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BRITISH, EUROPEAN & SPORTING ART SATURDAY 12 NOVEMBER 2022
The Auction Centre, Leyburn North Yorkshire DL8 5SG 01969 623780 enquiry@tennants-ltd.co.uk www.tennants.co.uk
BRITISH, EUROPEAN & SPORTING ART SATURDAY 12 NOVEMBER 2022
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ALSO SELLING THIS WEEK:
AUTUMN SALE
AUTUMN SALE FRIDAY 11 NOVEMBER & SATURDAY 12 NOVEMBER 2022
FRIDAY 11 NOVEMBER 20022 SATURDAY 12 NOVEMBER 2022 9.30AM (545 LOTS)
FINE JEWELLERY, WATCHES & SILVER SATURDAY 12 NOVEMBER 2022
FINE JEWELLERY, WATCHES & SILVER SATURDAY 12 NOVEMBER 2022 9.30AM (352 LOTS)
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BRITISH, EUROPEAN & SPORTING ART SATURDAY 12 NOVEMBER 2022 AT 9.30AM AUCTION The Auction Centre, Leyburn North Yorkshire DL8 5SG
VIEWING Sunday 6 November 11.00am to 4.00pm Monday 7 November 10.00am to 4.00pm Tuesday 8 November 10.00am to 4.00pm Wednesday 9 November 10.00am to 4.00pm Thursday 10 November 10.00am to 4.00pm Friday 11 November 10.00am to 4.00pm Morning of Sale from 8.00am Live bidding is available on this sale by registering at www.tennants.co.uk All lots illustrated online at www.tennants.co.uk CONTACT Telephone: 01969 623780 enquiry@tennants-ltd.co.uk www.tennants.co.uk
FRONT & BACK COVER Lot 1112
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TO INCLUDE •
The Contents of Ballachrink, Isle of Man, from the Estate of the late Nancy Sutton
YOUR SPECIALISTS
Charlotte Conboy Head of Pictures
Guy Cooper Picture Specialist
Francesca Young Modern & Contemporary Art Specialist
Lucy Campbell Picture Department Administrator
Tennants is the UK’s largest family-owned fine art auctioneers, with a well-deserved reputation for delivering unrivalled service and results. Twenty-seven specialist departments offer an outstanding range of depth and expertise that, combined with the company’s strong traditional values and a personal approach, have won Tennants widespread respect in the international marketplace. Each year Tennants holds over 80 auctions and handles in excess of 40,000 lots covering all major disciplines, making it one of the UK’s busiest salerooms.
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1000 Herbert Dicksee RE (1862-1942) “A West Highlander” Signed in pencil, numbered 69/150 with blind stamp, a black and white etching, 22cm by 30cm £150-250
1000
1001 3 John Rattenbury Skeaping (19011980) Study of the thoroughbred Mill Reef Signed and dated (19)72, inscribed verso, mixed media, 40.5cm by 51cm Provenance: Arthur Ackermann & Son Ltd., London This work is a study for the bronze statue of Mill Reef at Paul Mellon’s Rokeby Stables in Virginia. Skeaping has written the following on the reverse “This is a portrait of the most charming horse I have known, now in the possession of a Lady, Denise, of equal charm”. £250-400
1001
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1002
1002 Arthur Wardle (1860-1929) Head study of a Lioness Signed and dated 1939, coloured chalks on buff paper, together with a further sheet of studies of a lioness, 37.5cm by 25.5cm and 24cm by 34.5cm respectively (2) £250-400
1002
1003
1003 Arthur Wardle (1860-1929) Head study of a Lioness in profile Signed, coloured chalks on buff paper, 24.5cm by 36.5cm £250-400
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1004
1004 William Huggins (1820-1884) Recumbent Lion in his den Signed, watercolour and bodycolour, 31.5cm by 50cm Provenance: Chiswick Auctions, Wednesday 19th June 2019, Lot 116 £800-1,200
1005 George Goodwin Kilburne RI, RBA (1839-1924) Family group seated at a table in conversation Signed, pencil and watercolour heightened with white, 12cm by 16cm £120-180
1005
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1006 3 Ernest Howard Shepard OBE, MC (1879-1976) “If Our Ancestresses Had Played Energetic Games” Inscribed, pencil, 14.5cm by 21.5cm Provenance: The artist’s estate; Christie’s, South Kensington, December 1998; Chris Beetles, London Exhibited: The Other E H Shepard (1879-1976), Chris Beetles Gallery, September 2012; E H Shepard at Punch, 1907-1952, Chris Beetles Gallery, July 2019 This work is a preliminary drawing for Punch, 6th November 1922, Almanack for 1923 (unpaginated) £300-500 1006
1007 William Strang RA (1859-1921) Scottish “After the Performance” Signed and dated 1911, mixed media, 36cm by 30cm Provenance: Lyon & Turnbull, The Contents of Beal House, 15th October 2020 Exhibited: J.S. Maas, London “Christmas Exhibition” 1967, no.102 Bears Christie’s stencils GX16 and 501YC verso £400-600
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1008 James Smetham (1821-1889) Street scene with hurdy gurdy man Pencil and watercolour, 11cm by 19.5cm Provenance: Smetham Family Stone Gallery, Newcastle Upon Tyne £250-400
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1010
1009
1009
1010
Attributed to Sir George Clausen RA, RWS, RI (1852-1944) ‘’Elizabeth Joy Jasmine Hargeaves (née Tozer), aged 6’’ Conté crayon, 31.5cm by 24cm
Myles Birkett Foster RWS (1825-1899) An Alpine Pass Initialled, watercolour heightened with white, 22.5cm by 16.5cm £300-500
Provenance: Walker Galleries Ltd., Harrogate £250-400
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1011 Myles Birkett Foster RWS (18251899) The Stack Yard Initialled, watercolour and gouache, 23.5cm by 34.5cm Bears Christie’s stencil WCSS7 to reverse £600-900
1011
1012 Arthur Reginald Smith RWS, RSW (1872-1934) “The Last of Leaves, Grassington” Signed, watercolour, 25cm by 37.5cm £150-250
1012
1013 Arthur Reginald Smith RWS, RSW (1872-1934) “A Misty morning on the Wharfe” Signed, inscribed verso, pencil and watercolour, 26.5cm by 37.5cm Provenance: The Fine Art Society, London, 1935 £150-250
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1014
1014 • Follower of Sir Edwin Henry Landseer RA (1802-1873) Still life of dead game Bears signature and dated 1820, pencil and watercolour with scratching out, 34.5cm by 51cm
1015 James Hardy Jnr. RI (1832-1889) Still life of Black Grouse Signed and dated (18)66, watercolour heightened with white, 48cm by 69cm £2,000-3,000
Provenance: Malcolm Innes Gallery, 1981 Sold together with a copy of the purchase invoice £300-500
1015
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1017
1017 3 Frank Henry Mason RBA, RI, RSMA (1875-1965) “Venezia” Signed, inscribed and dated 1902, watercolour, 33.5cm by 49.5 cm £400-600
1016
1016 3 Alfred Heaton Cooper RI (1864-1929) Woodland waterfall Signed and dated 1910, watercolour, 51.5cm by 30.5cm £250-400
