BRITISH, EUROPEAN & SPORTING ART
SATURDAY 15 MARCH 2025
ASIAN ART
FRIDAY 14 MARCH 9.30AM
SPRING FINE ART
SATURDAY 15 MARCH 9.30AM
FINE JEWELLERY, WATCHES & SILVER
SATURDAY 15 MARCH 9.30AM
BRITISH, EUROPEAN & SPORTING ART
SATURDAY 15 MARCH 2025 AT 9.30AM
AUCTION
The Auction Centre, Leyburn Nor th Yorkshire DL8 5SG
VIEWING
Sunday 9 March 11.00am to 3.00pm
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Wednesday 12 March 11.00am to 3.00pm
Thursday 13 March 11.00am to 3.00pm
Friday 14 March 8.00am to 3.00pm
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FRONT & BACK COVER Lot 1033
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The son of the ar tist Eduoardo Matania, For tunino studied in his father ’s studio in Naples. He soon showed himself to be a child prodigy in the field of drawing and painting and Matania is recorded as saying: “I can’t remember when I first held a brush.”
In assisting his father with his illustrations intended for the periodical “L’ Illustrazione Italiana” his proficiency and talent was soon recognised in wider circles and Matania was producing his own illustrations for the magazine from 1895-1902. Before moving to Britain, he worked as a travelling ar tist for magazines in Italy, Germany, France and England and in 1902, he was awarded a great honour in becoming the official ar tist for the Coronation of Edward VII for The Graphic magazine.
Once in London, Matania was keen to produce works which were inspired by the world around him and driven by this he produced an unbelievably large, diverse and highly skilled output of work over more than 40 years, which appeared in The Graphic, The Sphere, Illustrated London News Britannia and Eve, and other instructive publications such as Look and Learn, towards the end of his career. A contemporar y quote of the time referred to his endeavours as “intensely energetic and hard-working, always on the spot, his pictures were far more vivid than the artists who drew from their reports”
Aged 22, Matania had a brief time away from London when he took militar y ser vice with the Bersaglieri, in Italy, even here he had a studio appointed to him and he produced six large paintings for display within the Garrison. It was after his army ser vice that he returned to London and it was in 1911 that he was given the illustrious assignment as guest of George V at the Delhi Durbar (Indian Cour t) when he and his queen were installed as King – Emperor and Queen Empress. His association with the King and Queen Mar y continued also evidently past this time and it is known that works by him formed par t of the collection of HM Queen Mar y.
1000 ✓
Fortunino Matania RI (1881-1963) Italian The Muse
Signed, mixed media, together with a collection of fur ther sketches to include a range of studies depicting the female form, por traits and figurative subject matter, 33cm by 53cm, various other sizes, all unframed (a collection)
Provenance: From a collection of sketches and drawings from the studio of For tunino Matania Private Collection, Nor th Yorkshire £150-250
By 1914 Matania became a war ar tist and he was in the trenches many times drawing from life to ensure that his paintings were realistic renditions. He is quoted as saying “After it was over I realised drawings of innocuous functions would not appeal, photography had made great strides so I turned to something else, the reconstruction of historical events”
It was from this time that Matania determinedly sought to depict historical scenes, often of a Classical nature and intended for the publication Britannia and Eve. Matania went to enormous lengths to ensure that all aspects of the design were absolutely historically correct and applied a meticulous approach to detail. Matania exhibited his Roman interiors at the Royal Academy, Royal Institute of Painters in Watercolours (becoming a member of the latter in 1917) and several other locations. He strove to depict faithful reproductions, which he achieved through the rigorous study of the subject, by accurately reconstructing the furniture found in the buried city, and with the addition of appropriate models; his studio transformed into Ancient Rome.
His talent and success as an illustrator encouraged a number of commissions for adver tising posters and catalogues and he produced work for companies such as Ovaltine and Burberr y’s (see lot 1005).
The ar tistic output of this remarkable ar tist seems truly endless. In his pursuit of his ideals, Matania stood alone amongst his contemporaries, he employed a resourcefulness rarely matched and always remained true to his notion of beauty and realism.
