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THE

AUCTION

Keeneland Sales Pavilion

Lexington, Kentucky

Monday, November 21, 2016


The

Auction Sale No. 4 In sending written bids or making inquiries, this sale should be referred to as Sporting Art Auction No. 4.

Cover Illustration: Lot 112

Back Cover Illustration: Lot 72

Sir William Orpen (Irish, 1878-1931)

Alexa King (American, born 1952)

Sergeant Murphy & Things

Bullet Work

Oil on canvas | 29 ⁄2” x 40”

Bronze | 14” x 13”

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Auction Monday, November 21, 2016 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 12 – 25 and November 8 – 19 from 10 a.m. – 5 p.m. By appointment October 7 – 29: 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. The Sporting Art Auction

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INTRODUCTION

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he Sporting Art Auction, a collaboration between Keeneland Association and Greg Ladd’s Cross Gate Gallery of Lexington, Kentucky, has quickly matured into one of the genre’s most anticipated annual events. In 2016, Keeneland and Cross Gate will again team to conduct the fourth annual Sporting Art Auction on Monday, November 21, at 4 p.m. ET. The partnership between Keeneland and Cross Gate Gallery is a natural fit. Keeneland, recognized as the world’s premier Thoroughbred auction house, offers the perfect sale venue with its state-of-the-art sales pavilion and auctioneering expertise. Perhaps most importantly, many of its racing and sales clientele are avid collectors of sporting art. Cross Gate, the country’s leading gallery of fine sporting art, delivers a superb collection of paintings and sculpture. Each year Ladd travels throughout the U.S. and Europe to acquire important works that will capture the interest of ardent collectors.

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The success of the first three auctions, which have been characterized by large crowds and brisk bidding, confirms the strong demand for quality sporting art. LeRoy Neiman’s Flat Racing, a one-of-a-kind glazed ceramic tile mural, sold for $291,000 to top the inaugural sale in 2013. The following year the massive triptych Hercules, by American artist Ashley Collins, brought top price of $149,500. The 2015 auction was highlighted by the sale of Sir Alfred James Munnings’ painting Mon Talisman, Chantilly, which brought $252,500. This year’s auction will feature 175 high-quality lots representing fine sporting art, American paintings, and sculpture from renowned artists. One of the auction’s most significant pieces is Sir William Orpen’s Sergeant Murphy and Things, a 29½” x 40” oil on canvas depicting the winner of the 1923 Grand National. Orpen is widely considered to be the top Irish portrait painter of the 20th century and was a friendly rival of Munnings.


Another celebrated piece is Andy Warhol’s Willie Shoemaker, a 40” x 40” synthetic polymer and silkscreen ink portrait of the Hall of Fame jockey. Warhol, who immortalized many iconic figures in pop culture, in 1977 began working on a series of portraits of athletes at the behest of Richard Wiseman, a well-known art collector and sports enthusiast. Willie Shoemaker is the first portrait Warhol produced in that series. Also cataloged is Morris Park Handicap, 1900, a 25” x 40” oil on canvas by noted American artist Henry Stull, which captures the stunning upset by Maid of Harlem over champion Ethelbert. Other notable pieces to be offered include a 14” x 17” bronze by Pierre-Jules Mêne from his Vainqueur du Derby series, and Morning at Keeneland, a 36” x 36” oil on panel by

award-winning Vietnamese-American artist Quang Ho. The auction also will feature works by such acclaimed artists as Edward Troye and John Frederick Herring, Sr., as well as pieces by Andre Pater, Larry Wheeler, Peter Howell, Richard Stone Reeves, T. Allen Lawson, Scott Christensen and Peter Curling. In keeping with Keeneland’s mission, both sporting and altruistic, the association’s portion of the auction proceeds will benefit its non-profit initiatives, including the Keeneland Library Foundation. The 2016 collection will be on display in the Keeneland sales pavilion beginning with the September Yearling Sale (Sept. 12-25) and continuing through the art auction’s November date.

The Sporting Art Auction company welcomes inquiries through its website, www.thesportingartauction.com; by email, info@thesportingartauction.com; or through Cross Gate Gallery, (859) 233-3856. The Sporting Art Auction will accept bids from patrons in person, by phone through prior arrangement, and online via http://www.liveauctioneers.com/, www.invaluable.com, and www.bidsquare.com. The Conditions of Sale begin on page 193.

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ABOUT

KEENELAND

L

ocated in the heart of Central Kentucky’s horse country, Keeneland is an international leader in Thoroughbred racing and sales. RACING This fall Keeneland will celebrate its 80th anniversary, having opened its gates on Oct. 15, 1936. Keeneland’s racing program perennially ranks among the nation’s best in terms of purse money, field size and quality competition. From 2-yearold races to events for classic contenders and veteran turf stars, Keeneland racing affords horsemen outstanding opportunities to showcase their talented stables. Keeneland conducts racing every April and October, drawing international participants and legions of dedicated fans who come out to enjoy “racing as it was meant to be.” Top-class horses compete for some of the country’s richest purse money in such storied Grade 1 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 springboards to success for many Triple Crown and

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Breeders’ Cup winners. In 2015 Keeneland successfully hosted for the first time the $26 million Breeders’ Cup World Championships, which was headlined by Triple Crown winner American Pharoah’s victory in the Breeders’ Cup Classic (G1). sales As the world’s largest Thoroughbred auction house, Keeneland sets the gold standard for the industry globally, having sold more champions and stakes winners than any other sales company. Keeneland’s three annual sales attract buyers from nearly every state and from more than 50 countries. Keeneland’s accomplished graduates include 88 Breeders’ Cup winners; 20 Kentucky Derby (G1) winners; 22 Preakness (G1) winners; 19 Belmont (G1) winners; 11 Horses of the Year; and five Epsom Derby (G1) 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 sale in Saratoga, New York. But a wartime restriction on rail transport forced breeders to keep their yearlings at home, prompting the inaugural summer sale that was held under a tent in the Keeneland paddock. That sale produced

Hoop, Jr., winner of the 1945 Kentucky Derby. The Breeders’ Sales Company held the sale at Keeneland in subsequent years, and that entity eventually merged with Keeneland. The success of Kentucky-bred racehorses in prestigious international 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. Keeneland’s premier September Yearling Sale provides more winners of racing’s biggest events and more participants at the sport’s highest level than any other sale. In 2016, September Sale graduates swept all three Triple Crown classics: Nyquist won the Kentucky Derby; Exaggerator took the Preakness, and Creator upset the Belmont. They also performed exceptionally well internationally, accounting for three winners during England’s prestigious Royal Ascot meet. HISTORY Keeneland’s iconic brand is rooted in the ideals of its founders, a determined group of prominent Central Kentucky breeders with a goal, outlined in the track’s original prospectus, “to create a model racetrack to perpetuate and improve the sport and to provide a course that is intended to serve as a symbol of the fine traditions of Thoroughbred racing.” As Hal Price Headley, Keeneland’s co-


Team Coyle

founder 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 history and pageantry of the sport while offering its customers and participants an unmatched experience. With its ivy-covered limestone buildings, scenic

vistas, and beautifully landscaped grounds, Keeneland is a National Historic Landmark and source of community pride. 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 millions to the Central Kentucky

community and the Thoroughbred industry. Funding is focused primarily on the areas of health and human services; education; arts, culture and community; and Thoroughbred industry-related causes. One hundred percent of Keeneland’s proceeds from the Sporting Art Auction will benefit its non-profit initiatives.

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ABOUT

CROSS GATE GALLERY

F

ounded in 1974, Cross Gate Gallery in Lexington, Kentucky, is a leading source of the world’s finest sporting art. Cross Gate Gallery specializes in equinerelated art, and its impressive collection ranges from 19th and early 20th century classic works to contemporary paintings and sculpture. Its Central Kentucky location makes the focus on sporting art a natural one. Cross Gate is also recognized as a leading gallery in contemporary British figurative painting. Sporting art has its roots in the early 18th century when British noblemen commissioned top artists to depict their favorite horses, dogs, and sporting scenes in paintings, drawings, and sculpture. The genre continues to the present, catering to the lifestyle of town and country ladies and gentlemen. Owner Greg Ladd laid the cornerstone of what would become Cross Gate Gallery while still a student at the University of Kentucky. Working part-time for an upscale gift shop, he developed an appreciation for art and an eye for sporting art. His growing interest in the genre made him set aside initial plans to become an architect. Instead, he graduated with a bachelor’s degree in animal science, married his wife, Laura, soon after graduation, and rented two small rooms in downtown

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Lexington with $1,000 in start-up capital to start Cross Gate Gallery. College friends and their parents were among the gallery’s first patrons, and as Ladd travelled the world in search of inventory, Laura Ladd and her sorority sisters ran the shop. Early on, Ladd recognized that Lexington’s stature as the Horse Capital of the World made it an ideal locale to sell sporting art. His timing could not have been better as the 1970s and early ‘80s saw tremendous growth in Kentucky’s horse industry. Buyers from around the world flocked to Kentucky to pay robust prices for Thoroughbred yearlings, and many developed showplace farms with houses filled with sporting art. In this environment Ladd developed a loyal following of serious collectors of sporting art from around the world. He is recognized for his expertise in this genre and his gracious approach to selling art. In addition to top horse owners and breeders from around the world, Cross Gate’s clients include (but are certainly not limited to) Keeneland Race Course, Breeders’ Cup, Ltd., and a number of other prominent equine organizations. Ladd is respected for his eye for young talent and over the years has nurtured and represented artists such as Andre Pater, Larry Wheeler, Sandra Oppegard, Jean-

Bernard Lalanne, Valerie Hinz, and many others. Cross Gate regularly exhibits their work in Lexington and at equine venues like Saratoga Springs, New York; Aiken, South Carolina; and Wellington, Florida. Cross Gate is also well known for featuring the works of earlier luminaries such as Edward Troye, Sir Alfred Munnings, and Henry Stull. “Our focus is on quality artwork,” says Ladd. “We are confident that we’re offering the finest sporting art available anywhere in the world today. There is a limited supply of really good artwork out there, and the best part of our job is finding that quality work and offering it to our clients.” Cross Gate Has INternational Stature In 1998, as Sotheby’s prepared to sell 10 paintings by Sir Alfred Munnings from Santa Anita Park’s collection, the venerable auction house chose Cross Gate to display the works on their journey from California to New York. This association with Sotheby’s led to a London exhibition of Andre Pater works in 2002 at Sladmore Gallery. Astoundingly, the 31 paintings in the show sold in 21 minutes while the large crowd waiting outside the gallery clamored to get in. Owner Greg Ladd’s frequent trips to


England and Europe in quest of sporting art introduced him to British nonsporting 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. Cross Gate is the only gallery in the United States to host New English Art Club exhibitions. “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.” The gallery hosted an exhibition of works by Thomas Coates and his contemporaries in the spring of 2016. Cross Gate’s success has necessitated three moves over its 42 years in business. The gallery currently operates from a pinkhued Greek revival mansion that spans 11,000 square feet. Its airy, light-filled rooms make the ideal setting to display the gallery’s broad range of artworks. Today Greg Ladd has found full

expression for his youthful vision in the achievements and international influence of Cross Gate Gallery.

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Auctioneer

W

alt Robertson, a longtime leader in the equine auction industry, retired in 2015 as Keeneland’s vice president of sales. Roberston, a graduate of the University of Kentucky, joined Keeneland in January 2011 after 35 years at the Fasig-Tipton Co. In addition to his vast experience in the Thoroughbred industry, Robertson also has been active in the Central Kentucky community for many years. He has served as chairman of the Kentucky Horse Park Commission, is a former director and past president of the Thoroughbred Club of America, and is a past member of the Sayre School and The Lexington School boards of trustees. He is president and auctioneer for Swinebroad-Denton Inc., a full-service real estate auction company in Lexington. Robertson lives in Lexington with his wife, Charlene (Corky). They have two children.

Owner, Cross Gate Gallery

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exington, Kentucky, native Greg Ladd founded Cross Gate Gallery in 1974 and has developed it into the world’s premier source of sporting art. While studying at the University of Kentucky, Ladd laid the foundation for what was to become Cross Gate, 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 now regarded as an expert in the genre. Ladd has been on the advisory board of the Art Museum at the University of Kentucky, the Living Arts & Science Center, the Kentucky Horse Park Museum Board, and Kentucky Bank. He has served as an elder at the Second Presbyterian Church. He and his wife, Laura, have four children, two of whom — Catherine and Field — participate in the operation of Cross Gate Gallery.

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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 21, 2016. After November 21, 2016, call Keeneland at (859) 280-4724 • 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 21, 2016. On November 21, 2016, call Keeneland at (859) 280-4724. ■ Auctioneer’s Discretion The auctioneer has absolute and sole discretion with respect to bidding, to refuse any bid, to advance the bidding in such a manner as he may decide, to withdraw or divide any Lot, to combine any two or more Lots, and, in the case of error or dispute, whether during or after the sale, to determine the successful bidder, to continue or re-open the bidding, to cancel the sale or to re-offer and re-sell the item in dispute. If any dispute arises after the sale, KCG’s sale record is conclusive. ■ Shipping/Removal of Property If you are an absentee bidder, we can arrange for the shipment of your purchases as per your written instructions. Estimates for the shipping of any property can be obtained from our staff at KCG. If you are attending the sale and desire us to arrange shipping, this must be done immediately

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after the sale. ALL PURCHASES MUST BE REMOVED FROM THE BUILDING NO LATER THAN WEDNESDAY, NOVEMBER 23, 2016 at 4:00 p.m. unless prior arrangements have been made with KCG to store property at a warehouse. TO COLLECT ITEMS IN PERSON YOU MUST PRESENT A PAID RECEIPT TO KCG STAFF. *Please note Keeneland Association and Cross Gate Gallery offices will both be closed on November 24 and 25 in observance of the Thanksgiving holiday. ■ Insurance Purchasers are requested to arrange clearance for Property as early as possible and in any event, no later than fourteen (14) days following the day of the sale, at which time KCG’s liability for loss or damage to sold property shall cease. Purchasers must arrange to insure the purchased property as of the time of sale, as they deem appropriate, and regarding which KCG shall have no obligation or liability whatsoever. Transit Insurance can be arranged by the shipper to cover your property from collection at the sales premises to arrival at your destination, if requested. You must notify us if you wish to arrange for this service or if you will be supplying it yourself. ■ Storage and Storage Charges For a period after the auction, uncollected purchases and unsold Lots may be held at 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 4:00 p.m. on Wednesday, November 23, 2016, 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 Monday, November 21, 2016 • 4:00 P.M.

Keeneland Sales Pavilion Lexington, Kentucky

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1 | John Alfred Wheeler (British, 1821-1903) WINSTON Oil on canvas, 12” x 14” Signed $3,000. – 5,000.

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2 | Samuel Henry Alken (British, 1810-1894) Cambridgeshire Stakes, 1850 Oil on panel, 8” x 12” Signed, inscribed “Cambridgeshire Stakes 1850” $4,000. – 6,000.

Provenance: Trinity House Gallery, Broadway, Worchestershire UK Established in 1839 at Newmarket, the 1850 Cambridgeshire was won by Mr. Gratwicke’s Landgrave with Jem Chapple up. Landgrave was by Sir Hercules, out of The Landgravine. Chapple did not have much passion for racing, despite having won the Epsom Derby twice and the Epsom Oaks on another occasion.

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3 | William Baptiste Baird (American/French, 1847-1917) CHICKENS (pair) Oil on panel, 9 ¼” x 13” each Signed $5,000. – 7,000.

4 | Edgar Hunt (British, 1876-1955) the guardians Oil on canvas, 12” x 18” Signed, dated 1935 $12,000. – 15,000.

Provenance: Frost and Reed The Sporting Gallery, New York

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5 | Dan Smith (American, 1865-1934)

Diamond Jim Brady’s Horses Watercolor, 28” x 63” Signed, dated 1905 $4,000. – 6,000.

Diamond Jim Brady, known for a gluttonous appetite and an intense love of diamonds and jewels, entered the horse racing game by purchasing Major Daingerfield and Gold Heels from Phil Dwyer for $10,000. Brady, not wanting to be seen as someone unacceptable to do business with by customers who might object to his horse interests, placed his racing venture in the name of his friend, F.C. McLewee, in exchange for 20 percent of the winnings. After numerous wins and the purchase of another stable, Brady’s celebrations and flamboyant parties unmasked his horse interests. With members of the Jockey Club rumbling, after the 1902 season they outlawed silent

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ownerships of racing stables. Brady placed his stable on the auction block and held a party in honor of his retirement from racing. By the time it was over, the 50 guests had consumed 500 bottles of champagne and every lady received a diamond brooch while every man was given a diamond-studded stopwatch. The dog pictured here was known to bite the diamonds off Brady’s shoes. It was estimated he sometimes wore as many as 2,500 diamonds at a time, living up to one of his famous quotes, “If you’re going to make money, you have to look like money.”


6 | Alfred Wheeler (British, 1852-1932)

Diamond Jubilee, 1900 Oil on canvas, 17” x 21” Signed, dated 1900, and inscribed “Diamond Jubilee” $5,000. – 7,000.

Provenance: W.H. Patterson, London Foaled during the Diamond Jubilee year of Queen Victoria, Diamond Jubilee was bred and raced by the Prince of Wales, eldest son of Queen Victoria. Much was expected of the colt from birth as he was by the undefeated racehorse and outstanding stud St. Simon and produced by the successful race mare Perdita. A modest 2-year-old, Diamond Jubilee was expected to be more of a classic colt. He lived up to expectations, becoming the ninth horse to win the Triple Crown that comprises the Two Thousand Guineas, Epsom Derby, and St Leger Stakes. Diamond Jubilee was not as successful as a stallion in England and was sold to Argentina, where he was a four-time champion sire.

