winners.

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17 | Isaac James Cullin (British, 1881-1947) THE ASCOT STAKES 1921 Watercolor, 10 ¼” x 14 ¼” Signed and inscribed ‘The Ascot Stakes 1921’ $2,000. – 3,000.

Run June 14, 1921, the Ascot Stakes was a two-mile contest for 2,000 sovereigns. In attendance that day to see Sir Hugo Cunliffe-Owen’s Spearwort claim victory were the King and

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Queen of England along with the Prince of Wales and the Princess Mary. J. Shepherd’s King’s Idler and W. M. G. Singer’s Chat Tor placed and showed, respectively, in the field of 13.

18 | John Lewis Brown (French/Scottish, 1829-1890) HUNTSMAN AT CAMPFIRE Oil on canvas, 18 ½” x 22” Signed $10,000. – 15,000.

Brown’s artistic career largely revolved around the equestrian world no matter the subject matter. He originally made a name for himself painting dogs and horses. His work soon was being produced as popular lithographs. During the 1870s he painted from the front lines of the Franco-Prussian War, largely showing the cavalry, and also produced works

depicting American Revolution scenes that today can be viewed in several American museums. His work Fox Hunters today resides in the Metropolitan Museum of Art while his most famous racing work is Before the Start, which is held by the Louvre.

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19 | Edward Troye (Swiss/American, 1808-1874) MINNA V Oil on canvas, 20 ½” x 28” Signed E. Troye, and dated Oct 7, 1869 $40,000. – 50,000.

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Literature: Mackay-Smith, Alexander. Race Horses of America. Saratoga Springs, N.Y., National Museum of Racing, 1981, pp. 233 & 316.

Exhibited: Pageant of the Bluegrass: Painting in Kentucky Collections, 1400-1914, Frankfort, Ky: Kentucky Historical Society, 1977 The portrait of Minna V was painted for Alexander John Alexander and portrays his homebred shorthorn cow in a Woodburn landscape.

This piece demonstrates Troye’s extraordinary gift for capturing not only the correct conformation of his subjects in a technical sense, but also his ability to portray that intangible vitality, setting him apart from his contemporaries.

Minna V is well documented by Alexander Mackay-Smith in Race Horses of America, providing insight into why A. J. Alexander, who inherited Woodburn, would choose Minna V as the subject of his first Troye commission as opposed to one of the illustrious Woodburn Thoroughbreds. Mackay-Smith describes how A. J. Alexander favored cattle over horses, and that the animals that meant the most to him personally were Woodburn homebreds.

It is hardly surprising, given A. J. Alexander’s preferences, that he commissioned Troye to paint the animals that had been born and bred on the grounds of Woodburn in Spring Station, Kentucky.

One morning a carriage load of visitors drove into Woodburn to inspect the stud. Shortly after entering the gates, they encountered a fine looking elderly gentleman who seemed to belong to the place, as he was walking along in a leisurely manner and swinging his cane as he went. They accordingly saluted him and asked him if he would direct them to the stables where they would find certain animals they were desirous of seeing. He responded amiably, but said that he regretted his inability to do so, as he was not familiar with the racehorse department, but if they drove on, they would meet somebody who would tell them. Astonished that anyone who apparently belonged to Woodburn could not direct them to the stables of its most famous horses, known all the world over, they drove on and finally reached their objective. Then they inquired who the singular gentleman was—and learned that he was the owner of the estate.

Fortunately, like his brother before him, Alexander John Alexander, was an admirer of Troye. Considering his personal taste, it was not surprising that his first commissions to the artist were for portraits of cattle. Two portraits of short horned cows are signed E. Troye, Pinxt October 1869 and E Troye, Oct. 7, 1869.

Both 20.5” x 28”. Both cows are red roaned. The first portrait is of Mazurka 29, 9. Mo. old. The second is of Minna V. Minna V is further listed in the The American Short-Horn Record vol. 8:

Portraits commissioned by his older brother (R.A. Alexander) had been mostly horses he had purchased… The only two portraits of homebreds had been Asteroid and the mare Novice. The portraits of shorthorn cattle had also been imported animals. A.J. Alexander, on the other hand, commissioned portraits of animals bred at Woodburn.

Minna V, Red and White calfed, July 13, 1868, bred by and the property of A J Alexander, Woodburn Farm, Spring Station, KY. Got by Royal Oxford 486, Minna II, by Duke Airdrie 171 and see vol. 6 p. 503, 1879, Feb 1, R BC Lord Minna IV, Duke of Airdrie 4978I A J Alexander.

While A.J. Alexander did commission Edward Troye to paint several of his homebred horses, Mackay-Smith relates a humorous demonstration of A.J. Alexander’s livestock preferences, as witnessed by a visitor to Woodburn:

Minna V is further described in The Cultivator and Southern Gentleman vol. 39 as “being a rich red and white color, now six years old, by Royal Oxford, by the old Duke, she is a large, wide, and level cow of mellow and elastic handling.”

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20 | Alfred F. de Prades (British, 1840-1895)

A YOUNG WINDSOR GREY BEING LINE BROKEN FOR FUTURE USE BY ENGLISH ROYALTY Oil on canvas, 26” x 40” Signed, dated 1876 $30,000. – 40,000.

The term Windsor Grey applies to the grey horses used to draw the Royal Family’s carriages and coaches for ceremonial processions and who represent the crown in various driving events. This scene was painted at Windsor Castle, home to one of the Royal Mews, but also a familiar place to de Prades. Some

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of his most famous works are of the Royal Mail Coaches and his Prince Albert, the Prince Consort, with the Emperor Napoleon III, and the First Life Guards at Windsor, 17 April 1855 reside in the British National Trust Collection.

21 | Henry Stull (American, 1851-1913) DARK BAY WITH JOCKEY UP Oil on canvas, 24” x 29” Signed and inscribed 1907 $15,000. – 20,000.

This portrait is believed to be of Society Bud, a bay horse owned by Mr. L. J. Carey. Society Bud broke his maiden at 30-1. It is suspected that part of Mr. Carey’s winnings went toward commissioning Mr. Stull to paint this portrait.

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22 | John E. Ferneley, Sr. (British, 1782-1860)

MR. W.S.L. CRAWFORD’S FAVOURITE HUNTER, CIGAR Oil on canvas, 34” x 45” Signed and inscribed ‘Melton Mowbray, 1841’ $125,000. – 150,000.

Provenance: Richard Green, London

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Literature: Major Guy Maget, The Melton Mowbray of John Ferneley. “The Account of John Ferneley,” New York: Scribner’s: 1931, p. 147, no. 498.

23 | Charles Cary Rumsey (American, 1879-1922) BOUGER RED Bronze, 16 ½” x 18 ¾” Artist proof $7,000. – 9,000.

Literature: The Burchfield Center for Western New York Art, Charles Cary Rumsey, 1879-1922, Buffalo, New York, 1983, p. 36

24 | Carroll K. Bassett (American, 1906-1972) HUNTER WITH DOCKED TAIL Bronze with dark brown patina, 6”x 10” Ed. 24 of 100 $2,000. – 3,000.

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

KINSCEM, WITH MICHAEL MADDEN UP, c. 1878 Bronze; medium brown patina with black undertones, 29 1⁄2” x 34” Signed I Bonheur, stamped Peyrol $40,000. – 50,000.

Kinscem won more than 50 races between 1876 and 1879. Her most prestigious wins included the Hungarian Autumn Oaks (won three times: 1877, 1878, and 1879); the Austrian Derby, 1877; the Hungarian St. Leger, 1877; and the Goodwood Cup, 1878, which was the only English classic in which she started. The Irishman, Michael Madden, was Kinscem’s regular rider. Manchester born, he moved to Hungary permanently to ride. Later his son, Otto, became a champion jockey there. Kinscem’s trainer was Robert Hesp, a Yorkshireman who later moved his training yard to

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Hungary, where he was also a huntsman and a member of the Hungarian secret service.

Kinscem’s owner was Mr. Ernest de Blascovich, who presumably commissioned Isidore Bonheur to sculpt his illustrious horse and jockey after their win in France’s Grand Prix de Deauville in 1878. Kinscem’s influence as a broodmare was enormous, even though she only produced two sons and three daughters. Their progeny won a total of 41 classics in Europe.

26 | Joseph Raymond Paul Gayrard (French, 1807-1855) MONKEY ON HORSEBACK Bronze, 5”x 6” $2,500. – 3,500.

In the mid-19th century bronze sculptures of animals doing human tasks were immensely popular. Upon the publication of Darwin’s controversial On the Origin of Species, however, these bronzes were looked upon as distasteful and many were subsequently destroyed. As a result, they are immensely difficult to locate today.

This bronze is from a larger group of four monkeys riding in a steeplechase. Six Tours, as the larger piece is called, won Gayrard a first-class medal at the 1846 Paris Salon.

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27 | Herbert Chevalier Haseltine (American, 1877-1962)

SPANISH SADDLE HORSES, 1923 Bronze; burnished red gold and brown patina on a red Italian marble base 5 ½” x 6 ½” Signed © Herbert Haseltine, dated 1923 $10,000. – 15,000.

Provenance: Walter M. Jeffords, Jr., New York and Pennsylvania, 1990 thence by descent through the family until 2007, private collection, England, to present Literature: Cormack, Malcolm. Champion Animals: Sculptures by Herbert Haseltine. Richmond, VA: Virginia Museum of Fine Arts, 1996.

Haseltine, Herbert, ed. (American Sculptors Series, No. 7: Herbert Haseltine.) New York: W.W. Norton & Company, Inc., 1948.

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Exhibited Herbert Haseltine, 1877-1962: An Exhibition of Sculpture Presented (by the Graham Gallery) as a benefit for the National Museum of Racing. Saratoga Springs, N.Y., May 1 - 26, 1973.

National Museum of Racing, Saratoga Springs, N.Y., July 15 August 26, 1973, Catalog No. 31 (illus.).

28 | Pierre-Jules Mene (French, 1810-1979) BRACE OF POINTERS Bronze, 10” x 17 ⅞” Signed $6,000. – 8,000.

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29 | Comte du Passage, Arthur-Marie-Gabriel (French, 1838-1909) TROTTING HORSE AND GROOM, circa 1870 Bronze; rich medium-brown patina,13 ¼” x 16” Signed du Passage $10,000. – 12,000.

Literature: Horswell, Jane. Bronze Sculpture of “Les Animaliers.”

Woodbridge, Suffolk, UK: The Antique Collectors’ Club, 1971, p. 274.

Kjellberg, Pierre, Les Bronzes du XIXe Siecle. Les Editions de l’ Amateur, Paris 1989, pp. 530 - 531.

Mackay, James. The Animaliers — A Collector’s Guide to the Animal Sculptors of the 19th & 20th Centuries. Toronto, Canada: Clarke, Irwin & Company, 1973, p. 83.

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30 | Pierre-Jules Mene (French, 1810-1879)

VAINQUIER DU DERBY Bronze with medium brown patina, 16” x 16” Signed, dated 1863, cast in sculptor’s atelier, with plaque inscribed “COURSES DE COUTALAIN, Prix des dames, 1867” $25,000. – 30,000.

Perhaps the most popular of the great sculptor’s racing studies, the piece is thought to represent the 1862 Derby winner Caractacus.

Exhibited at the Paris Salon in 1863, Mene listed this piece as number 16 in his catalogue under the title Jockey a cheval.

Illustrated: Horswell, Jane. Bronze Sculpture of “Les Animaliers.”

Suffolk, The Antique Collectors’ Club. 1971.

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31 | Herbert Chevalier Haseltine (American, 1877-1962)

THE CHASER SERGEANT MURPHY Bronze; rich chocolate-brown patina and gilt highlights on a black marble base 10” x 13” (on a 1 ½” marble base) Signed © Herbert Haseltine, dated 1959 Inscribed on marble base: SERGEANT MURPHY 1910. CHESTNUT GELDING.SIRE GENERAL/SYMONS.DAM ROSE GRAFT BY ASCETIC BY ROSE STOCK BY/PRESTON PANS BY ROSELEAF BY FRIGHT.BRED IN IRELAND/WINNER OF GRAND NATIONAL 1923. $25,000. – 35,000.

Provenance: Private collection, United Kingdom; Private collection, Middleburg, VA Literature: Cormack, Malcolm. Champion Animals: Sculptures by Herbert Haseltine, Richmond, VA: Virginia Museum of Fine Arts, 1996. pp. 30, 31.

Herbert Haseltine, Exhibition of Sculpture of British Champion Animals Catalog, Chicago, IL: Field Museum, 1934. Plate 9 Livingston. Barbara D. New York Thoroughbred. “Sanford Stud.”

Saratoga Springs, NY: New York Thorougbred Breeders, 2001.

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Time magazine. “Sport: The Grand National. An American Wins Where Kings and Peers Have Failed.” March 31, 1923.

American businessman John Sanford, already known as a prominent breeder and owner of American Thoroughbreds, including 1916 Kentucky Derby winner George Smith, made a bold move in Europe.

In 1923 he raced his 13-year-old gelding Sergeant Murphy in the 82nd renewal of the Grand National at Aintree Racecourse. Going off at 100-6 odds Sergeant Murphy became the first Grand National winner owned by an American. The 1938 film titled Sergeant Murphy, starring Ronald Reagan as the owner, is loosely based on the story.

32 | Emmanuel Frémiet (French, 1824-1910)

A PAIR OF MOUNTED JOCKEYS Bronze with rich dark brown and light brown patina, 19” x 22 ½” $30,000. – 40,000.

First exhibited at the 1855 Paris Salon, Frémiet again exhibited the subject at the Exposition Universelle of 1859. Proving to be such a popular bronze, the sculpture was exhibited abroad in Antwerp in 1885 and then in Copenhagen in 1888 before again exhibiting the piece at the Exposition Universelle of 1889.

Chevillot, Catherine. Emannuel Frémiet, Hand and Multiple, Musée des Beaux-Arts in Dijon, Musée de Grenoble, 1988/1989, listed under model No. S127 p. 95.

Kjellberg, Pierre. Bronzes of the Nineteenth Century, Editions the Amateur, 1987 page 335.

Literature: Horswell, Jane. Bronze Sculpture of “Les Animaliers,” Clopton, Woodbridge, Suffolk: The Antique Collectors’ Club, 1971.

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33 | Isidore Jules Bonheur (French, 1827-1901) TAUREAU BEUGLANT (BELLOWING BULL) Bronze, 15 ½” x 21” Signed, stamped Peyrol $10,000. – 15,000.

A complement piece to Taureau (a charging bull), they were modeled in plaster and exhibited at the Salon of 1865 in Paris. Cast in an edition of three in various sizes, the first cast (on a larger scale) was commissioned by Sultan Abdul Aziz of the Ottoman Empire but current records indicate that he never paid, and it is unknown whether they ever made it to Constantinople. A model in the size offered here was acquired by the Victoria and Albert Museum, London, during the artist’s lifetime. Today there are known larger-scale versions of this bronze located at the entrances to Colt State Park, Rhode Island, and Parc Georges Brassens in Paris.

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Literature: Payne, Christopher. Animals in Bronze, Clopton, Woodbridge, Suffolk: Antique Collectors Club, 1986.

Horswell, Jane. Bronze Sculpture of ‘Les Animaliers,’ Clopton, Woodbridge, Suffolk: Antique Collectors Club, 1971. Pg. 203, 204.

34 | Carl Ethan Akeley (American, 1864-1926)

STUNG Bronze with black/brown patina, 9 ¼” x 11” Signed Carl E Akeley, inscribed “stung” ©, dated 1914 Stamped Roman Bronze Works NY $10,000. – 12,000.

Akeley was a staff naturalist for the Field Museum in Chicago, Illinois, from 1885-1909. He was a member of the National Sculpture Society, the New York Architectural League, and the National Institute of Social Sciences, all in New York City.

He exhibited at the National Academy of Design in New York City, showing numerous African animals, including Stung.

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

UN TAUREAU ET UN OURS (BULL AND BEAR) Bronze with a rich green/brown patina, 30” x 41 ¼” Signed I. Bonehur, inscribed with the Peyrol Foundry seal $120,000. – 180,000.

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Offered here is one of the truly exceptional works in the entire catalogue of Bonheur’s work. One of only two known examples of this subject in this size, it is a very rare piece and quite possibly the only one that will ever be available on the market again.

