ABOUT CROSS GATE GALLERY
Founded in 1974, Cross Gate Gallery is a leading source of the world’s finest sporting art.
Lexington’s Cross Gate Gallery specializes in equine-related art, and its impressive collection ranges from 19th and early-20thcentury classic works to contemporary paintings and sculpture.
Its Central Kentucky location makes the focus on sporting art a natural one.
Sporting art has its roots in the early 18th century when British noblemen commissioned top artists to depict their favorite horses, dogs, and sporting scenes in paintings, drawings, and sculpture. The genre continues to the present, catering to the lifestyle of town and country ladies and gentlemen.
Greg Ladd laid the cornerstone of what would become Cross Gate Gallery while still a student at the University of Kentucky. Working part-time for an upscale gift shop, he developed an appreciation for art and an eye for sporting art. His growing interest in the genre made him set aside initial plans to
become an architect. Instead, he graduated with a bachelor’s degree in animal science, married his wife, Laura, soon after graduation, and rented two small rooms in downtown Lexington with $1,000 in startup capital.
The business was named Cross Gate Gallery. College friends and their parents were among early patrons and as Ladd traveled the world in search of inventory, Laura Ladd and her sorority sisters ran the shop. Early on, Ladd recognized that Lexington’s stature as the Horse Capital of the World made it an ideal locale to sell sporting art. His timing could not have been better as the 1970s and early ’80s saw tremendous growth in Kentucky’s horse industry. Buyers from around the world flocked to Kentucky to pay robust prices for Thoroughbred yearlings and many developed showplace farms with houses filled with sporting art.
In this environment, Ladd found a loyal following of serious collectors from around the world. He is recognized for his expertise
in the genre and gracious approach to selling art. In addition to top owners and breeders from around the world, Cross Gate’s clients include (but are certainly not limited to) Keeneland Race Course, FasigTipton Company, Breeders’ Cup, Ltd., and a wealth of other prominent equine organizations.
Ladd also is known for his eye for quality and over the years has nurtured and represented artists such as Andre Pater, Valeriy Gridnev, Larry Wheeler, Sandra Oppegard, Jean-Bernard Lalanne, and many others. Cross Gate regularly exhibits their work in Lexington and at equine venues such as Saratoga Springs, New York; Aiken, South Carolina; and Wellington, Florida.
Cross Gate is also well known for featuring the works of earlier luminaries such as Edward Troye, Sir Alfred Munnings, and Henry Stull. “Our focus is on quality artwork,” says Ladd. “We are confident that we’re offering the finest sporting art available anywhere in the world today. There is a limited supply of really
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good artwork out there, and the best part of our job is finding that quality work and offering it to our clients.”
CROSS GATE HAS INTERNATIONAL STATURE
In 1998, as Sotheby’s prepared to sell 10 paintings by Sir Alfred Munnings from Santa Anita Park’s collection, the venerable auction house chose Cross Gate to display
the works on their journey from California to New York.
This association with Sotheby’s led to a London exhibition of Andre Pater works in 2002 at Sladmore Gallery. Astoundingly, the 31 paintings in the show sold in 21 minutes while people waiting outside the gallery clamored to get in.
Cross Gate’s success has necessitated three moves over its 45 years in business.
Today the gallery operates from a pinkhued Greek revival mansion that spans 11,000 square feet. Its airy, light-filled rooms make the ideal setting to display the gallery’s broad range of artworks.
After more than four decades in the business, Greg Ladd has found full expression for his youthful vision in the achievements and international influence of Cross Gate Gallery.
THE SPORTING ART AUCTION 7
Walt 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.
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Auctioneer
Ryan Mahan considered following his stepfather, Dr. Robert Copelan, into veterinary medicine.
Instead, he finds himself in the auction stand at the leading Thoroughbred sales company in the world.
Mahan initially had his own auction company but in 1977 he joined Keeneland as a bid spotter and later chief announcer. Promoted to auctioneer in the mid-1980s, he succeeded the late Tom Caldwell in 2001 as senior auctioneer. He has been involved with the Sporting Art Auction since its inception.
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Auctioneer | Owner, Cross Gate Gallery
exington, Kentucky, native Greg Ladd founded Cross Gate Gallery in 1974 and has developed it into one of the world’s premier sources of sporting art.
While studying at the University of Kentucky, Ladd laid the foundation for what was to become Cross Gate, and he is now regarded as an expert in the genre of sporting art.
Ladd has been on the advisory board of the Art Museum at the University of Kentucky, the Living Arts & Science Center, and the Kentucky Horse Park Museum. He has served as an Elder at the Second Presbyterian Church. He and his wife, Laura, have four children, two of whom — Catherine and Field — participate in the operation of Cross Gate Gallery.
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Meet Cross Gate Gallery Staff
THE SPORTING ART AUCTION 9
Brittany Deen
Field Ladd
Bill Evans Meng
Catherine Ladd Kenneally
Linda Helton
The following are examples of the terminology used in this catalogue.
Please note that all statements in this catalogue as to authorship, period, culture, source, or origin are qualified statements and are made subject to the provision of the Conditions of Sale printed in this catalogue.
(The artist’s name, “Peter Biegel” is used here as an example, and the following expressions will apply to the artist’s name and the Lot number with which it is associated.)
“Peter Biegel”
In our opinion, a work by the artist. While this is the highest category of authenticity, no unqualified statement as to authorship is made or intended.
“Attributed to Peter Biegel”
In our opinion, probably a work by the artist, but less certainty as to authorship is expressed than in the preceding category.
“After Peter Biegel”
In our opinion, a copy of a known work of the artist.
The term signed and/or dated and/or inscribed means that, in our opinion, a signature and/or date and/or inscription are from the hand of the artist.
The abbreviations fl. and op. mean that the artist worked, “flourished,” and/or “operated” during this time span.
The abbreviation A/C means Artist’s Copy.
Unless otherwise stated in the description, all pictures are framed and all measurements are given with the height preceding the width. All sizes for sculpture are given with the height preceding the width.
■ ESTIMATES
The estimated selling price of each Lot is printed beneath the Lot description and does not include the Buyer’s Premium. This sale will be conducted in U.S. dollars. Bidders should bear in mind that estimates are prepared well in advance of the sale, are not definitive, and are subject to revision.
■ IMPORTANT NOTICE
No reference to any imperfection is made in individual catalogue descriptions of property offered for sale. Notwithstanding any condition report or catalogue descriptions provided, all Lots are offered and sold “AS IS” in accordance with the Conditions of Sale.
Please refer to the Conditions of Sale at the back of the catalogue for full official details.
■ CATALOGUE DESCRIPTIONS
Statements made by us in the catalogue or any condition report, or made orally or in writing elsewhere, regarding the authorship, origin, date, age, size, medium, attribution, provenance, condition or estimated selling price of any Lot are merely statements of opinion, and are not to be relied on as statements of definitive fact. Catalogue illustrations are for guidance only, and should not be relied on either to determine the tone or color of any item or to reveal imperfections. Many items are of an age or nature that precludes their being in perfect condition. Estimates of the selling price should not be relied on as a statement that this price is either the price at which the Lot will sell or its value for any other purpose.
■ EXAMINATION OF GOODS
Prospective Buyers are urged to examine personally any Lots in which they
are interested BEFORE BIDDING, as they accept any property purchased AS IS, with all faults.
■ REGISTRATION BEFORE BIDDING
Prior to sale, all bidders must register and receive a bidding number. PLEASE NOTE: AT THE TIME OF REGISTRATION, DEALERS MUST COMPLETE A RE-SALE TAX EXEMPTION CERTIFICATE; OUT-OF-STATE DEALERS MUST PRESENT AN EXEMPTION FORM FROM THEIR STATE. A bidding number is required of the successful bidder at the fall of the auctioneer’s hammer for each Lot. For your convenience bidder registration can be completed at any pre-sale inspection and prior to sale.
■ CONDUCT OF SALE
All Lots will be sold subject to the Reserve, which will not exceed the low
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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 before November 17, 2022, or 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 before November 17, 2022, or email info@thesportingartauction.com
■ AUCTIONEER’S DISCRETION
The auctioneer has absolute and sole discretion with respect to bidding, to refuse any bid, to advance the bidding in such a manner as he may decide, to withdraw or divide any Lot, to combine any two or more Lots, and, in the case of error or dispute, whether during or after the sale, to determine the successful bidder, to continue or re-open the bidding, to cancel the sale or to re-offer and re-sell the item in dispute. If any dispute arises after the sale, KCG’s sale record is conclusive.
■ SHIPPING/REMOVAL OF PROPERTY
If you are an absentee bidder, we can arrange for the shipment of your purchases as per your written instructions. Estimates for the shipping of any property can be obtained from our staff at KCG. If you are attending the sale and desire us to arrange shipping, this must be done immediately after the sale.ALL PURCHASES MUST BE REMOVED FROM THE BUILDING NO LATER THAN WEDNESDAY, NOVEMBER 23, 2022 at 2:00 p.m. unless prior arrangements have been made with KCG to store property at a warehouse. TO COLLECT ITEMS IN PERSON YOU MUST PRESENT A PAID RECEIPT TO KCG STAFF. *Please note both Keeneland Association and
Cross Gate Gallery offices will 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 Cross Gate Gallery Thereafter they will be removed for storage and charges will be incurred. All uncollected and unsold property not collected from Cross Gate by 2:00 p.m. on Wednesday, November 23, 2022, will be removed by KCG to a warehouse of their choice. The Seller and/or Buyer will not be entitled to collect the stored property until all outstanding charges are paid in full. Seller and Buyer grant KCG a security interest in all goods in our possession for payment of storage and other related charges due. PLEASE NOTE: KCG SHALL HAVE NO LIABILITY OR RESPONSIBILITY WHATSOEVER FOR DAMAGE OR LOSS DUE TO NEGLIGENCE OR OTHERWISE AS A RESULT OF THIS REMOVAL AND STORAGE.
■ PHOTOGRAPHS AND ILLUSTRATIONS/PRIVACY NOTICE
KCG may record any or all portions of the Sale by video, audio or other means, which may be used by KCG in its sole discretion. All participants consent to the use, reproduction and distribution of such recordings, biographical and other information or descriptions, and images that may be provided, for inclusion in the catalogue or other marketing of the Sale or for any other advertising or promotional purpose as deemed appropriate by KCG.
To the extent any provision in the foregoing (Glossary for Paintings and Sculpture or Tips for Buying and Selling at the Auction) conflicts with the Conditions of Sale, the Conditions of Sale shall govern.
THE SPORTING ART AUCTION 11
Fine Sporting Art, American Paintings, and Sculpture
Friday • November 18, 2022 • 4:00 p.m.
Keeneland Sales Pavilion Lexington, Kentucky
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1 | Adalin Wichman (American,
1922–2013) ECLIPSE
Silver, 10 ⅜” x 7 ¾” x 4 ⅜” (including base) Edition 33/100 $4,000. – 6,000.
Solid sterling silver statue mounted on a quarter-sawn, figured walnut base.
Weight: 1,178 grams/37.8 troy ounces
Statue dimensions: 4 ¾” x 7 ¼” x 2”
Mounted dimensions: 10 ⅜” x 7 ¾” x 4 ⅜”
Provenance: Adalin Wichman
Sam Smargon, Lexington, KY (1972)
Robert G. Layton, Paris, KY (1992)
Private Collection, Midway, KY (2005)
Includes the original certificate of authenticity and commemorative descriptive pamphlet, and the original bronze plaque.
James Bailey Faulconer, Keeneland’s first publicist, conceived the Eclipse awards to be given by the Thoroughbred Racing Associations and he recommended Wichman, Keeneland’s advertising director at the time, to create the award whose design is still the same today.
The award was named for the undefeated British champion of the 18th century.
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3 | George Wright (British, 1860–1944)
RACING
Oil on canvas, 7” x 12” Signed $3,000. – 5,000.
2 | William M. Henry Turner (active 1849–1887)
HORSE FAIR AT DONEGAL
Oil on canvas, 9” x 12” Signed, dated 1859 $1,000. – 2,000.
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4 | J.F. Herring Sr. (British, 1795–1865)
THE EARL OF LICHFIELD’S LIGHT CHESTNUT COLT “ELIS” BY LANGAR OUT OF OLYMPIA Oil on panel, 10” x 12” Signed, inscribed, dated 1836 $5,000. – 7,000.
Provenance: Richard Green, London
In a racing career that lasted just shy of two years, Elis raced 15 times between 1835 and 1837, winning 11 races and running second in the other four. As a 2-year-old, he won five of his six races, including the Chesterfield Stakes, Molecomb Stakes, Clearwell Stakes, and Criterion Stakes. In his 3-year-old season Elis was defeated by the great Bay Middleton in the 2,000 Guineas but came back to win the Drawing-room Stakes, Racing Stakes, Lewes Stakes, and Great St. Leger Stakes.
Lord George Bentinck owned Elis, but in an attempt to hide his interest in racing from his family, Bentinck did not use his own name. Elis was officially owned by Charles Greville for his first two starts and by Thomas Anson, 1st Earl of Lichfield, for the remainder of his racing career.
From as early as the autumn of 1835, Elis had been regarded as a leading contender for the St. Leger at Doncaster Racecourse in late September, but
when the horse was still in Goodwood a week before the race, his chances appeared remote.
In the 1830s the established way for a horse to travel to a racecourse was to walk there, usually at a very gentle pace to minimize the risk of injury, and the 250-mile journey from Goodwood to Doncaster could take up to three weeks. Despite the fact that it appeared impossible for Elis to run in the St. Leger, the bettors continued to support him, which led to considerable confusion until Bentinck’s plans were revealed. A specially designed carriage or “caravan” had been constructed, which could be drawn at high speed by a team of horses whose members could be replaced at regular intervals. Elis and a traveling companion named The Drummer were loaded into the padded interior of the caravan and transported to Doncaster in less than three days.
The trip paid off as Elis went on to capture the St. Leger and cement his place in history as a British classic winner.
THE SPORTING ART AUCTION 15
5 | Harry Hall (British, 1814–1882)
CORONATION
Oil on canvas, 22” x 29” Signed, inscribed $5,000. – 7,000.
Coronation, foaled in 1838, was bred and owned by Abraham Rawlinson of Chadlington in Oxfordshire. Coronation’s sire, the Irish-bred Sir Hercules, sired St. Leger winner Faugh-a-Ballagh, 2,000 Guineas winner The Corsair, and, most famously, Birdcatcher. Coronation’s racing career consisted of just seven races and lasted 13 months; of those seven, he won six and ran second once. As a 2-year-old, Coronation went two-for-two and was described as “the finest 2-year-old of the season” by the Sporting Magazine.
At the end of his 2-year-old season, Coronation was offered by bookmakers at 18-1 to win the Derby. After an impressive debut victory in his 3-yearold season, Coronation was offered at 10-1 to win the Derby at Epsom. On May 26, Derby Day, Coronation opened up at 4-1 and was bet down to a 5-2 favorite by race time. The 1841 Derby had a record 29 entries, and the Sunday Times related the race’s exhilaration and excitement: “A roar of artillery, a charge of cavalry ploughing up the earth, a drove of
wild elephants bearing down all before them, the rushing of the rapids of a mighty river—to these things alone can be compared the dash at the Derby.” The day was warm and beautiful; the Sunday Times described the racegoers as an “immense mob” and added, “The Downs exhibited the finest sight we ever remember in our experience of 30 years to have witnessed.”
Coronation was the odds-on favorite with Pat Conolly in the saddle. He made easy work of the historically large field and “it was evident that, barring an accident, he must win,” declared the writer for the Times Coronation made history that day and his owner made a handsome sum as he collected £4,275 in purse money plus an additional £8,000 from the bookmakers. It is likely that Rawlinson used a portion of those winnings to have Coronation and Patrick Conolly immortalized by the skillful brush of Harry Hall.
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6 | Harry Hall (British, 1814–1882)
SUBURBAN WITH TOM CHALONER UP Oil on canvas, 23 ¼” x 30 ¼” Signed, dated 1864 $5,000. – 7,000.
