British, European & Sporting Art

BRITISH, EUROPEAN & SPORTING ART

SATURDAY 15 JULY 2023

ALSO SELLING TODAY:

THE TB & R JORDAN COLLECTION – Part I

SATURDAY 15 JULY 2023

9.30AM (117 LOTS)

SUMMERSALE

SATURDAY 15 JULY 2023

9.30AM (382 LOTS)

FINE JEWELLERY, WATCHES & SILVER

SATURDAY 15 JULY 2023

9.30AM (323 LOTS)

THE SUMMER TRANSPORT SALE

SATURDAY 15 JULY 2023

1.30PM

BRITISH, EUROPEAN & SPORTING ART

SATURDAY 15 JULY 2023

AT 11.00AM

AUCTION

The Auction Centre, Leyburn

Nor th Yorkshire DL8 5SG

VIEWING

Sunday 9 July 11.00am to 4.00pm

Monday 10 July 11.00am to 4.00pm

Tuesday 11 July 11.00am to 4.00pm

Wednesday 12 July 11.00am to 4.00pm

Thursday 13 July 11.00am to 4.00pm

Friday 14 July 11.00am 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

enquir y@tennants-ltd.co uk

www.tennants.co.uk

FRONT COVER Lot 1205

BACK COVER Lot 1196

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-deser ved reputation for delivering unrivalled ser vice and results. Twenty-seven specialist depar tments offer an outstanding range of depth and exper tise 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.

TO INCLUDE

l Selected pictures from the Estate of Mar tin & Felicity Mackintosh, Harrogate

1120

Louis Icart (1888-1950) French

“Premier Coursing”

Signed, inscribed and dated 1910, etching, 42cm by 50cm £120-180

1122

William Lionel Wyllie RA, RI, RE (1851-1931)

Moored boats by a wharf

Initialled, monochromatic watercolour, 16.5cm by 27cm

Provenance: Chris Beetles Limited, London £80-120

1121

1120

1121

William Lionel Wyllie RA, RI, RE (1851-1931)

“London Bridge seen through the arch of the previous bridge”

Inscribed, trial proof, etching with pencil, 14.5cm by 20cm

Provenance: Collection W L Wyllie Chris Beetles Limited, London £80-120

1122

1123

Pre-Raphaelite School (circa 1850)

A figure laid before a tombstone cross Pen and ink, 7cm by 5cm with arched top corners

Provenance: The Stone Galler y, Newcastle Upon Tyne The Estate of the late Ian Stephenson of Laithes, Penrith, Cumbria

£80-120

1124

After Dante Gabriel Rossetti (1821-1882)

“Dante’s Dream” (cartoon)

Black crayon, 90cm by 135.5cm

Provenance: The Stone Galler y, Newcastle upon Tyne From the Estate of the late Ian Stephenson of Laithes, Penrith, Cumbria This is a car toon of the painting now in the Walker Ar t Galler y, Liverpool, see the Collection of Henr y Treffr y Dunn

Attributed to Dante Gabriel Rossetti (1821-1882)

Sketch for Lovers’ Meeting

Pencil, with a fur ther sketch verso depicting a tree and wattle fence, 8cm by 9cm

Provenance: The Seddon family

The Stone Galler y, Newcastle upon Tyne

The Estate of the late Ian Stephenson of Laithes, Penrith, Cumbria £600-900

1125

1125

1126

Ford Madox Brown (1821-1893)

Study for “The Spirit of Justice” - An Abstract representation of Justice (1845) Signed and dated 1843, pencil and watercolour, 80.5cm by 47cm with arched top corners

Spirit of Justice was intended as a subject for entr y to the third public exhibition of works entered to the competition to award commissions for the decoration of the newly built Palace of Westminster. On that occasion, in 1845, entries were intended to ser ve as ‘personifications of abstract representations of Religion, Justice and the spirit of Chivalr y’. Brown’s full-scale car toon, made in black chalk and which measured about 192 x 111 inches (destroyed), was announced in the summer of 1844 and displayed in Westminster Hall a year later. On that occasion, it was accompanied with a description of what was represented, written by Brown himself, and printed in the exhibition catalogue:

“The five figures at the top are personifications of Justice, with, on her right, Mercy and Erudition, and on her left, Truth and Wisdom.

The two groups in the foreground are indicative of power and weakness. An unbefriended Widow is seen to appeal to Justice against the oppression of a perverse and powerful Baron, who is assisted by a hired adviser, and supported by the wealth of his father, although not countenanced by his approbation. The Widow is attended by her helpless parents.

The throne of Justice is surrounded by an allegorical representation of the House of Lords, consisting of Lords Spiritual, Temporal, and Barons armed for the maintenance of Justice. Spirit of Justice was not a prize-winner at the 1845 competition, although it was commended by fellow contributor Benjamin Robert Haydon and admired by both William Holman Hunt and Dante Gabriel Rossetti. The theme represented – one of conflict between the rich and powerful, and folk without privilege who were subject to cruelty and injustice – was close to Brown’s heart, and as one whose sympathies were with the dispossessed” .

The present drawing is one of two watercolour sketches made by Brown at the time in early 1845 when he was working on the full-scale car toon (the other sketch entered the collection of Manchester City Ar t Galler y in 1925 (1925.94)). Broadly equivalent to the full-scale car toon although with minor variations of stance and positioning of the figures, the two sketches were intended to demonstrate the ar tist’s intentions for the colouring of the prospective fresco. The present sketch was in fact exhibited at Westminster with the black chalk car toon and a specimen of work in fresco showing the head of the Lord Temporal.

Provenance: Sold to Henr y Boddington, 1889;

His executors;

Offered for sale by private treaty for £84 in 1925;

Canon Smythe;

Anonymous sale, Christie’s, 2 March 1971 (lot 70);

Stone Galler y, Newcastle upon Tyne, from where purchased.