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1018 3 William Ellis Barrington Browne (1908-1985) “Pheasant Drive” “Cocks Only” Each signed, gouache, 22cm by 31.5cm (2) Provenance: Rowland Ward Ltd., London £150-250 12
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Rodger McPhail (b.1953) Grouse in flight Signed, gouache, together with a companion depicting Grouse in heather moorland, 19cm by 27cm and 17.5cm by 25cm respectively (2) £200-300
Robert W Milliken (1920-2014) Grouse in flight over heather moorland Signed, watercolour heightened with white, together with a companion by the same hand depicting Snipe in flight over washland, 17.5cm by 24cm and 17.5cm by 26.5 respectively (2) £250-350
1021 3 Philip Rickman (1891-1982) “The Open Spring - Woodcock” Signed and dated 1976, watercolour heightened with white, 37.5cm by 56.5cm Provenance: The Tryon Gallery Ltd., London £200-300
1021
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1022
1022 3 Winifred Austen RI, RE (1876-1964) “Wild Swans” Monogrammed, mixed media, 38cm by 53.5cm Provenance: Arthur Greatorex Ltd., London £200-300
1023 3 Peter Allis (b.1944) Grouse in flight over misty moorland Signed, watercolour heightened with white, 61.5cm by 40.5cm £200-300
1023
1024
1024 3 John Cyril Harrison (1898-1985) “Over the Tideway - Wigeon” Signed, pencil and watercolour, 36.5cm by 54.5cm Provenance: The Tryon Gallery Ltd., London £300-500
1025 3 George Edward Lodge (1860-1954) Peregrine Signed and dated 1951, watercolour and gouache, 43.5cm by 33cm £500-800 14
1025
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1026 3 John Cyril Harrison (1898-1985) Woodcock in flight over marshland Signed, pencil and watercolour, 32cm by 21.5cm £500-800
1027 Frank Southgate RBA (1872-1916) “Snipe Feeding” Signed, mixed media, 27.5cm by 47.5cm Provenance: Mandell’s Gallery, Norwich, date unknown; Bears Christie’s stencil RM664 verso Anonymous sale 30th September 1997 Exhibited: Frank Southgate RBA Exhibition, 15 Sept - 4th October 1986, Great Yarmouth Museum Exhibitions Galleries, No.36 £300-500
1026
1027
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Rodger McPhail (b.1953) Woodcock in snow Signed, watercolour and gouache, 46.5cm by 59cm £1,000-1,500
Rodger McPhail (b.1953) Partridge amongst Dandelions Signed, watercolour heightened with white, 47.5cm by 60cm £1,200-1,800
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Rodger McPhail (b.1953) Grouse and chicks Signed, watercolour and gouache, 48cm by 59cm £1,200-1,800
Rodger McPhail (b.1953) Pheasants in stubble Signed, watercolour and gouache, 48cm by 58.5cm £1,200-1,800
1031 www.tennants.co.uk
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1032 3 André Barbier (1883-1970) French Venice, view of Grand Canal and the Campanile Oil on canvas, 38cm by 53cm Sold together with a copy of “André Barbier”, Ghislaine BretonniereBernaudin, Editions SFRT, (1990) (2) £400-600
1032
1033 3 André Barbier (1883-1970) French Notre-Dame Signed, oil on board, 21cm by 25.5cm Provenance: Walker Art Galleries, Harrogate £400-600
1033
1034 3 André Barbier (1883-1970) French “Au Bords de la Seine près d’ Herblay” Signed, oil on panel, 26cm by 34cm Provenance: Walker Art Galleries, Harrogate £400-600
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1035 3 André Barbier (1883-1970) French “Les Bateaux - lavoirs sur la Seine” Signed, oil on canvas, 52cm by 63cm Illustrated : “André Barbier”, Ghislaine Bretonniere- Bernaudin, Editions SFRT, (1990), No. 21, p. 50 £500-800
1035
1036 3 André Barbier (1883–1970) French Venice, Grand Canal and Campanile Signed and dated 1934, oil on board, together with a companion of the same subject matter, 36cm by 53cm (2) £700-1,000
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1037
1037 Robert Gemmell Hutchison RA, RSW (1860-1936) Two children in the sea with a toy boat and basket of fruit Signed, oil on board, 21.5cm by 29.5cm Robert Gemmell Hutchinson is a Scottish landscape painter who is synonymous with coastal scenes executed in broad brushstrokes and soft, muted colours in the style of ‘British Impressionism’. Hutchinson’s prowess for painting in this impressionistic and free painterly manner led him to the echelons of the British art society, for example becoming a member of The Royal Scottish Academy where he was awarded a medal in 1903. Hutchinson’s pictures are held in prestigious collections, such as in the Walker Art Gallery, Hunterian Art Gallery University of Glasgow, Scottish National Gallery, and Royal Scottish Academy of Art & Architecture. £5,000-7,000 20
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1038 William Thornley (exh.1858-1898) “Fishing Boats off Boulogne” Signed, with indistinct inscription to upper stretcher verso, oil on canvas, 24cm by 39cm Provenance: The Cooling Gallery, London £300-500
1038
1039 3 John Steven Dews (b.1949) “Garthpool, In the Humber with Hull Tugs Scotsman and Prizeman” Signed, oil on canvas, 75cm by 121cm £1,000-1,500
1039
1040 Frank Myers Boggs (1855-1926) American Marseille, leaving port Signed, oil on canvas, 42cm by 53.5cm Provenance: Private Collection, France Aguttes, Tableaux Modernes, 25th October 2013, Lot 27 £1,200-1,800
1040 www.tennants.co.uk
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1041
1041 • James Webb (1825-1895) “Morning Trade, North Wales” Signed and dated 1879, oil on panel, 33.5cm by 49cm Provenance: Haynes Fine Art, Broadway Sold together with a copy of the purchase invoice £1,500-2,500
1042
1043
1042
1043
Nicolas Jan Roosenboom (1805-1880) Dutch Beach scene with moored boats and fisherfolk Signed, oil on panel, 25cm by 31cm £300-500
Laurits Bernhard Holst (1848-1934) Danish “Lands End” Signed and dated (18)83, indistinctly inscribed to stretcher with artist’s name and name of patron, with further inscribed label to reverse, oil on canvas, 58cm by 91.5cm £250-400
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1045
Thomas Luny (1759-1837) Sorting the catch at sunset Reputedly signed and dated 1833 to reverse, oil on panel, together with a further signed and dated 1833, oil on panel attributable to the same artist, depicting masted ships in choppy waters, 19.5cm by 25cm and 19.5cm by 24.5cm respectively (2) £700-1,000
Thomas Luny (1759-1837) “The Island of Ischcia, ..., in the Bay of Naples” Signed and dated 1827, with original inscribed label verso, oil on panel, 29cm by 40cm J Leger & Son, London, 1963 £1,200-1,800
1045
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1046
1047
1047 •
