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KEENELAND / CROSS GATE GALLERY

Fine Sporting Art, American Paintings and Sculpture

THE SPORTING ART AUCTION NOVEMBER 13, 2026

Keeneland Sales Pavilion

Lexington, Kentucky

Friday, November 13, 2026 | 4 pm

THE

AUCTION Cover Illustration: Lot No. 90

Edward Brian SEAGO (British, 1910–1974) A Country Race Meeting Oil on canvas Signed H: 20 inches W: 30 inches

AUCTION Friday • November 13, 2026 • 4:00 p.m. EST

PREVIEW RECEPTION Presented by Bank of America Friday, November 13, 2026 | 2:00 – 4:00 p.m. | Keeneland Sales Pavilion The Sporting Art Auction begins at 4:00 p.m.

ADVANCE VIEWING Keeneland Fall Race Meet, October 2–24, 9 a.m. – 1 p.m., Wed.–Sun., or by appointment Breeders’ Cup at Keeneland, October 30–31 Keeneland November Breeding Stock Sale, November 3–11 Keeneland Horses of Racing Age Sale, November 12

BIDDING Bidding will be conducted by phone, absentee bid, or online through www.thesportingartauction.com, www.invaluable.com, or www.liveauctioneers.com This auction and all information in this catalogue are subject to the Conditions of Sale printed in this catalogue and to reserves.

THE SPORTING ART AUCTION

BIDDING This sale will be conducted in person. You must register to bid either in-person, by phone, absentee, or over the internet. To register, please return the form included in the catalogue, visit our website: www.thesportingartauction.com, write to info@thesportingartauction.com, or call (859) 233-3856. The websites we will be providing for bidding are www.thesportingartauction.com, www.invaluable.com, and www.liveauctioneers.com If you choose to bid over the internet, you must first register on the site you wish to bid through.

For questions about specific lots, please call Cross Gate Gallery at (859) 233-3856. Or for a specific representative: Bill Evans Meng – (859) 492-4461 Field Ladd – (859) 421-5013 Jackie LeMastus – (502) 554-6403 Catherine Ladd Kenneally – (859) 421-3436 Greg Ladd – (859) 321-2924 Linda Helton – (859) 583-5330

INTRODUCTION

he Sporting Art Auction, a collaboration between Keeneland Association and Cross Gate Gallery of Lexington, Kentucky, has matured into one of the genre’s most anticipated annual events. In 2026, Keeneland and Cross Gate again will team to conduct the 14th annual Sporting Art Auction on Friday, November 13, at 4 p.m. EST. The partnership between Keeneland and Cross Gate Gallery is a natural fit. Keeneland, recognized as the world’s premier Thoroughbred auction house, offers the perfect sale venue with its state-ofthe-art sales pavilion and auctioneering expertise. Perhaps most importantly, many of its racing and sales clientele are avid collectors of sporting art. Cross Gate, the country’s leading gallery of fine sporting art, delivers a superb collection of paintings and sculpture. Each year, Greg Ladd travels throughout the U.S. and Europe to acquire important works that will capture the interest of ardent collectors. The success of the first 13 auctions, which have been characterized by large crowds and brisk bidding, confirms the strong demand for quality sporting art. LeRoy Neiman’s Flat Racing, a one-ofa-kind glazed ceramic tile mural, sold for $291,000

to top the inaugural sale in 2013. The 2015 auction was highlighted by the sale of Sir Alfred James Munnings’ signed painting Lord Astor’s Broodmare and Foal, which brought $207,000. In 2022, a large floral by Henry Lawrence Faulkner brought a record price when it sold for $123,000. In 2024, To the Wire by LeRoy Neiman sold for a record $334,875. This year’s auction will feature high-quality lots representing fine sporting art, American paintings, and sculpture from renowned artists. Notable lots in 2026 include, for the first time, an Edward Seago racing painting, as well as works by Sir Alfred James Munnings, the official 2026 Breeders’ Cup cover artwork by Katie O’Sullivan, John Ferneley Sr., Edward Troye, LeRoy Neiman, and a selection of works by regional favorite Henry Faulkner. In keeping with Keeneland’s mission, both sporting and altruistic, the association’s portion of the auction proceeds will benefit its non-profit initiatives, including the Keeneland Library Foundation. The 2026 collection will be on display in the Keeneland sales pavilion through the art auction’s November date.

The Sporting Art Auction company welcomes inquiries through its website, www.thesportingartauction.com; by email, info@thesportingartauction.com; or through Cross Gate Gallery, (859) 233-3856. The Sporting Art Auction will accept absentee bids, bids by phone through prior arrangement, and online via www.thesportingartauction.com, www.liveauctioneers.com, and www.invaluable.com. The Conditions of Sale begin on page 197.

THE SPORTING ART AUCTION

ABOUT

KEENELAND

ocated in the heart of Central Kentucky’s horse country, Keeneland is an international leader in Thoroughbred racing and sales. Keeneland’s iconic brand is rooted in the ideals of its founders, a determined group of prominent Central Kentucky breeders who in the 1930s wanted “to create a model racetrack to perpetuate and improve the sport and to provide a course that is intended to serve as a symbol of the fine traditions of Thoroughbred racing.” As Hal Price Headley, Keeneland’s co-founder and first track president, said, “We want a place where those who love horses can come and picnic with us and thrill to the sport of the Bluegrass. We are not running a race plant to hear the click of the mutuel machines. We want them to come out here to enjoy God’s sunshine, fresh air, and to watch horses race.” For generations Keeneland has fulfilled its founders’ vision, embracing the history and pageantry of Thoroughbred racing while offering its guests and participants an unmatched experience. With its ivy-covered limestone buildings, scenic vistas, and beautifully landscaped grounds, Keeneland is a National Historic Landmark and source of community pride. RACING Keeneland opened in October 1936 for nine days of racing. Today, its racing program ranks among the nation’s best in terms of purse money, field size, and quality competition. From 2-year-old races to events for classic contenders and veteran turf stars, Keeneland racing offers outstanding opportunities for horsemen to showcase their talented stables. The track conducts racing every April and October, drawing legions of loyal fans, while the nation’s leading trainers, jockeys, and stables compete for rich prize money. The Spring Meet is anchored by the $1.25 million Toyota Blue Grass (G1) and the Central Bank Ashland (G1), both prestigious races for 3-year-olds. The Fall Meet opens with Fall Stars Weekend, featuring 11 stakes led by the $1.25 million Coolmore Turf Mile (G1). Eight Fall

Meet stakes are Breeders’ Cup Challenge races, awarding each winner automatic and free entry into the Breeders’ Cup World Championships. Keeneland successfully hosted the Breeders’ Cup in 2015, 2020, and 2022 and will hold the event again in 2026. The 2015 running featured Triple Crown winner American Pharoah’s victory in the Breeders’ Cup Classic (G1). Kentucky Derby winner Authentic won the 2020 Classic, and Flightline captured the race two years later. SALES As the world’s largest Thoroughbred auction house, Keeneland sets the gold standard for the industry globally, selling more champions and stakes winners than any other sales company. Graduates of Keeneland sales include 24 Kentucky Derby winners, 27 Preakness winners, and 24 Belmont winners. Through 2024, 129 sale alumni had won 141 Breeders’ Cup races. Keeneland’s five on-site auctions (January Horses of All Ages, April Selected Horses of Racing Age, September Yearling, November Breeding Stock, and November Horses of Racing Age) attract buyers from nearly every U.S. state and more than 50 countries. The premier September Sale provides more winners of racing’s biggest events and more participants on the global stage than any other auction. In 2024, the September Sale was the world’s highest-grossing Thoroughbred auction in history with more than $428 million in sales for 2,894 horses. A total of 36 yearlings sold for $1 million or more, marking the highest number since 2006. The average of $147,926 was a record. Thoroughbred auctions have taken place at Keeneland since 1938, and annual sales commenced here in 1943. Prior to World War II, many Central Kentucky breeders sent their yearlings each summer to the sale in Saratoga Springs, New York. But a wartime restriction on rail transport forced breeders to keep their yearlings at home, prompting the inaugural summer sale that was held under a tent in the Keeneland paddock. That sale produced Hoop, Jr., winner of the 1945 Kentucky Derby. The

ELYOC MAET

Breeders’ Sales Company held the sale at Keeneland in subsequent years, and that entity eventually merged with Keeneland. The success of Kentucky-bred racehorses in prestigious international stakes attracted buyers from Europe and Japan in the 1960s and ’70s, giving rise to Keeneland’s sustained position as the unrivaled source of the world’s best horses. KEENELAND LIBRARY Founded in 1939, Keeneland Library is a public research/reference library with one of the world’s largest collections of information related to the Thoroughbred. Located in a 10,000-square-foot facility that opened in July 2002, the library houses nearly 30,000 books, approximately 1 million photographic negatives, and thousands of newspaper and magazine articles about the equine industry. Thousands of journalists, writers, historians, industry stakeholders, academics, and racing fans have conducted research at the library or requested information from its staff. The library hosts a lecture series, maintains physical and virtual exhibits, engages in outreach and education initiatives, and provides services to community, state, national, and international organizations. Visitors can trace Keeneland history by examining the library’s scrapbooks, which contain photographs from the track’s inception and depict many milestones. A display area near the entrance exhibits racing artifacts and various collectibles. In addition, a portion of Keeneland’s equine art collection is on display yearround. Among its most prominent collections are more than 15 million pages of Daily Racing Form dating

back to 1896; approximately 3,500 pieces of humorous caricatures and equine cartoons by Pierre “Peb” Bellocq; more than 18,000 glass plate negatives of Charles Christian Cook, one of the first photographers in the U.S. to specialize in track scenes from the early 1900s through the 1930s; more than a quarter-million film negatives of racing, finish line, and winner’s circles shots of the 1930s-1960s from photographer Bert Morgan; approximately 6,500 photographic prints by John Hemment dating from 1890s through 1910; North American racing charts dating from the early 19th century to the present; and roughly 2 million film negatives from photographer Jim Raftery that comprise the country’s largest 20th century Turf photograph collection. GIVING Keeneland’s philanthropic mission dates to 1936 when the track opened. Today, this vision — known as The Keeneland Way — continues to guide Keeneland employees in their daily work. Keeneland blends financial and in-kind sponsorships to benefit numerous civic and charitable organizations and lends its grounds as a backdrop for fundraising events. In the community, giving focuses on health and human services, education, arts, and culture. Keeneland also is at the forefront of the horse industry, with a rich history of lending support to safety and welfare initiatives, fan education, racing promotion, and Thoroughbred aftercare organizations, among others. In furtherance of its mission, Keeneland’s portion of the proceeds from the Sporting Art Auction benefits its non-profit initiatives.

THE SPORTING ART AUCTION

ABOUT

CROSS GATE GALLERY

ounded in 1974, Cross Gate Gallery is a leading source of the world’s finest sporting art. The Lexington-based gallery specializes in equinerelated art, and its impressive inventory ranges from 19th- and early 20th-century classic works to contemporary paintings and sculpture. Cross Gate’s central Kentucky location makes its focus on sporting and equestrian art a natural one. Greg Ladd, the gallery’s founder, parlayed an early interest in fine art and his love of Thoroughbred racing into what would become one of world’s premier sporting art galleries. 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

Thoroughbred owners and breeders from around the world, Cross Gate’s clients include (but are certainly not limited to) Keeneland Race Course, Fasig-Tipton Company, Breeders’ Cup Ltd., and a wealth of other prominent equine organizations. Ladd is known for his eye for quality and artistic talent. Over the years he has nurtured and represented some of the world’s top contemporary sporting artists. Cross Gate regularly exhibits their work in Lexington and at top equine venues such as Saratoga Springs, New York; Aiken, South Carolina; and Wellington, Florida. Cross Gate is also well known for featuring the works of earlier luminaries such as Edward Troye, Sir Alfred Munnings, and Henry Stull. “Our focus is on quality artwork,” says Ladd. “We are confident that we’re offering the finest sporting art available anywhere in the world today. There is a limited supply of really good artwork out there, and the best part of our job is finding that quality work and offering it to our clients.” From the gallery’s humble beginnings, Ladd has elevated Cross Gate to a place of international prominence in the global sporting art landscape.

THE SPORTING ART AUCTION

| Auctioneer

yan Mahan considered following his stepfather, Dr. Robert Copelan, into veterinary medicine. Instead, he finds himself in the auction stand at the leading Thoroughbred sales company in the world. Mahan initially had his own auction company but in 1977 he joined Keeneland as a bid spotter and later chief announcer. Promoted to auctioneer in the mid-1980s, he succeeded the late Tom Caldwell in 2001 as senior auctioneer. He has been involved with the Sporting Art Auction since its inception.

| Auctioneer

ustin Holmberg, who splits his time between Yorba Linda, California, and Era, Texas, joined Keeneland’s auction team in 1998 to add the world’s largest Thoroughbred auction house to his resume. While growing up near Bakersfield, California, Justin became interested in a career as an auctioneer just like his father and remembers being 16 or 17 when he first sold horses, tack, and livestock. After attending the Missouri Auction School, he met noted auctioneer Tom Caldwell, who was Keeneland’s longtime Director of Auctioneers. Through Caldwell, Justin began selling Thoroughbred yearlings at Del Mar and was invited to try out for a position at Keeneland, which would become extremely important in his career. He calls Keeneland Director of Auctioneers Ryan Mahan his mentor. Justin travels extensively from late July through December and during that time will sell American Quarter Horses (both racing- and performance-bred) at auctions in Louisiana, New Mexico, Oklahoma, and Texas; Thoroughbreds at Keeneland and in Florida; Standardbreds in Kentucky; and automobiles in California, Florida, and Las Vegas. He now adds sporting art to his portfolio. Justin met his wife, Sophie, at a Keeneland sale in 2008, and they married two years later. Their son, Harrison, was born in 2014.

| 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.

Meet Cross Gate Gallery Staff

Rogelio Bautista

Grayson Bickett

Linda Helton

Catherine Ladd Kenneally

Field Ladd

Jacqueline LeMastus

Bill Evans Meng

Drew Preston THE SPORTING ART AUCTION

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-OFSTATE 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 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 11, 2026, 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 11, 2026, 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 18, 2026 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.

■ 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 Keeneland. Thereafter they will be removed for storage and charges will be incurred. All uncollected and unsold property not collected from Keeneland by 12:00 noon on Thursday, November 19, 2026, will be removed by KCG and stored at Cross Gate Gallery. 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

Fine Sporting Art, American Paintings, and Sculpture Friday • November 13, 2026 • 4:00 p.m. EST

Keeneland Sales Pavilion Lexington, Kentucky

1 | John Emms (British, 1841–1912) TWO BAYS Oil on canvas, 9” x 12” Signed $4,000. – 6,000.

Provenance: William Marler Gallery, Cirencester

THE SPORTING ART AUCTION

2 | E. Mondy (British, 19th Century) PORTRAIT OF A BURRO Oil on canvas, 10” x 8” Signed, dated 1882 $2,000. – 4,000.

3 | Florence Harriet Fitzgerald (British, 1857–1927) THE DONKEY RACE Oil on canvas, 29 ½” x 49” Signed $8,000. – 10,000.

4 | Wright Barker (British, 1864–1941)

PATIENCE IS THE GREATEST VIRTUE Oil on canvas, 30” x 40” Signed $8,000. – 10,000.

THE SPORTING ART AUCTION

5 | Henriëtte Ronner-Knip (Dutch/Belgian, 1821–1909) MOTHER AND HER PUPS Oil on canvas, 24” x 32” Signed $7,000. – 10,000.

6 | Alfred-Arthur Brunel de Neuville (French, 1852–1941) KITTENS PLAYING Oil on canvas, 26” x 32” Signed $6,000. – 9,000.

THE SPORTING ART AUCTION

7 | Arthur Batt (British, 1846–1911) DONKEY SHOWDOWN Oil on canvas, 25” x 32” Signed, dated ’87 $5,000. – 7,000.

8 | Walter Hunt (British, 1861–1941) RESTING Oil on canvas, 20” x 24” Signed $10,000. – 15,000.

Provenance: Haynes Fine Art

9 | Thomas Sherwood La Fontaine (British, 1915–2007) SHEARING THE SHEEP Oil on canvas, 18” x 31” $3,000. – 5,000.

THE SPORTING ART AUCTION

10 | John Frederick Herring Sr. (British, 1795–1865)

LANGUISH AND PANTALOON, THE BRITISH STUD, TOGETHER WITH AN ENGRAVING AFTER THE SAME Oil on canvas, 18” x 28” Signed, inscribed, dated 1846 $12,000. – 15,000.

Provenance: Frost and Reed Ltd., London. Exhibited: Frost and Reed, 1987 Exhibition of Fine Sporting Paintings, Saratoga Springs, New York. Illustrated the cover of the catalogue accompanying the exhibition. The painting was reproduced for Fores’ celebrated series, The British Stud: Portraits of Celebrated Stallions and Mares Whose Performance and Produce are well known on the Turf. Languish and Pantaloon was described by The Sporting Review as a portrait of “a mare and a stallion, placed in a paddock and most naturally and characteristically grouped.” Languish was the celebrated matron of the Turf and the property of the late Marquis of Westminster. She was bred by Mr. Bristow, by Cain out of a Paynator mare; her dam, Lydia, was by Poulton out of Vanity. Pantaloon, the well-known sire, was bred by Mr. Gifford, by Castrel out of an Alexander mare; his dam, Idalia, was by Peruvian out of Musidora. Pantaloon raced only as a 3-year-old, remaining unbeaten in all seven starts. Although his victories were mostly achieved in relatively small country fields, he established his greater reputation at stud. With Languish, he produced Ghuznee, winner of the 1841 Epsom Oaks and Coronation Stakes.

the merit of these pictures as works of art, they are of great importance as preserving the portrait of the most celebrated of the blood present era.” Oliver Beckett, the Herring family biographer, recorded that the original paintings by Herring, from which the engravings were produced, were owned by Messrs. Fores and sold at auction in 1864 by Christie, Manson and Wood, the auction house that would eventually become Christie’s. He also quotes The Sporting Magazine, “The paintings by Herring serve a greater purpose than being attractive works of art. The works serve as pictorial documentation of the greatest horses of an era — a historical recollection for the generations of turf enthusiasts to come.” For contemporary horsemen, therefore, Herring’s paintings served a purpose beyond their artistic appeal. They provided an important visual record of exceptional bloodlines and celebrated racehorses, preserving their likenesses for future generations of Turf enthusiasts. Other notable pairings in The British Stud included Sir Hercules and Beeswing, Touchstone and Emma, Camel and Banter, Muley Moloch and Rebecca, and Lanercost and Crucifix. Together, these six pairs represent some of the finest bloodstock of 19th-century British racing.

The venerable Fores Gallery was unquestionably one the leading printmakers in England at the time. Ruff’s Guide to the Turf praised the series, describing the works as “master pieces” and commending the striking fidelity of the horses’ likenesses, together with the beauty, grace, energy, and animation of Herring’s compositions. Further reporting that: “No sporting gallery has ever yet contained more beautiful delineations of that noble animal, the horse, than are exhibited in these interesting portraits of the celebrities of the British Stud.” Herring received more favorable reviews from the The Sporting Magazine when it reported: “This matchless series of thoroughbreds makes the blood dance through one’s veins to think of the deeds of these favored of the seraglio, while to votaries of the Turf – apart from

THE SPORTING ART AUCTION

11 | George Robert Leftwich (British, 1846–1929) THE ROWLEY MILE, NEWMARKET Oil on canvas, 29” x 45” Signed $15,000. – 20,000.

Provenance: Sotheby’s, New York, June 10, 1988, lot 241 Joan Schneeweiss The Bronx Historical Society This painting most likely depicts the jockeys Tommy Loates and Tod Sloan, with Loates in the lead and Sloan following in second. Sloan can be recognized by his distinctive “monkey crouch” riding position, which would revolutionize jockeyship in the late 19th century. While the exact race is unknown, it took place on the Rowley Mile at Newmarket, one of Britain’s most important racing venues, with the historic grandstand, built in 1875 under Sir John Astley, visible in the background. The “monkey crouch” was a revolutionary riding style that transformed the way jockeys rode Thoroughbreds. Rather than sitting upright in the saddle, jockeys crouched low over the horse’s neck, using shorter

stirrups and keeping their weight forward. The American jockey Sloan became particularly famous for this technique. When he travelled to England in 1897, he introduced the style to British racing. Although initially regarded with suspicion because of its unusual appearance, the crouch proved highly effective. By reducing the jockey’s movement and creating a more aerodynamic position, it helped horses maintain speed and influenced the development of modern jockeyship. Sloan’s arrival was part of a wider “American invasion” into British horse racing in the late 19th century. American jockeys such as Danny Maher and John Reiff followed Sloan and achieved considerable success in Britain, while wealthy American owners, including Pierre Lorillard IV, invested heavily in British racing and breeding. The arrival of American riders, owners, and methods challenged established British traditions and contributed to lasting changes in riding, training, breeding, and racing practices.