From the Estate of the late Ian Stephenson of Laithes, Penrith, Cumbria

Exhibited: London, Works of Art sent in pursuant of the notices issued by Her Majesty’s Commissioners on the Fine Arts for exhibition in Westminster Hall, (the third Westminster Hall Competition), 1845 (number 99);

London, Grafton Galleries, 1897, Exhibition of the Works of Ford Madox Brown, (number 10);

London, Leicester Galleries, 1909, Collected Works of Ford Madox Brown, (number 26);

Manchester City Ar t Galler y, 1911, Loan Exhibition of Works by Ford Madox Brown and the Pre-Raphaelites, (number 55);

Newcastle upon Tyne, Stone Galler y, and London, Duke Street, St James’s, 1971, Some PreRaphaelite Works, (number 17)

Literature: Mar y Bennett, Ford Madox Brown - A Catalogue Raisonné, two volumes, New Haven and London, 2010, I, catalogue number A31.3, p. 39 £3,000-5,000

1127

1127

Circle of William Holman Hunt RWS, OM (1827-1910)

“Rebecca at the Well”

Bears initials and dated 1854, pencil and watercolour, 54cm by 35cm

Provenance: The Stone Galler y, Newcastle Upon Tyne From the Estate of the late Ian Stephenson of the Laithes, Pentith, Cumbria £250-400

1128

David Roberts RA, RBA (1796-1864)

“Sidmouth” (1845)

Inscribed, dated June 20th? 1845, pencil and watercolour heightened with white, 24.5cm by 55cm

Provenance: The Fine Ar t Society Ltd, London Engraved by P Carrick £400-600

1128

Honoré Daumier (1808-1879) French

Honore Daumier is arguably best known for his caricatures of French society and politics in the 19th centur y. Sometimes witty and light, at other times biting and acerbic, Daumier ’s draughtsmanship and razor sharp obser vation are always evident. He lived through a pivotal and frenetic time in French histor y and his por trayals of bien pensant bourgeois society give a wonder ful insight into French life. Some of Daumier ’s best loved works and most stinging rebukes are aimed at dishonest lawyers and politicians. He was even once jailed for depicting King Louis Philippe as Gargantua. The work of this talented French ar tist has been admired by ar tists as disparate as Delacroix, Quentin Blake, Degas and Paula Rego.

1129

Honoré Daumier (1808-1879) French A judicial exchange, with two standing figures Initialled, pencil and black ink, 19cm by 11.5cm

Provenance: Leo Lewin Collection circa 1920’s, known as the Silesian Collection from Breslau, now Poland; Thence by direct descent to his granddaughter £800-1,200

1129

1130

1130

Honoré Daumier (1808-1879) French

The Admirer

Initialled, mixed media, 19cm by 11cm

Provenance: Leo Lewin Collection circa 1920’s, known as the Silesian Collection from Breslau, now Poland; Thence by direct descent to his granddaughter

£1,500-2,500

1131

1131

Honoré Daumier (1808-1879) French

Pleading the case

Initialled, mixed media, 15.5cm by 18cm

Provenance: Leo Lewin Collection circa 1920’s, known as the Silesian Collection from Breslau, now Poland; Thence by direct descent to his granddaughter £3,000-5,000

1132-1133

No Lots

1134

1134

Ruth Mercier (fl.1882-1913)

Westminster Bridge in twilight Signed, mixed media, 39cm by 28.5cm

Provenance: Galerie George, London £120-180

1135

1135 l

John Strickland Goodall RI, RBA (1908-1996)

“The New Baby”

“The Christening”

Signed, pencil, watercolour and bodycolour, 16cm by 22.5cm (2)

Provenance: Christopher Wood, London £200-300

1136

“Diverted

Sig

£400-600

1137

“The

Sig

£700-1,000

George Goodwin Kilburne RI, RBA, (1839-1924)

Attention”

ned, watercolour heightened with white, 36.5cm by 52cm

Charles Edward Wilson RI (1854-1941)

Fisher Boy”

ned, watercolour, 37.5cm by 26cm

1136

1137

1138

1138

Charles Edward Wilson RI (1854-1941)

“The Rustic Angler”

Signed, watercolour, 26.5cm by 38.5cm £500-800

1139

Thomas Matthew Rooke RWS (18421942)

“Autumn Leaves” (after J.E.Millais) Watercolour, 35.5cm by 24.5cm

Provenance: Mrs Celia Rooke, daughterin-law of the ar tist

The Stone Galler y, Newcastle Upon Tyne From the Estate of the late Ian Stephenson of Laithes, Penrith, Cumbria

Rooke is known to have been a one-time assistant of Edward Burne-Jones £1,000-1,500

1139

1140

William Fraser Garden (1856-1921)

A great tree on a riverbank, thought to be Christchurch, St Ives, Cambridgeshire

Signed and dated 1918, watercolour, 41cm by 29cm

£250-400

1141-1142

No Lots 1143

Arthur Wardle (1864-1949)

Setters on heather moorland

Signed, watercolour and gouache, 25cm by 35.5cm

£200-300

1140

1143

1144

1144

Peter Biegel (1913-1987)

“Dasher”

Initialled and inscribed, mixed media, together with four fur ther companion works depicting studies of hounds: “Planet” , “Gainsay” , “Garland” & “Discount”, 20cm by 27.5cm (5)

£300-500

1144

1145

James Hardy Jr. (1832-1889)

Picker-upper collecting partridge

Signed and dated (18)69, pencil and watercolour heightened with white, 29cm by 23cm

£250-400

1146

Vincent Balfour Browne (1880-1963)

“The Pony Path”

Signed and dated 1908, watercolour, 26.5cm by 42cm

Provenance: M F Embleton, Jermyn Street, London

£700-1,000

1145

1146

1147

William Samuel Howitt (1756-1822)

“Putting Hounds in Cover”

“Away”

“Full Cry”

“The Death”

Signed, watercolour, 28.5cm by 43cm (4)

Sold together with The British Racehorse, see pg 234

Provenance: The Tr yon Galler y, London £2,000-3,000

1149

1148

1148

Thomas Sidney Cooper RA (1803-1902)

Cattle and sheep at rest with farm buildings beyond Signed and dated 1870, watercolour, 47cm by 69cm

Bears Christie’s stencil 660VV to reverse

£300-500

1149

Myles Birkett Foster RWS (1825-1899)

“The Twins” Monogrammed, watercolour heightened with white, 17cm by 13cm

£200-300

Noel Harr y Leaver ARCA (1889-1951)

Born in 1889 in Austwick, Yorkshire Noel Harr y Leaver first studied at Burnley School of Ar t before moving to London to study at the Royal College of Ar t. He received a travel scholarship which took him to Italy in 1911. As a result of his fur ther study at the Royal Institute of British Architects he received another scholarship which enabled him to return to Italy and visit Nor th Africa in 1912. Between 1912-15 he taught at Halifax Technical College and at the end of the First World War took up watercolour painting. He established his reputation with paintings of English Cathedrals, still lifes, and painted extensively in Nor th Africa throughout the following two decades. Although he mainly exhibited in Burnley, he also showed in London, Bristol and the United States.