1046 Circle of Thomas Luny (1759-1837) Rowing boats before a schooner Oil on board, 11.5cm by 18.5cm £200-300
Hendrik Hulk (1842-1937) Dutch Fishing boats in an estuary Signed (obscured by the frame), oil on panel, 22cm by 30cm Provenance: Florian Papp, New York, 2001 Sold together with a copy of purchase invoice £600-900
1048
1048 Thomas Luny (1759-1837) Smugglers on Devonshire Coast Signed and dated 1827, oil on panel, 29.5cm by 39.5cm Provenance: J Leger & Son, London, 1963 £1,200-1,800
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1049 Robert Strickland Thomas (1787-1853) Off the Nab, light vessel, HM Ship Vanguard...standing on for Spithead View of the entrance to Portsmouth Harbour with HM Ship Britannia Each signed, one dated 1843, 30cm by 45.5cm (2) Provenance: Aitken Dottson, Edinburgh £2,000-3,000
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1050 John Wilson Carmichael (1800-1868) Bamburgh Castle Signed and dated 1847?, indistinctly inscribed to stretcher verso, oil on canvas, 31.5cm by 43.5cm Provenance: Anonymous sale, Christie’s, London £1,500-2,500
1050
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1051
1051
1052 3
John Wilson Carmichael (1800-1868) “Flamborough Head” “Spurn Point” Both signed and dated 1842, oil on canvas, 32cm by 45cm (2)
John Cosmo Clark CBE, MC, ARA (1897-1967) “The Pond at Barnes Green” Signed and dated 1955, inscribed verso, oil on canvas, 49.5cm by 75cm
Provenance: Mandell’s Gallery, Norwich Christie’s South Kensington, Maritime and Naval Battles, Thursday 31st October 2002, Lot 460 £3,000-5,000
With Christie’s stencil 454VK to stretcher verso £500-800
1052
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1053
1054
1053
1054
William Kiddier (1859-1934) “Approach of Night” Signed and inscribed verso, oil on canvas, 83.5cm by 95.5cm £300-500
William Kiddier (1859-1934) “The Red Cloud” Signed, signed and inscribed verso, oil on canvas, 84cm by 95.5cm £300-500
1055 3 Sir Frank Brangwyn RA, HRSA, RSW, RWS, PRBA, RE, HRMS, ROI (18671956) Study of Masks c.1920/30 Oil on canvas, 43cm by 33cm Provenance: Count William de Belleroche We are grateful to Elizabeth Horner for her assistance in cataloguing this lot For a comparable composition please see Brangwyn’s 1931 portrait of Yamanaka Sadajiro £700-1,000
1055
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1056 3 Sir Peter Markham Scott CH, CBE, DSC & Bar, FRS, FZS (1909-1989) Mallard at a water’s edge Signed and dated 1961, oil on canvas, 58.5cm by 48.5cm Provenance: Arthur Ackermann and Son Ltd, Old Bond St. London £1,500-1,800
1056
1057
1058
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Zdzislaw Ruszkowski (1907-1991) Polish Cottages in a landscape Signed, oil on canvas, 44cm by 62cm
James Wilson Booth ARCA (1867-1953) Hay time Signed and dated 1900, oil on canvas, 59.5cm by 90cm £700-1,000
Provenance: Tom Laughton Collection Tom Laughton, the famous Scarborough hotelier and patron of the arts, purchased this work directly from the artist and gifted it to the vendor’s parents. £700-1,000
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1059 William Woodhouse (1857-1939) The timber wagon Signed, oil on canvas, 36cm by 61.5cm £400-600
1059
1060 William Mellor (1851-1931) “On the Burbage, Padley Woods, Derbyshire” Signed, inscribed verso, oil on canvas, 29cm by 49.5cm £400-600
1060
1061 William Mellor (1851-1931) Lakeland landscape with sheep grazing Signed, oil on canvas, 75cm by 125.5cm £800-1,200
1061
1062 Joseph Henderson RSW (1832-1908) Scottish “Crossing the Field” Signed, oil on canvas, 44.5cm by 59.5cm Provenance: Cyril Gerber Fine Art, Glasgow £300-500
1062 www.tennants.co.uk
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1063 3 Herbert Royle (1870-1958) “Lower Dene Farm, Nesfield” Signed, inscribed on stretcher verso, oil on canvas, 33.5cm by 44cm £300-500
1063
1064 3 Herbert Royle (1870-1958) Extensive moorland landscape Signed, inscribed “Near *** Yorkshire” to stretcher verso, oil on canvas, 38.5cm by 59cm £300-500
1064
1065 3 Herbert Royle (1870-1958) Extensive river landscape in summer Signed, oil on canvas, 29cm by 39cm This is thought to be a view of Ilkley from across the River Wharfe £500-800
1065
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1066 3 Herbert Royle (1870-1958) “A May Morning” Signed, extensively inscribed in pencil verso, with artist’s original label to reverse, oil on board, 58cm by 49cm £1,200-1,800
1066
1067 3 Herbert Royle (1870-1958) “Evening Light” Signed, oil on canvas, 34.5cm by 52.5cm £500-800
1067
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1068 Edmund John Niemann (1813-1876) The Lime Kilns, Cheddar Signed and inscribed, oil on canvas, 62.5cm by 113cm £1,000-1,500
1068
1069 3 Sir John Alfred Arnesby Brown RA (18661955) The gloaming Initialled, oil on canvas, 36.5cm by 63cm £400-600
1069
1070 Edmund John Niemann (1813-1876) Anglers at rest in a Lakeland landscape Signed and dated (18)57, oil on canvas, 99cm by 124.5cm £500-800
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1071
1071 Joseph Farquharson DL, RA (1846-1935) Scottish “A River in Spate” Signed, oil on canvas, 25cm by 32.5cm Bears label for Ernest T.H. Bennett to the reverse Joseph Farquharson is arguably best known for serene paintings of sheep and snowbound landscapes. This work though is altogether more dynamic and fizzes with energy and vitality. As well as being a talented artist Farquharson was also Laird of the Finzean estate in the Dee Valley, Aberdeenshire. £3,000-5,000
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1072 John Syer (1815-1885) Angler before a Scottish Castle Signed and dated June (18)82, oil on canvas, 64.5cm by 125.5cm £250-400
1072
1073 Henry John Boddington (1811-1865) “Lane scene near Iver” Signed and titled to label verso, oil on panel, 21cm by 34cm Provenance: Richard Green, London £300-500
1073
1074 Daniel Sherrin (1868-1940) “Evening on the Mole, Near Dorking” Signed, inscribed verso, oil on canvas, 75cm by 126cm £700-900
1074
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1075
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1076
James Stark (1794-1859) “Mending the Eel Pots” Oil on panel, 29cm by 36.5cm
James Stark (1794-1859) Haymaking scene with rustics at rest Oil on canvas, 28.5cm by 43.5cm
Bears Christie’s stencil NH7S6 verso £400-600
Provenance: John Noott, Broadway £250-400
1076
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1077