12 | Richard Benno Adam (German, 1873–1937)

LEIBGARDIST WITH COUNT LEHNDORFF UP, HOPPEGARTEN RACECOURSE, GRUNEWALD, BERLIN Oil on canvas, 19 ¾” x 22 ¾” Signed, inscribed, dated 1898 $9,000. – 12,000.

Inscribed verso: Rennbahn Berlin-Hoppegarten Reitpferd meines schwiegervaters Ph. O. Runge - Berlin-Grunewald. Leibgardist mit dem herrenreiter Graf Lehndorff Inscription translates to: Berlin-Hoppegarten racecourse; my father-in-law’s riding horse; Ph. O. Runge – Berlin-Grunewald. Life Guardsman with the gentleman rider Count Lehndorff. Leibgardist II was a German Thoroughbred racehorse owned by Lieutenant Ph. O. Runge, of the 21st Dragoons. A lightbay gelding, he was 4 years old in 1897, when he competed in German steeplechase racing, ridden by Lieutenant Eschborn. By 1898, aged 5, Leibgardist II was still racing for Runge and finished second in the Orcadian-Jagdrennen over 3,200 meters, carrying 65 kilograms.

amateur jockey six times between 1853 and 1864. In 1866, he joined the Prussian State Stud Service and later became head of the service. He played an important role in developing the state studs at Graditz, Trakehnen, Neustadt, and Celle. Lehndorff also wrote Handbuch für Pferdezüchter, an influential book on horse breeding. Richard Benno Adam was born into an artistic family and studied painting under his father, Emil Adam. He later trained at the Munich Academy of Fine Art and the State Academy in Karlsruhe. Adam became known for his highly detailed equestrian portraits, often commissioned by European nobility. Among his notable works was a portrait of Kaiser Wilhelm II on horseback in military uniform. Later, Adam became a professor at the Munich Academy. He rarely exhibited his work, as his successful equestrian commissions provided a steady demand throughout his career.

Count Georg Lehndorff was a German cavalry officer, racehorse owner, amateur jockey, and leading figure in horse breeding. He rode for 28 years, winning 142 races, and was German champion

THE SPORTING ART AUCTION

13 | Henry Harris Brown (British, 1864–1948) A GENTLE HAND Oil on canvas, 30” x 39” Signed $5,000. – 7,000.

14 | George Goodwin Kilburne (British, 1839–1924) THE SALE OF THE SQUIRE’S GOODS Oil on canvas, 24” x 36” Signed, dated 1895 $5,000. – 7,000. Provenance: Frost and Reed

15 | Georg Karl Koch (German, 1857–1927) THE HURDLE RACE Oil on canvas laid on board, 13” x 26” Signed $5,000. – 7,000.

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16 | John Beer (British, 1860–1930)

DIAMOND JUBILEE, IN 4 VICTORIES, 1900 Watercolor gouache, 18 ½” x 24” Signed, inscribed $3,000. – 5,000.

Diamond Jubilee was a British Thoroughbred racehorse bred and owned by the Prince of Wales, who later became King Edward VII. Born in 1897 Diamond Jubilee, a son of the leading sire St. Simon and trained by Richard Marsh, was known for his ability as a racehorse but also for his difficult temperament. His greatest season came in 1900, when he became the ninth winner of the English Triple Crown. His 1900 campaign began with the 2,000 Guineas at Newmarket. Ridden by Herbert Jones, Diamond Jubilee won the race and established himself as one of the leading 3-yearolds in Britain. He then won the Epsom Derby, completing the second part of the Triple Crown. His Derby victory was followed by a win in the Eclipse Stakes at Sandown Park, where he defeated Chevening and set a new course record.

Diamond Jubilee’s most important victory came in September at Doncaster in the St. Leger Stakes. He won the race by a length and a half, completing the Triple Crown. His victories in the 2,000 Guineas, Derby, and St. Leger placed him among the select group of horses to win all three British Classic races in the same year. Diamond Jubilee finished 1900 with five victories, including these four major races and the Newmarket Stakes. His 1900 season remains one of the notable achievements in British racing history.

17 | John Frederick Herring Jr. (British, 1820–1907) IN THE FARMYARD Oil on canvas, 24” x 24” Signed $5,000. – 7,000.

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18 | John Frederick Herring Jr. (British, 1820–1907) FARMYARD SCENE Oil on canvas, 28” x 36” Signed $12,000. – 15,000.

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

MARY MASON AND HER TWO CHILDREN Oil on canvas, 30 ½” x 26” Dated 1840 $5,000. – 7,000. Provenance: The artist’s collection Major and Mrs. Guy Paget Peggy Augustus Literature: Major Guy Paget, The Melton Mowbray of John Ferneley (1782–1860), New York: Charles Scribner’s Sons, 1931, plate facing page 114 Included in the British Sporting Art Trust’s catalogue of the artist’s works, reference numbers D.40.000.007 and U.40.000.002. Exhibited: John Ferneley, 1782–1860, Leicester Museums and Art Gallery, October 15– November 13, 1960, catalogue #40 Mary Ferneley Mason was the daughter of John Ferneley, depicted here with her daughters, the artist’s grandchildren. THE SPORTING ART AUCTION

20 | John Ferneley Sr. (British, 1782–1860) VELOCIPEDE WITH W. SCOTT UP Oil on canvas, 33 ½” x 42” Signed, inscribed Melton Mowbray, dated $60,000. – 80,000.

Provenance: Commissioned by G. Walker, Esq., Eastwood House; The Earl of Rosebery; Joseph E. Widener (1871–1943), Philadelphia; Thence by descent to his great-grandson, P.A.B. Widener III (1925–1999); By whom sold, Sotheby’s, New York, 3 June 1994, lot 69; Where acquired by Richard Green, Ltd., London; From whom acquired by the present owner. Literature: M. G. Paget, The Melton Mowbray of John Ferneley, Leicester 1931, page 138, no. 299 R. Fountain, John Ferneley (1782–1860): Catalogue of Paintings, online, 2014, page 95, no. T.29.299.006

Velocipede was a British Thoroughbred racehorse and sire who earned a reputation as one of the finest horses of his era. Bred in Yorkshire by Francis Moss, he was a chestnut with a white blaze and three white socks. His sire, Blacklock, was an influential Yorkshire stallion, while his dam, a mare by Juniper, came from a successful racing family. Purchased as a yearling for £120 by William Scott on behalf of William Armitage, Velocipede was trained by William Scott and his brother John at Whitewall, near Malton, Yorkshire. Though initially dismissed as too slight, he soon proved his exceptional ability.

having injured his foreleg in a trial gallop and running heavily bandaged, he led much of the race before weakening to finish third. At 4, Velocipede returned to winning form, taking the York Gold Cup and defeating Bessy Bedlam in a match race. He won the Tradesmen’s Cup at Liverpool in July 1829, his final race. In nine starts, he recorded seven wins, one second, and one third. Retired to stud, Velocipede became a successful sire of three classic winners: Amato, winner of the 1838 Derby; Queen of Trumps, winner of the Oaks and St. Leger in 1835; and Meteor, winner of the 2000 Guineas in 1842.

Velocipede began racing in 1827, winning at Catterick Bridge, York, and Northallerton. At 3, he won the St. Leger at York before contesting the St. Leger Stakes at Doncaster. Despite

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21 | Wilfrid Constant Beauquesne (French, 1847–1913) LE MEILLEUR AMI DU CAVALIER Oil on canvas, 18 ½” x 22” Signed, dated 1883 $3,000. – 5,000.

22 | Victor Eugène Géruzez (French, 1840–1906) RACE DAY Watercolor, 17” x 23” Signed with his pseudonym “Crafty-Linn” $4,000. – 6,000.

23 | George Ford Morris (American, 1873–1960) WHIRLAWAY Oil on board, 18” x 14 ¼” Signed, dated ’44, titled verso $4,000. – 6,000.

Exhibited: Hagerstown Museum of Art, 2008 Whirlaway was one of the most remarkable racehorses in American racing history. Bred by Calumet Farm and foaled in 1938, the chestnut colt was by Blenheim II and out of Dustwhirl. Trained by Ben Jones and ridden by jockey Eddie Arcaro, Whirlaway quickly became known for his brilliance, distinctive long tail, and unusual running style. In 1941, Whirlaway captured the Kentucky Derby by nearly nine lengths, setting a new Derby record of 2:01 2/5. He followed with victories in the Preakness and Belmont stakes, becoming the fifth winner of the American Triple Crown. He also won the Travers Stakes that summer, becoming the first horse to accomplish racing’s celebrated “grand slam.” He was named Horse of the Year in 1941. Whirlaway’s fame soon extended beyond the racetrack. On June 9, 1941, the Midland Telegram reported that his owner, Warren Wright

of Calumet Farm, had commissioned leading equestrian artist George Ford Morris to paint the colt’s picture before Whirlaway left for the Arlington Classic in Chicago. The commissioned work was a head portrait, emphasizing the distinctive character and appearance of the champion. The Morris painting is dated 1944 and was later reproduced by the New York Graphic Society as Whirlaway (Study). Issued in 1945, the lithograph brought Morris’s portrait of the champion to a much wider audience and helped cement the legacy of both horse and the artist. Whirlaway retired after the 1942 season with 32 victories from 60 starts and earnings exceeding $561,000. His achievements made him an enduring symbol of Calumet Farm’s golden age, while Morris’s portrait preserves the image of one of American racing’s greatest champions. THE SPORTING ART AUCTION

24 | George Ford Morris (American, 1873–1960) MAN O’ WAR WITH KUMMER UP Oil on board, 21 ¾” x 28” Signed, dated 21-55 $10,000. – 15,000.

Exhibited: Hagerstown Museum of Art, 2008 Man o’ War was a favorite subject of Morris’, as the artist had “never grown tired of endeavoring to depict the dignity, grace and power that were characteristic of his every pose and movement.” As he notes on page 74 of his book, Portraitures of Horses, the champion “was a noble horse – great hearted, courageous and intelligent. His conformation for his job as a race horse was just as satisfying – to my artistic sensibilities – as was his character and disposition.” Morris portrayed the horse several times in his career, including a charcoal triptych purchased by Man o’ War’s owner, Samuel D. Riddle. The artist also discusses this work on page 74: “Two oil portraits of Man o’ War, that are also to remain in my ‘Collection,’ are neither of them yet completed. The one with Kummer up, reproduced by photogravure, is still in the process of having a background painted in that will render it more effective artistically, and the other…” Morris illustrates the photogravure work on page 72 of his book as it appeared in

1921 before the background was completed. As evidenced by his dating of the work 21-55, the artist did return to finish the background in 1955, three years after the book’s publication. Man o’ War was one of the greatest racehorses in American racing history, and his remarkable career was closely associated with jockey Clarence Kummer. Foaled in 1917, the chestnut colt was bred by August Belmont II and raced by Samuel D. Riddle. Kummer rode Man o’ War in many of his most important victories, including the Preakness Stakes, Belmont Stakes, and Travers Stakes in 1920. Together they formed one of the most celebrated horse-and-jockey partnerships of the era. Man o’ War won 20 of his 21 starts, setting numerous records and dominating his rivals with his exceptional speed and power. His only defeat came against Upset in the 1919 Sanford Memorial. After retiring in 1920, Man o’ War became a hugely popular national celebrity and an influential sire.

25 | Richard Stone Reeves (American, 1919–2005) LOTHARIO Oil on canvas, 20” x 24” Signed, inscribed, dated ’75 $9,000. – 12,000.

Provenance: Dr. Robert Fishman Richard Stone Reeves flew to Lexington to sketch Lothario in the flesh, with Calumet Farm as the backdrop. Lothario, bred and raced by Lucille Wright Markey’s fabled Calumet Farm, was the farm’s best hope for the Centennial Kentucky Derby of 1974. From Calumet’s best family, Lothario’s dam was Tim Tam’s multiple stakes producing full sister, Mon Ange, a daughter of Two Lea. Trainer Reggie Cornell was emphatic about the colt’s potential, saying, “Lothario had more ability and promise than any horse I have ever trained. As far as conformation is concerned, well...he’s the most beautiful horse I’ve ever seen.” Margaret Glass, Calumet’s business and office manager, who was at the helm for all eight of Calumet’s Kentucky Derby wins, shared the optimism, declaring, “This is the colt we have been waiting for.” Then she added, “He was farm manager Melvin Cinnamon’s pick of the crop from the very beginning.” Lothario had turned in brilliant workouts,

and his maiden win was by five widening lengths. But it was not to be, as he suffered an injury in his next start, preventing him from fulfilling the expectations that had surrounded him. Later retired, he was purchased by Robert Fishman, who had followed him closely, and knew well of the esteem held for the colt. Lothario initially stood at The Stallion Station, Lexington, Ky. His first crop proved a resounding success, full of quality, with each and every starter a winner. Included among them was Lot O’ Gold, winner of the Kentucky Jockey Club Stakes, Donn Handicap, and Clark Handicap, and second to Spectacular Bid in the Florida Derby, Blue Grass Stakes, Fountain of Youth Stakes, and Hutcheson Stakes. Lothario vied with Mr. Prospector as the leading first-year sire by average earnings index. Such was his success that a significant offer was made and later accepted to stand him in New York at the inception of their enhanced breeding program.

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26 | Richard Stone Reeves (American, 1919–2005) DR. FAGER Oil on board, 9” x 10” Signed, inscribed $8,000. – 10,000.

Illustrated: Richard Stone Reeves, Royal Blood: Fifty Years of Classic Thoroughbreds (with text by Jim Bolus), Lexington, KY: Blood-Horse, 1994, page 125 “This painting shows Dr. Fager in the infield at Saratoga the year he won the Whitney. He was a rather rangy-looking horse who gave the appearance of being bigger than he was, I guess, because he was always so alert and held his head high while he looked around. As soon as he was taken out of his stall, he was ready to go. He thought he was going to race. He LOVED to race, he LOVED to compete. I don’t think he was any more than 16.2 hands. He was well made, and everything was in the right place. For all his blazing speed, he was amazingly sound. I had to work quickly when

he posed. He did not want to stand still for very long. He was always on his toes. When he was racing, John Nerud held him when he posed for me. John loved that horse, and he knew just how to pose a horse. Later, when I painted Dr. Fager as a stallion in Florida, he was a little quieter than as a racehorse. He always had an aura about him that I loved. Just his presence. I think he was the fastest racehorse I ever saw. He was a horse of sheer blazing speed – that’s how I remember him.” Richard Stone Reeves, Royal Blood: Fifty Years of Classic Thoroughbreds, page 124

27 | Hubert de Watrigant (French, b. 1954) NORTHERN DANCER Oil on canvas, 18 ½” x 23 ¾” Signed, dated ’87 $5,000. – 7,000.

Northern Dancer was one of the greatest Thoroughbred racehorses and most influential sires of the 20th century. Bred in Canada by E. P. Taylor and trained by Horatio Luro, he won 14 of 18 starts and became the first Canadian-bred horse to win the Kentucky Derby. In 1964 he followed his Derby victory with a decisive win in the Preakness Stakes, although he finished third in the Belmont Stakes. He returned to Canada and ended his racing career with a spectacular victory in the Queen’s Plate.

included numerous champions and major stakes winners, most famously Nijinsky, the English Triple Crown winner, as well as The Minstrel, Secreto, El Gran Senor, and many other influential racehorses. His sons and daughters also became highly successful producers, spreading his blood throughout Europe, North America, and beyond. By the end of his stud career, he had sired more than 140 stakes winners and became particularly important as a sire of sires.

Retired to stud in 1965 at Windfields Farm, Northern Dancer quickly established himself as an extraordinary sire. His offspring

In 1987, at the age of 26 and when this was painted, Northern Dancer was retired from stud duties.

Northern Dancer in our upcoming memorabilia auction

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28 | Richard Stone Reeves (American, 1919–2005) ALLEGED, KENTUCKY Oil on canvas, 24 ¼” x 30 ¼” Signed, dated ’85, inscribed $12,000. – 15,000.

Alleged was one of the outstanding Thoroughbreds of the 1970s and one of the greatest horses trained by Vincent O’Brien at Ballydoyle. Bred in Kentucky in 1974, he was by Hoist the Flag out of Princess Pout and was purchased by Robert Sangster and his associates before being sent to Ireland. O’Brien allowed the lightly raced colt time to mature and Alleged eventually developed into a formidable stayer. He won the Great Voltigeur Stakes, Royal Whip Stakes, and Gallinule Stakes in 1977 before finishing second in the St. Leger, the only defeat of his career. He then produced a brilliant performance at Longchamp, winning the Prix de l’Arc de Triomphe with Lester Piggott. In 1978,

Alleged returned to France and won the Arc again, becoming one of the few horses to achieve the historic double. He finished his career with nine victories from 10 starts. Retired to stud in Kentucky, Alleged became a successful sire, particularly of horses capable of staying longer distances. His notable progeny included Law Society, winner of the Irish Derby; Legal Case, winner of the Champion Stakes; Shantou, winner of the St. Leger; and Midway Lady, winner of the 1,000 Guineas and Oaks. He also sired Miss Alleged, winner of the Breeders’ Cup Turf.

29 | Hubert de Watrigant (French, b. 1954) scan to hear from the artist.

LE DEFILE Oil on canvas, 57 ½” x 35” Signed, inscribed and dated ’25 verso $20,000. – 25,000.

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30 | George Collie (Irish, 1904–1975)

H.R.H. PRINCE ALY KHAN WEARING HIS OWN STEEPLECHASE COLOURS Oil on canvas, 35 ¾” x 35” Signed $12,000. – 15,000.

Provenance: Lacy Gallery Prince Aly Khan (1911–1960) was one of the most colorful and successful figures in 20th-century horse racing. The eldest surviving son of Aga Khan III, he inherited a passion for Thoroughbreds and became both an accomplished amateur jockey and a highly successful owner and breeder. As a young man, Aly rode in point-to-point and steeplechase races and continued competing as an amateur into his 40s. He rode winners at prestigious courses, including Chantilly and Longchamp, demonstrating that his interest in racing extended well beyond simply owning horses. He also owned National Hunt horses,

including Royal Tan, who won the Grand National in 1954 for a different owner before later winning a steeplechase for Aly Khan. Following the death of his father in 1957, Aly Khan took over the family’s racing interests and enjoyed an extraordinary period of success. His horses included Petite Etoile, who won the 1,000 Guineas, Oaks, and Champion Stakes in 1959; and Saint Crespin, winner of the Prix de l’Arc de Triomphe that same year. He also raced Charlottesville, winner of the Prix du Jockey Club and Grand Prix de Paris in 1960. That remarkable 1959 season established Aly Khan as Britain’s leading owner, with his horses earning more than £100,000.

31 | Milton Menasco (American, 1890–1974)

PRELIMINARY OF MRS. HUBERT PHIPPS AND FRIENDS, 1963 Oil on board, 8” x 10” Signed, inscribed verso $1,000. – 1,500. Provenance: Mrs. Florence Menasco

32 | Lee Townsend (American, 1895–1965)

THE JOCKEY — MUSTARD AND BLUE Oil on canvas, 15” x 12” Signed $3,000. – 5,000.

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33 | Louis Vidal-Navatel (French, 1831–1892) CERF Bronze, 21” x 15” x 6 ½” Signed $4,000. – 6,000.

34 | Pierre-Jules Mêne (French, 1810–1879) LE SANGLIER Bronze, 8” x 15” x 6” Signed, stamped “J.B. Bronze Garanti Paris” $3,000. – 5,000.

35 | Emmanuel Frémiet (French, 1824–1910) HERON Bronze, 9” x 5” x 3 ½” Signed $3,000. – 5,000.

This work was executed in 1849 and an example was exhibited at the Salon that same year. An example is in the collection of the Musée des Beaux-Arts of Carcassone.

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36 | Gaston d’Illiers (French, 1876–1932) RETOUR DE CHASSE Bronze, 6” x 18 ½” x 3” Signed $5,000. – 7,000.

This work is No. 158 in the artist’s catalogue raisonné. Guy de Labretoigne and Ludovic de Villèle, Gaston d’Illiers, 1876–1932: Catalogue Raisonné, Brinon-sur-Sauldre, France: Éditions Grandvaux, 2012

37 | Yves Benoist-Gironiere (French, 1903–1983) JOCKEY SUR LE JUIT Bronze, 10 ¾” x 16” x 5 ½” Signed, foundry mark $2,000. – 4,000.