7 | Thomas James Scott (American, 1824-1888) Horse In a landscape Oil on board, 18” x 24” Signed $3,000. – 5,000.

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8 | Edward Robert Smythe (British, 1810-1899) THE HORSE FAIR Oil on canvas, 32½” x 66” $30,000. – 40,000.

Provenance: The Horse Fair is one of theLtd., greatest works that Edward Robert Oscar and Peter Johnson, London Smythe everLondon, produced. is undoubtedly onePomfret of the House largest Christie’s, TheItCountry House Sale: canvases that heHall, ever created and 5, the2008, work lot is assuredly one of his and Tetworth November 469 most compositionally complex. The Horse Fair is one of the greatest works that Edward Robert The only comparable work that is known to have produced Smythe’s ever produced. TheSmythe painting is undoubtedly one of isthe thought to canvases be a companion piece toever the created paintingand currently beingis largest that Smythe the work assuredly one of his most compositionally complex. Smythe’s

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technical and painterly execution of such a work is worthy of the offered it bears the comparable title The Wool Pitthat Horse Show,Smythe Suffolk. highest and praise. The only work Edward The two works both broughtisrecord prices work by Edward is known to have produced thought to befora acompanion piece Robert they were sent to the and auction blockthe withtitle The to the Smythe paintingwhen currently being offered it bears Horse FairPit bringing over $51,000.00 2008 andboth The brought Wool Pit The Wool Horse Show, Suffolk. The in two works Horse bringing over $52,000.00 in 2011.when they recordShow, pricesSuffolk for a work by Edward Robert Smythe were sent to the auction block whith The Horse Fair bringing over $51,000.00 in 2008 and The Wool Pit Horse Show, Suffolk bringing over $52,000.00 in 2011.


9 | John Charlton (British, 1849-1917) the winning post Oil on canvas, 24” x 42” Signed $12,000. – 15,000.

Provenance: Christie’s New York, December 6, 1996, lot 131 (illustrated) The Winning Post by John Charlton depicts the Duke of Portland’s Donovan ahead by half a length. The painting is thought to be of the Derby at Epsom in 1889 where the Duke of Portland had two entries, the other being the Turcophone. William John Arthur Charles James Cavendish-Bentink, the sixth Duke of Portland, inherited great wealth and big estates in

England and Scotland, including the magnificent establishment at Welbeck, Nottinghamshire. The Duke of Portland was one of the most successful breeders and owners in British Racing during his lifetime. His purchase of St. Simon, perhaps the greatest British sire ever, cemented his highly important role in the annals of the British Turf. The painting above depicts Donavon with jockey Tommy Loates up. Donavon was bred by the Duke of Portland and won 18 of his 21 starts, including the Prince of Wales Stakes, the Derby Stakes, and the St. Legers Stakes.

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10 | John Emms (British, 1841-1912) pigs, 1873 Oil on canvas, 11” x 15” Signed, dated ’73 $6,000. – 8,000.

11 | John Emms (British, 1841-1912)

sleeping hound & terrier Oil on board, 12” x 18” Signed $8,000. – 10,000.

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12 | Benjamin Marshall (British, 1767-1835) racehorse and terrier Oil on canvas, 30” x 36” Signed, dated “B. Marshall pt. 1804” $50,000. – 60,000.

Provenance: Arthur Ackermann and Son

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13 | John Frederick Herring, Sr. (British, 1795-1865) rural landscape Oil on canvas, 18” x 24” Signed, dated 1868 $6,000. – 8,000.

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14 | John Frederick Herring, Sr. (British, 1795-1865) Watering the Horses in Winter Oil on canvas, 28” x 36” Signed, dated 1848 $20,000. – 25,000.

Painted for The Honble. James Lowther M. P., Devons Court, Nt. Harrogate Yorks. This picture is mentioned in the book The Life and Work of J. F. Herring by Herbert Bridgewater.

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15 | Henry Stull (American, 1851-1913) Belmar Oil on canvas, 23” x 28” Signed, dated 1900 $12,000. – 15,000.

Hall of Fame jockey Ted Sloan picked Belmar as one of his favorite mounts. Belmar carried Sloan to victory four times, endearing him to the rider so much that he named his boat Belmar. Quoted in a September 2, 1967 Blood-Horse article, Sloan recalled, “I have never come across a more intelligent horse. He knew the winning post just as well as I did and I had the sense to trust to his wisdom more than once. I learned to give the credit for our wins to him.

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We won several events by a head and I know if they had been run a second faster or if he had had 10 more pounds to carry, the results would have been the same…He always came along about three furlongs from home and won. As soon as he passed the post he would relax…How that horse just loved to race!”


16 | Henry Stull (American, 1851-1913)

The Parader, Jockey up in the colors of Montpelier Stables Oil on canvas, 25” x 30” Signed, dated 1901 $12,000. – 15,000.

Provenance: Thomas J. Healey, New Jersey (acquired directly from the artist). Margaret Healey (his daughter) thence by descent. The Parader was bred by the Belle Meade Stud of Nashville, sired by Longstreet (the leading American racehorse of 1891), out of Pretence. The Parader was owned by Richard T. Wilson Jr. and ridden under the familiar gold and green colors of his Montpelier Stables. The New York Times reported that in the 1901 Preakness Stakes, “The Parader, with an actual run of a quarter of a mile, and very badly ridden at that, won the Preakness Stakes…After looking as though beaten…The Parader ran over his opponents at the first chance…winning so easily that Landry took him up…but was forced again to go riding within a few yards of the finish. The Parader responded instantly, and won easily at

the post, though the queer maneuvers of his rider caused much uneasiness to the backers of the favorite.” In addition to the Preakness Stakes, The Parader also won the Withers Stakes and the Lawrence Realization Stakes and ran second in the Belmont Stakes. He was retired to Hal Price Headley’s Beaumont Stud in Lexington, Kentucky. In 1896, Mr. Wilson and H. P. Whitney joined forces with a group of investors to purchase Saratoga Race Course and Mr. Wilson served as president of the Saratoga Racing Association. Wilson hired Thomas J. Healey to manage his racing stables, an arrangement that spanned more than three decades. Under Healey’s care, Wilson’s Montpelier Stables won many of horse racing’s top stakes of the day, including the Preakness Stakes, the Belmont Stakes, and Travers Stakes an impressive three times.

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17 | Henry Stull (American, 1851-1913) Morris Park Handicap, 1900 Oil on canvas, 25” x 40” Signed $25,000. – 35,000.

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Maid of Harlem, Ethelbert, and Gonfalon depicted. On the closing day of the meet, the little Maid of Harlem with jockey J. B. Slack aboard pulled off a massive upset when she beat Ethelbert in the Morris Park Handicap. Maid of Harlem entered the two-and-one-quarter mile handicap with odds of 6 to 1; Ethelbert stood as the odds-on favorite at 1 to 2. The St. Louis Dispatch described the race thusly: They were sent off on the first break and Maid of Harlem went out to make the running with Gonfalon second and Jack Point and Ethelbert lapped a length away. This was the order for the first circuit of the track, but the pace was very slow. As they rounded the near turn for the second time, Slack sent his mount out and in a few strides was three lengths in front; this set the other boys to riding and Gonfalon and Ethelbert moved up to within a length of her going up the back stretch. Jack Point was beaten and soon Gonfalon dropped back and only Ethelbert was left to go on after the flying leader. At the head of the stretch it looked as if Ethelbert would come on and win, but when straightened out it was seen Odom was hard at work while Maid of Harlem was still going along comparatively easy in front. “The favorite’s beaten, Ethelbert loses,” was the astonished cry which went up from the big crowd, and so it proved. Try as he could, Ethelbert could not get nearer than one length to Maid of Harlem, and little Slack, after a clever and well-judged ride, brought her home by that margin.

Maid of Harlem was owned by Thomas Lister Watt’s Osceola Stables and won several important races, perhaps the greatest of which was the controversial $25,000 Annual Championship at Sheepshead Bay. The Annual Championship of 1901 was run on the day that President McKinley succumbed to an assassin’s bullet. While the nation mourned, Maid of Harlem took home one of the most coveted races of the year. In beating Ethelbert, the 3-year-old U.S. champion, in the Morris Park Handicap, Maid of Harlem cemented her legacy as a top race mare of her day. Ethelbert was bred by Eothen Stud in Middletown, Kentucky, and was owned by Perry Belmont. Ethelbert would prove to be one of Belmont’s best racers, winning the Nursery Stakes, Lawrence Realization Stakes, Metropolitan Handicap, Brighton Cup, Standard Stakes, and many other prestigious races and setting a two-and-one-quarter-mile record in 1900. Ethelbert stood at Belmont’s Nursery Stud in Kentucky and at his Haras de Villers in Normandy, France. His progeny proved useful on the racetrack but none more so than Fitz Herbert, the 1909 and 1910 American Horse of the Year. Henry Stull captured a golden age of American racing. Stull was commissioned by nearly every top owner of the day to immortalize their finest horses by painting their portraits. While there are many examples of Stull’s portraiture in both private and public collections, his racing scenes are extremely rare and highly prized among enthusiasts of the turf.

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18 | Henry Stull (American, 1851-1913) Brown Beauty Oil on painter’s palette, 15” x 20” Signed $5,000. – 7,000.

Brown Beauty was not only a subject of artist Henry Stull, she was his own racehorse. On a beautiful August day in 1892 at Saratoga, Stull entered his filly in the Iroquois Stakes for 3-year-olds going a mile and a sixteenth. Brown Beauty won by a length over a field of colts, including C. F. Fleischman’s Ronald, winner of Saratoga’s Kenner Stakes.

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19 | Edward Troye (Swiss/American, 1808-1874) Nina Oil on canvas, 25” x 30” Signed, dated May 28, 1869 $30,000. – 40,000.

Provenance: H.P. Whitney Collection of Sporting Art, Yale University James Graham and Sons, New York Private Collection

known portrait of the horse by Troye. Mackay-Smith was unable to verify with absolute certainty which horse this might be but also speculates it could have been a mare belonging to James Grinstead of Kentucky, possibly Kelpie.

This painting is the one referenced on page 313 of Alexander Mackay-Smith’s book The Race Horses of America as one of the two from the Whitney Collection of Sporting Art that was deaccessioned from Yale in exchange for a John James Audubon. The New York gallery that received the painting named it “Nina,” and it could be Nina, based on another

Francis P. Garvan assembled and later gave Yale University what would become the core of its American art collection; along with this he bestowed the finest collection of sporting art ever assembled in this country, named in honor of his two friends and fellow Yale alumni, Harry Payne Whitney and Payne Whitney.

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20 | Edward Troye (Swiss/American, 1808-1874)

famous american thoroughbreds Set of 20 hand-coloured engravings, number 5 of 110 sets Print, 18 ⅜” x 23 ¼” each Signed $9,000. –12,000.

Twenty Hand-Coloured Engravings After Original Paintings of Famous American Thoroughbreds by Edward Troye. Published by At the Sign of the Gosden Head in 1932, this is a complete set of all 20 prints, numbered 5 out of 110. Kentucky – by Lexington, out of Magnolia, 1861. Enquirer – by Leamington, out of Lida, 1867. Asteroid – by Lexington, out of Nebula, 1861. Vandal – by Glencoe, out of a Tranby daughter, 1850. Reel – by Glencoe, out of Gallopade, 1838. Tranby – by Blacklock, out of a daughter of Orville, 1826. Australian – by West Australian, out of Emilia, 1858. Trifle – by Sir Charles, out of a daughter of Cicero, 1828.

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American Eclipse – by Duroc, out of Miller’s Damsel, 1814. Bertrand - by Sir Archy, out of Eliza, 1821. Revenue – by Trustee, out of Rosalie Somers, 1843. Boston – by Timoleon, out of a sister of Tuckahoe, 1833. Sir Archy – by Diomed, out of Castianira, 1805. Ruthless – by Eclipse, out of Barbarity, 1864. Glencoe – by Sultan, out of Trampoline, 1831. Leviathan – by Muley, out of Sarsaparilla, 1823. Sir Henry – by Sir Archy, out of a daughter of Diomed, 1819. Lexington – by Boston, out of Alice Carneal, 1850. Leamington – by Faugh-a-Ballagh, out of Pantaloon Mare, 1853. Longfellow – by Leamington, out of Nantura, 1867.


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21 | after Alfred de Dreux (French, 1810-1860) RACING TO THE FINISH Oil on canvas, 29” x 36½” $8,000. – 10,000.

Provenance: Christie’s, New York, December 1, 1999, lot 32

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22 | Pierre-Jules Mêne (French, 1810-1879) CHASSE AU CANARD Bronze, 6 ½” x 17” Signed $3,000. – 4,000.

Illustrated: The catalogue raisonné by Michel Poletti and Alain Richarme, p. 112

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

VAINQUEUR Bronze, 14” x 17” Signed, dated 1866, and inscribed “Vainqueur!!!” $9,000. – 12,000.

Vainqueur, another bronze from the series Vainqueur du Derby, was first exhibited in wax at the Paris Salon of 1863 and then again in bronze in 1864. This model is no. 13 in Mêne’s catalogue. Illustrated: Jane Horswell, Les Animaliers, 1971. pg. 151

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24 | Arthur-Marie-Gabriel Comte du Passage (French, 1838-1909) Cheval à l’entraînement avec son lad Bronze, 17” x 24” Signed CTE DU PASSAGE $12,000. – 15,000.

Provenance: Victor Franses Gallery, 57 Jermyn Street, St James, London Illustrated: P. Kjellberg, Bronzes of the 19th Century, Schiffer, 1994. pg. 530 Jane Horswell, Les Animaliers, 1971, pg. 274

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25 | Isidore Jules Bonheur (French, 1827-1901) horse and jockey, Bronze, 18 ½” x 18” Signed, stamped Peyrol Editeur $12,000. – 15,000.

A rarely seen model, it resembles closely Retour au Pesage (a model exhibited at the Salon in 1886) and another unidentified horse and jockey. There has been speculation that this could be Jument anglaise montee par un Jockey, exhibited at the Salon in 1863, Un Jockey, an 1864 piece, or another later Un Jockey from 1879.

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

Beecher’s brook, the grand national Watercolor, 7” x 14 ½” Signed $7,000. – 9,000.

Provenance: Ackermann and Johnson, London Sotheby’s, London, “The Racing Sale,” 1996, lot 175 (illustrated) Illustrated: Racing in Art by John Fairley, pg. 206

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27 | John Sinclair (British, 1872-1922) Ascot 1822 Oil on canvas, 53” x 84” $30,000. – 50,000.

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The image above depicts the King’s Stand at Royal Ascot as recorded in an etching by James Pollard in 1822. The original drawing was given to the British Museum by Arthur Du Cane in 1933 along with a large collection of Pollard’s original etchings and drawings. John Sinclair transformed Pollard’s etching into this large, spirited painting which captures the horses and jockeys as they reach the winning post. Pollard captured the frenzied crowd in the grandstand and the royal patrons as they took in the Ascot races from the King’s Stand, a precursor to the Royal Enclosure that henceforth has become a permanent fixture at the Ascot Heath races.

The New Stand was described in The Sporting Magazine as: These races have for many years been distinguished above all others in the kingdom by the immediate patronage and presence of the Sovereign; hence forward however they will be still more identified with Royalty by the erection of a Royal Stand a substantial building of brick and stone calculated to endure for ages, this regal sporting box has been erected immediately opposite to the grand stand. It is a square stuccoed building of two stories and each story is divided into two apartments. One of these is elegantly furnished for the use of his Majesty and the Royal family the other is also handsomely furnished for the attendants…The exterior of the building in front has a handsome appearance. The basement story is of stucco rusticated horizontally and from this springs a series of fluted stone columns of the Doric order supporting a remarkably ponderous entablature and parapet which enclosing the flat leaded roof forms a stand capable of containing nearly a hundred persons. The interstices between the columns are filled up with light sashes so that two sides of each upper apartment are entirely window and afford an admirable view of the whole course. These windows were hung with spotted muslin draperies which gave a light and elegant appearance to the whole. The stand is very pleasantly situated as independent of the attractions of the passing scene the front has a very fine look over a beautiful wood land and picturesque country. It was completed in the short space of five weeks by Mr. Perkins, the clerk of the works and able assistants under the architectural direction of Mr. Nash.

The history surrounding the conception and construction of the King’s Stand is a sordid affair, as are many of the accounts that accompany the reign of King George IV. King George IV began to set his mark as sovereign upon his reign and its pleasures. Ascot received the Royal attention and the man whose taste was so splendidly elegant and whose morals were so gross, brought to Ascot the atmosphere which sets it apart from all other racecourses. First of all he had constructed for himself a new Royal box designed by no less an architect than John Nash who was responsible for Buckingham Palace, Regent Street and the Nash Terrace of Regents Park.

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28 | Harry Hall (British, 1814-1882)

George Mure of Herringswell Oil on canvas, 40 ½” x 60” Signed $80,000. – 120,000.

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Provenance: Miss Mure of Perceton Anonymous Sale; Sotheby’s, New York, 9 June 1989, lot 97

Barraud. The present painting is one of the finest examples of Hall’s work, with extreme attention paid to all four horses and riders and a rabble of hounds showing great personality.