There is no doubt Bonheur is one of the great animalier sculptors of the 19th century. Known for his equestrian bronzes, he did not venture outside that realm very widely. The intention behind Bonheur’s depiction of a bull and bear fighting has never been explained. One theory, however, is that it represents England (the bull), and Russia (the bear), in their struggle with each other in the Crimean War, which ended in 1856, the year before Bonheur exhibited the work at the 1857 Paris Salon. Yet another meaning has taken root that the bronze represents the two icons of the stock market — the bull and the bear, and their competing ideology. The bull anticipates the rise of the market so he can sell high, while the bear hopes for the market to drop so he can buy low.

The sculpture has quite a history of its own. It was exhibited at the International Exhibition in St. Louis in 1904. By 1924 it had been purchased by a group of traders or donated to the Luncheon Club of the New York Stock Exchange (NYSE). Regardless of how it got there, it sat until 2006, prominently displayed on the seventh floor of 11 Wall Street. The Luncheon Club itself had been a Wall Street fixture since 1898 until it was forced to close its doors in 2006. The New York Times described the club as “where Wall Street meets to eat.” Every day superstitious traders would rub the bull on the horns and genitals for luck, so much so that the patina in those areas differs from the rest of the bronze. After the close of the club, LaBranche & Co., one of the oldest fixtures on the NYSE, reportedly acquired the

bronze for $2 to 3 million, according to sources close to the deal. It is currently on loan to the American Museum of Finance where it can be seen on display today. Visitors are encouraged to rub the same areas the traders did.

Bonheur first exhibited his Bull and Bear in 1857 along with several other works that were cast in plaster. A sculpture he himself thought highly of, he again exhibited this subject at the Exposition Universelle in 1900.

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

HORSE AND PAIL Bronze with a rich dark brown patina, 13 ¾” x 23” Signed I. Bonehur, stamped with the Peyrol Foundry seal, inset with the seal F.P. Sanson, Succh, Hamburg, 4, Neutrwall $18,000. – 25,000.

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37 | William Smithson Broadhead

(British, 1888-1960) EDDIE ARCARO UP IN JEFFORDS SILKS Oil on board, 17” x 13” Signed and dated 1953 $5,000. – 7,000.

Hall of Fame jockey Eddie Arcaro (1916-1997) rode to victory in more American classic races than any other jockey in history and remains the only jockey to win the American Triple Crown twice. Arcaro is captured sporting the silks of Walter M. Jeffords (1883-1960), one of only five people to be named an Exemplar of Racing by the National Museum of Racing and Hall of Fame.

Exhibited: The Sporting Gallery, Middleburg, VA Jean Bowman/W. Smithson Broadhead Retrospective May 7 – 31, 2006

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

TWO HORSES IN A PENNSYLVANIA LANDSCAPE Oil on canvas, 28 ¾” x 37 ” Signed and dated 1849 $20,000. – 25,000.

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This painting, depicting a bay and a chestnut horse, is thought to have been painted at Hunting Park, part of the Philadelphia estate of Dr. John Dickinson Logan. Henri DeLattre was commissioned to paint several pieces for Dr. Dickinson Logan, and, based on the fieldstone house in the background, it is highly likely that this is one of them. The Logan House still stands in the Hunting Park area today.

DeLattre’s subject matter consisted mainly of animal portraits and landscapes, which he regularly exhibited at the Paris Salon starting in 1824. DeLattre made a three-year tour of the United States in 1836, where he found ample work painting the favorite racehorses for some of the foremost horseman of the day, Colonel William Ransom Johnson and Colonel Wade Hampton. While he found sufficient work and gained considerable esteem, DeLattre never attained the prominence he sought and lived in the shadow of the eminent painter Edward Troye. After returning to France in 1839, DeLattre received high praise for his portrait of the great racehorse Boston (which was reproduced in the American Turf Register). After the February Revolution of 1848, DeLattre suffered political exile due to his family’s political leanings, at which point he returned to the United States.

In March of 1849, Alexis de Tocqueville, famed French political thinker of the Revolution, sent letters to a Mr. Edward Everett, among others, in which he praised DeLattre as a highly talented artist and honorable character and requested that they support his compatriot. DeLattre met tremendous success upon his arrival in Philadelphia — partially due to Everett’s referrals and Philadelphia contacts, but largely because of his highly praised 1839 portrait of Boston. He established himself on Locust Street in Philadelphia in the spring of 1849 and his Study of a Donkey was shown at the Philadelphia Academy of Fine Arts that year. DeLattre finished the year with a painting of Boston (which later became part of Walter M. Jeffords’ collection), the painting that salvaged his 1839 trip to the States. He also completed several works that year that would later be lithographed by Nathaniel Currier (of Currier & Ives fame). In 1849

DeLattre painted this particular work on the estate of Dr. Logan.

Dr. Logan was a descendant of two prominent and historically important Pennsylvania families, both of whom played critical roles in the development of the commonwealth and the formation of the country. Dr. Logan was the grandson of John Dickinson, who was coined the “Penman of the Revolution” for his Letters from a Farmer in Pennsylvania and was lauded by Thomas Jefferson as “among the first of the advocates for the rights of his country when assailed by Great Britain whose name will be consecrated in history as one of the great worthies of the revolution.” John Dickinson is the namesake for Dickinson College, the Dickinson School of Law at Pennsylvania State University, and the Dickinson Complex at the University of Delaware. His paternal grandfather was James Logan, who came to the colony as William Penn’s secretary aboard the Canterbury in 1699. He was elected mayor of Philadelphia in 1722, served as the colony’s chief justice from 1731 to 1739, became acting governor of Pennsylvania from 1736 to 1738, and is widely considered to be Benjamin Franklin’s mentor. Dr. Logan was the consummate sportsman, a gentleman of the highest regard, and a longstanding member of the Maryland Jockey Club.

DeLattre recorded the greatest Thoroughbreds, trotters and pacers of a golden age of sport. His paintings show the progression and adaptation that all great artists strive for and embrace — his ability to depict his subjects true to form was one of the strongest of his era. While many before him would try to correctly capture the movement of a horse in motion, DeLattre was the first to break from the tradition of depicting horses running with all four legs splayed and attempted to capture their accurate movements.

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39 | Henry Stull (American, 1851-1913)

THE GREAT EASTERN HANDICAP (BROOKLYN HANDICAP), 1895, GRAVESEND COURSE Oil on canvas, 18 ¼”x 28 ¾” Signed, dated 1896 $60,000. – 70,000.

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On September 15, 1895, a New York Times headline read “One I Love Again A Winner, Beat Margrave in a Close Finish for the Great Eastern Handicap – Ben Brush Finished in the Ruck.” The Great Eastern Handicap of 1895, run over the Gravesend Course on Coney Island, produced a close finish with the filly One I Love inching ahead of the boys Margrave and Haslet. Run over the Futurity Course at Gravesend, the horses ran three-quarters of a mile and then up a hill onto the regular track. Considered one of the most exciting races of the Coney Island Jockey Club meet that autumn, the race produced a close finish with four of the 13 starters just heads apart as they crossed the wire. The finish was said to have been so close that the crowd would have accepted any of the four as the champion.

The Gravesend Course was built by the Brooklyn Jockey Club with the backing of wealthy brothers Phillip and Michael Dwyer. Though not ones to fawn over artwork, they entered into an agreement with Stull to paint the winners of stakes races at the course and the portraits would adorn the clubhouse walls. Because photography had now shown that horses did not in fact have all four feet off the ground at a gallop, Stull was able to portray horses racing in a more realistic manner. Upon seeing Stull’s work, however, the Dwyer brothers refused to believe that was how a horse actually moved, and that refusal caused a falling out between the two parties in 1887. Stull’s paintings had proved so popular with other owners, however, that his commissions were still heavily sought after.

making her the standout filly of the Eastern Division of 1895. The Times went on to say in the article “The race stamps One I Love the greatest filly of the year, and many believe she can defeat Requital.”

The filly found plenty of supporters in the betting that day, closing at 4-1. She was conceding one pound to Ben Brush and anywhere from 12 to 30 pounds to the others in the field. She was sent to France in 1913, keeping her line intact during the anti-wagering legislation that crippled racing across the United States. She later returned to the U.S. as a broodmare.

Margrave, who placed, had just broken his maiden the Tuesday before the race. A two-year-old chestnut colt owned by August Belmont, Sr. and ridden by C. Perkins, Margrave recovered from his defeat in the Great Eastern Handicap to win the Preakness Stakes in 1896. He had shown such great speed in his maiden win that he was heavily backed in the betting and closed a slight favorite at 3-1.

Haslet, a chestnut colt owned by David Gideon, took third with Henry Giffin in the irons. Gideon had especially driven betting on his horse, at one point being the favorite in the race.

Ben Brush found himself closing in the betting at 4-1 and managed to finish fourth. Retroactively named by The Blood-Horse as the American champion two-year-old male horse of 1895, he did not have it on this day. He would recover, however, and capture the 1896 Kentucky Derby.

One I Love (1893, out of The Apple, by Hermit), running for Colonel W.P. Thompson’s Brookdale Stud, was an exceptional juvenile winner of five consecutive races, including the Belles Stakes, the Partridge Stakes, the Golden Rod Stakes, and the Great Eastern Handicap,

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40 | Lee Townsend (American, 1895-1965) MONMOUTH PARK Oil on canvas, 17” x 22” Signed $4,000. – 6,000.

Provenance: Beresford Gallery Located in Oceanport, New Jersey, the original Monmouth Park Association began racing in 1870 and remained open until 1894 when legislation was passed banning pari-mutuel betting. The track reopened in 1946 when wagering was once again permitted. The grade I Haskell Invitational Handicap is the track’s

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major race while others include the grade I United Nations Stakes and the grade II Molly Pitcher Stakes.

In 2007 the track hosted the Breeders’ Cup World Championships.

This painting would have been executed in the years shortly after the track’s reopening in 1946.

41 | Boris Riab (Russian/French, 1898-1975)

AN IRISH SETTER WITH A PARTRIDGE & A BLACK SPANIEL WITH A WOODCOCK Watercolor on paper, 19” x 13 ¾” each Signed $2,000. – 3,000. (pair)

Provenance: Private Collection, North Carolina

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42 | David Quinn (British, born 1959)

COMMON & YELLOW-BILLED LOONS & RED-THROATED PACIFIC AND ARTIC LOONS 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, National Geographic 2006, Edited by Jonathan Alderfer, pages 58 – 61.

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43 | Bernie Fuchs (American, 1932-2009) FLY FISHING Oil on canvas, 16” x 23” Signed $4,000. – 6,000.

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44 | William Smithson Broadhead (British, 1888-1960) CONNETT ON THE HENRYVILLE Oil on board, 13” x 16” Signed, inscribed, dated $4,000. – 6,000.

Inscribed on verso: “Eugene V. Connett, III fishing at Henryville on Paradise Creek. This picture was painted

by William Broadhead, English artist, while John Frost looked on.” (by Eugene Connett’s own hand). And an additional note below, also in his hand: “This picture to go to Eugene V. Connett, IV.” Illustrated: Cover of The Anglers’ Club Bulletin, Winter 2010/2011, Vol. 85. Ed. 1., published by The Anglers’ Club of New York.

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Broadhead, a British painter known for his illustrations for periodicals, travelled around the world living the “sporting life.” He eventually settled in Middleburg, Virginia, in 1947. Broadhead painted this as a gift to his friend Eugene V. Connett III, a Princeton graduate and the founder of Derrydale Press. Considered the greatest sporting book publisher of all time, he told Time magazine that “a bottle of Scotch and a map of Ireland” gave him the name for the company. While at the helm of Derrydale, Connett hunted and fished with some of the greatest sporting artists of the 20th century.

45 | Brett James Smith (American, born 1958) BIG ROCK POOL Oil on canvas, 24” x 20” Signed $7,000. – 10,000.

A lifelong sportsman, Smith is often in Montana fishing much like the subjects depicted in this Lot. This scene depicts two fishermen on a tributary of the Gallatin River in Montana. Named in 1805 by Meriwether Lewis during his famed expedition, the Gallatin rises in Yellowstone National Park and reaches

Three Forks, Montana, where it meets the Jefferson and Madison rivers to form the Missouri. Often Smith will use a hunter or fisherman as an excuse to capture the landscapes that catch his eye and in this case the rocks along the river proved to be a fruitful subject matter.

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46 | Sandra Faye Oppegard (American, born 1941) PHEaSANT HUNTING VIGNETTES Watercolor, 12 ¾” x 22” Signed $3,000. – 4,000.

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47 | Ogden Minton Pleissner (American, 1905-1983) POLING UPRIVER Watercolor on paper, 14 ¼” x 20 ½” Signed $25,000. – 35,000.

Provenance: Collection of the Artist The Crossroads of Sport, New York c. 1980 Private Collection, Long Island, NY until the present

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48 | Aiden Lasell Ripley (American, 1896-1969) WALKING UP Watercolor on paper, 20 ¼”x 30 ½” Signed $30,000. – 40,000.

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Provenance: The Sportsman’s Gallery, New York George M. Bowles, California G.M. Bowles Estate Sale, Bonhams, San Francisco, December 11, 2006,

49 | Lionel D. R. Edwards (British, 1878-1966) A MEET OF THE FOXHOUNDS YESTERDAY A MEET OF THE FOXHOUNDS TODAY Watercolor with bodycolor, 15 ½” x 10 ¾” each Signed $3,500. – 4,500. (pair)

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50 | Sir Alfred James Munnings (British, 1878-1959) THE BULLFINCH Pencil sketch on paper, 8” x 6 ½” Signed and inscribed $4,000. – 6,000.

The bullfinch is an example of a cross-country eventing fence. Made of a solid base with brush on top, it is similar to a hurdle in that it is designed to be jumped through rather than over.

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Due to the height of the brush, the horse cannot see through to the other side. Therefore, the fence tests the horse’s trust in his rider.

51 | John Frederick Herring, Jr. (British, 1820-1907)

THE HUNT OUTSIDE THE BLACKSMITH’S FORGE Oil on canvas, 30” x 50” Signed, dated 1858 $90,000. – 120,000.

Provenance: Leger Galleries, 13 Old Bond Street, London W1

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52 | Paul Jones (British, active 1855-1888) A DAY’S BAG & STALKING Oil on canvas, 8”x 12” each Signed $5,000. – 7,000. (pair)

Provenance: Schillay and Rehs

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53 | Sir John F. Herring, Sr. (British, 1795-1865) LOP-EARED RABBITS Oil on canvas, 10” x 12 ½” Signed, dated 1851 $20,000. – 30,000.

Provenance: Richard Green, London Exhibited: Exhibited in ’92, Sporting Exhibition No. 13

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54 | Sir John F. Herring, Sr. (British, 1795-1865) THE BARNYARD IN WINTER Oil on canvas, 28 ¾”x 36” Signed and dated 1849 $100,000. – 125,000.

Provenance: Richard Green, London

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55 | John Emms (British, 1841-1912) HOUNDS IN A KENNEL Oil on panel, 15 ¾” x 12” Signed $10,000. – 12,000.

56 | John Emms (British, 1841-1912) RABBITS Oil on canvas, 11” x 13” Signed $5,000. – 7,000.

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57 | Sir John F. Herring Sr. (British, 1795-1865) DUCKS AND DUCKLINGS Oil on board, 16” x 14” Signed, dated 1851 $40,000. – 50,000.

Provenance: Richard Green, London

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58 | David Quinn (British, born 1959) RHINOCEROS HORNBILL Oil on belgian linen canvas, 28” x 22” $5,000. – 7,000.

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

LION I Oil and mixed media on board, 19 ½” x 19” Signed $9,000. – 12,000.

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60 | André Pater (Polish/American, born 1953) SCOTTIE Oil on canvas, 13” x 10” Signed $5,000. – 7,000.

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61 | Florencio Molina Campos (Argentine, 1891-1959) LOS ESTRIBOS Tempera on board, 12 ½” x 17” Signed and dated 1947, inscribed on verso $12,000. – 14,000.