38 | Pauline Boumphrey (American, 1886–1959)

MONAVEEN Bronze, 14” x 17 ½” x 5 ½” Signed, inscribed, dated 1950, cast 1977, edition 5 of 12, mark of Morris Singer Foundry $3,000. – 5,000. Provenance: The estate of Lisa Fox Martin

Monaveen was an Irish-bred steeplechaser who became an important figure in the early racing history of Queen Elizabeth II. In 1949, while still Princess Elizabeth, she and her mother, Queen Elizabeth The Queen Mother, became joint owners of Monaveen. The horse was trained by Peter Cazalet and ridden by Tony Grantham, who later became closely associated with the royal family’s National Hunt horses. Monaveen gave Princess Elizabeth her first victory as a racehorse owner on October 10, 1949, when he won the Chichester Handicap Chase at Fontwell Park. He followed that success by

winning the Queen Elizabeth Chase at Hurst Park later that year. Interestingly, Monaveen was the only horse ever jointly owned by the Queen Elizabeth and the Queen Mother. In March 1950, Monaveen contested the Grand National at Aintree. He was a prominent contender and carried the royal colors, with King George VI, Queen Elizabeth, and Princess Elizabeth among the spectators. Monaveen made a serious mistake at The Chair and lost considerable ground, but he recovered to finish fifth behind Freebooter.

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39 | Georges Malissard (French, 1877–1942) LE TANDEM Bronze, 16 ¼” x 36” x 9 ½” Signed, dated 1910 $15,000. – 18,000.

40 | Alexandrovich Lanceray (Russian 1848–1886) THE STEEPLECHASE Bronze, 12” x 17” x 10” Signed in Cyrillic and dated “E. Lanceray / 1882” $4,000. – 6,000.

Born in St. Petersburg, Evgeny Alexandrovich Lanceray specialized in equestrian subjects, many inspired by themes from his native Russia. His bronzes were cast in Russia by the Chopin foundry and later in Paris, where his popularity led the Susse foundry to publish a catalogue of more than 100 of his models. A rare departure from his familiar Russian Cossack subjects, The Steeplechase is among Lanceray’s most ambitious and impressive compositions. Dated 1882, the bronze depicts three jockeys driving their horses over a formidable obstacle. The tightly grouped horses and riders create a powerful sense of movement, capturing the speed, excitement, and physical demands of steeplechase.

Lanceray’s intimate knowledge of horses is evident in the carefully observed anatomy and muscular movement of the animals. The Steeplechase exemplifies Lanceray’s ability to transform an intense sporting moment into a dynamic sculptural composition, combining technical mastery, detailed observation, and an exceptional understanding of the horse in motion. An identical cast was sold at Christie’s, London, lot 291, on June 6, 2017, for $32,000.

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41 | Edward Troye (Swiss/American, 1808–1874) IDLEWILD Oil on canvas, 31” x 38 ½” Signed, dated Nov. 1865 $40,000. – 60,000.

Provenance: Painted for Robert Aitcheson Alexander Thence by family descent Illustrated: Alexander Mackay-Smith, The Racehorses of America, 1832–1872: Portraits and Other Paintings by Edward Troye, Saratoga Springs, New York: The National Museum of Racing, 1981, page 231 Idlewild, a brown mare foaled in 1857, was bred by W.S. Buford of Lexington. She belonged to the first full crop sired by Lexington and was out of Florine, a daughter of Glencoe. Racing in the colors of Captain T.G. Moore, she won both of her starts at age 3, followed by seven victories in eight races at 4 and six wins from seven starts at 5. During the 1861 autumn meeting at the Woodlawn Course in Louisville, she captured the three-mile Woodlawn Challenge Stakes, becoming the second winner of the Woodlawn Vase. At 6, competing at the Centreville

Trotting Track, she set a world record for a mare by running four miles in 7:26¼. At 7, she won one of four starts before being purchased by Robert Alexander, who continued her racing career. At Jerome Park Racetrack in 1866, at age 9, Idlewild finished fourth behind Kentucky in the Inauguration Stakes on September 25 and placed second in the Post Stakes on October 1. In 1869, she was bred to Australian and produced Wildidle, a successful racehorse who later became a leading sire in California.

42 | Randall Davey (American, 1887–1964) MORNING AT THE TRACK Oil on board, 16” x 20” Signed, signed and titled verso $3,000. – 5,000.

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43 | Robert George Talbot Kelly (British, 1861–1934) THE FLIGHT OF THE KHALIFA Gouache en grisaille, 14” x 22” Signed, dated 1898 $2,000. – 4,000.

This work is a study for the monumental painting at the Walker Gallery, Liverpool. “Original study for the large oil painting of the ‘The Flight of the Khalifa From Omdurman.’ It was submitted to Sir Reginald Wingate, Slatin Pasha, Major Watson (A.D.C. to Lord Kitchener) and Mr. Bennet Burleigh by the aid of whose criticisms and comparisons the larger work was completed. – R. Talbot Kelly R.B.A.” – inscribed verso The Battle of Omdurman took place on September 2, 1898, between the British-Egyptian army, led by General Herbert Kitchener, and the Mahdist forces commanded by the Khalifa Abdullahi ibn Muhammad. Kitchener’s forces had a significant

advantage because they were equipped with modern weapons, such as Maxim machine guns and artillery. The Mahdist army was defeated, with thousands of soldiers losing their lives. Following the battle, the Khalifa escaped from Omdurman with a small group of his remaining followers. He escaped into the Sudanese countryside and continued resisting British control until his death at the Battle of Umm Diwaykarat in 1899. Sir Reginald Wingate, an important British intelligence officer, helped track the Khalifa and gather information about his movements. Bennet Burleigh, a war correspondent, witnessed the campaign and reported on the fighting for British newspapers. The battle marked a major victory for Britain and Egypt.

44 | George Wright (British, 1860–1942) POLO AT WINDSOR Oil on canvas, 12” x 24” Signed $6,000. – 9,000.

Provenance: Scott & Fowles, New York; Nicholas Colquhoun-Denvers (Former Chairman of the Hurlingham Polo Association and President of the Federation of International Polo)

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45 | Frederic Whiting (British, 1874–1962) THE WINNING HORSE Oil on canvas, 28 ¾” x 45 ½” Signed $15,000. – 20,000.

Provenance: Phillips, East Anglia, July 4, 1991, lot 226 Sotheby’s, London, November 12, 1997, lot 294 Christie’s, London, December 12, 2019, Lot 16 In The Winning Horse, British painter Frederic Whiting delivers a masterpiece of early 20th-century sporting art. Celebrated for his backgrounds as a war correspondent and illustrator, Whiting brought a sharp, journalistic eye to country leisure. His distinct aesthetic—frequently compared to that of his contemporary, Sir Alfred Munnings—beautifully blends realism with dynamic Impressionism, expertly rendering the soft, damp light and tactile atmosphere of the English countryside. The painting captures the immediate, celebratory aftermath of an amateur point-to-point race. Rather than focusing solely on the speed of the track, Whiting directs the viewer’s eye to the connection between horse, rider, and community. The victor

stands proudly at the center of the composition, its sleek anatomy highlighted against a bustling crowd. To the right, a gentleman in a traditional scarlet hunting coat gestures wide with open arms, guiding the audience’s reverence toward the champion. Surrounding them is a tapestry of Edwardian society: Women in elegant, wide-brimmed hats stand alongside rural workers and race organizers, encapsulating the distinct social hierarchy that defined these sporting events. Through rapid, confident brushwork and an earthy palette of deep reds, browns, and muted greens, Whiting masterfully translates the sensory experience of the racing meet. The canvas pavilion tent in the background and the muddy ground underfoot emphasize the rustic, grassroots origins of point-to-point racing. Ultimately, The Winning Horse remains an exceptional historical document, capturing a fleeting era of British outdoor life where community pride, aristocratic fashion, and a shared love for the equine athlete beautifully converged.

46 | Sir Alfred James Munnings (British, 1878–1959) GOLDEN GORSE STUDY Oil on board, 7” x 10” Signed $12,000. – 15,000.

Munnings spent an extended period honing his plein-air painting skills in the Ringland Hills outside Norwich, England. The landscapes he completed during this time reflected the influence of Impressionism, with its emphasis on natural light, color, and painting directly outdoors. He often used a French easel, allowing him to set up quickly whenever he found a scene that inspired him. Munnings developed a particular fascination with the brilliant yellow of the gorse that covered the hills each spring. In his autobiography, An Artist’s Life, he recalled the experience with great affection:

“During the first rehearsal in my new environment I developed a passion for the gorgeous, blazing yellow of gorse in bloom, and looking back, I am sorrowful to think how little I indulged it and how many springs and summers have slipped away since then. Now lying in the sun, breathing almond scented airs, dreaming, listening to the hum of bees and the tiny snapping of gorse-beans bursting in the heat and stillness of noon. Each year when as President I sat in the center of a dozen men in a half circle in Gallery III, searching and looking for the best work, or later moving through the crowd on private view day, whilst gorse in bloom on Ringland Hills was scenting the air. Another spring passing to summer in vain for me!” (Sir Alfred Munnings, An Artist’s Life, Collector’s Book Club, 1950, page 212)

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47 | Thomas J. Coates (British, 1941–2023) KEENELAND SUMMER SALES — 1986 Oil on board, 11 ½” x 15 ½” Signed $2,000. – 4,000.

48 | Thomas J. Coates (British, 1941–2023) SADDLING STALLS, KEENELAND Oil on canvas, 18” x 24” Signed $3,000. – 5,000.

49 | Thomas J. Coates (British, 1941–2023) KEENELAND PADDOCK Oil on canvas, 26” x 16” Signed $4,000. – 6,000.

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50 | Susie Whitcombe (British, b. 1957) SUMMER RIDE Oil on canvas, 16” x 22” Signed and inscribed verso $9,000. – 12,000.

scan to hear from the artist.

51 | Susie Whitcombe (British, b. 1957)

GLORIOUS GOODWOOD — MILE AND A HALF START Oil on canvas, 18” x 20” Signed, inscribed verso $6,000. – 9,000.

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52 | Susie Whitcombe (British, b. 1957) WINDSOR GREYS, ROYAL ASCOT Oill on canvas, 22” x 25” Signed $10,000. – 15,000.

scan to hear from the artist.

53 | Maurice Taquoy (French, 1878–1952) COURSES A AUTEUIL Gouache on racing program, 14” x 13” Signed $4,000. – 6,000.

Painted over a program page for the races at Auteuil, taking place April 24, 1947.

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54 | Peter Biegel (British, 1913–1989) TEAM SPIRIT, AINTREE Oil on canvas, 20” x 24” Signed, dated ’64 $4,000. – 6,000.

55 | Peter Biegel (British, 1913–1989)

COMING OUT OF THE PACK — FLAT RACE FINISH Oil on canvas, 20” x 24” Signed $4,000. – 6,000.

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56 | Michael Lyne (British, 1912–1989)

THE DUKE OF BECCLEUCHS GOING AWAY FROM A FIND AT CHAPEL HILL Watercolor, 17” x 23 ¾” Signed $4,000. – 6,000. Provenance: Frost and Reed

57 | Lionel D. R. Edwards (British, 1878–1966) GET ON TO THE END — HURSLEY Watercolor gouache, 17” x 13” Signed, dated ’53 $3,000. – 5,000. Provenance: Rowland Ward

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58 | Lionel D. R. Edwards (British, 1878–1966)

START OF THE FIVE FURLONGS, SALISBURY SUMMER MEETING, 1947 Watercolor, 14” x 20” Signed, inscribed $4,000. – 6,000. Provenance: Rowland Ward

59 | Lionel D. R. Edwards (British, 1878–1966) THROW IN, WINDSOR Watercolor, 13 ½” x 20” Signed, dated ’63 $4,000. – 6,000. Provenance: Tryon Gallery

THE SPORTING ART AUCTION

60 | John Skeaping (British, 1901–1980) THE STRETCH, LONGCHAMP Watercolor, 18” x 26 ¾” Signed, dated ’66 $3,000. – 5,000.

61 | John Skeaping (British, 1901–1980) STEEPLECHASING Watercolor, 20” x 27” Signed, dated ’72 $3,000. – 5,000.

Provenance: Purnell Galleries, Baltimore

62 | Arthur Wardle (British, 1860–1949) THE PACK Oil on canvas, 18” x 14” Signed $4,000. – 6,000.

63 | Richard Henry Brock (British, 1871–1943) THE HUNTSMAN DENIED Oil on board, 10 ½” x 14 ½” Signed, dated $2,000. – 4,000.

THE SPORTING ART AUCTION

64 | Michael Lyne (British, 1912–1989)

DUMFRIESSHIRE FOXHOUNDS — SCOTLAND Watercolor, 17” x 23 ¾” Signed $4,000. – 6,000. Provenance: Frost and Reed

65 | Michael Lyne (British, 1912–1989) POINT TO POINT Oil on canvas, 24” x 36” Signed $6,000. – 9,000.

Provenance: Frost and Reed

66 | Sandra Oppegard (American, b. 1941) HUNTING WITH GERMAN WIREHAIRED POINTER Watercolor, 13 ¼” x 16” Signed, signed, inscribed, dated 2026 verso $3,000. – 5,000.

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67 | Lesa Aker (American, b. 1961) GOOD OL’ HENRY Pastel, 20” x 14” Signed $3,000. – 5,000.

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THE SPORTING ART AUCTION

68 | Colin W. Burns (British, b. 1944)

PHEASANT DRIVE, BRECKLAND, NORFOLK Oil on canvas, 32” x 48” Signed $9,000. – 12,000.

69 | James Swanson (American, b. 1959) A CHANGE OF HEART Oil on canvasboard, 30” x 20” Signed, inscribed verso $4,000. – 6,000.

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THE SPORTING ART AUCTION

70 | James Swanson (American, b. 1959) COMING BACK FOR MORE Oil on canvasboard, 20” x 24” Signed, inscribed verso $4,000. – 6,000.

71 | Ian MacGillivray (British, b. 1964)

A MACNAB DAY, HOMAGE TO RODGER McPHAIL Oil on canvas, 30” x 40” Signed, signed, inscribed and dated 2013 verso $9,000. – 12,000. Provenance: Rountree Tryon

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THE SPORTING ART AUCTION

72 | Ian MacGillivray (British, b. 1964) LIMBO AND SWING Oil on linen canvas, 12” x 13” Signed, inscribed and dated 2026 verso $3,000. – 5,000.

73 | Peter Partington (British, 1941–2025) GREY PARTRIDGE Watercolor, 15” x 20” Signed $3,000. – 5,000.

Provenance: Tryon Gallery

74 | George Edward Lodge (British, 1860–1954) PHEASANTS Gouache, 19 ¼” x 13 ¾” Signed $4,000. – 6,000.

THE SPORTING ART AUCTION

75 | H. Kreg Harrison (American, b. 1963) THE TURKEY HUNTER Bronze, 26” x 15” x 8” Signed, dated 2001, edition 2 of 21 $8,000. – 10,000.

Depicting a 1930s turkey hunter, Harrison creates each of his sculptures from live models dressed in authentic period clothing. He has assembled what may be the world’s largest collection of vintage sporting attire, which is currently being photographed for an upcoming feature in Gray’s Sporting Journal. The hunter carries a Browning Auto-5 shotgun, a landmark firearm designed by John Browning, who regarded it as his greatest achievement.

76 | Elizabeth Guarisco (American, b. 1955) SPIRIT OF COMPETITION Bronze, 18 ½” x 23” x 11 ½” Signed, dated 1987, edition 4 of 24 $9,000. – 12,000.

THE SPORTING ART AUCTION

77 | Yang Dong (Chinese/American, b. 1967) MY SONG Bronze, 27 ½” x 35” x 10” (base inc.) Signed, edition 1 of 8 $15,000. – 20,000.

A smaller example of this work is in the collection of the Keeneland Library.

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78 | Jim Reno (American, 1929–2008) SECRETARIAT Bronze, 20” x 29” x 8” Signed, edition 38 of 50 $4,000. – 6,000.

scan here to watch his 1973 Belmont win

79 | Yang Dong (Chinese/American, b. 1967) AUTUMN Bronze, 17” x 26” x 6” Signed, edition 7 of 8 $7,000. – 10,000.

THE SPORTING ART AUCTION

80 | Carl Dahl (American, b. 1952)

BIG RED Porcelain, 19” x 16” x 6 ½” (base inc.) $4,000. – 6,000.

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81 | Susan Leyland (British, b. 1952) POLO PONIES Fired clay, 19” x 12” x 9” Signed $4,000. – 6,000.

THE SPORTING ART AUCTION

82 | Nic Fiddian-Green (British, b. 1963)

TROJAN FRAGMENT II Bronze on wood base, 24 ½” x 13” x 10” (base inc.) Edition of 12 $9,000. – 12,000. 100% of the hammer price of this lot will go to benefit the Thoroughbred Retirement Foundation.

Thoroughbred Retirement Foundation

83 | Nick Bibby (British, b. 1960) HIPPO Bronze, 16” x 18” x 6” Signed, edition 7 of 12 $16,000. – 20,000.

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THE SPORTING ART AUCTION

84 | Nick Bibby (British, b. 1960) PRAIRIE RATTLESNAKE Bronze, 6” x 8” x 6” Signed, edition 3 of 12 $12,000. – 15,000.

85 | Nick Bibby (British, b. 1960) RED FOX AND MOUSE Bronze, 9” x 15” x 4” Signed, edition 6 of 12 $9,000. – 12,000.

86 | 20th Century American WAR Bronze, 22 ¼” x 17 ½” x 10 ¾” $5,000. – 7,000.

THE SPORTING ART AUCTION

87 | Alexa King (American, 1952–2026) WAR AND PEACE (a pair) Bronze, 21” x 19” x 7” (each) Signed, dated ’94, edition 2 of 14 $12,000. – 15,000.

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88 | Max Tannahill (Irish, b. 1959)

THREE FISH, GREEN BOAT Painted reclaimed wood, iron, 21” x 48” x 14” Signed $5,000. – 7,000.

89 | Nicola Lazzari (Italian, b. 1961) scan to hear from the artist.

BOLGHERI Bronze, unique, 20” x 29” x 8” Signed, dated 2025 $18,000. – 22,000.

THE SPORTING ART AUCTION

90 | Edward Brian Seago (British, 1910–1974) A COUNTRY RACE MEETING Oil on canvas, 20” x 30” Signed $40,000. – 60,000.

Provenance: Richard Green, London; Christie’s, London, June 23, 1994, lot 190; with Marlborough Galleries, London; with Springfield Fine Art Ltd, London; From whom the painting was acquired by the present owner in 1996. Edward Seago’s relationship with horses was deeply rooted in his childhood and became an important influence on his early artistic career. His father, a Norwich coal merchant, did not share his son’s passion for art but loved animals and kept two Shire cart horses for hauling coal. These horses may have encouraged Seago to paint equestrian subjects, both to please his father and to pursue his own fascination with animals. As James Russell observes, “The equestrian world offered both a route to success and an opportunity to share his father’s passion” (Edward Seago, 2014, page 14). Because of a childhood heart condition, Seago was discouraged from participating in many physical activities. In early adulthood, however, he asserted his independence and began riding, taking lessons from a local farmer. His interest in horses became academic as well as recreational: He constructed an entire equine skeleton to study the anatomy and articulation of the horse. His father encouraged this enthusiasm, particularly because the family had once feared that Seago’s condition might shorten his life. A major influence on Seago’s career was Sir Alfred Munnings, the renowned Norfolk artist whose reputation rested heavily on his paintings of horses and the English countryside. Seago sought Munnings’s artistic advice following his successful first London

exhibition at the Arlington Gallery in 1929, where he sold 23 paintings on opening day. Their relationship proved invaluable during Seago’s formative years and strengthened his commitment to equestrian subjects. During the early 1930s, Seago painted Norfolk gypsy horses, hunters, steeplechasers, Thoroughbreds, and horses at country fairs and race meets. His racing scenes are particularly compelling, capturing the physical energy of horses beneath dramatic East Anglian skies. Seago’s knowledge as a horseman gave these works an immediacy and understanding of movement that distinguished them from conventional sporting pictures. A Country Race Meeting captures much more than horses heading to the start. It demonstrates Seago’s fascination with the horse, the landscape, and the atmosphere of the English countryside. He combines his knowledge of horses with a sensitive understanding of landscape, movement, and emotion. The viewer can almost feel the nervous pre-race energy coursing through the jockeys, their mounts, and the shifting crowd of racegoers.

Seago continued to paint racehorses, work horses, fox hunters, and gypsy caravans into the late 1930s, when he became increasingly reluctant to make horses his principal subject, and transitioned into more of a landscape painter. This was partly due to inevitable comparisons with Munnings, a true master of the genre, and partly to his growing fatigue with commissioned sporting pictures. Nevertheless, the discipline and knowledge gained through years of studying horses remained fundamental to his artistic development. Although landscape ultimately became his dominant subject, his early equestrian paintings reveal the lasting importance of horses in Seago’s life and artistic identity.

THE SPORTING ART AUCTION

91 | Richard Firth (British, b. 1954)

AMERICAN YACHT VIGILANT RACING THE KING’S YACHT BRITANNIA ON THE CLYDE, 1894 Oil on canvas, 24” x 36” Signed, inscribed verso $20,000. – 30,000.