Provenance: Arthur Ackermann, Bond Street, London
Gusztáv, 5th Prince Batthyány-Strattmann, was a Hungarian nobleman who bred horses in England and was commonly known as Count Gustavus Batthyány. In 1843 he established his own stud and was elected to the Jockey Club in 1859. He hired trainer John Dawson to condition his horses at Newmarket and had a long and successful career on the turf. In 1875 his horse Galopin won the Derby and went on to be the leading sire in Great
Britain and Ireland. Count Batthyány’s horse Suburban won the Handicap Plate at Newmarket, the Third-Class Wokingham Stakes at Ascot, the Lincolnshire Handicap, the Stand Handicap, and the Warwickshire Handicap. Count Batthyány commissioned Harry Hall to immortalize Suburban on canvas with Tom Chaloner up wearing his new racing colors. Harry Hall painted another portrait for the Count as well, Prince Plausible with George Fordham up, dated 1864.
THE SPORTING ART AUCTION 17
7 | Henry Stull (American, 1851–1913)
BILLY DONOHUE UP Oil on board, 9” x 11 ½” Signed, dated 1889 $5,000. – 7,000.
William J. “Billy” Donohue was a jockey, trainer, and owner who won each of the three races that would become the U. S. Triple Crown series. Donohue’s first classic win came aboard Algerine in the 1876 Belmont Stakes. In 1883 he rode Leonatus to victory in the Kentucky Derby and
won his third classic with Dunboyne in the 1887 Preakness. Another of his important wins as a jockey came in 1884, when he rode General Monroe to win the inaugural running of the Suburban Handicap.
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8 | Henry Stull (American, 1851–1913) SNAPPER GARRISON UP Oil on canvas, 12” x 16” Signed, dated 1895 $5,000. – 7,000.
Edward “Snapper” Garrison was a 19th-century American jockey known for his spectacular come-from-behind wins. During his 16-year riding career, he won nearly 700 races. Garrison rode many great horses, including Montana, Tammany, and Firenze. His riding style so captured the attention of the public that people began using the term “Garrison
finish” for any victory in which the winner comes from behind. The term was so often used that it appears in the Merriam-Webster Dictionary Edward Snapper Garrison was inducted into the National Thoroughbred Racing Hall of Fame in 1955, the first year of inductions.
THE SPORTING ART AUCTION 19
GLENELG
Oil on canvas, 18” x 24” Signed, dated 1880, inscribed verso $9,000. – 12,000.
By Citadel and out of Babta (by Kingston), Glenelg was put up for sale as a yearling in 1867 when August Belmont sent Jacob Pincus specifically to buy the “big bay yearling out of the Kingston mare.” He never ran at the age of 2, being described as “big and raw,” and made his 3-year-old debut running second in the 1869 Belmont Stakes to his fellow Belmont-owned colt, Fenian, a race in which he was held back so Fenian could take the win. Glenelg would finish the year winning three and placing twice in his five starts, with the victories including the Travers and Jerome stakes. At age 4 he racked up several more stakes wins, notably the Maturity, Breakfast, Bowie, and Excelsior stakes, before retiring at age 5 with a 10-4-3 record in 18 starts.
Glenelg had a rocky, but very successful, stud career. Originally standing at Belmont’s Nursery Stud, he was overshadowed when Belmont purchased the great stallion Kentucky. Sold to Milton Sanford’s Preakness Stud in Lexington, Glenelg became a success with Monitor, Idalia, Wade Hampton, and Carley B. all coming from his matches with mares by Lexington. Daniel Swigert purchased Preakness Stud from Sanford in 1881 and renamed it Elmendorf and it was under Swigert that Glenelg truly flourished. He was the leading sire in North America for four years, the first to dominate in that fashion since Lexington. His filly Firenzi was his best, and she retired as the second-highest-earning filly in American history at that time, and it was through his daughters that Glenelg’s line is still active today. John’s Joy, Dancer’s Image, and Stymie are just some descendants who ran in the 20th century.
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9 | Henry Stull (American, 1851–1913)
10 | after Charles Severyn (19th–20th Century)
PEYTONA AND FASHION: IN THEIR GREAT MATCH RACE
Oil on canvas, 62” x 80” $20,000. – 25,000.
In the mid-19th century, horse racing was America’s most popular sport. Fierce competition among jockeys, trainers, and breeders is a timeless feature of the sport, but antebellum-era races were fueled by political and sectional tensions as well. The races were dominated by a concurrent debate between North and South over who was superior in equine breeding and training. The competition heated up in the 1840s, when the press and politicians encouraged a series of North/South match races that would capture the passions of the entire country. Promoters arranged for a match race at Union Course on Long Island, pitting Southern champion Peytona, an Alabama-bred mare, against Fashion, the Northern “Queen of the Turf,” for a staggering purse of $20,000. The race took place on May 13, 1845, after Peytona had traveled more than 1,500 miles to compete against the 8-year-old Fashion. In this painting, the victorious 6-year-old Peytona demonstrates her famously long stride in the foreground as Fashion trails behind. The center of the track is crowded with people, carriages, and
wagons, but the scene does not begin to convey the true magnitude of the crowds—up to 100,000 attended—as reported in the rich news accounts that followed the event. Even though the image depicts the victorious Peytona, the victory was short lived for the Southern contingent. Two weeks later, during a rematch, Fashion beat Peytona—and Northern horses would go on to win most of the match races over the next several years. After the Civil War, however, horses from the Bluegrass Region of Kentucky, the rolling hills of Virginia, and Maryland’s Hunt Country would fully establish the South’s reputation for superior equine breeding.
The Great Match Race, as it was often called, was immortalized by the great lithography company Currier and Ives and remains one of the most sought-after works from the company’s extensive catalogue. The print was undoubtedly a prized possession in homes and bar-rooms all across the Southern states.
THE SPORTING ART AUCTION 21
11 | after Albert Roosenboom (Belgian, 1845–1888)
ELEGANT
DAY AT THE RACES
Oil on canvas, 48” x 36” Signed indistinctly $15,000. – 25,000.
Horse racing was the rage at the turn of the century and attracted people from all social milieu. Whereas Degas had portrayed the jockeys and the racetrack, Roosenboom’s interest was less with the race itself than in the elegant spectators and their charming children, all dressed in the height of fashion.
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12 | Albert Clark (British, 1843–1928)
FOUR IN HAND TEAM Oil on canvas, 17” x 21 ½” Signed $4,000. – 6,000.
THE SPORTING ART AUCTION 23
13 | Paul Jones (British, active 1855–1888) WAITING FOR THEIR MASTER, PONIES AND RETRIEVERS IN A HIGHLAND LANDSCAPE (pair) Oil on canvas, 8” x 12” each Signed, dated 1874 $4,000. – 6,000.
Provenance: Burlington Paintings, London, 1994
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14 | 19th Century English Provincial School
A YOUNG GIRL ON HER FAVORITE PONY Oil on canvas, 28” x 36” $8,000. – 10,000.
Provenance: Christie’s, London, May 18, 2007
THE SPORTING ART AUCTION 25
15 |
Piece 1 Winter.
Inscribed: Owner of Comforting Steeplechaser “Yes, it certainly does strike a bit chilly. Never mind, dear boy, you’ll soon be as warm as toast, for the old nag on a day like this pulls like a steam engine! Sandow himself couldn’t hold him!”
1850–1915) STEEPLECHASING CONVERSATIONS (pair) Watercolor/Gouache, 10” x 14” each Signed, inscribed $1,000. – 2,000.
Piece 2
Mason
Inscribed:
1st Steeplechase Jockey “What’s the game today, Bill? Fall off or bolt out of the course?”
2nd Steeplechase Jockey “What d’yer mean?”
1st Steeplechase Jockey “Why, I see he don’t mean to be stopped as usual.”
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George Finch
(British,
16 | John Frederick Herring Jr. (British, 1820–1907)
HUNTING SCENE, FULL CRY Oil on canvas, 20” x 36” $20,000. – 25,000.
Provenance: Frost and Reed, London
THE SPORTING ART AUCTION 27
17 | Henry Thomas Alken Sr. (British, 1785–1851) ‘THE MEET’ & ‘FULL CRY’ (pair) Oil on canvas, 14 ¼” x 26 ¼” each Signed $9,000. – 12,000.
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18 | Anthony John Moore (British, 1852–1915)
THE QUORN HUNT, 1913 Oil on canvas, 20” x 30” Signed, inscribed, dated 1913 $3,000. – 5,000.
Possibly the United Kingdom’s most famous hunt, the Quorn Hunt was founded in 1696, making it one of the world’s oldest foxhunting packs.
Most likely depicting a scene a few years before 1913, this work depicts the future King George V when he was still the Prince of Wales. Mrs. Cornwallis-West would be Jennie Jerome, the mother of Winston Churchill and daughter of American sportsman and financier Leonard Jerome. At the time, she was married to George Cornwallis-West. Also depicted is Rupert Carrington, the 4th Baron Carrington.
THE SPORTING ART AUCTION 29
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FARMYARD SCENE
Oil on canvas, 21 ½” x 35” Signed $15,000. – 20,000.
Provenance: Burlington Paintings, London
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| John Frederick Herring Jr. (British, 1820–1907)
20 | John Frederick Herring Jr. (British, 1820–1907)
FARMYARD SCENE
Oil on canvas, 16” x 24” Signed $9,000. – 12,000.
Provenance: Frost and Reed, London
THE SPORTING ART AUCTION 31
FARMYARD FRIENDS
Oil on canvas, 16” x 24” Signed $9,000. – 12,000.
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21 | John Frederick Herring Jr. (British, 1820–1907)
22 | John Frederick Herring Sr. (British, 1795–1865)
LOP EARED RABBITS
Oil on canvas, 18 ½” x 28 ½” Signed, dated 1851 $20,000. – 25,000.
THE SPORTING ART AUCTION 33
DUCKS AND DUCKLINGS
Oil on canvas, 18 ½” x 28 ½” Signed, dated 1858 $20,000. – 25,000.
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23 | John Frederick Herring Sr. (British, 1795–1865)
24 | William Baptiste Baird (American, 1847–1899)
PIGEONS & CHICKS (set of 4) Oil on wood panel, 3 ¼” x 4 ⅛” (each)
Initialed $5,000. – 7,000.
Provenance: McConnal Mason, London
THE SPORTING ART AUCTION 35
JEALOUSY
Oil on canvas, 18” x 27” Signed, dated ’92 $8,000. – 12,000.
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25 | Arthur Fitzwilliam Tait (American, 1819–1905)
26 | Alfred Wheeler (British, 1851–1932)
FOXHOUNDS
IN A KENNEL
Oil on panel, 16” x 22” Signed, dated 1896 $5,000. – 7,000.
THE SPORTING ART AUCTION 37
27 | Heinrich Sperling (German, 1844–1924)
DACHSHUNDS
Oil on canvas, 15” x 17 ½”
Signed $3,000. – 5,000.
28 | Arthur Wardle (British, 1864–1949)
HOME ON LEAVE
Oil on canvas, 26” x 32”
Signed $8,000. – 12,000.
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29 | John Emms (British, 1843–1912)
STUDY OF A COLLIE Oil on canvas, 13 ½” x 11 ¼” Signed $4,000. – 6,000.
THE SPORTING ART AUCTION 39
30 | Bernard de Neuville (French, 1852–1941)
MOTHER & KITTENS DRINKING MILK
Oil on canvas, 21 ½” x 25 ⅓” Signed $3,000. – 5,000.
40
31 | J.G. Brown (American, 1831–1913) SYMPATHY
Oil on canvas, 24” x 17” Signed, dated 1905 $30,000. – 35,000.
THE SPORTING ART AUCTION 41
HOUNDS ON SCENT
Oil on canvas, 25” x 36”
Signed $3,000. – 5,000.
Provenance: Haynes Fine Art of Broadway, UK
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32 | Thomas LaFontaine (British, 1915–2007) FOX HUNT WITH
33 | Franklin Voss (American, 1880–1953)
CINNAMON, STUDY OF A NORWICH TERRIER Oil on canvas, 8 ½” x 12 ¾” Signed $3,000. – 5,000.
Provenance: Elsa Horne Voss
The Sporting Gallery and Book Shop, Inc.
THE SPORTING ART AUCTION 43
34 | Elsa Horne Voss (American, 1895–1982)
MORNING GALLOP – TOMMY WITH JACK BALL UP Bronze, 9” x 12” Signed, edition 13/18, foundry mark $3,000. – 5,000.
This spirited bronze was one of Voss’ most popular works, with sales listed from 1948 through 1972. First recorded in her account book in April 1939 as “Tommy Galloping,” Voss came to refer to it as “Morning Gallop.” It depicts her horse Desert Storm (nicknamed Tommy) with rider Jack Ball. “Morning Gallop” was featured at Voss’ major exhibition at Newhouse Galleries in New York in 1940.
44
35 | Emmanuel Frémiet (French, 1824–1910) SPANISH RIDER ON MULE Bronze, 13” x 10 ½” Signed $5,000. – 7,000.
THE SPORTING ART AUCTION 45
36 | Antoine de Salaberr y (French, 1880–1915) TIGHTENING THE GIRTH Bronze, 12” x 16” Signed $7,000. – 10,000.
46
37 | Alfred Jacquemart (French,
HOUND & TURTLE
1824–1896)
Bronze, 6” x 7” Signed, foundry mark of Auguste-Maximilien Fontaine $5,000. – 7,000.
THE SPORTING ART AUCTION 47
38 | Isidore Bonheur (French, 1827–1901) FEEDING THE PIG
Bronze 9 ¼” x 7 ¾”
Signed, stamped with Foundry Peyrol $4,000. – 6,000.
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39 | Emmanuel Frémiet (French, 1824–1910)
MOUNTED JOCKEY
Bronze, 18” x 19” Signed $15,000. – 20,000.
First exhibited at the 1855 Paris Salon, this work was exhibited again at the Exposition Universelle of 1859. Proving to be a popular bronze, the sculpture was exhibited abroad in Antwerp in 1885 and then in Copenhagen in 1888 before being exhibited once again at the Exposition Universelle of 1889.
Literature:
Jane Horswell, Bronze Sculpture of “Les Animaliers,” Clopton, Woodbridge, Suffolk: The Antique Collectors’ Club, 1971.
Catherine Chevillot, Emannuel Frémiet, Hand and Multiple, Musee des Beaux-Arts in Dijon, Musee de Grenoble, 1988/1989, listed under model No. S127, page 95.
Pierre Kjellberg, Bronzes of the Nineteenth Century, Editions the Amateur, 1987, page 335.
THE SPORTING ART AUCTION 49
40 | Michael Lyne (British, 1912–1989) MARES GRAZING, EASTNOR CASTLE, HEREFORDSHIRE
Watercolor, Gouache, 13 ½” x 20 ½”
Initialed $2,000. – 3,000.
41 | Michael Lyne (British, 1912–1989)
DUKE OF BEAUFORT HUNTING AT WRAXALL PARK, 1946
Watercolor, Gouache, 13 ½” x 20 ½” Signed, dated 1946 $2,000. – 3,000.
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42 | Michael Lyne (British, 1912–1989) SPOOKED Oil on canvas, 28” x 36” Signed $5,000. – 7,000. Provenance: Frost and Reed, London
THE SPORTING ART AUCTION 51
43 | Michael Lyne (British, 1912–1989) ASCOT, 1961 Oil on canvas, 28” x 36” Signed $12,000. – 15,000.
Provenance: Frost and Reed, London
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44 | Charles Simpson (British, 1885–1971)
THE GRAND NATIONAL Watercolor/Gouache 21 ½” x 30” Signed $3,000. – 5,000.
Provenance: Frost and Reed, London
THE SPORTING ART AUCTION 53
45 | Antoine de La Boulaye (French, b. 1951)
CHIENS DE LA BOULAYE & CHASSE EN NORMANDIE (pair)
Watercolor, 6 ½” x 5” each Signed $1,000. – 2,000. (pair)
46 | Antoine de La Boulaye (French, b. 1951) COACHING, VERSAILLES
Watercolor, 11” x 17” Signed $1,000. – 2,000.
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47
|
C.W. Anderson (American, 1891–1971)
ILLUSTRATIONS FROM THE BLIND CONNEMARA (set of 6) Graphite, 19” x 14 ½” (each) $4,000. – 6,000.
A set of six illustrations by C.W. Anderson for his novel The Blind Connemara (New York: The MacMillan Company, 1976).