Los Estribos, “stirrups” in English, exemplifies the oeuvre of Florencio Molina Campos. With a “humorously deformed” gaucho riding across a landscape featuring an atypically low horizon, Molina Campos managed to capture the essence of the Argentine pampas as the gauchos saw it, as opposed to the poet or romantic historian. Los Estribos was the name of the farm where Molina Campos lived and worked. It also describes the brand on the horse’s rear hip. This brand consists of

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interlocking stirrups and was passed down to Molina Campos through his father’s family after being used for generations to mark their horses.

Molina Campos was often criticized for painting his horizons so low. However, any visit to the vast pampas of Argentina will reveal this interplay between the sheer height of the sky and the consequently low, flat landscape reaching to the far horizon.

62 | Florencio Molina Campos (Argentine, 1891-1959) Alguien viene Tempera on board, 7 ½” x 11” $4,000. – 6,000.

We wish to thank Marcos F. Bledel for his kind assistance in confirming the authenticity of this Lot.

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63 | Jean-Bernard Lalanne (French, born 1952) REJONEADOR Oil on canvas, 31 ½”x 47” Signed $8,000. – 10,000.

In the ‘rejoneo’ style of bullfighting, also referred to as ‘Portuguese Style,’ the principal fighter, or rejoneador, is mounted on horseback, unlike a matador.

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64 | Frank Nelson Ashley (American, 1920-2007)

START OF THE 1974 VIRGINIA GOLD CUP, BROADVIEW COURSE, WARRENTON Acrylic on canvas, 48” x 66” Signed Fn Ashley, inscribed in the artist’s hand on the stretcher Virginia Gold Cup, Warrenton Virginia, The Start, Mellon’s Colors Grey Vests $18,000. – 20,000.

The legendary Virginia Gold Cup is a classic in American Steeplechasing. After the fifth trophy was retired by owner Leeds Don, a rivalry arose among Paul Mellon, Senator John Warner, and Dr. Joe Rogers to gain the sixth trophy with the requisite three wins. The 1974 renewal of the race saw Warner’s two-time winner

Annual Meeting line up against Mellon’s Mongogo.

Annual Meeting pulled up lame after fence ten, and Mongogo went on to win. Eventually, with all three owners having two wins, Dr. Rogers gained the trophy with a win in 1984.

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65 | LeRoy Neiman (American, 1921-2012) HUNTING SCENE Oil on board, 60” x 48” Signed and dated 1963 $85,000. – 100,000.

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66 | Paul Guiramand (French, 1926-2008) LA COURSE Oil on canvas, 21 ¼” x 25 ½” Signed $4,000. – 6,000.

67 | Paul Ambille (French, 1930-2010) MATCH DE POLO, DEAUVILLE Watercolor, 16” x 22 ¼” Signed $3,000. – 4,000.

Home to the Deauville Gold Cup and with notable clubs including Deauville and the Chantilly Polo Club in the area, Deauville is one of the world’s centers of polo today.

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68 | LeRoy Neiman (American, 1921-2012) JOCKEY, HORSE AND TRAINER Oil on canvas, 11” x 6” Signed $15,000. – 20,000.

“For me in a changing world there are three reliables; the Catholic Church, any graphics workshop and the racetrack…a small, wiry, harlequin figure, the jockey is required to control a quarter ton [sic]of high-strung horseflesh…he is the peacock of the paddock, primping and combing in the tack room between races.”

- LeRoy Neiman, excerpt from LeRoy Neiman: Art & Life Style, New York: Felicie Publishers, 1974, p. 120.

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69 | Emilio Grau-Sala (Spanish, 1911-1975) LE CHAMPS DE COURSE Watercolor, 19” x 24 ½” Signed $14,000. – 16,000.

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70 | Gilbert Joseph Holiday (British, 1879-1937)

AND BANG GOES THE ₤10,000, FIGHTING IT OUT Watercolor, pencil and gouache, 14” x 23 ¼” Signed with initials $10,000. – 15,000.

Inscribed: “And bang goes £10,000, fighting it out on the...”

Provenance: Spink and Son, London

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71 | Eric Meade-King (British, 1911-1987) FULL CRY & A WET DAY’S HUNTING Watercolor and gouache, 14” x 21” each Signed $4,000. – 6,000. (pair)

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72 | Michael Lyne (British, 1912-1989)

THE PASSAGE Pen & ink, watercolor, gouache, 11 ½” x 16” $4,000. – 6,000.

Literature: Wynmalen, Henry and Michael Lyne.

The Horse in Action, London: Burke Publishing Company, 1954. Illustrated p. 35 “The passage is an exceedingly highly collected trot, wherein the horse moves with tremendous energy, in a slow and very deliberate cadence, raising each diagonal in turn high off the ground, remaining distinctly suspended in the air for a moment, at appreciable height, between every two hoofbeats. The action in front and behind should be of equal brilliance and energy, the hind legs treading well under the body, head and neck carried high, very well bridled, and very light in hand. The impression made should be one of almost effortless grace, the horse brilliant but completely calm. The horse moves forward slowly, dancing as it were from one diagonal on to the other.” -The Horse in Action, p. 28, 32

73 | Charles Walter Simpson (British, 1885-1971) STEEPLECHASE Gouache, 22” x 31 ¼ ” $3,000. – 5,000.

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

RACES IN PARIS & COURSES AT LONGCHAMP Watercolor on racing programs, 11” x 8 ¼” each Signed, inscribed, dated $3,000. – 5,000. (pair)

Racing programs for Longchamp, September 14, 1917.

Provenance: Far Gallery, New York, NY

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75 | Milton Menasco (American, 1890-1974) NASHUA Oil on canvas, 24” x 30” Signed $6,000. – 8,000.

Provenance: P.A.B. Widener III; Don and Ann Sturgill Nashua, trained by the legendary “Sunny” Jim Fitzsimmons, won the 1956 Widener Handicap at Hialeah Park with Eddie Arcaro up. P.A.B. Widener III (1925-1999) attended the race with Leslie Combs II, owner of Spendthrift Farm, who had just leased Nashua to race under Spendthrift silks, and later to

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stand at stud at Spendthrift. After the race, Widener and Combs commissioned Menasco to paint almost identical paintings of Nashua with Arcaro up along with the three outstanding runnersup from this race in the background. Besides Nashua, depicted in the background are Social Outcast, who placed and is depicted as the riderless chestnut; Sailor, who showed and is the chestnut on the left; and Find, who finished fourth and is the bay. Widener’s grandfather, Joseph Early Widener, had purchased and renovated Hialeah in 1930.

76 | Milton Menasco (American, 1890-1974) PLAY HANDS Oil on canvas, 22” x 28” Signed $6,000. – 8,000.

Provenance: Haden Kirkpatrick Arnold Kirkpatrick Kirkpatrick family by descent The career of Play Hands may very well illustrate the racehorse phrase “hard-knocking.” The 1941 chestnut daughter of twiceleading sire Chance Play was bred by Horatius P. Mason, who consigned her to the 1942 Saratoga yearling sale where she failed to sell. She made her first start on January 29, 1943, at

the Fair Grounds in New Orleans, Louisiana, for owners H. & C. Kirkpatrick. Through claims she ended her career with owner Mrs. J. L. Chesney and trainer J. L. Chesney on March 6, 1951, at Oaklawn Park in Arkansas. In all, Play Hands started 198 times in nine years, winning 30 and placing another 52 times.

As a sophomore filly, she won 10 of 33 starts. Haden Kirkpatrick owned The Thoroughbred Record, where Menasco worked as an illustrator. This painting was a gift from Menasco to his good friend Kirkpatrick.

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77 | Lionel D. R. Edwards (British, 1878-1966) DECEMBER MEETING, CHELTeNHAM Watercolor, gouache, 14” x 21” Signed $12,000. – 15,000.

Provenance: Rowland Ward, LTD., 166. Piccadilly, LONDON, W1

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78 | Warren King (American, 1916-1978) THE FIGHTING FINISH Watercolor with body color, 17” x 19 ½” Signed $3,000. – 5,000.

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

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

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

For all practical purposes the stewards were deaf.” – The BloodHorse, Saturday, May 13, 1933; vol. XIX, no. 19, page 556.

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79 | Henry H. Cross (American, 1837-1918)

Shelby “Pike” Barnes up in Marcus Daly’s Silks Oil on canvas, 28” x 36” Signed and dated 1892 $10,000. – 12,000.

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Marcus Daly was known as the “Copper King” as his wealth was derived from his Anaconda Copper Mine in Butte, Montana.

He used his enormous wealth to build state-of-the-art training facilities and to acquire top bloodstock. In the 1880s Daly built a covered track with 400,000 board feet of lumber. It had its own heating plant and cost $10,000. The track was layered with eight inches of foam, topped by tanbark and surfaced with sod. The track was enclosed in 1892. Ada Powell, The Dalys of the Bitter Root, Bitterroot River Valley, Montana: 1989, p. 110 In 1889 Daly spent $160,000 on horses, mostly Thoroughbreds, including such colts as St. Blaze, Sierra Madre, Warwick, Norfolk, and Ononodago. Daly had a plan to obtain the greatest horses from all over the world and to breed these horses until all the flaws were eliminated.

Henry Herman Cross was a famous American 19th century painter of Native American portraits and racehorses. He was described by Buffalo Bill Cody, a close personal friend, as the “greatest painter of Indian portraiture of all times.” As a very young man, Henry ran away from home twice to join the circus, but in both instances he was made to return home. At 16 he boarded a freighter and traveled to Paris where he befriended the famous French animal painter Rosa Bonheur with whom he would study for three years.

He was described by one biographer as: “A chubby little fellow who

wore heavy rimless glasses, had a walrus mustache, and a preference for wearing double-breasted coats with velvet collars.”

H. H. Cross became well known for the scenes he painted on circus wagons for the Barnum & Bailey Circus. After a stint as a purely commercial painter, Cross traveled to the West where he became fluent in the Sioux language. His grasp of the language allowed him access to paint portraits of many of the famous Sioux warriors as well as the great chiefs of the late 19th century. Cross painted hundreds of portraits of Native Americans including that of the famous Sioux chief Sitting Bull.

Daly commissioned Cross to paint his horses on his Bitterroot Stock Farm near Hamilton, Montana. In the summers of 1891 and 1892, Cross painted a number of Daly’s best horses, and he used the beautiful scenery of Daly’s expansive stock farm for the backdrop. Two of the paintings were 7 feet by 10 feet and weighed roughly 300 pounds each. The pictures Cross painted for Daly in 1891 and 1892 are reputed to have cost Daly between $20,000 and $30,000. Daly’s estate passed to his granddaughter, Baroness Margit Sigray Bessenyey, and then descended through the family until 1987 at which point they were sold at auction.

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80 | Frank B. Hoffman (American, 1888-1958) RACING SCENE Oil on canvas en grisaille, 22 ⅛” x 28 ⅜” Signed $6,000. – 8,000.

81 | Frank B. Hoffman (American, 1888-1958) PADDOCK SCENE Oil on canvas en grisaille, 20 ⅛” x 26 ¼” Signed $6,000. – 8,000.

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82 | John McAuliffe (Irish/American, 1830-1900) DE COURCEY FLEETWING Oil on canvas, 18” x 24” each Signed and dated 1866 $6,000. – 8,000. (pair)

Fleetwing and De Courcey, successful New York racehorses in the 1860s, were half brothers out of the mare Rhoda. Their dam was owned by Leonard W. Jerome, a founder of the American Jockey Club.

De Courcey, winner of the 1868 Grand National Handicap, may be best known for a loss. He led the 1867 Belmont Stakes by as many as six lengths but was passed in the stretch by the phenomenal filly Ruthless to finish second in the inaugural running of the classic event.

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83 | Franklin Brooke Voss (American, 1880-1953) SET OF 12 RACING PRINTS 18 ¼” x 22 ½” each Signed and numbered, Ed. of 260 $18,000. – 24,000.

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The complete set of Hand Coloured Prints After Original Paintings of Famous American Thoroughbreds by Franklin Brooke Voss includes the original leather bound case. This is set no. 73 of 260.

Equipoise – winner of the Havre de Grace, Whitney, Metropolitan, Arlington, and Suburban handicaps. Owner – Cornelius Vanderbilt Whitney. 1934

In Richard Stone Reeves’ introduction to Crown Jewels of Thoroughbred Racing, Franklin B. Voss is the only American artist mentioned by name among the other great equestrian artists over the past three centuries. Voss was held in such high esteem that his client list for commissions was a veritable “who’s who” of the sporting world at the time. Given such popularity, it is no surprise that the rest of the public desired his work as well. In 1934 a set of 10 hand-colored prints of famous racehorses, after paintings by Voss, was offered for $250, and $30 for a single print.

Billy Barton – winner of the Maryland Grand National twice, Virginia Gold Cup, and Pennsylvania Hunt Cup. Owner – Howard Bruce. 1934

Noted printmakers At the Sign of the Gosden Head, the same company that produced the popular prints of Edward Troye’s work, published the set with the plan to release more in the following years.

Gosden Head published the 11th print in 1936 and The Sporting Gallery and Bookshop Inc., New York published the 12th in 1940.

Due to company buyouts, the series was discontinued. Each print was signed and numbered by Voss and in the lower right corner had a square painted in the owner’s colors. At the bottom of each print is a biography of the horse written by legendary turf writer Neil “Roamer” Newman. Newman himself was so esteemed that a stakes race at New York’s Jamaica Race Course was named in his honor.

Roamer, the 1914 and 1915 Horse of the Year, was also named for him.

Blue Larkspur – winner of the 1929 Belmont Stakes, inducted into the National Museum of Racing Hall of Fame in 1957. Owner – Colonel Edward Riley Bradley. 1934 Sun Beau – Inducted into the National Museum of Racing Hall of Fame, three time American Champion Older Male Horse (1929, 1930, 1931). Owner – Willis Sharpe Kilmer. 1934 Jolly Roger – winner of the Elkridge Steeplechase, twice winner of the American Grand National. Owner – Mrs. Payne Whitney. 1934 Exterminator – winner of the 1918 Kentucky Derby, inducted into the National Museum of Racing Hall of Fame in 1957. Owner – J. Cal Milam and Willis Sharpe Kilmer. 1934 Top Flight – American Champion Two-Year-Old Filly (1931), American Champion Three-Year-Old Filly (1932). Owner – Cornelius Vanderbilt Whitney. 1934

The list of each print subject, owner, and publication year is as follows:

Gallant Fox – winner of the American Triple Crown (1930) and 1957 National Museum of Racing Hall of Fame inductee. Owner – Belair Stud. 1934

Man o’ War – winner of the Travers Stakes, Jockey Club Gold Cup, Preakness, and Belmont Stakes, all in 1920. Owner – Samuel D. Riddle. 1934

Discovery – American Champion Male Handicap Horse (1936) and National Museum of Racing Hall of Fame (1969). Owner – Adolphe Pons and Alfred G. Vanderbilt II. 1936

Twenty Grand – winner of the Wood Memorial, Travers Stakes, Kentucky Derby, and Belmont Stakes, all in 1931. Owner – Greentree Stable. 1934

Seabiscuit – American Champion Handicap Male (1937 & 1938), American Horse of the Year (1938). Owner – Charles Howard.

1940

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84 | Vaughn Flannery (American, 1898-1955)

LA ELEGANTE, SIDE STREET, PATZCUARO, MEXICO Oil on canvas, 20” x 28” $12,000. – 15,000.

Provenance: Abby M. Taylor Fine Art Christies Exhibited: Springville High School Art Association

Vaughn Flannery’s work is well known and highly sought after among sporting art enthusiasts. His highly stylized depictions of the racing world were refreshingly modern and unique for his era. Flannery used bold blocks of color in his compositions as well as sharp architectural components to draw the viewer’s

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attention deep into his paintings. La Elegante, Side Street, Patzcuaro, Mexico deviates from the norm in subject matter alone, but the work is unquestionably Flannery’s, heavily stamped with his unique style. Many of his works were quickly purchased by horse racing’s elite owners, and the majority of his work has remained in private collections. In the past decade very few of Flannery’s works have come up for auction. We are pleased to offer a rare opportunity to acquire a piece by such a highly coveted painter.

85 | John R. Skeaping (British, 1901-1980) WATER JUMPING, AUTEUIL Watercolor, 23” x 31” Signed and dated 1966 $4,000. – 6,000.

(verso)

86 | Sir Alfred James Munnings (British, 1878-1959) PORTRAIT OF A LADY, Sketch of farmers and hogs (verso) Pencil sketch on paper, 8” x 6 ½” Signed with initials $4,000. – 6,000.