In 1894, the American yacht Vigilant competed against the British yacht Britannia during the yachting season on the Clyde in Scotland. Vigilant had defended the America’s Cup successfully in 1893, while Britannia was owned by the Prince of Wales, later King Edward VII. Britannia had been launched in 1893 and quickly became a successful racing yacht. One of their important Clyde races took place on July 7, 1894, for the Queen’s Cup of the Royal Clyde Yacht Club. The race included the older yacht Marjorie as well. The course covered

approximately 50 miles. Vigilant and Britannia remained close throughout much of the race, with Vigilant crossing the finish line first at about 4:17 p.m., only 45 seconds ahead of Britannia. However, Britannia had a time allowance, so she was declared the winner after the allowance was applied. The race was one of several contests between the two yachts during 1894. They competed against each other repeatedly in British waters, with Britannia winning most of their races that season.

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92 | LeRoy Neiman (American, 1921–2012) FINISH OF THE DERBY, EPSOM Oil on board, 29 ½” x 20” Signed, inscribed, dated ’62 $25,000. – 30,000.

The 1962 Epsom Derby is remembered as one of the most eventful races in British horse-racing history. Held at Epsom Downs on June 6, 1962, the race featured a large field of 26 runners. The eventual winner was Larkspur, an Irish-bred colt trained by Vincent O’Brien and ridden by Australian jockey Neville Sellwood. Starting at odds of 22–1, Larkspur was regarded as an outsider, making his victory all the more impressive. The race was particularly dramatic because of a serious accident approaching Tattenham Corner. Seven horses

and jockeys were caught up in a pile-up, including the favorite, Hethersett. Fortunately, Larkspur managed to avoid the incident and continued strongly towards the finish. Larkspur went on to win by two lengths, securing Vincent O’Brien his first victory in the prestigious race. The success marked an important milestone in O’Brien’s career, which would later see him become one of the most accomplished and influential trainers in the history of horse racing.

THE SPORTING ART AUCTION

93 | LeRoy Neiman (American, 1921–2012) MAISONS-LAFFITE, GARCIA Oil on canvas, 13 ¾” x 8 ⅝” Signed, inscribed, dated ’62 $9,000. – 12,000.

Provenance: Frank J. Oehlschlaeger Gallery, Chicago Maxime Garcia was a French jockey who was active during the 1950s and 1960s. He was one of France’s leading jockeys and was champion jockey in 1961, when he had 143 wins. Garcia rode in the Prix de l’Arc de Triomphe several times. In 1960, he rode longshot Puissant Chef to win the Arc. Garcia was closely connected with Maisons-Laffitte, an important center for horse racing and training in France. A race at Chantilly is now named the Prix Maxime Garcia.

94 | Frank Nelson Ashley (American, 1920–2007)

LONGCHAMP PADDOCK, GRAND PRIX DE PARIS Oil on canvas, 50” x 70” Signed $18,000. – 22,000.

THE SPORTING ART AUCTION

95 | Claude Grosperrin (French, 1936–1977) LES ECURIES A BAGATELLE Oil on canvas, 32” x 26” Signed, inscribed verso $12,000. – 15,000.

96 | Claude Grosperrin (French, 1936–1977) LE CHAMP DE COURSE A AUTEUIL Oil on canvas, 25 ¾” x 32” Signed, inscribed verso $12,000. – 15,000.

THE SPORTING ART AUCTION

97 | Ricardo Arenys Galdón (Spanish, 1914–1977) BEFORE THE PARADE Oil on canvas, 35” x 45” Signed $8,000. – 10,000.

Provenance: Tryon Gallery

98 | Ricardo Arenys Galdón (Spanish, 1914–1977) GOING TO THE START Oil on board, 23” x 35” Signed $5,000. – 7,000.

Provenance: Pieter Wenning Gallery, Johannesburg; Christie’s, London, October 6, 2009, lot 317

99 | Paul Ambille (French, 1930–2010) LES CASAQUES Oil on canvas, 20” x 24” Signed, dated ‘81, inscribed verso $4,000. – 6,000.

THE SPORTING ART AUCTION

100 | Jean Mablord (French, 1909–1978) PARADING THE PADDOCK Watercolor, gouache, 21 ¼” x 24 ½” Signed $2,000. – 4,000.

101 | Jean Mablord (French, 1909–1978) PADDOCK AT LONGCHAMP Watercolor, gouache, 18 ½” x 24 ½” Signed $2,000. – 4,000.

102 | Camille Hilaire (French, 1916–2004) PADDOCK A DEAUVILLE Oil on canvas, 29” x 36” Signed, inscribed verso $12,000. – 15,000.

THE SPORTING ART AUCTION

103 | Jeaneen Barnhart (American, b. 1967)

MOVEMENTS OF DRESSAGE (set of four) Pastel, charcoal, 8” x 10 ½” (each) Signed $2,000. – 4,000.

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104 | Paul Ambille (French, 1930-2010) AU POLO Oil on canvas, 28 ¾” x 23 ¾” Signed, dated ’88, inscribed verso $5,000. – 7,000.

THE SPORTING ART AUCTION

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105 | Henry Koehler (American, 1927–2018)

STEEPLECHASERS COVERING GROUND Oil on canvas, 11” x 19” Signed, inscribed verso $4,000. – 6,000.

106 | Henry Koehler (American, 1927–2018) BEFORE THE RACE Watercolor and charcoal, 17 ½” x 22 ½” Signed $2,000. – 4,000.

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107 | Katherine Landikusic (American, 1965–2025) GOING TO POST Oil on board, 18” x 24” Signed, dated 2003 $5,000. – 7,000.

THE SPORTING ART AUCTION

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108 | Katherine Landikusic (American, 1965–2025) GOING TO POST II Oil on board, 18” x 24” Signed, dated 2003 $5,000. – 7,000.

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109 | Peter Howell (British, 1932–2024) SADDLING, KEENELAND Oil on canvas, 40” x 50” Signed $30,000. – 40,000.

THE SPORTING ART AUCTION

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110 | Peter Howell (British, 1932–2024)

THE BARN AREA, SAN LUIS REY, CALIFORNIA Oil on canvas, 14” x 18” Signed $4,000. – 6,000.

111 | Peter Howell (British, 1932–2024) CHANTILLY Oil on canvas, 14” x 18” Signed $4,000. – 6,000.

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112 | Peter Howell (British, 1932–2024)

ON THE HEATH, INSIDE THE PLANTATION, NEWMARKET Oil on canvas, 14” x 18” Signed $4,000. – 6,000.

THE SPORTING ART AUCTION

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113 | Peter Howell (British, 1932–2024) MARES AND FOALS Oil on canvas, 24” x 28” Signed $14,000. – 18,000.

114 | Hubert de Watrigant (French, b. 1954) THE START Watercolor, pastel, 14” x 20” Signed $4,000. – 6,000.

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115 | Booth Malone (American, b. 1950)

RICHARD MIGLIORE, JOSE SANTOS AND PAT DAY (Set of three) Oil on canvas, 18” x 11” (each) Signed $6,000. – 9,000.

Richard Migliore, Pat Day, and Jose Santos are three accomplished jockeys who share an impressive collection of achievements in Thoroughbred racing. All three finished their careers with more than 4,000 victories, won a Breeders’ Cup race, received an Eclipse Award, and were honored with the George Woolf Memorial Jockey Award. Richard Migliore, known as “The Mig,” rode primarily on the New York racing circuit during a career that lasted from 1980 to 2010. He finished with 4,450 wins. Migliore won the Eclipse Award for Outstanding Apprentice Jockey in 1981 and captured the Breeders’ Cup Turf Sprint aboard Desert Code in 2008. He also received the George Woolf Memorial Jockey Award that same year.

Pat Day was one of the most successful jockeys in racing history. He retired in 2005 with 8,803 victories and was a four-time Eclipse Award winner. Day won 12 Breeders’ Cup races, including the inaugural Breeders’ Cup Classic in 1984 aboard Wild Again. He received the George Woolf Memorial Jockey Award in 1985 and was inducted into the Racing Hall of Fame in 1991. Jose Santos, originally from Chile, retired in 2007 with 4,083 victories. He won the Eclipse Award in 1988, seven Breeders’ Cup races, and the George Woolf Memorial Jockey Award in 1999. Santos also won the Kentucky Derby and Preakness Stakes aboard Funny Cide in 2003.

THE SPORTING ART AUCTION

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116 | Booth Malone (American, b. 1950) NEWMARKET Oil on canvas, 24” x 30” Signed $4,000. – 6,000.

Provenance: Frost and Reed

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117 | Booth Malone (American, b. 1950)

TIMBER RACE START, GOLD CUP RACES, VIRGINIA Oil on canvas, 24” x 30” Signed $4,000. – 6,000. Provenance: Frost and Reed

THE SPORTING ART AUCTION

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118 | Larry Dodd Wheeler (American, b. 1942) THE GOLD CUP PADDOCK, 1999 Oil on canvas, 24” x 30” Signed $5,000. – 7,000. Provenance: Frost and Reed Inscribed verso: Smithwick Tacking Up Artbuyer, Mikey Smithwick and his son. The 1999 Virginia Gold Cup was a historic running of one of America’s most important timber races. Held at Great Meadow in The Plains, Virginia, the four-mile race featured the legendary Saluter, who was attempting to win the Gold Cup for an unprecedented sixth consecutive year. Ridden and trained by Jack Fisher, the 11-year-old gelding faced a strong challenge from Gold Quoit, ridden by Chip Miller. Saluter ultimately prevailed by four lengths, setting a new course record of 8 minutes and 234⁄5 seconds.

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The 1999 race also reflected the deep family traditions that have always been important to Virginia steeplechasing. The Smithwick family was already one of the most respected names in the sport. D. M. “Mikey” Smithwick had been a leading rider and trainer, winning the Virginia Gold Cup in 1946 aboard Houseman. His son, D. M. “Speedy” Smithwick Jr., continued the family tradition and became a successful amateur jockey and trainer. Speedy had already won the Virginia Gold Cup in 1984 aboard Constantine, making the Smithwicks one of the historic father-son combinations in the race’s history.

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119 | Larry Dodd Wheeler (American, b. 1942) SARATOGA LANE, OKLAHOMA Oil on canvas, 18” x 24” Signed $3,000. – 5,000. Provenance: Frost and Reed

120 | Larry Dodd Wheeler (American, b. 1942) BLUE AND GOLD, AIKEN Oil on board, 18” x 24” Signed $4,000. – 6,000.

THE SPORTING ART AUCTION

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121 | Marcus Hodge (British, b. 1966) STOPPING FOR A DRINK Oil on canvas, 44” x 69 ¼” Signed $20,000. – 25,000.

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122 | Marcus Hodge (British, b. 1966) GREY HORSE, PUSHKA Oil on canvas, 26” x 34” Signed $6,000. – 9,000.

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THE SPORTING ART AUCTION

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123 | Peter Williams (New Zealander/American, 1934–2018) KEENELAND BACK RING Oil on canvas, 14” x 18” Signed $2,000. – 4,000.

124 | Peter Williams (New Zealander/American, 1934–2018) KEENELAND SALES BARNS Oil on canvas, 18” x 24” Signed $4,000. – 6,000.

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125 | Valerie Hinz (Canadian, 1956–2022) FINAL TURN, WOODBINE Oil on board, 36 ¼” x 49 ¼” Signed $8,000. – 10,000.

THE SPORTING ART AUCTION

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126 | Jill Soukup (American, b. 1969) MORNING PULSE Oil on canvas, 35 ½” x 28” Signed $10,000. – 15,000.

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127 | Frank Eber (American, b. 1966)

MORNING WORKOUTS, SANTA ANITA Oil on board, 16” x 20” Signed, dated ’26 $3,000. – 5,000.

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128 | Frank Eber (American, b. 1966)

THE LEAD HORSE, SANTA ANITA Oil on board, 16” x 20” Signed, dated ’26 $3,000. – 5,000. THE SPORTING ART AUCTION

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129 | Fred Stone (American, 1930–2018) WAR EMBLEM Acrylic on board, 19” x 23” Signed $8,000. – 10,000.

War Emblem was a American Thoroughbred racehorse who became one of the stars of the 2002 racing season. Born in 1999, he was trained by Bob Baffert and ridden by Victor Espinoza. War Emblem was known for his speed and strong front-running style. In 2002, War Emblem won the Kentucky Derby by four lengths. He then competed in the Preakness Stakes, where he faced the 45-1 longshot Magic Weisner. War Emblem held off Magic Weisner’s late challenge and won the Preakness by three-quarters of a length.

After his racing career, War Emblem became a breeding stallion at Shadai Stallion Station in Japan. His best-known progeny included Robe Tissage, the 2012 Japanese champion 2-yearold filly, and Black Emblem, winner of the Shuka Sho. Other successful offspring included Civil War, King’s Emblem, War Tactics, Shonan Alba, Air Pascale, and All Blush. War Emblem retired from stud in 2015 and spent his final years at Old Friends in Kentucky.

2002 Preakness

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130 | Fred Stone (American, 1930–2018) PREAKNESS, 1997 Acrylic on board, 18” x 26 ½” Signed $9,000. – 12,000.

Silver Charm was one of the most memorable racehorses of the 1990s. Born in 1994, the gray colt was trained by Bob Baffert and ridden by Gary Stevens. He was owned by Robert and Beverly Lewis and became a top competitor during his 3-yearold season in 1997. After winning the Kentucky Derby by a head over Captain Bodgit, Silver Charm headed to Baltimore with a chance to win the second jewel of the Triple Crown. The 1997 Preakness Stakes was held at Pimlico Race Course on May 17. Silver Charm entered the race as one of the favorites after his Derby victory. The race became an exciting battle between Silver Charm and Free House, with Captain

Bodgit also making a strong late run. In the final strides, Silver Charm fought hard and managed to get his head in front of Free House, winning the Preakness by a head. Captain Bodgit finished third, while Touch Gold finished fourth. Silver Charm completed the 1 3/16-mile race in 1:54.80. The victory gave Silver Charm two Triple Crown wins and set him up with a chance to become the first Triple Crown winner since Affirmed in 1978. However, Touch Gold defeated him in the Belmont Stakes by three-quarters of a length. Silver Charm was inducted into the National Museum of Racing and Hall of Fame in 2007.

1997 Preakness

THE SPORTING ART AUCTION

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131 | Peter Smith (British, 1949–2025) THE CREE LODGE STRING Oil on canvas, 26” x 36” Signed $7,000. – 10,000. Provenance: Frost and Reed

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132 | Clive Madgwick (British, 1934–2005) HADLEIGH SHOW Oil on canvas, 14” x 22” Signed, inscribed vero $3,000. – 5,000.

133 | Malcolm Coward (British, b. 1948)

MORNING EXERCISE ON THE HEATH Oil on canvas, 24” x 30” Signed $4,000. – 6,000.

THE SPORTING ART AUCTION

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134 | Hubert de Watrigant (French, b. 1954) 1978 Belmont Stakes

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STUDIES OF ALYDAR, CALUMET FARM, LEXINGTON, KY Oil on canvas, 18” x 22” Signed $5,000. – 7,000.

Alydar occupies a special place in Thoroughbred racing history, remembered both for his exceptional ability and for one of the sport’s greatest rivalries. Foaled in 1975, the chestnut son of Raise a Native and Sweet Tooth was bred and raced by Calumet Farm and trained by John Veitch. Alydar won 14 of his 26 races, including 11 stakes victories.

Their defining encounters came during the 1978 Triple Crown. Affirmed narrowly defeated Alydar in both the Kentucky Derby and Preakness Stakes. In the Belmont Stakes, Alydar mounted a determined late challenge, but Affirmed prevailed by a length and a half to become the first Triple Crown winner since 1948.

His legacy is inseparable from that of Affirmed, his great contemporary. The two colts first met as 2-year-olds in 1977 and raced against one another 10 times, with Affirmed winning seven. Their contests were remarkably close and intense, with Alydar repeatedly pushing his rival to the limit.

Although Alydar never captured the Triple Crown, he became a champion in his own right and an important sire. After retiring, he returned to Calumet Farm, where he produced outstanding racehorses including Hall of Fame members Alysheba and Easy Goer, as well as Turkoman, Strike the Gold, and Criminal Type.

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135 | Hubert de Watrigant (French, b. 1954)

UN SIECLE DE COURSES A DEAUVILLE Silk (Hermès scarf designed by Hubert de Watrigant) 35” x 35” Signed $2,000. – 4,000.

Hubert de Watrigant has worked regularly with Hermès since 1989 and is one of the house’s notable illustrators. Jean-Louis Dumas, a former chairman of Hermès, described his experience with de Watrigant and his work as follows: “Some people lighten us. Their talents open up your eye, carry you away, deprive you of the delicacy of your everyday mask of inhibition and reduce your anesthesia. For several years,

I have had the privilege to observe Hubert de Watrigant moving forward in the free but rocky way of artists and illustrators. Guided by instinct, he has trusted his stroke, has merged into his spontaneous watercolors. He based his work on horses, hunt dogs and … he drew from his clever and graceful hand the strength to create series of amazing and engaging pictures. The carrés that were born from his collaboration with our firm honor Hermes’ label and give it a supplement of elegance.”

THE SPORTING ART AUCTION

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136 | Katie O’Sullivan (British, b. 1959)

BREEDERS’ CUP 2026 — THE START Oil on silver leaf, on panel, 31 ½” x 27 ½” Signed, dated 2026 $12,000. – 15,000.

“I’ve been lucky enough to attend the Breeders’ Cup with runners in the past, and to experience first-hand the thrill and excitement of this global championship event. When I was asked to be the official artist, I was keen to capture the unique atmosphere, both competitive and friendly, that exists when ‘racing people’ from all around the world come together for a championship event where dreams are made.

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“There’s an extraordinary energy to it and at the heart of it all are the connections between the horses, the riders, and everyone who loves this sport. “I’m absolutely thrilled to have been appointed official artist for the Breeders’ Cup 2026. It’s an extraordinary honor to bring my work to such an iconic stage in international racing.” —Katie O’Sullivan

137 | Katie O’Sullivan (British, b. 1959)

BREEDERS’ CUP 2026 — AT THE RACES Oil on panel, 31 ½” x 27 ½” Signed, dated 2026 $12,000. – 15,000.

THE SPORTING ART AUCTION

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138 | Jill Soukup (American, b. 1969) AFTERGLOW Oil on canvas, 20” x 16” Signed $3,000. – 5,000.

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139 | Peter Curling (Irish, b. 1955) JOCKEY STUDIES Watercolor, 12” x 20 ½” Signed $3,000. – 5,000.

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140 | George Claxton (American, 1947–1995) GROOMS Oil on canvas, 25 ½” x 36” Signed, dated ’93 $7,000. – 10,000.

THE SPORTING ART AUCTION

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141 | Jeaneen Barnhart (American, b. 1967) AROUND THE TURN Pastel, 40” x 26” Signed $3,000. – 5,000.

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142 | Richard Schmid (American, 1934–2021) THE CARRIAGE HORSE Conte, 18” x 22” Signed $2,000. – 4,000.

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143 | Weatherly Stroh (American, b. 1974) REVERIE Oil on canvas, 30” x 40” Signed $6,000. – 9,000.

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THE SPORTING ART AUCTION

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144 | Andre Pater (Polish/American, b. 1953) GIRAFFE Graphite on paper, 14” x 12 ½” Signed $2,000. – 4,000.

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145 | Andre Pater (Polish/American, b. 1953) EARLY ARRIVAL Oil on canvas board, 23” x 18” Signed $25,000. – 30,000.

Illustrated: A Matter of Light: The Art of Andre Pater, Fincastle Publishing, 2019, page 123

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

SECRETARIAT WITH RON TURCOTTE UP Pastel, 20” x 24” Signed, dated ’04 $40,000. – 60,000. Illustrated: A Matter of Light: The Art of Andre Pater, Fincastle Publishing, 2019, page 104

scan here to watch his 1973 Belmont win

Exhibited: The Bluegrass Palette of Andre Pater, June 27 – October 10, 2010, University of Kentucky Art Museum, Lexington, KY Illustrated in the catalogue accompanying the exhibition on page 43.

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147 | Andre Pater (Polish/American, b. 1953) PHIPPS SILKS Pastel, 33” x 23” Signed, dated ’07 $60,000. – 90,000.

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148 | Jaime Corum (American, b. 1973) scan to hear from the artist.

AMERICAN KINGS (TAPIT, INTO MISCHIEF, CURLIN) Oil on canvas, 16 ¾” x 31” Signed $4,000. – 6,000.