Rhonda Rides the White Connemara, page 18 “Rhonda was actually going to ride the white Connemara! When she felt the light springy stride as they started, she was sure it must still be a dream.”
A Horse of Her Own, page 37 “She stopped to let the pony see how narrow the space was. Then she led him through, sayins ‘Easy now, easy.’ ”
The Show Ring Again, page 50 “When the Class was called, Rhonda rode into the ring and circled it once to give the pony an idea of its size.”
Study for the Cover of The Blind Connemara, page 45 “As the time for the show approached, the white pony seemed almost to be aware of it, for his trot and canter became even smoother and more rhythmic.”
The Blind Pony Jumps, page 55 “She barely had time to tighten her knee grip before she let the thrust as he leaped. He was over the bar with a foot to spare.”
Rhonda and the Blind Connemara, page 64 “You have only to see the girl and pony together to realize that they almost live in a world of their own. The girl is the pony’s eyes and he thrusts her completely.”
THE SPORTING ART AUCTION 55
48 | Jean Bowman (American, 1917–1994)
DANCER’S IMAGE
Oil on canvas, 24” x 32” Signed, dated ’74 $2,000. – 3,000.
A son of Native Dancer, Dancer’s Image won the 1968 Kentucky Derby before later being disqualified. The horse remained the only disqualified winner of the Derby until Maximum Security in 2019. Long the subject of controversy and speculation, the 1968 running was still called “the most controversial Kentucky Derby ever” as late as 2008 by the New York Times
Originally standing at stud in Maryland, Dancer’s Image was sold and found his way to the breeding establishment of legendary French trainer Alec Head. He sired group winners Godswalk, Lianga, and Saritamer.
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| Edith Derry Miller (American, 20th Century) STYMIE
Oil on canvas, 24” x 30” Signed, dated 1956, inscribed verso $5,000. – 7,000.
Of all trainer Hirsch Jacobs’ successes (3,569 winners in 43 years of training), Stymie was perhaps his greatest. Claimed as a 2-year-old for a mere $1,500, the colt went on to win $918,485, more earnings than any other horse at that point in history.
Bred by King Ranch trainer Max Hirsch, Stymie was born in 1941 on the ranch in Texas. Hirsch Jacobs claimed him in his third race in June 1943.
Jacobs must have seen something in the colt, as the trainer did not get a win out of him until his 14th start. By the time Stymie turned 4, however, he was coming into his own. In 1945 Stymie won nine major races, including the Brooklyn Handicap, and was named champion handicap horse of the year. He went on to win back-to-back Metropolitan Miles (both times coming from last), the International Gold Cup against King Ranch’s Triple Crown winner Assault, and many other races.
THE SPORTING ART AUCTION 57
49
CHAMP DE COURSES
Oil on canvas, 21 ¼” x 25 ½” Signed $9,000. – 12,000.
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50 | Jean Louis Marcel Cosson (French, 1887–1956)
51 | Henry Koehler (American, 1927–2019)
STEVIE CAUTHEN UP
Oil on board, 24” x 18” Signed $2,000. – 3,000.
The only jockey to win both the Kentucky Derby and Epsom Derby, Steve Cauthen also is the youngest jockey to win the Triple Crown, a feat he achieved at age 18 aboard Affirmed in 1978. A member of the United
States Racing Hall of Fame, Cauthen was also British champion jockey three times and won the English classic races 10 times.
THE SPORTING ART AUCTION 59
KASHMIR II
Oil on board, 8” x 7” Signed, inscribed, dated ’66 $2,000. – 3,000.
Kashmir II was bred in Ireland by Jane Levins Moore and sold as a yearling at the Newmarket sales for 8,600 guineas. Peter Butler purchased him and sent him to France to train and begin his racing career under Mick Bartholomew. In 1965, as a 2-year-old, Kashmir won the Prix du Début at Saint-Cloud and the Prix de Martinvast at Longchamp before stepping up in class in the Prix Robert Papin. Kashmir handled the step up in class beautifully and secured the win, ridden to victory by the famous English jockey Lester Piggott. Kashmir won his 3-year-old debut in the Prix Djebel before shipping to England—where he was called Kashmir II. Lester Piggott declined to ride Kashmir II in the 2,000 Guineas and the mount was given
to Jimmy Lindley. Lindley made the most of the occasion and sent Kashmir II out to an early three-length lead in the massive field of 25. Lindley, fearing that they might be caught, furiously rode the colt down the Rowley Mile, getting every ounce of effort that he could out of Kashmir. In the end, it was enough, but barely. The pair held on to win by a head, capturing one of the jewels of British racing in quite an unconventional manner. After the Guineas, Kashmir II returned to France where he was retired to stud and became a successful breeding stallion. Among his best winners were Moulines, Dumka, Blue Cashmere, Kamicia, and Lightning.
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52 |
Richard Stone Reeves (American, 1919–2005)
EDDIE ARCARO
Oil on canvas, 12” x 9” Signed $9,000. – 12,000.
Eddie Arcaro is a Hall of Fame jockey who won more American classic races than any other jockey in history and is the only rider to have won the U.S. Triple Crown twice. He is widely regarded as one of, if not the greatest jockeys in the history of American Thoroughbred horse racing. Arcaro won his first race in 1932 at Agua Caliente racetrack in Tijuana, Mexico; he was 16 years old. In 1934, still relatively unknown, he began to ride at the newly opened Narragansett Park, and in 1935 he would get his first mount for a Kentucky Derby contender, Calumet Farm’s Nellie Flag. While Arcaro did not win a race with Nellie Flag, the association he made with Calumet lasted for many years and produced some of the greatest winners in the history of the American turf. Richard Stone Reeves chose to paint Eddie Arcaro in the Calumet silks because of the immense success that Arcaro had when riding their horses. Arcaro won his first Kentucky Derby in 1938 aboard
Lawrin. He is tied with Bill Hartack for most Derby wins with five, and has the most wins in the Preakness and the Belmont Stakes with six. (In the Belmont he is tied with Jim McLaughlin for most Belmont winners.) He won the U.S. Triple Crown in 1941 on Whirlaway and again in 1948 on Citation, both horses owned by Calumet. His other Kentucky Derby wins came on Calumet’s Hill Gail and Fred Hooper’s Hoop Jr. In addition to the American classic wins, Arcaro also won the Jockey Club Gold Cup 11 times, the Juvenile Stakes seven times, the National Stallion Stakes seven times, the Wood Memorial Stakes nine times, the Suburban Handicap eight times, the Withers Stakes six times, and the Kentucky Oaks four times. Arcaro rode some of the greatest horses of the 20th century, including Whirlaway, Citation, Ponder, Hoop Jr., Challedon, Kelso, Nashua, Mark-Ye-Well, Hill Prince, Bold Ruler, Sword Dancer, and Real Delight.
THE SPORTING ART AUCTION 61
53 | Richard Stone Reeves (American, 1919–2005)
54 | Richard Stone Reeves (American, 1919–2005) SWAPS
Oil on board, 11” x 14” Signed, inscribed $12,000. – 15,000.
Swaps was bred and owned by Rex Ellsworth and trained throughout his career by Mesh Tenney. Swaps was the son of Khaled, a stallion imported by the Aga Khan, and his dam, Iron Reward, was a half sister to 1957 Kentucky Derby winner Iron Liege. In the 1955 Kentucky Derby, Swaps and jockey Willie Shoemaker defeated the odds-on favorites, Nashua with Eddie Arcaro. Arcaro was quoted before the race as saying that a horse named Summer Tan was the primary threat in the Derby, which led to a little back and forth between the two camps, ultimately ending in the challenge of a match race. Nashua followed up the Derby loss with wins in the Preakness and Belmont Stakes. Swaps, nursing a split hoof wall, returned to the West Coast to rest, but ended up running in several races—breaking or equaling six track records at various distances, on turf and on dirt.
The match race between Nashua and Swaps was set to take place on August 31, 1955. Swaps tuned up early for a prep and on August 20th ran in and won the prestigious American Derby, setting a course record for 13⁄16 miles on the turf in 1:54-3⁄5 (a record that stood for more than 50 years and might still stand). However, Swaps re-injured his foot and was not able to run to his full potential in the match race; Nashua won easily and went on to become the Horse of the Year in 1955. The following year, as a 4-year-old, Swaps was named Horse of the Year, beating Nashua by 78 votes to 45. William H.P. Robertson wrote in his History of Thoroughbred Racing in America that Swaps “entered stud with the largest collection of recognized world records (five) in history, and a lifetime performance summary, as follows: 25 starts, 19 wins, two seconds, two thirds, earnings of $848,900.”
Swaps stood at John Galbreath’s Darby Dan Farm in Lexington, Kentucky, and spent his last five seasons at Spendthrift Farm. He sired 35 stakes winners, and among his most successful offspring were Chateaugay, winner of the 1963 Kentucky Derby and the 1963 Belmont Stakes, and the U.S. Hall of Fame filly, Affectionately.
Swaps won the following stakes races at Hollywood Park:
Will Rogers Stakes – won by 12 lengths; first stakes race in which Swaps was the betting favorite; favored in all subsequent races.
Californian Stakes – set a new world record for 81⁄2 furlongs with time of 1:402⁄5, “almost casually.”
Westerner Stakes – front-running effort, “drew out at will” in the stretch to open a 10-length lead, won by six lengths after being eased at odds of 1-20; win betting only for a five-horse field.
Sunset Handicap – set a new track and world record for 15⁄8 miles with time of 2:381 5, lowering previous track record by 22 5 seconds, carrying 130 lb.; front-running effort “Under stout restraint,” eased in the last sixteenth of a mile.
Hollywood Gold Gup – set a new track record of 1:583⁄5 for 11 4 miles, lowering previous mark by a full second, carrying 130 lb.; win betting only despite a seven-horse field.
Inglewood Handicap – set new world record for 81⁄2 furlongs with time of 1:39 flat, carrying 130 lb.; mile split was 1:323 5, 3⁄5 faster than his own previous world record.
Argonaut Handicap – set a new world record for a mile with time of 1:331 5, replacing previous record by Citation.
American Handicap – equaled Noor’s world record of 1:464⁄5 for 11 8 miles, carrying 130 lb.; conceded 19 lb. to runner-up Mister Gus; win betting only for a five-horse field.
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MAN O’ WAR
Oil on board, 11” x 14” Signed, inscribed $20,000. – 25,000.
When Man o’ War sold at the Saratoga yearling sales in 1918, the man making the high bid was Ed Buhler, the uncle of Richard Stone Reeves. Reeves said that this bit of knowledge when he was young—“My uncle bought Man o’ War”—led directly to his association with Thoroughbreds.
“It was,” Reeves said, “a very special thrill when the publishers commissioned me to paint Man o’ War for Classic Lines. I had gathered reference material since I was a boy. It was almost as if I had been practicing all my life for that one painting.” — Richard Stone Reeves, Classic Lines, page 95.
August Belmont Jr. bred Man o’ War at his Nursery Stud in Kentucky. Shortly after Man o’ War was foaled, Belmont enlisted in the United States Army to serve in France during World War I and, while he was overseas, his wife, Eleanor, named the foal Man o’ War in honor of her husband. The Belmonts intended to race Man o’ War themselves, but Belmont was so
absorbed with his wartime tasks—having been given the responsibility of supplying horses to the troops in Europe—he decided to sell 21 Nursery Stud yearlings at auction in Saratoga Springs, New York. Samuel D. Riddle purchased Man o’ War for the sum of $5,000. Nicknamed “Big Red,” the high-headed chestnut son of Fair Play went on to win 20 of 21 starts and was considered a champion at 2 and 3 as well as Horse of the Year in 1920. Man o’ War was a leading sire, and his influence on American breeding was immense. He is widely considered one of the greatest racehorses of all time and in 1920 was the New York Times outstanding athlete of the year alongside Babe Ruth. Riddle retired Man o’ War after his perfect Horse of the Year 3-year-old campaign. In 1921 Man o’ War started his stud duties at Hinata Farm outside of Lexington, which was managed by Elizabeth Daingerfield. The next year he was moved to Riddle’s new farm, Faraway Farm. Here Man o’ War became a Kentucky tourist attraction.
THE SPORTING ART AUCTION 63
55 | Richard Stone Reeves (American, 1919–2005)
56 | Richard Stone Reeves (American, 1919–2005) UNIQUE TRIPLE, RAISE A NATIVE, AFFIRMED & EXCLUSIVE NATIVE, SPENDTHRIFT FARM Oil on canvas, 24” x 32” Signed, inscribed, dated ’82 $50,000. – 70,000.
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“This unique painting by Richard Stone Reeves was commissioned by Mr. and Mrs. Louis E. Wolfson shortly after their brilliant Triple Crown Champion, Affirmed, was retired to stud at Spendthrift Farm. Not only did all three of these great horses race in the colors of Harbor View Farm, but Harbor View was also the breeder of Exclusive Native and Affirmed. Raise a Native was purchased by Lou Wolfson as a yearling and went undefeated in his 2-year-old season, and was voted the American Champion 2-year-old Male. One of the most influential sires of his time, Raise a Native sired 74 stakes winners, which include Kentucky Derby winner Majestic Prince, the breed-shaping sire Mr. Prospector, as well as Alydar—who was the great rival of Affirmed. Exclusive Native sired an additional Kentucky Derby winner in the great filly, Genuine Risk. Affirmed was a champion at 2, 3, and 4, and Horse of the Year at 3 and 4. His battles with Alydar are legendary, with their Belmont Stakes being arguably the greatest race of all time. Following the pattern of his sire and grandsire, Affirmed also enjoyed success as a stallion, siring multiple champions, among them the great race mare, Flawlessly. This extraordinary painting depicts an amazing dynasty that has had a lasting impact on the American Stud Book.” — John Williams
Chapter 6 of Richard Stone Reeves’s book The Golden Post is entirely dedicated to the profound impact that Raise a Native, Affirmed, and Exclusive Native had on American Thoroughbred breeding. The chapter is titled “The All-Americans: Vintage Years for the Bloodline Which Bears the Stars and Stripes” and contains a full-page color illustration of the above work on the verso. The caption that accompanies the illustration reads: “UNIQUE TRIPLE — father, son, and grandson all at stud on the same
farm. From the left, Raise a Native, Affirmed, and Exclusive Native are led out at Spendthrift Farm, Kentucky.” The introductory paragraph reads: “By repute the only true American bloodline is that of the Kentucky-based stallion Raise a Native, the most influential of all US dirt track sires.
“His first generation is comprised of Native Dancer and Raise You, both pure-bred American. The second generation is Polynesian, Geisha, Case Ace, and Lady Glory—American all the way. The eight great grandparents are Unbreakable, Black Polly, Discovery, Miyako, Teddy, Sweetheart, American Flag, and Beloved—all bred and born in the U.S.A. with the exception of Frenchman Teddy who, having acquired his green card at the age of 18, stood as a stallion in North America until his death.
“This is the bloodline that bears the stars-and-stripes, and immediately behind that third generation there lurks Whisk Broom II, John P. Grier, Ultimus, and Man o’ War—some of the best and toughest U.S. racing blood. Raise a Native was born to carry Old Glory and there ought to be a stereophonic sound system for visitors as they approach the stallion box occupied by the 24-year-old emperor of Spendthrift Farm. ‘From the Halls of Montezuma, to the shores of Tripoli …’ ”
In this important work, Richard Stone Reeves memorializes the best of the Thoroughbred industry—from the Wolfsons as owners, to Spendthrift as breeder, and from racehorses to stallions, the Unique Triple and their connections epitomized excellence.
THE SPORTING ART AUCTION 65
57 | Henry Koehler (American, 1927–2019)
STAGE DOOR JOHNNY, GREENTREE STABLES
Oil on canvas, 18” x 24” Inscribed verso, dated 1968 $3,000. – 5,000.
Stage Door Johnny solved a great dilemma in the racing world by winning the 1968 Belmont Stakes. The bright chestnut with a bold blaze ended the debate as to whether Forward Pass, the winner by disqualification of the Kentucky Derby and outright winner of the Preakness Stakes, could be a
Triple Crown winner. Named champion 3-year-old male of 1968, Stage Door Johnny was raced by his breeder, Greentree Stud, and retired to stud there. He died on the farm of his birth in 1996 at age 31 and is buried on land that is now part of Gainesway Farm.