Exhibited: Rountree Tryon, 2015 Sporting Exhibition

Harry Hall was an English equestrian painter, whose works were in high demand by 19th-century horse owners. Born in Cambridge, he was trained by another sporting artist of note, Abraham Cooper. Hall first exhibited at the Royal Academy in 1838 and continued to show in artistic society exhibitions throughout his life. Living in Newmarket, he was a prolific painter, and after J. F. Herring, Sr.’s death, he was considered the foremost racehorse portraitist of his time. Hall first appeared at Tattersalls, where he worked on several of the publications: British Racehorse, The Sporting Review, and The Field to name but a few. He also worked for The Illustrated London News.

Literature: J.N.P. Watson, Collection Sporting Art, London, 1988, illustrated facing pg. 57 George Mure (1797-1868) was one of the pioneers of the East Suffolk Hunt—now called the Suffolk Hunt—which was founded by the Dukes of Grafton at Euston. He was Master of the Foxhounds for nearly 20 years, during which time the hounds were kenneled at Herringswell. Herringswell is approximately seven miles northeast of Newmarket. Mure’s huntsman was Will Rose and the whip was Sam Hibbs. Mure was also painted by John Frederick Herring, Sr. and the brothers William and Henry

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29 | Michael Lyne (British 1912-1989) Drawn Blank Watercolor, gouache, 17” x 23 ¾” Signed $7,000. – 10,000.

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30 | Michael Lyne (British 1912-1989)

berkeley hunt Watercolor, gouache, bodycolor, 12” x 19” Signed $3,000. – 4,000.

The Berkeley hounds are the oldest pack in England and are still family owned. Founded in the 12th century, they have been hunting foxes since the 18th century. In its heyday, the Earl of Berkeley could hunt in stages from Berkeley Castle near Gloucestershire all the way to Berkeley Square in London and back again.

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31 | Michael Lyne (British 1912-1989)

the horse in action 15 Watercolor, pen and ink drawings (varying sizes). Framed as three groups with overall sizes of 8” x 42,” 8” x 20,” 8” x 29,” respectively. $6,000. – 8,000.

Illustrated in The Horse In Action, Henry Wynmalen, Burke Publishing Company, 55 Britton Street, 1954 The illustrations are accompanied by the following text: STUDIES OF FREE JUMPING HORSES VARYING FORMS OF WALK FORMS OF IRREGULAR WALK AND JOGGING

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32 | Peter Biegel (British, 1913-1989)

THE WHITE WAVE over fairfield, OLD DOMINION FOXHOUNDS, 1969 Oil on canvas, 20” x 30” Signed, dated ’69 $11,000. – 14,000.

Provenance: Sporting Gallery, Middleburg, Virginia In the winter of 1968, the “Fun Match of 1968” took place in the Old Dominion Hounds territory to provide, once again enlightenment over the age-old question as to which foxhounds were better at hunting the fox, English or American. The two packs were from the Old Dominion Hunt and the Hamilton Hunt of Ontario, Canada. The American hounds prevailed after three matches in some very trying conditions. William W. Brained was both MFH and Huntsman of his English pack, The White Wave. He imported hounds from

The College Valley in the UK and the Heythrop. During that period, 1968-1976, the Old Dominion carded both packs of American and English hounds. Peter Biegel visited the East Coast frequently during that time and did the studies necessary of hounds and landscape for the record. Fairfield was the venue for this painting, and it is also known on Old Dominion Hunt fixtures as Marriott Ranch, a 4,200-acre holding purchased in the 1950s by J. W. Marriot in the foothills of the Blue Ridge Mountains.

The Sporting Art Auction

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33 | Peter Biegel (British, 1913-1989)

CUB HUNTING, BACK OF KENNELS, OLD DOMINION Oil on canvas, 20” x 30” Signed, dated ’76 $9,000. – 12,000.

Provenance: Sporting Gallery, Middleburg, Virginia

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34 | George Wright (British, 1860-1942) Going Out Oil on canvas, 22” x 36” Signed $10,000. – 15,000.

Provenance: Richard Green, London

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35 | Richard John Munro Dupont (British, 1920-1977) huntsman and hounds Oil on canvas, 26” x 30” Signed $4,000. – 6,000.

36 | George Wright (British, 1860-1942) fox hunting Oil on canvas en grisaille, 10” x 20” Signed $1,500. – 2,000.

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37 | Frederic Whiting (British, 1874-1962) Fishing Oil on canvas, 20” x 24” Signed $3,000. – 5,000.

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38 | George Wright (British, 1860-1942) Grouse Hunting (pair) Oil on canvas, 16 ½” x 24” each Signed $14,000. – 18,000.

Provenance: Arthur Ackermann and Son

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39 | Aiden Lassell Ripley (American, 1896-1969) A Double Chance Watercolor, 15” x 20” $7,000. – 9,000.

Authenticated (en verso) by Guild of Boston Artists, Newbury Street. Roger Curtis, Treas. Provenance: From the artist’s estate 1993: Natalie and Robert Nordstrand, Reading, MA Exhibitions Ripley Retrospective, Guild of Boston Artists, Sept. 1996

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40 | Paul Sawyier (American, 1865-1917) Fishing on elkhorn creek Watercolor, 9 ½” x 16 ½” Signed $18,000. – 22,000.

Arthur Jones cited a Louisville newspaper clipping in his book, The Art of Paul Sawyier, “[Sawyier] went to New York, expecting to encounter the usual rebuffs that lie thick in the pack of any comparatively unknown artist who strikes the East. But, he had better fortune. His exquisite watercolors of scenes along the Elkhorn Creek and among the Franklin County hills met with instant favor. He was given a kindly entree into New York’s best art circles and,

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almost overnight, his success in his chosen profession was assured.” While the above article might have exaggerated some, Elkhorn Creek was a popular subject of his, and a fishing scene by the man often referred to as “Kentucky’s most beloved artist” is rarer.


41 | Peter Biegel (British, 1913-1989) GRAND NATIONAL 1953 Watercolor, gouache, 16” x 20 ½” Signed, inscribed “Aintree 1953” $5,000. – 7,000.

Provenance: Rowland Ward, London The 1953 Grand National saw 31 horses start the race, but only five finished. Early Mist was the first across the line with Bryan Marshall aboard, the first of back-to-back Grand National victories for the jockey. This edition of the race also saw the start of the legendary Vincent O’Brien’s three straight Grand National wins. The Open Ditch After Valentine’s First Time Round. Runners Pictured: Ordinance, Pearly Prince, Little Yid, Glen Fire, Mont Tremblant, Larry Finn, Early Mist, Armoured Knight, and Overshadow.

42 | John Beer (British, 1860-1930)

GRAND NATIONAL LIVERPOOL, 1920 Watercolor with bodycolor, 15” x 22” Signed, inscribed $3,000. – 5,000.

Thomas Collins-Gerrard’s Troytown was the winner of the 1920 Grand National with Jack Anthony up. Troytown previously captured the Aintree Champion Chase and Grand SteepleChase de Paris. Jack Anthony won the Grand National on three different occasions before beginning a training career in 1928. Troytown’s trainer that day was Algy Anthony, who had first ridden Ambush II to victory in the Grand National, and thus completed the rare feat of winning as both a rider and trainer.

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43 | Graham Smith (British, 1907-1951)

1948 Grand National (a pair) Watercolor, gouache, bodycolor, 16” x 22” each Signed $4,000. – 6,000.

44 | Eric Meade-King (British, 1911-1987) Point-to-Point Watercolor with gouache, 13 ½” x 21” Signed $2,000. – 3,000.

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45 | Thomas Blinks (British, 1853-1912) steeplechase, (Set of 4) Oil on canvas, 14” x 20” each Signed, dated 1891 & 92 $40,000. – 60,000.

This set was issued as a print, engraved by Maurice Deville for the Print Sellers Association, published by Arthur Tooth & Sons, London, 1896.

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46 | Issac James Cullin (British, active 1881-1936)

“Polymelus” & “Pretty Polly, Cicero & Bachelor’s Button” (a pair), 1906 Watercolor, 10” x 14” each Signed, dated 1906 $3,000. – 5,000.

It stands to reason that Polymelus, the leading Thoroughbred sire in Great Britain and Ireland for the years of 1914, 1915, 1916, 1920, and 1921, would have a lasting effect on the breed. Through his son Phalaris, leading sire of 1925 and 1928, we have such names as Northern Dancer, Bold Ruler, Native Dancer, Nasrullah, Tom Fool, Mr. Prospector, Hail to Reason, and more in pedigrees today. The skeleton of Polymelus is on display at the University of Cambridge Museum of Zoology. Among noted upsets in race finishes the 1906 Ascot Gold Cup remains on the list. Going to the starter was Major Eustace Loder’s Pretty Polly under jockey Bernard Dillon at unheard-of odds of 4-to-11. The accomplished Pretty Polly had already been victorious in 22 of 23 starts. She made a valiant effort, feeling the whip for one of the few times in her career, but at the end of 2½ miles Bachelor’s Button had her by a length. Epsom Derby winner Cicero finished badly and was unplaced. Pretty Polly lived to the age of 30 and became one of the breed’s foundation producers.

47 | Franck Elim (French, 19th/20th Century) finish at paris le prix Oil on canvas, 20 ¼” x 28 ¾” Signed, dated July 1919 $5,000. – 6,000.

The 1919 Paris le Prix at Longchamp was won by Anthony Gustav de Rothschild’s Galloper Light. Bred by Leopold de Rothschild, Galloper Light was the winner of six races in England and France but was ineligible for the English classics. Anthony inherited his father’s racing and breeding interests upon his death in 1917. Besides his Paris le Prix win, he also captured the 1926 1,000 Guineas Stakes with Pillion and bred Midstream, three-time leading sire in Australia.

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48 | George Ford Morris (American, 1873-1960) Fighting Cock Oil on board, 14” x 11” Signed, dated ’32 $4,000. – 6,000.

Illustrated: Portraitures of Horses by George Ford Morris, Fordacre Studios, New Jersey, 1952. Pg. 249

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49 | George Ford Morris (American, 1873-1960)

Man O’ War, Oil on board, 24” x 15” Signed, dated ’22 and inscribed “Man O War” $4,000. – 6,000. Man o’ War lost only once but finished atop the rankings in Thoroughbred Champions: Top 100 Racehorses of the 20th Century, published by The BloodHorse. The superlatives attributed to Man o’ War have been equaled by few. Bred by August Belmont at his Nursery Stud in Kentucky, Man o’ War was sold at Saratoga to Samuel D. Riddle of Pennsylvania. Nicknamed “Big Red,” the high-headed chestnut son of Fair Play went on to win 20 of 21 starts and was titled a champion at 2 and 3 as well as Horse of the Year in 1920. Man o’ War was a leading sire, and his influence on American breeding was immense.

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50 | John Leigh-Pemberton

(British, 1911-1997) Clarence Study, 1954 State Landau Study, 1951 Oil on canvas, 19” x 27” & 19 ¾” x 28 ½” $6,000. – 9,000. pair

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

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51 | Edward Alfred Cucuel (American, 1875-1954) Eight Bells Oil on canvas, 10” x 14” Signed and inscribed verso $3,000. – 5,000.

The paintings title refers to nautical time in which each half-hour of a four-hour watch is marked by a bell. Eight bells, therefore, could be either eight o’clock, twelve o’clock, or four o’clock. “Eight bells” can also be a way of saying that a sailor’s watch is over, for instance, in his or her obituary, as a nautical euphemism for “finished.”

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This painting shares a title with one of Winslow Homer’s most famous paintings, now in the Addison Gallery of American art in Massachusetts. N.C. Wyeth named his home in Maine “Eight Bells” after Homer’s painting.


52 | Richard M. Firth (British, b. 1954)

The America’s Cup 1934, Endeavour and Rainbow Racing off Rhode Island Signed, Oil on canvas, 28” x 32” $20,000. – 25,000.

The American teams had a stranglehold on the America’s Cup by the time the 1934 event came around, having never lost the world’s most famous yacht race. Sir Thomas Sopwith sought to bring the cup back to Great Britain when he commissioned the Endeavor, a J-class yacht built to challenge the American team’s Rainbow. Before departing for America, Sopwith’s crew went on strike over their pay, and at the last second Sopwith recruited

a group of amateurs from the Royal Corinthian Yacht Club to take over. The ragtag group captured the first two races before falling to the Rainbow in a controversial series 4-2, the closest the British had gotten to reclaiming the cup and the closest anyone came to knocking off the Americans until the Australians did it in 1983.

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53 | Allen F. Brewer, Jr. (American, 1921-1967) nashua Oil on canvas, 20” x 24” Signed and dated ‘56 $4,000. – 6,000.

Nashua garnered a championship title at 2, Horse of the Year title at 3, and was inducted into the Racing Hall Museum Hall of Fame. His rivalry with Swaps brought horse racing to the forefront of American sports, both in newspapers and in the new medium of television. When his young owner, William Woodward, died and the stock of his Belair Stud was dispersed, Nashua was purchased for a then-record price of $1,251,200. The syndicate headed by Leslie Combs II brought Nashua to Kentucky to stand at Spendthrift Farm, where he had a successful stallion career until his death in 1982.

54 | Milton Menasco (American, 1890-1974) to the start, pimlico Oil on board, 12” x 16” Signed $3,000. – 4,000.

Provenance: The Estate of Florence Menasco

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55 | Milton Menasco (American, 1890-1974)

Miche at the Start of the Santa Anita Handicap , 1952 Oil on canvas, 24” x 30” Signed, dated 1952 $6,000. – 8,000.

Provenance: Mrs. John Payson Adams The collection of Mr. & Mrs. Walter M. Jeffords Sotheby’s, New York, Jeffords Sale, October 28, 2004, lot 77. Exhibited: National Museum of Racing, “Equine Portraits, Sculptures and Histories” 1963. Illustrated in catalogue on pg. 83 (no. 186) Illustrated: The British Racehorse, a magazine, November 1958, pg. 413 Imported from Argentina in 1947, Miche was part of a fourhorse package purchased by Muriel Vanderbilt Adams. The handsome gray became a favorite of Mrs. Adams, an American

socialite and Thoroughbred owner and breeder known for her devotion to her horses. Miche proved very successful, winning 15 of 51 starts. He is shown here being readied for the Santa Anita Handicap with jockey John Covalli wearing the white and black-bar-on-sleeve silks that Mrs. Adams inherited from her grandfather, William K. Vanderbilt. The race was anything but easy. Miche and the major stakes winner Intent made simultaneous moves on the backstretch, with Miche on the rail. From the three-sixteenths pole onward, Intent and jockey Jack Westrope brushed, bumped, and finally slammed Miche against the rail, beating him by a length. With the use of the film patrol, the stewards disqualified Intent and named Miche the winner of the $100,000 event.

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56 | Milton Menasco (American, 1890-1974)

claiborne silk study & Desert Trial Study, 1967-68 (pair) Oil on board, 9” x 12” each Signed $4,000. – 6,000. pair

Provenance: The Estate of Florence Menasco Bred in Florida by Joseph M. O’Farrell at his Ocala Stud, Desert Trial was sold for $12,000 at the 1965 Hialeah sales of Florida-bred 2-year-olds to Muriel Vanderbilt Adams. Desert Trial went on to a very successful race career for Mrs. Adams, winning 11 of 31 starts, including the Del Mar Oaks and Ramona Handicap at 3. As a 4-yearold she was ranked amongst the top four older fillies and mares after winning five major stakes, including the Hollywood Ladies Handicap, the Milady Handicap, and a second Ramona Handicap. Mrs. Adams was noted for the genuine affection she had for her horses and sadly she passed away before seeing Desert Trial’s daughter Desert Vixen become a multiple U.S. champion.

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57 | Milton Menasco (American, 1890-1974) The Entry Oil on canvas, 20” x 25” Signed $5,000. – 7,000.

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58 | Franklin Brooke Voss (American, 1880-1953) American Wolf Oil on canvas, 25 ½” x 30” Signed, dated 1947 $15,000. – 20,000.

Albert Sabath’s doctor urged him not to watch champion Alsab in the colt’s 3-year-old debut in the 1941 Bahamas Handicap at Hialeah. The doctor feared the excitement would be too much for the owner. It was probably for the best that Sabath stayed in the paddock as his champion Alsab faded and Alice Sherman’s American Wolf drew away with the victory. American Wolf was bred by Willis Sharpe Kilmer at his Court Manor Stud in New

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Market, Virginia. Kilmer’s yearling manager Stanley Shackelford selected him as one of the best Court Manor yearlings and sent him to the Saratoga sales. The colt was passed over by most bidders, and Selby Burch was able to purchase him for $1,200 for Mrs. Sherman. American Wolf raced to the age of 13, starting 112 times with 25 wins and 25 placings.


59 | Richard Stone Reeves (American, 1919-2005) Royal Stables, Chantilly, France Horses Going to the Start Oil on canvas, 20” x 30” Signed, dated 1994, and inscribed “Chantilly” $12,000. – 15,000.