Tapit, Into Mischief, and Curlin are among the most accomplished stallions of the modern American Thoroughbred industry, each combining significant racetrack credentials with an exceptional record as a sire. Tapit, a son of Pulpit, won the 2004 Wood Memorial Stakes and was retired to stud at Gainesway Farm in 2005. He became a three-time leading sire in North America whose offspring, including 35 grade 1 winners, have earned more than $230 million. His influence on the American classics is particularly notable: Tonalist, Creator, Tapwrit, and Essential Quality made Tapit the first stallion since Lexington in the 19th century to sire four Belmont Stakes winners. Into Mischief, by Harlan’s Holiday, won six races during his 17-start career before beginning his stud career at Spendthrift Farm. He has become the dominant sire

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of his generation, leading the North American sire list for multiple consecutive years. His progeny includes Kentucky Derby winners Authentic, Mandaloun, and Sovereignty, as well as numerous other grade 1 winners, demonstrating his ability to consistently produce elite racehorses. Curlin, by Smart Strike, was Horse of the Year in 2007 and 2008 and earned more than $10.5 million. His victories include the Preakness Stakes, Breeders’ Cup Classic, Dubai World Cup, and two editions of the Jockey Club Gold Cup. His influence has continued through outstanding offspring, including champions Malathaat and Nest, as well as Palace Malice, Vino Rosso, and Good Magic. Palace Malice won the 2013 Belmont Stakes, while Vino Rosso became a champion older horse after winning the 2019 Breeders’ Cup Classic.

149 | Jaime Corum (American, b. 1973) AMONG THE TULIP POPLARS Oil on canvas, 30” x 24” Signed $4,000. – 6,000.

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150 | Sandra Oppegard (American, b. 1941)

RIVER STILLNESS, KENTUCKY RIVER Watercolor, 12 ¼” x 18” Signed, signed, inscribed, dated 2026 verso $3,000. – 5,000.

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151 | Sandra Oppegard (American, b. 1941) GOLDEN TEMPO Watercolor, 22” x 30” Signed, signed, inscribed, dated 2026 verso $4,000. – 6,000.

Golden Tempo is a 3-year-old American Thoroughbred racehorse. He was bred by Phipps Stable and St. Elias Stable and is trained by Cherie DeVaux. His sire is Curlin and his dam is Carrumba, by Bernardini. Golden Tempo won his first race at Fair Grounds in December 2025 and followed it with a victory in the grade 3

Lecomte Stakes in January 2026. He then finished third in both the Risen Star Stakes and Louisiana Derby. On May 2, 2026, Golden Tempo won the Kentucky Derby at Churchill Downs, ridden by Jose Ortiz. He later won the Belmont Stakes at Saratoga, earning his second Triple Crown victory.

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152 | Lisa Palombo (American, b. 1965) LADY’S SECRET AND PAT DAY Acrylic on paper, 24” x 18” Signed $3,000. – 5,000.

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Lady’s Secret was one of the outstanding race mares of the 1980s. A daughter of Secretariat, she was trained by D. Wayne Lukas and owned by Eugene and Louise Klein. Despite her relatively small size, she was known for her toughness and consistency. She won 25 of 45 races and earned more than $3 million. In 1986, she won 10 races, including eight grade 1 stakes, and was named Horse of the Year. Jockey Pat Day was an important part of Lady’s Secret’s success. He rode her to several major victories, including the

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1986 Whitney Handicap, Beldame Stakes, and Breeders’ Cup Distaff. In the Whitney, she defeated six male horses by 4½ lengths. She finished her remarkable 1986 season by winning the Breeders’ Cup Distaff by 2½ lengths with Day aboard. After racing, Lady’s Secret became a broodmare. She produced 12 foals, of which 10 started and five became winners. Her offspring included Good Looks, Lady Danzig, Sleepinginseattle, Agnes Liner, Famous Again, and Cool Valley Cowboy. She was inducted into the Hall of Fame in 1992.

153 | John Fitzgerald (Irish, b. 1976) AMERICAN PHAROAH Oil on canvas, 31” x 47” Signed, inscribed verso $6,000. – 9,000.

American Pharoah, a son of Pioneerof the Nile out of Littleprincessemma, was bred and owned by Zayat Stables, trained by Bob Baffert, and ridden by Victor Espinoza. He began his career in 2014 and was named Eclipse Award champion 2-year-old male after winning the Del Mar Futurity and FrontRunner Stakes. In 2015, American Pharoah won the Rebel Stakes and Arkansas Derby before sweeping the Ken-tucky Derby, Preakness Stakes, and Belmont Stakes to become the first American Triple Crown winner in 37 years and the 12th in history. He subsequently won the Haskell Invitational and con-cluded his

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career with a 6½-length victory in the Breeders’ Cup Classic at Keeneland, setting a track record. He retired with nine wins from 11 starts and earnings of $8,650,300 and was named Horse of the Year and champion 3-year-old male. Retired to stud at Ashford Stud, American Pharoah quickly demonstrated his ability as a sire, be-coming leading firstcrop sire. His progeny includes grade 1 winners and notable international per-formers, including Café Pharoah, a twotime winner of Japan’s grade 1 February Stakes. For the 2027 breeding season, American Pharoah will continue to stand at The Shizunai Stallion Station in Japan.

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154 | Juli Kirk (American, b. 1957) MYOPIA Oil on canvas, 24” x 30” Signed $5,000. – 7,000.

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155 | Alfred Defossez (French, b. 1932) LE JOCKEY Oil on canvas, 18” x 15” Signed $3,000. – 5,000.

156 | Gastón Jarry (Argentinian, 1889–1974) LABALLOS DE CIRCO Oil on board, 20” x 24” Signed $2,000. – 4,000.

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157 | Melinda Brewer (Canadian, b. 1957) PARTNERS Oil on board, 12” x 12” Signed $2,000. – 4,000.

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158 | Melinda Brewer (Canadian, b. 1957) WAITING GAME Watercolor, 13” x 13 ¾” Signed $3,000. – 5,000.

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159 | John Rotherham (British, b. 1968) BLUE FEET Oil on canvas, 33 ½” x 53” Signed $6,000. – 9,000.

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160 | Diana Tremaine (American, b. 1964) LISTEN Oil on canvas, 30” x 24” Signed, inscribed, dated 2026 verso $4,000. – 6,000.

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161 | Diana Tremaine (American, b. 1964) REACH Oil on canvas, 36” x 48” Signed, inscribed, dated 2026 verso $7,000. – 10,000.

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162 | Diana Tremaine (American, b. 1964) SHIRE Oil on canvas, 40” x 50” Signed, inscribed, dated 2026 verso $8,000. – 10,000.

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163 | Diana Tremaine (American, b. 1964) DEPART Oil on canvas, 36” x 48” Signed, inscribed, dated ’26 verso $7,000. – 10,000.

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

ARGENTINIAN GROOM, U.S. POLO OPEN CHAMPIONSHIP, KENTUCKY HORSE PARK Oil on paper, 14 ¼” x 19 ¾” Signed, dated ’88 $6,000. – 9,000.

Illustrated: A Matter of Light: The Art of Andre Pater, Fincastle Publishing, 2019, page 177

165 | Leslie Peck (American, b. 1965) STRUTTING SUSSEX Oil on board, 20” x 20” Signed $2,000. – 4,000.

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166 | Kelly Brewer (American, b. 1970) SUMMER REPOSE Oil on canvas, 24” x 48” Signed $8,000. – 10,000.

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167 | Rachael Van Dyke (American, b. 1972)

GREAT HORNED OWL Acrylic, charcoal, and gouache crayon on canvas, 56” x 44” Signed $5,000. – 7,000.

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168 | Emma Faull (British, b. 1956)

RED-LEGGED PARTRIDGE IN SUMMER Watercolor, ink, 29” x 21 ½” Signed paper attached $4,000. – 6,000.

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169 | Emma Faull (British, b. 1956) RED-CROWNED CRANES Watercolor, ink, 39” x 29” Signed, dated 2026 $5,000. – 7,000.

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170 | Jo Taylor (British, b. 1969) CAMEL Mixed media, 59” x 33” Signed $9,000. – 12,000.

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171 | Jo Taylor (British, b. 1969) ELK Mixed media, 33” x 59” Signed $9,000. – 12,000.

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172 | Michael J. Austin (British, b. 1959) HEREFORD BULL Oil on canvas, 30” x 48” Signed $8,000. – 10,000.

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173 | Sophie Brouillet (Canadian, b. 1966) PINK MARTINI Oil on canvas, 30” x 36” Signed, inscribed verso $4,000. – 6,000.

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174 | Sophie Brouillet (Canadian, b. 1966) UNCHALLENGED Oil on canvas, 40” x 30” Signed $4,000. – 6,000.

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175 | Thomas Sherwood La Fontaine (British, 1915–2007) WHITE CHAROLAIS BULL Oil on canvas, 20” x 24” Signed $4,000. – 6,000.

176 | Arthur Jedson “Jed” Smalley (American, b. 1954) scan to hear from the artist.

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GRAZING Oil on canvas, 26” x 48” Signed, dated 2026 verso $6,000. – 9,000.

177 | Andrew Bolam (British, b. 1971) THE WANING CRESCENT Oil on canvas, 36” x 36” Signed, inscribed verso $7,000. – 10,000.

scan to hear from the artist.

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178 | Andrew Bolam (British, b. 1971) PEEK-A-BOO Oil on canvas, 36” x 36” Signed, inscribed verso $7,000. – 10,000.

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179 | Tony Thielen (American, b. 1973)

SHE DOESN’T ASK; HOT HEAD (a pair) Acrylic on canvas, 16” x 12” (each) Signed and inscribed verso $3,000. – 5,000.

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180 | Quang Ho (Vietnamese/American, b. 1963) RED, WHITE, AND BLUE Oil on board, 26” x 29” Signed $12,000. – 15,000.

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181 | Quang Ho (Vietnamese/American, b. 1963) ROPER Oil on board, 28” x 34” Signed $15,000. – 20,000.

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182 | David Kammerzell (American, b. 1953)

WILL ROGERS Oil, acrylic, and composition gold leaf, 30” x 24” Signed $5,000. – 7,000.

Will Rogers was an American cowboy, trick roper, performer, and humorist who became one of the most famous entertainers of his time. Born in the Cherokee Nation in what is now Oklahoma, Rogers developed his skills with horses and ropes at an early age. In 1899, Rogers appeared at the St. Louis Fair as part of the Mulhall Rodeo. In 1901, he left Oklahoma with his friend Dick Parris, hoping to become a rancher in Argentina. After spending several months unsuccessfully trying to establish themselves on the Pampas, Rogers traveled to South Africa, where he continued working with horses and cattle. Rogers’s professional entertainment career began when he joined Texas Jack’s Wild West Circus as a trick roper. He performed rope tricks and riding acts and learned valuable lessons about entertaining an audience. Texas Jack became an important mentor, teaching Rogers how to turn his roping ability into a successful stage act.

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Rogers later traveled to Australia with the Wirth Brothers Circus, where he worked as a rider and trick roper and performed his pony act. He returned to the United States in 1904 and appeared at the St. Louis World’s Fair. His remarkable roping skills eventually brought him to the vaudeville stage, where he became a popular performer. His rope act led to appearances in the Ziegfeld Follies and helped launch his career in theater, film, radio, and newspapers. Although Rogers became famous for his humor and political commentary, his career was rooted in the skills he developed as a cowboy, horseman, and world-class trick roper. One of Rogers’s most famous sayings was “I never met a man I didn’t like” and he even provided an epitaph on this famous epigram: “When I die, my epitaph, or whatever you call those signs on gravestones, is going to read: ‘I joked about every prominent man of my time, but I never met a man I didn’t like.’ I am so proud of that, I can hardly wait to die so it can be carved.”

183 | Suzy F. Smith (American, b. 1951)

LAKOTA SIOUX IN A HAIRDROP — WAPEGNAKA Pastel and charcoal, 23 ¾” x 18” Signed $3,000. – 5,000.

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184 | Richard Smith (British, b. 1955)

QUIET WATERS, RESTING SALMON Oil on board, 31” x 44 ¼” Signed, dated ’89 $7,000. – 10,000. Provenance: King Gallery, New York Sportsman’s Edge Ltd., New York

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185 | David Shepherd (British, 1937–2017) SCAVENGERS Oil on canvas, 9” x 16” Signed, dated ’84 $4,000. – 6,000.

Provenance: The Everard Read Gallery, Johannesburg

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186 | Mike Williams (American, b. 1963) OFF THE GRID Oil on canvas, 48” x 60” Signed, inscribed, dated 2025 verso $7,000. – 10,000.

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187 | Ashley Collins (American, b. 1967)

SHADOW I Mixed Media, Oil and Resin on panel, 48” x 72” Signed, signed and inscribed verso $30,000. – 40,000.

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188 | Dame Elisabeth Jean Frink (British, 1930–1993) LORD GODIVA Graphite on paper, 30” x 21 ¾” Signed, dated ’75 $3,000. –5,000.

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189 | Serhiy Hai (Ukrainian, b. 1959) DRESSAGE Oil on canvas, 51” x 35 ¼” Signed, dated ’18 $14,000. – 18,000.

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190 | Hunt Slonem (American, b. 1951) BROMILLIAD Oil on canvas, 48” x 72” Signed, dated ’77 $30,000. – 50,000.

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191 | Hunt Slonem (American, b. 1951) RAINBOW LORRIES Oil on board, 17” x 25 ½” Signed, inscribed verso $15,000. – 20,000.

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192 | Bill Fletcher (American, b. 1958)

THE EAST FAMILY DWELLING, PLEASANT HILL Oil on board, 24” x 30” Signed $4,000. – 6,000.

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193 | Sandra Oppegard (American, b. 1941) COPPER AWNINGS, KEENELAND Watercolor, 18” x 16” Signed, signed, inscribed, dated 2026 verso $3,000. – 5,000.

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194 | Beatie Clay (American, b. 1951) GREGORY PECK Oil on canvas, 26” x 21” Signed, dated 2026 $4,000. – 6,000.

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195 | Henry Faulkner (American, 1924–1981) TAORMINA, SICILY Oil on board, 17” x 20” Signed $15,000. – 20,000.

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196 | Henry Faulkner (American, 1924–1981) CALIFORNIA LANDSCAPE Oil on board, 10 ½” x 23 ½” Signed $7,000. – 10,000.

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197 | Henry Faulkner (American, 1924–1981) TAORMINA Oil on board, 16” x 19 ½” Signed $15,000. – 20,000.

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198 | Henry Faulkner (American, 1924–1981) CHURCH AT NIGHT Oil on board, 6 ¼” x 10” Signed $5,000. – 7,000.

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199 | Henry Faulkner (American, 1924–1981) WHITE HORSE Oil on board, 8 ½” x 10 ¼” Signed $10,000. – 12,000.

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200 | Henry Faulkner (American, 1924–1981) LOVING GAUGUIN Oil on board, 6” x 7 ¾” $8,000. – 12,000.

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ARTIST

BIOGRAPHIES Adam, Richard Benno German, 1873–1937 Adam studied under Nicolas Gypsies at the Akademie der Bildenden Künste in Munich. Adam’s first equestrian portraits were of the German, Austrian, Bohemian, and Hungarian nobility. He was a war artist during World War I in Galicia and at the Imperial Headquarters in France. During the war, he made several commissioned trips to the United States to paint. Aker, Lesa American, born 1961 A self-taught artist from southern Kentucky, Aker is proficient in pastels and works from photographs. She also draws inspiration from her family’s farm. Aker strives to capture the spirit and essence of her subjects in each work, using color and texture to bring them to life on paper. Ambille, Paul French, 1930–2010 Ambille studied at the Ecole National des Beaux-Arts in Paris and exhibited in France, Italy, the United States, Germany, Japan, China, and Australia. He won numerous prizes, including the 1955 Gold Medal at the Grand Prix de Rome. Ambille captured equestrian scenes, still lifes, seascapes, and marine themes in his unique impressionistic style. Arenys Galdón, Ricardo Spanish, 1914–1977 A native of Barcelona, Arenys Galdon began specializing in equine art in the late 1940s. Arenys had his works exhibited in Barcelona, Madrid, Lisbon, Paris, London, and other major cities. He earned medals for top placings in the 1945 National Exhibition in Madrid and the 1955 National Exhibition of Fine Art in Madrid. Ashley, Frank Nelson American, 1920–2007 A native of the American Midwest, Ashley was born in Lincoln, Nebraska, raised in St. Paul, Minnesota, and studied art at the American Academy of Art in Chicago and the Minneapolis Art Institute. While stationed in London, England, he attended St. Martin’s School of Art. Ashley portrayed equine subjects primarily from 1960 to the early 1980s before his subject matter changed to pop culture. Austin, Michael J. British, born 1959 Using a wet-on-wet oil painting method, Austin has developed his technique of achieving a sculptural effect in his works. He began his professional career producing artwork for Marvel comics and 2000AD and was features artist for the Sunday Times from 1985-1992. Moving toward more serious themes in the 1990s, he achieved a one-man exhibition at the Jonathan Cooper Gallery in London in 1997. His talents have continued to be recognized, and he was named tour artist for the 2003 HRH The Prince of Wales’ official visit to India and Oman.

Barker, Wright British, 1864–1941 Barker started his career as a weft worker in a local textile mill, but while working there he established himself as an artist and was successful enough to exhibit a painting at the Royal Academy. He started painting after joining the Bradford Art Guild, which is likely where he learned to paint and to hone his talent. He is recognized for sporting studies and farm scenes. By 1911 Barker’s income as a painter was sufficient to employ a governess for his children, as well as two live-in domestic servants. 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. Batt, Arthur British, 1846–1911 Known as an animal painter who lived in Lyndhurst in the New Forest, Batt’s subjects mainly included donkeys, dogs, and farm animals. He exhibited his works from 1880–1893, mainly at the Royal Academy, the Glasgow Institute of the Fine Arts, and the Royal Institute of Oil Painters. Beauquesne, Wilfrid Constant French, 1847–1913 Beauquesne was a French painter of military subjects and is best known for his depictions of the Franco-Prussian conflict of 1870. During this time, painters such as Beauquesne were eager demonstrate their pride in being French. Beauquesne was also known to exhibit regularly at the annual Paris Salon between 1887 and 1899 as well as throughout Europe. Beer, John British, 1860–1930 Little is known about the life of Beer, not to be confused with John AxelRichard Beer (1853–1906). He spent most of his life working in London, at one time using the studio formerly used by A. C. Havell over Fores Gallery. For a short period he is recorded as living on Goldsmith Street, Nottingham. Beer worked in oil, watercolor, and gouache. Flat racing and point-to-point racing were his main subjects. His other key works include a set of eight pictures of The Epsom Derby. He regularly painted racehorse portraits in oils and was one of several artists employed by racecourses to produce spontaneous renderings of race finishes. Beer’s drawings were hung at the racecourse so that late arrivals to the racetrack could see who had won the earlier races. THE SPORTING ART AUCTION

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Benoist-Gironiere, Yves French, 1903–1983 The son of an equestrian artist, Benoist-Gironiere began painting and sculpting at a young age. He sculpted his first bronze in his teens and went on to enjoy a lifelong reputation as a professional artist, illustrator, and designer. He was also a French senior officer as well as an accomplished rider. At the beginning of World War II, he was assigned to a reconnaissance group that was taken prisoner by the Germans, and Benoist-Gironiere spent three months in captivity before being rescued. His honors include the War Cross and the National Order of the Legion of Honor. 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. Bolam, Andrew British, born 1971 Born in northern England, Bolam studied graphic design at the Newcastle College of Art. In 1991 he moved to Southern California, worked as a freelance illustrator, and then moved in 1996 to Lake Tahoe to pursue his interest in painting full time. His work, which is mostly about the West, is shown across the western United States and in several galleries. Boumphrey, Pauline American, 1886–1959 Born in Boston but educated in Britain, Boumphrey specialized in stilllife paintings and sculpture, focusing her sculpture on equine and other farm animals. She showed at the Royal Academy in London, the Walker Gallery in Liverpool, and in Glasgow. She was also elected as an associate member of the Manchester Academy of Fine Arts, where she exhibited a war memorial to the civilian victims of the Blitz. Brewer, Kelly Robertson American, born 1970 Brewer’s love of art formed her focus on the past, helping her to graduate from the University of North Carolina with an art history degree. Brewer has become an acclaimed Lexington, Kentucky, artist with a growing national reputation. Master painters Joaquin Sorolla, John Singer Sargent, and Nicolai Fechin greatly influence her impressionistic approach.

