John (1872) Sinclair Paintings & Artwork for Sale | John (1872) Sinclair Art Value Price Guide

Apr. 07, 2024
John Sinclair
Est: $300 - $400
Landscape of figures fishing at river pool with mountains in background. John Sinclair (flourished.1872 - 1922) was active/lived in United Kingdom. Sinclair is known for Painting. Oil on canvas. Circa: 1890. Canvas: 24 x 16 in. Frame: 30 x 22 in. Condition: Very good overall viewing condition. Some aging in paint. Under blacklight: no inpainting or touchup. Enjoy this refreshing painting every time you view it! Provenance: Purchased from London auction house in the 1980's and since has been hanging in the Jack and Peggy McDowell estate on the Chattahoochee River in Atlanta.
Four Seasons Auction Gallery
Nov. 18, 2018
John Sinclair - The Great Match Race, 1851
Est: $15,000 - $20,000
John Sinclair (British, 1872-1922) THE GREAT MATCH RACE, 1851 $15,000. – 20,000. (AFTER J.F. HERRING SNR) Oil on canvas, 30” x 48” Signed J. F. Herring Sen, dated 1851 $15,000. – 20,000. In the modern era of horse racing, the concept of a “match race” — a race between two horses to determine which is superior — has largely been forgotten. In the illustrious history of the international turf, there have been countless contests between prideful owners to solve an age-old dispute — who owns the better racehorse. Match races served as the ultimate measure of one’s conviction in his or her horse’s ability. Enormous sums of money and pride were at stake, and, regardless of one’s financial standing, a loss of pride could be ruinous. And so it was that on May 13, 1851, in front of 100,000 spectators, two men lacking in neither pride nor wealth met at the Knavesmire in York to decide who had the superior horse: the Earl of Eglinton’s The Flying Dutchman or the Earl of Zetland’s Voltigeur. The race between the two champions, dubbed “The Great Match Race of 1851,” has lived in the annals of racing lore and is still considered by turf aficionados as one of — if not the — greatest races of all time. The circumstances leading up to the race set the stage for the historic match that was to unfold on York’s Old Course in front of the largest crowd that had ever assembled in the history of the British turf up until that point. In 1850 Lord Zetland decided to run Voltigeur in the Doncaster Cup contested only two days after his colt had won the St Leger (the race was first declared a dead heat and so was run again the same day, with Voltigeur winning by a length). Voltigeur, a 3-year-old, was up against considerable odds in the Doncaster Cup, namely a group of 4-year-olds that included an imposing foe — The Flying Dutchman. Where Voltigeur might have been a little on the overworked side, The Flying Dutchman was suffering from the opposite affliction — too much time off. In addition to his less-than- peak condition, an extremely drunk jockey, Charles Marlow, rode The Flying Dutchman. Marlow, who had overindulged before the race, ignored Lord Eglinton’s instruction to lie off the pace and took The Flying Dutchman to the lead, running out as much as 10 lengths in front of the pack. In the end Voltigeur caught the drunken jockey and The Flying Dutchman and won the Doncaster Cup by half a length. The Flying Dutchman’s backers were outraged. The results would have surely been different had their horse been more fit and Marlow not been drunk. The owners, trainers, punters, and just about everyone else in the country argued over which horse was superior. And so it came to pass that a rematch was scheduled for the following spring May 13, 1851, at York and it would be a match race. The stakes were set at 1,000 sovereigns a side. Both horses were fit, both jockeys sober, and pre-race instructions were given and heeded. Flatman sent Voltigeur into the lead at a sensible pace with Marlow and The Flying Dutchman tracking. Voltigeur gradually increased the pace to try and blunt The Flying Dutchman’s finishing speed, but Marlow kept with him while trying to reserve something for the finish. On they raced, and eventually they turned into the home straight. The Flying Dutchman eased up on the outside of Voltigeur as the massive crowd started to cheer and shout for the two champions. With just over a furlong to go, both horses were racing flat out with Voltigeur still in front and seeming as if he might prevail. But The Flying Dutchman’s relentless stride quickly brought them side-by-side. Dutchman finally stretched his head in front of Voltiguer and then the head became a neck, then half a length, and by the time they had passed the judges amid a frenzy of cheering and shouting, The Flying Dutchman was a length ahead in what was widely acclaimed as the greatest match race ever witnessed.
The Sporting Art Auction
Mar. 08, 2017
John A. Sinclair (fl. 1872 - 1922) Watercolour: ''Coastal Scene with Field
Est: €800 - €1,200
John A. Sinclair (fl. 1872 - 1922) Watercolour: ''Coastal Scene with Field in foreground, with geese and haystacks,'' approx. 24cms x 35cms (9 1/2'' x 14'') signed. (1) Provenance : The Aske, Shankill, Co. Dublin.