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58 | Lionel Edwards (British, 1878–1966) STUDY OF A RACEHORSE, NO 5, WITH A JOCKEY Pencil, Watercolor, Gouache on paper, 13 ¼” x 9”
Signed $5,000. – 7,000.
THE SPORTING ART AUCTION 67
THE VICAR Oil on canvas, 12” x 23” Signed $7,000. – 10,000.
Munnings began his career as a commercial artist at age 14 in 1892. He served a six-year apprenticeship with the lithographic printers Page Bros. & Co., where the artist produced numerous illustrations to be used in all manner of advertisements, from toothpaste and beer to bicycles and billboards. After his apprenticeship ended, Munnings continued to produce commercial artwork to supplement his income while he established himself as an artist. In Munnings’ autobiography, An Artist’s Life, he said: “I look back, and know that it was all hard work, which had to be done so that I could live and paint...Gradually, through the Norwich art circle and Boswells, a firm of art dealers in that city, my pictures became known and were sold at moderate prices. I painted pictures of all kinds in that room, and Boswell bought them for a few guineas. These were pictures of knaves and thieves, of ghosts and folk with lanterns in the snow. A part of my inconsistent mind was soaked in the costume and foppery of that period. I loved painting three-cornered hats and wigs and women with powdered hair.”
When Munnings began to produce “fine art” to be sold in galleries, he also continued working as a freelance illustrator. Occasionally, the subjects from his paintings and the characters from his advertisements would collide. The Vicar is a perfect example of Munnings’ use of characters in period “foppery” as well as an example of his use and reuse of characters that he invented. The same character seen in black robes in The Vicar can be found in advertisements produced for Caley’s Crackers and Bullard’s Beer—with slight adjustments.
Munnings was constantly searching for new subject matter and models to use in his paintings. When speaking of his years painting for Boswell, he quipped, “I continued dipping into my imagination, always hoping and believing there would be one more idea.”
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59 | Sir Alfred Munnings (British, 1878–1959)
60 | Sir Alfred Munnings (British, 1878–1959) PUNTING AT SUNSET
Oil on canvas, 14” x 18” Signed $20,000. – 30,000.
Provenance: Frost and Reed, London
Upon completing his apprenticeship, Munnings returned home to Mendham in 1898 where he found new inspiration in a familiar setting. The son of a miller, Munnings grew up at Mendham Mill on the banks of the River Waveney in Norfolk. He was always attracted to its sights and sounds and recalled in his memoirs that the river was his playground. “Oh, for a river flowing through one’s premises as it did there at home! A boat on it, a girl resting on the oars, the reflections on the farther bank… The sound of the mill! All makes me long to be back once more in those days.” Munnings turned to painting the idyllic scenery of his youth and was in constant search of his next scene and his next models. While living in Mendham, Munnings painted Stranded, which would later be his first work accepted to hang at the Royal Academy, featuring two children in a punt, or rowboat. The children were Munnings’ cousins and the punt would reappear in many of the artist’s early works, including the present work Punting at Sunset
No longer solely focused on commercial works, Munnings sought out models from the village to pose in his compositions. He recalled the different models in detail in a chapter titled “Village Models” in An Artist’s Life: “Artists in the country have drawn their models from the young, aged, or loafing fraternity not engaged in regular work. It was the same with me.”
While Munnings loved the river and painting his various models, he also had a great love for beautiful women. These loves were often at odds as he details in a chapter titled “The Girl or The Paint-box,” but occasionally all three of these interests aligned as they did in Punting at Sunset. Munnings recalled, “Now my mind is away by that river, it would be idle not to continue and foolish not to stay my course. Alas, those days! Whether I went upon the river with a girl or a paint-box I never was happier…And now I think of afternoons in a boat, taken from near the wooden bridge by the mill, with a paintable girl for company.”
THE SPORTING ART AUCTION 69
61
| Sir Alfred Munnings (British, 1878–1959)
HOP PICKERS AT HAMPSHIRE
Oil on canvas, 25” x 30” Signed $150,000. – 250,000.
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Provenance: Carnegie Institute, Pittsburgh
Private Collection, Greenwich, Connecticut
Christies, New York, May 1, 1981
Private Collection
Cross Gate Gallery/Fasig-Tipton Auction, Saratoga Springs, NY, August 11, 1996
Hop Pickers, Hampshire was painted in September 1913, in Binsted, Hampshire, where Munnings spent six weeks painting the Gypsies who came for the hop harvest. The 1913 trip that produced Hop Pickers, Hampshire was Munnings’ first introduction to the Gypsies, an introduction made by his friend, Olive Branson. Branson had a house in Hampshire but would spend part of each year traveling around England and Ireland in a caravan with several Gypsy families. Each autumn the Gypsies would congregate at Binsted in Hampshire for the hop-picking season, and the artist was so fascinated with these traveling people that he returned to paint them each autumn for nearly 15 years. When recalling his times painting the hop pickers in his autobiography, Munnings fondly reminisced: “Of all my painting experiences, none were so alluring and colourful as those visits spent amongst the gypsy hop-pickers in Hampshire each September. More glamour and excitement were packed into those six
weeks than a painter could well contend with. I still have visions of brown faces, black hair, earrings, black hats and black skirts; of lithe figures of women and children, of men with lurcher dogs and horses of all kinds. I still recall the never-ceasing din around their fires as the sun went down, with blue smoke curing up amongst the trees. I think of crowded days of work too swiftly gone…Never in my life have I been so filled with a desire to work as I was then.”
Inspired by these new and exciting subjects, Munnings painted a series of works of the Gypsies going about their daily lives. Several of the works from this period are set in landscapes similar to Hop Pickers, Hampshire, with sun-filled open fields bordered by wispy-trunked thorn trees. The branches reach up to create a colorful canopy, offering shelter to weary horses, a shady campground for tired workers, and a compelling location for Munnings to explore the shifting effects of light and shadow. The present work is the beginning of a lifelong fascination the artist had for the Gypsy subjects that would become a major part of Munnings’ oeuvre. The joy Munnings found in painting this alluring new subject matter is evident in Hop Pickers, Hampshire in the loose brushstrokes, warm tones, and carefree feel that the painting exudes. Munnings had found his subject.
THE SPORTING ART AUCTION 71
62
| Sir Alfred Munnings (British, 1878–1959)
GOING OUT EPSOM
Oil on canvas, 35” x 50” Signed $3,000,000. – 5,000,000.
72
Provenance: Sotheby’s, December 3rd, 1958 Bond Street Gallery Frost and Reed
Exhibited: Tales From the Turf: The Kentucky Horse 1825 1950, Speed Art Museum, Louisville, KY. November 15, 2019 March 1, 2020. Illustrated in the catalogue opposite page 1. #15 in the Exhibition Checklist.
Munnings wrote, “I love the interest created as the horses are led round after saddling up at Epsom. I love the sight from the members’ stand, from the roar ‘They’re off,’ to the terrific finish.”
Epsom was a special place for Munnings to observe racing and gain ideas for his paintings.
The methods used, along with Munnings’ attention to detail and the lengths he would go in order to perfect his subject matter, are demonstrated in his paintings of Epsom in 1931. Three paintings, The Saddling Paddock, Going Out, and Unsaddling, were completed after months of work following the Epsom weeks in 1929 and 1930. To prepare for the works, Munnings took his three grooms for a day each at the races. In doing so, they could see and understand what he was going to paint. As soon as Epsom week was over, Munnings started work by taking his own horses to the paddock at Epsom where he made studies of them. Munnings’ groom, Slocomb, and the handyman, Rudge, also posed as jockeys. Munnings would also make painted studies of the course and stands, and the drawings and studies of the various scenes were later worked up in Munnings’ studio in the grounds of Castle House. After the enormous amount of work he invested, he had the satisfaction of seeing them hung at the Royal Academy in 1931.
It would appear that many of Munnings’ racing scenes were of his own creation. It was for him how the colors of the jockey’s silks or the horse’s coat went against the background or sky. The Munnings Art Museum collection houses a number of sketchbooks that are annotated as to the coloring of a silk cap against a dark sky. Equally, there are numerous studies of horses and jockeys that are simply a tonal exercise. Munnings used a jockey up in yellow silks in many of his paintings. Study of a Yellow Jockey from 1954 does appear similar in nature to the work offered here. A search of the museum’s many studies reveals the majority of the studies show horses with no numbers on them even though they are “Going to the Start” or at “The Start” of a race. At present, the only numbers found are on five painted studies. On one drawing from Epsom in 1953 there is a horse with a number 3, which corresponds to the work offered here.
One jockey’s colors in this painting can be identified as those of Lord Zetland. The white silks with red dots and cap as seen in the rider next to horse number 3 were colors first used by Lord Zetland in 1875 and handed down through the family. Munnings knew Lord Zetland and had painted the Zetland hounds and Pomme-de-Terre, one of Zetland’s Thoroughbred horses.
Apart from the 1931 painting of Going out at Epsom, which was shown at the Royal Academy that year, there was also a Going Out at Epsom shown there in 1958. It is not known if it is the same painting.
We wish to thank Dr. Bill Teatheredge, the Munnings Art Museum, and Lorian Peralta-Ramos for their help with this lot.
THE SPORTING ART AUCTION 73
63 | Pierre Gaillardot (French, 1910–2002)
LES CAVALIERS AU PADDOCK Watercolor, 18 ½” x 25 ½” Signed $2,000. – 3,000.
74
64 | Camille Hilaire
PESAGE A DEAUVILLE
Oil on canvas, 24” x 29” Signed, inscribed, dated 1979 verso $5,000. – 7,000.
THE SPORTING ART AUCTION 75
(French, 1916–2004)
65 | Camille Hilaire (French, 1916–2004)
IN THE PADDOCK Watercolor, 12” x 16” Signed $2,000. – 3,000.
76
66 | Emilio Grau-Sala (Spanish, 1911–1995) DEAUVILLE
Oil on canvas, 8” x 23 ½” Signed, inscribed, dated ’64 verso $5,000. – 7,000.
THE SPORTING ART AUCTION 77
67 | Claude Grosperrin (French, 1939–1977) LE TROUPEAU
Oil on canvas, 28” x 36 ½” Signed $14,000. – 16,000.
78
68 | Claude Grosperrin (French, 1939–1977) CHASSE EN FOREST DE SOLOGNE
Oil on canvas, 36 ¼” x 28” Signed $14,000. – 16,000.
THE SPORTING ART AUCTION 79
69 | Claude Grosperrin (French, 1939–1977)
LES CAVALIERS AU PADDOCK Oil, Watercolor on paper, 17” x 21” Signed $5,000. – 7,000.
80
70 | Claude Grosperrin (French, 1939–1977)
APRES-MIDI A BAGATELLE
Oil on canvas, 28” x 36 ½” Signed $14,000. – 16,000.
THE SPORTING ART AUCTION 81
71 | Donald C. Smith (American, 1929–2022) DANGEROUS RIDE OFF
Transparent Watercolor, 16” x 26” Signed, dated ’89 $4,000. – 6,000.
82
72 | Edouard Doigneau (French, 1865–1954) DEUX CHEVAUX
Watercolor, 9 ½” x 12 ¾” Signed $3,000. – 5,000.
THE SPORTING ART AUCTION 83
DOUBLE CREAM
Oil on canvas, 24” x 30” Signed $4,000. – 6,000.
84
73 | Julie Ann Bull (British, b. 1964)
74 | Julie Ann Bull (British, b. 1964) POLISHED
Oil on canvas, 20” x 24” Signed $3,000. – 5,000.
THE SPORTING ART AUCTION 85
75 | John Skeaping (British, 1901–1980)
PACO CAMINO, FRANCESCO CAMINO SANCHEZ Watercolor, Gouache, 22” x 29” Signed, dated ’66 $4,000. – 6,000.
86
76
LATE EVENING, PUSHKAR CAMEL FAIR, RAJASTHAN Oil on board, 15” x 22” Signed $4,000. – 6,000.
THE SPORTING ART AUCTION 87
| Marcus Hodge (British, b. 1966)
77 | Marcus Hodge (British, b. 1966)
STALKING PONY AT BALMORAL CASTLE
Oil on board, 15 ½” x 18” Signed $6,000. – 9,000.
88
78 | Susie Whitcombe (British, b. 1957)
HOT DOG STALL, WICKHAM HORSE FAIR Oil on board, 12” x 16” Signed $5,000. – 7,000.
THE SPORTING ART AUCTION 89
79 | Susie Whitcombe (British, b. 1957) DUFFY’S CIRCUS
Oil on canvas, 18” x 24” Signed $6,000. – 9,000.
Duffy’s Circus is an Irish family-run traveling circus, headquartered in Navan, County Meath, Ireland. It is Ireland’s number-one circus and has one of the oldest big tops in the world, dating back to the 18th century.
90
MARWARI MARE, PUSHKAR FAIR
Oil on canvas, 30” x 40” Signed $18,000. – 20,000.
“It’s called the Pushkar Camel Fair, and obviously you’ll see some camels in the background. But it’s also great training for these Marwari horses. And they are absolutely fantastic. I’ve got a sketch that I painted from life, obviously I didn’t paint this there. And you know painting in India is terrifically good fun because people sort of drop chairs and sit around, they’ve got all day to watch you, as long as you don’t really mind being watched, which you get very used to. It’s fun. And then of course they jump
around you and say ‘right, paint me.’ It’s fun, very fun. And I actually got to ride some of the Marwaris in Jaipur, where I was staying, and they’re lovely, feisty things. Oh…. they’re fantastic. And they’ve got these lovely, straight noses. People sort of draw a parallel to the Marwaris to the Arabs. The same sort of ancient warrior type, fabulous, bright thinking, strong, brave horses. But you know, they’ve got these amazing ears and they’ve got a straight, very straight.” — Susie Whitcombe
THE SPORTING ART AUCTION 91
80 | Susie Whitcombe (British, b. 1957)
FECHIBA
Oil on canvas, 31 ½” x 31 ½” Signed, dated ’20 verso $6,000. – 8,000.
92
81 | Hubert de Watrigant (French, b. 1954)
82 | Jill Soukup (American, b. 1969) RUBY & MARYANNE
Oil on canvas, 12” x 10”
Signed $3,000. – 5,000.
THE SPORTING ART AUCTION 93
83 | Raoul Millais (British, 1901–1999) WEMBLEY RODEO, A RUNNING BUCK Chalk/Pastel, 15 ¾” x 18 ¾” $1,000. – 2,000.
The original Wembley Stadium opened in 1923 as a football venue but played host to a number of other events. One of the most famous of these began in 1924 when an American contingent began bringing rodeos to British audiences.
84 | Jean-Bernard Lalanne (French, b. 1952) BLONDE D’AQUITAINE
Oil on canvas, 14” x 17” Signed $3,000. – 5,000.
94
THE PRAYER
Photograph, image 24” x 36” Signed, numbered 1/1 $3,000. – 5,000.
This image accompanied an article that ran in the Amarillo Globe-Times November 18, 2015.
A week before the article ran, Sinclair had been lured to Amarillo for the Coors Working Ranch Cowboys Association Championship Rodeo.
Sinclair noted of the work: “A four-man team at the WRCA Finals, Amarillo, TX. This team was from the Bell Ranch. There are four men in a team and each has a specialty, this was the bronc riding and they were praying over him AND the horse during the event. I was in the gantry and heard the bronc kick the stall planks behind me and there it was. Only got off one frame before they separated.”
THE SPORTING ART AUCTION 95
85 | David Sinclair (British, b. 1962)
GOLDEN TOM
Oil, Acrylic, and gold paint wood panel, 24” x 24” Signed $4,000. – 6,000.
“ ‘Golden Tom’ is a portrait of early western film star Tom Mix. Mix was a fascinating blend of a real, working cowboy and a Hollywood western cowboy. He starred in nearly 300 films, most of them lost today. He befriended Wyatt Earp and was a pallbearer at Earp’s funeral in 1929. Newspapers reported that Mix cried during the service. I’ve painted
Tom Mix several times as his persona, wardrobe, and facial features all are of interest to me. He is the embodiment of the nostalgic, glamorized Hollywoodized West that I try to capture in my pieces.”