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Brewer, Melinda Canadian, born 1957 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. Brock, Richard Henry British, 1871–1943 Brock shared a studio with his brothers, Charles and Henry, who were both talented architecture and fashion illustrators. Richard, though, did not share their interests in those fields. Instead, he concentrated on painting and earned a modest income from painting local landscapes. He is also known for depicting farm scenes and horse portraits, as well as scenes from everyday life in the countryside. Brouillet, Sophie Canadian, born 1966 Brouillet has had a passion for art since she was young and has made a career of it. She is also the owner of her own interior design company, a business she started right out of college. She continues to paint and draws inspiration from the outdoors and spending time with animals. Brown, Henry Harris British, 1864–1948 Brown studied at the Academie Julian in Paris and exhibited at the Paris Salon and the Royal Academy. He was a member of the Royal Society of Portrait Painters of London and was an original member of the National Society of Portrait Painters. He is best known for his portraits but also painted landscapes and sporting scenes. Burns, Colin W. British, born 1944 When his parents moved to a marshland in the country, Burns left his former town life behind but was inspired to paint by the surrounding wildlife and nature. Burns claimed this lifestyle change was his greatest artistic influence. He is known for his landscapes and boating scenes on the marshland. Claxton, George American, 1947–1995 Born in 1947 in Nashua, New Hampshire, Claxton graduated summa cum laude in art from Kent State University in 1973. After arriving in Lexington, Kentucky, in 1976, Claxton soon established himself as one of Lexington’s most versatile artists, equally adept at sculpting and painting. Claxton’s work was well received at several exhibitions from New York to California. In 1978 he had a one-man show at the Headley-Whitney Museum in Lexington. That same year, Claxton received the commission from Equestrian Events Inc. for the painting commemorating the 1978

World Three-Day Championships held at the Kentucky Horse Park. His works hang in many private and corporate collections throughout the United States and Europe. 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, 1941–2023 At an early age, Coates won his first scholarship to study at the Birmingham College of Art. His work was again rewarded when he was invited to study at the Royal Academy Schools on scholarship. Acclaimed and widely respected in the art world, he was president of the Royal Society of British Artists, the Royal Pastel Society, the Royal Society of Watercolor Painters, and the Society of Equestrian Artists. Collie, George Irish, 1904–1975 Collie gained a reputation as a famed portrait painter and art educator in Dublin. In 1927, he received the Taylor Award, which allowed him to travel throughout London and France. Upon his return to Dublin, he used the remaining award money to open a school and studio. While working at his own school, he also taught at the National College of Art and Design. Collie was a frequent exhibitor at the Royal Hibernian Academy, as well as a commissioned portrait painter for his many patrons. Collins, Ashley American, born 1967 “Oversized” and “massive” are words usually used to describe Collins’ equine art works. Collins’ mega-sized contemporary pieces are achieved through a layering collage technique of equine painting with printed pages and obscured historical images. Collins was mentored by famed modern artist Robert Rauschenberg and has now achieved her own increased level of collectability. 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.

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. Curling, Peter Irish, born 1955 Impressive early talent led this Irishman to fine schools and teachers, including a stint at Millfield, and one in Florence studying with Signorina Nera Simi. It was a brief period of study under John Skeaping, however, that most influenced Curling’s work. He learned a boldness and economy of stroke that are still apparent in his work. Curling lives in the quiet countryside of Ireland. Dahl, Carl American, born 1952 An American sculptor, Dahl holds multiple degrees from Arizona State University, including an MBA and a master’s degree in fine arts. Even though his upper-level corporate positions allowed him to travel, experience, and learn about great things, art was his passion. With more than 20 years dedicated to art, Dahl has been exhibited in America, France, and Japan. Dahl states “In horses, I find beauty, power, and freedom; their legs, that seemed overly long to me as a child, rise to complete the perfect form. They remain one of life’s great joys.” Davey, Randall American, 1887–1964 Davey studied architecture at Cornell University in 1905 and art at the New York School of Art in 1908. He also studied under art academics Robert Henri and Charles W. Hawthorne. He became Henri’s assistant instructor and traveled through Europe with him. By 1919 Davey and his wife had moved to Santa Fe, New Mexico, where he established his studio. Due to the expense of his polo hobby, Davey took numerous positions at major art institutes across the country. His works are collected by major museums nationwide. Defossez, Alfred French, born 1932 Defossez’s first exhibition was in a Parisian gallery in 1956, followed by several exhibitions in Cannes, France, Italy, and the United States. His paintings are popular among private collectors, and he has works in the Modern Art Museum in Tel Aviv. Defossez studied art at the Academie Julian and at the Ecole nationale superieure des beaux-arts in France. His paintings are known for a unique spin on realism. de Neuville, Alfred-Arthur Brunel French, 1852–1941 At age 27 Neuville exhibited his first still-life painting in the Paris Salon. He would go on to exhibit from 1889 to 1909, and he was made an associate in 1907. Throughout his career Neuville was a popular painter

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and a respected practitioner of new academic realism in France. He became a master at capturing the appearance of texture, from the shine of metal to the softness of fur.

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.

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.

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.

d’Illiers, Gaston French, 1876–1932 Starting out as a rider, d’Illiers showed a deep passion for and knowledge of horses. He decided to become a sculptor and started modeling horses. Most of his works are portraits of real horses and horses he knew. Many horse lovers appreciate his work because of the personal connection he had with many of his subjects. He enjoyed a life of privilege, often hunting on horseback. Dong, Yang Chinese/American, born 1967 Inspired by his grandfather’s collection of European sculptures and paintings, Dong started to make plasticine animal models at the age of five. He attended the Tianjin Art and Crafts School and the Central Academy of Arts in Beijing. Yang has developed his own sense of style in his sculpture, which blends classical sculptural language with Eastern Humanistic qualities. Dong has been named one of the 16 best sculptors in 2021 and one of 11 best sculptors in 2020 by America’s top 25 galleries and museums. Eber, Frank American, born 1966 Eber is a professional illustrator and a portrait artist by commission. He is a member of the American Watercolor Society, the National Watercolor Society, and the Transparent Watercolor Society. Eber also conducts workshops and demonstrations focusing on watercolors. Edwards, Lionel D. R. British, 1878–1966 Edwards combined his love of the hunt with drawing to create exhilarating paintings full of life. He became the youngest member of the London Sketch Club and was committed to earning a living from his art. He enjoyed a close working relationship with Country Life magazine and The Graphic and then progressed to traditional painting in watercolor and in oils. He ranks just below Alfred J. Munnings as an important 20thcentury 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.

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Faull, Emma British, born 1956 Faull began her working life at the British School at Athens as an archaeological draughtsman. As a painter she specializes in watercolors of birds, portraying ornithological detail as well as the immediacy of birds in the wild. Faull has held more than twenty solo shows worldwide and has been exhibiting with the Tryon Gallery for more than twenty years. Her paintings are in many permanent collections, including the Audubon Society in the United States and the National Museum of Athens. Queen Elizabeth II and the Duke of Edinburgh were keen collectors of Faull’s work, possessing more than a dozen of her paintings. Faull is a passionate conservationist and this informs her art, with endangered species being well represented in her work. She lives in Jersey, where she carries out work on endangered species for the Durrell Wildlife Conservation Trust. She also returns to Greece every year to teach and runs workshops on endangered species focusing on Aldabra in the Seychelles. Ferneley, John E. Sr. British, 1782–1860 Early talent being recognized, Ferneley was both apprentice and friend to Benjamin Marshall, learning his lessons well. In 1809, he married an Irish woman and moved to Melton Mowbray where he painted successfully for the rest of his life. He was acclaimed by the gentry and provided them with beautiful, elegant pictures of their best hunters and hounds. Prolific until his death at age 78, he left a complete record of his work. Fiddian-Green, Nic British, born 1963 Working in his studio near the stables of Wintershall, Surrey, FiddianGreen is inspired by those horses as live models. His sculptures range in size from smaller to the much larger-than-life Still Water, a 35-foot-tall portrayal of a horse’s head as it drinks. Still Water is on public display at London’s Marble Arch. In addition to bronze, Fiddian-Green works in clay, soapstone, marble, and riveted sheet metal. Firth, Richard M. British, born 1954 Producing only eight or nine paintings per year, 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.

Fitzgerald, Florence Harriet British, 1857–1927 The daughter of John Anster Fitzgerald (1819–1906), Florence was a painter of fairy pictures and other imaginative subjects. She studied at the British Museum and at the Royal Academy Schools, and she went on to exhibit at the Royal Society of Artists, Birmingham, and the Royal Society of British Artists. She worked primarily in oils and watercolors and also in sculpture. Fitzgerald, John Irish, born 1976 The artist in residence at the Curragh Racecourse, Fitzgerald studied at the Industrial Design at Letterkenny RTC from 1994 to 1996 and the Industrial Design University of Wales, Swansea, from 1996 to 1997. Fitzgerald’s work has been acquired by Tattersalls Ireland & UK, Tony Smurfit, Eddie O’Leary’s Lynn Lodge Stud, Ger Lyons Racing, Meath County Council’s new head office, the New Curragh Racecourse, Tinakill House Stud, Moyglare Stud, and major corporate companies throughout Ireland, the United Kingdom, and the United States. Fletcher, Bill American, b. 1958 A native of Lexington, Kentucky, and an outdoorsman, Fletcher was involved in the field of toxicology before he took up painting. Until the mid-1990s painting always took a backseat for Fletcher, but he decided to paint and instruct full time beginning in 1996. 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. Frink, Dame Elisabeth Jean British, 1930–1993 Frink was born in Suffolk and, and her artistic career was shaped by growing up during World War II. She studied at the Guildford School of Art from 1947 to 1949, then studied at the Chelsea School of Art until 1953. After her first solo show in London, which was associated with the “Geometry of Fear” group of sculptors, she was propelled to fame overnight. Her sculpture is dominated by horses, male figures, warriors, dogs, and figures in flight. The war influenced her work in which she attempts to capture the human condition and experience in bronze. Géruzez, Victor Eugène French, 1840–1906 Géruzez, also known by his nickname ‘Crafty,’ was a French comic writer and illustrator who specialized in books about horses and hunting on horseback. He studied under Charles Gleyre and exhibited at the Paris Salon from 1877. Géruzez was a contributor to several reviews, newspapers, and periodicals, including La Vie Parisienne, L’Eclipse, and Le Journal Pour Rire.

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. Guarisco, Elizabeth American, born 1955 A Louisiana native, Guarisco graduated from the University of the South in Sewanee, Tennessee, with a degree in art history. After graduating, she traveled throughout Europe and continued to study bronze work. Back in the States, she turned to equine art and takes great inspiration from such masters as Bernini Cellini and Franz Marc. A rider, she has always been familiar with horses and she took this love to the next level by producing bronzes of horses that display balance and stride. Guarisco summers in Saratoga Springs, New York, where she can further study the anatomy and balance of the horse. 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. Harrison, H. Kreg American, born 1963 Harrison is most well-known for “breathing life into bronze” for more than 30 years. Harrison works directly from duck blinds, horse stalls, and even mountain tops to create his sculptures. His live-action style has made him a popular and recognizable sporting sculptor. 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. THE SPORTING ART AUCTION

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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 Beaux-Arts 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.

Jarry, Gastón Argentinian, 1889–1974 A muralist from Buenos Aires, Jarry graduated from the National Academy of Fine Arts. He created murals for the Argentine Pavilion, which was constructed for the 1889 Paris World Fair and later moved to Buenos Aires, and he was the president of the Asociacion Estimulo de Bellas Artes from 1936 to 1939. His work focuses on portraits, nudes, landscapes, and murals. And his style focuses on his academic training in form and color, which he gained from his travels to Europe.

Hinz, Valerie Canadian, 1956−2022 Hinz lived in Saskatoon, Saskatchewan, and was a professional artist, working in television since 1979. After 21 years Hinz left her television career to pursue oil painting full time. As a horsewoman, painting horses was a natural direction to take. Her first large-scale exhibit was at the U.S. Arabian National Show. She painted all breeds, and her style and palette have been compared to that of Munnings. In 2003, Hinz was the official artist for the Breeders’ Cup at Santa Anita.

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 Southwest Art.

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.

Kelly, Robert George Talbot British, 1861–1934 The son of Irish landscape and portrait painter Robert George Kelly, Talbot Kelly left his formal schooling in 1876 to work in a firm of cotton traders, but he had also received an art education from his father. In the early 1800s, inspired by the places he saw while vacationing in Egypt, Kelly decided to leave his profession, and instead become an artist, specializing in watercolor illustrations for books and papers. He was also president of the Live Sketching Club in Liverpool in 1917 and a member of the Royal Society of British Painters.

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, 1932–2024 Introduced to the world of racing at age 8, the Welsh-born Howell spent his school holidays at Newmarket. He initially pursued a racing career but in the 1960s decided to focus more fully on his painting. His early love of racing informed his art, in which he sought to capture the essence of the sport scene. Howell’s work, influenced by the French Impressionists, is highly regarded and found in many collections. Hunt, Walter British, 1861–1941 Born into a highly artistic family, Hunt is best known for his depictions of farmyard scenes of calves, horses, and dogs. He lived in Wandsworth, London, and was a frequent exhibitor at the Royal Academy from 1881. His work can be seen in the Tate Gallery, Sunderland Museum, and Russell Cotes Art Gallery.

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Kilburne, George Goodwin British, 1839–1924 Having initially trained as a wood engraver, Kilburne specialized in accurately drawn figures and interiors. He was mainly a watercolor painter but also worked in oils and pencil. He was educated at Hawkhurst in Kent and upon leaving there served a five-year apprenticeship under the Dalziel brothers, who were regarded as the best engravers in London at the time. After his apprenticeship, Kilburne fully committed to painting and became immensely popular among the upper classes. He was elected as a member of the New Watercolor Society in 1866. He also exhibited at the Royal Academy between 1863 and 1918. King, Alexa American, 1952–2026 King’s ability to capture the unique vitality and essence of her living subjects in bronze has brought her national renown and made her work some of the most sought after by discriminating collectors. Public and private commissions include a life-sized War Memorial bronze at Camp Atterbury in Indiana; a trophy, Going to the Post, for the Breeders’ Cup Limited; and the Dogwood Dominion Award presented annually by Dogwood Stables in Aiken, S.C. King’s most recent commission is the sculpture of Barbaro on display at Churchill Downs. She was an elected member of the National Sculpture Society.

Kirk, Juli American, born 1957 Kirk’s affinity for animals is apparent in her equine and animal portraits, her specialty of choice. A cum laude graduate of Boston University’s School of Fine Arts, Kirk also attended Queen’s College and the New York Studio School in New York as well as Cabrillo College and the University of Santa Cruz in California. Kirk’s impressionist style has great exuberance and animation. Koch, Georg Karl German, 1857–1927 Originally educated by his father, Koch studied at the Berlin Academy and had his first exhibit there in 1874. He started out painting panoramas and dioramas for Berlin, Leipzig, and even cities in the United States. Later, animals became his passion, and he made a name for himself painting realistic hunting, sporting, and military scenes. He was a member of the Verein Berliner Kuntstler, and in 1886 he was voted to the board of the academy of arts and the country’s art commission. In 1914 Koch was appointed head of class for animal painting at the Academy of Fine Arts in Charlottenburg, Berlin. Koehler, Henry American, 1927−2018 Born in Louisville, Kentucky, Koehler graduated from Yale University and worked in advertising in New York. Entering the freelance arena, he received his first commission from Sports Illustrated. At first he documented his favorite sports, foxhunting and sailing, then added the world of horse racing. Koehler has enjoyed more than 60 one-man shows worldwide and has a loyal following of collectors. La Fontaine, Thomas Sherwood British, 1915–2007 With an inventory spanning 50 years, La Fontaine had an impressive range of styles, from cartoons to photo-like realism to Rubenesque compositions. La Fontaine began training as an artist while in preparatory school and continued when he studied art in London. His commissions were global in demand, covering Europe, Africa, Asia, and North America. Owing to his extraordinary ability, La Fontaine’s works have been confused with those of Alfred J. Munnings and George Stubbs. Lanceray, Alexandrovich Russian, 1848–1886 Lanceray was born near St. Petersburg where, as a young artist, he started visiting artists’ studios. He traveled extensively through Russia, the Caucasus, and Algeria to observe local tribesmen and animals for his studies. He sculpted around 400 works on historical and ethnographic themes using the lost-wax method, in foundries owned by Frenchmen in St. Petersburg. He was awarded the titles of first-class artist in 1872 and honorary fellow of the Imperial Academy of Arts in 1876. Landikusic, Katherine American, 1965−2025 Landikusic studied art at the Marchutz School of Art in Aix-En-Provence, France, and received a B.F.A. from Utah State University. She created equine-oriented designs and a calendar for Hallmark Cards, and painted commissioned portraits of people and horses. An avid equestrian,

Landikusic owned horses and competed in three-day eventing. Her works can be found in the collections of such prestigious farms as Gainesway, WinStar Farm, and Three Chimneys Farm. Lazzari, Nicola Italian, born 1961 Lazzari’s artistry is strongly influenced by the Italian tradition of making small bronzes. However, Lazzari’s works are completely modern in concept while exhibiting this connection to works as early as the 16th century. His work is a strange mixture of the magical and natural and is perhaps also influenced by his cosmopolitan upbringing. He avoids the changes in scale when bringing a large sculpture down to tabletop proportions by creating his art as small works from concept on. Leftwich, George Robert British, 1846−1929 Leftwich was a British painter who hailed from Cheshire. He was known for depicting racehorses, street scenes, and landscapes. Leftwich Hall, which he painted in watercolor, was the family home until 1616. Members of the Leftwich family immigrated to America and became prominent across the South. Leyland, Susan British, born 1952 Born near Cambridge, England, Leyland received a pony at age four from her grandfather, a horse breeder. The gift instilled a lifelong passion for horses. In 1973 she moved to Florence, Italy, and worked as a fashion model for seven years. Afterwards, she moved to Impruneta, Italy, and taught English and horseback riding. While she lived in Impruneta, the work of local terracotta artists inspired her to start sculpting with clay and she held her first exhibition in 1998. The exhibition was so successful she had a second showing at the Galleria Tornabuoni in 1999. In 2000 she became fully dedicated to the art of making horse sculptures. Lodge, George Edward British, 1860–1954 Lodge studied at the Lincoln School of Art before befriending Archibald Thornton, the noted bird and wildlife artist. In 1913 the New Zealand government commissioned him for a book on New Zealand birds. By the end of his career, he had illustrated at least 31 books, including Dr. David Bannerman’s The Birds of the British Isles. 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. Mablord, Jean French, 1909–1978 Little is known about this artist, but he was proficient in watercolor painting and was drawn to equine and other subjects, such as musicians and landscapes. THE SPORTING ART AUCTION

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MacGillivray, Ian British, born 1964 A landscape and wildlife painter, MacGillivray has a particular focus on the Highlands and the traditions that connect communities to the land. His approach to painting is rooted in spending time in the landscapes that he paints and becoming familiar with the people and animals that reside there. MacGillivray exhibits at galleries in the U.K. regularly, and he continues to paint in his studio in Cheshire while maintaining a close connection with the Highlands and the people who live there. Madgwick, Clive British, 1934–2005 Born in London, Madgwick worked as a dentist but then pivoted to art. He was completely self taught and sold his works to his patients. In 1972, he launched his professional career as an artist, working in the Sudbury area and selling his works through Suffolk Galleries. He gradually became well known through his prints, cards, and calendars of his paintings. Malissard, Georges French, 1877–1942 Born in Anzin, France, in 1877 Malissard is known for his sculptures of horses and various sporting activities. His work was exhibited as part of a sculpture competition in the 1932 Summer Olympics. He died in 1942 in Neuilly-sur-Seine in France. 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. Menasco, Milton American, 1890–1974 Born in California, Menasco had a rich and full career as an artist before he devoted his rare genius to equestrian art. In 1948 he left his position with a large New York advertising agency and moved to Kentucky. His work is characterized by a sound understanding of anatomy. Many prominent names in American horse racing were among his clients. Mêne, Pierre-Jules French, 1810–1879 Son of a metalsmith, Mêne was a talented artist, especially in animal sculpture. He exhibited at the Paris Salon of 1838 while still in his 20s, and he became one of the most appreciated sculptors of the animalier school. Mêne enjoyed a fulfilling life in Paris, producing bronzes from his own foundry with his son-in-law, Auguste Cain. Mondy, E. British, active late 19th century Very little is known about the English painter E. Mondy. Nevertheless, the artist was held in sufficient regard to merit the inclusion of a full-page color reproduction of A Portrait of a White English Terrier (1875) in Dog Painting 1840–1940: A Social History of the Dog in Art (color plate 38,

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page 105), published by the Antique Collectors’ Club in 1992. The book describes Mondy as an artist of considerable technical skill, whose work achieves an almost photographic level of realism. Morris, George Ford American, 1873–1960 Morris was born in St. Joseph, Missouri, and was largely self-taught. However, he did attend the Art Institute of Chicago in 1888 and the Julina Academy in Paris in 1925. He is known as a painter, printmaker, sculptor, illustrator, and a very active and astute equine art collector. He was a founding member of the American Animal Artist Association. He wrote and published Portraitures of Horses and George Ford Morris Animals and contributed regularly to equestrian and racing magazines. He painted horses for more than 70 years. Munnings, Sir Alfred James British, 1878–1959 One of the two great masters of sporting art along with George Stubbs, Munnings began as an illustrator after attending art school in Norwich. A keen sportsman, he hunted with both stag hounds and harriers, drawing and painting these events. Although he lost sight in one eye at age 21, his unique artistic vision and interpretation were unimpaired. Working in oils and watercolors and sketching wherever he went, Munnings documented racing and hunting horses, gypsies, and the sporting country life that he himself lived. Neiman, LeRoy American, 1921–2012 Born in St. Paul, Minnesota, Neiman studied at the Art Institute of Chicago where he also taught for 10 years before moving to New York in 1962. He gained renown as official artist for ABC Television’s coverage of the Olympic Games of 1972 and 1976, and as CBS artist for the 1978 Super Bowl. In addition, he was an official poster artist for the Kentucky Derby. Neiman’s work is found in many museums and private collections. Oppegard, Sandra Faye American, born 1941 A graduate of the Art Center College of Design in Los Angeles, Oppegard worked as a freelance illustrator for 23 years for clients such as Max Factor, Redken, Giorgio, and Mattel Toys. Her knowledge of Thoroughbred racing, gleaned from years spent watching her husband train racehorses and traveling with him to tracks around the country, imbues her equine scenes with authenticity. Oppegard has exhibited widely and has won numerous awards. 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.