1150

1150

Noel Harr y Leaver ARCA (1889-1951)

North African street scene with figures before a mosque Signed, watercolour heightened with white, 36cm by 26cm (unframed)

£250-400

1151

1151

Noel Harr y Leaver ARCA (1889-1951)

North African street scene with figures at rest under an awning Signed, watercolour heightened with white, 36cm by 26cm (unframed)

£250-400

1152

1152

Noel Harr y Leaver ARCA (1889-1951)

“Amsterdam”

Signed, watercolour, 17.5cm by 25cm

Provenance: Mangate Galler y, London £100-150

1153✓

Claude Muncaster RWS, RBA, ROI (1903-1974)

“Nestle Milk Wharf, London Bridge”

Signed and dated June 1927, mixed media, 20.5cm by 29cm

Provenance: Mangate Galler y, London £150-250

1153

Claude Harrison ARCA, RP (1922-2009)

Born in Lancashire, Claude Harrison studied at Preston College of Ar t and Liverpool College of Ar t. After his Royal Air Force ser vice, he attended the Royal College of Ar t. Using tempera as his preferred medium, Harrison was a painter of murals, por traits, and imaginative figure compositions, including harlequin-type and masked figures. He exhibited with the Royal Society of Por trait Painters, of which he was an honorar y member, the Royal Academy of Ar ts, Royal Society of British Ar tists, and elsewhere in solo and mixed exhibitions including the Contemporar y Fine Ar t Galler y at Eton, Phoenix Galler y, Highgate and Harris Ar t Galler y in Preston. Galleries in Kendal and Lancaster hold his work, as do the National Galleries of Scotland and the Yale Center for British Ar t, New Haven, Connecticut.

1154

1154✓

Claude Harrison ARCA, RP (1922-2009)

“Andrew at Croft Foot Farm”

Signed, inscribed and dated 1951, mixed media, 34.5cm by 45.5cm £150-250

1155✓

Claude Harrison ARCA, RP (1922-2009) Wrestling match in a Lakeland landscape Signed, oil on board, 38cm by 28.5cm £250-400

1156✓

Claude Harrison ARCA, RP (1922-2009) Spring Procession Signed, oil on board, 38.5cm by 29cm £250-400

1156

1155

1157✓

Claude Harrison ARCA, RP (1922-2009)

“Andrew and Alison” (1954)

Signed and dated 1954, signed and inscribed verso, with original ar tist’s label verso, oil on board, 49.5cm by 75cm

Provenance: Royal Society of Por trait Painters label verso

Fragments of Manchester City Ar t Galler y label verso

£400-600

1157

1158

1158✓

Claude Harrison ARCA, RP (1922-2009)

Portrait of the Rev James A Woodhead Dixon, Vicar of Blawith, Lowick (1952-1959)

Signed and dated Jan (19)59, oil on board, 57cm by 62cm

Provenance: Commissioned and presented by the parishioners

£300-400

1159✓

Claude Harrison ARCA, RP (1922-2009)

Grey horse and tent in a wooded landscape

Signed (par tially obscured by the frame), oil on board, 48cm by 33.5cm

£250-400

1159

Hurst Balmford (1871-1950)

Born in Huddersfield, Hurst Balmford studied at the Royal College of Ar t and at Academie Julian in Paris in 1898. Initially an architect, Balmford was an ar t master at Morecambe School of Ar t where he later became Headmaster. He began exhibiting in 1914 and achieved early success with ‘The Jetty, Polperro’ at the Royal Academy in 1917, while living in Great Eccleston, Lancashire. From 1924 to 1937 he spent a great deal of time in Cornwall, with a studio in St Ives for much of the late 1920s and early 1930s. During this time, he became a member of the St Ives Society of Ar tists and exhibited in Newlyn and annually at the Royal Academy. His fascination for Cornish coastlines and harbours is evident from his numerous oils and watercolours of this subject matter. Balmford’s impressionist style attracts a number of collectors and his paintings hang in the public collections of Grundy Ar t Galler y, Manchester Ar t Galler y and Lancaster Maritime Museum.

1160

Hurst Balmford (1871-1950)

“The Slipway, St Ives”

Signed, with original inscribed ar tist’s label verso, oil on canvas board, 49.5cm by 34cm

£300-500

1160

1161

1161

Hurst Balmford (1871-1950)

“The Beach, Porthreath”

Signed, with original inscribed ar tist’s label verso, oil on canvas board, 44.5cm by 55cm

£250-400

1162

Hurst Balmford (1871-1950)

“The Battery on the Island Cornwall, St Ives”

Signed, with original inscribed ar tist’s label verso, oil on canvas board, 39.5cm by 50cm

£250-400

1162

1164✓

Vincent Galloway (1894-1977)

“Improptu in a flat” - Portrait of Denise Barwick, wife of Richard Llewellyn Barwick of Thimbleby Hall, Yorkshire

Initialled and dated 1946, inscribed verso, oil on canvas, 65cm by 54.5cm

Exhibited: Likely at The Society of Por trait Painters, unknown date

£300-500

1163✓

Percy Morton Teasdale RCamA (1870-1961)

“The Goldfish Pond” With original ar tist’s label verso, oil on canvas, 59.5cm by 49.5cm

Provenance: Ashleigh House Fine Ar t, Essex £500-800

1164

1163

1165

William Lee-Hankey RWS, RI, ROI, RE, NS (1869-1952)

The Toy Rabbit

Signed, inscribed verso, oil on canvas, 61cm by 57.5cm

£1,500-2,500

1166

Fritz von Kamptz (1866-1938) Polish

Sig

The sitters are descendants of R.S Sur tees who wrote the books about Jorrocks

£800-1,200

1165

1166

Portrait of Master Harry and Miss Joan Surtees of Redworth Hall

ned and dated 1908, oil on canvas, 146.5cm by 97cm

1167✓

Dame Laura Knight RA (1877-1970)

“Mr Ernest, the tramp and his wife” (c.1913) Oil on canvas, 84cm by 232cm (triangular fragment) unframed, unstretched