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87 | John R. Skeaping (British, 1901-1980) THE CANAL TURN Watercolor, 20 ½” x 28” Signed and dated 1967 $6,000. – 8,000.

The infamous Canal Turn, both the eighth and the 24th fence of the Grand National, is depicted in this Skeaping painting.

The fence, one of the better known in the race, is infamous because of the almost 90-degree left-hand turn that must be made after clearing it. It is not uncommon for jockeys to fall

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or lose their stirrups at this point of the course. Over many years the Canal Turn has been the scene of incidents that have heavily influenced the outcome of the Grand National, the most valuable steeplechase in Europe.

88 | Frederic Whiting (British, 1874-1962)

GOING TO POST & SPECTATORS (verso) Watercolor, 18” x 24 ¾” Signed $6,000. – 8,000.

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89 | John P. Cowan (American, 1920-2008) RAINY DAY, GULFSTREAM CLUB Watercolor, 22” x 30” Signed $10,000. – 12,000.

Provenance: Long and Company, Houston, TX The Phipps family started the Gulfstream Polo Club north of Delray Beach, Florida, in 1923, making it the state’s oldest polo club. In the 1960s the Phipps family sold the land in Delray Beach, at which point a group of gentlemen purchased land in Lake Worth and there re-established the polo club, where it remains near the Museum of Polo

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and Hall of Fame. It became affiliated with the United States Polo Association in 1935 and has been home to the USPA Delegate’s Cup since the mid-1970s, the USPA Bronze Cup since the ’80s, and the Heritage Cup since 1987.

90 | Carl Kahler (Austrian/American, 1855-1906)

IRISH LAD AFTER WINNING THE METROPOLITAN HANDICAP 1904 Oil on board, 19” x 27 ½” Signed and inscribed on verso $15,000. – 20,000.

Illustrated: Reuter, F. Turner, Jr. Animal and Sporting Artists in America.

Middleburg, VA: The National Sporting Library & Museum, 2011, p. 369.

racehorse, a colt named Irish Lad. Racing for Whitney and Duryea under the nom de course Westbury Stable, Irish Lad became one of America’s best colts at two and three and continued as a major handicap winner.

American turf master John E. Madden, always eager to sell a young horse, met up with Harry Payne Whitney and Herman B. Duryea in the bar at the old Morris Park clubhouse. By the end of that 1902 encounter, H. P. Whitney had his first

Inscribed on verso by the artist: “Irish Lad after winning the Metropolitan Handicap at Morris Park, May 1904. This picture was finished June 25th, 1904 the day of Irish Lad’s victory in the Advance Stake at Sheepshead Bay. Carl Kahler” The Sporting Art Auction

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91 | Thomas Percy Earl (British, 1874-1947)

PRECIPITATION, WINNER OF THE 1937 GOLD CUP WITH PATRICK BEASLEY UP Oil on canvas, 25 ½” x 30 ¼” Signed $9,000. – 12,000.

Precipitation was bred and raced by Lady Zia Wernher, a greatgranddaughter of Tsar Nicholas I of Russia. Unraced at two due to his large size, Precipitation won eight of 10 starts including Newmarket’s Jockey Club Stakes at three and Ascot’s Gold Cup at four. A leading sire, he kept the Matchem sire line alive and produced male progeny that became leading sires on three continents.

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92 | Henry Koehler (American, born 1927) STAGE DOOR JOHNNY PULLING UP Oil on canvas, 18” x 24” Signed $6,000. –8,000.

Stage Door Johnny solved a great dilemma in the racing world by winning the 1968 Belmont Stakes. The bright chestnut with a bold blaze, similar to that of California Chrome, ended the debate as to whether Forward Pass, the winner by disqualification of the Kentucky Derby and outright winner of the Preakness Stakes, could be a Triple Crown winner. Named champion three-year-old male

of 1968, Stage Door Johnny was raced by his breeder, Greentree Stud, and retired to stud there. He died on the farm of his birth in 1996 at the age of 31 and is buried on land that is now part of Gainesway Farm.

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93 | Sir Alfred James Munnings (British, 1878-1959) PONIES IN A SAND PIT 1910-1911 Oil on canvas, 28 ¼” x 30 ¼” Signed AJ Munnings $275,000. – 325,000.

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Provenance: Private collection, England, 1950; Iaian Grant, Laird of Glenmoriston, on the Banks of Loch Ness, until c. 1990; Richard Green, London, 2001; Private American collection, to present Literature: Munnings, Sir Alfred. An Artist’s Life (Book one of the threevolume autobiography). London: Museum Press Limited, 1950, pp. 196 – 200.

Peralta-Ramos, Lorian. This work is the forthcoming catalogue raisonné of the works of Sir Alfred Munnings.

National Sporting Library & Museum, Middleburg, VA. Munnings: Out in the Open, pp. 10, 11 (illus.) plate no. 6.

Exhibited: National Sporting Library & Museum, Munnings: Out in the Open: The Open-Air Works of Sir Alfred James Munnings (English, 18781959), Middleburg, VA, April 24 – September 15, 2013.

“The shadows of the pit were warm and glowing; the gravel bright red and gold in the sun; scarlet poppies, marguerite daisies and masses of white flowers all about.” (Sir Alfred James Munnings, An Artist’s Life, p. 197-198).

Sir Alfred James Munnings painted several works of ponies in a sandpit during the summers of 1908-1911. Munnings’ largest canvas from this series, A Norfolk Sandpit, measuring four-bysix feet, was completed in the summer of 1911 and exhibited at the Royal Academy in 1912. The present example bears strong compositional similarities and was likely also painted in the sandpit near Hoxne, Suffolk. Sitting in the Royal Academy galleries, Munnings remembers in his 1950 memoirs: “Later in the day I took a critical glance at the Sandpit painting. In the quiet loneliness of the Galleries it sent me thinking of the 1911 summer when working in Suffolk. Painted thirty-eight years ago, I knew I could not do it to-day. I had neither the energy to get ponies to a place forty miles away, make arrangements for them, nor to place a canvas and easel each day in the heat in the same place in the sandpit.”

The white pony featured in this painting is one of his favorites and is seen throughout his oeuvre. Called Augereau, Munnings came up with this name after seeing a play called A Royal Divorce at the theatre one afternoon. A character in the play continuously exclaims, “I swear it on the word of an Augereau.” Driving the pony home after the theater late at night, whenever the pony misbehaved, Munnings and his groom would correct him and exclaim, “I swear it on the word of an Augereau!” and thus the name and the pony were forever one. Augereau, wrote Munnings, “not only [brought] me wealth, but [earned] his keep a hundredfold.”

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

‘STUDIES OF SILVO’ a pair (on verso) LANDSCAPES OF ‘SNAILWELL’ Inscribed front on panel 1 “Study of Silvo” Inscribed verso panel 2 “Studies at Snailwell near Newmarket” AJ Munnings Oil on panel, 12 ¼” x 7 ½” each $70,000. – 90,000.

In The Bloodstock Breeders’ Review of 1925, the Wednesday session of the Newmarket October Sale was highlighted: “It was, however, the nine-year-old gelding Silvo that caused the greatest stir. Here we have a horse in his prime as a jumper, who won the Grand Steeplechase de Paris last June, who has won thirteen steeplechases in England (including the Grand Sefton and Champion at Aintree), who was placed third in last year’s Grand National and fifth in this year’s, and is looked upon as a probable winner of that great prize sooner or later. He was offered for sale to dissolve the partnership between Mr. W. H. Midwood and Sir

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E. Edgar. Mr. Midwood had made up his mind to become sole owner of the horse. Unfortunately for him, Mr. Stephen Sanford was similarly minded. Mr. Midwood finally prevailed, but not until he had made a bid of 10,500 guineas. This is a colossal sum to pay for a ‘chaser — easily a world’s record.”

“Silvo was a big powerful horse, disfigured by a hog mane.”

Munnings, Sir Alfred James. Autobiography: An Artist’s Life; Second Burst; The Finish. London, Museum Press Limited. 19501951, v.2 p.249.

Munnings painted these two scenes near Newmarket, in the village of Snailwell, which like many other villages in that area is heavily involved in the breeding and training of horses.

“At the time George Blackwell was farming between four and five hundred acres in the ancient parish of Snailwell...A traditionally English scene, if ever there was one — this farm with buildings, yards, meadows, aged elms and adjoining pastures at Snailwell.

Blackwell, trainer and true farmer was fond of this property, and often took me there in his car. There are moments when the artist’s soul is lifted up with sheer joy at something seen. How well I remember my exclamation at seeing an old, clunch-built wall adjoining the stack-yard, where great elms were growing, such as no artist’s imagination could ever invent. Just over the wall stood a brown-tiled dovecot.

Beyond that, right in the centre of the picture, was the round Saxon tower of Snailwell church.”

Munnings, Sir Alfred James. Autobiography: An Artist’s Life; Second Burst; The Finish. London, Museum Press Limited. 1950-1951, v.2 p.257.

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

THREE KINGS (NIJINSKY II, SPECTACULAR BID, & SECRETARIAT AT CLAIBORNE FARM) Oil on canvas, 28 ¼” x 36” Signed $60,000. – 80,000.

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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 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 thenrecord $22 million.

Given their places in history, all three horses would be painted by Reeves 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:

At the time of this painting Claiborne was one of the world’s top breeding operations as evidenced by their Eclipse Awards for 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 sire to have a winner of the Kentucky Derby and Epsom Derby in the same year. He was the leading broodmare sire in North America in 1993 and 1994.

“I painted him shortly after he was retired to Claiborne. He was a very good-looking 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, p. 190

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

“Perhaps Nijinsky II could be considered one of the six best horses I ever painted.”

– Reeves, Crown Jewels of Thoroughbred Racing, Lexington, KY: The Blood-Horse, Inc., 1997, p. 137

“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: Blood-Horse Publications, 2005, p. 104 This painting was reproduced as a signed and numbered lithograph in an edition of 850.

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 best-known progeny were 1986 Horse of the Year Lady’s Secret, 1988 Preakness and Belmont Stakes winner Risen Star, Kingston Rule, and General Assembly. He was the leading broodmare sire in North America in 1992.

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96 | Richard Stone Reeves (American, 1919-2005) L’ENJOLEUR Oil on canvas, 32” x 38” Signed and inscribed $15,000. – 20,000.

Canadian Hall of Famer L’Enjoleur was voted Horse of the Year at both two and three, becoming the first back-to-back Horse of the Year in the first 25 years of Sovereign Awards history. L’Enjoleur won 14 stakes in two seasons, including the grade I Laurel Futurity at two and Canada’s classic Queen’s Plate at three. At stud he sired champion fillies Avowal and Par Excellance.

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97 | Richard Stone Reeves (American, 1919-2005) SECRETARIAT Oil on canvas, 14” x 18” Signed and inscribed $20,000. – 25,000.

Literature: Reeves, Richard Stone. Royal Blood, Fifty Years of Classic Thoroughbreds. Lexington, Kentucky: The Blood-Horse, Inc., 1994. illustrated p. 151 “I was commissioned by Mrs. Penny Chenery to paint Secretariat in June, 1973, shortly after he won the Belmont Stakes. The week after the race I drove to Belmont to do my preliminary work for the painting. I don’t think any horse I’ve ever painted posed with more elegance. He seemed to enjoy being brought out into

the early-morning sun and stood patiently in various positions for me until I was finished. Then he was reluctant to be taken back to his stall. His groom, Eddie Sweat, was wonderful with him. The two obviously were good friends, and Eddie was just as patient as Secretariat.” – Reeves, Royal Blood, Fifty Years of Classic Thoroughbreds, Lexington, Kentucky: The Blood-Horse, Inc., 1994. p. 150.

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98 | N. C. (Newell Convers) Wyeth (American, 1882-1945) THE HORSE RACE Oil on canvas, 40 ¼” x 32 ¼” Initialed lower right $550,000. – 650,000.

Illustrated: Boyd, James. Drums...with pictures by N. C. Wyeth. Scribner’s Illustrated CLassic. New York, NY: Scribner, 1928, p. 184 “Cursing and whipping like a madman, the scarlet jockey drew up on the turn, hung knee to knee, passed him by”

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Literature: Allen, Douglas. N. C. Wyeth: The Collected Paintings, Illustrations and Manuals. New York, NY: Crown Publishers, 1972, p.199 Podmaniczky, Christine B. N. C .Wyeth: Catalogue Raisonne of Paintings, London, England: Scala Publishers, 2008, p. 229

The Horse Race, a painting Wyeth executed for James Boyd’s novel Drums, captures the motion and excitement of a racing scene that takes place in the book. Considered the best novel about the Revolutionary War era, Drums was published by Scribner’s first in 1925, with a subsequent edition illustrated by Wyeth published in 1928. This particular scene captures a three-heat match race between a horse from Virginia, ridden by a jockey in red silks, and the local favorite horse from North Carolina, ridden in the second and third heats by Johnny, the novel’s protagonist (in yellow).

Drums was part of the Scribner’s Illustrated Classic series that Wyeth was commissioned to illustrate. The series, consisting of 25 books, is perhaps the work for which Wyeth is best known, though he began to resent the commercialism of illustrations only three years after he began the series.

When illustrating a book Wyeth would read the text several times before selecting a passage. He often made annotations in the margins indicating the particular passage he thought would be best to illustrate. In a 1912 editorial in the New York Times, Wyeth stressed the importance of not choosing the obvious passages to illustrate:

the 20th century art of countries often pushed to the periphery such as Russia, Sweden, and Spain. The two, who helped found the Chester County Fine Arts Society, were close friends and it is likely that Wyeth was introduced to modernism through Brinton.

In examining the upper half of The Horse Race, triangular planes of various shades of blue, green, and pink are readily visible. These strong diagonals not only create a sense of movement and excitement fitting to a horse racing scene, but also demonstrate Wyeth’s experimentations with modernism, in particular, Russian rayonism, one of the earliest avant-garde movements in Russia, and one favored by Wyeth’s good friend Brinton. While Wyeth never openly admitted to a direct rayonist influence, he did refer to a series of paintings as his “prism paintings.” What distinctly separates these paintings from an unmitigated rayonist style is Wyeth’s refusal to integrate his subjects into these planes of color, preferring to relegate them to the background.

His experiments with modernism, moreover, stem more from an attempt to capture the effects of light (in keeping with the lessons of his teacher, Howard Pyle) than from the intellectual theories that dominated the art of the early 20th century.

“It sounds paradoxical, perhaps, to say that by so restraining one’s self in the choice of subject one gains more freedom by it: but it is undeniably so. By avoiding the shackles of explicit action and detail described and insisted upon by the text, the illustrator attains a field of far greater range upon which to exercise his powers, emotional and technical, and is given a better chance to produce something of real merit. And, after all, if the talent of writing and painting are to be coupled into a harmonious whole, is it not just as important that the illustrator’s horizon be broadened as it is that the writer alone should be given perfect freedom?”

There is a striking contrast between the modernist planes in the upper register of the canvas and the 18th-century garb of the crowd of people in the background. The clothing of the two jockeys, however, is relatively timeless. This is somewhat surprising, as Wyeth was known for creating historically accurate scenes, especially in regard to period clothing. Perhaps the timeless dress of the jockeys is an effort to temper the contrast between the modernist prisms and the mass of people in tri-corner hats on the other side of the railing.

After the death of his mother in 1925, N. C. Wyeth began to experiment slightly with modernism. While this was mostly in his personal work, it did find its way into several of his illustrations, albeit in a more restrained manner. Dr. Joyce Stoner notes in Wyeth’s catalogue raisonné that “Wyeth’s paintings from 1925 to 1935 suddenly featured skewed perspectives…and Russian rayonism with futuristic planes, lines, and colors.” (p. 84). While Wyeth tended to subdue his modernist experiments in his illustrations, The Horse Race is a notable exception.

The railing in the lower half of the register visually separates the viewer from the scene. It serves as a barricade, keeping us out of the action. As the eye moves upward, however, we recognize people on the other side of the track. While we may not be dressed in Revolutionary War-era garb, we, like them, become spectators in the excitement of viewing the horse race. Moreover, the rails create horizontal registers in the painting, a visual technique used by many artists to facilitate visual digestion of the composition.