These palatial stables were designed by Jean Aubert and built under his supervision during the years 1719-1740 for Prince de Condé. Adjacent to the famed Chantilly Race Course, where racing has been held each year since 1836, this magnificent structure contains stalls for 240 horses and now houses a museum dedicated to the horse. The two most important French classic races, the Prix du Jockey Club (French Derby) and the Prix de Diane (French Oaks), are annually contested at Chantilly. This painting shows a field of Thoroughbreds on their way to the starting gate. The silks worn by the jockeys are the racing colors of nine of the owners of distinguished French Derby winers. From left to right: H.H. Aga Khan (Charlottesville 1960, Top Ville 1979, Darshaan 1984, Mouktar 1985, and Natroun 1987), Mme Alec Head (Bering 1986),

Mme Jean Couturié (Right Royal 1961), Marcel Boussac (Ramus 1922, Tourbillon 1931, Thor 1933, Cillas 1938, Pharis 1939, Ardan 1944, Coaraze 1945, Sandjar 1947, Scratch 1950, Auriban 1952, Philius 1956, Acamas 1978), Robert Sangster (Assert 1982, Caerleon 1983), J. Wertheimer (Val de l’Orne 1975), Baron Guy de Rothschild (Crystal Palace 1977), Sheikh Mohamed Al Maktoum (Old Vic 1989), and Stavros Niarchos (Hernando 1993) The horses represented are not necessarily portraits of French Derby winners. Illustrated: Crown Jewels of Thoroughbred Racing by Richard Stone Reeves, The Blood-Horse, 1997, pg.159. Also appears on the cover of Crown Jewels of Thoroughbred Racing. The Sporting Art Auction

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

Bayakoa, 1991 Oil on canvas, 20” x 24” Signed, dated ’91, and inscribed “Bayakoa.” Both the backing board and the back of frame are autographed by jockey Laffit Pincay Jr. $10,000. – 15,000.

Hall of Fame inductee Bayakoa (Argentina) garnered back-toback Eclipse titles as Champion Older Mare in 1989 and 1990. Bred in Argentina by Haras Principal, she won the Group 1 Premio Palermo before being sold to Janis and Frank Whitham. Imported to the U.S., Bayakoa went to the barn of Hall of Fame trainer Ron McAnally, where she won 12 Grade 1 events, including the 1989 and 1990 Grade 1 Breeders’ Cup Distaff. Bayakoa died in 1997, but her legacy continues with her daughters producing Grade 1 winners Fort Larned (Breeders’

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Cup Classic-G1, etc.) and Affluent (Queen Elizabeth II Challenge Cup S.-G1, etc.). “Bayakoa was one of my favorite horses – very fast, consistent and could go a distance of ground. She was not a big filly, mediumsized and kind of lean but well-balanced and very impressive with a beautiful smooth stride.” –Hall of Fame Jockey Laffit Pincay Jr.


61 | Richard Stone Reeves (American, 1919-2005) Equipoise Oil on board, 12” x 15” Signed, inscribed “Equipoise,” inscribed verso $8,000. – 10,000.

Known to his legion of fans as “The Chocolate Soldier,” Equipoise is ranked No. 21 in Thoroughbred Champions: Top 100 Racehorses of the 20th Century by The Blood-Horse. Bred by Harry Payne Whitney and raced by his son Cornelius Vanderbilt Whitney, Equipoise won 29 races, 24 of which were stakes events, and was considered Horse of the Year at ages 4 and 5. Having died at age 10, he sired only four crops of foals but was the leading sire of 1942 with progeny led by Kentucky Derby winner Shut Out.

62 | Richard Stone Reeves (American, 1919-2005) Bold Venture Oil on board, 12” x 16” Signed, inscribed “Bold Venture” $8,000. – 10,000.

The 62nd running of the Kentucky Derby in 1936 started as a “bold venture” and was won by a horse of the same name. In the era before starting gates, Churchill starter William Hamilton caught the field in alignment and sent them off. Mayhem ensued with the field stumbling, bumping, and crashing. When the wire was reached, Bold Venture, a horse that had yet to win a stakes and was ridden by an apprentice jockey, beat the favorite, Brevity, by a head. While an upset, it was hardly a fluke as Bold Venture went on to win the Preakness Stakes and sire Kentucky Derby winners Assault and Middleground.

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63 | Richard Stone Reeves (American, 1919-2005) Nearco at Longchamp, 1975 Oil on canvas, 16” x 20” Signed, dated ’75, and inscribed “Nearco” $12,000. – 15,000.

Bred in Italy by the legendary horseman Federico Tesio, Nearco remained unbeaten after a career of 14 starts, including the Gran Premio del Re (Italian Derby) and the Grand Prix de Paris. In 1938, political unrest and the threat of war forced Tesio to part with Nearco and he was sold to Martin H. Benson of Beech House Stud in Newmarket, England, for the world-record price of 60,000 pounds. Nearco remained at Beech House Stud until his death in 1957. With male-line descendants such as Nasrullah, Bold Ruler, Nearctic, Northern Dancer, Royal

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Charger, Hail to Reason, and more, Nearco ranks as one of the most important Thoroughbred progenitors ever. Illustrated: Illustrated in Classic Lines by Richard Stone Reeves and Patrick Robinson, Oxmoor House, 1975, pg. 59.


64 | Richard Stone Reeves (American, 1919-2005) Allez France, 1975 Oil on canvas, 14” x 16” Signed, dated ’75, and inscribed “Allez France” $9,000. – 12,000.

Provenance: Beresford Gallery From the Timeform Racehorses of 1974, “Allez France is an exceptional filly in every important respect. On the score of ability, she is without doubt one of the best fillies to have raced in Europe in the past thirty years or so, worthy of comparison with those brilliant racemares Sun Chariot, Coronation V, and Petite Etoile. In looks Allez France is one of the most beautiful fillies we have seen, magnificent, imposing individual, perfect

in conformation.” Bred in Kentucky by Isidor Bieber and Hirsch Jacobs’ Bieber-Jacobs Stable, Allez France was purchased privately as a weanling by Daniel Wildenstein. Racing primarily in France, she was named champion at 2, 3, 4, and 5, and in 1974, when she won the prestigious Group 1 Prix de l’Arc de Triomphe, she was named Timeform Horse of the Year. Illustrated: Great Racehorses in Art, by John Fairley p. 201

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65 | Simon Erland (British, b. 1961)

matador maquette iv (chicuelinas), 1996 Bronze, 10” x 9” Signed on bottom, dated 1996, edition 4 of 9 $5,000. – 7,000.

Chicuelinas: a pass with the cape invented by Manuel Jimenez “Chicuelo.” The man offers the cape to the bull and when the bull has charged and is past, the man, while the bull turns, makes a pirouette in which the cape wraps itself around him. At the conclusion of the pirouette, the matador is facing the bull ready to make another pass.

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66 | Belinda Sillars (British, b. 1961) Fox on a Fencepost Bronze, 65 ¼” x 12” Signed, edition 1 of 9 $15,000. – 20,000.

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67 | Carl Dahl (American, b. 1952) peanuts Bronze, 20 ¾” x 16 ½” Unique $12,000. – 16,000.

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68 | Mark Coreth (British, b. 1958)

Ant Eater Bronze, 11” x 20 ¼”, edition 1of 9 $6,000. – 9,000.

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69 | Stephanie Revennaugh (American, b. 1973) Beautiful Together Bronze, 9” x 24,” edition 13 of 21 Signed $4,000. – 6,000.

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70 | Liza Todd-Tivey (American, b. 1957) Nashua and Clem Bronze, 12 ½” x 16” Signed, dated ’82, stamped 3L $4,000. – 6,000.

Provenance: The Estate of Leslie Combs, Spendthrift Farm 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. 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 out of his pocket that he said was “off Nashua” 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.

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71 | Alexa King (American, b. 1952) BLACK LAB HEAD Bronze, 17” x 8”, edition 7 of 24 Signed $5,000. – 7,000.

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72 | Alexa King (American, b. 1952) bullet work, 2016 Bronze, 14” x 13,” edition 1 of 9 Signed, dated 2016 $5,000. – 7,000.

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73 | Thomas Ostenberg (American, b. 1949) Success in a Material World Bronze, 18 ½” x 23”, edition 4 of 12 Initialed, $17,000. – 20,000.

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74 | Cindy Wolf (American, b. 1946)

Lady’s Secret, 1987 Bronze on marble, 12” x 16”, edition 12 of 12 $16,000. – 19,000.

Hall of Fame trainer D. Wayne Lukas once declared Lady’s Secret an overachiever. And anyone looking at her Horse of the Year campaign as a 4-year-old in 1986 would have to agree. She traveled from the West Coast to the East Coast and back. She won 10 of 15 starts, including a 4½-length win over colts

in Saratoga’s Grade 1 Whitney Handicap and a 2½-length victory in the Grade 1 Breeders’ Cup Distaff. All told, the Oklahoma-bred filly won 25 of 45 starts and placed in 12. Her 22 stakes victories include 11 Grade 1 events. Lady’s Secret was inducted into the Hall of Fame in 1992.

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75 | Alexa King (American, b. 1952)

war & peace Bronze, 15 ½” x 20 ½”, each signed and dated 94, edition 2 of 14 $12,000. – 15,000.

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76 | Robert Polhill Bevan (British, 1865-1925) who-o-op Oil on paper, 10” x 13” $2,000. – 3,000.

Provenance: Davis & Long Company, New York, 1978 This is a study for the lithograph of the same name illustrated as no. 20 in Graham Dry’s Robert Bevan: Catalogue Raisonné of the Lithographs and Other Prints (1968). This was fourth in a set of four hunting scenes dated Somerset 1898, completed in 1899. The same lithograph is also illustrated as no. 12 in Robert Bevan: A Memoir by his Son (1965). Exhibited: New York, Davis Galleries, Robert Bevan, 1970, no. 6 New York, Davis and Long Company, English Watercolors and Drawings, 1974, no. 3

77 | Frank Nelson Ashley (American, 1920-2007) AFTER THE RACE Oil on board, 8” x 12” Signed $2,000. – 3,000.

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78 | Frank Nelson Ashley (American, 1920-2007) JOCKEY & GROOM Acrylic on board, 28” x 22 ½” Signed, dated 1964 $6,000. – 8,000.

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79 | Frank Wootton (British, 1911-1998)

Exercising Horses at Newmarket (Winter) Oil on canvas, 18” x 24” Signed, title inscribed verso $5,000. – 7,000.

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80 | Claude Grosperrin (French, 1936-1977) PROMENADE EN SOUS bois Oil on canvas, 32” x 26” Signed $9,000. – 12,000.

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81 | Claude Grosperrin (French, 1938-1977) Public au fresage Oil on canvas, 29” x 36 ¼” Signed $9,000. – 12,000.

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82 | Claude Grosperrin (French, 1938-1977)

the village green, st-illiers-la-ville, france Oil on canvas, 32” x 38 ½” Signed $10,000. – 15,000.

This piece appeared on the cover of the Summer 2016 issue of Keeneland magazine. A copy of that issue will accompany the lot.

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83 | Emilio Grau Sala (Spanish, 1911-1975) Paddock Scene Watercolor, gouache, 18” x 24” Signed $9,000. – 12,000.

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84 | Emilio Grau Sala (Spanish, 1911-1975) Paddock Oil on canvas, 21” x 26” Signed $15,000. – 20,000.

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85 | William Smithson Broadhead (British, 1888-1940) A RACEHORSE WITH JOCKEY UP Oil on canvas, 16” x 20” Signed $7,000. – 9,000.

Provenance: Christie’s, New York, December 1, 1999, lot 153

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86 | Arthur Saron Sarnoff

(American, 1912-2000) In Front by a mile Oil on canvasboard, 24” x 36” Signed $3,000. – 5,000.

87 | John R. Skeaping

(British, 1901-1980) Belmont, 1975 Watercolor, 18 ¾” x 28” Signed, dated 1975 $3,000. – 5,000.

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88 | Louis Ferdinand Malespina (French, 1874-1940) La course de chevaux Oil on canvas, 21” x 32” Signed $4,000. – 6,000.

Provenance: Newman Galleries, Philadelphia The Estate of Marim Pew Hamilton

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89 | René Berti (Italian/French, 1884-1939) DIMANCHE À LONGCHAMP Oil on board, 24” x 32” Signed $3,000. – 5,000.

90 | Louis Ferdinand Malespina (French, 1874-1940) The Finish Oil on canvas, 32” x 46” Signed $5,000. – 7,000.

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91 | Ricardo Arenys Galdón (Spanish, 1914-1977) paddock Oil on canvas, 26” x 32” Signed, inscribed verso $4,000. – 6,000.

Provenance: Sala Vayreda, Barcelona, April 1983

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92 | Ricardo Arenys Galdón (Spanish, 1914-1977) antes de la corrida Oil on canvas, 24” x 36” Signed $6,000. – 8,000.

Provenance: Bendann Art Galleries, Baltimore

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93 | Paul Lucien Maze (French, 1887-1979) At the Races, Epsom Oil on canvas, 14 ¼” x 12 ¼” Signed $8,000. – 12,000.

Provenance: Sotheby’s London, June 19, 1997, lot 25 (illustrated) Private Collection, England

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94 | LeRoy Neiman (American, 1921-2012) Seattle Slew Acrylic, 45 ¾” x 68 ¼” Signed, dated ’77 $90,000. – 120,000.

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“Of all the horses I’ve sketched from life and painted in depth, the most memorable are:…Seattle Slew, at Belmont, at the Kentucky Derby, and again at Belmont. I sketched Seattle Slew outside the barn at Belmont Park’s stable area. He was standing in conformation (and Seattle Slew has great conformation), something that means more to the horseman than it does to me; I get the sense of form, grace, and beauty from the silhouette and the movement. When I draw a person, hairstyling is important to define the subject’s character and silhouette; the same holds true for horses. Seattle Slew’s mane begins with bangs over his forehead and his tail is almost as long as that of the great horse, Whirlaway. Solid in color, Seattle Slew’s dark coat flattens out his form when he stands still, but after running, when he glistens with sweat, his muscles are highlighted and his powerful form becomes evident.

I had Seattle Slew affix his signature to this drawing. His hoofprint is in the lower right corner just over my signature.” — LeRoy Neiman, Horses, Harry N. Abrams, New York, 1979. pg. 21 Seattle Slew embodies the American Dream — a $17,500 yearling purchase who became a Triple Crown winner and earner of more than $1,200,000. His story threads its way from his 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 to the stallion operations of Spendthrift and Three Chimneys farms, where he achieved renown as a major sire. Illustrated: Pg. 20-21 of Horses, by LeRoy Neiman.

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95 | LeRoy Neiman (American, 1921-2012) Fox Hunt Acrylic on board, 28 ¼” x 24” Signed, dated ’70 $90,000. – 120,000.

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96 | LeRoy Neiman (American, 1921-2012) Del Carroll, Polo Acrylic on canvas, 26” x 21 ¼” Signed, dated ’59 $90,000. – 120,000.

Inducted into the Polo Hall of Fame in 2003 with the nickname “Mr. Speed,” Del Carroll was one of the greatest offensive players of his era. First rated 8 goals in 1949, he held the distinction for 10 years; he attained a 9-goal rating in the arena. He eventually started training Thoroughbreds for his friends and fellow polo players, culminating with a win in the 1972 Preakness Stakes.

Magasin (registered name) was bred for Thoroughbred racing rather than polo and was owned by Michael Phipps until the age of 5. At that point Carroll had shown interest in the horse and Phipps proposed a challenge that Carroll could have the horse if he made a polo pony out of him. Magazin (polo name) immediately took to the sport and won the Hartman Award for Best Playing Pony in 1972. He was elected to the Polo Hall of Fame in 2004.

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97 | LeRoy Neiman (American, 1921-2012)

Epsom Acrylic on board, 23 ½” x 36” Signed, dated ‘63, and inscribed “Epsom”, inscribed verso “Paddock Epsom” $100,000. – 125,000.

Provenance: Hammer Galleries, New York “But internationally there are only two derbies that count. First and foremost is the original, at Epsom Downs in England, named after Edward Stanley, the twelfth earl of Derby who in 1780 founded the Derby Stakes. Epsom is the supreme equestrian pageant of the racing world. Steeped in tradition, it has the same festive feeling and prestige today as it had when the nineteenth-century English artists captured its essence in prints. Fans start arriving at six in the morning. Prepared for a long day’s outing, they begin with English breakfast on the grass, complete with racing forms, hampers, blankets, and other

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racetrack picnic paraphernalia. Thousands arrive by bus and thousands more on foot, meandering over the soft hills to the infield circled by the track. Meanwhile, having arrived in their Rollses and Bentleys, the upper-class, top-hatted racegoers in their gray waistcoats, striped trousers, and cutaways, with their ladies in flowered dresses and hats, file into the grandstands and members’ enclosure. Like their countrymen in the infield, they lug an assortment of paraphernalia, but theirs is more elegant: imported binoculars hang around their necks, leather cases swing from their shoulders, a shooting stick is tucked under one arm (which makes doffing the top hat a problem).” — LeRoy Neiman, Horses, Harry N. Abrams, New York, 1979, pg. 43 and 44.


98 | Paul Ambille (French, 1930-2010)

POLO Oil on canvas, 25 ½” x 32” Signed, inscribed verso “les equipierse de polo” $4,000. – 6,000.

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99 | Randall Davey (American, 1887-1964) rainy track Encaustic on fiberboard, 21 ½” x 25 ½” Signed $12,000. – 15,000.

Provenance: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution Christie’s, New York, May 21, 1991 Exhibited: Davey Retrospective, Finlay Galleries, New York, March-April 1967, #17

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100 | Andre Pater (Polish/American, b. 1953) Polo Oil on canvas, 20” x 16” Signed, dated ’89 $7,000. – 10,000.

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101 | Lesley Humphrey (British, b. 1957) BATTLE ROYALE Oil on panel, 30” x 30” Signed $7,000. – 9,000.

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102 | Roger Muhl (French, 1929-2008) circus horses Oil on board, 20” x 39 ½” Initialed, dated ’57 $10,000. – 15,000.

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103 | Eyvind Earle (American, 1916-2000) mount haze Oil on board, 30” x 40” Signed, dated ’69 $10,000. – 15,000.