Fonsie Mealy Auctioneers
Nov. 21, 2016
Sinclair, John - Ascot 1822
Est: $30,000 - $50,000
Ascot 1822 The image above depicts the Kings Stand at Royal Ascot as recorded in an etching by James Pollard in 1822. The original drawing was given to the British Museum by Arthur Du Cane in 1933 along with a large collection of Pollards original etchings and drawings. John Sinclair transformed Pollards etching into this large, spirited painting which captures the horses and jockeys as they reach the winning post. Pollard captured the frenzied crowd in the grandstand and the royal patrons as they took in the Ascot races from the Kings Stand, a precursor to the Royal Enclosure that henceforth has become a permanent fixture at the Ascot Heath races. The history surrounding the conception and construction of the Kings Stand is a sordid affair, as are many of the accounts that accompany the reign of King George IV. King George IV began to set his mark as sovereign upon his reign and its pleasures. Ascot received the Royal attention and the man whose taste was so splendidly elegant and whose morals were so gross, brought to Ascot the atmosphere which sets it apart from all other racecourses. First, he had constructed for himself a new Royal box designed by architect than John Nashresponsible for Buckingham Palace, Regent Street and the Nash Terrace of Regents Park. The New Stand was described in The Sporting Magazine as: These races have for many years been distinguished above all others in the kingdom by the immediate patronage and presence of the Sovereign; hence forward however they will be still more identified with Royalty by the erection of a Royal Stand a substantial building of brick and stone calculated to endure for ages, this regal sporting box has been erected immediately opposite to the grand stand. It is a square stuccoed building of two stories and each story is divided into two apartments. One of these is elegantly furnished for the use of his Majesty and the Royal family the other is also handsomely furnished for the attendantsThe exterior of the building in front has a handsome appearance. The basement story is of stucco rusticated horizontally and from this springs a series of fluted stone columns of the Doric order supporting a remarkably ponderous entablature and parapet which enclosing the flat leaded roof forms a stand capable of containing nearly a hundred persons. The interstices between the columns are filled up with light sashes so that two sides of each upper apartment are entirely window and afford an admirable view of the whole course. These windows were hung with spotted muslin draperies which gave a light and elegant appearance to the whole. The stand is very pleasantly situated as independent of the attractions of the passing scene the front has a very fine look over a beautiful wood land and picturesque country. It was completed in the short space of five weeks by Mr. Perkins, the clerk of the works and able assistants under the architectural direction of Mr. Nash.
The Sporting Art Auction
Sep. 09, 2013
JOHN GORDON SINCLAIR (ASA) OIL PAINTING
Est: $200 - $400
"Above Athabasca Falls"Size:16 x 20 in.Framed: 20.5 x 24.5 in.
Hall's Auction Services Ltd.
Aug. 01, 2012
John Sinclair (fl 1872 - 1922) watercolour study
Est: £100 - £150
John Sinclair (fl 1872 - 1922) watercolour study of an elderly lady seated at a table reading, entitled - Sunday Afternoon, signed, 17cm x 12cm
Reeman Dansie
May. 15, 2012
John Sinclair (British, active 1872-1923)
Est: £100 - £200
Farmhouse in snow signed 'JSinclair' (lower right) watercolour 43 x 71cm (16 15/16 x 27 15/16in).
Bonhams
May. 15, 2012
John Sinclair (British, active 1872-1923)
Est: £200 - £300
'On the Derwent' indistinctly signed 'SINCLAIR' (lower right); signed 'JSinclair pinx', inscribed and dated 1870 verso oil on canvas 36 x 50cm (14 3/16 x 19 11/16in).
Bonhams
Jun. 08, 2010
John Sinclair (British, 1872-1922) Fishing harbour at dusk,
Est: -
Fishing harbour at dusk, signed lower right, watercolour, 26 x 49cm (10 1/4 x 19 5/16in).
Bonhams
Apr. 12, 2010
John Sinclair (British, 1872-1922) Fishing harbour at dusk,
Est: £100 - £150
Fishing harbour at dusk, signed lower right, watercolour, 26 x 49cm (10 1/4 x 19 5/16in).
Bonhams
Mar. 14, 2009
John Sinclair (fl 1872-1922) Oil on canvas
Est: £600 - £800
John Sinclair (fl 1872-1922) Oil on canvas Egyptian desert with figures and camels before Sphinx and Pyramid Signed and dated 1905 lower left 22" x 36" Has sketch to reverse of canvas
Claydon Auctioneers
Sep. 30, 2008
John Sinclair (fl. 1881-1923) A shepherd and his
Est: £120 - £180
John Sinclair (fl. 1881-1923) A shepherd and his flock on the downs, a village and a windmill beyond watercolour, signed lower left 36 x 54 cm (14 x 21 in)
Holloway's
Jul. 05, 2006
John Sinclair (1872-1922)
Est: £300 - £500
The beach, evening signed 'J Sinclair' (lower right) pencil and watercolour heightened with white 17 1/4 x 25 1/4 in. (43.7 x 64.2 cm.); and a watercolour of a viaduct by another artist (2)
Christie's