Wyeth’s friend Christian Brinton, a resident of nearby West Chester, Pennsylvania, was a noted art critic of the early 20th century who promoted The Sporting Art Auction

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99 | Sir Alfred James Munnings (British, 1878-1959) BETTS OF POCKTHORPE Oil on canvas, 18” x 24” Signed, dated 1896 $20,000. – 25,000.

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Exhibited: A Passionate Pursuit: the Milward Collection, Georgetown College, 2012 Literature: Munnings, Sir Alfred James. Autobiography: An Artist’s Life; Second Burst; The Finish. London, Museum Press Limited. 1950-1951, v.2 p. 70-71.

When Munnings was 17 and still enrolled part time at the Norwich School of Art, he spent many Saturday afternoons painting landscapes in his native Suffolk. With an ambition not uncommon in young men of 17, Munnings soon grew tired of painting small landscape studies and was eager to find a model so that he could include a figure into one of them. With the lessons of art school still fresh in his memory, Munnings took inspiration from JeanFrançois Millet (1814-1875), the French painter of the Barbizon school.

Millet is recognized for his paintings of peasants in rural France and was often criticized for showing paintings of contemporary social conditions at the Paris Salon. His painting The Sower (Museum of Fine Arts, Boston), along with The Angelus (Musée d’Orsay, Paris) and The Gleaners (Musée d’Orsay, Paris), is part of an iconic trio of paintings that depict French peasants as they were as opposed to romanticizing them. As this trio had cemented Millet’s place in the Western art historical cannon, Munnings was eager to follow suit.

and “Jumbo” had a portion on the allotments up there.”

“This time it must have been Millet’s pictures that gave me an idea; but, whatever the cause, I arranged with “Jumbo” to go round to his house with my things on a Saturday afternoon in November, and we both toiled up to his allotment, where he posed for me digging all the afternoon and again on the Sunday following.”

“Another memory: the digging figure, purple cabbages, yellowing leaves of fruit-bushes, the rising ground beyond—almost my first serious attempt at out-of-door figure-painting. “Jumbo” still stands there in that picture in somebody’s house—he stands there in my mind, too, to-day. I believe the canvas was only eighteen by fourteen, with “Winsor and Newton” stamped on the back, and I enjoyed the painting of this in the still November afternoon with all the thrills of eager youth and inexperience.”

(Munnings, An Artist’s Life, p. 70-71).

While this painting may seem atypical to those familiar with Munnings’ oeuvre, it is a strong piece that plays an important role in tracking the evolution and development of his style. For while he may have painted commissioned portraits for the elite (at the urging of his second wife), he also painted gypsies, circus performers, and, in this case, a friend digging in his allotment.

He found such a model in “Jumbo” Betts—a local man who polished lithograph stones for artists in the area. In his autobiography, Munnings recollects: “Jumbo” Betts—a real kind, humorous soul, who could put a wonderful polish on a stone, large or small. I can see him now, laying the steel straightedge along the surface of a large sixty by forty. Jumbo became a friend of mine. He lived in a low haunt of the city, called Pockthorpe, not far from the Cavalry Barracks. Mousehold Heath was only just above this parish,

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100 | Nicola Lazzari (Italian, born 1961) RICORDARE E DIMENTICARE Bronze, 6” x 20 ½” Ed. of 11 $10,000. – 12,000.

101 | Nicola Lazzari (Italian, born 1961) VIA DEL FOSSO Bronze, 9”x 14” Ed. of 11 $10,000. – 12,000.

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102 | Belinda Sillars (British, born 1961) ROOSTER ON A TREE STUMP Bronze, 5’8” x 35” Ed. of 9 $18,000. – 22,000.

103 | Belinda Sillars (British, born 1961) FOX Bronze, 25” x 35” Ed. of 9 $4,000. – 6,000.

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104 | Cindy Wolf (American, born 1946)

THE WINNER Bronze on marble, 18” x 22” Limited edition 9 of 9, copyright 1990 $16,000. – 19,000.

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105 | June Harrah (American, 1910-1997)

SPECTACULAR BID Bronze with very dark brown patina, 9 ½” x 11 ¾” $2,500. – 3,000.

Considered one of the top 20 racehorses of the 20th century, Spectacular Bid was a champion every year he raced, winning 26 of 30 career starts, including 13 grade I races. “The Bid,” as he became known, was a commanding winner of the Kentucky Derby and Preakness. His four-year-old campaign was flawless — going nine for nine, all in graded stakes.

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106 | Alexa King (American, born 1952) EPONA Bronze, 15 ¼”x 19” Ed. of 10 $4,500. – 6,500.

In Gallo-Roman religion Epona was a goddess of fertility and the protector of horses, donkeys, and mules.

107 | Alexa King (American, born 1952) FIELD LAB Bronze, 9 ¼” x 11 ¼” Ed. of 10 $4,000. – 6,000.

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108 | Charlie Langton (British, born 1964)

FRANKEL WINNING THE 2000 GUINEAS Bronze, 47” x 11 ¾” Ed. 1 of 12 $20,000. – 25,000.

Frankel retired as the highest-rated horse in the history of Timeform with a rating of 147. Frankel was the perfect racehorse, achieving 14 wins in 14 starts. Only Zenyatta has a record comparable to Frankel’s tally of nine consecutive grade/group I victories. Having raced in the distinctive silks of Prince Khalid Abdullah, Frankel now stands at the Prince’s Banstead Manor Stud.

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109 | Dylan Lewis (South African, born 1964)

LYING CHEETAH, LARGE MAQUETTE Bronze, 28” x 21 ¼” Ed. of 15 $20,000. – 25,000.

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110 | Olivia Musgrave (Irish, born 1958) AMAZON WARRIOR ON HORSE Bronze, 16 ½” x 13 ½” Ed. 8 of 9 $9,000. – 12,000.

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111 | Thomas Ostenberg (American, born 1949) GENESIS NO. 3 Bronze, 36” x 10 ½” Ed. 1 of 12 $20,000. – 25,000.

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112 | Liza Todd-Tivey (American, born 1957) SEATTLE SLEW Bronze, 14 ½”x 20” Ed. 20 of 75 $4,000. – 6,000.

Seattle Slew embodies the American Dream — from a $17,500 yearling purchase to a Triple Crown winner of more than $1,200,000.

His story threads its way from the colorful Kentucky breeder Ben Castleman to the two young couples who owned and raced him — Mickey and Karen Taylor and Dr. Jim and Sally Hill — then finally on to the stallion operations of Spendthrift and Three Chimneys farms, where he achieved renown as a major sire.

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113 | Nic Fiddian-Green (British, born 1963) STUDY FOR MARBLE ARCH Bronze, 30” x 10” with base Ed. of 25 $35,000. – 40,000.

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114 | John R. Skeaping (British, 1901-1980) SECRETARIAT Bronze, dated 1974, 9” x 17 ½” $10,000. – 15,000.

Voted Horse of the Year at two and three, Secretariat is considered by many to be one of the best — if not the best — horses of the 20th century. Secretariat ended a 25-year drought by winning the Triple Crown in 1973. Taking up residence in the stall of his sire Bold Ruler at Claiborne Farm in November 1973, Secretariat became an immediate tourist

attraction for horse people from the world over.

This is a smaller maquette of Skeaping’s statue that stands in the paddock of Belmont Park.

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115 | Liza Todd-Tivey (American, born 1957) NASHUA AND CLEM Bronze, 12 ½” x 16” $4,000. – 6,000.

Upon Nashua’s death in 1982, Leslie Combs II commissioned Liza Todd-Tivey for a half-scale statue of Nashua being led by his groom Clem Brooks. This Lot is a smaller version of the original at Spendthrift. While many fans came to visit Nashua when he stood at the farm, Brooks inevitably became a favorite too. An often-told story relates that many admirers would ask Brooks for Nashua souvenirs, and he would always oblige by pulling a horseshoe that he said was

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“off Nashua” out of his pocket to sell them. What the fans never knew was that Brooks would rummage around after the blacksmith departed and pick up any horseshoes he could find. Covering his bases, the clever Brooks always said they were “off” Nashua, never “on,” and that was true, as Nashua was not wearing them. In the bronze offered here, you can see the outline of a horseshoe in Clem’s right pocket.

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

BRITANNIA, LULWORTH, AND WHITE HEATHER OFF COWES, 1927 Oil on canvas, 36” x 60” Signed $30,000. – 40,000.

Cowes, the site of the Royal Yacht Squadron, plays host each year to the Royal Yacht Squadron Regattas, informally called Cowes Week. In this scene Richard Firth captures the excitement of the 1921 regatta. Britannia and Lulworth, flying every possible inch of sail, vie for the lead, yet are trailed closely by White

Heather, featured in the background. The combination of Firth’s firsthand sailing experience and artistic talent have made him into one of today’s foremost maritime painters.

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

BRITANNIA AND LULWORTH RACING OFF THE ROYAL YACHT SQUADRON Oil on canvas, 12” x 16” Signed $6,000. – 8,000.

Britannia was built in 1893 for King Edward VII when he was still Prince of Wales. She was undoubtedly the most famous racing cutter of her era. Hugely successful, she won 33 out of 39 starts in her maiden season and competed against the fastest yachts of the day. Her second racing career commenced when King George V refitted her for big class competitions in 1921. Under the King’s ownership, Britannia was wildly successful. Despite being re-rigged seven times, her hull shape was so efficient that she remained competitive until the big J-class boats introduced in the 1930s outclassed her.

Lulworth was designed and built in 1920 for Mr. R. H. Lee. She was originally christened Terpsichore and rigged as a cutter.

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

BRITANNIA AND LULWORTH RACING OFF THE ROYAL YACHT SQUADRON Oil on canvas, 12” x 16” Signed $6,000. – 8,000.

Purchased by Sir A. Mortimer Singer — the son of the inventor of the sewing machine, she was renamed Lulworth, a name she retains to this day. A splendid boat from the start, she nevertheless came into her own under Alexander Paton’s colors and became a familiar and successful competitor at Cowes during the final years of King George V’s long patronage.

Ironically, Britannia (the King’s yacht) and Lulworth were both laid up after the 1935 season, the former never to sail again due to the King’s death in January 1936, the latter for sale to Mr. Carl Bendix who kept her until the World War II.

119 | Larry Dodd Wheeler (American, born 1942) BLUE COWS Oil on canvas, 24” x 48” Signed $6,000. – 8,000.

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120 | Booth Malone (American, born 1950) WINTER’S PACK WATERING Oil on board, 8 ½” x 23 ¾” Signed $6,000. – 8,000.

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121 | Kelly Robertson Brewer (American, born 1970) BLUEGRASS BATH Oil on linen panel, 34” x 34” Signed $5,000. – 7,000.

A common scene in the Bluegrass region of Central Kentucky, these cattle were painted on a farm off Walnut Hill Road near Lexington.

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122 | Nelson Boren (American, born 1952) VETERAN Watercolor, 33” x 44” Signed $8,000. – 10,000.

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123 | André Pater (Polish/American, born 1953) ENEMY TERRITORY I Charcoal, pastel 40” x 30” Signed $12,000. – 15,000.

124 | André Pater (Polish/American, born 1953) ENEMY TERRITORY II Charcoal, pastel 40” x 30” Signed $12,000. – 15,000.

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125 | André Pater (Polish/American, born 1953) AFTER THE HUNT Oil on canvas, 30” x 40” Signed $125,000. – 150,000.

“It was the first large-size hound painting I did while in the Bluegrass. The time of day was the major source of inspiration: reflection of sun-setting orange on the ground, dark blue smudges of shadow.” – André Pater

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This painting was exhibited at the University of Kentucky Art Museum in 2010 as part of the Pater retrospective The Bluegrass Palette of Andrė Pater.

126 | Dede Gold (Irish, born 1971) SCARTEEN BOYOS Oil on canvas, 36” x 54” Signed $8,000. – 10,000.

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127 | Valerie Hinz (Canadian, born 1956) BRAHMA GIRLS Oil on board, 16” x 20” Signed $2,500. – 3,500.

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128 | Marjorie Guyon (American, born 1955)

as one Pigment, marble dust, collage on panel, 14” x 39 ¼” Signed $6,000. – 8,000.

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129 | Frank Nelson Ashley (American, 1920-2007) PONYING Acrylic on board, 20 ½” x 24 ½” Signed $3,000. – 5,000.

130 | Frank Nelson Ashley

(American, 1920-2007) RACING Watercolor on board, 15” x 26” Signed $3,000. – 5,000.

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131 | Jeaneen Barnhart (American, born 1967) DRIVING Charcoal and pastel, 35” x 72” Signed $3,500. – 5,000.

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132 | Jeaneen Barnhart (American, born 1967) Horse and jockey Charcoal and pastel, 26” x 24” Signed $1,000. – 1,500.

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133 | Abel Kestevan (British, born 1969) BEFORE THE RACE Pastel, 17” x 13” Signed $1,500. – 2,500.

134 | Abel Kestevan (British, born 1969) CIRCUS STUDY Pastel, 13 1⁄2” x 18” each Signed $3,000. – 4,000. (pair)

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135 | Leslie Humphrey (British, born 1957) THE ROSE IN THE ARENA Oil on canvas, 48” x 48” Signed $10,000. – 12,000.

Inscribed on verso: “It’s not the critic who counts; it’s not the man who points out how the strong woman stumbled. Credit belongs to the woman who is in the arena; whose face is marred by dust, sweat, and blood, who strives valiantly, who errs, who comes short again and again, because there is no effort without error and shortcoming, but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends

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herself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if she fails, at least fails while daring greatly, so that her place shall never be with those cold and timid souls who neither know victory nor defeat.” – Teddy Roosevelt (modified quote)

136 | Leslie Humphrey (British, born 1957) ASCENDING Oil on panel, 24” x 12” Signed $3,000. – 5,000.

Depicted here is the legendary jumper Snowman.

Snowman was a former plow horse headed for the slaughterhouse when he was spotted by Harry de Leyer and purchased for $80. After the horse repeatedly jumped high fences in escape attempts, de Leyer began training him as a show jumper. Two years after his purchase, Snowman was winning classes, including a leadline class and an open jumper championship in the same day.

Retiring after a five year career, his story appeared in Life magazine twice and included an appearance on The Tonight Show with Johnny Carson. Snowman also is the subject of a book. He was inducted in the Show Jumping Hall of Fame in 1992.

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137 | Charles Church (British, born 1970)

STUDY FOR THE ROYAL ASCOT PROCESSION Oil on canvas, 12” x 16” Signed $4,000. – 5,000.

Depicting what has been called “the most quintessentially British event in the racing calendar,” this Lot shows the Queen of England’s Royal procession to the Ascot races.

The royal party enters in horse-drawn landaus at the Golden Gates, drives up the Straight Mile, and, turning into the Royal Enclosure, finally arrives at the Parade Ring.

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This picture is a study painted from life for a large canvas of the Royal Procession painted by Church in 2013, the year Her Majesty won the Ascot Gold Cup with her horse Estimate.

Church’s work can be found in the collections of Sultan of Oman, the Aga Khan, and Lady Lloyd Webber.

138 | Thomas J. Coates (British, born 1941)

AFTERNOON LIGHT, PADDOCK, KEENELAND Oil on canvas, 20” x 24” Signed with monogram $5,000. – 6,000.

139 | Thomas J. Coates (British, born 1941) TO THE TRACK Oil on canvas, 30” x 40” Signed with monogram $12,000. – 14,000.

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140 | Susan Crawford (Scottish, born 1941) FREE AGAIN Oil on board, 11”x 14” Signed and inscribed $6,000. – 8,000.

Free Again, a chestnut daughter of champion Stage Door Johnny, was bred in Kentucky by Mr. and Mrs. Robert L. Green and William T. Young. Racing for her breeders at three and four, the filly won five times in New York, including a 5¼-length allowance victory at Saratoga. After her racing career, Free Again entered stud at Overbrook Farm and was eventually sold at Keeneland to Agricola A., which took her to Italy in foal to Cure the Blues.

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Inscribed on the back of this painting are notes by Mr. Green noting that John Hay Whitney and Paul Mellon would fly the artist to Lexington to paint their horses. It was on one of these occasions that Green and Young had her paint Free Again, named for the song sung by Barbra Streisand.

141 | Peter Curling (Irish, born 1955)

HACKING TO THE START, THE CURRAGH Oil on canvas, 30” x 40” Signed $20,000. – 25,000.