(par t lot)
(par t lot)
(par t lot)
1001 ✓
Fortunino Matania RI (1881-1963) Italian
“La donna tiene in mano un diadema” - Study of an ancient Roman painted interior
Inscribed, mixed media, together with two fur ther extensively inscribed sheets of studies depicting “Centurione” & “Tziaire” recto and an emperor verso, “Phaleratus” & “Sineifer” recto another Roman militar y costume study to verso, a fur ther signed pencil sketch depicting a dancing classical maiden playing a tambourine with pipe players in the background and four fur ther unframed predominantly watercolour works on a figurative and similar subject matter, 45.5cm by 27.5cm, various other sizes (8)
Provenance: From a collection of sketches and drawings from the studio of For tunino Matania Private Collection, Nor th Yorkshire` £250-400
1001 (par t lot)
1002 (par t lot)
1002 ✓
Fortunino Matania RI (1881-1963) Italian “The Hunt Breakfast”
Inscribed with title and fur ther extensive inscription, possibly by another hand, pencil, together with a large collection of fur ther pencil sketches to include a possible self-por trait study, various interior scenes, some of an historical subject matter, all mostly figurative, miscellaneous photographs of the ar tist, exhibitions and reproductions of various works produced by the ar tist with fur ther c.1930s publications such as “Help Yourself Annual” and “Everybody’s”, 22.5cm by 25.5cm and various other sizes, seven framed the reminder unframed (a collection)
Provenance: From a collection of sketches and drawings from the studio of For tunino Matania Private Collection, Nor th Yorkshire £200-400
1003 ✓
Fortunino Matania RI (1881-1963) Italian
Study of a bay horse with a rider up Pencil and oil on paper, together with three fur ther mixed media studies to include a fur ther study of a bay horse, a jockey at full gallop and a lobster, 21.5cm by 27cm, 21cm by 17cm, 28cm by 19cm and 10cm by 17.5cm respectively, all unframed (4)
Provenance: From a collection of sketches and drawings from the studio of For tunino Matania Private Collection, Nor th Yorkshire £120-180
1003 (par t lot)
1004 ✓
Fortunino Matania RI (1881-1963) Italian
Female life study
Red conte crayon heightened with white, together with two fur ther pencil sketches depicting water carriers and a female bather in repose, 44.5cm by 26.5cm, 27.5cm by 24.5cm and 38cm by 27.5cm (unframed) respectively (3)
Provenance: From a collection of sketches and drawings from the studio of For tunino Matania
Private Collection, Nor th Yorkshire
£100-150
1005 ✓
Fortunino Matania RI (1881-1963) Italian Venus and other beauties
Mixed media, possibly a fan design, together with five fur ther mixed media figurative renditions, one possibly an illustration for “Vanity Fair”, one of mountaineering interest and another seemingly a Burberr y Clothing original adver tisement illustration, 26.5cm by 53.5cm, 38cm by 27.5cm, 38cm by 24.5cm, 47cm by 25cm, 34cm by 24cm and 44.5cm by 31cm respectively, the first framed only (6)
Provenance: From a collection of sketches and drawings from the studio of For tunino Matania Private Collection, Nor th Yorkshire £250-400
1005 (par t lot)
1006
1007 1006
Luis Felipe Usabal y Hernández (1876-1937) Spanish
After the Performance
Signed, inscribed verso with ar tist’s address New York 7.8.17, no.2, price $300, watercolour heightened with white, 33cm by 42cm
£250-400
1008
Helen Allingham RWS (1848-1926)
“An Old Farm, Didcot, Berks”
Signed, inscribed to backing board verso, with fur ther ar tist’s label, watercolour heightened with white, 37cm by 26.5cm
£2,500-3,500
1007 ✓
Frederick (Fred) Lawson (1888-1968)
“Haytime in Wensleydale”
Signed, pencil and watercolour, 28cm by 31.5cm
£200-300
1009 ✓
Robert W Milliken (1920-2014)
“Frozen out”
Signed and dated (19)74, watercolour heightened with white, 36cm by 48.5cm
Provenance: The McDonald Booth Galler y, London Private Collection, Nor th Yorkshire
£250-400
1010
George Edward Lodge (1860-1954)
“Red-legged Partridge”
Signed, watercolour and gouache, 23.5cm by 36cm
Provenance: Commissioned by Harr y Forbes Witherby to illustrate “The Handbook of British Birds”, London, 1940
Christie’s, “Watercolours and Pictures of Birds”, Tuesday 16th March 993, lot 171
Private Collection, Lancashire
£400-600
1011
Edwin John Alexander RSW (1870-1926) Scottish Bullfinch on a branch in Winter
Initialled, watercolour and bodycolour heightened with white, 46cm by 22cm
Provenance: The Selected Contents of Eden Lacy, Lazonby, from the estate of Victor Gubbins
£300-500
1009
1010
1011
1012
Louis Thomas Francia (1772-1839)
“Yawl Entering Harbour, Boulogne-sur-Mer”
Signed, pencil and watercolour with scratching out, 21.5cm by 29cm
£200-300
1013
Frederick William Scarborough (1860-1939)
“Tower Bridge, London”
Signed, pencil and watercolour heightened with white, 24cm by 34.5cm
£700-1,000
1014 ✓
William Heaton Cooper RI (1903-1995)
“Grasmere in Winter”
Signed, inscribed verso, watercolour, 35.5cm by 53.5cm
£1,000-1,500
1014
1013
1012
1015
Attributed to James Northcote RA (1746-1831)
Sheet of studies depicting animated classical figures
Inscribed with “96” upper left, pen and brown ink, 19cm by 25cm
£200-300
1016
John White Abbott (1763-1851)
“Fall of the water of Garry, below the Pafs of Killicrance” (sic)
Initialled, inscribed with title, no.22 and dated June 25th 1791 verso, ink and watercolour, 22.5cm by 17.5cm
£400-600
1016
1015
Eastman Johnson (1824-1906) American
Portrait of Julia May
Indistinctly signed upper left?, pastel laid onto linen, 53cm by 44.5cm