96
86 | David Kammerzell (American, b. 1953)
— David Kammerzell
87 | Charles Church (British, b. 1970) STUDY OF A CHAROLAIS BULL Oil on board, 11” x 19” Signed, inscribed $6,000. – 9,000.
THE SPORTING ART AUCTION 97
88 | Jill Soukup (American, b. 1969)
BISON TWIST
Oil on canvas, 28” x 36” Signed $10,000. – 15,000.
98
THE AUBRAC Oil on canvas, 30” x 54” Signed $7,000. – 10,000.
THE SPORTING ART AUCTION 99
89 | Mike Austin (British, b. 1959)
90 | David Shepherd (British, 1937–2017) LION IN THE SERENGETI Oil on canvas, 24” x 52” Signed, dated ’75 $40,000. – 60,000.
Provenance: Pieter Wenning Gallery, Johannesburg
100
91 | Peter Brooke (British, b. 1965) THOMSON’S GAZELLES
Bronze, 15” x 22” Signed, inscribed 3/9 on base $5,000. – 7,000.
THE SPORTING ART AUCTION 101
92 | Peter Brooke (British, b. 1965)
AFRICAN ELEPHANT Bronze, 12 ½” x 19” Signed, inscribed 14/15 on base $6,000. – 8,000.
102
93 | Nick Bibby (British, b. 1960)
“DITTISHAM LADY 22,” BERKSHIRE PIG Bronze, 9 ¼” x 12 ¼” Signed, edition 7/12 with Pangolin foundry mark $9,000. – 12,000.
Sire: Redings Ambassador.
Dam: Dittisham Lady 5.
Best January Gilt or Boar – Newbury Show 2006
“Whilst poring over lists of previous champions, I noticed the name Sue Fildes appearing often. Her pigs won at nearly every show, and she lived less than an hour away, near Dittisham on the river Dart. A visit followed. I arrived on a foggy late July morning and rode up to the pig enclosures in Sue’s tractor. Initially I had intended to sculpt Dittisham Lady 5, Best of Breed at the Royal Show that year, but she had passed her peak and was no longer in show condition, being about to farrow. Sue told me that although she had not won a really major championship yet, the best pig she owned was Lady 5’s daughter, Dittisham Lady 22. So Lady 22 it was! As luck would have it, she still hasn’t won a major — sows are shown pregnant, but not too pregnant, and Lady 22 has never
been in the right condition at the right time. But there is no doubting her quality; her daughter, Dittisham Lady 36 won Champion of Champions at the Berkshire [formerly Newbury] Show in 2009, meaning that she was officially the best Berkshire in the country that year.
“Lady 22 was a delightful, perky little pig; full of energy — always chasing after Sue and her bucket of pig nuts. It was quite a job getting the necessary reference, as she trotted in and out of the swirling mist.
“I sculpted her as I had seen her — head up, tail held high, hot on the trail of something tasty! I chose a patina matching her markings — glossy black with creamy white face, feet and tail tip; and a nice pink nose!”
— Nick Bibby
THE SPORTING ART AUCTION 103
94 | Nick Bibby (British, b. 1960)
“WILLIAM,” WHITEFACE DARTMOOR RAM Bronze, 9 ¼” x 9 ½” Signed, edition 5/12, with Pangolin foundry mark $9,000. – 12,000.
Breed Champion – Devon County Show 2007, 2008; Yealmpton Show 2007, 2009; Okehampton Show 2009 Best Whiteface Dartmoor Ram (all flocks) 2008
“Having been impressed by William at the Devon County Show, I asked his owners, Phil and Alison Abel, for permission to sculpt him, which they were happy to give. William is a superb example of the breed, having won 12 championship firsts to date, including ‘Best Whiteface Dartmoor Ram in all flocks 2008,’ meaning that he was the best Whiteface Dartmoor ram in the world that year! His fleece is fabulously thick and heavy – far too warm to stay unshorn after a show, so I photographed him there and then, beside the sheep pens.
I settled down to sculpt William; choosing clay, because it allowed me to carve and model the complex tight curls of that glorious fleece. I spent quite some time on this before moving on to his sturdily elegant legs. His broad, characterful head went well; though getting the curl of his horns exactly right took careful measurement and observation. Once the original clay sculpture was finished it was off to Pangolin foundry for casting! I chose a rich, creamy patina, to match the colour of William’s own fleece, and Pangolin added a heavy, dark bronze base to contrast and compliment it; a combination that works really well.”
— Nick Bibby
104
95 | Thomas Ostenberg (American, b. 1949) O CAÇADOR DE SONHOS VI (THE DREAMCATCHER 6)
Bronze, 57” x 30” x 18” Signed $50,000. – 70,000.
THE SPORTING ART AUCTION 105
96 | Mario Dilitz (Austrian, b. 1973)
THE BOXER NO. 193
Walnut / Black glue, Woodcarving 37” x 13” x 8”
Unique, series of 6 + 3EA, numbered and signed $20,000. – 25,000.
106
97 | Phillip Blacker (British, b. 1949) OVER THE LAST Bronze, 11” x 18 ¼” Signed, numberd 8/9, dated ’80 on base $8,000. – 10,000.
THE SPORTING ART AUCTION 107
98 | Carl Dahl (American, b. 1952)
CHEVAL JOYEUX
Porcelain, Unique, 22” x 15 ¼” $4,000. – 6,000.
108
99 | Max Tannahill (British, b. 1959)
HERRINGS
Wood sculpture, 40” x 16” x 9” Signed $6,000. – 9,000.
THE SPORTING ART AUCTION 109
110
100 | Max Tannahill (British, b. 1959)
WHALE
Wood sculpture, 73” x 8” x 2” Signed and dated verso $6,000. – 9,000.
THE SPORTING ART AUCTION 111
EIGHT SHOREBIRDS
Wood sculpture, 26 ½” x 26 ½” Signed, inscribed on base $4,000. – 6,000.
112
101 | Guy Taplin (British, b. 1939)
FALCONER
Oil on canvas, 31 ½” x 39 ½” Signed, dated 2020 verso $25,000. – 35,000.
THE SPORTING ART AUCTION 113
102 | Reza Derakshani (Iranian, b. 1952)
103 | Jeffrey T. Larson (American, b. 1962)
BRACE OF PHEASANT
Oil on linen, 24” x 36” Signed $26,000. – 30,000.
114
104 | Diana Tremaine (American, b. 1964)
AS THE SUN SET
Oil on canvas, 40” x 40” Signed, dated 2022 verso $7,000. – 10,000.
THE SPORTING ART AUCTION 115
105 | Anthony Henneberg (German/American, b. 1966)
GREEN HERON Watercolor, 29 ½” x 20” Signed $4,000. – 6,000.
116
106 | Leslie Peck (American, b. 1965)
WILD TURKEY
Oil on canvas, 18” x 24” Signed $3,000. – 5,000.
THE SPORTING ART AUCTION 117
PEACE PLAN TUES
Oil on canvas, 48” x 48” Signed en verso, dated 2022 $35,000. – 45,000.
118
107 | Hunt Slonem (American, b. 1951)
THE ARTIST WITH THE UNITED COTSWOLD BEAGLES Watercolor, 12” x 10 ½” Signed, dated 1940, inscribed UCB $1,500. – 2,000.
THE SPORTING ART AUCTION 119
108 | Michael Lyne (British, 1912–1989)
109 | Julie Ann Bull (British, b. 1964) BLUE VELVET
Oil on canvas, 16” x 20” Signed $3,000. – 5,000.
120
110 | Suzy Smith (American, b. 1951)
POINTER
Pastel, 24” x 18”
Signed $4,000. – 6,000.
THE SPORTING ART AUCTION 121
111 | Suzy Smith (American, b. 1951) BLACK LAB
Pastel, 11” x 14” Signed $2,000. – 3,000.
112 | Melinda Brewer (Canadian, b. 1957) TREATS
Watercolor, 9 ½” x 17 ½” Signed $3,000. – 5,000.
Exhibited: Breaking Through: The Rise of American Women Artists, Customs House Museum and Cultural Center, Clarksville, TN, March 5 – May 29, 2002.
Illustrated in the catalogue on page 15.
“A visit to the hunt kennels is always a wonderful opportunity for me to capture some great ‘hound moments.’ The huntsman was so proud to show his hounds to me, and filled his pockets with treats to persuade them to strike some noble poses. I was hoping for a few to turn and look in my direction, but it turns out I got a much better view from the back… it captured the pack perfectly.” — The artist
122
113 | Mark Eberhard (American, b. 1949)
SPRINGTIME
Oil on canvas, 46” x 39” Signed $9,000. – 12,000.
THE SPORTING ART AUCTION 123
114 | Charles Church
OUT HUNTING
Oil on canvas, 14” x 18” Signed $5,000. – 7,000.
124
(British, b. 1970)
115 | Joanne Mehl (American, b. 1960) LIFTING FOG
Oil on panel, 15 ½” x 22” Signed $3,000. – 5,000.
THE SPORTING ART AUCTION 125
116 | Rachael Van Dyke (American, b. 1972)
TWO SCARLET COATS IN WINTER SNOW
Acrylic on canvas, 64” x 58” Signed $5,000. – 7,000.
126
117
| Larry Wheeler (American, b. 1942)
EARLY MORNING OUT Acrylic on canvas laid on panel, 18” x 24” Signed $4,000. – 6,000.
118 | Larry Wheeler (American, b. 1942)
ABOVE THE RIVER Oil on board, 16” x 20” Signed, inscribed verso $4,000. – 6,000.
THE SPORTING ART AUCTION 127
Oil on canvas, 24” x 30” Signed $5,000. – 7,000.
128
119 | Booth Malone (American, b. 1950) SLAVA UKRAYNII
120 | Andre Pater (Polish/American, b. 1953) KING’S RANSOM
Oil on canvas, 17 ¾” x 39 ½” Signed, dated ’82 $5,000. – 7,000.
THE SPORTING ART AUCTION 129
AFTER THE HUNT Pastel, 18” x 24” Signed $35,000. – 45,000.
130
121 | Andre Pater (Polish/American, b. 1953)
122 | Andre Pater (Polish/American,
1953) 2022 BREEDERS’ CUP, KEENELAND RACE COURSE
Pastel, 36” x 24” Signed $60,000. – 80,000.
b.
The present work is part of a series created as the 2022 Breeders’ Cup World Championships official artwork. The piece reflects Keeneland’s rich racing history and tradition, featuring the iconic paddock and grand sycamore tree at the forefront, which is also featured in the 2022 Breeder’s Cup World Championships logo.
“Each year, we’re inspired by the work of renowned artists to celebrate the World Championships,” said Breeders’ Cup President and CEO Drew Fleming. “This year’s design, emphasizing Keeneland’s iconic sycamore tree and paddock, serves as a welcoming symbol for athletes and guests from around the world as we celebrate the 39th running of the year-end championships. We’re grateful to work with talented artists like Andre Pater, and know that his personal connection to Keeneland, to Kentucky, and to the region’s storied racing history shines brightly in his work.”
THE SPORTING ART AUCTION 131
123 | Valeriy Gridnev (British, b. 1956)
THE COACH
Oil on canvas, 24” x 20” Signed $4,000. – 6,000.
One of the greatest trainers in the history of horse racing, D. Wayne Lukas is a member of both the United States Racing Hall of Fame and the American Quarter Horse Hall of Fame. With 20 Breeders’ Cup wins, five personal Eclipse Awards, four Kentucky Derby and Belmont wins, and six victories in the Preakness, the professional achievements of the former high school basketball coach would need an entire catalog to do him justice.
132
124 | Michael Jeffery (British, 1941–2013) SHIROCCO
Watercolor, gouache, 16” x 20”
Signed, inscribed Newmarket 2007 $3,000. – 5,000.
By Monsun and out of So Sedulous, the German-born Shirocco was originally trained by Andreas Schutz through age 3 before going to French trainer Andre Fabre as a 4- and 5-year-old. Best known for winning the 2005 Breeders’ Cup Turf, Shirocco won six major group races in five countries. In 2006 he retired and was purchased by Darley to stand at stud, where he sired Brown Panther, Windstoss, Arrigo, Grand Vent, and Wild Coco.
125 | Peter Biegel (British, 1913–1988)
MARES AND FOALS FROM THE ARTIST’S STUDIO
Bodycolor, 12” x 17” $2,000. – 3,000.
THE SPORTING ART AUCTION 133
126 | Count Bernard de Claviere (French, 1934–2016) ALYDAR
Charcoal, 32” x 40” Signed, dated ’83, inscribed $2,000. – 3,000.
J.T. Lundy commissioned de Claviere for several portraits of Calumet horses. This was a study done for that commission. Inscribed “To J.T. Lundy, with my best regards.”
134
127 | Jaime Corum (American, b. 1973) VISA (COPPER AND CHROME)
Oil on canvas, 47” x 60” Signed, signed and dated ’22 en verso $6,000. – 9,000.
“Visa was a giant among my earliest memories of exceptional horses. He made a deep impact on me when I first started riding at age 12. A copper-penny chestnut with plenty of chrome, Visa was my trainer’s horse and I idolized him completely. They were competing together at the advanced level of eventing at the time. Athletic and handsome, Visa was an ‘old school type of Thoroughbred, long and lean, nearly 17 hands
tall. I remember he had a walk like a Jaguar, and floating gaits all around, making those lucky enough to sit on him seem like something royal and a little bit sexy. Most of all I remember his intelligent eye, which often took that imperious look seen in horses who know their worth and only deign to cooperate with their humans because it pleases them.”
THE SPORTING ART AUCTION 135
128 | Malcolm Coward (British, b. 1948)
POINT TO POINT
Oil on board, 18” x 50” Signed $6,000. – 9,000.
136
130 | Aron Belka (American, b. 1974)
SMALL GHOST
Oil on panel, 14” x 14” Signed, dated 2019 $1,600. – 2,000.
129 | Aron Belka (American, b. 1974)
RACING
Oil on canvas, 20” x 24” Signed, dated 2022 $3,000. – 5,000.
THE SPORTING ART AUCTION 137
131 | Diana Tremaine (American, b. 1964) THE GREY
Oil on canvas, 50” x 40” Signed, dated 2022 verso $9,000. – 12,000.
138
BEFORE THE RACE
8” x 9 ½” Signed $2,000. – 3,000.
132 | Lesley Humphrey (British, b. 1957) CALM, SAFE HANDS
Oil on board, 24” x 18”
Signed, inscribed, dated 2022 verso $3,000. – 5,000.
THE SPORTING ART AUCTION 139
133 | Katie O’Sullivan (British, b. 1959)
CLOSE FINISH
Charcoal/Pastel, 35” x 55” Signed $4,000. – 6,000.
140
134 | Jeaneen Barnhart (American, b. 1967)
135 | Jeaneen Barnhart (American, b. 1967)
BLUE JOCK, DRIVING
Charcoal/pastel, 40” x 26”
Signed $3,000. – 5,000.
THE SPORTING ART AUCTION 141
MUDDERS, DOWN THE STRETCH Oil on canvas, 30” x 40” Signed $4,000. – 6,000.
142
136 | Neil Boyle (Canadian, 1931–2006)
137 | Peter Howell
1932) DEAUVILLE, EXERCISE BY THE SEA
Oil on canvas, 36” x 48”
Signed $20,000. – 30,000.
THE SPORTING ART AUCTION 143
(British, b.
138 | Peter Howell (British, b. 1932)
EARLY MORNING, SAN LUIS REY Oil on canvas, 24” x 30” Signed $10,000. – 15,000.
144
140 | Peter Smith (British, b. 1949)
UNSADDLING AT AYR
Oil on canvas, 12” x 16”
Signed $2,000. – 3,000.
Provenance: Frost and Reed
139 | Peter Howell (British, b. 1932)
MORNING EXERCISE
Oil on canvas, 14” x 18”
Signed $3,000. – 5,000.
THE SPORTING ART AUCTION 145
141
| J. Boyd Kirkman (British, b. 1958)
DIAMOND SILKS
Pastel on board, 55” x 21” Signed $8,000. – 10,000.
146
142 | J. Boyd Kirkman (British,
b. 1958)
ANNE, DUCHESS OF WESTMINSTER’S SILKS
Pastel on board, 33” x 17”
Signed $5,000. – 7,000.