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142 | Peter Curling (Irish, born 1955) PUSH COMES TO SHOVE Oil on canvas, 24” x 60” Signed $25,000. – 30,000.

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143 | Valerie Hinz (Canadian, born 1956) TOURNAMENT PARADE ON HER MAJESTY’S BEHALF Oil on canvas, 8” x 10” each Signed $3,000. – 4,000. (pair)

Painted at the Spruce Meadows “Masters” Tournament in Calgary, this pair depicts Strathcona’s Mounted Troop. Highlighted by the Nation’s Cup and the CN International Grand Prix, the Masters is one of the richest show jumping events in the world. Largely ceremonial today, Strathcona’s Mounted Troop consists of active military personnel who carry on the traditions of the Royal Canadians, horsemen who were recruited to match the Boers of South Africa who were defeating the British soldiers during the Second Boer War.

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144 | Ashley Collins (American, born 1967) HERCULES Triptych, 96” x 120” Signed $145,000. – 165,000.

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Hercules presents the beautiful struggle which defines us — finding our greatest strength and balancing our greatest compassion.

Rejoicing in our own power to create history. Most of us are familiar with the outlines of the story of Hercules, the Roman name for the Greek divine hero Heracles, son of Zeus and the mortal Alcmene. But there is yet another story of Hercules, which for Collins better defines our own struggle: Hercules the racehorse.

Born in 1826 and at 15.2 hands, Sir Hercules was discounted early on. Yet this amazing horse, with little room even for a saddle, went on to be undefeated in Ireland, to win the Sweepstakes at York, the Claret Stakes, and Liverpool’s Stand Cup. After his victories he was again discounted as a stud, shuffled and shunted between seller and buyer without thought … yet both his sons and daughters had a profound impact on the bloodlines of horses in Australia, England, Ireland, the United States, and France.

In this master oil, Collins paints the figurative horse intentionally without exactness, preferring to allow the oils to drip symbols of age, the passing of time, wisdom gleaned. The figurative horse interacts with layers of historical pages from the 1800s, pages that were touched by those living concurrently with Sir Hercules. The word “alchemy” is painted as a throughline on the right side of the work, representing our destiny if we are only willing to see it, forward looking. References to Edward Muybridge, the famous photographer and the father of film, are found throughout the work as a reminder that we are always in motion, headed for achievement, aided by the strength of generations. Truly, we each have within us Hercules.

Copy courtesy of Ashley Collins Studio

How like our own life and accomplishments. We are each alternately praised and discounted throughout our lives, but it is the strength of our individual souls that rises above both praise and critique, and lifts our lives beyond that which we see and touch. To be truly great is to impact future generations.

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145 | Peter Howell (British, born 1932)

going home after work, saratoga Oil on canvas, 14” x 18” Signed $5,000. – 7,000.

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146 | Peter Howell (British, born 1932) TURNING FOR HOME Oil on canvas, 24” x 36” Signed $16,000. – 20,000.

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147 | Jean Bernard Lalanne (French, born 1952) FINAL FURLONG Oil on canvas, 39” x 47” Signed $8,000. – 10,000.

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148 | Katherine Landikusic (American, born 1965) JOCKEY IN YELLOW AND WHITE SILKS AND RED CAP Pastel, 26” x 22” Signed $4,000. – 5,000.

149 | Katherine Landikusic (American, born 1965)

JOCKEY UP, GREEN AND WHITE SILKS, WITH RED CAP Pastel, 28” x 22” Signed $4,000. – 5,000.

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150 | Booth Malone (American, born 1950) FULL TANK, AIKEN Oil on canvas, 12” x 16” Signed $1,200. – 1,500.

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151 | Joanne Mehl (American, born 1960)

BREEDERS’ CUP POST PARADE, OUTRIDERS IN PURPLE JACKETS Oil on board, 15” x 23” Signed $4,000. – 6,000.

Joanne Mehl was the official artist for the 2007 Breeders’ Cup World Championships held at Monmouth Park. This was one of her studies for the final piece.

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152 | Joanne Mehl (American, born 1960) NAP Oil on board, 10 ½” x 13 ½” Signed $3,000. – 5,000.

This painting appeared on the cover of the Summer 2011 issue of Keeneland Magazine. A copy of that issue will accompany the Lot.

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153 | Peter Smith (British, born 1949)

DAWN OVER MONT SAINT-MICHEL, NORMANDY, FRANCE Oil on canvas, 22” x 30” Signed $6,000. – 8,000.

Known for its towering abbey, the Bay of Mont Saint-Michel has been a strategic fortification point since ancient times. Long a place associated with horses since William the Conqueror and his men were depicted on horseback in the tidal flats on the Bayeux Tapestry, the area served as the starting point for the endurance event of the 2014 Alltech FEI World Equestrian Games.

154 | Peter Smith (British, born 1949) SNOW RACING, ST. MORITZ Oil on canvas, 26” x 38” Signed $12,000. – 15,000.

Since 1907, flat racing, trotting, and skijoring have been run on Lake St. Moritz. Every year event organizers must wait until the lake freezes enough to be deemed safe and then snow is compacted on top of the ice.

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155 | Theo Waddell (American, born 1941) ARCO HORSES NO. 12 Oil on canvas, 60” x 80” Signed, dated 2009 $25,000. – 30,000.

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156 | Jo Taylor (British, born 1969)

THE BIG DREAM Mixed media on paper, 32” x 59” Signed $7,000. – 9,000.

Provenance: Exhibited jockey club rooms, Newmarket

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157 | Theo Waddell (American, born 1941) RED WILLOW ANGUS #12, 2014 Oil, encaustic on canvas, 36” x 42” Signed $12,000. – 14,000.

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158 | Larry Dodd Wheeler (American, born 1942) STUDIES OF ANIMAL KINGDOM Oil on board, 18” x 24” Signed and inscribed $3,500. – 5,000.

Animal Kingdom roared through the stretch, passing Shackleford and Nehro to score a nearly three-length victory in the 137th Kentucky Derby Presented by Yum! Brands in 2011. Two years later he again gave a stunning come-frombehind performance to win the Dubai World Cup Sponsored

by Emirates Airline. Before retiring to stud, Animal Kingdom made one last racetrack appearance — in the Queen Anne Stakes, becoming only the third Kentucky Derby winner to start at Royal Ascot.

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159 | Larry Dodd Wheeler (American, born 1942) KEENELAND PADDOCK, SPRING MEET Oil on canvas, 8” x 12” Signed $1,500. – 2,000.

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160 | Sir Alfred James Munnings (British, 1878-1959) PIERROT Watercolor, 12” x 5 ¾” Signed and dated ‘07 $5,000. – 7,000.

Sir Alfred James Munnings, in his autobiography, describes his fondness for the circus. He recollects a time when he “had been following a travelling circus round to some of the market towns.” Later in life, while writing the final volume of his autobiography, he looks back on the clowns and other circus performers he knew. “Mills’ Circus! How wonderful! A sight for the artist. Often I made sketches there…” Frequently, he worked alongside Dame Laura Knight, one of his contemporaries, whose circus pictures to this day are immensely well received.

Munnings, Sir Alfred James. Autobiography: An Artist’s Life; The Finish. London: Museum Press, 1951, v.2, p.271.

Pierrot, the clown featured in the foreground, is a stock character in pantomime theatre who was popular around the turn of the century in circus performances and the theatre, particularly in Great Britain.

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161 | Susie Whitcombe (British, born 1957) PIROUETTE Oil on board, 12” x 14” Signed $2,000. – 3,000.

Illustraded: Robert Fountain, The Art of the Traditional Circus, London: Palette Press, 2011 Painted at Gifford’s Circus, Lechlade, England.

162 | Susie Whitcombe (British, born 1957) WAITING IN THE WINGS Oil on board, 9” x 12” Signed $1,500. – 2,000.

Illustraded: Robert Fountain, The Art of the Traditional Circus, London: Palette Press, 2011 Based on the traditional circus originating in the 1700s, Cirque National Alexis Gruss still revolves around the horse as an integral part of the show, and the events are based on military actions of defense and spectacle.

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163 | Peter Williams (New Zealand/American, born 1934) DEL MAR Oil on canvas, 30” x 40” Signed $12,000. – 14,000.

164 | Peter Williams (New Zealand/American, born 1934) LONE STAR Oil on canvas, 24” x 30” Signed $8,000. – 10,000.

Home to both Thoroughbred and Quarter Horse racing, Lone Star Park opened in 1997.

In 2004 the track served as the host for the Breeders’ Cup World Championships.

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

STUDY FOR TRAINER MURAL AT CHURCHILL DOWNS Watercolor, pastel, 24” x 84” $15,000. – 20,000.

After the success of his 2004 mural depicting every jockey who had won the Kentucky Derby to that point, PEB was once again commissioned by Churchill Downs for another piece, this time showing the 104 trainers who had captured the “Run for the Roses.” By 2008 he had finished this mural showing every winning trainer from the first, Ansel Williamson with Aristides in 1875, to the 133rd, Carl Nafzger with Street Sense in 2007. Searching

through archives for photos from racing’s history so he could accurately depict each trainer, PEB worked on the project for almost a year. This Lot is the study for the final work currently hanging in the second floor clubhouse of the legendary racecourse.

This Lot is a complement to the study auctioned by this house November 20, 2013.

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166 | Ernest Smythe (British/American, 1874-1950)

A RUN WITH THE ALDERSHOT DISTRICT BEAGLES Watercolor and bodycolor en grisaille, 18” x 13 ½” Signed and dated ‘96, inscribed $1,000. – 1,500.

This painting is believed to have been published in The Sketch, a society magazine with regular features on royalty and the aristocracy, theatre, cinema, and art studies as well as regular layouts of point-to-point racing and similar events. Smythe worked as an illustrator for the magazine in 1896, the same year this piece was created. Later he moved to California and worked in the art department for several film studios.

The most famous movie he worked on was King Kong in 1933.

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167 | LeRoy Neiman (American, 1921-2012)

TURF SEXTETE Oil on board, 10” x 31 ¼” Signed and inscribed on verso LeRoy Neiman ‘74 New York $35,000. – 45,000.

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168 | LeRoy Neiman (American, 1921-2012)

BILL HARTACK WINS WITH MAJESTIC PRINCE Oil on panel, 36” x 60” Signed and dated ‘69 $125,000. – 150,000.

Majestic Prince not only gave Bill Hartack his fifth Kentucky Derby win but his first Kentucky Derby win aboard the favorite. In the stretch Majestic Prince wore down Arts and Letters, the only horse ever to beat him, and Dike to win by a neck. “The Prince” entered the Belmont as the only

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undefeated entry up to that time, but all was not well. The chestnut colt had exited the Preakness with a problem in his right front tendon, leading to questions about his ability to contest the third leg of the Triple Crown. A badly beaten second in the Belmont, Majestic Prince never raced again.

169 | Sandra Faye Oppegard (American, born 1941) ENTRY NO. 10, KEENELAND Watercolor, 19” x 29” Signed, dated 2014 $4,000. – 6,000.

170 | Sandra Faye Oppegard (American, born 1941) A LITTLE KEYED UP Watercolor, 13” x 20” Signed $3,000. – 4,000.

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171 | André Pater (Polish/American, born 1953) HORSE & JOCKEY Oil on board, 9” x 12” Signed $16,000. – 18,000.

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172 | André Pater (Polish/American, born 1953) TO THE WINNERS CIRCLE Oil on canvas, 32” x 38” Signed $125,000. – 150,000.

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173 | Richard Stone Reeves (American, 1919-2005) NASHUA Oil on board, 11” x 14” Signed and inscribed $9,000. – 12,000.

National Museum of Racing Hall of Fame inductee Nashua became only the second horse to earn more than $1 million.

After the death of his owner, William Woodward Jr.’s Belair Stud, he became the first Thoroughbred sold for $1 million or more.

Bred to be a stayer, Nashua won both the Belmont and Preakness Stakes, earning him the Horse of the Year title.

Inscribed verso: Nashua, painted for Leslie Combs II by Richard Stone Reeves 1958

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174 | Richard Stone Reeves (American, 1919-2005) PUCKER UP Oil on board, 11” x 14” Signed, inscribed and dated 1957 $5,000. – 7,000.

Inscribed verso: Pucker Up, Bay Filly, Foaled 1953

By Olympia, Out of Lou Lea, By Bull Lea Painted by Richard Stone Reeves, 1957 Hall of Fame inductee James P. Conway said of his charge Pucker Up, “She’s a fine, solid mare, usually pretty high in flesh.” As a four-year-old in 1957, Pucker Up was first or second in 10 of 13 starts and was named champion older mare for her efforts. It was a well-deserved title as in the Washington Park Handicap she beat the boys, including the outstanding Swoon’s Son.

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175 | Juli Kirk (American, born 1957) CONTEMPLATION Oil on canvas, 20” x 20” Signed $4,000. – 5,000.

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ARTIST

BIOGRAPHIES Akeley, Carl Ethan American, 1864-1926 Carl Ethan Akeley is considered the father of modern taxidermy. As the founder of the American Museum of Natural History’s Exhibition Lab, Akeley proved innovative, bringing together science and creativity to public displays. In addition to being a taxadermist, he was skilled as a sculptor, biologist, photographer, conservationist, and inventor. Akeley was a member of the National Sculpture Society.

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

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

Bellocq, Pierre, a.k.a. Peb French, born 1926 American racing fans have been entertained, amused, and delighted for over 50 years by the vividly colorful characters created by the fertile mind of Peb. Born into a family of French horsemen, Peb came to America in the mid 1950s, eventually landing at publisher Walter Annenberg’s Daily Racing Form and Philadelphia Inquirer, where he did both political and racing cartoons. The exhibit titled “Peb: The Art of Humor” ran 18 months at the National Museum of Racing.

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

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

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

Berti, René Italian/French, 1884-1939 Born in Padua, Italy, René Berti was the son of Giuseppe Marianno Pio Berti, owner of a prestigious artistic foundry, which was commissioned to do much of the restoration work on Saint Anthony’s Basilica. Berti moved to Paris during the early years of impressionism, and soon the newspapers praised his skills as a colorist. In addition to his large body of work as a painter, he also illustrated books and posters, sometimes under the name of Ribet.

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

Boren, Nelson American, born 1952 A native of Tempe, Arizona, Nelson Boren graduated cum laude in architecture at Arizona State University in 1978. After an award-winning career as an architect, Boren sold his firm in Arizona and moved to Idaho in 1990 to paint full time. He has been featured in numerous national publications and was

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selected as one of the foremost contemporary artists in Leading the West, Northland Publishing, 1997, and was part of a national museum tour titled “The Other Side of the West” from 2000-2004.

Bretland, Thomas Walker British, 1802-1874

This Nottingham-born artist began sketching at an early age, much to his father’s dismay. While he apprenticed in his father’s coach and carriage painting business, he began painting animal portraits and accepted commissions. After his father’s death he left the family business to his younger brother and took up painting full time with the encouragement of Lord Middleton, one of the first of his many important patrons.

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

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

Brown, John Lewis French/Scottish, 1829-1890 Born in Bordeaux, France, to a Scottish family of Stuart partisans, John Lewis Brown studied at the Ecole des Beaux-Arts with Camille Roqueplan and JeanHillaire Belloc. Brown’s works include studies of horses and dogs, particularly hunting and military scenes. Some of his most admired works are of the American Revolutionary War, the Seven Years’ War, and the Franco-Prussian War of 1870.

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

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

Collins, Ashley American, born 1967 “Oversized” and “massive” are words usually used to describe the equine art works of Ashley Collins. Collins’ mega-sized contemporary pieces are achieved through a layering collage technique of equine painting with printed pages and obscured historical images. Collins was mentored by famed modern artist Robert Rauschenberg and has now achieved her own increased level of collectability.

Comte du Passage, Arthur-Marie-Gabriel French, 1838-1909 In spite of his noble birth, du Passage studied sculpture with Antoine-Louis Barye and Pierre Jules Mene. Injured while serving in the army, du Passage was paralyzed from the waist down and was bound to a wheelchair. His subjects were animals, especially horses, and he first showed at the Salon of 1865. His output was small; his work, rare.