Provenance: Commissioned from the ar tist
Thence by descent
Private Collection, East Yorkshire
Eastman Johnson was the co-founder of the Metropolitan Museum of Ar t, New York, USA
£2,500-4,000
1017
1017
1018
Luigi Mayer (1755-1803) Italian “Veduta Della Prima e Maggiore Piramide di Giza, con la Seconda in Distanza”
Inscribed, mixed media, 37.5cm by 53.5cm
Provenance: Torridon House, Home of The Earls of Lovelace Lyon & Turnbull, “Torridon: Home of the Earls of Lovelace | 453”, 28 October 2015, lot 252 Private Collection, Victoria Lodge, Tweedsmuir, Biggar
£500-700
Harold Swanwick RI, ROI, RCamA (1866-1929) “Alger”
Initialled, inscribed, oil on canvas laid onto board, together with a fur ther example by the same ar tist likely depicting a French harbour scene, 14cm by 22.5cm and 15cm by 22.5cm respectively (2)
Provenance for “Alger” The Estate of Harold Swanwick and by descent The Heatley family
Exhibited: “Chris Beetles Summer Show, 2023”, Chris Beetles Galler y, London, June - September 2023
Literature: Illustrated “Harold Swanwick (1866-1929): Rural Life and Landscapes” Forrest, Andrew, p.49, no.43
It has been suggested that this work was painted in c.1897
The lot is sold together with a copy of the book “Harold Swanwick (1866-1929): Rural Life and Landscapes” Forrest, Andrew, Coniston Books, 2023 £150-250
1019
1018
1019
1020
E. Fletcher (1857-1945)
Shipping in the Pool of London at sunset, with view of St Paul’s Cathedral to distance Signed, oil on canvas, 49.5cm by 75cm
£400-600
1021
Antoinetta Brandeis (1849-1926) Italian “The Church of Santa Maria della Salute, Venice” Initialled, oil on board, 22cm by 12cm
Provenance: Grindley & Palmer, Liverpool Haynes Fine Ar t of Broadway, Broadway Private Collection, West Yorkshire
£2,500-4,000
1020
1021
1022
Jacques François Carabain (1834-1933)
Belgian
Fishing boats in the Venetian lagoon
Signed, oil on canvas, 41cm by 54.5cm
£500-800
1023 ✓
Richard Firth (b.1971)
“Westward & Britannia Racing off the Royal Yacht Squadron, Isle of Wight”
Signed, oil on canvas, 69cm by 104.5cm
Provenance: James Starkey Fine Ar t, Beverley Private Collection, East Yorkshire
Sold with Christmas card to the vendor from James Starkey referring to the present painting
£6,000-9,000
1022
1023
1024
Attributed to Hubert Thornley (fl. 1859-1898)
Shipping off Scarborough harbour
Signed, oil on canvas, 34.5cm by 29.5cm
Provenance: Ryland Fine Ar t, Harrogate Private Collection, East Yorkshire
£300-500
1025
Attributed to Hubert Thornley (fl. 1859-1898)
Shipping off a headland
Signed, oil on canvas, 24cm by 39cm
£300-500
1026
Paul Jean Clays (1819-1900) Belgian Ships at anchor
Signed, oil on board, 48.5cm by 39cm
£600-900
1026
1025
1024
1027
William Kay Blacklock RBA (1872-1924)
“The Harbour, Walberswick, Suffolk”
Signed and dated (19)15, inscribed verso in pencil to backing board, oil on board, 21.5cm by 34cm
£1,000-1,500
1028
Joseph Henderson RSW (1832-1908) Scottish Kelp gathering
Signed, oil on canvas, 29cm by 44.5cm
Provenance: Private Collection, Victoria Lodge, Tweedsmuir, Biggar
£1,000-1,500
1029
Edwin Ellis (1841-1895)
“Under the East Cliff, Hastings”
Signed and dated (18)70, oil on canvas, 49.5cm by 74.5cm
The ar tist exhibited a watercolour of the same in the Dudley Galler y in 1871, by repute
Title by repute
£1,000-1,500
1028
1027
1030
Edwin Ellis (1841-1895)
Fishing boats off a pier, probably Whitby Signed, oil on canvas, 43.5cm by 79.5cm
Provenance: Webb Fine Ar ts, Winchester Private Collection, South Yorkshire
£300-500
1031
William Gilbert Foster RBA (1855-1906)
Wash day in a small harbour, North Yorkshire
Signed and dated 1883, oil on canvas, 16.5cm by 24cm
£250-400
1032
Sidney Richard Percy (1821-1826)
“On the Glaslyn”
Signed (par tially obscured by slip), oil on canvas board, 23cm by 43cm
Provenance: The Unicorn Galler y, Wilmslow, Cheshire
Private Collection, South Yorkshire
£600-800
1032
1031
1030
1033
John Constable (1776-1837)
Dedham Vale looking towards Langham, c.1809-14 Oil on millboard laid onto canvas, 31.5cm by 39cm (12 x 15 3/8 inches)
Provenance: Ann Durning Holt (1899-1980), either acquired by her on the ar t market during her lifetime, or possibly to her by descent from her father Sir Richard Durning Holt (1868-1941), nephew of the distinguished Liverpudlian collector, George Holt (1825-1896); by descent to the current owner
Dedham Vale looking towards Langham is an impressive and vigorous early plein-air sketch by John Constable which has not previously been recorded in the Constable literature. It bears a close relationship to the painting, Dedham Vale, c.1825, in Munich Bayerische Staatsgemäldesammlungen, Neue Pinakothek; Graham Reynolds, The Later Paintings and Drawings of John Constable, Yale University Press, 1984, no 25.39; see fig. 001).
£150,000-200,000
Constable is well known for his commitment to making oil sketches in the open air - an exercise he first embarked on in 1802 and continued to practice until as late in his career as 1829. In 1802 he was still a young man under taking his ar tistic training in London at the Royal Academy Schools but had already decided that he wanted to specialize in landscape painting. However, that year he decided he no longer wished to imitate the work of earlier landscape ar tists but rather to turn to ‘Nature herself’. He resolved to return to his home in East Bergholt in Suffolk and make some ‘laborious studies from nature’ (John Constable’s Correspondence II, 1964, Suffolk Records Society, Ipswich, p.32; letter to John Dunthorne, 29 May 1802).