1077 Johann Bernard Klombeck (1815-1893) Dutch and Eugène Joseph Verboeckhoven (1798-1881) Belgian Cattle, Sheep and herdswoman on a country track before a distant tower, in an Italianate landscape Signed, oil on canvas, 90.5cm by 123cm This earthy agrarian and idyllic Italianate landscape is a picture born from a collaborative effort between Johann Bernard Klombeck and Eugène Joseph Verboeckhoven, two painters at the height of their careers. Klombeck studied in Kleve and became a leading member of the Romantic school subscribing to romantic motifs of painting follies, ruins, towering trees, and man fighting the elements of nature. It is supposed that Klombeck was first introduced to Eugène Joseph Verboeckhoven in 1856 and would often collaborate thereon after leaving behind a fine portfolio of landscapes, namely Wooded Landscape (1869) in the collection of Leeds Art Gallery. Verboeckhoven was one of the foremost animal painters of the 19th century and he painted people and animals with equal attention to detail and character. This picture is a fine example of Klombeck’s and Verboeckhoven’s collaboration. £20,000-30,000
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1078
1078 Philip Hutchins Rogers (1794-1853) River landscape with drovers and cattle Signed and indistinctly dated, oil on canvas, 60cm by 75cm £1,500-2,500
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1080
1079
1080
George Bouverie Goddard (1832-1886) “Black Horse in a Landscape” Signed and dated 1855, oil on canvas, 41.5cm by 51.5cm
George Bouverie Goddard (1832-1886) Two hunters and a spaniel in a landscape Signed and dated 1855, oil on canvas, 64cm by 77cm £500-800
Provenance: Alfred Morrison, Esq, 23rd November 1889, no.147 £250-400 www.tennants.co.uk
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1081 John Sargent Noble RBA (1848-1896) Working horses and a dog at rest before a stable Signed, oil on panel, 19.5cm by 34.5cm £1,000-1,500
1081
1082 Ernest Crofts RA (1847-1911) ‘’Hougoumont’’ Signed, oil on canvas, 39cm by 49.5cm £600-900
1082
1083 Follower of John Wootton (1686-1764) Traveller and gentleman in repose with landscape beyond Oil on canvas, 71.5cm by 90.5cm £400-600
1083
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1084 Follower of Jan Weenix (1640-1719) Dutch Still life with a dog watching over a dead hare and other game Oil on canvas, 65cm by 83.5cm Provenance: Ivor Weiss, London £500-800
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1085
1085 E.S. England (fl.1890-1910) A Study of British Bulldogs, with Roundhay Park, Leeds in the distance Signed and dated 1916, signed, dated 1915 and extensively inscribed verso, oil on canvas, 69.5cm by 110cm Extensively inscribed verso with the details of the Bulldogs: “The Markham” “Markham Minor” sired by Hollywell British. 1912 “Markham Monarch” Winner. First Crystal Palace 1919 & over 500 other prizes. “Champion Markham Tommy”
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Tremendous Winner - taking Championship of America 1912 Special for best in Show. Stud Bull Dogs “Markham Supreme” Winner of over 108? Prizes in England & America. “Hollywell British” Winner of over 400 prizes Conquerer of 14 Champions. Chicago 5,000 entries. £400-600
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1086 William Woodhouse (1857-1939) Spaniel and Grouse amongst the Heather Signed, oil on canvas, 60cm by 50cm £5,000-7,000
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1087 William Woodhouse (1857-1939) A study of two Setters at rest after a day in the field Signed, oil on canvas, 75cm by 60cm £3,000-5,000 www.tennants.co.uk
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1088 Richard Ansdell RA (1815-1885) “Going to the Lodge - Scotch Shootings” Signed and dated 1860? oil on canvas, 75cm by 132.5cm Exhibited: Royal Academy 1861, No.376 £40,000-60,000
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This charming picture was painted at a time when Richard Ansdell was embarking on a life-long love affair with the Scottish Highlands. For four months every year, he would visit from London where he happily mixed with the local people, sensitively recording their daily lives in oils on canvas together with their animals, amidst the dramatic Scottish landscape. Ansdell built a lochside lodge that he shared with his large family and artist friends at a time when the Highlands were being recognised by fashionable London society due to the visits to Balmoral by Queen Victoria. When this picture was painted, Richard Ansdell had been elected as an Associate of the Royal Academy; he became an Academician in 1870. It was, consequently, of paramount personal importance to impress at the annual Exhibition; he was in the prime of his career; he had made it in artistic circles and he was painting subjects that he loved in the place that he loved. This picture is a fine example of a combination of these skills and exuberant aspirations. This painting is unusual in that the two main figures and the dogs share centre-stage – usually the figures in Ansdell’s paintings are secondary to the animals but this makes a charming exception. Here we see a distant shooting lodge at the foothills of what I believe to be the Cuillin Mountains on the Isle of Skye. The gentleman and his lady who will be staying at the lodge are riding towards its shelter before the coming storm arrives, but they have to wait for the ghillie and his boy to catch up before they can attempt to cross the fast-flowing burn. They will be relying on the ghillie for all practical help and guidance throughout their stay whether they are deer-stalking or grouse and partridge shooting. The ghillie, his boy and trusty collie dog are making slow progress over the rough terrain accompanied by two sure-footed Highland ponies loaded up with all the paraphernalia needed for a sporting break in this remote place. The collie dog’s startled gaze back at the main group links the subjects together. The young couple are seen privately exchanging glances surrounded by a group of dogs required for the ensuing days of sport. Here we see, in finest of detail, a pair of glossy-coated Setters chained together; a pair of Pointers; a pair of Springer Spaniels, a single black Spaniel and the ubiquitous Highland Terrier that was a pet of the Ansdell family, appearing in so many of his paintings! The young man is the gamekeeper, and the young woman (his sister, wife or sweetheart) will be the maid at the lodge, carrying out all the housekeeping and catering duties. We must guess at their conversation. With thanks to Sarah Kellam (great, great granddaughter of Richard Ansdell RA) for her catalogue entry.