Palombo, Lisa American, born 1965 Palombo is a renowned contemporary American Impressionist known for her expressive brushwork and use of color. Her paintings capture the elegance and motion of the equine form. Palombo’s work has been featured on more than 40 book covers and showcased in House & Garden, Southern Living, and American Art Review. Her art can also be found in select galleries and private and corporate collections throughout the nation. Partington, Peter British, 1941–2025 A much-loved wildlife artist, printmaker, and prolific watercolorist, Partington was celebrated for his lively, atmospheric depictions of birds and their habitats. He was elected to the Society of Wildlife Artists in 1985. He was also a regular exhibitor at Birdfair, and he inspired generations through his art, teaching, and infectious enthusiasm for the natural world. 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, born 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. Reno, Jim American, 1929–2008 Growing up in Indiana, Reno got his first job at age 7 mucking horse stalls, and it was there that he fell in love with horses. He began sculpting animals in high school, which led to a scholarship to attend the Herron School of Art and Design. After college, he moved to Texas, where he began training horses and continued sculpting. An owner, trainer, and breeder of cutting horses, he served as president of the National Cutting Horse Association and is a member of its hall of fame. His work can be found in the White House permanent collection.

Ronner-Knip, Henriëtte Dutch/Belgian, 1821–1909 Ronner-Knip gained fame early in her career as a still-life and landscape painter. Her first exhibition was in Germany when she was 15 years old, and by 1852 her work appeared at the Paris Salon and throughout England. She is well-known for using dogs and cats as models. RonnerKnip’s paintings became highly celebrated for their detail and human characteristics. Ronner-Knip was a member of the Royal Society and became an officer of the Order of Leopold in 1877. Her work was also exhibited at the 1891 Berlin World’s Fair. Rotherham, John British, born 1968 Working as a portrait artist in Lancashire, Rotherham has successfully exhibited at galleries and shows across the UK and in London as well as at art fairs in New York. He sells his own paintings in his studio and will occasionally exhibit them. He mainly does animal portraits with pastels and charcoal. Schmid, Richard American, 1934–2021 Schmid was the focus of the film The Secret Squint, which won the C.I.N.E. Award and in 1990 he was a finalist for the Hubbard Art Award for Lifetime Achievement from the American Society of Portrait Artists. Schmid also received the John Singer Sargent medal for lifetime achievement from the American Society of Portrait Artists. He also produced a documentary film titled An American Portrait: The Senator and the Artist, in which he interviewed Senator James Jeffords of Vermont while simultaneously painting his portrait. Seago, Edward Brian British, 1910–1974 Born in Norwich, Seago was a self-taught painter known for his atmospheric landscapes, seascapes, and watercolors. He developed a distinctive style influenced by Impressionism and Post-Impressionism. His work was widely admired, including by the British royal family and by Queen Elizabeth the Queen Mother, who was one of his top patrons. He served as a camouflage officer during World War II. Seago remains celebrated for his vivid depictions of the British landscape and his way of controlling light inside of a work. 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. THE SPORTING ART AUCTION

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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.

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.

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.

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.

Smalley, Jed American, born 1954 Smalley is a sculptor and painter whose work combines art, medicine, and abstraction. He earned a BFA from Parsons School of Design, an MFA from Yale University, and medical degree from SUNY. After 14 years of medical practice, Smalley returned to creating art, focusing on large-scale paintings that use landscape as a basis for his abstract touch. Created through layers of poured and dripped paint, his works explore imagery by using the Fibonacci sequence and Divine Proportion. Smith, Peter British, 1949–2025 While British by birth and parentage, Smith feels his artistic talent stems from his grandfather, who hailed from Portugal and painted for most of his life. Since childhood Smith has been passionate about both horses and art. His extensive knowledge of how a horse moves and his wellworn 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, Richard J. British, born 1955 Smith worked as a medical artist at the John Radcliffe teaching hospital in Oxford while also painting full time for galleries. He is internationally known for his depictions of wildlife, which he exhibits for sporting and hunt clubs around the world. He was commissioned to produce several paintings of fish for the Sultan of Oman and has also sold paintings at all of the major London auction houses. 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

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Stone, Fred American, 1930–2018 Born in St. Louis but raised in Los Angeles, Stone’s early passion for art led him to study at Art Center College, Chouinard Art Institute, and Otis Art Institute, after which he worked in commercial illustration. After a successful business career, Stone and his wife, Norma, founded Equinart Inc. in 1975, allowing him to return to his true passion, painting. Stone was introduced to Thoroughbred racing through his daughter Laura, and from this he became known for his distinctive paintings of racing’s legendary horses and the people behind them. His prints and originals are distinctive and are recognizable to racing fans all over. Stroh, Weatherly American, b. 1974 Stroh specializes in landscapes and animal portraits, and her work stands out for its vibrant colors, layering, and patterns. Her modern style is unique and authentic. She takes inspiration from her subjects and from her travels around the world, and she also hosts creative retreats to seek new subjects to paint and to grow her mind. Swanson, James American, born 1959 Swanson found his passion for illustration at the Columbus College of Art and Design. After graduating, he worked as an art director for an advertising agency before making the transition to illustration. Swanson has since moved from illustration to the fine art world. He is most known for his depictions of golden retrievers swimming or playing. Swanson is a member of the American Impressionists Society and the Portrait Society of America.

Tannahill, Max Irish, b. 1959 Born in County Down in Northern Ireland, Tannahill lived in London in the late 1970s and emigrated to Australia in the mid-1980s before returning to the U.K. to live in East Anglia. Aboriginal art was a huge inspiration for him, and his work continues to evolve. Now producing in bronze, he enjoys wagering on horse races and dining on southern Italian food. Taquoy, Maurice French, 1878–1952 Born in Mareuil-sur-Ay in the Marne region, Taquoy spent most of his life working around Paris. Beginning in 1905, he began exhibiting at the Salon des Independents and Salon d’Automne. He illustrated the book Le Pesage, by Jean Trarieux, illustrated the publication Gazette du Bon Ton, and designed scarves for Hermès. Taylor, Jo British, born 1969 Born in Lancashire, Taylor studied at Leeds Metropolitan University from 1988 until 1991. She has exhibited in numerous one-woman shows throughout England, including The National Horseracing Museum at Newmarket. Her pieces were included in a show at the Royal Academy in London, and she was commissioned for works on several Cheltenham Gold Cup runners. Taylor has exercised racehorses in Newmarket and feels it is necessary always to work from life. Thielen, Tony American, born 1973 Born into a military family in New Mexico, Thielen had a nomadic lifestyle and his many experiences abroad have influenced who he is today. Before becoming a full-time artist, he spent 20 years as an award-winning graphic designer. Thielen’s art is a blend of representation, abstraction, and self-expression. His approach is individualistic and it emphasizes the importance of not being afraid to fail. Townsend, Lee American, 1895–1965 A horse lover from childhood, Townsend was fascinated with racing. After a short stint working in his brother’s livery stable, and two years’ study at the Art Institute of Chicago, he became an illustrator in New York. After a trip to Paris in 1927, he gave up illustrating and devoted himself to horse racing, painting racing scenes at both well-known and obscure tracks. 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. Troye, Edward Swiss/American, 1808–1874 Born in Switzerland of French parents, Troye was of elegant, artistic stock. Trained in art in England, he arrived in America in 1831 after a short stint in the West Indies. In short order this artist became the finest

portrait painter of Thoroughbred horses this country has known, with commissions from all the sporting men of his day. He lived much of his life in Midway, Kentucky and died just down the road in Georgetown. Van Dyke, Rachael American, born 1972 Van Dyke is an abstract landscape and figurative artist inspired by purposeful community and a sense of place. She is an avid artist-inresident, with more than 20 national and international residencies, including the U.S. National Park Service. Van Dyke anticipates an 18day Arctic Circle sailing expedition with the nonprofit science and arts research organization The Arctic Circle (April 2025). Corporate work includes the West Michigan Cancer Center, The Steelcase Corporation, Renown Health, Henry Ford Cancer Institute, Trinity Health, Stand Together, Tyndale Publishing, Del Lago Resort, Bank of America, Marriott Hotels, and the Devos Children’s Hospital. Van Dyke has representation with galleries in Kentucky, Michigan, and the Carolinas. She has made public presentations on art and creativity, art and the spiritual, and on how space and place influence a body of work. Vidal-Navatel, Louis French, 1831–1892 Navatel studied under the French animal sculptor Antoine-Louis Barye (1795–1875). Under Barye, Navatel perfected his bronzes, exhibiting them at the World’s Fair and at the Paris Salon. As he aged, Navatel went completely blind but continued sculpting and making bronzes for his two biggest patrons, Princess Mathilde and the Rothschild family. 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, Larry Dodd American, born 1942 This distinguished painter received his formal training at the Maryland Institute College of Art and the Institute’s Hoffberger School of Painting. Wheeler has served as the painting conservator for both the Corcoran Gallery and the Smithsonian Institution in addition to teaching at the Maryland Institute. His skilled work is in great demand and hangs in the Supreme Court Building and the Federal Building in Washington and in many private collections. Whitcombe, Susie British, born 1957 Whitcombe studied at the Heatherley School of Art in London and has been painting portraits of horses and people in oil and watercolor for more than 30 years. She has exhibited in London, Tokyo, and Melbourne. A versatile sportswoman, she has ridden races as an amateur jockey and is also a pilot, handling Super Cubs and Tiger Moths with ease.

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Whiting, Frederic British, 1874–1962 Born in Hampstead, London, England, Whiting studied art at the St. John’s Wood School of Art, the Royal Academy Schools, and at the Academie Julian in Paris. Employed by The Graphic newspaper, Whiting covered the 1900–1901 civil wars in China and the 1904–1905 Russo-Japanese war as a graphic correspondent. His works have been widely exhibited by the Royal Academy, the Royal Watercolour Society, the National Portrait Society, the Paris Salon, and the Anglo-German Exhibition of 1913. Williams, Mike American, born 1963 Williams began his professional career as a fine artist in 1988 while attending the University of South Carolina, where he graduated with a BFA in studio art. He is recognized as one of the South’s most popular visual artists. Using his passion for the outdoors, he has created a style in which he blends the traditional worlds of hunting and fishing into more modern and abstract works. Williams has had a presence in galleries in South Carolina and has had his work exhibited in the South Carolina State Museum, the Columbia Museum of Art, and the Carillon Building in Charlotte, North Carolina.

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Williams, Peter New Zealander/American, 1934–2018 A native New Zealander, Williams attended art school there, and as an artist developed a loyal following. In the early 1980s, he began to live, paint, and exhibit in the United States, settling in Louisville, Kentucky. As a location painter, Williams strove for the immediacy and spontaneity he felt were essential to painting action subjects. He became a part of the equine scene, from training tracks in Japan and carriage driving at Sandringham Estate, to famous tracks and events throughout the United States. 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.

CONDITIONS OF SALE

THESE CONDITIONS OF SALE GOVERN THIS SALE: This Annual Sporting Art Auction (“Sale”) is governed by these Conditions of Sale (“Conditions of Sale”), as may be amended by KCG Enterprises, LLC d/b/a The Sporting Art Auction (“KCG”) by the posting of notices or by oral announcements made during the Sale from the auctioneer’s stand, online, or otherwise (such notices and announcements shall be collectively referred to herein as the “Announcements”) (collectively, the Conditions of Sale and Announcements shall be referred to herein as the “Conditions,” or, individually, a “Condition,” as the context permits). All Sellers, consignors, agents, Owners, prospective bidders/ purchasers (whether participating in person, online via a Bidding Platform, by telephone, by proxy-agent, or by written, online or telephone absentee bid, “Bidder/ Purchasers”), and all other interested parties and all sales are therefore bound by and subject to these Conditions. By participating in the Sale, you acknowledge that you are bound by these Conditions. The following websites will be available for online bidding: www.thesportingartauction.com, www.liveauctioneers.com, and www.invaluable.com (each a “Bidding Platform,” and collectively, the “Bidding Platforms”). To the extent these Conditions conflict with any Bidding Platform’s terms and conditions, these Conditions shall prevail. Under these Conditions, “Seller” means a person or entity, including such person or entity’s agent (other than KCG), consignor, successor-in-interest, executor, trustee or personal representative, offering property for sale or selling all or any interest in property sold at this Sale, and is referred to as “Owner” in the Consignment Agreement. 1. KCG AS AGENT. Except as otherwise stated, KCG acts as agent for the Seller pursuant to the Consignment Agreement. The contract for sale of the property in this Sale is therefore made between the Seller of the property and the Purchaser. 2. PRESALE EXAM. All Bidders/Purchasers are urged to examine carefully and personally (or by agents, as the principal deems appropriate) the property in which you may be interested to determine its condition, size and whether it has been repaired or restored, etc. BEFORE the Sale and BEFORE bidding, as you are accepting any property purchased with all faults, including all conditions and defects, except for the Limited Warranty set forth in Condition 9. In all other respects, the AS-IS nature of this Sale remains in full force and effect. All prospective Bidders/Purchasers further acknowledge presale exams may be conducted by physically viewing the property,

if available, by video, by photos, or through an agent. All prospective Bidders/Purchasers further acknowledge that if the presale exam is insufficient as determined in the sole discretion of the prospective Bidder/Purchaser, said prospective Bidder/Purchaser shall not bid on a lot. Neither KCG nor SELLER provides any guarantee or warranty of any kind in relation to the nature of the property apart from the Limited Warranty in Condition 9. Except for the Limited Warranty in Condition 9, the property is sold “AS IS,” with all faults and defects and without any warranty or assumption of liability by KCG or by the SELLER. 3. PRIVACY NOTICE. Notice is hereby given to all participants that KCG may record any or all portions of the Sale by video, audio or other means, which may be used by KCG or its affiliates in KCG’s sole discretion. You consent to the use, reproduction and distribution of such recordings, biographical and other information or descriptions, and images that may be provided, for inclusion in the catalogue or other marketing of the Sale or for any other advertising or promotional purpose by KCG or its affiliates, as deemed appropriate by KCG in its sole discretion. 4. RIGHT OF EXCLUSION. KCG expressly reserves its commonlaw right, at its sole discretion, to refuse admission to the premises or participation in any Sale and to reject any bid; provided, however, such refusal shall not be made on the basis of race, creed, color, national origin, sex, sexual orientation, political affiliation or beliefs. By accepting the license granted to the public by KCG to attend the Sale, you agree to be bound by these Conditions. 5. CATALOGUE AND DESCRIPTIONS. All statements in the catalogue entry or on a Bidding Platform for property, or made orally or in writing online elsewhere, are statements of opinion and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by KCG of any kind. References in the catalogue entry or on a Bidding Platform to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder/Purchaser or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Except for the Limited Warranty set forth in

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Condition 9, neither KCG nor Seller is responsible in any way for errors and omissions in the catalogue, Announcements, or any supplemental materials. You are responsible for satisfying yourself concerning the condition of the property and the matters referred to in the catalogue entry or on a Bidding Platform, the Announcements, and any supplemental materials. 6. BIDDING a. BIDDING BY LOT. Unless otherwise stated in these Conditions, all bids are per lot as numbered in this catalogue. b. DISCLOSURE AND RESERVE. In accordance with KRS 355.2-328(4) and other applicable laws, the right to bid in this Sale is reserved for all Sellers, including their disclosed and undisclosed agents, unless otherwise announced at time of Sale. Purchasers therefore agree and acknowledge that Sellers have the right to set reserves implemented by the auctioneer upon property so entered which are not disclosed to Purchasers and also have the right to conduct by-bidding as related to their entries. No reserve will exceed the low presale estimate stated in the catalogue, or as may be amended by the Announcements. KCG may implement such reserve by opening the bidding on behalf of the Seller and may bid up to the amount of the reserve, by placing successive or consecutive bids for a lot, or bids in response to other bidders. In instances where KCG has an interest in the lot other than its commission, it may bid up to the reserve to protect such interest. Sales results reported by KCG may or may not reflect the fair market value of any property going through the Sale. c. REGISTRATION. Bidders may participate in a sale in person, by bidding online through a Bidding Platform or by telephone bid, subject to approval by KCG in its sole and absolute discretion. All prospective Bidders must complete and sign a Purchaser Registration Form and such other forms as KCG, in its sole and absolute discretion, deems appropriate, and to provide identification before bidding if requested. To bid online or by telephone, Bidders must complete and register with KCG at least 24 hours before the start of the Sale. As noted in Condition 1 above, KCG encourages all Bidders, including online and telephone Bidders, to conduct pre-sale exams on any lot on which they may bid. All Bidders, including online and telephone Bidders, agree to these Conditions as well as such additional terms as KCG, in its sole and absolute discretion, deems appropriate, and to provide identification before bidding if requested. When making a bid, whether in person, on the telephone or online, a Bidder accepts personal liability to pay the Purchase Price, as described more fully in Condition 7 below. KCG, in its sole discretion, may require the production of financial references, guarantees, deposits

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and/or such other security as KCG deems appropriate. If in KCG’s sole discretion a prospective Bidder/Purchaser does not satisfy the registration procedures, KCG may refuse such prospective Bidder/Purchaser to register or bid in the Sale and/or cancel the contract for sale between such prospective Bidder/Purchaser and the Seller. d. PURCHASE PRICE. When making a bid, a Bidder/Purchaser is accepting personal liability to pay the entire Purchase Price and associated charges, which shall mean the aggregate sum of (i) the highest bid recognized by the auctioneer at the fall of the hammer (the “Hammer Price”), subject to KCG’s discretion as set out in paragraph (e) of this Condition 6, plus (ii) the Buyer’s Premium (as hereinafter defined), (iii) all applicable taxes, including, without limitation, sales or compensating use tax or equivalent tax, and (iv) all other applicable charges, which may include, for example, an additional fee and commission when bidding online (the sum of the amounts set forth in subparts (i) through (iv) of this paragraph (d) shall be referred to herein as the “Purchase Price”), unless it has been explicitly agreed in writing with KCG before the commencement of the Sale that the Bidder is acting as agent on behalf of an identified third party acceptable to KCG, and that KCG will only look to the principal for payment. e. AUCTIONEER’S DISCRETION. The auctioneer has absolute and sole discretion with respect to bidding and reserves the right to refuse or reject any bid, to advance the bidding in such a manner as he may decide, to withdraw or divide any lot, to combine any two or more lots, and, in the case of error or dispute, whether during or after the Sale, to determine the successful Bidder/Purchaser, to continue or re-open the bidding, to cancel the sale of any lot or to reoffer any lot and re-sell the item in dispute. If any dispute arises after the Sale, KCG’s sale record is conclusive. KCG, in its absolute and sole discretion, may execute order/absentee bids and accept telephone bids and online bids and will use reasonable efforts to carry out such bids; provided, however, KCG shall not be responsible for and does not accept any liability for any errors or omissions in connection therewith. In the event of a technology issue of any type (including, but not limited to, malfunctions affecting, or resulting in a temporary inability to use, Bidding Platforms, computers, telephone servers, or any similar technological equipment or software), KCG reserves the right, exercisable in its sole and absolute discretion, to suspend bidding, extend the relevant bidding period, cancel the sale, or reoffer the property affected for sale. Any Bidder who places an order/