Provenance: David Lay, Penzance, August 6, 2015, Lot 250

The complete and monumental scale painting is believed to have been painted by Dame Laura Knight in 1913 shor tly after her move to Cornwall with her husband Harold Knight. Laura and Harold became friends with Charles and Ella Naper who were ar tists that had moved to the area shor tly before and it is known that in some instances the female ar tists collaborated on jeweller y designs together

The present fragment was found in the studio of the Napers and the definitive reason why it was cut down remains unknown. It was found in the Naper studio embedded into the gable end of the studio, and the remainder of the colossal canvas of which it was par t of, is assumed to have been lost with no known remaining records of it, aside from a black and white photograph of the work entitled “Mr Ernest The Tramp and his Wife” that can be found in the files of the Witt Librar y at the Cour tauld Institute. The same photograph was reproduced in the book “Laura Knight Portraits” by Rosie Broadley which accompanied the major exhibition dedicated to the ar tist held at the National Por trait Galler y in 2013.

In Dame Laura Knight’s autobiography the standing male figure depicted in the work - Mr Ernest The Tramp- is referenced and it is known that despite the description associated with him, he was a man who spoke six languages, assisted them with their move to Penzance and under took significant work at their proper ty and gardens having met him originally through their doctor in Plymouth.

Provenance: Charles and Ella Naper Thence by descent David Lay, Penzance, August 6, 2015, Lot 250 Private Collection, UK £1,200-1,800

© Reproduced with permission of The Estate of Dame Laura Knight DBE RA 2023. All Rights Reserved

1168

1168✓

Owen Bowen (1873-1967) Figure before a red-roofed building and a display of summer flowers in the garden

Signed, oil on canvas, 48.5cm by 59cm

£300-500

1169✓ Jessie M. McGeehan (1872-1962) Scottish Harvesting Plums

Signed and dated (19)32, oil on canvas, 54cm by 45cm

£500-800

1170

1170

After Dante Gabriel Rossetti (1821-1882)

“The Beloved” (The Bride) Oil on canvas, 84cm by 73.5cm

Provenance: The Stone Galler y, Newcastle Upon Tyne The Estate of the late Ian Stephenson of Laithes, Penrith, Cumbria The original of the painting forms par t of the collection of the Tate Galler y, London

£2,000-3,000

1171

William Holman Hunt (1827-1910)

Portrait of George Waugh, head and shoulders

Indistinctly inscribed on label verso (par tially obscured by The Stone Galler y label), oil on panel, 40cm by 32cm

Contained in an ebony and faux tor toiseshell frame

Provenance: Christie’s stencil GSOM to reverse Thomas Agnews and Sons Ltd., London The Stone Galler y, Newcastle Upon Tyne The Estate of the late Ian Stephenson of Laithes, Penrith, Cumbria

Literature: “My grandfather, his wives and loves” Diana Holman Hunt, Hamish Hamilton 1969 p.23

George Waugh was the brother of William Holman Hunt’s first wife Fanny. He was born in 1835; lived with his parents in their house in Queensborough Terrace, Bayswater; trained as a lawyer and was called to the bar, occupying chambers at 7 Lincoln’s Inn. He died at the age of thir ty-four having accidentally drowned in the sea off the Devon coast.

Information about George Waugh and the Waugh family more generally can be found in Diana Holman-Hunt’s 1969 book My GrandfatherHis Wives & Loves, p. 23. Information about the various Waugh family por traits comes from Judith Bonkhurst’s William Holman Hunt - A Catalogue Raisonne, two volumes, 2006.

The por trait seems to have been done after the sitter ’s death and with the likeness taken from a carte-de-visite photograph (which perhaps explains its rather staged and self-conscious character). It can be dated to before 1874 because there was a falling out between the ar tist and his family-in-law early that year with a consequent breaking-off of contact.

The por trait remained in the ar tist’s possession and passed down through the Hunt family to Diana Holman-Hunt. She sold it at Christie’s in 1962, where it was bought by the writer Evelyn Waugh. After Waugh’s death, the painting was sold at Sotheby ’s Belgravia by Evelyn Waugh’s son, Auberon Waugh, and where it was bought by the Stone Galler y, prior to being purchased by the Stephensons of The Laithes, Penrith, Cumbria, on 15 November 1971.

William Holman Hunt’s por trait of George Waugh’s mother - Hunt’s mother-in-law - Mar y Waugh (1805-1886), is in the Cleveland Museum of Ar t, Cleveland, Ohio. It was painted in 1868 at the Waugh home in Bayswater and shown at the 1869 RA. In addition, there are two drawings by Hunt of his wife Fanny, sister of George Waugh, one in the Ashmolean and another ex Forbes Collection, NY. Hunt’s oil por trait of Fanny, of 1867-8, is in the Toledo Museum of Ar t, Toledo, Ohio.

We are grateful to Christopher Newall for his assistance in cataloguing this lot.

£2,000-4,000

1172

Arthur Hughes (1832-1914)

Portrait of a lady, three-quarter length, seated in a chair, wearing a white lace bonnet trimmed with blue ribbon and a large cameo brooch at her neck

Signed and dated 1851, possibly retouched 1853, oil on canvas with an arched top, 90cm by 69.5cm

Provenance: Anonymous sale, Christie’s, London, 15 December 1966, lot 134 (£40 to Holt);

Aonymous sale, Christie’s, London, 23 March 1967, lot 61 (50 guineas to Maas);

Purchased for £57 15s. by Stone Galler y, Newcastle upon Tyne; Bought by the Stephensons in Januar y 1968. The Estate of the late Ian Stephenson of Laithes, Penrith, Cumbria

Exhibited: London, Royal Academy, 1853 (107) (as ‘A Por trait’).

Literature: Spectator, 28 May 1853, p. 517; Leonard Rober ts and Stephen Wildman, Arthur Hughes – His Life & Works, Woodbridge, 1997, p. 125, catalogue no. 12.

A finely painted and character ful por trait of an elderly woman According to Leonard Rober ts, it seems likely that the por trait represents a cousin of the ar tist, either Mar y Ann or Frances Dredge. It is one of the Pre-Raphaelite ar tist Ar thur Hughes’s earliest works, pre-dating his association with Rossetti and his work on the Oxford Union mural project.

We are grateful to Christopher Newall for his assistance in cataloguing this lot.