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104 | Robert Polhill Bevan (British, 1865-1925) Horse in a Stall Charcoal on paper, 17 ½” x 21 ¾” Stamped with monogram $4,000. – 6,000.

Executed circa 1896. Provenance: Robert Bevan (the artist’s son) Davis & Long Company, New York, 1978 Private Collection, New York (acquired from the above) Exhibited: New York, Davis Galleries, Robert Bevan, 1970, no. 1

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105 | Andy Warhol (American, 1928-1987)

Willie Shoemaker, 1978 Synthetic polymer paint and silkscreen ink on canvas 40” x 40” Stamped and authenticated by the Estate of Andy Warhol, numbered ‘PO41.010’ (on overlap) $500,000. – 600,000.

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Provenance: Estate of the Artist, The Andy Warhol Foundation for the Visual Arts, Inc. Jane Holzer (Baby Jane) Private Collection Sotheby’s New York: “Contemporary Art: Part Two (Morning)” [Lot 119]: Thursday, November 15, 2001 Private Collection, London: 2001-2005 Private Collection, NY: 2005-present Literature: Sotheby’s “Contemporary Art: Part Two (Morning)” [Lot 119] auction catalogue: New York: Thursday, November 15, 2001 Catalogue Raisonné, The Andy Warhol Foundation for the Visual Arts, Inc. [Pending] In 1977 Warhol began working on a series of portraits of athletes at the behest of Richard Wiseman, a well-known art collector and sports enthusiast. While the “athletes” series was a deviation from Warhol’s previous subject matter, the theme that tied this group of portraits to many of his previous works remained — fame. Warhol immortalized many iconic figures in “pop culture,” including actors, musicians and political figures. The depiction of athletes was a natural progression and the fame that the athletes embodied was not lost on Warhol. He expressed this sentiment, saying: “I really got to love the athletes because they are the really big stars.” The 10 athletes that constituted this series were Muhammad Ali, Pelé, Dorothy Hamill, Tom Seaver, Jack Nicklaus, O.J. Simpson, Chris Evert, Willie Shoemaker, Rod Gilbert, and Kareem Abdul-Jabbar. Warhol’s portraits of pop icons have become highly prized works of art and continue to produce record auction prices;

images of Marilyn Monroe, Liz Taylor, Marlon Brando, Elvis and others have sold for more than $30,000,000 since 2014, with a Triple Elvis (Ferus Type) leading the way, bringing an astonishing $81,925,000. The first portrait Warhol produced in the “athletes” series was that of Willie Shoemaker, a Pop icon in the racing world, to be sure. Willie Shoe is the Elvis of the turf. Born August 19, 1931, in Fabens, Texas, William Lee Shoemaker became a giant in Thoroughbred racing despite his 2.5-pound beginning. Riding professionally from March 19, 1949, to February 3, 1990, “The Shoe” won 8,833 of 40,350 races, including 11 Triple Crown races. In 1958 at the age of 27, Shoemaker was inducted into the National Museum of Racing Hall of Fame. An excerpt from Warhol’s published diary details his meeting of Shoemaker as follows: Monday, March 28, 1977–Los Angeles At 4:00 I went to Fred’s room to photograph Willie Shoemaker the jockey. Richard Weisman commissioned me to do a series of athletes’ portraits. Richard will keep some of the portraits and some will be for sale and the athletes will get to keep some. So Willie was the first athlete. Had to get some film (cab to Schwab’s $3, film $15.30–lost slip). Willie’s wife called from the lobby and she came up with a girlfriend–but without Willie. He didn’t show up till ten after 5:00 and when he saw her, he couldn’t believe she was there. He’d been in court getting a divorce from her, that’s why he was late. Willie’s ex-wife of one hour was one of the tallest women I’ve ever seen. She was dressing Willie for the picture and he looked like an eight-year-old kid. And guess what he was wearing – little jockey shorts! Ordered Martinis and the wife was drinking. She kept asking him for a date to celebrate the divorce and he kept turning her down, he said, “If I’d known that you were going to be here, I wouldn’t have come.”

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106 | Brett James Smith (American, b. 1958) High Country Hunter Oil on canvas, 18” x 24” Signed $6,000. – 9,000.

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107 | Sir Alfred J. Munnings (British, 1878-1959) Deer Studies Pencil on paper, 4 ¾” x 6 ⅝,” each Signed $4,000. – 6,000.

Provenance: Frost and Reed, London

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108 | Sir Alfred J. Munnings (British, 1878-1959) Jockeys mounted at Ascot Pencil on racecard, 6 ⅛” x 9 ⅛” Signed $5,000. – 7,000.

Provenance: Frost and Reed, London

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

“Two Horse Studies at Sandown” & “In the Paddock, Kempton” (pair) Pencil on paper, 5 ⅛” x 4 ¾” & 5 ½” x 4 ⅜” respectively Signed, inscribed “Sandown ‘55 and “Kempton September 15, ‘53 $6,000. – 9,000.

Provenance: Frost and Reed, London

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

Royal Enclosure, Ascot, Showing Her Majesty the Queen Pencil on paper, 4 ⅜” x 5 ½” Signed and inscribed $5,000. – 7,000.

Provenance: Frost and Reed, London

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

“Newmarket before a Start” & “Waiting for the Starter, Newmarket” (pair) Pencil on paper, 4” x 5” & 3 ½” x 5 ⅞” respectively Signed, inscribed “Newmarket before a Start” and “Newmarket” $6,000. – 9,000.

Provenance: Frost and Reed, London Illustrated: The British Racehorse, August 1980, pg. 291-292

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112 | Sir William Orpen (Irish, 1878-1931) Sergeant Murphy & Things Oil on canvas, 29 ½” x 40” Signed $350,000. – 450,000.

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Provenance: Artist’s Studio Book record for 1923: Sergeant Murphy sold to 1st Baron Dewar of Homestall for £500 Viscountess Ward of Witley, her sale; Christie’s London 14 July 1967, lot 89 (750gns. to Roussack) E.J. Roussack, NY, his sale; Sotheby’s London, 18 July 1973, lot 52 (illustrated) Anon. sale; Christie’s NY, 8 June 1984 lot 301 (illustrated) Anon. sale, Christie’s NY, 30 May 2002, lot 108 (illustrated)

head was too small.” (Munnings, The Second Burst, p. 153). Many elements within Orpen’s painting of Sergeant Murphy are, in fact, borrowed motifs from Munnings’ oeuvre. The oak tree is a notable example as several of Munnings’ patrons went so far as to request oak trees in their commissioned paintings. Chris Pearson, a scholar of Orpen, even suggests that the man leaning against the oak tree in Sergeant Murphy & Things is Munnings himself — a tongue-in-cheek nod to Munnings’ reputation as the top horse painter of the day.

Sir William Orpen had a friendly rivalry with Sir Alfred Munnings, who was widely considered the best sporting artist of the 20th century. While the two were stationed in France as war artists during World War I, they found themselves both painting at the Canadian Cavalry Headquarters. Munnings, who was painting a portrait of Prince Antoine of Bourbon on horseback, ran out of sable brushes. He found Orpen and asked him three questions: if he had a car (which he did); if he had any sable brushes; and if so, would he mind lending Munnings some brushes? Orpen kindly handed Munnings all of his sable brushes. The next day Orpen asked Munnings for the brushes back. Munnings quickly reminded him of the first question about the car and told Orpen he could “damn well drive to Paris and get some more.” (Orpen, An Onlooker in France, p. 66)

Munnings was commissioned to paint Sergeant Murphy after he won the Grand National. It is unclear if Orpen was ever commissioned by the horse’s owner, “Laddie” Sanford — his record books indicate that it was first purchased by Lord Dewar (of whiskey fame) in 1923, prior to its initial exhibition at the 1924 Royal Academy exhibition. That it was not purchased by Mr. Sanford leads to the speculation that Orpen painted Sergeant Murphy & Things as a challenge to Munnings.

The rivalry between the two great artists perhaps reached its conclusion in this painting — quite impressively Orpen’s first attempt at a horse portrait. It is often said that this work was an endeavor to prove that Orpen could paint a horse portrait that would rival those of Munnings. Orpen, after all was one of the most fashionable portrait painters — a “prodigy from Dublin” who had taken London society by storm. Munnings was equally as fashionable but had the advantage of a reputation as a painter of horses and men. Sergeant Murphy was first exhibited at the Royal Academy in 1924 and, unsurprisingly, was compared with Munnings’ works in the same show. Munnings remembers reading a review of the show “about Orpen’s picture of Sergeant Murphy saying that the Irishman’s picture was better than mine of the grey horse…that my horse’s

Sergeant Murphy was a chestnut gelding by General Symons out of Rose Craft, bred in Ireland by G. L. Walker in 1910. By the time he died at 16, he was the veteran of an impressive seven Grand Nationals. When he won the Grand National in 1923, he was owned by the American Stephen “Laddie” Sanford, who had purchased him while an undergraduate at Cambridge to use as a foxhunter. The 1923 Grand National had a field of 28 starters. Six horses completed the formidable course. It was the first Grand National ever won by an American owner. Exhibitions: London, Royal Academy, 1924, no. 655 as “Sergeant Murphy & Things” Liverpool, Walker Art Gallery, 54th Autumn Exhibition, 1926, no. 158 London, Royal Academy, Commemorative Exhibition of Works by Late Members, 1933, no. 88 Dublin, National Gallery of Ireland, Orpen Centenary Exhibition, 1978, no. 124

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113 | Peter Howell (British, born 1932) Keeneland Paddock Oil on canvas, 20” x 24” Signed $9,000. – 12,000.

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114 | Peter Howell (British, born 1932) Newmarket Heath Oil on canvas, 48” x 40” Signed $18,000. – 22,000.

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115 | Peter Howell (British, born 1932) racing Oil on canvas, 72” x 96” Signed $50,000. – 70,000.

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116 | Abel Kesteven (British, born 1969) behind the scenes (a pair) Pastel, 14 ½” x 15 ½” each Signed $3,000. – 5,000.

117 | Abel Kesteven (British, born 1969)

SALTI AT ZIPPOS Pastel, 17 ¾” x 23 ¼” Signed, inscribed, “Salti, the enormous circus horse! Zippos. May 30th 2016” $3,000. – 5,000.

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118 | Henry Koehler (American, born 1927)

apres le poteau Charcoal and oil on paper laid down on canvas, 18” x 23” Signed, inscribed, and dated 1982 verso $6,000. – 8,000.

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119 | Henry Koehler (American, born 1927)

jockeys going to weigh in Charcoal and oil on paper laid down on canvas, 18 ¼” x 23” Signed, inscribed, and dated 1982 verso $6,000. – 8,000.

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120 | Jean-Bernard Lalanne (French, born 1952) étude de chien de chasse Oil on canvas, 20” x 16” Signed $4,000. – 6,000.

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121 | Jean-Bernard Lalanne (French, born 1952) Chasse à courre Oil on canvas, 59” x 50” Signed $15,000. – 20,000.

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122 | Jean-Bernard Lalanne (French, born 1952) Pamplona Oil on canvas, 32” x 40” Signed $8,000. – 10,000.

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123 | T. Allen Lawson (American, born 1963) Old Steady Oil on panel, 30” x 22” Signed $24,000. – 26,000.

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124 | T. Allen Lawson (American, born 1963) The Cool OuT Oil on panel, 24” x 22” Signed $20,000. – 22,000.

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125 | Larry Dodd Wheeler (American, born 1942) Oklahoma, 5th Avenue, Saratoga Oil on canvas, 18” x 32” Signed $4,000. – 6,000.

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126 | Larry Dodd Wheeler (American, born 1942) Serena’s Song Oil on board, 12 ½” x 12” Signed, inscribed “Serena’s Song” $1,500. – 2,000.

In 1993 Robert and Beverly Lewis selected a bay daughter of Rahy and Imagining at the Keeneland September Yearling Sale and paid $150,000. They named her Serena’s Song and she went on to earn $3,283,388 and produced the earners of $2,846,403. She won 17 graded events, including 11 Grade 1 stakes, was champion 3-year-old filly of 1995, and inducted into the Hall of Fame at age 10 in 2002. As a broodmare, she produced 13 foals, 12 of which started. Among them are 10 winners, six stakes winners, and four graded stakes winners. Her last live foal was a Medaglia d’Oro filly born in 2014 and named Gold Serenade.

127 | Larry Dodd Wheeler (American, born 1942) Mid-Winter, Mid-Week, Greenspring Oil on canvas, 12” x 18” Signed $2,000. – 3,000.

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128 | Joanne Mehl (American, born 1960)

PATRICIAN PROFILE, Keeneland Oil on board, 23 ¼” x 28 ½” Signed $4,000. – 6,000.

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129 | Sandra Faye Oppegard (American, born 1941)

SONGBIRD, BEHOLDER, TEPIN, California Chrome (set of 4) Watercolor, 11” x 14” each Signed, inscribed $4,000. – 6,000.

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Songbird – 2015 Eclipse Champion 2-Year-Old Filly. Undefeated in nine starts, including the Grade 1 Breeders’ Cup Juvenile, Grade 1 Coaching Club American Oaks, Grade 1 Santa Anita Oaks, etc.

Tepin – 2015 Eclipse Champion Grass Mare. Winner of 10 graded stakes, including Royal Ascot’s Group 1 Queen Ann Stakes, Grade 1 Breeders’ Cup Mile, Grade 1 Just a Game Stakes, etc.

Beholder – 2012 Eclipse Champion 2-Year-Old Filly, 2013 Eclipse Champion 3-Year-Old Filly, and 2015 Eclipse Champion Older Mare. Winner of 15 stakes, 10 Grade 1 events, including the Grade 1 Breeders’ Cup Distaff, Grade 1 Breeders’ Cup Juvenile Fillies, and Grade 1 Pacific Classic Stakes.

California Chrome – 2014 Eclipse Champion 3-Year-Old Colt and Horse of the Year. Winner of 11 stakes including the Group 1 Dubai World Cup, Grade 1 Kentucky Derby, Grade 1 Preakness Stakes, Grade 1 Santa Anita Derby, etc.


130 | Sandra Faye Oppegard (American, born 1941)

American Pharoah, 2015 Breeders’ Cup Watercolor, 14” x 11” Signed $1,200. – 1,500.

Illustrated: Cover of Fall 2016 Keeneland magazine The “Grand Slam” winner of Thoroughbred racing, American Pharoah followed his 2015 American Triple Crown victories

with a 6½-length victory in the Grade 1 Breeders’ Cup Classic. In all, American Pharoah won nine of 11 starts by a combined recorded margin of 44½ lengths. His trainer, Bob Baffert, stated, “I just have never seen anything like him, never trained anything like him.”

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131 | Andre Pater (Polish/American, born 1953) Red arrow, 2016 Pastel, 36” x 24” Signed $40,000. – 60,000.

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132 | Andre Pater (Polish/American, born 1953) Study for Red arrow, 2016 Charcoal, pastel, 36” x 26” Signed $12,000. – 15,000.

“Depicted here is a Lakota warrior, approx. 1870, in full regalia; wearing a buckskin war-shirt decorated in locks of horsehair and scalps along his arm, and draped in a buffalo robe. Each aspect of this warrior’s dress signifies honor and accomplishment. In his right hand he holds a fan made from the right wing of an eagle, itself adorned with yellow and orange beads made from porcupine quills. On his chest hangs a peace medal alongside his war-whistle, one, a guarantee of peace given to prominent Native American war chiefs, the other, a tool to communicate during battle.

It was fashionable to dress in an asymmetrical way; i.e, the seashell earring on only one ear, the marking on only one side of his face, the hair-braids on either side, one wrapped in skunk fur, the other in crimson wool, and lastly, the red arrow adorning his head, which signified his status in the war council. All of these elements are an expression of the noble nature of his culture, and his individual pride.” –Andre Pater

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133 | Andre Pater (Polish/American, born 1953)

Turn-of-the-Century Jockeys, a Study Pastel, watercolor, & charcoal on paper, 15” x 13” Signed, dated 1999 $8,000. – 10,000.

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134 | Andre Pater (Polish/American, born 1953) When Bargaining Gets Tight ARABIAN STALLION ‘MUSCAT’ Oil on canvas, 24” x 30” Signed, dated 1986 $90,000. – 120,000.

Illustrated: Cover of Authentic Arabian Horse Names “When Bargaining Gets Tight,” the painting by Andre Pater dated 1986, is a true description of events that precede the sale of a horse in certain parts of the Middle East. The spirit of a true “bargain” is depicted when a horse is brought to the outskirts of the town where the buyer and seller will meet. Each brings his own agent. In this painting, the Bedouin in the

white hood is the seller’s agent; the Bedouin near the back of the horse is the buyer’s agent. The seller’s agent is trying to describe to the buyer the good qualities that the horse is blessed with while the buyer’s agent is trying to find faults with the horse to lower the bargaining price. When the two agents agree on a final price, “The deal is done.” Congratulations will follow, exchange of horse and money will take place, and a great feast will be prepared in the town to celebrate the success of the “bargain.” –Bachir Youseph Bserani, 2008

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135 | Andre Pater (Polish/American, born 1953) Summer’s Stream, 2014 Oil on canvas, 32” x 40” Signed $125,000. – 150,000.

Exhibitions: 2015 Retrospective at the Kentucky Governor’s Mansion. A catalogue from that exhibition will accompany the lot.

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136 | Walter Spitzmiller (American, born 1944) Under Andre’s Eyes Oil on canvas, 30” x 40” Signed $7,000. – 9,000.

“In 1988 I traveled to Chantilly to have a look at the European way of training and racing. I visited Nelson Bunker Hunt’s estate in Lamorlaye, France and produced several paintings. The biggest contrast to American training was to train in very natural settings.