Determined, then, to paint his native Suffolk scenes – being those with which he had the greatest attachment – Constable at first made slow progress with this new procedure. However, by around 1810 he had developed a colour ful and highly expressive oil sketching style. Moreover, until 1816 when he married and moved permanently to London, he continued to make many, usually quite small, plein-air sketches of the scener y in and around East Bergholt. These consisted mainly of panoramic vistas over Dedham Vale, more often than not, like this example, looking westwards from the Suffolk side of the Vale, more enclosed views taken in the lanes nearby, or scenes in and around Flatford where his father owned a mill for grinding corn. Occasionally Constable dated these plein-air oil sketches. Other wise, as is the case with Dedham Vale, they can usually be broadly dated on the basis of style or on the suppor t which Constable used when painting them.
Dedham Vale looking towards Langham is painted on board (and subsequently laid down onto canvas). Constable is known to have star ted using millboard for plein-air work from around 1809. Although he continued to use this suppor t at inter vals during his career, his most frequent use of board for oil sketching was generally in these earlier years, and especially around the period 1809-10. Fur thermore, with its relatively smoothly applied brushstrokes, Dedham Vale looking towards Langham is close in style to other oil sketches Constable made around 1809 at Epsom and at Malvern Hall in War wickshire (see, for example, Graham Reynolds, The Early Paintings and Drawings of John Constable, Yale University Press, 1996, nos. 09.08, 09.18 and 09.19). This sketch, by comparison with the latter examples, is notable for the more dramatic way in which he handles light and shade. Rays of sunlight can be seen bursting through cloud and sharply illuminating stretches of Dedham Vale in the middle and far distance. Meanwhile, a tiny touch of white paint indicates the tower of Langham Church close to the horizon on the right.1
These on-the-spot sketches would often prove useful to Constable many years later when he was working in his London studio and planning new pictures for exhibition or sale. Rarely now able to spare time for visits to Suffolk, he would often turn to his earlier sketches for inspiration. Around the mid-1820s Constable used this sketch to ser ve as the basis of the aforementioned painting of Dedham Vale now in Munich, which shows the same stretch of the Vale, albeit somewhat extended on the left, and the tower of Langham Church in the same position on the far right. The biggest difference between the two works is in the extensive foreground which Constable added to the Munich picture, and into which he inser ted a couple of seated figures (one of whom is seen pointing to the view) as well as a few animals such as donkeys and cows. Constable even incorporated into the Munich picture the idea of the sun bursting through cloud, albeit now positioning this feature fur ther to the left. Constable’s expressive use of light and shade (‘chiaroscuro’) lends animation to his landscapes and was something he wrote about in a letterpress accompanying the publication in 1830-32 of a series of mezzotints from his work known as English Landscape. By 1836 he was even arguing (in a draft for a lecture) that chiaroscuro was the ver y ‘soul and medium of ar t’.
Note
There is another oil sketch recorded in the Constable literature similar to this one, in oil on paper set onto panel, 1 which Graham Reynolds described as being ‘somewhat damaged’ (The Early Paintings, op.cit, no.08.58). Meanwhile, Ian Fleming-Williams referred to this sketch as ‘puzzling in the extreme’, as it shows Langham church in the wrong place (The Burlington Magazine, vo.130. no.1025, August 1988, p.654; review of Constable exhibition at SalanderReilly Galleries, New York). Given this discrepancy, and also the recent appearance of this sketch from the Holt collection, perhaps the attribution of R.08.58 should now be re-evaluated.
Anne Lyles, 2025
We are grateful to Anne Lyles for her assistance with this catalogue entry
1033
1033 (detail)
Fig 001
John Constable, A View of East Bergholt to Dedham Vale, around 1815
© Bavarian State Painting Collections - Neue Pinakothek, Munich
1034
William Henry Mander (1850-1922)
“On the ***” (Possibly Llugwy or Lligwy)
Signed and inscribed verso, oil on canvas, 19cm by 29cm
£300-500
1035
Joseph Milne (1857-1911) Scottish At the Village Pond
Signed, oil on canvas, 23.5cm by 33.5cm
Provenance: The McEwan Galler y, Aberdeenshire Private Collection, Nor th Yorkshire
£500-800
1036
Charles Henri Joseph Leickert (1816-1906) Belgian Skaters on a frozen river
Signed, oil on panel, 16.5cm by 27.5cm
Provenance: James Starkey Fine Ar t, Beverley Private Collection, East Yorkshire
£2,000-3,000
1037
James Kay RSA, RSW (1858-1942) Scottish A snowbound river landscape
Signed, oil on canvas, 58.5cm by 48.5cm
£500-800
1037
1036
1038 ✓ Peter Curling (b.1955) Irish “A Mistake by the Leader” Signed, oil on canvas, 74.5cm by 119.5cm
Provenance: The Tr yon Galler y Private Collection, Gloucestershire
£6,000-8,000
1038
1039
David Bates (1840-1921)
“Fishing for Trout”
Signed and dated 1885, oil on canvas, 49.5cm by 40.5cm
Provenance: Richard Green Fine Paintings, London Private Collection, South Yorkshire
£500-800
1040
George Clarkson Stanfield RA (1828-1878)
