JAMES SEYMOUR (LONDON 1702-1752)
JAMES SEYMOUR (LONDON 1702-1752)
JAMES SEYMOUR (LONDON 1702-1752)
JAMES SEYMOUR (LONDON 1702-1752)
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This lot has been imported from outside of the UK … Read more PROPERTY FROM A PRIVATE COLLECTION
JAMES SEYMOUR (LONDON 1702-1752)

Thomas Panton's 'Conqueror', ridden by a groom in the Panton livery, with Looby being led in exercise beyond, on Newmarket Heath

Details
JAMES SEYMOUR (LONDON 1702-1752)
Thomas Panton's 'Conqueror', ridden by a groom in the Panton livery, with Looby being led in exercise beyond, on Newmarket Heath
signed with initials and dated 'J:S/1752' (lower left)
oil on canvas
28 ½ x 35 ¾ in. (72.5 x 90.8 cm.)
Provenance
with Newhouse Galleries, New York.
Cornelius Vanderbilt Whitney (1899-1992); Sotheby's, New York, 4 June 1993, lot 17.
with Richard Green, London.
Literature
R. Wills, James Seymour 1701-1752, London, 2023, pp. 292-3, no. 129.
Special notice
This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

Brought to you by

Lucy Speelman
Lucy Speelman Junior Specialist, Head of Part II

Lot Essay


Conqueror was a chestnut gelding foaled in 1728 by Fox, out of Bald Charlotte's unnamed dam. Bred in Yorkshire by Captain Francis Appleyard, he was a full brother to the Devonshire Conqueror, a grey colt foaled in 1725. Considered to be one of the best geldings that ever ran at Newmarket, Conqueror had a very successful turf career, winning all five Royal Plates for which he was entered.

Mr Panton (1697–1782) was Keeper of the King's Running Horses at Newmarket, and was recorded as owning Conqueror in 1735. On the 6th October of that year he won 300 gns. when Conqueror beat the Duke of Bolton's Looby over four miles at Newmarket. A number of drawings show the two rivals in competition (Wills, op. cit., nos. D270 and D275), and a drawing in the Yale Center for British Art may have served as a preparatory study for the present work (fig. 1; Wills, op. cit., no. D269).

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