They galloped them in the woods on large shaded trails with dappling light. They also galloped them in large open fields allowing them to cool down and eat the grass.” — Walter Spitzmiller

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137 | Walter Spitzmiller (American, born 1944) Augusta Oil on canvas, 30” x 40” Signed $7,000. – 9,000.

Depicted is Johnny Miller putting at the 1978 Masters with Arnold Palmer watching. Palmer won the Masters four different times before his last appearance in his 50th in 2004. Starting in 2007, he served as the honorary starter. Johnny Miller failed to capture the green jacket but finished second on three different occasions.

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138 | Pierre Bellocq, a.k.a. PEB (French, born 1926) 2016 Kentucky derby Mixed media (pencil, watercolor, ink), 14” x 13” Signed $3,000. – 5,000.

This piece was commissioned by the Thoroughbred Daily News to appear as a special cover for its May 7, 2016 Derby Day issue. A copy of that issue will accompany the lot.

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November 1, 1986, Oak Tree at Santa Anita

November 5, 1988, Churchill Downs

Pictured: Peter Brant, Charlie Whittingham, Willie Shoemaker, Khalid Abdullah, John Galbreath, John Veitch, Neil Drysdale, Robert Strub, Yves Saint-Martin, The Aga Khan, Bert Firestone, Diana Firestone, Dermot Weld, Bobby Frankel, Charles Taylor, Fred Hooper, Jose Santos, Walter Guerra, Jan Nerud, Louis Wolfson Cash Asmussen, Sheikh Mohammed Al Maktoum, Sheikh Maktoum Al Maktoum, Woody Stephens, John Gosden, Robert Sangster, Susan Sangster, Fernando Toro, Eddie Delahoussaye, Eugene Klein, Wayne Lukas, Lloyd French, Jr., Pat Day, Jorge Velasquez, Angel Cordero, Jr., Steve Cauthen, Chris McCarron, Laffit Pincay Jr., Pat Eddery, John Nerud, John Gaines

Pictured:

Jack Van Berg, Wayne Lukas, Mel Stute, Neil Drysdale, Bill Mott, Woody Stephens, Shug McGaughey, John Veitch, John Gosden, Charlie Whittingham, LeRoy Jolley, Michael Stoute, Francois Boutin, Scotty Schulhofer, Clive Brittain, Patrick Biancone, John Russell

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

Breeders’ Cup Illustrations (set of 4) Mixed media (pencil, watercolor, ink), 17 x 26,” 15” x 24,” 15” x 22,” 16” x 25” Signed, dated ’86, ’88, ’89, ’90 $15,000. – 20,000.

These four pieces were commissioned by then-editor and publisher of the official Breeders’ Cup magazine Tony Chamblin for publication in the issues corresponding to their respective years.

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November 4, 1989, Gulfstream Park

Pictured: Ted Bassett, Neil Drysdale, Dan Galbreath, John Veitch, Eddie Delahoussaye, Arthur Hancock, Doug Donn, Jorge Velasquez, Pat Day, Charlie Whittingham, Angel Cordero Jr., Ogden Phipps, Craig Perret, Laffit Pincay, Jr., Dinny Phipps, Alec Wildenstein, Paul Mellon, Randy Romero, Chris McCarron, Cot Campbell Tom Skiffington, Bert Firestone, Bill Mott, Wayne Lukas, Scotty Schulhofer, LeRoy Jolley, Bobby Frankel, Thomas Mellon Evans, Julie Krone, Allen Paulson, Horatio Luro, Dick Lundy, Shug McGaughey, Jose Santos, Angel Penna, P.J. Johnson, Skippy Shapoff, Henry Carroll, Mustafa Fustok, Paul de Moussac, Henry Cecil, Steve Cauthen, Luca Cumani, Sheikh Mohammed Al Maktoum, Andre Fabre

October 27, 1990, Belmont Park

Pictured:

Michael Wittingham, Laffit Pincay, Jr., Vincent Timphony Pat Day, Chris McCarron, Jack Van Berg, Jorge Velasquez John Veitch, Charlie Wittingham, Willie Shoemaker

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

StudIES for a belmont Park Mural Mixed media (pencil, watercolor, ink), 20” x 89,” 16” x 24” Signed $12,000. – 15,000. pair

A preliminary study for the mural commissioned for Belmont Park, this is an early draft. Included with a smaller study in which PEB changes the Statue of Liberty from a horse to Marylou Whitney.

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141 | David Grossman (American, born 1984) Grazing Horses Oil on linen panel, 20” x 34” Signed $6,000. – 8,000.

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142 | David Grossman (American, born 1984) Running at Dawn Oil on linen panel, 40” x 30” Signed $9,000. – 12,000.

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143 | Jo Taylor (British, born 1969) Birdland Mixed media, 34” x 60” Signed $7,000. – 9,000.

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144 | Jo Taylor (British, born 1969) trees Mixed media, 34” x 60” Signed $7,000. – 9,000.

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145 | Theo Waddell (American, born 1941) Lynn’s Woody & Friends Oil on canvas, 36” x 36” Signed and dated 1996 verso $9,000. – 12,000.

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146 | Jeaneen Barnhart (American, born 1967) Driving Charcoal, pastel, 29” x 42 ½” Signed $4,000. – 6,000.

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147 | Jeaneen Barnhart (American, born 1967) Racing Study, 2014 Charcoal, pastel, 40” x 26” Signed $3,000. – 5,000.

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148 | Alan Brassington (Irish, born 1959)

la belle epoque novice hurdle race aintree 1996 Watercolor, 18” x 18” Inscribed verso $3,000. – 5,000.

Provenance: Theo Waddington Fine Art, London

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149 | Alan Brassington (Irish, born 1959)

last race, ‘THE BUMPER’ LEOPARDSTOWN CHRISTMAS ’92 Watercolor, 18” x 26” Signed and dated ‘96 $3,000. – 5,000.

Provenance: Sotheby’s, London, November 25, 1998, “The Racing Sale”, lot 455 (illustrated)

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150 | Scott L. Christensen (American, born 1962) Summer Tributary Oil on cavas, 20” x 40” Signed $15,000. – 18,000.

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151 | Booth Malone (American, born 1950) FALL Oil on canvas, 22” x 28” Signed $5,000. – 7,000.

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152 | Booth Malone (American, born 1950) A WORK IN PROGRESS Oil on canvas, 24” x 24” Signed $4,000. – 6,000.

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153 | Peter Curling (Irish, born 1955) cheltenham Oil on canvas, 30” x 60” Signed $20,000. – 25,000.

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154 | Peter Curling (Irish, born 1955) april above dundrum Oil on canvas, 30” x 40” Signed $15,000. – 18,000.

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155 | Peter Curling (Irish, born 1955) driving Oil on canvas, 29” x 40” Signed $10,000. – 15,000.

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156 | Peter Curling (Irish, born 1955) Three Jockeys Oil on canvas, 24” x 16” Signed $4,000. – 6,000.

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157 | Kim English (American, born 1957) all washed up Oil on board, 10” x 18” Signed $3,000. – 4,000.

158 | Peter Smith (British, born 1949) Under Starter’s Orders Oil on canvas, 14” x 22” Signed $4,000. – 6,000.

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159 | Peter Smith (British, born 1949)

Cooling Down, Deauville , 2013 Oil on canvas, 22” x 30” Signed $6,000. – 8,000.

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160 | Thomas J. Coates (British, born 1941) coaching, the queen Pastel, 42” x 64” Initialed $12,000. – 15,000.

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161 | Thomas J. Coates (British, born 1941) hialeah racetrack Oil on canvas, 28 ½” x 18” Initialed $6,000. – 8,000.

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162 | Quang Ho (Vietnamese/American, born 1963) WARM UP RUN Oil on panel, 36” x 48” Signed $22,000. – 25,000.

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163 | Valeriy Gridnev (Russian, born 1956) Pat Day Oil on canvas, 24” x 20” Signed $5,000. – 7,000.

Pat Day retired in 2005 as the No. 1 jockey of all time, with career earnings of $297,912,019. His accolades include four Eclipse Awards, the George Woolf Memorial Jockey Award, and his 1991 induction into the National Museum of Racing’s Hall of Fame. Day’s nine American classic wins include the 1990 Grade 1 Preakness Stakes aboard Summer Squall for Dogwood Stables, whose silks he is depicted wearing.

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164 | Valeriy Gridnev (Russian, born 1956) giant killer Oil on canvas, 28” x 38” Signed $9,000. – 12,000.

H. Allen Jerkens was not only a successful trainer but a much-respected and beloved racetrack personality. He was sometimes called the “Giant Killer” in recognition of his upset winners such as Onion and Prove Out, both of whom defeated Secretariat, and other winners that defeat the likes of Kelso, Forego, and Buckpasser. He was sometimes called “The Chief ” and earned such accolades as the Eclipse Award and induction into the National Museum of Racing’s Hall of Fame.

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165 | Katherine Landikusic (American, born 1965) After the race Pastel, 28” x 23” $4,000. – 5,000.

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166 | Jenness Cortez (American, born 1944) Stevie Cauthen Oil on canvas, 24” x 18” Signed, dated 1978 $3,000. – 5,000.

Few people in the Thoroughbred industry have had such a meteoric rise to fame as Steve Cauthen. Riding in his first sanctioned race at Churchill Downs just 11 days after his 16th birthday, Cauthen scored his first win five days later, May 17, 1976. In only his second year of racing, Cauthen became the nation’s leading jockey in 1977 by wins and earnings, topping the $6 million mark and earning the nickname of “The Six

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Million Dollar Man.” In 1978, at the age of 18, Cauthen became the youngest jockey ever to win the coveted Triple Crown aboard Harbor View Farm’s Affirmed and was named Sports Illustrated Sportsman of the Year. This image of Cauthen shows him on the scale in the pink and black silks of Harbor View Farm owner Louis E. Wolfson.


167 | Quang Ho (Vietnamese/American, born 1963) morning at keeneland Oil on panel, 36” x 36” Signed $18,000. – 22,000.

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168 | Kelly Robertson Brewer (American, born 1970) Summer Salvation Oil on canvas, 36” x 48” Signed $8,000. – 12,000.

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169 | Andre Pater (Polish/American, born 1953)

german shorthair pointer on point Pastel, 27 ½” x 21 ½” Signed $45,000. – 65,000.

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170 | David Quinn (British, born 1959)

Great Hornbill & Bearded Barbets, 2015 (pair) Acrylic on paper, 10” x 14” each Signed $7,000. – 9,000.

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171 | Andre Pater (Polish/American, born 1953) YOUNG HOUND Oil on board, 15” x 12 ½” Signed $15,000. – 20,000.

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172 | Juli Kirk (American, born 1957) PASSING THROUGH Oil on canvas, 24” x 36” Initialed $6,000. – 9,000.

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173 | Julie T. Chapman (American, born 1963) Moving Off, 2016 Oil on canvas, 24” x 30” Signed $7,000. – 9,000.

“I recently attended several hunt meets in southwestern England, and as an equine artist, I was in heaven. After the hour of socializing, sausage rolls, and whiskey, followed by an invocation, this MFH was blowing ‘moving off’ on his horn to begin the hunt. It was a brilliant November morning, so the dark bay horse in winter clip became metallic purple and brown. The horse and huntsman with the eager hounds made for fabulous artistic fodder.” – Julie T. Chapman

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174 | Dede Gold (Irish, born 1971)

am i pretty? tipperary hounds, 2016 Oil on canvas, 30” x 48” Signed $8,000. – 10,000.

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175 | Susie Whitcombe (British, born 1957) H.H. Hounds near Warthen Oil on canvas, 24” x 28” Signed $5,000. – 7,000.

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ARTIST

BIOGRAPHIES Alken, Samuel Henry British, 1810 – 1894 The son of noted artist Henry Thomas Alken, Samuel Henry Alken was born at Ipswich in Suffolk. Young Alken worked and studied under his father, and when the family moved to London, he continued to work as an artist, specializing in painting animals. His genre is most noted as equestrian, hunting, and rural scene painting. In 1852, when Arthur Duke of Wellington died, artist George Augustus Sala was commissioned to immortalize the funeral procession. Alken executed many of the horses in that 60-foot-long panorama.

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

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.

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

Arenys Galdon, Ricardo Spanish, 1914 – 1977 A native of Barcelona, Ricardo Arenys Galdon began specializing in equine art in the late 1940s. Arenys had his works exhibited in Barcelona, Madrid, Lisbon, Paris, London, and other major cities. He earned medals for top placings in the 1945 National Exhibition in Madrid and the 1955 National Exhibition of Fine Art in Madrid. 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. Baird, William Baptiste American/French, 1847 – 1917 Born in Chicago, William Baptiste Baird decided as an adult to improve his painting technique by moving to Europe. Landing in Paris under the tutelage of Adolphe Yvan, Baird was widely exhibited at the Paris Salon from 1872 until 1899. Baird enjoyed painting in the countryside between Paris and Geneva. His primary subject matter was farm animals, small animals, and rural subjects.

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

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Bevan, Robert Polhill British, 1865 – 1925 The son of a banker, Robert Polhill Bevan was highly educated in the arts. As a child, he was tutored by designer Arthur Ernest Pearce and as a young man, he studied at the Westminster School of art and at the Academie Julian in Paris. Bevan became known as a painter, draughtsman, and lithographer. He was a founding member of both the Camden Town Group in 1911 and the London Group in 1913. An acquaintance of Paul Gauguin, Bevan uses similar bold colors and patterning in his work. Biegel, Peter British, 1913-1989 Born to a heritage of both art and horses, Biegel studied with Lucy Kemp-Welch and, after being wounded in Normandy during World War II, at Bournemouth School of Art. An accidental meeting with Lionel Edwards led to his being Edwards’ pupil. His paintings are full of accurate action and life. Blinks, Thomas British, 1853-1912 Thomas Blinks was extremely successful in his portraits of dogs and equines and, by most accounts, was one of the best of the Victorian-era painters of sporting subjects. His fame was such that King George V commissioned Blinks to paint him during hunts. Blinks was exhibited from 1881 to 1910 at the Dudley Gallery, the Royal Society of British Artists, and the Royal Academy. Blinks’ works are still housed in the Royal Collection. 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. Brassington, Alan Irish, born 1959 Born in Rhodesia, Alan Brassington grew up in his family’s native Ireland. He studied at the Northwich School of Art, Cheshire, and Stockport School of Art. Brassington’s acclaimed imagery of horse and rider led him to be the official artist at Ascot racecourse, where his works hang in the Racing Club rooms. As he has said, “I love painting horses and people. The racetrack is irresistible; it is an entire world of its own. If you see a special horse in the parade ring, it is easy to understand why one would be so inspired by this animal with its grace, its beauty, its intelligence, and its strength.” Brewer, Allen F., Jr. American, 1921-1967 Brewer’s exposure to the American equine was varied, from the cutting horses and Quarter Horses of his youth in Texas, his first major equine commission of Standardbred Deanna, to his love of the Thoroughbred, Brewer was a meticulous

