Purebred racehorses, action on the turf, natural scenery — and even a river horse — feature among the highlights presented at this year’s 14th Annual Sporting Art Auction. Formed through a joint effort between Lexington-based Cross Gate Gallery and the Keeneland Association, the event gathers creations from celebrated and cherished painters, painstakingly selected and curated by Cross Gate Gallery.
The available pieces cover equestrian sports, farm animals, canines, felines, swine, aquatic life, Western themes, and traditional folk creations. Scheduled for Friday, Nov. 13 at 4 p.m. ET inside the Keeneland Sales Pavilion, the event supports a broader cause. Aligned with Keeneland’s core objective, the organization’s share of profits will support its charitable endeavors, such as the Keeneland Library Foundation.
Showcasing 129 creators across 200 individual lots, selecting a single favorite piece poses a real challenge. The collection extends from traditional artistic compositions to progressive modern creations, utilizing color schemes as diverse as their subject matter: gentle, subdued tones sit alongside vivid, striking shades. Art enthusiasts of all preferences will find much to admire upon detailed inspection.
Prior to establishing himself as an acclaimed Victorian-era British horse painter, John Frederick Herring Sr. (1795–1865) worked driving horse-drawn coaches. In his 1925 volume, “The Story of British Sporting Prints,” Captain Frank Siltzer details how Herring became “turf struck” after witnessing William, owned by the Duke of Hamilton, capture the St. Leger in 1814. Though eager to try his hand at painting, earning a living through art proved difficult at first. As the narrative goes, he walked past a carriage maker’s establishment and saw a worker attempting to render a horse on a coach “with awkward fingers and little science … the painter was wresting in a disturbed way with the proportions of the horse. This was more than Herring could bear; his fingers itched to do it himself, and he offered to help, a proposal which was gladly accepted.” The finished artwork gained recognition, leading to an assignment for another carriage. Eventually, he secured dual employment as both an artist and a driver.
Herring’s extensive and highly productive life yielded far more than pleasing aesthetics; the output produced by him and his son offers valuable insight into historical horse breeding. “Languish and Pantaloon” (1846) forms part of an acclaimed sequence focusing on female and male thoroughbreds. The Sporting Review characterized this image as “a mare and stallion placed in a paddock and more naturally and characteristically grouped.” Meanwhile, The Sporting Magazine underlined that such works remain “of great importance as preserving the portrait of the most celebrated of the blood present era.”
“Finish of the Derby, Epsom” (1962) portrays an electrifying final stretch where Larkspur emerges victorious following a chaotic contest that saw seven of the 26 competing riders unseated. Within his book “Horses,” famed sports artist LeRoy Neiman referred to Epsom as “the supreme equestrian pageant of the racing world.” His passion for horses started early in life, spending hours reproducing illustrations copied from his grandfather’s “1911 Live Stock, A Cyclopedia for the Farmer and Stock Owner.” During his early career, he painted displays on grocery store windows as well. His creations consistently command major attention at this event; in 2024, “To the Wire” commanded $334,875.
The intense excitement of competitive racing represents just one aspect of the narrative. Turning away from the wire, stallion portraits offer a quieter, more contemplative reflection on the power and temperament of these animals.
Within “American Pharoah,” Irish painter John Fitzgerald depicts the famous champion not as the slender competitor he once was, but possessing the muscularity of a fully grown breeding sire. Positioned before a soft, bluish backdrop, the horse turns his head slightly, observing his surroundings with calm eyes. Fitzgerald, who takes great joy in illustrating studs, traveled to Ashford Stud at Coolmore America to paint both American Pharoah and Justify. He remarked: “American Pharoah is probably one of the most perfect-looking animals. He has a great rear end and really strong hindquarters. Not just a racehorse, he was a horse that rewrote Triple Crown history after a 37 year wait.” Fitzgerald conveys his essence through themes of “power, elegance, and legacy.”