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1089 Henry Robinson Hall (1859-1927) “By brawling stream and purple moor” Signed, signed and inscribed verso, oil on canvas, 59.5cm by 90cm £300-500
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1090 John Frederick Herring Snr. (1795-1865) Highland Gamekeeper Signed and dated 1854, oil on canvas, 119.5cm by 181cm Provenance: Private Collection, UK Anonymous Sale, Sotheby’s, New York, 1987, Lot 233 Anonymous Sale, Sotheby’s, London, 9th July 1986, Lot 144, Lot 144 Literature: O. Beckett, “JF Herring & Sons”,London & New York, probably no.267 £30,000-50,000
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1091 Richard S Moseley (1843-1914) The best of friends Signed and dated 1876, oil on canvas, 60cm by 49.5cm £400-600
1092
1092 • John Haynes-Williams (1836-1908) ‘’Humble Fare’’ Signed and dated (18)79, signed and inscribed verso, oil on canvas, 39cm by 49.5cm Provenance: Haynes Fine Art, Broadway, 2004 Sold together with a copy of the purchase invoice £700-1,000
1093
1093 • George Washington Brownlow (1835-1876) ‘’Mending the Nets’’ Signed and dated 1863, oil on canvas, 29cm by 47cm Provenance: Haynes Fine Art, Broadway, 1979 Sold together with a copy of the purchase invoice £500-800 46
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1094 Karl Meunier (1864-1894) Belgian “Jeune fille du Piano” Signed, signed and inscribed verso, oil on canvas, 43cm by 30.5cm Provenance: De Vuyst Gallery, Lokeren, Belgium £400-600
1094
1095 Carl Adolf Gugel (1820-1885) German The illicit grape harvesters Signed and indistinctly inscribed, oil on canvas, 98cm by 83.5cm £800-1,200
1095 www.tennants.co.uk
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1096 • Jean Paul Haag (1854-1906) French ‘’A Special Performance’’ Signed and dated 1891, oil on canvas, 68cm by 98cm Provenance: Haynes Fine Art, Broadway, 1999 Sold together with a copy of the purchase invoice £3,000-5,000
1097 • David Hardy (fl.1855-1870) “Grandpa’s Story” Signed and dated 1868, oil on panel, 24.5cm by 19.5cm Provenance: John Noott Galleries, Broadway, 1995 Sold together with a copy of the purchase invoice £300-500
1097
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1098 • George Bernard O’Neill (1828-1917) ‘’The Strawberry Pickers’’ Signed, oil on canvas, 39cm by 49.5cm £2,000-3,000
1099 Luigi Scorrano (1842-1924) Italian Dancing couple outside a trattoria with a view of the Bay of Naples beyond Signed, oil on canvas, 36cm by 52.5cm Provenance: M Newman Ltd, London £400-600
1099
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1100 Thomas P Hall (fl.1837-1867) Orange sellers at York Races Signed, oil on canvas, 33.5cm by 43.5cm Provenance: Sotheby’s London, Victorian Paintings, Drawings and Watercolours, Thursday 12th November 1992, Lot 74 £500-800
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1101 • Robert W. Wright (fl.1871-1889) “Her Own Growing” “His Title Deeds” Signed and dated (18)97, each inscribed verso with fragments of original labels verso, oil on panel, 19.5cm by 14cm (2) £400-600
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1102 • George Bernard O’Neill (1828-1917) “The New Arrival” Signed, oil on panel, 25cm by 19.5cm £1,000-1,500
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1103
1103 • George Bernard O’Neill (1828-1917) “Forfeits” Signed, oil on canvas, 64.5cm by 100cm Provenance: WH Patterson, London Exhibited: Royal Academy, London 1873, no 424 Sold together with a copy of the purchase invoice £6,000-9,000
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1104 Charles Hunt (1803-1877) “Apprehended” Signed and dated 1868, oil on canvas, 71.5cm by 102.5cm Provenance: Marshall Field & Company Picture Galleries as “The Rescue” Bears anonymous Phillips Auctioneers label verso £600-900
1104
1105 • Joseph Clark ROI (1834-1926) “Gifts from a Special Visitor” Signed and dated 1870, oil on canvas, 65cm by 86cm Provenance: Haynes Fine Art, Broadway Sold together with a copy of the purchase invoice £1,800-2,500
1105
1106 • John Haynes-Williams (1836-1908) Fisher girls at rest on the coast Signed, oil on canvas, 74.5cm by 62cm Provenance: WH Patterson, London Brighton & Sussex Fine Arts Limited, 1976 Sold together with a copy of the purchase invoice £500-800
1106 www.tennants.co.uk
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1108 Bartholomeus Johannes van Hove (1790-1880) Dutch “Antwerp” Signed, with inscribed label verso, oil on panel, 36cm by 50cm Provenance: MacConnel-Mason & Son, London £500-800 1107
1107 Johannes Franciscus Spohler (1853-1923) Dutch “Amsterdam” Signed, oil on panel, 18cm by 13.5cm Provenance: MacConnal-Mason & Son, London, 1973 £400-600
1109 • Pieter Gerardus Vertin (1819–1893) Dutch Summer, Amsterdam Winter, Amsterdam The former visibly signed, oil on panel, 24.5cm by 20cm (2) Provenance: WH Patterson, London, 1986 Sold together with a copy of the purchase invoice £600-900
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1110
1110 •
1111 •
Louis Smets (1840-1896) Dutch Figures skating on a frozen lake by a castle Signed, oil on canvas, 59.5cm by 82.5cm
Johannes Bosboom (1817-1891) Dutch Harbour scene with figures and loaded carts Possibly signed under frame, oil on panel, 26cm by 34cm
Provenance: Hal O’Nians, London 1976 Sold together with a copy of the purchase invoice £800-1,200
Provenance: WH Paterson, London £700-1,000
1111 www.tennants.co.uk
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1112 John Atkinson Grimshaw (1836-1893) “Silvery Moonlight” Signed and dated 1882, originally signed, inscribed and dated verso, oil on canvas, 40cm by 60cm Provenance: Richard Green, London NG Bailey Group of Companies, Denton Hall, Ilkley £80,000-120,000