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student of the equine athlete, and his drawings, oils, and watercolors exhibit exacting detail. Brewer, Kelly Robertson American, born 1970 Kelly Brewer’s love of art formed her focus on the past, helping her to graduate from the University of North Carolina with an art history degree. Brewer has become an acclaimed Lexington, Kentucky, artist with a growing national reputation. Master painters Joaquin Sorolla, John Singer Sargent, and Nicolai Fechin greatly influence her impressionistic approach. 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. Chapman, Julie T. American, born 1963 Growing up in central Ohio farm country, Julie Chapman dreamed of having her own horse. Chapman majored in computer engineering in college. Through her own exploration of graphic media, her art education came from books and observation. Chapman has explored the outdoors in South Africa and the great wilderness parks of America and Canada. Now residing in Montana, she is a regular observer of the modern American West and small-town rodeos. Charlton, John British, 1849 – 1917 John Charlton’s first drawing lessons were from his father, but due to family misfortunes his education was short and he was forced to find early employment. However, through some lucky breaks with employers, he was exposed to the graphic arts and encouraged to attend night classes at the Newcastle School of Arts. He moved to London where he did illustrations of the military campaigns in Africa for The Graphic. Over the years Charlton became quite famous as a painter of military subjects, especially those with horses. Christensen, Scott L. American, born 1962 A native of Wyoming, Scott Christensen was drawn to art through childhood memories of his wheelchair-bound grandfather painting. In college a football injury prompted him to take up painting as his grandfather had done. He paints outdoor subjects in the plein air manner. Largely self-taught, he has sought tutelage from Swedish impressionist Anders Zorn and from American artists Bob Barlow, Clyde Aspevig, and William Reese. Coates, Thomas J. British, born 1941 At an early age, Coates won his first scholarship 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. 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 Mêne. 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. Coreth, Mark British, born 1958 Growing up in Kenya, Coreth was deeply touched by African animals and the passion this wildlife inspires. Now living and working in Europe, he continues to portray animals with a touching sensitivity. He was commissioned to sculpt the drum horse Belisarius for his regiment, The Blues and Royals. The work was cast in bronze as the Household Cavalry’s wedding present to The Duke and Duchess of York. Cortez, Jenness American, born 1944 Noted Dutch painter Antonius Raemaekers gave Jenness Cortez her first formal art training when she was 16. Graduating from the Herron School of Art in Indianapolis, she was a student of Arnold Blanche at the Art Students League in New York. Cortez is not restrained to one subject matter; however, horses have been a dominant focus. Her works have been widely collected by notable individuals including Presidents Ronald Regan and Bill Clinton as well as HRH Queen Elizabeth II. Cucuel, Edward Alfred American, 1875 – 1954 Edward Alfred Cucuel was both an impressionist painter and newspaper illustrator. Born in San Francisco, he was enrolled in the School of Design there at age 14. Only three years later he enrolled in the Academie Julian in Paris, and a year after that became a student of Jean-Leon Gerome at the Ecole des Beaux-Arts. Working as an illustrator for the San Francisco Sun and Examiner newspapers, gave him the funds to move to Berlin and Munich, where he studied with German impressionists. His specialty was depicting landscapes with a rich impasto and vibrant palette. Cullin, Isaac James British, fl 1881 – 1936 Isaac James Cullen started his professional career as a portrait painter. However, his interest in horses and the adaptability of his skill led him to become one of the top equestrian artists. Cullen flourished as an artist between 1881 and 1920, producing racehorse portraits and watercolors of races, and equestrian

events. In 1883 he and J. A. Wheeler collaborated to paint the year’s Grand National winner. He later produced sporting illustrations for The Illustrated London News. Curling, Peter Irish, born 1955 Impressive early talent led this Irishman to fine schools and teachers, including a stint at Millfield, and one in Florence studying with Signorina Nera Simi. It was a brief period of study under John Skeaping, however, that most influenced Curling’s work. He learned a boldness and economy of stroke that are still apparent in his work. Curling lives in the quiet countryside of Ireland. Dahl, Carl American, born 1952 An American sculptor, Carl Dahl holds multiple degrees from Arizona State University, including an MBA and a master’s degree in fine arts. Even though his upper-level corporate positions allowed him to travel, experience, and learn about great things, art was his passion. With more than 20 years dedicated to art, Dahl has been exhibited in America, France, and Japan. Dahl states “In horses, I find beauty, power, and freedom; their legs, that seemed overly long to me as a child, rise to complete the perfect form. They remain one of life’s great joys.” Davey, Randall American, 1887-1964 Randall Davey studied architecture at Cornell University in 1905 and art at the New York School of Art in 1908. He also studied under art academics Robert Henri and Charles W. Hawthorne. He became Henri’s assistant instructor and traveled through Europe with him. By 1919 Davey and his wife had moved to Santa Fe, New Mexico, where he established his studio. Due to the expense of his polo hobby, Davey took numerous positions at major art institutes across the country. His works are collected by major museums nationwide. de Dreux, Alfred French, 1810-1860 Born in Paris, de Dreux was the only son of noted architect Pierre-Anne Dedreux. He studied under Theodore Gericault and Leon Cogniet. He first exhibited at the Salon in 1831, and his equestrian portraiture landed him an invitation to accompany King Louis-Phillippe to England. After the king’s exile, he also painted the portraits of Emperor Napoleon III and his family along with many other equestrian portraits of British aristocracy. Dupont, Richard John Munro British, 1920 – 1977 Richard J. M. Dupont was a direct descendant of British painter Gainsborough Dupont, a nephew and student of famed artist Thomas Gainsborough. Richard Dupont studied at the Royal Academy schools during the presidency of Sir Alfred Munnings. Dupont served during World War II and was appointed official war artist for Southeast Asia. After the war he studied six more years at the

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Royal Academy schools. At Munnings’ suggestion he visited the United States to paint equestrian subjects. He was highly exhibited and received numerous commissions. Earle, Eyvind American, 1916 – 2000 Eyvind Earle is a noted American animator as well as a designer, painter, and illustrator. His parents had separated by the time of his birth, and he was kidnapped at age 10 by his father, the artist and movie director Ferdinand Earle. He had his first one-person show at age 14 in Ascain, France. That same year he ran away and rejoined his mother, who was living in Hollywood, California. During the Depression he worked as a sketch artist for United Artists Studios. He established an animation company and was known for backgrounds he created for such Disney films as Sleeping Beauty and Lady and the Tramp. He also created a popular line of greeting cards. Edwards, Lionel D.R. British, 1878-1966 Edwards combined his love of the hunt with drawing to create exhilarating paintings full of life. He became the youngest member of the London Sketch Club and was committed to earning a living from his art. He enjoyed a close working relationship with 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. Elim, Franck French, 19th/20th century Franck Elim, also know as Elie de la Morinière, was a Parisian painter noted for his depiction of racing subjects and street scenes. Elim was a member of the Société des Artistes de Chevaux, and he exhibited at the Section d’Art of the Concours Hippique. 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. English, Kim American, born 1957 A Nebraska native, Kim English was raised in rural Colorado, received artistic training at the Rocky Mountain School of Art in Denver, and now makes his home in the Colorado mountains. Though rooted in Colorado, English is inspired by his regular travels to Europe and Mexico. He is noted for his plein air painting and alla prima method of finishing a work in one sitting. An accomplished pianist and composer, English sees great similarity in rhythm and movement between painting and music.

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Erland, Simon British, born 1961 Simon Erland was educated at Westminster City School and Kings College London before studying as a postgraduate at the Sir John Cass School of Art. Both of his parents are artists, and their friends have included such major 20th-century artists as Henry Moore, Jacob Epstein, and Anthony Caro. Erland began exhibiting briefly at the Sladmore Gallery in London before succeeding John Skeaping in 1984 as gallery artist at Arthur Ackermann & Son, where he exhibited every year until the demise of that gallery in 1992. Since then he has exhibited with the Bruton Street Gallery and Frank T. Sabin in London. He has exhibited in more than 26 major group exhibitions since 1980 including regularly at the Royal Academy of Arts in London — where he has been the only artist to exhibit horses regularly since John Skeaping’s retrospective there in 1980 — the Royal Glasgow Institute, and internationally. 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. 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. Gridnev, Valeriy Russian, born 1956 After studying at Sverdlovsk Art College, he enrolled at St. Petersburg Academy of Arts in 1983 and graduated in 1990. His graduation project, The Early Years, won The Gold Medal of the USSR Academy of Arts. Gridnev worked for four years from 1990 at the St. Petersburg Academy of Art’s postgraduate “creative” studio. Since 1999 Gridnev has lived and worked in England. He is a member of the Pastel Society, Royal Institute of Oil Painters, and Federation of British Artists and Royal Society of Portrait Painters.


Grosperrin, Claude French, 1936-1977 A painter and lithographer, Claude Grosperrin trained at the Ecole Nationale Superieure des Beaux-Arts, Paris, the Ecole Nationale Superieure d’Art Plastique, and the Ecole Nationale des Arts Appliqués. Shortly after completing his studies, he exhibited his works in Paris at the Galerie A. Weil and at the Galerie Espace. Later he was exhibited widely in France and abroad, including at Wildenstein, Charpenetier, and Durand-Ruel. Various public galleries in France as well as galleries in Cologne, Los Angeles, and San Francisco contain his works. Grossman, David American, born 1984 Continually encouraged by his family in the love of art, David Grossman was first exposed to the use of oil paints at the age of 10 by his grandmother. He studied at the Colorado Academy of Art in Boulder. The outdoors has been a constant presence in Grossman’s life as he grew up in Chile before moving back to the Rocky Mountains of Colorado. He has exhibited in shows sponsored by Oil Painters of America, The Impressionist Society, and Salon International. Hall, Harry British, 1814-1882 Exceedingly accurate in his portraits of horses, Hall was employed much as a present-day photographer, rendering life-like images. He lived mostly in Newmarket but also did some work in London. Hall was extremely industrious, and much of his work was engraved and published. Turf historians rely on the validity of his work for conformational analysis of historic Thoroughbreds. Herring, John Frederick, Sr. British, 1795-1865 Herring was a coach driver on the Doncaster-London route by trade when he began painting. His paintings so impressed the wealthy Frank Hawkesworth in 1818 that he was offered a year’s worth of work. Soon he was painting hunters and racehorses for many notable gentry. In 1845 he was appointed painter to the Duchess of Kent, and later Queen Victoria became a benefactor. Ho, Quang Vietnamese/American, born 1963 Quang Ho came to America with his family at age 12 in 1975. His interest in art was apparent as early as age 3, and he graduated from the Colorado Institute of Art in 1985 with the Best Portfolio Award. He continues his interest in art and education as a teacher at the Denver Art Students League. After graduation, Ho was promoted by art dealer Mikkel Saks, and the artist’s clients have included Adolph Coors Company, Upjohn, Safeway, The Colorado Symphony, and the Chicago Symphony. Howell, Peter British, born 1932 Introduced to the world of racing at age 8, Howell spent his school holidays at Newmarket. He chose to pursue a racing career instead of art school, which actually helped the Welshman when he later made the switch to full-time

painting in the 1960s. He lives in the quiet countryside of Devon when he is not traveling to racetracks and stables all over the world. Humphrey, Lesley British, born 1957 Being the daughter of a commercial artist and painter, Humphrey has always been involved with art. Her art has been influenced by Sir Alfred Munnings and the Russian itinerants — Nicolai Fechin and Wassily Kandinsky — and most recently Richard Diebenkorn. Humphrey has served as the official artist of the Kentucky Derby and has works in prominent collections throughout Britain and the U.S. Hunt, Edgar British, 1876 – 1955 From a line of British artists, Edgar Hunt was the brother of painter Walter Hunt, son of noted artist Charles Hunt Jr. (1829-1900), and grandson of well-known humorous genre artist Charles Hunt (1803-1877). He had planned to be a farmer before becoming a professional painter. His affinity for farm animals can be seen in most all of his works. He was a close friend of John Frederick Herring Jr., who was drawn to similar subject matter. 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-sized 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’s most recent commission is the sculpture of Barbaro on display at Churchill Downs. She is an elected member of the National Sculpture Society. 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 The Sporting Art Auction

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in advertising in New York. Entering the freelance arena, he received his first commission from Sports Illustrated. At first he documented his favorite sports, foxhunting and sailing, then added the world of horse racing. Koehler has enjoyed more than 60 one-man shows worldwide and has a loyal following of collectors. Lalanne, Jean-Bernard French, born 1952 Born in Madagascar, Lalanne grew up in the southwest of France. He attended the Ecole Supérieure d’Art des Pyrénées de Pau. Lalanne painted while supporting himself as a policeman, the occupation of his father. Lalanne came to Colorado to work with American painter Kim English after winning a painting competition in the Paris suburb of Vincennes. His recent works have focused on life in the Pyrenees, including the racing bulls in Spain and Andalusian horses. He regularly exhibits at shows in Paris and Bayonne, France. 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 she 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, WinStar Farm, and Three Chimneys Farm . Lawson, T. Allen American, born 1963 The American West is a part of T. Allen Lawson’s art and life, as he was born and raised in Sheridan, Wyoming. A lifelong student of art, Lawson studied professionally at the American Academy of Art in Chicago and the Lyme Academy College of Fine Art in Old Lime, Connecticut. He recreates his vision of the world of nature around him by building up layers of texture and pigment. He has been widely exhibited in galleries in both the East and West. Leigh-Pemberton, John British, 1911 – 1997 The great grandson of Sir Edward Leigh Pemberton, John Leigh-Pemberton was educated at Eton and studied art in London between 1928 and 1932. During World War II he was a flight instructor for the RAF and in 1945 was awarded the Air Force Cross. After the war Leigh-Pemberton pursued a career as an illustrator. He was involved with two major publication series: the Shell Guides, which were a series of English county guidebooks, and the Ladybird series of children’s books. Lyne, Michael British, 1912-1989 A precocious child, Lyne illustrated and dictated two small books at age 4. Lyne took a few lessons at the Cheltenham Art School, but was mainly a selftaught artist. His skillful portrayal of light ranges from razor-sharp contrast to muted, diaphanous glow. He held many exhibitions in London, New York, and elsewhere in the United States.

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Malespina, Louis Ferdinand French, 1874 – 1940 Louis Ferdinand Malespina was a French painter who specialized in sportingand equestrian-themed works. He was especially noted for steeplechase and harness racing scenes. A modern impressionist, his works are usually oils on canvas. Malespina exhibited at the Société des Artistes Français at the Palais de Tokyo in Paris. Some of his works have been reproduced through lithography. Malone, Booth American, born 1950 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. Marshall, Benjamin British, 1767 – 1835 Benjamin Marshall was an English sporting and animal painter. He was a follower of George Stubbs and studied under Lemuel Abbott for a short period. He was born about 1767, exhibited 13 pictures, chiefly portraits of racehorses and their owners, at the Royal Academy, 1801–1812 and 1818-1819. After 1792, he began painting animals, settling at Newmarket in 1812 near the racetrack. John Scott engraved 60 of Marshall’s paintings of sportsmen, horses, and dogs for Wheble’s Sporting Magazine, vols. VII-LXXI. Eight types of horses by Marshall, also engraved by Scott, appeared in The Sportsman’s Repository, 1820. Marshall’s exhibited and engraved works represent but a small proportion of the commissions he carried out for patrons of the turf and masters of hounds throughout the country. Maze, Paul Lucien French, 1887 – 1979 Paul Lucien Maze served in both world wars and met Winston Churchill during their tenure in the Royal Scots Greys. They remained friends, and Maze served as a mentor for Churchill’s artistic endeavors. Maze’s father was an art collector, and Maze grew up in a circle of family friends that included Claude Monet, Raoul Duffy, Camille Pissarro, and Pierre-Auguste Renoir. Maze is often referred to as “the last of the post Impressionists.” He worked in oils, pastels, and watercolors and produced a wide variety of subject matter. Meade-King, Eric British, 1911-1987 Eric Meade-King specialized in portraying English county life, and many of his works depict hunting, fishing, and shooting. So versed in the ways of the gentry, Meade-King penned and illustrated The Silent Horn: Summer Sketches of Horses and Hounds in 1938. His formal training came at Westminster School of Art and privately with Lionel Edwards, and he was widely exhibited during his lifetime at the Royal Institute of Painters in Watercolours and major London galleries.


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

Menasco, Milton American, 1890-1974 Born in California, Menasco had a rich and full career as an artist before he devoted his rare genius to equestrian art. In 1948 he left his position with a large New York advertising agency and moved to Kentucky. His work is characterized by a sound understanding of anatomy. Many prominent names in American horse racing were among his clients. Mêne, Pierre-Jules French, 1810-1879 Son of a metalsmith, Mêne was a talented artist, especially in animal sculpture. He exhibited at the Paris Salon of 1838 while still in his 20s, and he became one of the most appreciated sculptors of the animalier school. Mêne enjoyed a fulfilling life in Paris, producing bronzes from his own foundry with his son-inlaw, Auguste Cain. Morris, George Ford American, 1873-1960 George Ford Morris was born in St. Joseph, Missouri, and was largely selftaught. However, he did attend the Art Institute of Chicago in 1888 and the Julina Academy in Paris in 1925. He is known as a painter, printmaker, sculptor, illustrator, and a very active and astute equine art collector. He was a founding member of the American Animal Artist Association. He wrote and published Portraitures of Horses and George Ford Morris Animals and contributed regularly to equestrian and racing magazines. He painted horses for more than 70 years. Muhl, Roger French, 1929 – 2008 An established French artist, Roger Muhl was noted as a painter, draftsman, and sculptor. Muhl graduated from the National School of Decorative Arts in his native Strasbourg in 1948. He was first exhibited in Paris at the Galerie de Paris in 1960. Art expert Patrice Muhl noted, “He was a figurative painter of Provence and also of landscapes — a foremost painter of light and atmosphere. He used an impasto technique to establish the outlook suggested by the single color.” Munnings, Sir Alfred James British, 1878-1959 One of the two great masters of sporting art along with George Stubbs, Munnings began as an illustrator after attending art school in Norwich. A

keen sportsman, he hunted with both stag hounds and harriers, drawing and painting these events. Although he lost sight in one eye at age 21, his unique artistic vision and interpretation were unimpaired. Working in oils and watercolors and sketching wherever he went, Munnings documented racing and hunting horses, gypsies, and the sporting country life that he himself lived. Neiman, LeRoy American, 1921-2012 Born in St. Paul, Minnesota, Neiman studied at the Art Institute of Chicago where he also taught for 10 years before moving to New York in 1962. He gained renown as official artist for ABC Television’s coverage of the Olympic Games of 1972 and 1976, and as CBS artist for the 1978 Super Bowl. In addition, he was an official poster artist for the Kentucky Derby. Neiman’s work is found in many museums and private collections. 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. Orpen, Sir William Newenham Montague Irish, 1878 – 1931 Sir William Orpen has been referred to as one of the greatest painters in Irish history. He studied art and drawing at the Metropolitan School of Art in Dublin and the Slade School of Art in London. Orpen was named Official War Artist in 1917 and later gained renown as portraitist to the London establishment. It is estimated that he painted more than 600 portraits in his lifetime. Orpen died in 1931 at age 53. Ostenberg, Thomas American, born 1949 At age 40 after a successful career in the financial world, Ostenberg entered the New York Studio School, moved on to the Kansas City Art Institute where he earned a bachelor’s degree in fine art, and then earned his master’s degree from the Royal College of Art in London, England. Primarily bronzes, his works are described by such words as whimsical, joyful, and magical. Pater, Andre Polish/American, born 1953 Now a resident of Lexington, Kentucky, the Polish-born artist received his master’s degree from the Academy of Fine Arts in Krakow. Arabian horses were his first subjects, and he was quickly one of the most sought-after painters of this breed. In the late 1980s he developed a love of the Thoroughbred and

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again has risen to the top of his field with racing scenes as well as portrayals of hunting dogs, cattle, and wildlife. 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. Revennaugh, Stephanie American, born 1973 Award-winning sculptor Stephanie Revennaugh delights horse lovers and art collectors alike with her works. Her lifelong affair with horses, from her childhood pony Clipper to show jumpers in South America to dressage horses in Colorado, has taught her well the equine anatomy that a classic equine sculptor needs. Revennaugh studied painting for three years in Colorado, Arizona, and Aix-enProvence, France; however, she knew she needed to sculpt as soon as her hands first dug into clay. 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. Sarnoff, Arthur Saron American, 1912 – 2000 A Brooklyn native, Arthur Saron Sarnoff attended the Industrial School and the Grand Central Art School in New York City. There he was a student of John Clymer and Andrew Wyeth. Sarnoff had a celebrated and long career as an American illustrator. He produced a wide range of works from pin-up girl calendars to portraits of President and Mrs. Kennedy for a wide range of publications from Good Housekeeping to Esquire. Sawyier, Paul American, 1865 – 1917 Kentucky’s most popular artist of the past, Paul Sawyier was born in Ohio

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and moved at a young age with his family to Frankfort, Kentucky, where his maternal grandmother lived. His father recognized his ability early on and hired an art tutor for his son. Sawyier studied art extensively, including stints at the Cincinnati Art Academy and the Art Student’s League in New York City. A stylistic eclectic, he often adapted aspects of Impressionism in his art but also painted in the moody, darker mode of American tonalism. 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. Sinclair, John British, 1872 – 1922 John Sinclair was a British landscape and pastoral painter. He is known to have worked in both oils and watercolors. He was exhibited at major galleries in London, as well as the Royal Academy and the Royal Institute. Skeaping, John R. British, 1901-1980 Skeaping began his formal artistic training at age 13 and was successful from an early age. This individualistic artist also served as an intelligence officer, traveled extensively, and taught art, finally settling in the Camargue in France. His work is dynamic and experimental, exploring many media: oil, gouache, pastel, wood, and bronze, with subjects ranging from racing scenes to horse portraits to architectural sculptures. His range and skill made him one of the great artists of the 20th century. 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 media are transparent watercolor and oil.