Moving beyond the singular majesty of American Pharoah, attention shifts to three dominant breeding stallions in Kentucky painter Jaime Corum’s impressive artwork “American Kings (Tapit, Into Mischief and Curlin).” Corum shared the motivation behind her piece: “‘We Three Kings,’ by Susan Crawford, has always been such a favorite of mine. It’s such an iconic piece and it was one of those early pieces that really inspired me as a young equine artist. I have long wanted to create a painting of my own that is a bit of an homage Susan’s painting but to give it a contemporary American twist. Now seemed like a wonderful time to celebrate this trio of extraordinary sires — Tapit, Into Mischief, and Curlin. Each stallion is such a breed-shaper in his own right and so unique in character and looks. The trio just seemed right and deserving of the title, ‘American Kings’ and a fitting nod to one of my equine art heroes.”
“Early Arrival,” representing one of five creations contributed by Andre Pater this season, demonstrates why the Polish-born, Kentucky-based artist is often dubbed a “master of light.” A rider and equine companion stride expectantly across trimmed turf while natural light gleams off the horse’s anatomy, the jockey’s visage, and bright silks. Pater’s devotion to horses infuses every canvas: “I like doing portraits of horses. There are things that I don’t see at the beginning that I discover at the end. I get to another dimension. Going through the layers, I pull out those specific features that this horse has.” Consistently ranking among the highest-selling painters at prior Sporting Art Auctions, Pater set a personal mark when his depiction of a Lakota warrior, “Red Arrow,” sold for $276,000 in 2016. In 2025, “Breeders’ Cup 1999” brought $141,000, while his pastel piece “Watermelon Jockey” fetched $117,500.
For watercolor artist Sandra Oppegard, the key objective in “Golden Tempo” was capturing a horse reaching the finish line under warm, golden sunlight instead of artificial track illumination. Evening races frequently present lighting obstacles for painters, she noted, yet the name Golden Tempo served as direct inspiration for the visual quality she sought. “I wanted to emphasize that and that’s what I was looking for. I think I achieved it. It came out that way, so I was really happy. It’s simple but effective.”
Within “Lady’s Secret & Pat Day,” the compact mare Lady’s Secret surges ahead under the composed control of Hall of Fame rider Pat Day, who guides her without utilizing a whip. This painting belongs to New Jersey painter Lisa Palombo’s Famous Fillies collection. Being a modern American impressionist recognized for intense color palettes and dynamic brushwork, Palombo masterfully portrays the bond connecting mount and jockey.
Richard Stone Reeves’s “Lothario” serves as a classic illustration of his mastery in depicting male thoroughbreds. Reeves traveled by air to Lexington in 1975 to draw the stallion on site at Calumet Farm. Within the work, Lothario poses in a characteristic sunlit Kentucky field of green and gold, his defined muscle structure shining in the light. Raw power radiates from his frame, embodying the distinct poise of a mature sire.
For enthusiasts of horse literature, this fascination reaches into volumes written by or focused on Reeves. Substantial in size and weight, featuring solid bindings, these impressive coffee-table volumes are sought-after collector items loaded with his artwork alongside insightful commentary from contemporary racing journalists that enriches the sport’s history.
A pair of dimly lit riders astride luminous white mounts breaks through azure mist in “Morning Pulse,” a striking piece created by award-winning Colorado artist Jill Soukup. The dynamic play between light and dark immediately draws focus to the equines. While her portfolio encompasses varied subjects and mediums, equine subjects remain a signature strength. Through “Morning Pulse,” she highlights the aesthetic charm in juxtaposing dark riders against radiant horses.
Sculptural pieces introduce an added element of depth to this year’s bidding event. Standing out among the fine selections is “Spirit of Competition,” crafted by Louisiana sculptor Elizabeth Guarisco, who is recognized for her equine art and bronze work. As an equestrian who resides at Saratoga racetrack during summer seasons, Guarisco captures a horse and jockey poised for action. The meticulously detailed headstall and saddle, the realistic folds along the saddle blanket, and the charming drape of the mane all reinforce that feeling.
Spanning traditional portraits, modern oil paintings, and three-dimensional bronze work, this year’s auction provides diverse perspectives on the horse, giving enthusiasts plenty of motivation to examine each fine detail. The featured creators have offered their skill and vision to breathe life into these impressive animals, enriching the artistic landscape for everyone.
Every available lot is accessible for review at Home | The Sporting Art Auction. Real-time online bidding will be accessible, alongside a live broadcast of the event.