£3,000-5,000

1173

1173

British School (19th centur y)

Portrait of Lieutenant Leigh William

Gillespie

Oil on canvas, 76cm by 63cm

The sitter was in the 2nd Battalion 69 regt. Youngest son of Captain John Gillespie, drowned in the *** Tramore Bay, Ireland, 30th Januar y 1876.

Provenance: Samuel Gillespie Prout Thence by descent Private Collection, UK

The above is provided according to extensive historic, par tially indistinct, handwritten labels to the reverse which seemingly nominates the work as being by “Buckedon” . £400-600

1174

John Hoppner RA (1785-1810)

Portrait of Jane Caygill (1725-1806)

Oil on canvas, 70cm by 90cm

Bears Christie's stencils DA201, 950BW and 220TJ verso

Bears label verso for M. D'Arcy Wyvill

Esq., MP, Denton Hall, Ben Rhydding, near Leeds

Jane, heiress of Down Hall, Essex, was involved with her husband, John Caygill of The Shay, in the building of The Piece Hall, Halifax. £3,000-5,000

1174

After Sir Joshua Reynolds PRA FRS FRSA (1723-1792)

Portrait of Christiana Nickson, 1st Baroness Donoughmore (1731-1783)

Oil on canvas, 125cm by 100cm £700-1,000

Continental School, probably North European (18th centur y)

Portrait of a young genteel boy standing wearing a green frock coat, a yellow waistcoat, a white shirt with frills to the cuffs, a pair of fine yellow boots, and a powdered wig, resting on a cane in his right hand, with an embellished tricorn hat placed on a table to his left

Oil on canvas, 102cm by 70.5cm £300-500 1176

1175

1176

1175

1177

Attributed to William Routh (c.1760-70)

Portrait of Peter Leggat of Barwick-in-Elmet-Yorkshire, half-length, with hand in waistcoat pose, wearing a fine jacket decorated with gold buttons, a rose corsage pinned to his lapel and holding a stick

A portrait of Sarah Leggat, wife of Peter, half-length, wearing a fine white satin stomacher dress with blue satin detail, ribbons and lace trimmings, a matching mop cap and choker, standing before a draped curtain and before an urn of assorted flowers

A portrait of Jane and Elizabeth, daughters of Peter and Sarah Leggat, half-length, wearing white dresses and pretty headpieces holding a basket of flowers with their attendant dog before a landscape

Each initialled and indistinctly dated?, oil on canvas, 66.5cm by 64cm, 67cm by 64cm and 74.5cm by 63cm respectively (3)

This lot is sold together with the Leggat Book of Common Prayer and a small cache of documents relating to the family.

£1,500-2,500

1178

*Ferrers (18th centur y)

Portrait of a young gentleman, half-length, wearing a velvet jacket decorated with fine gold buttons with a white lace cravat and a powdered wig

Signed and dated 1757, oil on canvas, 62cm by 51.5cm

£400-600

1179

Follower of Jean-Baptistie Charpentier the Elder (1728-1806) French

Bois Donc Ma Belle

L’ Attrape - Nigaud

The first bearing signature and dated 1752, oil on canvas, 71cm by 90cm (2)

Provenance: Picard Scp, 21 December 1994, Impor tants Tableaux Anciens, Dessins Anciens, lot 26, offered as by Jean-Baptiste Charpentier

£1,800-2,500

1178

1179

1180

1180

Follower of Hendrick Van Balen (c.1573-1632) Flemish Adoration of the Shepherds Oil on canvas, 36.5cm by 29.5cm

£150-250

1181

1181

Vida Gábor (1937-2007) Hungarian A Ruined Supper Initialled, oil on panel, 38.5cm by 28.5cm

£700-1,000

1182

1182

Charles Hunt (1803-1877) “Paddy’s Wedding Day” Signed and dated 1876, oil on canvas, 88.5cm by 144.5cm

£1,200-1,800

1183

1183 l

John Edward Newton RI (fl.1835-1891)

“The Idlers”

Initialled and dated 1860, oil on canvas, 50.5cm by 68cm

Exhibited/ Provenance: Sotheby’s Belgravia, “A Loan Exhibition of Paintings and Works of Art in aid of the Save The Children Fund” 27th Januar y 1988, Lot 262

£5,000-7,000

1184

1184 l

Robert W. Wright (fl.1871-1889)

“Fathers Coming”

Signed and dated 1882, with original inscribed ar tist’s label verso, oil on panel, 19cm by 24cm

£200-300

1185 l

Robert W. Wright (fl.1871-1889)

In disgrace - a young boy apprehensively returning home Signed and dated 1881, oil on panel, 18cm by 24cm

Provenance: Possibly anonymous sale 12 August 1992 & 24th September 1992

£200-300

1185

1186

1186 l

George Smith (1829-1901) “Musings on the Future” Signed and dated 1874, signed and inscribed verso, oil on panel, 58.5cm by 49cm

Exhibited: Royal Academy 1874, No. 58 Provenance: Christopher Wood Galler y, London £2,000-3,000

1187

1187 l

James Hardy Jnr. (1832-1889)

“The Labourer’s Return”

Signed and dated (1860), with original inscribed ar tist’s label verso, oil on panel, 19.5cm by 14cm

£250-350

1189

Charles Compton (1828-1884)

“The First Parting”

Signed and dated March 1853?, oil on canvas, 67cm by 84.5cm

Provenance: Anonymous sale details in chalk to reverse 20-3-79, Lot 185

£600-900

1188 l

1188

Circle of Thomas Webster (1800-1886)

The Reading Lesson Oil on canvas, 33cm by 35cm (demi-lune) £400-600

l

1189

1190 1192

1190 l

1191

Attributed to Edward Thompson Davis (1833-1867)

Reading Time

Indistinctly monogrammed? oil on panel, 22cm by 17cm

£500-800

1191 l

Jane Maria Bowkett (1837-1891)

Powder and Puff

Signed, oil on canvas, 75cm by 62.5cm

£500-800

1192

William Henr y Ward (exh.1850-1872)

Tickled Awake

Signed and dated 1874, 34cm by 29cm

Provenance: Ashleigh House Fine Ar t, Essex

£400-600

1193

1193

William Henr y Knight (1823-1863)

The Young Haymakers

Signed and dated 1856, oil on panel, 19cm by 24cm £180-250

1194

William Bromley (1835-1888)

