- 2 GIANCARLO IMPIGLIA SERIGRAPHS, "A
2 GIANCARLO IMPIGLIA SERIGRAPHS, "A DAY AT THE RACES"2 Giancarlo Impiglia serigraphs, "A Day At The Races l & ll". Both pencil signed and dated lower right "1985". Both titled center and numbered lower left "106/250". Both images measure: 24 1/2" x 32 1
- BRONZE SCULPTURE OF THE RACEHORSE NASHUA
BRONZE SCULPTURE OF THE RACEHORSE NASHUA AND CLEM BROOKSLiza Todd-Tivey (Born 1957)Nashua and Clem (1982)This two-color patinated bronze sculpture numbered 18 from an edition of 75 is a smaller version of the life-sized original at Spendthrift Farm in Lexington, Kentucky where Nashua stood at stud for decades following his retirement from thoroughbred racing. His groom of thirty years, Clem Brooks, was a celebrity there in his own rite. The two are depicted here well-sculpted and in various colors of patinated bronze.Nashua was the leading thoroughbred money-winner of his time, earning more than $1.1 million in three years of racing during the mid-1950s.The sculptor Liza Todd-Tivey is a well-known New York artist specializing in and famous for Equestrian sculpture.Measures 12.5 x 16 x 12 inches.Very good condition, noting a separation of the lead and build-up of glue from old repairs.
- ARTIST UNKNOWN, 20TH C. OUTING AT THE
ARTIST UNKNOWN, 20TH C. OUTING AT THE RACES, OIL Oil on canvas, unsigned, 40 x 30 in., framed.
- FOLK ART CARVING BY FRED BAILEY"The
FOLK ART CARVING BY FRED BAILEY"The Race", a polychrome folk art wood carving of sulky racing, horses behind a white fence, created by the late Fred Bailey of Shawville, Quebec. Perfect condition. "Name The Race, Fred E. Bailey 1974" carved into the base. The Shaun & Joan Markey Collection.
- LLADRO PORCELAIN FIGURE ON HORSEBACK
LLADRO PORCELAIN FIGURE ON HORSEBACK 'THE RACE'Lladro porcelain figure group, "The Race," model 1249, designed by Julio Fernandez, issued c.1974, modeled as a rider on horseback, with three geese, marked underfoot, approx 12.5"h, 13.5"w, 7.25"d, 7lbs
- ATTRIBUTED TO SAMUEL HENRY ALKEN (1810-1894):
ATTRIBUTED TO SAMUEL HENRY ALKEN (1810-1894): THE RACEOil on board, signed 'H. Alken' lower right.
9 x 12 in., 13 x 16 in. (frame).
Condition
Craquelure with separation showing mostly upper left. Losses at the top corners and nicks around the edges. Surface soiling and varnish discoloration.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
- JOHN STURGESS (ACTIVE 1869-1903): THE
JOHN STURGESS (ACTIVE 1869-1903): THE RACEOil on canvas, 1889, signed 'JB Sturgess' and dated lower left, lined.
17 1/2 x 29 1/2 in., 25 1/2 x 37 1/2 in. (frame).
Condition
Lined. Surface soiling and yellowing of varnish. Inpainting along the lower edge. Otherwise in good condition.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
- 20TH CENTURY SCHOOL: AT THE RACESPhotomechanical
20TH CENTURY SCHOOL: AT THE RACESPhotomechanical reproduction on canvas.
16 x 21 in., 24 x 29 in. (frame).
Condition
In good condition.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
- THOMAS HART BENTON (1889-1975): THE
THOMAS HART BENTON (1889-1975): THE RACELithograph in black on wove paper, 1942, signed in pencil, from the edition of 250, with label from Hirschl & Adler Galleries, NY.
9 x 13 in. (image), 16 1/2 x 20 1/2 in. (frame).
Literature: Fath 56.
Condition
With margins. In excellent condition. A fine impression.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
- EARLY SPORTING CHROMOLITHOGRAPHSporting,
EARLY SPORTING CHROMOLITHOGRAPHSporting, 1845
chromolithograph, 13 1/2 by 18 1/2 in.
In a Goodspeed's catalogue of 1944, Dr. Charles S. Berry identified this print as printed by Tappan & Bradford in 1845 from a daguerreotype by the noted photographer John Adams Whipple at the request of Daniel Webster for distribution to some of his friends and only twelve copies were made. It stands as one of the best early American sporting prints and the first to represent actual people at a real place. The individuals shown are Captain Berry of the yacht Quarrentine, Alderman Rich and Alderman Cary. The place is Chatham Grove, just north of Boston and the occasion is the Fifth Regatta Race at Shirley Gut in 1844. The lithograph records a shooting party which took place in the morning before the race. Technically it is a multi-stone lithograph, printed in black with multiple stone tints applied in perfect register. The result is amazingly photographic. Shirley Gut can be seen in the background just above the dog; it was completely eliminated by the Hurricane of 1938.
Provenance: Richard Labowskie, M.D. Collection, purchased from Charles Sessler Bookshop, Philadelphia in 1970 or 1971
Literature: Discussed by Harry T. Peters in his "America on Stone," p. 76 pl. 4 when it was still considered under his Anonymous category.
- GERALDINE THOMAS BLAKE (20TH CENTURY)
GERALDINE THOMAS BLAKE (20TH CENTURY) ‘PERSIMMON’ study of the racehorse, dark patinated bronze, 35cm high, signed in full, on ebonised pine plinth
- THOMAS HART BENTON "RUNNING HORSES"
THOMAS HART BENTON "RUNNING HORSES" 1955 SIGNED LITHOGRAPHThomas Hart Benton
(American, 1889-1975)
Running Horses , 1955
Lithograph on paper
12 1/2" x 16 1/2" (image)
Edition of 100
Pencil-signed to the bottom right margin. The period glazed walnut frame measures 19 1/2" x 23 1/2".
The second Benton lithograph to prominently juxtapose the steam train with horses at full sprint, Running Horses follows in the footsteps of The Race (1942). The former prompted Benton to wonder "Why did horses so often run with the steam trains while they now pay no attention to the Diesels?" Billowing steam engines inhabit many of Benton's most beloved lithographs, from Going West (1934) and Jesse James (1936) to Wreck of the Ol' 97 (1944) and Ten Pound Hammer (1967); the imposing trains strike the figure of relentless progress: the inevitability of westward expansion, of industry, and of modernism.
From an edition of 100, circulated by Associated American Artists.
Literature: The Lithographs of Thomas Hart Benton By Creekmore Fath - #78.
Condition
Good condition. The sheet is not laid down. There is a faint horizontal crease at the right edge of the image. Typical minor toning inside the mat window. A few thin tape shavings are caught between the frame's glass and the top of the mat.