Smith, Dan American, 1865-1934 Born in Greenland and raised in New York City, Dan Smith attended the Public Arts Institute in Copenhagen and returned to the United States to study in Philadelphia at the Pennsylvania Academy of the Fine Arts. He first worked as a magazine illustrator for Frank Leslie’s Illustrated Weekly, traveling and doing “on the spot” illustrations of such events as Wounded Knee. During the Spanish American War he was an artist/correspondent for Hearst newspapers. Smith, Graham British, 1907 – 1951 Graham Smith is noted for his realistic portrayals of racing, hunting, and outdoor scenes. His works are primarily in watercolor and gouache on paper. 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, Edward Robert British, 1810-1899 Born in Ipswich, Smythe’s brother and sister were also artists in their own right. His first studio was in the Old Shire Hall until he visited Norwich in 1840 and worked there with John Sell Cotman before undertaking a tour of Wales, which appeared greatly in his work. He made a number of engravings for the Fashionable Repository and is regarding as one of the most important painters of the Suffolk School. Spitzmiller, Walter “Walt” American, born 1944 Walt Spitzmiller has achieved renown as one of the foremost sporting artists in the world, especially the world of golf. He was commissioned by the PGA Tour for the portraits of lifetime achievement awards for the World Golf Hall of Fame in St. Augustine, Florida. His introduction to the Thoroughbred world was in the early 1980s at training centers in New York, Florida, and Chantilly in France. His first depiction of horses in art came when he followed American rodeo in the 1970s. 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 longtime patrons, Pierre and George Lorillard. Taylor, Jo British, born 1969 Born in Lancashire, Taylor studied at Leeds Metropolitan University from 1988 until 1991. She has exhibited in numerous one-woman shows throughout England, including The National Horseracing Museum at Newmarket. Her pieces were included in a show at the Royal Academy in London, and she was commissioned for works on several Cheltenham Gold Cup runners. Taylor has exercised racehorses in Newmarket and feels it is necessary always to work from life. 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. Troye, Edward Swiss/American, 1808-1874 Born in Switzerland of French parents, Troye was of elegant, artistic stock. Trained in art in England, he arrived in America in 1831 after a short stint in the West Indies. In short order this artist became the finest portrait painter of Thoroughbred horses this country has known, with commissions from all the sporting men of his day. He lived much of his life in Midway, Kentucky and died just down the road in Georgetown. Voss, Franklin Brooke American, 1880-1953 From a family of sportsmen and artists, Voss studied at the Art Students League in New York, foxhunted and rode races in New York and Maryland, and painted racehorses and hunting horses for his sportsmen friends. Completing more than 500 commissions in a period between 1920 and 1950, Voss died as he would have liked — 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.

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Warhol, Andy American, 1928 – 1987 Born in Pittsburgh as Andrew Warhola, Andy Warhol began and led the American Pop Art movement. Warhol received his training at the Carnegie Institute of Technology from 1945 to 1949. He started his professional career as a commercial illustrator, producing department store ads in New York City. By age 34 in 1962, he held his first exhibit at the Fergus Gallery in Los Angeles, which included his 32 versions of the Campbell’s soup can. He began creating sculpture in the mid 1960s and turned to portraiture in the 1970s. Wheeler, Alfred British, 1851 – 1932 Alfred Wheeler was born near Bath in Somerset to John Alfred Wheeler (18211877), who retired early from the army to pursue a successful painting career. Wheeler is thought to have studied under his father and to have worked closely with him. He married Catherine Muspratt in 1874 and moved next door to his father at Raglan Villas, Bath. Alfred then followed his father when he moved to Hanwell. Alfred and Catherine had six children, two of whom became artists: Walter Herbert and John Frederich. The Wheeler family specialized in sporting subjects such as horse racing and fox hunting. They were also commissioned frequently for animal portraits. Alfred Wheeler and his father are often confused due to their extremely similar styles and their signatures. Alfred’s work is thought to be less prolific, even though he contributed to many of his father’s paintings toward the end of the elder Wheeler’s life. Wheeler, John Alfred British, 1821-1903 Wheeler enlisted in the army at age 19, giving him first-hand exposure to horses that would later aid him in his artistic career. The prolific Wheeler painted military, hunting, and racing scenes as well as equestrian portraits that were in demand among the gentry of the day. His vibrant works included both small and large vistas, animating a single subject or uniting more than 150 people, horses, and hounds in one painting. Wheeler, Larry Dodd American, born 1942 This distinguished painter received his formal training at the Maryland Institute College of Art and the Institute’s Hoffberger School of Painting. Wheeler has served as the painting conservator for both the Corcoran Gallery and the Smithsonian Institution in addition to teaching at the Maryland Institute. His skilled work is in great demand and hangs in the Supreme Court Building and the Federal Building in Washington and in many private collections. Whitcombe, Susie British, born 1957 Whitcombe studied at the Heatherley School of Art in London and has been painting portraits of horses and people in oil and watercolor for more than 30 years. She has exhibited in London, Tokyo, and Melbourne. A versatile

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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, 1874 – 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. 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. Wootton, Frank British, 1911 – 1998 Frank Wootton was born in Millford on Sea, Hampshire, and was raised by his widowed father. He attended the Eastbourne School of Art at age 17. In the early 1930s he became a book illustrator. He authored books on art instruction, with his most successful being How To Draw Aircraft. He volunteered for the Royal Air Force during World War II and was commissioned official war artist to the R.A.F. and the Royal Canadian Air Force. His talent as a landscape and equestrian artist after the war led him to become the vice president of the Society of Equestrian Artists. Wright, George British, 1860-1942 The Wright family of Leeds, England, is known to have produced three noted artists. Brothers George and Gilbert Wright were respected equestrian-themed artist, and their sister Louise Wright was a fashion illustrator for catalogs and magazines. The subject matter for George Wright’s paintings included hunting, racing, and polo scenes; however; coaching scenes are his most appreciated work. George Wright was exhibited at the Royal Academy, as well as other venues, from 1892 through 1933.


CONDITIONS OF SALE

THESE CONDITIONS GOVERN THIS SALE: This Fourth 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 Condition 9, 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 additional fee and commission when bidding online (the amounts

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set forth in subparts (i) through (iv) of this paragraph (d) shall be collectively referred to herein as the “Purchase Price”), unless it has been explicitly agreed in writing with KCG before the commencement of the Sale that the bidder is acting as agent on behalf of an identified third party acceptable to KCG, and that KCG will only look to the principal for payment. Auctioneer’s Discretion. The auctioneer has absolute and sole discretion with respect to bidding, to refuse any bid, to advance the bidding in such a manner as he may decide, to withdraw or divide any lot, to combine any two or more lots, and, in the case of error or dispute, whether during or after the sale, to determine the successful bidder, to continue or re-open the bidding, to cancel the sale or to re-offer and re-sell the item in dispute. If any dispute arises after the sale, KCG’s sale record is conclusive. KCG, in its absolute and sole discretion, may execute order or absentee bids and accept telephone bids and online bids and will use commercially reasonable efforts to carry out such bids provided, however, KCG is not responsible for any errors or omissions in connection therewith, and KCG’s Conditions control and govern all sales through KCG. Bidding. KCG RESERVES THE RIGHT TO REJECT ANY BID. Subject to the auctioneer’s discretion, as defined in paragraph (e) of this Condition 6, the highest bidder accepted by the auctioneer will be the Purchaser and the striking of 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 twelve and onehalf percent (12.5%) of the hammer price of each lot in excess of $500,000 up to and including $1,000,000, plus five percent (5%) of the hammer 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 KCG and Seller shall have the right, in addition to any and all other remedies available to KCG or 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. The Purchaser is solely responsible for packing, shipping and insuring (including reimbursement for damage or loss) purchased lots and will bear all costs associated therewith. KCG is not responsible for the acts or omissions in the packing or shipping of purchased lots. Packing, shipping and insuring purchased lots is at the entire risk of the Purchaser. Purchaser is responsible for obtaining adequate

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

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


a matter of law, or in equity. KCG and the Seller shall not be liable for any 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. 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. 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 or alter the duties, responsibilities and rights of KCG as provided in these Conditions and the Consignment Agreement. FORCE MAJEURE. The lack of performance hereunder by KCG shall be excused without liability if the failure to perform is due to an act of God, fire, casualty, act or decision of a governmental authority, injunction, strike or labor dispute, or any other cause beyond the control of KCG. The invalidity or unenforceability of any provision of these Conditions shall not affect the validity or enforceability of any other provision hereof, and any such invalid or unenforceable provision shall be deemed to be severable. HEADINGS. The descriptive headings of these Conditions of Sale are inserted for convenience only and shall not constitute a part of these Conditions of Sale. Limitation of Action. Any cause of action arising out of the purchase and sale of any property at this Sale, whether it is based in contract or tort, shall be commenced not more than one (1) year after the sale or be forever barred. Provided, however, this limitation of action shall not apply to an action for the recovery from the Purchaser of the Purchase Price, plus interest and expenses, and including repossession of the property purchased at this Sale. GOVERNING LAWS; VENUE AND JURISDICTION; WAIVER OF JURY TRIAL. The laws of the Commonwealth of Kentucky shall govern the construction of these Conditions and the rights, remedies

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and duties of the parties hereto. In the event of any litigation arising out of these Conditions or the transactions contemplated hereby, the parties agree that any action or suit shall be brought in a court of record in the County of Fayette, Commonwealth of Kentucky, or in the United States District Court for the Eastern District of Kentucky, and the parties hereby consent to the venue and jurisdiction of such courts. The owner, Seller, Purchaser and KCG and their respective agents, voluntarily and intentionally waive any right that they may have to a trial by jury in respect to any litigation arising from or connected with this sale. Limitation of Liability. In no event will KCG’s liability to a Purchaser exceed the purchase price actually paid.

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


ABSENTEE BIDDING INFORMATION

As a convenience to clients who cannot attend the auction, KCG will execute absentee bids without charge. Bids will be executed to purchase the Lots requested as inexpensively as will be permitted by other bids for those Lots. Bids should be submitted as early as possible and should be dated. In the event of identical bids, KCG has sole and complete discretion as to which bid to execute, but the first bid received normally will take preference. Bids submitted for each Lot should be in the maximum amount you would bid in attendance. KCG does not execute “Absolute Buy” bids. All bids must be submitted with a maximum amount. Unsuccessful bids are generally not acknowledged. To avoid delay in removing purchases, buyers planning to pay with a personal or business check are advised to supply us with a bank letter of credit prior to auction. All bids are subject to the “Conditions of Sale” which appear in this catalogue. WHILE EVERY EFFORT IS MADE TO PROPERLY EXECUTE ABSENTEE BIDS, KCG WILL NOT BE RESPONSIBLE FOR ERRORS OR FAILURE TO EXECUTE SUCH BIDS. For additional information on absentee bids, please contact KCG at: Tel (859) 233-3856.

SHIPMENT OF PURCHASES INFORMATION

If your bid is successful, KCG can help arrange shipment of your purchases to you. Estimates for the shipping of any purchases can be attained through KCG. All purchases must be removed no later than Wednesday, November 23, 2016. 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.

The Sporting Art Auction

199


INDEX OF ARTISTS

200

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

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

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

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

Alken, Samuel Henry.........................2

Davey, Randall................................99

Leigh-Pemberton, John...................50

Sinclair, John...................................27

Ambille, Paul...................................98

de Dreux, Alfred..............................21

Lyne, Michael......................29, 30, 31

Arenys Galdon, Ricardo............91, 92

Dupont, Richard John Munro..........35

Malespina, Louis Ferdinand......88, 90

Skeaping, John R. ..........................87

Ashley, Frank Nelson.................77, 78

Earle, Eyvind.................................103

Malone, Booth......................151, 152

Baird, William Baptiste......................3

Edwards, Lionel D.R........................26

Marshall, Benjamin.........................12

Smith, Dan........................................5

Barnhart, Jeaneen.................146, 147

Elim, Franck....................................47

Maze, Paul Lucien...........................93

Smith, Graham...............................43

Beer, John.......................................42

Emms, John..............................10, 11

Meade-King, Eric............................44

Bellocq, Pierre (PEB).... 138, 139, 140

English, Kim..................................157

Mehl, Joanne................................128

Berti, Rene......................................89

Erland, Simon.................................65

Menasco, Milton...........54, 55, 56, 57

Bevan, Robert Polhill...............76, 104

Firth, Richard M..............................52

Mêne, Pierre-Jules....................22, 23

Spitzmiller, Walter “Walt”.....136, 137

Biegel, Peter.......................32, 33, 41

Gold, Dede...................................174

Morris, George Ford..................48, 49

Stull, Henry...................15, 16, 17, 18

Blinks, Thomas................................45

Grau-Sala, Emilio......................83, 84

Muhl, Roger.................................102

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

Gridnev, Valeriy.....................163, 164

Munnings, Sir Alfred James..........107,

Brassington, Alan..................148, 149

Grosperrin, Claude..............80, 81, 82

108, 109, 110, 111

Todd-Tivey, Liza..............................70

Brewer, Allen F., Jr............................53

Grossman, David..................141, 142

Neiman, LeRoy.............94, 95, 96, 97

Troye, Edward...........................19, 20

Brewer, Kelly Robertson................168

Hall, Harry Miller.............................28

Oppegard, Sandra Faye.........129, 130

Broadhead, William Smithson.........85

Herring, John Frederick, Sr.........13, 14

Orpen, Sir William.........................112

Voss, Franklin Brooke......................58

Chapman, Julie T...........................173

Ho, Quang............................162, 167

Ostenberg, Thomas.........................73

Charlton, John..................................9

Howell, Peter............... 113, 114, 115

Pater, Andre.................100, 131, 132,

Warhol, Andy................................105

Christensen, Scott L......................150

Humphrey, Lesley..........................101

134, 135, 169, 171

Wheeler, Alfred.................................6

Smith, Brett James........................106

Smith, Peter..........................158, 159 Smythe, Edward Robert....................8

Taylor, Jo...............................143, 144

Waddell, Theo...............................145

Coates, Thomas J..................160, 161

Hunt, Edgar......................................4

Quinn, David................................170

Comte du Passage, Arthur-Marie-

Kestevan, Abel......................116, 117

Reeves, Richard Stone..............59, 60,

Gabriel...........................................24

King, Alexa.........................71, 72, 75

61, 62, 63, 64

Coreth, Mark..................................68

Kirk, Juli........................................172

Revennaugh, Stephanie..................69

Whitcombe, Susie.........................175

Cortez, Jenness.............................166

Koehler, Henry......................118, 119

Ripley, Aiden Lassell........................39

Whiting, Frederic............................37

Cucuel, Edward Alfred....................51

Lalanne, Jean-Bernard.........120, 121,

Sarnoff, Arthur Saron......................86

Wheeler, John Alfred.........................1 Wheeler, Larry Dodd.... 125, 126, 127

Wolf, Cindy.....................................74

Cullin, Isaac James..........................46

122

Sawyier, Paul...................................40

Curling, Peter....... 153, 154, 155, 156

Landikusic, Katherine....................165

Scott, Thomas James.........................7

Wooton, Frank................................79

Dahl, Carl.......................................67

Lawson, T. Allen...................123, 124

Sillars, Belinda................................66

Wright, George...................34, 36, 38


ONLINE BIDDING INSTRUCTIONS

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

ACKNOWLEDGMENT With great appreciation we want to thank Su Linville and Blood-Horse LLC for their contributions in helping to 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. 4 • Monday, November 21, 2016 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. 4 • Monday, November 21, 2016 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. 4 • Monday, November 21, 2016 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 ______________________________________________


IN AFFILIATION WITH


2016 Sporting Art Auction Catalog