Cooper, Thomas Sidney British, 1803-1902 Bucolic scenes of country landscapes with cattle were the focus of this Royal Academy artist’s work. Cooper lived all his life near Canterbury and also taught there. He first exhibited at the Royal Academy in 1833, was elected A.R.A. in 1845, and to full academy membership in 1867. Many of his works were set in the Canterbury marshes.

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

Crawford, Susan L. Scottish, born 1941 Following her schooling in Britain, Crawford was accepted for study in Florence, Italy, with the renowned Signorina Nera Simi. Since then, her work has been sought after, and she has earned many commissions, including from the British royal family. Limited edition prints have been made of several of her paintings, including that of Ribot.

Cross, Henry H. American, 1837-1918 Henry H. Cross is most noted for his large inventory of portraits of notable Native Americans, U. S. generals, trappers, and the like. As a teenager, Henry H. Cross studied in Paris with Rosa Bonheur. His ability to portray animals in action helped secure him major commissions from wealthy American turfmen. His works are a major part of the collections housed by the Gilcrease Museum in Tulsa, Oklahoma, and the Buffalo Bill Historic Center in Cody, Wyoming.

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.

Cullin, Isaac James British, 1881-1947 Gravitating to horse portraiture from human portraiture, Cullin produced a variety of scenes, including his famous Saddling Room, Newmarket and Weighing Room, Epsom. He was not a hands-on horseman, however, and his depictions of people are often superior. Not much is know about his early life or training.

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

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

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.

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

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

de Prades, Alfred F. British, 1840-1895 Little is known about this fine painter except that he showed his work at the major exhibitions. His subjects ranged from sporting, coaching, and military scenes to still lifes and portraits. Because he painted a number of Spanish and Russian subjects, it is thought he might have traveled abroad.

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

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

Flannery, Vaughn American, 1898-1955 Born in Louisville, Kentucky, Flannery studied at the Art Institute of Chicago, then went into advertising, working his way up to a vice presidency of Young & Rubicam. Retiring in 1941 to devote his time to painting, Flannery received

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commissions from prestigious owners and breeders, including Greentree Stables and Alfred G. Vanderbilt. In his one-man shows at New York’s Kraushaar Galleries, he documented American Thoroughbred racing with an insider’s eye.

exhibiting around the world, including Geneva, Chicago, Paris, Tokyo, and Rome.

His works are known for their use of vibrant colors on a simple, well-balanced background

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

Guyon, Marjorie American, born 1955 Exhibited in New York, Chicago, Detroit, Atlanta, Memphis, and Los Angeles, the works of Marjorie Guyon are layered compositions of organic materials and history. Her art has been described as “contemporary ancient.” Inspired by poetry, Guyon creates collages with borders of painting much the way the words of a poem appear on a printed page.

Fuchs, Bernie American, 1932-2009 Being the youngest illustrator ever to be elected to the Society of Illustrators Hall of Fame speaks volumes on both the rise and the talent of Bernie Fuchs. The American Sport Art Museum and Archives named Fuchs Sport Artist of the Year in 1991. His commissions included four U.S. postage stamps and five U.S. presidents.

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

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

Grau-Sala, Emilio Spanish, 1911-1975 Emilio Grau-Sala studied at the Art Academy in his native Barcelona before moving to Paris. Grau-Sala became known for his works as a colorist in oil, watercolor, and pastel, and as an illustrator. He received one of the first Carnegie prizes, in 1936, which led to regular exhibitions and a growing audience in the United States.

Guiramand, Paul French, 1926-2008 Having moved to Paris in the 1930s, Paul Guiramand was witness to war-torn France before entering the L’Ecole des Beaux-Arts in 1943. He was a pupil of the French painter and professor Maurice Brianchon. By the 1960s Guiramand was

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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.

Harrah, June American, 1910-1997 The daughter of a gentleman rancher, June Harrah was born and raised in Yakima County, Washington. Her formal training began at 14, revealing her affinity for animals. Commissions from such patrons of the turf as Richard S. du Pont, Paul Mellon, and Ogden Phipps followed. Harrah is best know for her 1936 series of small-scale bronzes of the top dogs of the day. However, her works are not limited to bronzes as she also painted in oils and watercolors.

Haseltine, Herbert Chevalier Italian/American, 1877-1962 Born in Italy of American parents, Haseltine studied at Harvard and then returned to Europe for art instruction in Munich, Rome, and Paris. Advised by his friend Aime Morot to try sculpture as a means of improving his painting, he produced an award-winning first attempt that brought acclaim and commissions from European royalty. It also marked the beginning of his 40-year quest to model “the perfect horse.” In the 1920s and 30s, Haseltine sculpted champion racehorses in England and the United States, including the Man o’ War statue at the Kentucky Horse Park. The equestrian statue George Washington on the grounds of Washington Cathedral is one of his finest works.

Havell, Alfred Charles British, 1855-1928 Alfred Charles Havell descends from the famous Havell family of Berkshire, England, a family noted for producing engravers, painters, etchers, and assorted artisans. A. C. Havell first exhibited at the Royal Academy in 1878 and soon went to work for Messrs. Fores of Piccadilly. He was employed to portray the great racehorses of his day. Havell was still working for the Fores Gallery when he died of pneumonia in 1928.

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

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

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

Hoffman, Frank B. American, 1888-1958 Growing up around his father’s New Orleans-based racing stable, Frank Hoffman developed a love for animals. He worked as an illustrator for the Chicago American newspaper before moving West, eventually ending up in Taos, New Mexico. Hoffman worked under contract for the Brown & Bigelow Publishing Company and produced more than 150 paintings over a 14-year period. As a sculptor, he was hired by the Cooper Underwear Company to produce the Jockey Boy as a symbol for its Jockey brand of underwear.

Holiday, Gilbert Joseph British, 1879-1937 From a privileged background, Holiday was educated at Winchester and then the Royal Academy schools. A talented horseman, he hunted with the Woolwich Drag but drew and painted every kind of equestrian sport. At times he shared a studio with Lionel Edwards, who greatly admired his sensitive, accurate work.

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

Humphrey, Leslie British, born 1957 Being the daughter of a commercial artist and painter, art has always been a part of Humphrey’s life. Her art has been influenced by Sir Alfred Munnings and the Russian itinerants — Nicolai Fechin and Wassily Kandinsky — and most recently Richard Diebenkorn. Humphrey has served as the official artist of the Kentucky Derby and has works in prominent collections throughout Britain and the U.S. Jones, Paul British, fl. 1855-1888 Paul Jones is best known for his portrayal of dogs and hunting scenes. Jones’ works are usually quite small and intricately detailed. He is the son of recognized sporting and equestrian artist Samuel John Egbert Jones (fl. 1812-1849).

Kahler, Carl Austrian/American, 1855-1906 Born in Austria, Carl Kahler was an artist with an international reputation.

He painted while living in Austria, Germany, Australia, and the United States, where he spent time in San Francisco, Chicago, Philadelphia, and New York City.

Kahler’s inventory is as diverse as the territories it represents. His sporting art includes numerous equine images and scenes from Melbourne Cup Day. Kesteven, Abel British, born 1969 Kesteven enjoys the challenge of capturing the interaction between people and horses, especially the challenge of the fast pace. While working almost exclusively from life using conte pastels, Kesteven finds he can gain maximum color and movement with that fast medium. His work has been selected for the annual Pastel Society exhibition held at the Mall galleries near Buckingham Palace.

King, Alexa American, born 1952 King’s ability to capture the unique vitality and essence of her living subjects in bronze has brought her national renown and made her work some of the most sought after by discriminating collectors. Public and private commissions include a life-size War Memorial bronze at Camp Atterbury in Indiana; a trophy, Going to the Post, for the Breeders’ Cup Limited; and the Dogwood Dominion Award presented annually by Dogwood Stables in Aiken, S.C. King, Warren American, 1916-1978 An American cartoonist and painter, Warren King was best known for his political cartoons. Born on Long Island, New York, in 1916, King gained a bachelor’s degree from Fordham University and then studied at the Grand Central School of Art and the Phoenix Art Institute. Although trained as a painter, he specialized in cartoons and illustrations for books, movies, and advertising.

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

La Fontaine, Thomas Sherwood British, 1915-2007 With an inventory spanning 50 years, Thomas La Fontaine had an impressive range of styles, from cartoons to photo-like realisim 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 des Beaux-Arts in Pau. Lalanne painted while supporting himself as a policeman, the occupation of his father. Lalanne came to Colorado to work with American painter Kim English after winning a painting competition in the Paris suburb of Vincennes. His recent works have focused on life in the Pyrenees, including the racing bulls in Spain and Andalusian horses. He regularly exhibits at shows in Paris and Bayonne, France.

Landikusic, Katherine American, born 1965 Landikusic studied art at the Marchutz School of Art in Aix-En-Provence, France, and received a B.F.A. from Utah State University. She has created equine-oriented designs and a calendar for Hallmark Cards and paints commissioned portraits of people and horses. An avid equestrian, Landikusic has owned horses and competed in three-day eventing. Her works can be found in the collections of such prestigious farms as Gainesway Farm, WinStar Farm, and Three Chimneys Farm .

Langton, Charlie British, born 1964 Anyone who has seen the life-sized statue of four-time Ascot Gold Cup winner Yeats gracing the parade ring at Royal Ascot will acknowledge Charlie

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Langton’s combined love of equines and art. Growing up among horses in the Wiltshire countryside, Langton has achieved an innate sense of equine form and athleticism. He has been able to take his artistic talent and transform such diverse media as pencil, charcoal, chalk, oil, plaster, bronze, and silver.

Lazzari, Nicola Italian, born 1961 The artistry of Nicola Lazzari is strongly influenced by the Italian tradition of making small bronzes. However, Lazzari’s works are completely modern in concept while exhibiting this connection to works as early as the 16th century.

His work is a strange mixture of the magical and natural and is perhaps also influenced by his cosmopolitan upbringing. He avoids the changes in scale when bringing a large sculpture down to tabletop proportions by creating his art as small works from concept on.

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

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

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

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

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.” 10 Dec 1900 obituary, New York Times

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

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

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

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

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

Molina Campos, Florencio Argentine, 1891-1959 An illustrator and artist known for his artistic humor, Molina Campos depicted traditional scenes of the Argentine pampas. Long-time friend Walt Disney admired Molina Campos’ work to the point that Disney engaged him for consulting work on such films as Bambi. His love and knowledge of Argentina’s Patagonian region can be seen in the flora and fauna depicted in the film.

Molina Campos first exhibited at the Argentina Rural Society in 1926, and his last showing was as a posthumous tribute in 1959.

Munnings, Sir Alfred James KCVO, PRA, RWS, RP British, 1878-1959 One of the two great masters of sporting art along with George Stubbs, Munnings began as an illustrator after attending art school in Norwich. A

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

Musgrave, Olivia Irish, born 1958 London-based Musgrave was born in Dublin to an Irish father and a Greek mother. Her knowledge and love of all three locations comes through in her sculpture — everything from the horse to ancient mythology. Her artistic influences have primarily been 20th-century Italian sculptors. She is a member of both the Royal Society of British Sculptors and the Society of Portrait Sculptors.

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

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

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

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

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

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

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

Reeves, Richard Stone American, 1919-2005 Quite simply, Richard Stone Reeves is among the very top of American equine portraiture artists, ranking him with such names as Edward Troye, Henry Stull, and Franklin Voss. A direct descendant of 19th-century portrait painter Thomas Sully, Reeves was trained at the Syracuse University School of Fine Art. His commissions included hundreds of the most famous racehorses from around the world.

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

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

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Rumsey, Charles Cary American, 1879-1922 Born into a family of modest wealth and social prominence, Charles Cary Rumsey attended Harvard University, the Boston Art School, and the Ecole des Beaux-Arts in Paris. Rumsey was certainly no stranger to the equestrian world, as he was ranked as an eight-goal polo player. His sculpture ranges from small commission pieces to massive public works.

Scott, Thomas James American, 1824-1888 Born and raised in Pennsylvania, Thomas Scott studied at Philadelphia’s Central High School where portrait artist Rembrandt Peale was his graphics professor .

Scott moved to Kentucky and studied with famed equine artist Edward Troye. A writer for the sporting journal Turf, Field, and Farm, Scott was a well-respected authority on conformation. His commissioned works include a portrait of R. A. Alexander’s champion sire Lexington, which now hangs at Keeneland.

Sillars, Belinda British, born 1961 Belinda Sillars has established a reputation not only in her native England but around the world as a renowned equestrian and animal sculptor. She is a member of the prestigious Society of Equestrian Artists in the UK. Sillars’ commissions include two from Queen Elizabeth II as well as numerous equestrian organizations such as the World Racing Championship, the Breeders’ Cup, and Epsom Racecourse.

Simpson, Charles Walter British, 1885-1971 Charles Walter Simpson produced paintings in oil, watercolor, and tempera of landscapes, hunting scenes, marine scenes, and studies of animals and birds.

He studied art in Paris at the Academie Julian as well as working with both Sir Alfred Munnings and Lucy Kemp-Welch. Simpson was a member of the Royal Institute of Painters in both watercolor and oil. He was widely exhibited and recognized during his life.

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

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

Smith, Brett James American, born 1958 His early introduction to sporting art came from his father, who worked professionally as an illustrator and moonlighted as a fine artist. Sportsmen

nationwide collect Smith’s work because it is not only visually exciting, but also authentic and displays his intimate knowledge of the sporting experience. His preferred mediums are transparent watercolor and oil.

Smith, 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.

Smythe Ernest British/American, 1874-1950 Ernest Smythe worked as an illustrator and a watercolorist in London, where he specialized in hunting subjects. He is known to have contributed to The Sketch and The Illustrated London News. He immigrated to the United States in 1916 and made his way to Burbank, California. There he continued as an illustrator, cartoonist, motion picture animator, and set designer.

Spat, Gabriel American/French, 1890-1967 Born in New York City, Gabriel Spat worked primarily in France, but on occasion returned to New York. Working in oils and watercolors with bright colors and loose brush strokes, he paints in the style of classic impressionism.

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

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

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

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

Taylor, Jo British, born 1969 Born in Lancashire, Taylor studied at Leed’s Metropolitan University from 1988 until 1991. She has exhibited in numerous one-woman shows throughout England, including The National Horseracing Museum at Newmarket. Her pieces were included in a show at the Royal Academy in London, and she was commissioned for works on several Cheltham Gold Cup runners. Taylor has exercised racehorses in Newmarket and feels it’s necessary to always work from life.

Todd-Tivey, Liza American, born 1957 Since childhood Liza Todd-Tivey has been involved with animals, especially horses. At Hornsey College of Art in London and then the Otis Institute in Los Angeles, she honed her skills for creative expression and in 1979 embarked on a professional career as a sculptress. Along with John Skeaping, she is one of only two sculptors included in racing historian John Farley’s authoritative book Great Racehorses in Art. Her works are highly exhibited and equally sought after.

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

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

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

Verhoesen, Albertus Dutch, 1806-1881 Rural landscapes and depictions of farm animals are the major themes of Albertus Verhoesen’s works. Born in Utrecht, Netherlands, Verhoesen studied with such artists as Bruno van Straaten, Jan van Ravenzway, Pieter Gerardus van Os, and Barend C. Koekoeck.

Voss, Franklin Brooke American, 1880-1953 From a family of sportsmen and artists, Voss studied at the Art Students League in New York, foxhunted and rode races in New York and Maryland, and painted racehorses and hunting horses for his sportsmen friends. Completing more

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than 500 commissions in a period between 1920 and 1950, Voss died as he would have liked — out foxhunting with the Elkridge-Harford Hounds near his Maryland farm.

Waddell, Theo American, born 1941 A cattle rancher and painter, Waddell lives on the Musselshell River northwest of Billings, Montana. He studied at the Brooklyn Museum Art School, Eastern Montana College, and Wayne State University, Detroit, from which he earned his master’s degree. His works have been described as “sophisticated modernist paintings” and have been exhibited across the country, including the San Francisco Museum of Modern Art. Wheeler, Larry Dodd American, born 1942 This distinguished painter received his formal training at the Maryland Institute College of Art and the Institute’s Hoffberger School of Painting. Wheeler has served as the painting conservator for both the Corcoran Gallery and the Smithsonian Institution in addition to teaching at the Maryland Institute. His skilled work is in great demand and hangs in the Supreme Court Building and the Federal Building in Washington and in many private collections.