absentee bid, a telephone bid, or an online bid expressly acknowledges and agrees as follows: (1) such bidding relies upon technology that may malfunction without warning and through no fault of KCG; (2) bidding is being provided on an “AS AVAILABLE” and “AS IS” basis, and KCG does not guarantee continual, uninterrupted or error free bidding; and (3) KCG shall be absolved from any and all liability related to or arising from any interruption in service, errors and/or omissions with respect to such bidding, and each Bidder/ Purchaser who places any bid (regardless of its form) shall hold KCG harmless from any loss or claim resulting therefrom f. BIDDING. KCG RESERVES THE RIGHT TO REJECT ANY BID. Subject to the auctioneer’s discretion as set out in paragraph (e) of this Condition 6, the highest Bidder accepted by the auctioneer will be the successful Bidder/ Purchaser and the striking of the auctioneer’s hammer marks acceptance of the highest bid and the conclusion of the sale between the Seller and successful Bidder/Purchaser. Winning online and telephone Bidders/Purchasers will receive an email notification of any successful bid. Online Bidders/ Purchasers are also requested to log in to the applicable Bidding Platform as soon as possible after the sale to obtain details of the outcome of their successful bid. KCG does not accept responsibility for notifying you of the result of your bids unless you are successful, and you should check as soon as possible after the sale to get details of the outcome of your bid. g. BUYER’S PREMIUM. As part of the Purchase Price, Purchaser agrees to pay to KCG a Buyer’s Premium, plus any applicable taxes and fees. The “Buyer’s Premium” is seventeen and one-half percent (17.5%) of the Hammer Price of each lot up to and including $500,000, plus twelve and one-half percent (12.5%) of the Hammer Price of each lot in excess of $500,000. The parties acknowledge there may also be a Seller’s Premium, pursuant to the terms of the Consignment Agreement. 7. OBLIGATIONS OF PURCHASER a. PAYMENT OF PURCHASE PRICE; TITLE AND RISK OF LOSS; DEFAULT; REMEDIES FOR NON-PAYMENT; GRANT OF SECURITY INTEREST. Subject to fulfillment of all of the conditions set forth herein, on the fall of the auctioneer’s hammer, the contract between the Seller and the Purchaser is concluded, and the Purchaser thereupon will immediately pay the Purchase Price to KCG. Title and risk of loss in a purchased lot (including frames or glass where relevant) will not pass to the Purchaser until KCG has received the full Purchase Price in cleared funds. KCG is not obligated to release a lot to the Purchaser until title to the lot

has passed and any earlier release does not affect the passing of title or the Purchaser’s unconditional obligation to pay the Purchase Price. If Purchaser fails to make timely payment of the full Purchase Price in cleared funds, the Purchaser will be in default and KCG, at its option, may exercise one (1) or more of the following rights or remedies (in addition to asserting any other rights or remedies available to KCG by law): (i) to impose from the date of Sale a late charge of eighteen percent (18%) of the total Purchase Price per annum if payment is not made within seven (7) days from the date of the Sale; (ii) to hold the defaulting Purchaser liable for the total Purchase Price and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iii) to cancel the sale of the property; (iv) to resell the property, whether at public auction or by private sale; (v) to elect to pay the Seller any portion of the sale proceeds; (vi) to set off against any amounts KCG or any of its affiliates may owe to the defaulting purchaser in any other transactions, the outstanding amount remaining unpaid by the defaulting purchaser; (vii) where amounts are owed by the defaulting Purchaser to KCG or any of its affiliates, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the defaulting purchaser so directs; (vii) to reject at any future auction any bids made by or on behalf of the defaulting Purchaser or to obtain a deposit from the defaulting Purchaser before accepting any bids; (ix) to exercise all the rights and remedies of a person holding security over any property in KCG’s possession owned by the Purchaser, whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law; or (x) to take such other action as KCG deems necessary or appropriate. If KCG elects to resell the property under subparagraph (iv) above, the defaulting Purchaser will be liable for payment of any deficiency between the total amount due to KCG and the price obtained upon resale as well as any and all costs, handling charges, late charges, expenses of both sales, KCG’s commissions on both sales at KCG’s regular rates, legal fees and expenses, collection fees and incidental damages. If KCG pays any amount to the Seller under subparagraph (v) above, the Purchaser acknowledges that KCG shall have all of the rights of the Seller, however arising, to pursue the Purchaser for such amount. In addition, each Purchaser grants and assigns to KCG a continuing security interest of first priority in any property or money of or owing to such Purchaser in KCG’s possession or in the possession of any of its affiliated companies, and KCG may retain and apply such property or money as collateral security for the obligations due to KCG. KCG shall have all of the rights accorded a secured party under the Kentucky Uniform Commercial Code. KCG may file financing statements under the Kentucky

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Uniform Commercial Code (or any such applicable uniform commercial code if Purchaser is not a resident of Kentucky). Any claims relating to any purchase, including any claims under the Conditions, must be presented directly to KCG. b. REMOVAL OF PURCHASED PROPERTY; DEFAULT. Unless otherwise agreed by KCG, all property must be removed from KCG’s premises by the Purchaser at Purchaser’s expense not later than six (6) calendar days following the Sale. KCG’s liability for loss or damage to sold property shall cease no later than six (6) calendar days after the Sale. Where purchases are not collected within six (6) calendar days from the date of the Sale, whether or not payment has been made, KCG shall be permitted to remove the property to a third party warehouse at the Purchaser’s expense, and only release the items after payment in full has been made for purchase(s) as well as all expenses related to removal, storage, handling, insurance and any other costs incurred, together with payment of all other amounts due to KCG. c. PACKING, SHIPPING AND INSURANCE. The Purchaser is solely responsible for packing, shipping and insuring (including reimbursement for damage or loss) purchased lots and will bear all costs associated therewith. KCG is not responsible for the acts or omissions in the packing or shipping of purchased lots. Packing, shipping and insuring purchased lots is at the entire risk of the Purchaser. Purchaser is responsible for obtaining adequate insurance coverage for any purchased lot(s) as of the fall of the hammer. Insurance costs through third-party carriers will be borne by the Purchaser and, in case of damage, insurance claims should be made to the third-party carriers. d. TAXES. Unless otherwise exempted by law, Purchaser will be required to pay any Kentucky sales and use tax, any applicable compensating use tax of another state or jurisdiction, and, if applicable, any federal luxury or other tax. Purchaser acknowledges and agrees to pay all applicable sales or compensating use tax or equivalent tax and indemnifies, defends, releases and holds harmless KCG, its affiliates, and Seller from and against any and all claims and damages related thereto. e. INTERNATIONAL DUTIES. For international Purchasers, the terms of sale are Delivered Duty Unpaid (DDU). It is Purchaser’s responsibility to ascertain and pay all international duties, customs charges, taxes and tariffs owed to the appropriate government entity or to be paid prior to shipment and/or delivery. f. RETENTION OF SOLD PROPERTY FROM PURCHASER. KCG shall be entitled to retain any items sold until all

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amounts due from Purchaser to KCG have been received in full, cleared funds or until the Purchaser has satisfied such other terms as KCG, in its complete discretion, may require, including, for the avoidance of doubt, completing any antimoney laundering or anti-terrorism financing checks we may require to KCG’s satisfaction. If such amounts are not paid or such checks are not satisfied by the Purchaser to KCG’s satisfaction, KCG shall be entitled to cancel the sale and to take any other actions that are required or permitted under applicable law. 8. DISCLAIMER. EXCEPT FOR THE LIMITED WARRANTY OF AUTHORSHIP EXPRESSLY STATED IN CONDITION 9, THERE IS NO WARRANTY OR GUARANTEE OF ANY KIND WITH RESPECT TO ANY PROPERTY OR ANY DESCRIPTION THEREOF, INCLUDING, WITHOUT LIMITATION, ANY EXPRESS OR IMPLIED WARRANTIES BY KCG OR SELLER AS TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, OR THE CORRECTNESS OF THE CATALOGUE, DESCRIPTION ON A BIDDING PLATFORM OR ANY OTHER DESCRIPTION OF THE CONDITION, COMPLETENESS, SIZE, QUALITY, RARITY, VALUE, IMPORTANCE, MEDIUM, FRAME, PROVENANCE, EXHIBITION HISTORY, LITERATURE OR HISTORICAL RELEVANCE OF ANY PROPERTY. NO STATEMENT ANYWHERE, WHETHER ORAL OR WRITTEN, WHETHER MADE IN THE CATALOGUE, ON A BIDDING PLATFORM, AN ADVERTISEMENT, A SALESROOM POSTING OR ANNOUNCEMENT, OR ELSEWHERE, SHALL BE DEEMED SUCH A WARRANTY, REPRESENTATION OR ASSUMPTION OF LIABILITY. KCG AND SELLER MAKE NO REPRESENTATIONS AND WARRANTIES, EXPRESS OR IMPLIED, AS TO WHETHER THE PURCHASER ACQUIRES ANY COPYRIGHTS OR LICENSES, INCLUDING BUT NOT LIMITED TO, ANY REPRODUCTION RIGHTS IN ANY PROPERTY. EXCEPT FOR THE LIMITED WARRANTY OF AUTHORSHIP EXPRESSLY STATED IN CONDITION 9, KCG IS NOT RESPONSIBLE FOR ERRORS AND OMISSIONS IN THE CATALOGUE, GLOSSARY, OR ANY SUPPLEMENTAL MATERIALS, INCLUDING, BUT NOT LIMITED TO, ANY BIDDING PLATFORM. EXCEPT FOR THE LIMITED WARRANTY OF AUTHORSHIP EXPRESSLY STATED IN CONDITION 9, ALL SALES ARE MADE AS IS, WITH ALL FAULTS. 9. LIMITED WARRANTY OF AUTHORSHIP. As set forth below and in the Conditions of Sale and Announcements, KCG guarantees that the authorship, period, culture or origin, as the case may be, (collectively “Authorship”) is as set out in the BOLD or CAPITALIZED type heading in the catalogue description of the lot, as may be amended by

the Announcements (“Heading”) (“Authorship Limited Warranty”). The Authorship Limited Warranty does not extend to any information other than that contained in the Heading even if shown in BOLD or CAPITALIZED text. Only BOLD or CAPITALIZED text in the Heading indicates what is being warranted by KCG pursuant to the Authorship Limited Warranty. The Authorship Limited Warranty does not apply to supplemental material which appears below the BOLD or CAPITALIZED Headings of each lot, and KCG is not responsible for any errors or omissions in such material. Notwithstanding anything herein to the contrary, the Authorship Limited Warranty does not apply to any Heading or part of a Heading that is qualified. Qualified means limited by a clarification in a lot’s description or by the use in a Heading of one of the terms listed in the section titled Glossary for Painting and Sculpture in the auction catalogue. For example, use of the term “attributed to” in a Heading means that the lot is in KCG’s opinion probably a work by the named artist, but no warranty is provided that the lot is the work of the named artist, and this Authorship Limited Warranty would not apply to any such opinion. KCG, in its reasonable discretion, shall determine whether the conditions for return of the property based on breach of the Authorship Limited Warranty have been satisfied. If so, KCG will refund the original Purchaser of record the Purchase Price. This Authorship Limited Warranty does not apply if: (i) the catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the Sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing that the Authorship was not as described in the bold or capitalized heading at the date of the Sale would have been by means or processes not then generally available or accepted, unreasonably expensive or impractical to use or likely (in KCG’s reasonable opinion) to have caused damage to the lot or likely to have caused loss of value to the lot; or (iii) there has been no material loss in value of the lot from its value had it been in accordance with its description in the bold or capitalized type heading. This Authorship Limited Warranty is provided for a period of one (1) year from the date of the relevant auction, is solely for the benefit of the original Purchaser of record at the auction and may not be transferred to any third party. To be able to claim under this Authorship Limited Warranty, the original Purchaser of record must: (i) notify KCG in writing within three (3) months of receiving any information that causes the original Purchaser of record to question the accuracy of the bold or capitalized type heading, specifying the lot number, date of the Sale at which it was purchased and the reasons for such question; and (ii) return the lot to KCG at the original selling location in the same condition as at the date of the Sale to the original Purchaser of record and be able to transfer good title to the lot, free from any third party claims arising after the date of the Sale. KCG has discretion to waive any of the above requirements. KCG may require the original Purchaser of

record to obtain, at the original Purchaser of record’s cost, the reports of two (2) independent and recognized experts in the field, mutually acceptable to KCG and the original Purchaser of record. KCG shall not be bound by any reports produced by the original Purchaser of record and reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a Sale and the refund of the original Purchase Price paid is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law, or in equity. KCG and the Seller shall not be liable for any losses or damages incurred or claimed, including but not limited to, (a) attorneys’ fees, loss of profits, loss of revenue, loss of business opportunity or goodwill, or interest; or (b) any special, incidental or consequential damages. 10. DISCLAIMER OF IMPLIED DUTIES. KCG shall endeavor to protect the interests of all parties, but the duties and obligations of KCG to such persons shall be strictly limited to those expressly imposed upon KCG by these Conditions. All other duties and obligations, including fiduciary and other duties which might otherwise be imposed upon KCG by operation of law, are hereby expressly disclaimed, except that KCG shall be required to exercise that standard of care generally exercised by other comparable art auction companies. 11. RIGHT TO WITHDRAW. KCG retains the right to withdraw any lot at any time before the sale for any reason in its sole discretion. KCG shall have no liability whatsoever for such withdrawal. 12. MISCELLANEOUS a. COPYRIGHT. The copyright in all images, illustrations and written material produced by or for KCG relating to a lot, including, without limitation, the contents of the catalogue, is and shall remain at all times the property of KCG and shall not be used by the Purchaser, or by anyone else, without prior written consent of KCG. KCG and Seller make no representation or warranty that the Purchaser of a lot will acquire any copyright or other reproduction rights in it. b. SEVERABILITY. The invalidity or unenforceability of any provision of these Conditions shall not affect the validity or enforceability of any other provision hereof, and any such invalid or unenforceable provision shall be deemed to be severable to the fullest extent permitted by law. c. MERGER OF AGREEMENT. The Seller, Owner, or KCG may have made oral statements or published advertisements concerning the condition of the property described in this catalogue or this Sale generally. Such statements or

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advertisements do not constitute warranties, shall not be relied upon by the Purchasers and are not part of the contract for sale. The entire contract of sale is embodied in these Conditions (including, but not limited to the Announcements), and with respect to the Seller, the Consignment Agreement. These aforementioned documents constitute the final expression of the parties’ agreement and are a complete and exclusive statement of that agreement. Notwithstanding the above, Seller, Owner and Purchaser may enter into an agreement which modifies the limited warranties as provided herein; however, any such action by the Seller, owner and Purchaser cannot and shall not modify or alter the duties, responsibilities and rights of KCG as provided in these Conditions and the Consignment Agreement. d. FORCE MAJEURE. The lack of performance hereunder by KCG (but by no other party) shall be excused without liability if the failure to perform is due to an act of God, fire, casualty, injunction, strike or labor dispute, pandemic, endemic, or disease (specifically including, but not limited to SARS, Legionnaires, COVID-19), act or decision of a governmental authority (specifically including, but not limited to, any government measures enacted to protect the public health from any pandemic, endemic, disease, or other public health emergency), or any other cause beyond the control of KCG. As used herein, “without liability” means that there will be no additional costs, expenses, or damages of any nature whatsoever. e. HEADINGS. The descriptive headings of these Conditions of Sale are inserted for convenience only and shall not constitute a part of these Conditions of Sale. f. LIMITATION OF ACTION. Any cause of action arising out of the purchase and sale of any property at this Sale, whether it is based in contract or tort, shall be commenced not more than one (1) year after the sale or be forever barred. Provided, however, this limitation of action shall not apply to an action for the recovery from the Purchaser of the Purchase Price, plus interest and expenses, and including repossession of the property purchased at this Sale.

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

ONLINE BIDDING INSTRUCTIONS

The Sporting Art Auction will accept bids from patrons in person, by phone through prior arrangement, and online via: www.thesportingartauction.com | www.invaluable.com | www.liveauctioneers.com 202

ABSENTEE BIDDING INFORMATION

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

SHIPMENT OF PURCHASES INFORMATION

If your bid is successful, KCG can help arrange shipment of your purchases to you. Estimates for the shipping of any purchases can be attained through KCG. A paid receipt must be presented to KCG staff in order to release any property. Keeneland is not responsible for the acts or omissions in the packing or shipping of purchased lots, and packing, shipping, and insuring purchased lots is at the entire risk of the purchaser as set forth on the “Conditions of Sale,” which appear in this catalogue. Please note the “Conditions of Sale” which appear in this catalogue concerning prompt payment and clearance. In default of these Conditions of Sale, lots may be transferred to a public warehouse at the risk and cost of the buyer.

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

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

20th-century American...................86 Adam, Richard Benno.....................12 Aker, Lisa........................................67 Ambille, Paul...........................99, 104 Arenys Galdón, Ricardo............97, 98 Ashley, Frank Nelson.......................94 Austin, Michael J...........................172 Barker, Wright...................................4 Barnhart, Jeaneen.................103, 141 Batt, Arthur.......................................7 Beauquesne, Wilfred Constant........21 Beer, John.......................................16 Benoist-Gironiere, Yves...................37 Bibby, Nick.........................83, 84, 85 Biegel, Peter.............................54, 55 Bolam, Andrew.....................177, 178 Boumphrey, Pauline........................38 Brewer, Kelly.................................166 Brewer, Melinda...................157, 158 Brock, Richard Henry......................63 Brouillet, Sophie...................173, 174 Brown, Henry Harris........................13 Burns, Colin W................................68 Claxton, George...........................140 Clay, Beatie..................................194 Coates, Thomas J................47, 48, 49 Collie, George.................................30 Collins, Ashley...............................187 Corum, Jaime Claire..............148, 149 Coward, Malcolm.........................133 Curling, Peter................................139 Dahl, Carl.......................................80 Davey, Randall................................42 Defossez, Alfred............................155 de Neuville, Alfred-Arthur Brunel......6

de Watrigant, Hubert...............27, 29, 114, 134, 135 d’Illiers, Gaston...............................36 Dong, Yang...............................77, 79 Eber, Frank............................127, 128 Edwards, Lionel D. R...........57, 58, 59 Emms, John......................................1 Faulkner, Henry Lawrence....195, 196, 197, 198, 199, 200 Faull, Emma..........................168, 169 Ferneley, John E. Sr. ..................19, 20 Fiddian-Green, Nic..........................82 Firth, Richard M..............................91 Fitzgerald, Florence Harriet...............3 Fitzgerald, John............................153 Fletcher, Bill..................................192 Frémiet, Emmanuel.........................35 Frink, Dame Elisabeth Jean...........188 Géruzez, Victor Eugène...................22 Grosperrin, Claude....................95, 96 Guarisco, Elizabeth.........................76 Hai, Serhiy....................................189 Harrison, H. Kreg............................75 Herring, John Frederick Jr..........17, 18 Herring, John Frederick Sr................10 Hilaire, Camille.............................102 Hinz, Valerie..................................125 Ho, Quang............................ 180,181 Hodge, Marcus.....................121, 122 Howell, Peter.......................109, 110, 111, 112, 113 Hunt, Walter.....................................8 Jarry, Gastón.................................156 Kammerzell, David........................182 Kelly, Robert George Talbot.............43

Kilburne, George Goodwin.............14 King, Alexa.....................................87 Kirk, Juli........................................154 Koch, Georg Karl............................15 Koehler, Henry......................105, 106 La Fontaine, Thomas Sherwood 9, 175 Lanceray, Alexandrovich..................40 Landikusic, Katherine............107, 108 Lazzari, Nicola................................89 Leftwich, George Robert.................11 Leyland, Susan................................81 Lodge, George Edward...................74 Lyne, Michael......................56, 64, 65 Mablord, Jean.......................100, 101 MacGillivray, Ian.......................71, 72 Madgwick, Clive...........................132 Malissard, Georges.........................39 Malone, Booth............. 115, 116, 117 Menasco, Milton.............................31 Mêne, Pierre Jules...........................34 Mondy, E..........................................2 Morris, George Ford..................23, 24 Munnings, Sir Alfred James.............46 Neiman, LeRoy.........................92, 93 Oppegard, Sandra..........................66, 150, 151, 193 O’Sullivan, Katie...................136, 137 Palombo, Lisa...............................152 Partington, Peter.............................73 Pater, Andre.........................144, 145, 146, 147, 164 Peck, Leslie...................................165 Reeves, Richard Stone.........25, 26, 28 Reno, Jim........................................78 Ronner-Knip, Henriëtte.....................5

Rotherham, John..........................159 Schmid, Richard............................142 Seago, Edward Brian.......................90 Shepherd, David...........................185 Skeaping, John.........................60, 61 Slonem, Hunt........................190, 191 Smalley, Jed..................................176 Smith, Peter..................................131 Smith, Richard J............................184 Smith, Suzy F.................................183 Soukup, Jill...........................126, 138 Stone, Fred...........................129, 130 Stroh, Weatherly...........................143 Swanson, James.......................69, 70 Tannahill, Max................................88 Taquoy, Maurice.............................53 Taylor, Jo...............................170, 171 Thielen, Tony.................................179 Townsend, Lee................................32 Tremaine, Diana...........................160, 161, 162, 163 Troye, Edward.................................41 Van Dyke, Rachael........................167 Vidal-Navatel, Louis........................33 Wardle, Arthur................................62 Wheeler, Larry Dodd.... 118, 119, 120 Whitcombe, Susie...............50, 51, 52 Whiting, Frederic............................45 Williams, Mike..............................186 Williams, Peter......................123, 124 Wright, George...............................43

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

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KEENELAND / CROSS GATE GALLERY

Fine Sporting Art, American Paintings and Sculpture

THE SPORTING ART AUCTION NOVEMBER 13, 2026

Keeneland Sales Pavilion

Lexington, Kentucky

Friday, November 13, 2026 | 4 pm