“Richmond, Yorks”
Signed and indistinctly dated, oil on canvas, 58.5cm by 74cm
£800-1,200
1039
1041
Joseph Paulman (later 19th century)
A romantic tryst before fields of haymaking
Signed, oil on canvas, 29cm by 39cm
£200-300
1042
Attributed to Samuel Henry Alken (1810-1894)
Stagecoach moving through a landscape at full speed
Oil on canvas, 36cm by 52cm
Provenance: Dreweatts Bloomsbur y, Anonymous Sale, 3rd Dec 2014, lot 29
Christie’s stencils to stretcher verso, RW670 and 163CO
Private Collection, Victoria Lodge, Tweedsmuir, Biggar
£400-600
1043
John Cordrey (c.1765-1825)
Salop (sic) to Shrewsbury stagecoach passing the front of a cottage Oil on canvas, 46.5cm by 66.5cm
Provenance: Finar te Auctions, Italy, 13th June 2022, lot 140
Private Collection, Victoria Lodge, Tweedsmuir, Biggar
£600-900
1042
1041
1044
John Charles Maggs (1819-1895)
The Red-Rover Chester to Liverpool stagecoach, setting out in the snow
Stagecoach passing a thatched cottage
Each signed, inscribed “Bath” and dated 1877, oil on canvas, 34cm by 64.5cm (2)
Provenance: Private Collection, Victoria Lodge, Tweedsmuir, Biggar
£400-600
1045
Wilfred Jenkins (18571936)
Nocturne street scene, with figures in conversation before an inn, probably Fossgate, York
Nocturne scene with female figure before a church, probably Fossgate, York
Each signed, oil on canvas, 44cm by 29cm (2)
Provenance: “Exhibition of Paintings by Atkinson Grimshaw, his son Louis and followers including Wilfred Jenkins, Walter Meegan and Samuel Wagstaff”, Alexander Galleries, Harrogate, April 10th - May 1st 1976, no. 23 (believed to be)
£300-500
1044
1046
Charles Henry Augustus Lutyens (1829-1915)
Centaurs exercising
Signed, oil on canvas, 69.5cm by 89.5cm
£400-600
1047 ✓
Conrad Heighton Leigh (1883-1958)
After the hunt
Signed, oil on canvas, 49cm by 59.5cm
£200-300
1048
Attributed to Georg Matias Fuchs (1719-1797)
Austrian Military encampment
Signed and dated 1780, oil on canvas, 50.5cm by 63.5cm
Provenance: The Selected Contents of Eden Lacy, Lazonby, from the estate of Victor Gubbins
£400-600
1047
1049 ✓
Margaret Lindsay Williams (1888-1960)
Portrait of Oliver Henry Jones, of Fonmon Castle, JP., EL (1846-1917), three-quarter-length, standing, wearing hunting pink
Signed and dated 1918, with family crest, oil on canvas, 139.5cm by 101cm
Provenance: The Proper ty of Sir Brooke Boothby, ex Fonmon Castle
£700-1,000
1050
Robert Cree Crawford RSW (1842-1924) Scottish
Portrait of David W Shaw Esquire, three-quarter length, standing, in hunting attire
Indistinctly initialled and dated 1911, with original ar tist’s inscribed label verso, oil on canvas, 126cm by 100.5cm
Plaque to the lower frame reads ‘David W Shaw Esquire, presented by the Eglington Hunt (1911)’
£700-1,000
1050
1049
1051
Frederick Mansfield Lutyens (18601924)
‘’Chiddingfold Hounds, 1893-1894’’ Signed and dated (18)94, oil on canvas, 99.5cm by 125.5cm
The frame inscribed with the five names of the hounds and plaques with names of those who presented it £800-1,200
1052
Frank Moss Bennett (1874-1952)
“The First Meet of the Season” Signed, oil on canvas, 74.5cm by 100cm
Provenance: Rayner MacConnal, London Private Collection, Nor th Yorkshire
£1,200-1,800
1051
1052
1053 ✓
Michael Lyne (1912-1989)
“Waterloo Cup, 1971”
Signed, inscribed with title to upper stretcher verso, oil on canvas, 49cm by 74.5cm
Provenance: Gifted to Rober t “Bob” Burdon Thence by descent
Rober t “Bob” Burdon was a judge of the Waterloo Cup until it came to an end in 2005
Sold together with a copy of a photograph of Bob Burdon at the Waterloo Cup
£500-800
1054
No Lot
1053
1055
English School (17th century)
Portrait of two young girls on a chequer-board terrace, one standing, wearing a fine red dress with a dark green stripe embellished with gold thread and lace detailing, the other seated, wearing a pale pink satin ensemble and white chemise, a posy of flowers being passed between the two
Oil on canvas, 140.5cm by 152.5cm
Provenance: The Proper ty of the Earl of Suffolk and Berkshire, Charlton Park
£3,000-5,000
1055
1056
Follower of Sir Peter Lely (1618-1680)
Portrait of a young gentleman, standing, wearing fine red silk attire, his attendant hound to his left and before an extensive coastline Oil on canvas, 125.5cm by 100.5cm
Provenance: The Proper ty of the Earl of Suffolk and Berkshire, Charlton Park
£800-1,200
1056
1057
Gerard van Soest (1600-1681) Dutch
Portrait of Oliver Jones (c. 1654-1685), son of Colonel Phillip Jones (1848-1685), by repute, half-length, wearing fine costume and resting his hand on the head of his hound Oil on canvas, 74cm by 62.5cm
Provenance: The Proper ty of Sir Brooke Boothby, 15th Bt., removed from Fonmon Castle, Glamorgan possibly Soest circa 1600-1680/1 London
Sotheby’s London, December 7, 2023, lot 44, Old Master Paintings Day Auction
Literature: J. Steegman, “A Survey of Portraits in Welsh Houses”, vol. 2, Cardiff 1962, p. 93, no. 9, reproduced pl. 15 c (as anonymous, c. 1660); A.D. Fraser Jenkins, “The Paintings at Fonmon Castle”, in S. Williams, Stewar t Williams’ Glamorgan Historian, vol. 7, Glamorgan 1971, p. 62 (as Gerard Soest).
Catalogue Note: The sitter in this por trait is traditionally identified as Oliver Jones (c. 1654-1685), the heir of Colonel Philip Jones (1618-1674). Despite living a relatively shor t life for the period, Oliver is recorded to have married Mar y Button and sired an heir, Rober t Jones (d. 1715), who continued the family line.