Anne Grosvener, Duchess of Westminster, grew up riding in Ireland. Later in life she befriended Queen Elizabeth, the Queen Mother, through horse racing. The Duchess of Westminster owned Last Suspect, winner of the 1985 Grand National, and Arkle, winner of the 1964 Irish Grand National and three-time winner of the Cheltenham Gold Cup (1964–1966). Arkle was named for the mountain that overlooked her estate in Scotland.
THE SPORTING ART AUCTION 147
143 | Quang Ho (Vietnamese/American, b. 1968)
LEAVING THE PADDOCK Oil on board, 32” x 34” Signed $15,000. – 20,000.
This painting appeared on the cover of the Fall 2022 issue of Keeneland magazine. A copy of that issue will be included in the lot.
148
144 | Quang Ho (Vietnamese/American, b. 1968)
THE STABLES
Oil on board, 24” x 36” Signed, inscribed verso $12,000. – 15,000.
THE SPORTING ART AUCTION 149
145 | Quang Ho (Vietnamese/American, b. 1968) MORNING WORK IN RED Oil on board, 24” x 32” Signed $12,000. – 15,000.
150
146 | Sandy Oppegard (American, b. 1941) TURF RACING ON THE BACKSTRETCH Watercolor, 21” x 28 ½” Signed, inscribed en verso $4,000. – 6,000.
THE SPORTING ART AUCTION 151
147 | Sandy Oppegard (American, b. 1941) TOWARD THE GAP Watercolor, 16 ½” x 21” Signed, inscribed en verso $3,000. – 5,000.
152
COOL MORNING AT THE BARNS, KEENELAND
Oil on canvas, 18” x 24” Signed $4,000. – 6,000.
THE SPORTING ART AUCTION 153
148 | Larry Wheeler (American, b. 1942)
149 | Larry Wheeler (American, b. 1942)
DUNGENESS RUINS, CUMBERLAND ISLAND
Acrylic on canvas laid on panel, 18” x 24” Signed $4,000. – 6,000.
154
150 | Steve Mangan (Scottish, b. 1964) BEFORE THE
RACE
Oil on canvas, 30” x 40” $7,000. – 10,000.
THE SPORTING ART AUCTION 155
151 | Steve Mangan (Scottish, b. 1964) LADIES DAY
Oil on canvas, 31 ½” x 39 ½” Signed $7,000. – 10,000.
156
152 | Jo Taylor (British, b. 1969) RENEGADE
Mixed Media, 45” x 59” Signed $10,000. – 12,000.
THE SPORTING ART AUCTION 157
153 | Jo Taylor (British, b. 1969)
RUN FOR FREE
Mixed Media, 34” x 59” Signed $10,000. – 12,000.
158
154 | Thomas Coates P.P.P.S. (British, b. 1941)
VIEW OF THE KEENELAND GRANDSTAND FROM THE GAP
Pastel on board, 25” x 30” Signed with initials TJC $4,000. – 6,000.
THE SPORTING ART AUCTION 159
155 | Thomas Coates P.P.P.S. (British, b. 1941) LEAVING THE PADDOCK, KEENELAND Pastel on board, 25” x 30” Signed with initials TJC $4,000. – 6,000.
160
START FROM THE WATER JUMP Oil on canvas board, 16” x 20” Signed, dated ’21 $2,000. – 3,000.
THE SPORTING ART AUCTION 161
156 | Sam Robinson (American, b. 1953)
157 | Jean-Bernard Lalanne (French, b. 1952)
THEY’RE OFF, KEENELAND Oil on canvas, 19 ½” x 23 ½” Signed $4,000. – 6,000.
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158 | Renato Meziat (Brazilian, b. 1952) JOCKEY CLUB BRASILEIRO, RIO DE JANEIRO
Oil on canvas, 29” x 43” Signed, dated 21/11/99, inscribed verso $9,000. – 12,000.
THE SPORTING ART AUCTION 163
159 | Serhiy Hai (Ukranian, b. 1959) POSTURE
Oil on canvas, 78 ½” x 59” Signed, dated ’22 $25,000. – 35,000.
164
160 | Hubert de Watrigant (French, b. 1954)
AT THE START
Oil on canvas, 21” x 25 ½”
Signed, dated ’22 verso $5,000. – 7,000.
THE SPORTING ART AUCTION 165
161 | Richard Firth (British, b. 1954)
AMERICAN YACHT VIGILANT, COWES, ENGLAND, 1894
Oil on canvas, 28” x 42” Signed $20,000. – 30,000.
The winner of the 1893 America’s Cup against Valkyrie II, Vigilant became the first America’s Cup defender to race in the British yachting season in 1894. Most likely depicted here against the future King Edward VII’s Britannia.
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162 | Richard Firth (British, b. 1954)
ENDEAVOUR AND RAINBOW, AMERICA’S CUP, 1934
Oil on canvas, 14” x 21” Signed, inscribed en verso $7,000. – 9,000.
The 1934 America’s Cup was one of the most controversial in the history of the event. Before the series began, English yachtsman Thomas Sopwith had to fire his professional crew over a pay dispute and hire a group of amateurs from the Royal Corinthian Yacht Club. With the Endeavour in the lead in the first race, officials were forced to interrupt because of a drop in wind. The Endeavour would win the leg two days later and capture the second leg of the series. In the third race, the crew of the Endeavour thought they had missed a buoy and in a correction attempt,
steered directly into the path of the Rainbow, costing Endeavour the race. In the fourth leg, the Endeavour was forced to bear up in order to avoid a collision and raised a flag in protest, which the committee rejected. Tied at two races, the Rainbow brought on a new sailmaker and used a sail from the Yankee to take a victory. In the sixth leg, Endeavour took the lead in a triangle-shaped course before the Rainbow passed it halfway through, leading the Rainbow to a 4-2 win in the series. This race was the closest the British had come to winning the America’s Cup since 1851.
THE SPORTING ART AUCTION 167
163 | Richard Firth (British, b. 1954)
NEW YORK YACHT CLUB CRUISE 1937, RANGER, ENDEAVOUR II, ENDEAVOUR, YANKEE AND RAINBOW Oil on canvas, 14” x 21” Signed, inscribed en verso $7,000. – 9,000.
The New York Yacht Club Cruise first took place in 1844 when John Cox Stevens sailed his yacht Gimcrack from where it was anchored in New York Harbor to Newport, Rhode Island.
This painting depicts the 1937 cruise with Ranger, Endeavour II, Endeavour, Yankee, and Rainbow. Ranger is ahead, looking to take first place for the third time over her four runs of the race, with Endeavour II close behind, and with Yankee, Endeavour, and Rainbow in pursuit.
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164 | Stephen Renard (British, b. 1947)
BRITANNIA, CANDIDA AND CAMBRIA
OFF ROYAL YACHT SQUADRON, 1928
Oil on canvas, 20” x 30”
Signed $4,000. – 6,000.
The Royal Yacht Squadron is a British Yacht Club founded in 1815 with their headquarters at Cowes Castle on the Isle of Wight, which is depicted in the background here.
Britannia was owned by both King Edward VII and King George V, among others.
165 | Stephen Renard (British, b. 1947)
ENDEAVOUR II VS RANGER 1937 OFF RHODE ISLAND
Oil on canvas, 20” x 30”
Signed $4,000. – 6,000.
The 1937 edition of the America’s Cup marked the last time J-Class Yachts would compete in the race. Ranger, racing for the United States, defeated the British Endeavor II in the series.
THE SPORTING ART AUCTION 169
Jean-Bernard Lalanne (French, b. 1952)
LOOK BEFORE YOU LEAP
Oil on canvas, 39 ½” x 31 ½” Signed $5,000. – 7,000.
A fox fell into a well, and though it was not very deep, he found that he could not get out again. After he had been in the well a long time, a thirsty goat came by. The goat thought the fox had gone down to drink, and so he asked if the water was good.
“The finest in the whole country,” said the crafty fox, “jump in and try it. There is more than enough for both of us.”
The thirsty goat immediately jumped in and began to drink. The fox just
as quickly jumped on the goat’s back and leaped from the tip of the goat’s horns out of the well.
The foolish goat now saw what a plight he had got into, and begged the fox to help him out. But the fox was already on his way to the woods.
“If you had as much sense as you have beard, old fellow,” he said as he ran, “you would have been more cautious about finding a way to get out again before you jumped in.”
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166 |
167 | Beatie Clay (American, b. 1951) ALLAIRE AND YOU
Oil on canvas, 30 ¾” x 20 ¾” Signed, signed & inscibed en verso, dated 22 $4,000. – 6,000.
THE SPORTING ART AUCTION 171
168 | Henry Faulkner (American, 1917–1994)
FLORAL
Oil on masonite, 38” x 30” Signed $25,000. – 30,000.
172
169 | Henry Faulkner (American, 1917–1994)
UNICORN
Oil on masonite, 19 ¾” x 12 ¾” Signed $12,000. – 15,000.
THE SPORTING ART AUCTION 173
170 | Henry Faulkner (American, 1917–1994) ALICE IN LOVE
Oil on masonite, 20” x 16” Signed $12,000. – 15,000.
174
GLORY TO GOD
Oil on board, 22” x 26 ½” Signed, titled verso $12,000. – 15,000.
THE SPORTING ART AUCTION 175
171 | Henry Faulkner (American, 1917–1994)
BAPTISM
Oil on masonite, 12” x 10” Signed $8,000. – 10,000.
176
172 | Henry Faulkner (American, 1917–1994)
173 | Henry Faulkner (American, 1917–1994)
PERSIAN GARDEN Oil on masonite, 7” x 9” Signed $5,000. – 7,000.
THE SPORTING ART AUCTION 177
174 | Henry Faulkner (American, 1917–1994)
PEACOCK
Oil on masonite, 9 ½” x 5 ¼” Signed $3,000. – 5,000.
178
175 | Henry Faulkner (American, 1917–1994) GARDEN
GATE
Oil on masonite, 10 ¾” x 14” Signed $7,000. – 9,000.
THE SPORTING ART AUCTION 179
176 | Henry Faulkner (American, 1917–1994) WISDOM & GEMS
Oil on masonite, 15” x 12” Signed, signed and titled verso $9,000. – 12,000.
180
177 | Henry Faulkner (American, 1917–1994) BIRDS IN PARADISE
Oil on masonite, 14 ¾” x 18 ¾” Signed $9,000. – 12,000.
THE SPORTING ART AUCTION 181
178 | Henry Faulkner (American, 1917–1994) LOVE, DIO, POET Oil on masonite, 13” x 15” Signed $9,000. – 12,000.
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179 | Henry Faulkner (American, 1917–1994) NANTUCKET, 1971 Oil on masonite, 15 ¾” x 19 ¾” Signed $12,000. – 15,000.
Faulkner was a friend of Lexington native and Palm Beach resident James Hunt Barker, who owned galleries in Palm Beach, New York, and Nantucket. Barker’s Nantucket gallery offered Faulkner a one-man show, which opened on July 4, 1972.
THE SPORTING ART AUCTION 183
180 | Henry Faulkner (American, 1917–1994) GRATZ PARK
Oil on masonite, 16” x 22” Signed $20,000. – 25,000.
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ARTIST BIOGRAPHIES
Alken, Henry Thomas, Sr. (aka Ben Tally Ho) British, 1785–1851
The finest artist of the Alken family of painters, Henry Sr., also know as Ben Tally Ho or Old Henry, handled oil or watercolor with ease. He also was a superior engraver. His subjects were active foxhunting or racing scenes, sometimes depicting humorous occurrences. He was a prolific artist, producing thousands of works.
Anderson, Clarence William American, 1891–1971
The Nebraska-born Anderson studied at the Art Institute of Chicago before embarking on a career in illustration. He started by illustrating other authors’ books, but editor Doris Patee pushed him to begin writing his own books. Anderson, a rider and a show judge, wrote and illustrated more than 35 books and illustrated several SaturdayEveningPost covers.
Austin, Michael J. British, born 1959
Using a wet-on-wet oil painting method, Austin has developed his technique of achieving a sculptural effect in his works. He began his professional career producing artwork for Marvel comics and 2000AD and was features artist for the SundayTimesfrom 1985-1992. Moving toward more serious themes in the 1990s, he achieved a one-man exhibition at the Jonathan Cooper Gallery in London in 1997. His talents have continued to be recognized, and he was named tour artist for the 2003 HRH The Prince of Wales’ official visit to India and Oman.
Baird, William Baptiste American/French, 1847–1917
Born in Chicago, 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.
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.
Belka, Aron American, born 1974
Belka graduated from Utah State University in 1998 with a BFA and now works in New Orleans. His work can be found in the collections of the Huntsville Museum of Art, New Orleans Jazz and Heritage Center, and the Winston-Salem City Collection. He has been included in numerous exhibitions, including at the Ogden Museum and Cobb Museum of Art.
Bibby, Nick British, born 1960
Largely self-taught, Bibby has become acknowledged as one of England finest animalier sculptors. Selling his first sculpture at age 16, Bibby has carved a professional career that has ranged from director for a leading miniature figurine company to sculptor and model maker for television and still advertising. His deep appreciation and knowledge of his subjects transform the bronze metal into fluid flesh and sinew.
Biegel, Peter British, 1913–1989
Born to a heritage of both art and horses, Biegel studied with Lucy KempWelch 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.
Blacker, Philip British, born 1949
A professional jockey for 13 years, Blacker began sculpting while still riding. His first three editions, all racing bronzes based on The Grand National, sold out quickly. After retiring from the saddle, Blacker has expanded both his subject matter and his experience with different techniques. His ambitions have led him to complete more than 20 life-sized or greater equine bronzes.
Bonheur, Isidore Jules French, 1827–1901
Studying painting at first with his father, Raymond, Bonheur then attended L’Ecole Nationale des Beaux-Arts de Paris, switching to sculpture. Exhibiting in both media at his first Paris Salon in 1848, he was a regular from then on. He routinely won medals and prizes, and his small groups of animals showed keen understanding of his subjects.
THE SPORTING ART AUCTION 185
Bowman, Jean American, 1917–1994
After graduating from Spence School in New York City, Bowman attended New York’s Grand Central Art School. She held her first one-woman show in 1940 at Boston’s Vose Gallery. In 1944 she married Alexander MacKay-Smith, the master of the Blue Ridge Hunt. She maintained regular commissions from prominent horsemen of America, Ireland, and England, including members of the Royal Family. She co-founded the American Academy of Equine Art, which is in Georgetown, Kentucky.
Boyle, Neil Canadian/American, 1931–2006
Boyle trained at the Banff School of Fine Arts in his native Alberta before attending the Chouinard Art Institute in Los Angeles. He taught at the California Art Institute during two different periods and his illustrations appeared in several magazines, including The Saturday Evening Post, Reader’sDigest, Cosmopolitan, and Ladies’ Home Journal
Brewer, Melinda Canadian, Contemporary Brewer began her professional career after graduating from Concordia University with a fine arts degree in 1982. Working primarily in watercolor, she concentrated exclusively on wildlife. One of her favorite subjects has always been foxes and hounds. Now, in the tradition of country-life pursuits, she has begun building a reputation as an artist in the sporting genre. Her work has been featured in many exhibitions throughout North America with the World Wildlife Fund and the Canadian Nature Federation.
Brooke, Peter British, born 1965
After earning a bachelor of fine arts degree in television and film production from Manchester Polytechnic, Brooke moved to London and began his career as a sculptor and designer for Jim Henson’s Creature Shop. While working for the Academy Award-winning company, he completed work on such films as Where theWildThingsAre, The Producers, and Dr. Doolittle His work has been shown in many museum and gallery exhibitions in both the United States and England.
Brown, John George American, 1831–1913
Apprenticed as a glass worker, Brown later studied at the School of Design in Newcastle-on-Tyne and at the Trustees Academy in Edinburgh while working in the glass industry. After moving to New York in 1853, he studied
at the National Academy of Design and later served as vice president. He became famous for depicting the street urchins of New York and was one of the charter members of the American Water Color Society, later serving as president from 1887 until 1904.
Bull, Julie Ann British, born 1964
Bull is a Kent-based artist specializing in animal portraiture, with horses being one of her favorite subjects. Only turning fully professional in 2013, she has exhibited work at the Mall Galleries London and Palace House Gallery Newmarket, and in 2018 won The Society of Equestrian Artists Chairman’s Award for her painting Roman Holiday. She prefers to paint in oils on canvas and travels to Newmarket regularly to gain inspiration for her work.