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Atkinson Grimshaw is an artist whose fame in his lifetime as a painter of moonlit urban scenes and landscapes died with him in 1893. Indeed, he barely made it into the history books until the reputations of Victorian painters began to be restored in the early 1960s. Grimshaw was born and lived in Leeds, hence the city art gallery’s large collection of his paintings. In the 1970s, as a student working in Leeds Art Gallery, I lived in Headingley in a flat in a big house behind a high stone wall, surrounded by trees. As far as I was concerned, I lived in a Grimshaw painting, and the figure of a girl walking along a moonlit road could be me. The melancholy of Grimshaw’s paintings appealed to me, just as it has done for so many others. Later, I learnt that Grimshaw’s shadowy lanes are generic views accumulated from his knowledge and observations of the city’s streets; that his life was troubled by grief and financial worries and that the subject we see here was hugely popular with art buyers. It was, therefore, one that was much repeated by Grimshaw, who, having become burdened with debt in later life, had to paint constantly to make a good enough living to support his large family, and to sustain his rather opulent taste in furniture, textiles and Chinese porcelain for Knostrop Hall, his richly decorated home. These silvery moonlit scenes varied little in composition, the shiny wet road curving from the right across to the left or centre of the canvas; sometimes we see the sparkling road turn the corner, at others we do not, but always we see the high stone walls, the wintry trees and a gate that firmly closes us out of the grounds of a large, sombre looking house, a few squares of light glowing in its windows. In 1882, when Silvery Moonlightwas painted, Grimshaw was working in London in a bid for success on the London art scene. He hired a studio in Chelsea and took with him his live-in model, Agnes Leefe, whom he introduced into his Leeds household in 1879, much to his wife Frances’s fury. Grimshaw made many night-time paintings of London street-scenes, not only of the heart of the city but also of Hampstead, one of them a view of Heath Street (Tate), with the ubiquitous figure of a woman in black holding an umbrella, also painted in 1882. Silvery Moonlightmay well have been painted with Hampstead in mind, with its tall city houses extravagantly lit up on every floor, compared to the subdued lights of Yorkshire homes, where a servant girl often walks along the dark lane or a courting couple hide themselves in the darkness. In this painting we have a horse-drawn cart, its owner walking ahead. Grimshaw always provides a human presence under the moonlight, but they are never the wealthy owners of the illuminated houses; these are the lower-class workers who serve them, romanticised by the artist in a dreamlike setting of his own invention, one that has been much-loved by collectors and gallery viewers for generations. Jane Sellars MBE (2022) We are grateful to Jane Sellars MBE for her assistance in cataloguing this lot.
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1113 After Alexis Grimou (1678-1733) French Portrait of a Shepherdess holding pilgrims scallop shell Portrait of a Shepherd Oil on canvas, 39.5cm by 29.5cm (2) Each contained in a decorative carved wood and gilt frame The present works are after Grimou’s originals, now in the Gallerie degli Uffizi, Florence £800-1,200
1114 Studio of Sir Anthony van Dyck (1599-1641) Portrait of Johann the Younger, Count of Nassau Siegen (1563-1638) Oil on canvas, 69cm by 55cm £2,500-4,000
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1115
1116
1115
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Manner of Michael Dahl (1659-1743) Swedish Portrait of a lady in a red dress and blue cloak Oil on canvas, 69.5cm by 54.5cm £600-800
English School (18th century) Portrait of George Digby, 2nd Earl of Bristol (1612-77) Oil on canvas, 69.9cm by 57.2cm (oval) £1,000-1,500
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1118
1117
1118
British School (18th century) Head study of a young man, bust length, wearing a red cloak Oil on canvas, 39cm by 26.5cm £250-400
Follower of Francesco Albani (1578-1660) Italian Allegory of Charity Oil on canvas, 58.5cm by 44.5cm The present composition is loosely based on Albani’s Charity, now at Sudeley Castle, Gloucestershire. £700-1,000
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1119 After Sir Allan Ramsay (1713-1784) Scottish Portrait of the Rt Honourable Alexander Wedderburn, Baron Loughborough (1733-1805) (Solicitor General 1771, Attorney General 1778, Lord Chief-Justice to the Court of Common Pleas 1780, created Baron Loughborough of Loughborough in the County of Leicester 1780), seated in the robes and the wig of Lord Chief Justice, flanked by Royal Purse and Mace Oil on canvas, together with an engraved plate with the coat of arms of the sitter, and a further engraving after the portrait, 126cm by 102cm, 45.5cm by 26cm and 38cm by 30cm respectively (3) £600-900
1120 English School (19th century) Portrait of Augustus George Henry Desire Webster-Wedderburn (18211845), bust length Indistinctly inscribed to label verso, oil on canvas, 75cm by 62cm £250-400
1121 Circle of Philip Reinagle RA (1749-1833) Study of a gentleman, half length, in a green coat and white cravat Oil on canvas, 74.5cm by 62cm
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1120
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According to a label verso the sitter is a Mr George Jenkins £400-600
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1122 Thomas Musgrave Joy (1812-1866) Portrait of George Gordon Gerald Trophine de Lally Tollendal Webster-Wedderburn (1827-1875), standing half length, with officer’s scarlet dress with epaulettes, gazing to sinister Signed and dated 1842, oil on canvas, 90cm by 69cm £500-800
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1123 Nathaniel Sichel (1843-1907) German Portrait of a lady in a blue dress, her hair adorned with flowers Signed, oil on canvas, 62cm by 54cm Provenance: Christie’s, London, 19th Century European Art including Orientalist Pictures, 21st November 2002 £700-900
1123
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1124 3 Charles Spencelayh (1865-1958) “Sailor’s Suit” Signed and dated 1910, oil on canvas, 44cm by 24cm Provenance: Christie’s London, Victorian Pictures, Tuesday 26th November 2002, Lot 159 £1,500-1,800
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1125 3 Gerald A Cooper (1898-1975) Geraniums Signed and dated 1952, oil on canvas board, 49cm by 39cm Provenance: The Fine Art Society, London £1,000-1,500
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1126 Frederick (Fred) Stead ARCA (18631940) Still life of Sweet Williams, Delphiniums and assorted blooms in a brown glazed vase Signed, oil on canvas, 59.5cm by 50cm Provenance: City of Bradford Corporation Gallery, Cartwright Memorial Hall, loan number 65 £500-700