£1,500-2,500
1058
Enoch Seeman (c.1689-1744)
Portrait of Miss Jones, three-quarter length, wearing a yellow dress Oil on canvas, 124.5cm by 100cm
Contained in a car ved wooden frame with egg-and-dar t decoration and scallop shell motif to corners
Provenance: Sotheby's London, "Old Master Paintings", September 23, 2020, Lot 147
The Proper ty of Sir Brooke Boothby, ex Fonmon Castle
£1,200-1,800
1059
Attributed to Thomas Hill (1661-1734)
Portrait of Susannah nee Bristowe, wife of Sir Brooke, 7th Bart, wearing a pink dress with white chemise, half-length, in a feigned oval Oil on canvas, 74.5cm by 60.5cm
Provenance: The Proper ty of Sir Brooke Boothby, ex Fonmon Castle
£600-900
1060
Follower of Cornelius Johnson (1593-1661)
Portrait of a gentleman, head and shoulders, wearing a wide white ruff with a black doublet with grey floral embroidered sleeves
Oil on panel, 68cm by 60cm
£700-1,000
1060
1059
1058
1061
Follower of Sir Godfrey Kneller (1646-1723)
Portrait of a gentleman, half-length, wearing a crimson-coloured satin robe with a white necktie and a powdered wig Oil on canvas, 84.5cm by 66cm
£600-900
1062
Manner of Sir Godfrey Kneller (1646-1723)
Portrait of gentleman, head and shoulders, wearing a russet coloured satin overcoat with a white necktie and a grand powdered wig Oil on canvas, together with a companion head and shoulders por trait of a lady, wearing a white dress, a green shawl and a powdered wig, 60.5cm and 59.5cm dia. respectively (oval) (2)
£700-1,000
1061
1062
1063
Manner of Sir Peter Lely (1618-1680)
Portrait of a gentleman, head and shoulders, wearing a fine lace cravat and a wig Oil on canvas, 59.5cm dia. (oval)
Provenance: The Proper ty of the Earl of Suffolk and Berkshire, Charlton Park
£400-600
1064
Manner of Sir Godfrey Kneller (1646-1723)
Portrait of gentleman, head and shoulders, wearing an ochre-coloured satin overcoat with a white necktie and a powdered wig Oil on canvas, together with a companion head and shoulders por trait of a lady, wearing a terracotta-coloured satin dress with white chemise and dusky blue shawl, 59.5cm and 62.5cm dia. respectively (oval) (2)
£700-1,000
1065
Follower of Charles Jervas (1675-1739) Irish
Portrait of a young lady, three-quarter length, seated, wearing a burnished gold satin dress, a posy of flowers pinned to her hair with her attendant Spaniel Oil on canvas, 74.5cm by 62cm
Provenance: The Proper ty of the Earl of Suffolk and Berkshire, Charlton Park
£1,000-1,500
1064
1063
1066
Enoch Seeman (c.1689-1744)
Portrait of Miss Jones, three-quarter length, seated, wearing a blue dress with white chemise and holding a book Oil on canvas, 125.5cm by 100.5cm
Contained in a car ved wood and gesso gilt frame, decorated with egg-and-dar t decoration and scallop shell motif to corners
Provenance: Sotheby's London, "Old Master Paintings", September 23, 2020, Lot 148
The Proper ty of Sir Brooke Boothby, ex Fonmon Castle
£1,200-1,800
1067
Enoch Seeman (c.1689-1744)
Portrait of Miss Jones, three-quarter length, wearing a white dress Oil on canvas, 125cm by 100cm
Contained in a car ved wood and gilt decorated frame
Provenance: Sotheby's London, "Old Master Paintings", September 23, 2020, Lot 148
The Proper ty of Sir Brooke Boothby, ex Fonmon Castle
£800-1,200
1066
1068
Follower of Michael Christoph Emanuel Hagelgans (1725-1766) German
Portrait of Maria Theresa, Empress of Austria, half-length, wearing a teal blue dress decorated with gold brocade and embellished with jewels and lace, together with an erminetrimmed cloak, with crowns resting on a red velvet cushion to her right Oil on canvas, 91cm by 71.5cm
A pastel by Hagelgans was offered at Dorotheum, Vienna, June 6th 2011, lot 9, albeit a head and shoulders rendition, the present oil on canvas bears a close resemblance to the positioning of the head, headdress and lace neck decoration worn by the Empress.
Provenance: Baron Clemens von Leykam
Thence by descent and marriage
Mar y Stuar t Crewdson (nee Fr yers)
Thence by descent
Private Collection, Cumbria
It is understood that the von Leykam’s worked in the circle of The Empress Maria Theresa and her advisors.
£1,500-2,500 1068
1069
The Rev. Matthew William Peters RA (1741-1814)
Portrait of Miss Maria Boothby (1758-1805), daughter of Sir Brooke Boothby, 5th Bart (1710-1789), half-length, wearing a pink dress, a muslin scarf and carrying a fur muff Oil on canvas, 75cm by 62.5cm
Provenance: By descent in the Boothby family at Fonmon Castle, Glamorgan, to the present owner
The Proper ty of Sir Brooke Boothby, 15th Bt., removed from Fonmon Castle, Glamorgan
Sotheby’s London, Wednesday, Januar y 17, 2024 (lot 123)
Royal & Noble Including Jewels from an Impor tant Noble Collection
Literature: A. Oswald, ‘Fonmon Castle, Glamorgan - III: Home of Sir Seymour Boothby, Bt., and Lady Boothby, Countr y Life, vol. 105, no. 2724, 1 April 1949, p. 737, reproduced; J. Steegman, A Sur vey of Por traits in Welsh Houses, 2 vols, Cardiff 1962, vol. II, p. 96, no. 33, reproduced pl. 17, no. C (as attributed to Reverend Matthew William Peters, R.A.); A.D. Fraser Jenkins, ‘The Paintings at Fonmon Castle’, in S. Williams, Stewar t Williams’ Glamorgan Historian, vol. 7, Glamorgan 1971, pp. 68-69, reproduced (as probably by Reverend Matthew William Peters, R.A.).