Whitcombe, Susie British, born 1957 Whitcombe studied at the Heatherley School of Art in London and has been painting portraits of horses and people in oil and watercolor for over 30 years.

She has exhibited in London, Tokyo, and Melbourne. A versatile sportswoman, she has ridden races as an amateur jockey and is also a pilot, handling Super Cubs and Tiger Moths with ease.

Whiting, Frederic British, 1873-1962 Born in Hampstead, London, England, Frederic Whiting studied art at the St. John’s Wood School of Art, the Royal Academy Schools, and at the Academie Julian in Paris. Employed by The Graphic newspaper, Whiting covered the 19001901 civil wars in China and the 1904-1905 Russo-Japanese war as a graphic correspondent. His works have been widely exhibited by the Royal Academy, the Royal Watercolour Society, the National Portrait Society, the Paris Salon, and the Anglo-German Exhibition of 1913.

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

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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.

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

Zellinsky, Charles L. H. German/American, 1842-1905 Having no known formal training, German-born Charles Zellinsky began his painting career as a fancy sign painter, and with innate talent became a widely praised and sought-after horse portraitist. After serving his adopted country during the Civil War, Zellinsky began painting for the likes of August Belmont, Sr., brothers Michael F. and Philip J. Dwyer, trainer William Lakeland, and the famed printing house of Currier & Ives.

CONDITIONS OF SALE

THESE CONDITIONS GOVERN THIS SALE: This Second Annual Sporting Art Auction (“Sale”) is governed by these Conditions of Sale (“Conditions of Sale”), as may be amended by KCG Enterprises, LLC d/b/a The Sporting Art Auction (“KCG”) by the posting of notices or by oral announcements made during the Sale from the auctioneer’s stand or otherwise (such notices and announcements shall be collectively referred to herein as the “Announcements”) (the “Conditions of Sale” and “Announcements” shall be referred to herein as a “Condition,” individually, or the “Conditions,” collectively, as the context permits).

All Sellers, agents, owners, prospective bidders, Purchasers, all other interested parties and all sales are therefore bound by and subject to these Conditions. By participating in the Sale, you acknowledge that you are bound by these Conditions.

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

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

Presale Exam. All prospective purchasers and bidders are urged to examine carefully the property in which they may be interested (personally and/or by agents) to determine its condition, size and whether it has been repaired or restored, etc. BEFORE bidding, as they are accepting any property purchased with all faults, including

all conditions and defects, except for the Limited Warranty set forth in the Limited Warranty of Authorship Condition. Neither KCG nor SELLER provides any guarantee or warranty of any kind in relation to the nature of the property apart from the Limited Warranty in the Limited Warranty of Authorship Condition.

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

Privacy Notice. Notice is hereby given to all participants that KCG may record any or all portions of the Sale by video, audio or other means, which may be used by KCG in its sole discretion. All participants consent to the use, reproduction and distribution of such recordings, biographical and other information or descriptions, and images that may be provided, for inclusion in the catalogue or other marketing of the Sale or for any other advertising or promotional purpose as deemed appropriate by KCG. RIGHT OF EXCLUSION. KCG expressly reserves its common-law right, at its sole discretion, to refuse admission to the premises or participation in any Sale and to reject any bid; provided, however, such refusal shall not be made on the basis of race, creed, color, national origin, sex, political affiliation or beliefs. By accepting the license granted to the public by KCG to attend the Sale, each individual likewise agrees to be bound by these Conditions.

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

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

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

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

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

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

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

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

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

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

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

RESERVE. Lots in this catalogue may be offered subject to a reserve, which is the confidential minimum hammer price below which the lot will not be sold. No reserve will exceed the low presale estimate stated in the catalogue, or as may be amended by the Announcements. KCG may implement such reserve by opening the bidding on behalf of the Seller and may bid up to the amount of the reserve, by placing successive or consecutive bids for a lot, or bids in response to other bidders. In instances where KCG has an interest in the lot other than its commission, it may bid up to the reserve to protect such interest.

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

Removal of Purchased property. Unless otherwise agreed

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

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

Any claims relating to any purchase, including any claims under the Conditions, must be presented directly to KCG. In the event the Purchaser fails to pay any or all of the total Purchase Price for any lot and KCG nonetheless elects to pay the Seller any portion of the sale proceeds, the Purchaser acknowledges that KCG shall have all of the rights of the Seller to pursue the Purchaser for any amounts paid to the Seller, whether at law, in equity, or under these Conditions.

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

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

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DISCLAIMER. Except for the limited warranty of authorship expressly stated in the Limited Warranty of Authorship Condition, there is no warranty or guarantee of any kind with respect to any property or any description thereof, including without limitation any express or implied warranties by KCG or Seller as to merchantability, fitness for a particular purpose, OR the correctness of the catalogue or other description of the physical condition, size, quality, rarity, importance, medium, provenance, exhibitions, literature or historical relevance of any property. No statement anywhere, whether oral or written, whether made in the catalogue, an advertisement, a salesroom posting or announcement, or elsewhere, shall be deemed such a warranty, representation or assumption of liability. KCG and Seller make no representations and warranties, express or implied, as to whether the Purchaser acquires any copyrights or licenses, including but not limited to, any reproduction rights in any property. Except for the limited warranty of authorship expressly stated in the Limited Warranty of Authorship Condition, KCG is not responsible for errors and omissions in the catalogue, glossary, or any supplemental material. Except for the limited warranty of authorship expressly stated in the Limited Warranty of Authorship Condition, ALL SALES ARE MADE AS IS, WITH ALL FAULTS. LIMITED WARRANTY OF AUTHORSHIP. As set forth below and in the Conditions of Sale and Announcements, KCG guarantees that the authorship, period, culture or origin (collectively “Authorship”) is as set out in the bold or capitalized type heading in the catalogue description of the lot, as may be amended by the Announcements (“Authorship Limited Warranty”). KCG, in its reasonable discretion, shall determine whether the conditions for return of the property based on breach of the Authorship Limited Warranty have been satisfied. If so, KCG will refund the original Purchaser of record the Purchase Price. This Authorship Limited Warranty does not apply if: (i) the catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing that the Authorship was not as described in the bold or capitalized heading at the date of the Sale would have been by means or processes not then generally

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available or accepted, unreasonably expensive or impractical to use or likely (in KCG’s reasonable opinion) to have caused damage to the lot or likely to have caused loss of value to the lot; or (iii) there has been no material loss in value of the lot from its value had it been in accordance with its description in the bold or capitalized type heading. This Limited Warranty of Authorship is provided for a period of one (1) year from the date of the relevant auction, is solely for the benefit of the original Purchaser of record at the auction and may not be transferred to any third party. To be able to claim under this Authorship Limited Warranty, the original Purchaser of record must: (i) notify KCG in writing within three (3) months of receiving any information that causes the original Purchaser of record to question the accuracy of the bold or capitalized type heading, specifying the lot number, date of the Sale at which it was purchased and the reasons for such question; and (ii) return the lot to KCG at the original selling location in the same condition as at the date of the Sale to the original Purchaser of record and be able to transfer good title to the lot, free from any third party claims arising after the date of the Sale. KCG has discretion to waive any of the above requirements. KCG may require the original Purchaser of record to obtain at the original Purchaser of record’s cost the reports of two (2) independent and recognized experts in the field, mutually acceptable to KCG and the original Purchaser of record. KCG shall not be bound by any reports produced by the original Purchaser of record, and reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a Sale and the refund of the original Purchase Price paid is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law, or in equity. KCG and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, attorneys’ fees, loss of profits or interest.

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

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

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

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

KCG shall have no liability whatsoever for such withdrawal.

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

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

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

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

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

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

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

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

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

Personal Information. By agreeing to these Conditions of Sale, parties agree to the processing of their personal information and also to the disclosure and transfer of such information to any KCG affiliate and to third parties anywhere in the world for the above purposes, including to countries which may not offer equivalent protection of personal information to that offered in the United States. Parties can prevent the use of their personal information for marketing purposes at any time by notifying KCG.

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

ABSENTEE BIDDING INFORMATION

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

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

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

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

SHIPMENT OF PURCHASES INFORMATION

If your bid is successful, KCG can help arrange shipment of your purchases to you. Estimates for the shipping of any purchases can be attained through KCG. All purchases must be removed no later than Friday, November 21, 2014. A paid receipt must be presented to KCG staff in order to release any property. Keeneland is not responsible for the acts or omissions in the packing or shipping of purchased lots, and packing , shipping and insuring purchased lots is at the entire risk of the purchaser as set forth on the “Conditions of Sale,” which appear in this catalogue.

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

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INDEX OF ARTISTS

200

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

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

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

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

Akeley, Carl....................................34

Emms, John..............................55, 56

Koehler, Henry................................92

Ripley, Aiden Lasell.........................48

Alken, Henry Thomas, Sr............13, 14

Ferneley, John E., Sr.........................22

La Fontaine, Thomas Sherwood.........9

Ambille, Paul...................................67

Rumsey, Charles Cary.....................23

Fiddian-Green, Nic........................113

Lalanne, Jean-Bernard............63, 147

Ashley, Frank..................64, 129, 130

Firth, Richard M........... 116, 117, 118

Landikusic, Katherine............148, 149

Barnhart, Jeaneen.................131, 132

Flannery, Vaughn............................84

Langton, Charlie...........................108

Bassett, Carroll K............................24

Frémiet, Emmanuel.........................32

Lazzari, Nicola......................100, 101

Bellocq, Pierre (PEB).....................165

Fuchs, Bernie..................................43

Lewis, Dylan.................................109

Skeaping, John R..............85, 87, 114

Berti, René........................................6

Gayrard, Joseph Raymond Paul.......26

Lyne, Michael..............................8, 72

Smith, Brett James..........................45

Bonheur, Isidore Jules...25, 33, 35, 36

Gold, Dede...................................126

Malone, Booth......................120, 150

Smith, Peter..........................153, 154

Boren, Nelson...............................122

Grau-Sala, Emilio............................69

McAuliffe, John...............................82

Smythe, Ernest..............................166

Bretland, Thomas Walker..................7

Guiramand, Paul.............................66

Meade-King, Eric............................71

Spat, Gabriel...................................74

Brewer, Kelly Robertson................121

Guyon, Marjorie............................128

Mehl, Joanne........................151, 152

Broadhead, William Smithson...37, 44

Hall, Harry......................................10

Menasco, Milton.......................75, 76

Stainforth, Martin Frank....................4

Brown, John Lewis..........................18

Harrah, June.................................105

Mene, Pierre-Jules....................28, 30

Church, Charles............................137

Haseltine, Herbert Chevalier......27, 31

Molina Campos, Florencio........61, 62

Coates, Thomas J. ................138, 139

Havell, Alfred Charles......................12

Munnings, Sir Alfred James......50, 86,

Collins, Ashley...............................144

Herring, Sir John F., Sr..........53, 54, 57

93, 94, 99, 160

Townsend, Lee................................40

Compte du Passage,

Herring, John Frederick, Jr................51

Musgrave, Olivia...........................110

Troye, Edward...........................16, 19

Arthur-Marie-Gabriel..............29

Hinz, Valerie..........................127, 143

Neiman, LeRoy.........65, 68, 167, 168

Verhoesen, Albertus..........................1

Cooper, Thomas Sidney.....................2

Hoffman, Frank B......................80, 81

Oppegard, Sandra Faye...46, 169, 170

Voss, Franklin Brooke......................83

Cowan, John P................................89

Holiday, Joseph Gilbert...................70

Ostenberg, Thomas.......................111

Waddell, Theo.......................155, 157

Crawford, Susan L.........................140

Howell, Peter........................145, 146

O’Sullivan, Katie.............................59

Cross, Henry H................................79

Humphrey, Leslie..................135, 136

Pater, André...........60, 123, 124, 125,

Wheeler, Larry Dodd.... 119, 158, 159

Cullin, Isaac James......................3, 17

Jones, Paul......................................52

171, 172

Curling, Peter........................141, 142

Kahler, Carl.....................................90

Pleissner, Ogden Minton.................47

DeLattre, Henri...............................38

Kestevan, Abel......................133, 134

Quinn, David............................42, 58

de Prades, Alfred F...........................20

King, Alexa...........................106, 107

Reeves, Richard Stone........95, 96, 97,

Wolf, Cindy...................................104

Earl, Thomas Percy..........................91

King, Warren...................................78

173, 174

Wyeth, N.C. (Newell Convers).........98

Edwards, Lionel D.R..................49, 77

Kirk, Juli........................................175

Riab, Boris......................................41

Zellinsky, Charles L. H.....................11

Scott, Thomas James.........................5 Sillars, Belinda......................102, 103 Simpson, Charles Walter.................73

Stull, Henry.........................15, 21, 39 Taylor, Jo.......................................156 Todd-Tivey, Liza....................112, 115

Whitcombe, Susie.................161, 162 Whiting, Frederic............................88 Williams, Peter......................163, 164

ONLINE BIDDING INSTRUCTIONS

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

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

The

Date Submitted: ________________

Bidder Number: ________________

■ Left Bid

Auction

■ Phone Bid

P resented b y

ABSENTEE BID FORM This form should be sent or faxed to be received by KCG in advance of the sale.

References should be supplied in enough time to be contacted before the sale.

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

The Sporting Art Auction No. 2 • Wednesday, November 19, 2014 I request KCG, without legal obligations of any kind on its part, to bid on the following lots up to the price given below. I UNDERSTAND THAT IF MY BID IS SUCCESSFUL THE PURCHASE PRICE PAYABLE WILL BE THE SUM OF THE FINAL BID PLUS A BUYER’S PREMIUM PLUS SALES TAX WHERE APPLICABLE. All bids shall be treated as offers made pursuant to the Conditions of Sale printed in this catalogue. I also understand that KCG provides the service of executing bids on behalf of clients for the convenience of clients and that KCG will not be held responsible for failing to execute these bids. If identical commission bids are received for the same lot, the commission bid received first by KCG will take precedence.

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot No.

Description Your Maximum Bid

________________________________________________________________________________________________________________________________ ________________________________________________________________________________________________________________________________ ________________________________________________________________________________________________________________________________ ________________________________________________________________________________________________________________________________ ________________________________________________________________________________________________________________________________ ■ I have established credit with Keeneland Association Name _________________________________________________________________________

Bank Name _________________________________________________________________

Address_______________________________________________________________________

Bank Address ______________________________________________________________

_______________________________________________________________________

______________________________________________________________

Tel. (Home) _____________________________________________________________________

Account No ________________________________________________________________

Tel. (Office) ___________________________________________

EMAIL: _________________________________________________

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

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

Date ____________________________

The

Date Submitted: ________________

Bidder Number: ________________

Auction P resented b y

PURCHASER REGISTRATION FORM This form should be sent or faxed to be received by KCG in advance of the sale.

References should be supplied in enough time to be contacted before the sale.

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

The Sporting Art Auction No. 2 • Wednesday, November 19, 2014 Complete this section to register to bid: PURCHASER _____________________________________________________________

SHIPPING Address___________________________________________________

Address_______________________________________________________________

(If differenT) ______________________________________________________

_______________________________________________________________

Bank Name _______________________________________________________

Tel. (Home) _____________________________________________________________

Bank ADDRESS _____________________________________________________

Tel. (Office)____________________________________________________________

Account No. _______________________________________________________

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

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

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

Date ____________________

Date Submitted: ________________

The

Bidder Number: ________________ (to be assigned by KCG)

Auction P resented b y

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

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

The Sporting Art Auction No. 2 • Wednesday, November 19, 2014 I have this day appointed:

Print Name of Agent_________________________________________________________________________________________________

Address: __________________________________________________________________________________________________________

__________________________________________________________________________________________________________

City, State, Zip Code_________________________________________________________________________________________________

Home Telephone_________________________________________

Business Telephone_______________________________________

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

Other Instruction____________________________________________________________________________________________________ Signature_________________________________________________________________________________________________________

Print Name________________________________________________________________________________________________________

Title (if applicable)___________________________________________________________________________________________________

Address __________________________________________________________________________________________________________

State of________________________________________________

County of ______________________________________________

KEENELAND / CROSS GATE GALLERY

THE

AUCTION

THE SPORTING ART AUCTION NOVEMBER 19, 2014

IN AFFILIATION WITH

Keeneland Sales Pavilion

Lexington, Kentucky

November 19, 2014