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1127 Théodore Gérard (1829-1895) Belgian Still life of assorted Chrysanthemums in a cobalt blue vase Signed and dated 1890, oil on canvas, 99cm by 67.5cm Provenance: Christies Sale 9513 £1,500-1,800
1127 www.tennants.co.uk
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1128 Oliver Clare (1853-1927) Still life of grapes, plums and peaches on a mossy bank Signed, oil on canvas, 44.5cm by 37cm £250-400
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1129 René-Louis Chrétien (1867-1945) French Still life of onions and colander on a wooden table Signed, oil on canvas, 37cm by 45cm £500-800
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1130
1130 • Follower of Simon Pietersz Verelst (1644-1721) Dutch Glass vase of assorted flowers Oil on canvas, 67.5cm by 58cm Provenance: Hal O’Nians, London, 1970 WH Patterson, London Sold together with a copy of the purchase invoice £2,500-4,000 www.tennants.co.uk
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1131 Studio of Jan Davidszoon de Heem (1606-1683/4) Dutch Crayfish, Bread and Fruit with an Oyster on a Pewter Dish, Vine Leaves, a Glass of Wine and a Glass of Beer, upon a Table draped in green Cloth, c.1645 Oil on panel, 39cm by 59cm Exhibited: The Lure of Still Life, Galleria Lorenzelli, Bergamo and Galerie Lingenauber, Düsseldorf 1995/96 Provenance: With Leonard Koetser, London, 1946, as Jan Davidsz. De Heem Sale London, Christie’s, 3 April 1992, lot 32, ill., as Manner of Joris van Son With E. Lingenauber, Düsseldorf, 1995, as by Jan I van den Hecke Sale Vienna, Dorotheum, 10 June 1997, lot 25, ill., as by Jan I van den Hecke With Hoogsteder & Hoogsteder, The Hague, 1998-2006 Sale London, Bonham’s, 6 July 2007, lot 126, ill., attributed to Alexander Coosemans Sale Newbury, Dreweatts 1759, Plaish Hall Collection, 15 May 2019, lot 55, ill., attributed to Alexander Coosemans Literature: Lorenzelli, Jacopo and Lingenauber, Eckard, The Lure of Still Life, Galerie Lingenauber, 1995, 150-155 £15,000-20,000
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Records from 1946 onwards indicate how this luminous Dutch Golden Age still life was credited initially to Jan Davidsz. de Heem and then, directly or indirectly, to important contemporaries such as Joris van Son and Jan van der Hecke. More recently it has been attributed to one of de Heem’s most talented pupils, Alexander Coosemans. Throughout this time, despite changing perspectives, there has generally been consensus that the work, particularly in terms of composition, reflects the close presence and influence of Jan de Heem himself. Dr Fred G. Meijer, the leading authority on de Heem, has known this work for many years and studied it closely, and in January 2020 he provided an updated written opinion based on his latest research. In brief, he believes that this still life is likely to date from the period 1645-1648, and he references numerous compositional similarities found in known works by de Heem produced around the same time. At present, though Dr Meijer sees the quality of execution as close to that of de Heem, he ‘cannot connect it with any specific hand’ and believes that ‘in view of the similarities and general quality…this still life will have originated in Jan Davidsz. de Heem’s close vicinity, most likely in his studio, perhaps on the basis of a composition designed by the artist himself.’ There is a calm simplicity to this harmonious ontbijt, or breakfast still life, relatively undisturbed by dissonance or tension, despite the typically precarious overhang of the pewter plate. The composition is held in fine balance by a careful and creative disposition of form and line, heightened by colour and effects of light. Arranged in a classical triangular design, the structure has an apex defined by shards of sunlight filtering through wine held in a tall verre de venise encircled by vines. The effect of the light falling from the left of this restrained but appetising meal also enhances the gold and cream tones of the fresh crusty bread and gives presence to the lustrous delicacy of a single oyster, whilst quiet reflections on the beautifully modelled plate echo and amplify the warm pinks of the crayfish. A harmonious play of colour and balance extends rightwards to an angular counterpoint in the crisp yellow segments of lemon that, weighted further by walnuts placed alongside, serve to anchor the composition and, with controlled asymmetry, convey a sense of the naturally random. The triangular structure gains additional strength from the subtle directions of folds in the table’s green drapery. The breakfast still life, often associated with the work of Clara Peeters, emerged in the early seventeenth century, and evolved in succeeding decades in the work of several important Dutch artists including Willem Claesz. Heda and de Heem. In contrast to the sumptuous pronkstilleven, or banquet still life, which from the 1630s onwards typically presented a table groaning under a glorious but chaotic abundance of costly foodstuffs and luxury items, there is often a determined frugality and order to the ontbijt. Where banquet depictions simultaneously, and paradoxically, both critique and celebrate the success, wealth and plenty of the Dutch Republic, the breakfast still-life often appears to suggest a more commendable earthly balance. To what degree political or religious symbolism may be present in this work is part of a larger scholarly debate, but it is apparent that all the foodstuffs and utensils depicted, with the exception of the Venetian glass, are items of readily available produce that could have formed part of a modest yet comfortable lifestyle. As such, the careful, though seemingly uncontrived, order and content of this piece may perhaps have carried a calm, reasoned message for its time. Jan Davidsz. de Heem (1606-1683/1684) was born in Utrecht, Netherlands and is considered one of the greatest Dutch still-life painters of the seventeenth century. De Heem’s paintings can be found in major international collections, including the Rijksmuseum, The National Gallery in London, and The Metropolitan Museum of Art in New York City.