£1,200-1,800
1070
No Lot
1071
Follower of Sir Francis Grant PRA (1803-1878)
Portrait of Fanny, Wife of Sir William Boothby, half-length, wearing a yellow satin dress, a cloak trimmed with white fur and a large hat, standing before a landscape Oil on canvas, 89.5cm by 69cm
Provenance: The Proper ty of Sir Brooke Boothby, ex Fonmon Castle
£300-500
1069
1072
French School (c.1850)
Portrait of Jane Octavia Maitland, Mrs Valpy, three-quarter length, seated, wearing a maroon dress decorated with fine lace detailing Oil on canvas, 98cm by 76cm
Contained in a car ved wood gilt frame
Provenance:The Proper ty of Sir Brooke Boothby, ex Fonmon Castle
£250-400
1073
British School (19th century)
Portrait of Robert Henry Jenkinson (1786-1824), half-length, wearing formal attire, resting on his right arm Oil on canvas, 74cm by 61cm
Provenance:The Proper ty of Sir Brooke Boothby, ex Fonmon Castle
£250-400
1074
Attributed John Lindsay Lucas (1807-1874)
Portrait of Robert Valpy (1983-1852), half-length, seated, wearing a black suit, resting his right hand on the Classical Journal
Portrait of Mrs Pheobe Valpy (1792-1871), half-length, seated, wearing a black dress with an ermine trimmed overcoat, before a red curtain
Oil on canvas, 89cm by 68.5cm (2)
Provenance:The Proper ty of Sir Brooke Boothby, ex Fonmon Castle
£500-800
1072
1073
1074
1075
Robert Alexander Hillingford (1828-1904)
“Charles Edward at Carlisle”
Signed and dated 1870, oil on canvas, 55cm by 58.5cm
£1,000-1,500
1076
Paul Seignac (1826-1904) French
Little Kitchen Helpers
Signed, oil on panel, 25.5cm by 21cm
With indistinct Christie’s stencil to reverse
£500-800
1075
1076
1077
1078
After Canaletto (1697-1798) Italian A capriccio of ruins with figures Oil on canvas, 152cm by 138.5cm
Provenance: This is a copy after the painting formerly in the Lovelace collection, sold in 1937 Torridon House, Home of The Earls of Lovelace
Lyon & Turnbull, “Torridon: Home of the Earls of Lovelace | 453”, 28 October 2015, lot 8
Private Collection, Victoria Lodge, Tweedsmuir, Biggar
Literature: Constable, W. G. and Links, J. G., Canaletto, Vol 1, plate 88, vol 2, p 448, no. 478
£1,000-1,500
1077
John Pettie RA, HRSA (1839-1893) Scottish Departing the masquerade ball
Signed, with indistinct presumably related Glasgow Herald newspaper cutting to stretcher verso, oil on canvas, 120.5cm by 86.5cm
£800-1,200
1078
Follower of Melchior d’Hondecoeter (1636–1695) Dutch Wild fowl in combat in a landscape Oil on canvas, 126.5cm by 110.5cm
Provenance: Lord Adlington, Hoddington House Sale, 31st October 1991, lot number unknown (according to the label affixed to reverse) £1,500-2,500
1079
1079
1081
Continental School (19th/20th century)
A loss to the flock
Indistinctly signed, oil on canvas, 60cm by 100cm (unframed)
£300-500
1082
Maud Earl (1863-1943)
Portrait of a black Scottish Terrier, seated
Signed, inscribed “Painted for Lady Suffolk” and dated 1911, oil on canvas, 59cm by 44cm
Provenance: The Proper ty of the Earl of Suffolk and Berkshire, Charlton Park
£1,500-2,000
1081
1083 ✓
David Jagger ROI, RP (1891-1958)
Portrait of Mrs Edgar Grotrian
Signed and dated 1938, oil on canvas, 74.5cm by 62cm
Provenance: Private Collection, Yorkshire
Private Collection, Fife, Scotland By family descent
Exhibited: London Por trait Society 1938, no.14
Literature: The Saturday Review (date not known); Sheffield Independent, 23 April 1938: London Portrait Society 1938 Annual Exhibition (exhibition catalogue illustrated p.18)
This commission por trait of Mrs. Elsie Mar y Grotrian (née Frazer, 18801960) was exhibited in London on the eve of the Second World War. She was born in Chelsea, London and married Edgar Grotrian, manager and later owner of the Hull Daily Mail newspaper in 1905. With her husband preoccupied with business matters, she oversaw the family estate in Nor th Yorkshire. Jagger painted all four Grotrian siblings; Rosemar y (1927), Suzanne (1934), William (1935) and Angela (1936). Each por trait was prominently displayed in London, including at the Royal Academy. After which, all five of Jagger ’s Grotrian por traits were hung together at the family residence, Knapton Hall near Malton. Jagger ’s highly realistic por traits were favourably compared to that of his contemporaries, Herber t James Gunn, William Orpen and Gerald Leslie Brockhurst. As such, Jagger ’s talents as a por traitist were in great demand from industrialists, leading academics, politicians including Winston Churchill and numerous members of the British aristocracy including several members of the Royal Family.