Church, Charles British, born 1970
An internationally renowned painter of horses, landscapes, and country life, Church works from life to capture the moment. With more than 37 commissioned paintings of grade or group 1 winners, as well as hunting and polo scenes, the sell-out exhibition of his work prompted His Royal Highness the Prince of Wales to write of Charles’ “profound understanding of his subject matter.” His commissions include The Royal Pageant of Horses for H.M. Queen Elizabeth II.
Clark, Albert British, 1843–1928
The son of animal painter James Clark, Albert was taught painting by his father. Originally painting animals in his small town in Middlesex, Clark later followed his father to Islington, which provided him the opportunity to paint portraits of many prize-winning animals. Horses were his specialty although he also depicted cattle and dogs. Two of his sons, Frederick Albert and William Albert, followed in his footsteps as painters of animals.
Clay, Beatie American, born 1951
Clay was born in Paris, Kentucky. She is primarily self-taught, although she took drawing classes in Chicago in the ’80s and migrated into painting through formal instruction at the University of Kentucky.
Coates, Thomas J. British, born 1941
At an early age, Coates won his first scholarship to study at the Birmingham
186
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.
Corum, Jaime Claire American, born 1973
A Kentucky native, Corum grew up steeped in the horse culture of the Bluegrass State. She began drawing the horse at age 7 and riding at age 11, pursuing the equestrian disciplines of eventing and dressage. She received her undergraduate degree from Bellarmine University and her master of fine art in painting from the University of Kentucky. Time and work in the studio helped develop her realist painting technique, but she credits her years of hands-on experience with horses with refining her eye for equine conformation, movement, and character. Corum’s equine art and portraiture are collected widely in the United States, and her work can also be found in collections in Canada and the United Kingdom.
Cosson, Jean Louis Marcel French, 1878–1954
A Post-Impressionist, Cosson most often depicted scenes of Parisian life, including horse racing, the opera, and the ballet. He exhibited at the Salon des Artistes Français, where he won an honorable mention in 1901 and a third-place medal in 1911. He also showed his work at the Salon de la Société Nationale des Beaux-Arts and at the Salon des Tuileries.
Coward, Malcolm British, born 1948
Born in Malton, North Yorkshire, Coward has been one of the more prominent members of the Society of Equestrian Artists, being the only member to win the President’s Medal three times. His work has also been accepted by the Royal Institute of Oil Painters, Royal Society of Marine Artists, and the Royal Birmingham Society.
Dahl, Carl American, born 1952
An American sculptor, Dahl holds multiple degrees from Arizona State University, including an MBA and a master’s degree in fine arts. Even though his upper-level corporate positions allowed him to travel, experience, and learn about great things, art was his passion. With more than 20 years dedicated to art, Dahl has been exhibited in America, France, and Japan.
Dahl states “In horses, I find beauty, power, and freedom; their legs, that seemed overly long to me as a child, rise to complete the perfect form. They remain one of life’s great joys.”
de Claviere, Count Bernard French, 1934–2016
The Wall Street Journal called Count de Claviere “one of the leading animaliers of this century.” His range is vast, as seen in his paintings of both provincial and cosmopolitan landscapes, Thoroughbred champions, Borzois and other dogs, cats, and other animals. The Count is perhaps best known for his portraits of domestic and wild animals, earning exalted international acclaim when the French government commissioned him to paint Her Majesty Queen Elizabeth II’s favorite royal steed, Burmese.
de La Boulaye, Antoine French, b. 1951
Possibly the most revered French painter of horses in France today, de La Boulaye studied at the Ecole Superieure d’Arts Graphiques of the Academie Julian in Paris. His work is in numerous museums, but he gained his greatest fame when the president of France commissioned him in 1984 to paint two works that were gifted to Queen Elizabeth II of England.
de Neuville, Bernard French, 1852–1941
Taught by his father, who was also an artist, de Neuville exhibited at the Salon beginning in 1879. He began working in the realism movement, becoming known initially for his still-life paintings before he began painting cats, for which he became most known.
Derakshani, Reza Iranian, born 1952
Derakshani is a painter, poet, musician, and performance artist. He completed his formal artistic education at the University of Tehran, followed by the Pasadena School of Art in California. He returned to teach at the University of Tehran until the Islamic Revolution in 1979, when he fled his native country for New York City. While living in New York, Derakshani became engrossed by Abstract Expressionism and soon became associated with the Neo Expressionists of the 1980s. Running in the same artistic circles as Cy Twombly and Francesco Clemente, Derakshani’s style blends abstract and figurative elements from both Eastern and Western culture. His work is included in esteemed public collections such as the British Museum, London; the Metropolitan Museum of Art, New York; and the Russian Museum, St Petersburg.
THE SPORTING ART AUCTION 187
de Salaberry, Antoine French, 1880–1915
In addition to his bronze work, de Salaberry worked in watercolor, depicting mostly hunt scenes and other equine subjects.
de Watrigant, Hubert French, born 1954
De Watrigant has worked for Hermes regularly since 1989 as one of the fashion brand’s most prolific designers. The son of a racehorse trainer, de Watrigant had several artist ancestors. A self-taught artist, he began sketching at his father’s stables and later won first prize at the Les Sept Collines de Rome exhibition. His work is in the private collections of Queen Elizabeth II, the king of Morocco, Baron Guy de Rothschild, Stavros Niarchos, and Daniel Wildenstein.
Dilitz, Mario Austrian, b. 1973
A former professional skier who made successful runs in the European and World Cup freestyle skiing championships, Dilitz began training in woodworking at a specialist school in Val Gardena and attended the summer academy in Salzburg. He has exhibited at Masterpiece London and Tefaf New York among other fairs.
Doigneau, Edouard French, 1865–1954
Originally embarking on a military career, Doigneau left the service to begin painting in 1900. After studying at the Academie Julian, he traveled to Brittany and then Spain and Africa to work. He often returned to Paris, exhibiting at the famed Georges Petit Gallery, and won a gold medal at the Salon des Artistes Français of 1906.
Eberhard, Mark American, born 1949
Born, raised, and currently living in the lush river lowlands near Cincinnati, Eberhard is at home painting the many avian species that frequent his bird feeders. An MFA from Yale combined with a close personal relationship with nature form the basis of his paintings.
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 CountryLifemagazine and TheGraphicand then progressed to traditional painting in watercolor and in oils. He ranks just below Alfred J. Munnings as an important 20th-century painter of the hunting field.
Emms, John British, 1841–1912
Son of an artist, Emms took up the life and focused on painting the horses and hounds of his foxhunting friends in Lyndhurst. Exuberant by nature, he tended to spend a commission check immediately when it arrived. When he fell ill and could not paint, 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.
Faulkner, Henry Lawrence American, 1924–1981
A Kentucky original, Faulkner was a painter, a poet, and a true Southern character. Born in Eastern Kentucky and orphaned as a toddler, Faulkner spent his early years in an orphanage and foster homes and grew up to travel the world and enjoy many different social circles. His colorful paintings depict a wide range of subject matter, from buildings, still lifes, florals, image collages, and animals…especially his beloved goat, Alice.
Firth, Richard M. British, born 1954
Producing only eight or nine paintings per year, 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.
Frémiet, Emmanuel French, 1824–1910
Jeanne d’Arc, the 1874 equestrian statue of Joan of Arc erected in Place des Pyramides, Paris, may well be Frémiet’s most famous work. By the 1850s Frémiet had established himself as a leader among the French animalier sculptors. During his career he also was a professor of drawing at the Jardin de Plantes (Paris zoological gardens) and director of sculpture at the Louvre. His works are widely exhibited by museums around the world.
Gaillardot, Pierre French, 1910–2002
Self-taught, Gaillardot exhibited at many of the annual Paris salons, of
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which he was also a member, including the Salon d’Automne, Salon des Indépendants, and Salon of the Société Nationale des Beaux-Arts. He was the chief curator of the Salon du Dessin et de la Peinture a l’Eau.
Grau-Sala, Emilio Spanish, 1911–1975
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, Gridnev enrolled at St. Petersburg Academy of Arts in 1983 and graduated in 1990. His graduation project, The Early Years, won The Gold Medal of the USSR Academy of Arts. He worked for four years from 1990 at the St. Petersburg Academy of Art’s postgraduate “creative” studio. Since 1999 Gridnev has lived and worked in England. He is a member of the Pastel Society, Royal Institute of Oil Painters, and Federation of British Artists and Royal Society of Portrait Painters.
Grosperrin, Claude French, 1936–1977
A painter and lithographer, Grosperrin trained at the Ecole Nationale Superieure des Beaux-Arts, Paris, the Ecole Nationale Superieure d’Art Plastique, and the Ecole Nationale des Arts Appliqués. Shortly after completing his studies, he exhibited his works in Paris at the Galerie A. Weil and at the Galerie Espace. Later he was exhibited widely in France and abroad, including at Wildenstein, Charpenetier, and Durand-Ruel. Various public galleries in France as well as galleries in Cologne, Los Angeles, and San Francisco contain his works.
Hai, Serhiy
Ukrainian, born 1959
Born in Lviv, Ukraine, Hai studied at the Lviv State Institute of Applied and Decorative Art. He did a solo exhibition at the National Art Club in New York in 2009 and the Ukrainian Institute of America in 2016. His work has appeared in the Ukrainian Embassy in Washington D.C., and is in the collection of the Lviv National Museum. His work is also in several modern art museums across Ukraine.
Hall, Harry British, 1814–1882
Exceedingly accurate in his portraits of horses, Hall was employed much as a present-day photographer, rendering life-like images. He lived mostly in Newmarket but also did some work in London. Hall was extremely industrious, and much of his work was engraved and published. Turf historians rely on the validity of his work for conformational analysis of historic Thoroughbreds.
Henneberg, Tony German, born 1966
Born in Kiel, West Germany, Henneberg moved with his parents when he was young to his grandparents’ farm in Rhodesia. The African wildlife and the farm scenery inspired him to start painting. Henneberg works in both watercolor and oils, producing landscapes and wildlife portraits, especially birds. His ability to portray birds has given some to compare him to James Audubon. Henneberg currently lives and works in Pine Plains, New York.
Herring, John Frederick Jr. British, 1820–1907
Known to his contemporaries as “Fred,” the junior Herring painted farm and equestrian scenes similar in subject matter and style to those of his father. His paintings are chiefly distinguished from those of J. F. senior by the intricate detail put into the appearance of straw and grass, such that the overall painting develops a “worrying appearance.”
Herring, John Frederick Sr. British, 1795–1865
Herring was a coach driver on the Doncaster-London route by trade when he began painting. His paintings so impressed the wealthy Frank Hawkesworth in 1818 that he was offered a year’s worth of work. Soon he was painting hunters and racehorses for many notable gentry. In 1845 he was appointed painter to the Duchess of Kent, and later Queen Victoria became a benefactor.
Hilaire, Camille French, 1916–2004
Born in Metz, Hilaire moved to Paris to study at L’Ecole des Beaux-Arts and worked in Andre Lhote’s studio. Hilaire was named professor of drawing at Ecole des Beaux-Art in Paris in 1958 after having taught at Ecole des BeauxArts in Nancy. His art won many prizes and was exhibited widely in Europe and he had one-man exhibits in New York in 1954 and 1956. His works vary from paintings, murals, tapestries, and stained glasses to mosaics.
THE SPORTING ART AUCTION 189
Ho, Quang Vietnamese/American, born 1963
Ho came to America with his family at age 12 in 1975. His interest in art was apparent as early as age 3, and he graduated from the Colorado Institute of Art in 1985 with the Best Portfolio Award. He continues his interest in art and education as a teacher at the Denver Art Students League. After graduation, Ho was promoted by art dealer Mikkel Saks, and the artist’s clients have included Adolph Coors Company, Upjohn, Safeway, The Colorado Symphony, and the Chicago Symphony.
Hodge, Marcus British, born 1966
Hodge studied in Spain at the Escuela Libre del Mediterraneo for five years and after finishing became only the third person in the school’s history to be invited to remain as a tutor. By 1997 he had exhibited with the Royal Society of Portrait Painters. Some of his significant portrait commissions include the Scots Guard at Balmoral, the Jockey Club in Newmarket, and the King’s Troop Royal Horse Artillery.
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 fulltime 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.
Jacquemart, Henri Alfred French, 1824–1896
Jacquemart studied both painting and sculpture at L’Ecole des Beaux-Arts de Paris as a pupil of Paul Delaroche. He exhibited at the Paris Salon from 1847 to 1879, winning numerous awards. Jacquemart produced major commissioned works in Egypt and Turkey, but gained fame through his
commissions of monuments in France. He became a Chevalier of the Legion d’Honneur.
Jeffrey, Michael New Zealand/British, 1941–2013
Born in Auckland, New Zealand, Jeffrey was self-taught until 1969 when he went to Britain for two years and studied equine portraiture with an artist of international repute. In 1972 he moved to Australia to take up the Victoria Racing Club’s “Australian Racehorse of the Year” commission, during which time he painted the award winners for 14 years. From 1987 he lived in France for 10 years, receiving commissions to paint winners of significant races in Italy, France, and the UK, before moving to Newmarket in 1997.
Jones, Paul British, fl. 1855–1888
Jones is best known for his portrayal of dogs and hunting scenes. Jones’ works are usually quite small and intricately detailed. He is the son of recognized sporting and equestrian artist Samuel John Egbert Jones (fl. 1812–1849).
Kammerzell, David American, born 1953
Kammerzell began his career in the 1990s creating graphic illustrations for television stations CBS in Denver and then Starz. The winner of several regional Emmys and BDA silver awards, he eventually rose to the role of director of on-air design while beginning to paint on the side. After 20 years in television, he left to pursue painting full time. His work has appeared in Western Art and Architecture, Western Art Collector, and on the cover of SouthwestArt.
Kirkman, J. Boyd American, born 1958
Born in Los Angeles, Kirkman moved to England at the age of 25 to study at the West Surrey College of Art and at the Camberwell School of Art from 1976–80. He began depicting sporting scenes in 1980 and has been regularly exhibiting since 1983, particularly in London and Dublin.
Koehler, Henry American, 1927−2018
Born in Louisville, Kentucky, Koehler graduated from Yale University and worked in advertising in New York. Entering the freelance arena, he received his first commission from SportsIllustrated. At first he documented
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his favorite sports, foxhunting and sailing, then added the world of horse racing. Koehler has enjoyed more than 60 one-man shows worldwide and has a loyal following of collectors.
La Fontaine, Thomas Sherwood British, 1915–2007
With an inventory spanning 50 years, La Fontaine had an impressive range of styles, from cartoons to photo-like realism to Rubenesque compositions. La Fontaine began training as an artist while in preparatory school and continued when he studied art in London. His commissions were global in demand, covering Europe, Africa, Asia, and North America. Owing to his extraordinary ability, La Fontaine’s works have been confused with those of Alfred J. Munnings and George Stubbs.
Lalanne, Jean-Bernard French, born 1952
Born in Madagascar, Lalanne grew up in the southwest of France. He attended the Ecole Supérieure d’Art des Pyrénées de Pau. Lalanne painted while supporting himself as a policeman, the occupation of his father. Lalanne came to Colorado to work with American painter Kim English after winning a painting competition in the Paris suburb of Vincennes. His recent works have focused on life in the Pyrenees, including the racing bulls in Spain and Andalusian horses. He regularly exhibits at shows in Paris and Bayonne, France.
Larson, Jeffrey T. American, born 1962
Born in Minnesota, Larson began his studies at Atelier Lack before studying anatomy at the University of Minnesota and then museum studies in Europe. A four-time winner of Artists Magazine’s Annual Art Competition, he has been featured in AmericanArtCollector, FineArtConnoisseur, USArt Magazine, and on the cover of AmericanArtist magazine. He is the founder and director of Great Lakes Academy of Fine Art.
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 self-taught artist. His skillful portrayal of light ranges from razor-sharp contrast to muted, diaphanous glow. He held many exhibitions in London, New York, and elsewhere in the United States.