The Little Mother

Signed and dated 1860, oil on canvas, 22.5cm by 30cm £400-600 1194

l

l

1195 l

William Davis (1812-1873)

Carving his Name Signed, oil on canvas, 26cm by 23.5cm

Provenance: Sotheby’s, Victorian Paintings, Drawings and Watercolours, November 12, 1992, Lot 73

£500-800

1196 l

Arthur Wardle (1864-1949)

A Quiet Moment in High Summer Signed, oil on canvas, 81cm by 56cm

£2,000-3,000

1195

1196

1197

Circle of William Etty RA (1787-1849)

Venus and Adonis

Oil on board, laid onto panel, 72.5cm by 62cm, unframed

The present painting shows the beginning of the relationship of Venus with Adonis, as recounted in Ovid’s Metamorphoses. Venus has been accidently wounded by one of Cupid’s arrows while playing with him and Cupid cowers behind her back in embarrassment or shame. It is at this moment that Venus first glimpses the huntsman Adonis and, thanks to Cupid’s arrow, immediately falls in love with him.

William Etty was cer tainly familiar with the Metamorphoses. Although he did not exhibit any work specifically titled Venus and Adonis, he knew and copied Titian’s version of the subject, which was par t of the founding collection of the National Galler y, opening in 1824 (now catalogued as workshop of Titian). However this illustrates a subsequent development in the stor y, where Venus is attempting to restrain Adonis from going to the hunt, which will prove fateful for him. At the British Institution of 1829 Etty showed ‘A subject from Ovid’s Metamorphoses’ (no.232), measuring 3ft 11in. square in its frame. This, though, represented ‘a pair of lovely figures standing in the water embracing’, according to a review in the Gentleman’s Magazine, as quoted by Dennis Farr, and cannot have been the present work.

Though the painting here is close to Etty is cer tain ways - for example, the landscape background could pass for Etty and the obvious derivation of the figure of Venus from a life-room study of a female nude, without any attempt at modification, is typical of him. It is curious, however, that the shadowed par ts of the goddess’s body are scarcely, if at all, modulated by paint applied over the brownish ground, the latter thus fully exposed. In the light-catching par ts of Venus’s body the paint is applied ver y smoothly leaving no evidence of individual brushstrokes. In contrast, bold brushwork is much more apparent in the figures of Adonis and Cupid. Neither the face of Adonis nor the attempt to imbue the figure of Cupid with an expression of emotion seem right for Etty

It has been suggested therefore that this might be a collaborative work between Etty and another from his circle, or indeed an example entirely by another hand, but by an individual in the orbit of William Etty.

We are grateful to Richard Green for his assistance with the cataloguing of this lot.

1198

Attributed to Henr y Perlee Parker (1795-1873)

“The Old Quayside” (1841) Oil on canvas, 67cm by 102.5cm £700-1,000

Manner of Claude Lorrain (1600-1682) French Travellers in an Arcadian landscape Signed, oil on canvas, 76.5cm by 105cm £3,000-5,000

1199

1199

1198

1200

Attributed to Thomas Spencer (c.1725-1802)

Lady Caroline held by a groom, Newmarket Oil on canvas, 82cm by 105.5cm

Provenance: By repute, Tennants Newby Hall Sale, 1-4 July 1985, lot 577, when it was historically associated with James Seymour

The painting is reputedly to be a depiction of the filly bred by William Metcalfe Esq, near Beverley, Yorkshire and sold to the Earl of Por tmore.

Lady Caroline was sired by the Duke of Devonshire’s Childers out of The Old Snake Mare, the dam of Shock and Squir t. The Old Snake Mare was also the dam of Gay, Brown Russet and Lady Betty, and the grandam of Regulus. She is shown here after winning His Majesty’s Plate of 100 Guineas for five-year old mares run at Newmarket on 20th April 1745.

£10,000-20,000

1201

Charles Henr y Schwanfelder (1774-1837)

A Grey Hunter and Spaniel standing in an extensive landscape, a view of Brimham Rocks to the distance Signed and dated Aug.1832, oil on canvas, 69.5cm by 89.5cm

£5,000-8,000

1202

E W Gill (mid-19th centur y) Study of dead Mallard on a ledge Signed and dated 1847 verso, oil on canvas, 28cm by 34cm

E W Gill exhibited at the RA between 1843 and 1855, several of which depicted dead game. £200-300

1202

1201

1203

Attributed to Richard Jones (1767-1840)

Hare coursing Oil on canvas, together with two fur ther works by the same hand of a similar subject matter, 34.5cm by 43cm (3)

For comparable see the Bute Collection of Spor ting Pictures, May 27th 1999, Lot 43 £2,000-3,000

James Hardy Jnr. RI (1832-1889)

The Day’s Catch Signed and dated 1864, oil on canvas, 19.5cm by 29cm £300-500

1204 l

1204

12031203

1203

1205 l

Hendrik Reekers (1815-1854) Dutch

A plentiful still life with varied game and hunting accoutrements, flowers and fruit on a silver platter before a Classical urn and arranged on a stone ledge Signed, oil on panel, 92cm by 80cm

Provenance: The Ledger Galleries Ltd, London, September 1963

Hendrik Reekers worked as an ar tist in nineteenth centur y Haarlem. He learned under two great painters, his own father Johannes Reekers the Elder (1790-1858) and Gregorius Jacobus Johannes van Os (17821861), a still life and landscape painter. Reekers followed in his teacher ’s example, with his oeuvre consisting of still life oil paintings and studies on paper that closely emulate the highly detailed, luscious images created by van Os and the accurately represented fruit and comprehensive studies by Reekers the Elder. He also became a teacher himself in 1837 and went on to travel frequently to Paris and Brussels before he died at 38.

The painting is a showcase of the ar tists’ technical ability and continues the Dutch tradition of still life painting. Reekers has accurately depicted poultr y game typically hunted in the Autumn season, pigeon, par tridge and pheasant. Along with the game is an ar tful arrangement of flowers in vase, including Auriculas, Rhododendrons, Carnations, Heather, and Roses. To add to the richness of the almost life size composition, Reekers included fruits not native to the Netherlands. These luxur y fruits of pineapple, lemons, pomegranate, and peaches would have been impor ted or specially cultivated, alluding to the global trade the Netherlands par ticipated and the wealth it produced for the par ticipants.