This work will be included in the for thcoming catalogue raisonné of David Jaggers’ paintings, written by Timothy Dickson
£3,000-5,000
1084
Mark Senior (1862-1927)
“The Violinist” - Portrait of Edward Cauldwell Spruce (1865-1922)
Signed and dated 1898, oil on canvas, 118.5cm by 84.5cm
Provenance: Anonymous Christie’s Sale, London, 28th Februar y 1975, lot 10
Christie’s South Kensington, “Peter Langan: A Life with Art”, December 18th, 2012
Private Collection, East Yorkshire
Exhibited: The Royal Academy, as “E. Cauldwell Spruce Esq.” 1898, no. 410
Christie’s stencil 294AA verso
£1,500-2,500
1085
William Bromley (1835-1888)
Picking wildflowers
Signed, oil on canvas, 34cm by 27cm
£300-500
1085
1084
Arthur Hacker RA (1858-1919)
“The Little Mother” Signed, oil on canvas, 74.5cm by 53.5cm
Provenance: The Fine Ar t Society Ltd, London Private Collection, West Yorkshire
£2,000-3,000
1087
Harry Fidler RBA, ROI (1856-1935)
Ploughing the fields
Signed, oil on canvas, 34.5cm by 54.5cm
£300-500
1088
Garstin Cox (1819-1933)
“Autumn in Surrey”
Signed and inscribed verso, oil on canvas, 49.5cm by 59.5cm
Provenance: Taylor ’s Auction Rooms, Angus, 29/5/98, lot 303
Private Collection, Nor th Yorkshire
£250-400
1089
Vincent Clare (1855-1930)
Still life of blossom, Pansies and other flowers on a mossy bank
Signed, oil on canvas, 20cm by 28.5cm
£180-250
1087
1088
1090
Vincent Clare (1855-1930)
Still life of Roses and Chrysanthemums with Primulas arranged in a basket on a mossy bank
Signed, inscribed and dated (18)93 verso, oil on canvas, 39cm by 34cm
£200-300
1091
George Clare (1830-1900)
Still life of flowers and a bird’s nest on a mossy bank
Signed, oil on canvas, 19.5cm by 24cm
Provenance: Kenulf Galler y, Gloucester Private Collection, West Yorkshire
£250-400
1092 ✓
Herbert Davies Richter RI, RSW, ROI (1874-1955)
“The Pipes of Pan”
Signed, inscribed with title and ar tist’s address to upper stretcher verso, 74.5cm by 62.5cm
Provenance: MacConnal-Mason & Son, London Private Collection, Nor th Yorkshire
£500-800
1091
1090
1092
1093 ✓
Dorothea Sharp (1874-1955)
Still life of assorted Summer flowers in a glazed vase before a window
Signed, oil on board, 44cm by 37cm
Provenance: Kenulf Galler y, Gloucester 12/7(19)86
Private Collection, West Yorkshire
£4,000-6,000 1093
MODERN & CONTEMPORARY ART
SATURDAY 14 JUNE 2025
red
Sailboats and Fish
Signed, mixed media on board, 18cm by 29cm
Provenance: Purchased from the ar tist by the vendor's grandmother Thence by descent £15,000-20,000
For fur ther information please contact:
Francesca Young 01969 623780 francesca.young@tennants-ltd.co.uk
Alf
Wallis (1855-1942)
Valuations for Insurance, Probate and Family Division
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Picture Descriptions
The forename(s) (or asterisks where not known) and surname of the ar tist indicates, in our opinion, a work by the ar tist named.
The initials of the forename(s) and the surname of the ar tist indicates in our opinion a work of the period of the ar tist which may be wholly or in par t 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 ar tist.
(b) “Studio of” - is in our opinion a work from the studio of the ar tist 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 ar tist executed under his immediate influence.
(d) “Follower of” - is in our opinion a work by a painter working in the ar tist’s style, contemporar y or nearly contemporar y, but not necessarily his pupil.
(e) “Manner of” - is in our opinion a work in a style related to that of the ar tist, but of a later date.
(f) “School accompanied by the name of a place or countr y and a date” - means that in our opinion the picture was executed at that time and in that location; e.g. Flemish School, 17th centur y.
(g) “After ” - an ar tist is in our opinion a copy of any date after a work by that ar tist.
(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 ar tist.
(i) “Bears signature and/or dated and or inscription means that in our opinion the ar tist’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 other wise 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 Februar y 2006 United Kingdom ar t market professionals (which includes auctioneers) are required to collect a royalty payment for all works of ar t that have been produced by living ar tists, and those who have died within the last 70 years. This payment is calculated on qualifying works of ar t 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 “Ar tist’s Resale Right Ser vice 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%
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NEXT BRITISH, EUROPEAN & SPORTING ART SALE
SATURDAY 12 JULY 2025
2025 AUCTION DATES
Saturday 1 March
Modern & Contemporary Art
20th Century Design
Friday 7 March
Antiques & Interiors
including a section of Silver
Friday 14 March
Asian Art
Saturday 15 March
Spring Sale
British, European & Sporting Art
Fine Jewellery, Watches & Silver
Wednesday 19 March
Militaria & Ethnographica
Friday 21 March
Antiques & Interiors
Including Designer Fashion
Wednesday 26 March
A Single Owner Collection of Royal Mint Coins – Part II
Wednesday 2 April
Toys & Models, Sporting & Fishing
Friday 4 April
Antiques & Interiors
Including a section of Silver