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We do not accept any liability for any losses, however arising, as a result of a prospective buyer’s use of www.the-saleroom.com. Use of www.thesaleroom.com is subject to separate terms and conditions which do not form part of these conditions. Telephone Bidding Requests for telephone bidding must be registered at least one hour prior to the close of the View Day. We will not accept requests on the Day of Sale. Telephone Lines are booked on a first-come, first-served basis and are subject to a minimum lot value of £500 for Fine Art Sales and £200 for all other sales. Absentee Bidding Whilst reasonable endeavours will be made to execute absentee bidding up to the Day of Sale, Tennants will not be liable for any default or neglect in connection with this service. All such arrangements therefore are made entirely at the Prospective Buyer’s risk. VAT Value added tax or any equivalent tax chargeable in the UK or elsewhere. AML Due Diligence We conduct appropriate Due Diligence checks to comply with current Anti Money Laundering regulations for any buyer exceeding the threshold of £8,000. We reserve the right to withhold the purchased lots until such checks have been completed. Agency We act as agents for the Seller, whose details remain confidential. If you buy at auction your contract is with the Seller, not us. Picture Descriptions The forename(s) (or asterisks where not known) and surname of the artist indicates, in our opinion, a work by the artist named. The initials of the forename(s) and the surname of the artist indicates in our opinion a work of the period of the artist which may be wholly or in part his work. The following terms apply in our determination of a picture description: (a) “Attributed to” - is in our opinion probably a work by the artist. (b) “Studio of” - is in our opinion a work from the studio of the artist which may or may not have been executed under his direction. (c) “Circle of” - is in our opinion a work of the period of the artist executed under his immediate influence. (d) “Follower of” - is in our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. (e) “Manner of” - is in our opinion a work in a style related to that of the artist, but of a later date. (f) “School accompanied by the name of a place or country and a date” - means that in our opinion the picture was executed at that time and in that location; e.g. Flemish School, 17th century. (g) “After” - an artist is in our opinion a copy of any date after a work by that artist. (h) “Signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription” - are from the hand of the artist. (i) “Bears signature and/or dated and or inscription means that in our opinion the artist’s name and/or date and/or inscription” - have been added by another hand. (j) All references to signature, inscriptions and dates refer to the present state of the work. (k) Dimensions are given height before width and do not include the frame (l) Pictures are framed unless otherwise stated.
Droit de Suite/ Artists’ Resale Rights All items in this catalogue that are marked with “✔” are potentially qualifying items, and the royalty charge (set out below) will apply if the Hammer Price is more than the UK sterling equivalent of €1,000. The royalty charge will be added to purchase invoices, and must be paid before items can be cleared. All royalty charges are paid to either the Design and Artists Copyright Society (“DACS”) or the Artists’ Collecting Society (“ACS”) by the auctioneers, and no handling costs or additional fees with respect to these changes will be retained by the auctioneer. From 14 February 2006 United Kingdom art market professionals (which includes auctioneers) are required to collect a royalty payment for all works of art that have been produced by living artists, and those who have died within the last 70 years. This payment is calculated on qualifying works of art which are sold for a Hammer Price more that the UK sterling equivalent of €1,000 (the UK sterling equivalent will fluctuate in line with prevailing exchange rates). It is the responsibility of the Buyer to acquaint themselves with the actual Euro to UK sterling exchange rate on the Day of Sale. The actual qualifying threshold will be calculated by the “Artist’s Resale Right Service Hub” based on the “European Central Bank” reference rate published at 2.15pm on the Day of Sale and can be found on www.dacs.org.uk The royalty charge for qualifying items which achieve a Hammer Price of more than the UK sterling equivalent of €1,000 is as follows: Up to €50,000 – 4% €50,000.01 to €200,000 – 3% €200,000.01 to €350,000 – 1% €350,000.01 to €500,000 – 0.5% Exceeding €500,000 – 0.25% For further information please visit www.dacs.org.uk or www.artistscollectingsociety.org. There is no VAT payable on this royalty charge. Method of Payment Payment is accepted online via our website. Card payments where the card holder is not present will only be accepted for transactions up to £500. Payment can be made and purchases collected during the auction. All accounts must be settled within 14 days of the sale. Accounts not paid within 14 days will automatically be subject to an interest charge of 5% above base rate from the day of sale. Collection All purchases much be collected from our Leyburn offices, unless stated otherwise, within seven days of the Sale (Monday to Friday 8.30am to 5.00pm). Despatch/Delivery Buyers may appoint their own shippers or use one of our preferred suppliers for all UK deliveries and international shipping. Their contact details are as follows: Bradleys Antique Packing Services Ltd 01325 281332 info@antiquepacking.co.uk Carrs Carriers Ltd 01423 297088 01913 077024 carrscarriersltd@gmail.com
Mailboxes Etc 0113 242 8715 info@mbeleedscity.co.uk
In-House Shipping For certain lots, we offer a packing and shipping service up to a total value of £5,000 (inclusive of buyer’s premium, VAT and any other associated charges). Prices start from £20 depending on the size and destination. Please note, we are unable to post items of a fragile nature. Items are fully insured and can be tracked from dispatch to delivery. To obtain a quote for packing and shipping, please email shipping@tennants-ltd.co.uk or call 01969 623780. You will need to have paid your invoice in full, including delivery, before items are dispatched. For full Terms of Business please refer to www.tennants.co.uk
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2022 AUCTION DATES Friday 11 November The Designer Sale Friday 11 & Saturday 12 November Autumn Fine Sale Saturday 12 November British, European & Sporting Art Saturday 12 November Fine Jewellery, Silver & Watches Friday 18 November Costume, Textiles & Accessories Friday 18 November Antiques & Interiors Wednesday 23 November Books, Maps & Manuscripts Wednesday 23 November Coins & Banknotes Wednesday 30 November Natural History & Taxidermy Friday 2 December Fine Wine & Whisky Saturday 3 December Antiques & Interiors, including Beswick & Border Fine Arts Wednesday 7 December Militaria & Ethnographica Friday 9 December Toys, Models & Sporting & Fishing Friday 16 December Antiques & Interiors
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BRITISH, EUROPEAN & SPORTING ART SATURDAY 12 NOVEMBER 2022
The Auction Centre, Leyburn North Yorkshire DL8 5SG 01969 623780 enquiry@tennants-ltd.co.uk www.tennants.co.uk
BRITISH, EUROPEAN & SPORTING ART SATURDAY 12 NOVEMBER 2022