1205

This painting, like many of Reekers’ ar tworks and the still life genre in general, strikes a tension between highly realistic representation and ar tificial composition. Though the game is traditionally of the Autumn season, most flowers have their season in spring to late summer. So, although the arrangement of items may seem careless and haphazard, it was meticulously planned out, perhaps using stock drawings of some of the items either not in season or difficult to obtain £5,000-8,000

1206

Follower of Matthew Ellis Nutter (1795-1862)

The Lookouts - Greyhounds and another dog standing in a stable Oil on canvas, 49cm by 59cm £250-400

1207

George Wright (1860-1942)

The Visitor - Robin on the sill of a snow-bound kennel with hunting hounds looking on Signed, oil on canvas, 29cm by 34cm £400-600

1208

Horatio Henr y Coulder y (1832-1918) The Best of Friends Signed, oil on canvas, 27.5cm by 39cm £1,000-1,500

1208

1207

1206

1209 l

J Digby Curtis (early 19th centur y)

Shepherd and his flock

Signed and dated 1837?, inscribed “A Lamb Hogg, these sheep are brothers, the lamb Hog Fleece 12.75, the other when one year, J Footit, a shear Ram Ewe fourteen years old”, oil on canvas, 62.5cm by 144cm £3,000-5,000

1210

1210

Charles Thomas Burt (1823-1902)

Changing Pasture

Signed and dated 1861, oil on canvas, 24.5cm by 35cm £150-250

1211

Richard Gay Somerset (1848-1928)

Cattle watering

Signed, oil on canvas, 52cm by 42cm £150-250

William Mellor (1851-1931)

Born in 1851 in Barnsley, William Mellor received much of his ar tistic training from his father, Joseph Mellor who was also a landscape painter. William Mellor travelled widely to depict scenes of rivers and meadows in Nor th Wales, Yorkshire and the Lake district, often inscribing the back of his paintings with the location. Mellor frequently painted in Summer and Autumn, his patient obser vation of the delicately rendered foliage bathed in golden sunlight became a recognisable feature of his work.

1212

1212

William Mellor (1851-1931)

“Oak Beck, Near Harrogate”

Signed, inscribed verso, oil on board, 28cm by 19cm £300-500

1213

William Mellor (1851-1931)

“Fairy Glen, North Wales”

1213

Signed, inscribed verso, oil on canvas, 89.5cm by 69.5cm £600-900

1215

William Mellor (1851-1931)

“Pont-y-prid, Betws, North Wales” Signed, inscribed verso, oil on canvas, 49cm by 39cm

1214

1214

William Mellor (1851-1931)

“Meeting

1215

1216

1216

William Mellor (1851-1931)

“

£600-900

On the Glaslyn, North Wales” Signed, inscribed verso, oil on canvas, 49.5cm by 75cm £1,500-2,500

of the Waters, Bolton Woods, Yorkshire” Signed, inscribed verso, oil on canvas, 38cm by 58.5cm £600-900

1217

William Mellor (1851–1931)

Waterfall scene in an Autumnal landscape

Signed, oil on canvas, 64.5cm by 125cm

£800-1,200

1219

Félix Ziem (1821-1911) French Windmills in the evening hour, Holland

Signed, oil on canvas, 70cm by 104cm

Provenance: The estate of Denton Hall in Ilkley, Yorkshire which has been par t of the NG Bailey group of companies for over 40 years. NG Bailey is the UK’s leading independent engineering and ser vices business and is owned by the Bailey family

£3,000-5,000

1218 l

Robert Collinson (fl.1854-1890)

A Quiet Dell Initialled and dated 1862, oil on canvas, 21cm by 27cm

Provenance: Roy Miles Fine Paintings, London Phillips London, December 14, 1993, Lot 55

£400-600

1217

1218

1219

Born in 1779 in Middlesex, Augustus Wall Calcott studied with the portraitist John Hoppner, but later changed course to become a highly successful landscape painter. His style was influenced by Claude Lorrain and the 17th century Dutch painters. Callcott chose not to produce faithful topographical representations in his paintings, instead preferring to create idealised landscapes which drew on literary themes. In 1827 he married the writer Maria Graham (1785–1842), the author of numerous books on topography and painting, and their home in London became a leading cultural salon. Callcott became a close associate of J.M.W Turner and developed a style closer to Turner’s, focusing on the atmospheric quality of light. This new treatment of the landscape genre gained respect from his fellow painters, leading to his election as an Associate of the Royal Academy in 1806 and as a full Royal Academician in 1810.On the accession of Queen Victoria in 1837, Callcott received the honour of knighthood, and in 1843 he succeeded William Seguier as Surveyor of the Queen’s Pictures. Works by Sir Augustus Wall Callcott can be found in the collections of the Tate,

and the University of Oxford.

1220

1220

Sir Augustus Wall Callcott RA (1779-1844)

V&A

Sir Augustus Wall Callcott RA (1779-1844)

“Dutch Peasants from Market Waiting for the Ferry Boat” Apparently unsigned, oil on canvas, 64cm by 167.5cm

Sir Augustus Wall Callcott exhibited “Dutch Peasants Waiting the Return of the Passage Boat” at the RA in 1834, No. 189 and “Dutch Peasants Returning from Market” in 1836, No. 48 £5,000-8,000

1221

Walter Wallor Caffyn (1845-1898)

“Ewhurst from Leith Hill”

Signed and dated 1893, signed, inscribed and dated verso, oil on canvas, 49.5cm by 75cm

£800-1,200

1222

Alfred Vickers Snr (1786-1869)

Landscape with church

Oil on board, 24cm by 34cm

£250-400

1222

1221

1223

Edmund John Neimann (1813-1876)

“Richmond Castle”

Signed, oil on canvas, 63.5cm by 124cm

Provenance: Ar thur Ayres, Auctioneer, Valuer, Estate & House Agent,

Reading, July 14th 1885

Sold together with original invoice and correspondence from the above £2,000-3,000

1224 l

William Frederick Witherington (1785-1865)

“Wharfedale near Bolton Abbey”

Signed and dated 1859, oil on canvas, 64.5cm by 91cm

Exhibited: Royal Academy 1859, No. 377

£700-1,000

1225 l

Attributed to Thomas Smythe (1825-1907)