Malone, Booth American, born 1950
The current president of the American Academy of Equine Art, Malone has been the official artist of numerous equestrian events, including the Breeders’ Cup and the Virginia Gold Cup. He is also a member of the Oil Painters of America and the Portrait Society of Atlanta (member of merit). A visual design major, Malone is influenced by Sir Alfred Munnings, John Singer Sargent, and N.C. Wyeth.
Mangan, Stephen Scottish, born 1964
Born in Edinburgh, Mangan studied art at the Duncan of Jordanstone Art College in Dundee. Mangan has developed a distinctive style of figurative portrayal. His works include unique human forms in a variety of backgrounds, such as the racecourse, the beach, the train station, and more. His paintings are held in private and public collections, including the Metropolitan Museum of Art in New York and the Royal Scottish Academy.
Mason, George Finch British, 1850–1915
Mason attended Eton from 1860–64, where his father was a schoolmaster. He is best known for his illustrations of sporting scenes, most often doing caricatures of the sporting life. Many of his illustrations appeared in the magazines TheSportingTimesand Punchas well as in sporting books of the times.
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.
Meziat, Renato Brazilian, born 1952
Meziat came to the United States in the 1970s to study at Berklee College of Music in Boston. During this time his father had begun painting, so he did as well. Self-taught, he gravitated early on toward the Latin-American realism movement developing in the ’70s. In addition to being included in many art fairs in both the United States and Brazil, he has had several solo exhibitions in both nations.
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Millais, Hesketh Raoul Lejarderay British, 1901–1999
Usually referred to as Raoul or “Liony,” Millais was a portrait painter, equestrian artist, and sportsman. The grandson of Sir John Everett Millais and the son of John Guille Millais, the artist inherited his talent and his love of animals and hunting from his family. Best known for his equestrian art and the Spanish paintings he created when he accompanied Ernest Hemingway, Millais, like his contemporary Sir Alfred Munnings, was a staunch opponent of Modernism.
Miller, Edith Derry American, 20th century
A painter of horse portraits, she has her had her work exhibited at the National Museum of Racing.
Moore, Anthony John British, 1852–1915
Moore’s artwork mostly depicts scenes of Sunderland, where he also worked as an etcher and a violin maker.
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.
Oppegard, Sandra Faye American, born 1941
A graduate of the Art Center College of Design in Los Angeles, Oppegard worked as a freelance illustrator for 23 years for clients such as Max Factor, Redken, Giorgio, and Mattel Toys. Her knowledge of Thoroughbred racing, gleaned from years spent watching her husband train race horses and traveling with him to tracks around the country, imbues her equine scenes with authenticity. Oppegard has exhibited widely and has won numerous awards.
Ostenberg, Thomas American, born 1949
At age 40 after a successful career in the financial world, Ostenberg entered the New York Studio School, moved on to the Kansas City Art Institute where he earned a bachelor’s degree in fine art, and then earned his master’s degree from the Royal College of Art in London, England. Primarily bronzes, his works are described by such words as whimsical, joyful, and magical.
O’Sullivan, Katie Irish, born 1959
A lifelong involvement in the equestrian world from childhood to her marriage to horse trainer Jamie Osborne gives O’Sullivan a thorough knowledge for detail and accuracy. The originality of her works is enhanced by an unorthodox use of unique surfaces and materials. O’Sullivan has been widely acclaimed through numerous one-woman shows, with many being sellouts.
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 soughtafter painters of this breed. In the late 1980s he developed a love of the Thoroughbred and again has risen to the top of his field with racing scenes as well as portrayals of hunting dogs, cattle, and wildlife.
Peck, Leslie American, b. 1965
Born in Buffalo, Peck received a bachelor’s degree in fine arts at the Fashion Institute of Technology in New York City and then illustrated romance novels for more than 20 years. After marrying and moving to upstate New York, she became a fine art painter of farm scenes, and animal and human portraiture. She paints animals at work and in their element, focusing on their eloquence, nobility, and anatomy.
Reeves, Richard Stone American, 1919–2005
Quite simply, Reeves is among the very top of American equine portraiture artists, ranking him with such names as Edward Troye, Henry Stull, and Franklin Voss. A direct descendant of 19th-century portrait painter Thomas Sully, Reeves was trained at the Syracuse University School of Fine Art. His commissions included hundreds of the most famous racehorses from around the world.
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Renard, Stephen British, born 1947
After graduating from Liverpool University with a degree in science, Renard later became head of biology at a Liverpool school. When he developed a passion for sailing, he abandoned teaching to purchase a boat and take drawing lessons. His first works were illustrations for children’s comics before he concentrated on yachting subjects. He has received commission work from the Royal Thames Yacht Club.
Robinson, Sam American, born 1953
Born in 1953, Robinson is an equine sporting artist in the tradition of Alfred Munnings, Franklin Voss, and many other painters who make horses, hounds, and country life their primary subjects. His home and studio are in the Greenspring Valley of north Baltimore County, an easy drive from Maryland’s Hunt Country and the rural courses that host timber racing in the region. He paints in a fluent representational style using gouache field studies and photo references to create his larger studio oils.
Shepherd, David British, 1937–2017
Shepherd studied drawing and painting with marine and portrait painter Robin Goodwin from 1950 to 1953, gaining a firm foundation for a successful artistic career. Following his time under Goodwin’s teaching, Shepherd began painting aviation scenes and met with success. In 1960, the Royal Air Force flew him to Kenya as their guest and asked if he could paint some local subject matter. After this point, the painter turned to wildlife subjects, with an emphasis on African wildlife, almost exclusively. A 1962 exhibition at London’s Tryon Gallery sold out, and Shepherd has since gone on to become one of the most highly esteemed wildlife painters of his era. Shepherd has exhibited throughout the United States, Europe, and Africa, and has been the subject of many television documentaries chronicling his life as an artist, as well as his profound interests in wildlife conservation.
Simpson, Charles Walter British, 1885–1971
Simpson produced paintings in oil, watercolor, and tempera of landscapes, hunting scenes, marine scenes, and studies of animals and birds. He studied art in Paris at the Academie Julian as well as working with both Sir Alfred Munnings and Lucy Kemp-Welch. Simpson was a member of the Royal Institute of Painters in both watercolor and oil. He was widely exhibited and recognized during his life.
Sinclair, David British, born 1962
Sinclair spent most of his life in London working in theater and television before moving to Gloucestershire and being around horses for the first time. Beginning with local polo players, he has now photographed many disciplines and breeds around the world. While his equine client list includes such notables as Darley and Ascot Racecourse, his other clients include Stella Artois, Maserati Automobiles, and TatlerMagazine
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.
Slonem, Hunt American, born 1951
Having graduated from Tulane University with a BA in painting and art history, Slonem also took courses at the Skowhegan School of Painting and Sculpture. Moving to New York in the 1970s and meeting other artists such as Andy Warhol, he became a part of the burgeoning art scene there. His work today is found in many prominent private collections as well as in the collections of the Smithsonian American Art Museum, the National Gallery of Art, the Metropolitan Museum of Art, and the Whitney Museum of American Art.
Smith, Donald C. American, 1929–2002
Smith was born in New Orleans, graduated from Tulane University, and joined the Fitzgerald Advertising Agency in 1951. He held positions as illustrator and art director before becoming the company’s president in 1986. Smith worked as both an artist and a sculptor, having a solo exhibition at the New Orleans Museum of Art in 1993. For 60 years his work was exhibited across the South and Southwest.
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
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his life. Since childhood Smith has been passionate about both horses and art. His extensive knowledge of how a horse moves and his well-worn copy of George Stubbs’ Anatomy of the Horse yield the realistic results of his art. From his home five miles from Ayr Racecourse, he portrays the life of Thoroughbreds from training to race day.
Smith, Suzy F. American, born 1951
Smith, a Kentucky native, grew up riding horses across a Thoroughbred breeding farm. She began to draw and paint as a child with an interest in horses, dogs, and people. Married to a cattleman who is an avid wing shooter, Smith has found inspiration in their cattle herds and hunting dogs as well as in the splendid horses and talented horsemen of the region. She has sought instruction from other notable national and international sporting artists and considers Alfred Munnings, John Emms, Edgar Degas, Rosa Bonheur, and Maud Earl some of her favorite animal artists. Her work has been juried into The Pastel Society of America’s annual competition in New York City and has been exhibited in venues such as the Birmingham Spring Home and Garden Show in Alabama. Her work can be seen through Cross Gate Gallery and Chisholm Gallery.
Soukup, Jill American, born 1969
Soukup was born in Buffalo, New York. Shortly thereafter her family moved to Colorado, where she still resides. As a young girl, Soukup had an affinity for horses that resulted in countless drawings and studies of them, which made for a strong drawing foundation. She graduated from Colorado State University in 1991 with a bachelor’s degree in fine art. There, she received awards for illustration and design and worked as an illustrator and a designer for the university. She initially pursued a career in graphic design while continuing to paint part time. After 11 years as a designer, she made the switch to painting full time. A student of Quang Ho, her work continues to gain recognition as she receives awards, appears in national publications, and shows in important juried and solo exhibitions.
Sperling, Heinrich German, 1844–1924
Sperling most often depicted the dogs of German aristocracy, though he also painted portraits of horses. Not much is known about the artist, but references to his being a professor have been found.
Stull, Henry American, 1851–1913
Son of an Ontario coach driver, Stull landed in New York to pursue a career as an actor, got a job with an insurance firm, began to sketch pictures of boats and horses, and found his way to the staff of Leslie’s Illustrated Weekly. There he began to produce commissions for Mr. August Belmont Sr., and his career painting racehorses took off. Primarily an illustrator, his work is exceedingly accurate, especially regarding the color of the horse. He painted for many famous scions of the Turf, including his longtime patrons, Pierre and George Lorillard.
Tait, Arthur Fitzwilliam American/British, 1819–1905
Hardworking and prolific, the British-born Tait was one of mid-century America’s most popular painters of sporting scenes and animal subjects. Initially trained as a lithographer, after exposure to the work of Edwin Landseer, Tait decided to pursue painting. Primarily self-taught, he would perfect his technique by copying works seen at the Royal Institute of Art. An introduction to American painter George Catlin proved to be fateful, as he helped the young artist establish a lifelong interest in frontier living. In 1850, Tait traveled to the United States where he spent the remainder of his life pursuing his love of hunting and wildlife while also working out of his Manhattan studio. His work can be found in the permanent collections of the Metropolitan Museum of Art, Corcoran Gallery of Art, and the Tate Gallery in London among others.
Tannahill, Max Irish, b. 1959
Born in County Down in Northern Ireland, Tannahill lived in London in the late 1970s and emigrated to Australia in the mid-1980s before returning to the U.K. to live in East Anglia. Aboriginal art was a huge inspiration for him, and his work continues to evolve. Now producing in bronze, he enjoys wagering on horse races and dining on southern Italian food.
Taplin, Guy British, born 1939
Taplin has spent a lifetime studying birds. His carvings reflect his feelings about birds and the pleasure they give him. While down to earth in his own nature, his works have been collected by the likes of Michael Palin, Elisabeth Frink, Gerald Durrell, and Jackie Onassis as well as the Tate Britain and the Royal Collection.
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Taylor, Jo British, born 1969
Born in Lancashire, Taylor studied at Leeds Metropolitan University from 1988 until 1991. She has exhibited in numerous one-woman shows throughout England, including The National Horseracing Museum at Newmarket. Her pieces were included in a show at the Royal Academy in London, and she was commissioned for works on several Cheltenham Gold Cup runners. Taylor has exercised racehorses in Newmarket and feels it is necessary always to work from life.
Tremaine, Diana American, born 1964
Growing up in New York City, Tremaine was greatly influenced by an aunt and uncle’s well-known contemporary art collection that included works by Andy Warhol, Piet Mondrian, Joan Miro, and Wassily Kandinsky. Tremaine studied at UCLA and later moved to Montana to have more space and quietude.
Turner, William Henry M. British, active 1849–1887
Turner was a British artist who has been referred to as “Horse Fair Turner,” given his tendency to depict horse fair scenes realistically with great detail.
Van Dyke, Rachael American, born 1972
Van Dyke is a mid-career artist creating abstract landscape work inspired by living off the grid in the Blue Ridge Mountains and at her summer residence in Michigan. Van Dyke is an avid traveler as an artist-in-residence and has participated in national and international residencies, with an upcoming residency with StudioFaire (France). Previous residencies include Keeneland Race Course (KY), Golden Apple Art Studio (ME), Mackinac Island State Historic Parks (MI), Virginia Center for the Creative Arts (VA), Officina Stamperia del Notaio (Sicily), United States National Park Service (Isle Royale), Cill Rialaig (Ireland), Studio Ginestrelle (Italy), The Edgewood Cottage (NC), Le Jardin Botanique (France), TICA (Art Institute of Chicago), and Les Tasis (France). She is a Fulbright Memorial Fund teacher recipient to Japan.
Voss, Elsa Horne American, 1895–1982
A talented equestrian Voss married into a family of artists. While experienced in oils and watercolor, her most important works are her bronzes. She created for her own pleasure and on commission, with her pieces being
exhibited often. Her first solo show was in 1940 at Newhouse Galleries in Manhattan.
Voss, Franklin Brooke American, 1880–1953
From a family of sportsmen and artists, Voss studied at the Art Students League in New York, foxhunted and rode races in New York and Maryland, and painted racehorses and hunting horses for his sportsmen friends. Completing more than 500 commissions in a period between 1920 and 1950, Voss died as he would have liked — foxhunting with the ElkridgeHarford Hounds near his Maryland farm.
Wardle, Arthur British, 1860–1949
First exhibiting at the Royal Academy at the age of 16, Wardle, by 1938, had exhibited some 113 works there. Equally proficient in several media, he was elected to the Pastel Society in 1911 and The Royal Society of Painters in Watercolours in 1922. Exotic animals at the London Zoo inspired many of his works, but he is perhaps best known for his domestic animals, portraits, many of which hang at the London offices of the Kennel Club and in New York at the American Kennel Club.
Wheeler, Alfred British, 1851–1932
Wheeler was born near Bath in Somerset to John Alfred Wheeler (1821–1877), who retired early from the army to pursue a successful painting career. Wheeler is thought to have studied under his father and to have worked closely with him. He married Catherine Muspratt in 1874 and moved next door to his father at Raglan Villas, Bath. Wheeler then followed his father when he moved to Hanwell. Alfred and Catherine had six children, two of whom became artists: Walter Herbert and John Frederich. The Wheeler family specialized in sporting subjects such as horse racing and foxhunting. They were also commissioned frequently for animal portraits. Alfred Wheeler and his father are often confused due to their extremely similar styles and their signatures. Alfred’s work is thought to be less prolific, even though he contributed to many of his father’s paintings toward the end of the elder Wheeler’s life.
Wheeler, Larry Dodd American, born 1942
This distinguished painter received his formal training at the Maryland Institute College of Art and the Institute’s Hoffberger School of Painting. Wheeler has served as the painting conservator for both the Corcoran
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Gallery and the Smithsonian Institution in addition to teaching at the Maryland Institute. His skilled work is in great demand and hangs in the Supreme Court Building and the Federal Building in Washington and in many private collections.
Whitcombe, Susie British, born 1957
Whitcombe studied at the Heatherley School of Art in London and has been painting portraits of horses and people in oil and watercolor for more than 30 years. She has exhibited in London, Tokyo, and Melbourne. A versatile sportswoman, she has ridden races as an amateur jockey and is also a pilot, handling Super Cubs and Tiger Moths with ease.
Wichman, Adalin American, 1922–2013
After graduating from the University of Kentucky, Wichman worked as a professional illustrator and in other advertising capacities before managing Keeneland’s advertising for 20 years. It was during this time that she designed horse racing’s coveted Eclipse trophy. Her work can be found in the Kentucky Derby Museum, the National Museum of Racing and Hall of Fame, and the personal collection of Queen Elizabeth II.
Wright, George British, 1860–1942
The Wright family of Leeds, England, is known to have produced three noted artists. Brothers George and Gilbert were respected equestrianthemed artist, and their sister, Louise, was a fashion illustrator for catalogs and magazines. The subject matter for George Wright’s paintings included hunting, racing, and polo scenes; however; coaching scenes are his most appreciated work. George Wright was exhibited at the Royal Academy, as well as other venues, from 1892–1933.
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