Highlights

Essie Leone Seavey Lucas (American Artist 1872 – 1932)

19th Century Fine Art Legacy

Essie Leone Seavey Lucas was considered one the foremost painters of race horses in the country [3] during the early part of the 20th century. Born in Brownington, Vermont in 1872, she left for Boston at age 16 to study art with noted horse painter Scott Leighton at his Boston studio. Circa 1905, Lucas moved to New York City, where she worked as an artist for a while. It is probably here, near Belmont Park, the home of the Belmont Stakes in Elmont, NY, that she honed her craft as a race horse “portraitist.” Soon, she was commissioned by owners and breeders to paint their horses, finding herself in Kentucky in 1912, painting a trotter owned by American Industrialist and horse breeder G. K. Billings.

In 1917, Lucas moved to Versailles, Kentucky, where her husband William J. Lucas was manager of the Hereford Farms. Close to Lexington, “the horse capital of the world,” her career took off. She painted famous trotters of a number of racehorse owners and breeders, most notably, horse breeder, gambler and casino owner, Col. E. R. Bradely owner of Idle Hour Farm in Lexington, Kentucky. The Colonel’s favorite, which had hung in his main residence, and painted just before Lucas’ death in 1932, was Vaila, Blossom Time, and Bradley’s Peggy. It was a family group painting of Vaila, her daughter, Blossom Time, and her daughter Bradley’s Peggy. Vaila has a foal by her side by Bubbling Over, and Blossom Time has a foal by her side by Black Servant, the foal a full brother to Blue Larkspur. A copy of the picture was used by Mr. Bradley for 1931 Christmas cards. Until recently this painting, occupied a prominent place at Bedford Fine Art Gallery in Bedford, Pennsylvania.

Lucas also painted the notable Bradley stallions including Bubbling Over, Baggenbagge, Boot to Boot, Broad way Jones, Black Servant, Black Tony, North Star, Blue Larkspur and Man O’War. She also painted the Hal Price Headley Thoroughbreds: Supremus, Helen’s Babe and Mike Hall. The famous trotters, Truax and Chestnut Peter were painted for William Monroe Wright, as were Peter Manning and Guy McKinney for L. B. Sheppard. Also, Lucas painted Dillon Axeworthy, premiere sire of the Hanover Shoe Farms (Hanover, Pennsylvania).

Effie Leone Seavey Lucas wore pants to the stables to paint at a time when most women were discouraged from pursuing a career as an artist, and they certainly didn’t wear pants! In fact, as Genevieve Baird Lacer wrote in an essay in the catalog for the show “Tales from the Turf: the Kentucky Horse 1825-1950” catalog, hosted by the Louisville Speed Art Museum in 2019, Lucas’ signed her early paintings with only her first initial and surname. It was only later that she used her full “feminine” name. On Vaila, Blossom Time, and Bradley’s Peggy, painted in 1930, Lucas signed as “E. Leone Seavey-Lucas.” In 1930 her husband became manager of Montpelier Farms in Virginia, owned by Dupont heiress, Mrs. T. H. Sommerville. Lucas divided her time between her Virginia residence and Versailles, where she owned a home and studio.

She was a tireless worker, and had more commissions than she could handle, to the extent that, in 1932, she had a nervous breakdown. Summerville treated her loyal employees well, and it has been conjectured that Summerville, her husband’s employer, sent Lucas to the Oconomowoc Health Resort in southern Wisconsin to recuperate. Lucas had painted a painting of Summerville with her hunter Phenolax and several foxhounds at the front yard at Montpelier, one of her treasures. An appreciative Summerville wanted Lucas to have the best care and recover by sending her to the resort. The resort strove “to give a homelike atmosphere and as far as possible every suggestion of institutional life.” Summerville probably thought that the northern climate should appeal to Lucas, a native Vermonter, and that the extensive gardens and wide range of both indoor and outdoor activities should feed her artistic soul. Not long after she arrived, though, she died of a heart attack, at age sixty. At the time of her death, she left many unfulfilled commissions, including paintings of the three greatest trotting sisters ever bred, Hanover’s Bertha, Charlotte Hanover, and Miss Bertha Hanover of Hanover Farms.

For many, perhaps, she was considered a just a farm manager’s wife “who became a leading portrait artist in the sporting world.” However, I think it is more fitting now that she should be remembered as the horse artist whose husband was a horse farm manager. In The Blood-Horse 1932-01-23: Vol 17 Issue 4, it was said that “aside from her talent Mrs. Lucas possessed admirable traits of character and disposition, and she was well liked by a great number of people who will sincerely regret to know of her passing. The loss of her talent is truly a loss to America, more especially to the Turf world, which now must turn to another for its paintings.”

-- Joan Hawk, Researcher and Co-Owner Bedford Fine Art Gallery, March 12, 2025.
Use only with the permission of Bedford Fine Art Gallery.

References:

  1. Kuchle, Spencer, 2024, Essie Leone Seavey and Rosa Bonheur: Breaking Through the Canvas Ceiling, The North Star Monthly, (online Dec 30, 2024).
  2. Lexington Herald Leader, Louisville’s Speed Art Museum opens Kentucky horse exhibit, November 15, 2019 – March 1, 2020, Maryjean Wall Contributing writer December 30, 2019 12:24 PM.
  3. Ours, Dorothy, author, 2013, Battleship: a daring heiress, a teenage jockey, and America's horse, Saint Martin’s Press, New York.
  4. 1932, The Blood-Horse 1932-01-23: Vol 17 Issue 4, The Blood Horse.
  5. https://newspaperarchive.com/hanover-evening-sun-jan-20-1932-p-4/ and pg. 1/
  6. https://www.montpelier.org

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