Horse mounted traveller in a snowbound landscape

Possibly signed under framing lower right, oil on board, 60cm dia. (oval)

£400-600

1227

Benjamin Williams Leader RA (1831-1923)

“The lock and church, Stratford-on-Avon”

Signed and dated 1874, signed and inscribed in pencil verso, oil on panel, 34.5cm by 25cm

£500-800

1226

Ludwig Hermann (1812-1881) German Horse drawn sleigh and figures on a frozen river Signed, signed and inscribed to stretcher verso, oil on canvas, 66.5cm by 95.5cm £1,000-1,500

1225

1226

1227

1228

1228

Bartholomew Colles Watkins RHA (1833-1891) Irish

“On the Liffey”

Signed, oil on canvas, 29cm by 45cm

Provenance: Rayner MacConnal, London £1,500-2,500

1229

Robert John Hammond (fl.1882-1911)

“A Devonshire Lane”

Signed, oil on canvas, 41cm by 61cm

Provenance: Tennants Auctioneers, 21st April 2004, Lot 1144, £4,800 £700-1,000

1229

1230✓ Rowland Wheelwright (1870-1955)

Harvest Time

Signed, oil on canvas, 74cm by 112cm

£1,500-2,500

1231

1231

Bertram Priestman RA, ROI, NEAC, IS (1868-1951)

“The Orwell Estuary”

Signed and dated (19)38, signed, inscribed and dated verso, oil on board, 40cm by 50cm

Exhibited: City of Bradford Ar t Galler y, Car twright Memorial Hall, Jubilee

Exhibition, 1954

£500-800

1232

1230

1232

Helene Tupke-Grande (1871-1946) German Moored boats and figure on a canal at sunset

Signed, oil on board, 26.5cm by 29.5cm

£250-400

1233

1233✓

Montague Dawson (1890-1973)

“HMS Amethyst running the Yangtse Gauntlet, 30th July 1949” Signed, oil on canvas, 49cm by 75cm

The present painting was specially painted for The Sphere Magazine No.2599.

“It depicts the moment of the Frigate returning fire soon after the start of her historic dash down to the sea.” In 1949, during the Chinese civil war, HMS Amethyst was ordered up the Yangtse river to act as defence for the British Embassy at Ninjang. Communist ar tiller y attacked the ship when it was approx 70 miles from Ninjang. In an attempt to evade the heavy fire Amethyst ran aground and tragically 17 of the crew were lost and 10 wounded. Over the ensuing days failed attempts were made to re-float the ship and af ter a treacherous and long journey it was eventually restored back into the British Far East Fleet at Shanghai. When it finally arrived at Hong Kong after a three month ordeal it was the centre of much press and publicity as it’s fateful three month mission had been understandably followed with great interest.

£10,000-15,000

1234✓ John Bentham-Dinsdale (1927-2008)

“Becalmed, The Clipper Ship, Anglesey 1150 Tonnes”

Signed and dated (19)70, signed and inscribed verso, oil on canvas, 39cm by 74cm

£300-500

1234

1235

E H Holder (1864-1917)

“Scarborough”

Fisherfolk upon Scarborough Beach

Signed and dated 1881 and 1879 respectively, oil on canvas, 40cm by 59.5cm and 39.5cm by 59cm respectively (2)

£700-1,000

1235 1236

1236

Circle of John Scott (1802-1885)

The paddle steamer Ireland off the coast, likely at Tynemouth

Signed, oil on canvas, 75cm by 105cm

£300-500

BUYERS’ INFORMATION

Buyer ’s Premium

A Buyer ’s Premium of 24% on the first £999,999 of the Hammer Price and 20% on the amount thereafter, plus VAT, is payable on each lot.

Condition Reports

We are happy to provide Condition Repor ts to Prospective Buyers, but would welcome your request as soon as possible, preferably at least 48 hours before the Day of Sale. A Condition Repor t is an honest expression of our opinion, not a statement of fact and is provided as a ser vice to the Seller. We accept no liability for the opinions expressed in any Condition Repor t.

Caveat Emptor

The principle of caveat emptor applies to the sale of all goods sold at auction by us. Fur thermore, we have no control over the condition of any item offered for sale.

Additional Images

Requests for additional images of items in the sale can made up to 48 hours before the Day of Sale.

Online Bidding

We offer an online bidding ser vice via our own platform - Tennants Live Bidding at www.tennants.co.uk. Items purchased via this platform will be subject to an additional 1.5% commission charge plus VAT at the prevailing rate. We also offer online bidding via www.the-saleroom.com for prospective buyers who cannot attend the sale. Items bought via this platform will be subject to an additional 4.95% commission charge plus VAT.

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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.the-saleroom.com is subject to separate terms and conditions which do not form par t of these conditions.

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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 ser vice. 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 reser ve 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 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.

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-ser ved basis and are subject to a minimum lot value of £500 for Fine Ar t Sales and £200 for all other sales.

(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%

For fur ther information please visit www.dacs.org.uk or www.ar tistscollectingsociety.org. There is no VAT payable on this royalty charge.

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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.

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All purchases must be collected from our Leyburn offices, unless stated other wise, within seven days of the Sale (Monday to Friday 8.30am to 5.00pm).

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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:

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For cer tain lots, we offer a packing and shipping ser vice up to a total value of £5,000 (inclusive of buyer ’s premium, VAT and any other associated charges). Prices star t 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 deliver y.

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 deliver y, before items are dispatched.

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NEXT BRITISH, EUROPEAN & SPORTING ART SALE

SATURDAY 11 NOVEMBER 2023

2023 AUCTION DATES

Friday 7 July

Antiques & Interiors

Saturday 15 July

Summer Sale

The TB & R Jordan Collection - Par t I

British European & Spor ting Ar t

Fine Jeweller y, Watches & Silver

The Summer Transpor t Sale

Friday 21 July

Antiques & Interiors

Wednesday 26 July

Toys & Collectables

Saturday 5 August

Antiques & Interiors including Beswick & Border Fine Ar t

Wednesday 9 August

Coins & Banknotes

Saturday 19 August

Antiques & Interiors

Costume, Accessories & Textiles

Thursday 31 August

Stamps & Postcards

Friday 1 September

Antiques & Interiors

Fine Wine & Whisky

Friday 8 September

Natural Histor y & Taxidermy

Friday 15 September

Countr y House

Jeweller y, Watches & Silver