British, European & Sporting Art, 16 July

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BRITISH, EUROPEAN & SPORTING ART SATURDAY 16 JULY 2022

BRITISH, EUROPEAN & SPORTING ART SATURDAY 16 JULY 2022

The Auction Centre, Leyburn North Yorkshire DL8 5SG 01969 623780 enquiry@tennants-ltd.co.uk www.tennants.co.uk

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ALSO SELLING THIS WEEK:

DAVID BATTIE: A STUDY COLLECTION DAVID BATTIE: A STUDY COLLECTION FRIDAY 15 JULY 2022

FRIDAY 15 JULY 2022 AT 9.30AM (184 LOTS)

SUMMER SALE SUMMER SALE SATURDAY 16 JULY 2022

SATURDAY 16 JULY 2022 AT 9.30AM (419 LOTS)

FINE JEWELLERY, WATCHES & SILVER FINE JEWELLERY, WATCHES & SILVER SATURDAY 16 JULY 2022

SATURDAY 16 JULY 2022 AT 9.30AM (363 LOTS)

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BRITISH, EUROPEAN & SPORTING ART SATURDAY 16 JULY 2022 AT 9.30AM AUCTION The Auction Centre, Leyburn North Yorkshire DL8 5SG

VIEWING Sunday 10 July 11.00am to 4.00pm Monday 11 July 10.00am to 4.00pm Tuesday 12 July 10.00am to 4.00pm Wednesday 13 July 10.00am to 4.00pm Thursday 14 July 10.00am to 4.00pm Friday 15 July 10.00am to 4.00pm Morning of Sale from 8.00am Live bidding is available on this sale by registering at www.tennants.co.uk All lots illustrated online at www.tennants.co.uk

CONTACT Telephone: 01969 623780 enquiry@tennants-ltd.co.uk www.tennants.co.uk

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YOUR SPECIALISTS

Charlotte Conboy Head of Pictures

Guy Cooper Picture Specialist

Francesca Young Modern & Contemporary Art Specialist

Lucy Campbell Picture Department Administrator

Tennants is the UK’s largest family-owned fine art auctioneers, with a well-deserved reputation for delivering unrivalled service and results.

Twenty-seven specialist departments offer an outstanding range of depth and expertise that, combined with the company’s strong traditional values and a personal approach, have won Tennants widespread respect in the international marketplace.

Each year Tennants holds over 80 auctions and handles in excess of 40,000 lots covering all major disciplines, making it one of the UK’s busiest salerooms.

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1000 Hugh Douglas Hamilton (1739-1808) Irish Portrait of Miss Davy, Grand-Daughter of Frances Fitz William, Lady Carbery Signed and dated 1772, pastel, 17.5cm dia. (oval) Provenance: Andrew Wyld, London £1,000-1,500

1000

1001 Hugh Douglas Hamilton (1739-1808) Irish Portrait of Bellingham Boyle MP for Brandonbridge Pastel, 18cm dia. (oval) Provenance: Sotheby’s, London, Anonymous Sale, 1985, Lot 10 Literature: Neil Jeffares, “Hugh Douglas Hamilton”, Dictionary of Pastellists before 1800, online edition, accessed 5/4/2022, p.4, J.375.1065 £700-1,000

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1002 Francis Nicholson POWS (1753-1844) “The Dropping Rock at Knaresborough” Signed and inscribed with artist’s address verso (according to label verso), mixed media with scratching out, 28.5cm by 40cm Provenance: The Fine Art Society Ltd., London Born at Pickering in 1753, Nicholson settled at Whitby in 1783. In 1792 he went to Knaresborough, Ripon and finally settled in London.

Nicholson exhibited at the Royal Academy in 1789. In 1804 he became one of the original members of the Watercolour Society. In later years he devoted himself to lithography. In 1820 he published “The Practice of Drawing and Painting Landscape from Nature”.

He was noted for the introduction in his landscapes of the device of stopping out the watercolour, which Turner also employed on occasion.

There is a similar but larger watercolour of the same view by Nicholson dated 1803 and exhibited at the Royal Academy in the same year.

Works of the same name were also exhibited at the Old Watercolour Society (Society of Painters in Watercolour) in 1807 (£21-0-0, bought by the Rev. Dr. Beeke, Ufton, Berks) and in 1809 (£3-3-0, bought by W. R. Stokes) and in 1811 (bought for £26-5-0) £700-1,000

1003 Attributed to Thomas Sunderland (1744-1823) “View from Trundle Brow, Back Barrow, Westmorland” Mixed media, together with a further example by the same hand depicting the same location from another aspect, 27cm by 36.5cm (2) £120-180

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1004 Thomas Miles Richardson Jnr. RWS (1813-1890) “Tynemouth” Signed and dated 1836, watercolour with scratching out, 21cm by 31cm £120-180

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1005

1005 Tom Scott RSA, RSW, ARSA (1854-1927) Scottish Border Reivers in a river valley Signed, watercolour, 74cm by 125cm Exhibited: Scottish National Exhibition, Edinburgh, 1908 £2,000-3,000

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1006 William Simson RSA (1800-1847) Scottish “Huntsman with gun” Charcoal, 56.5cm by 41.5cm Provenance: The Fine Art Society, London & Edinburgh Exhibited: The Fine Art Society, William Simson, no.28 £250-400

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1007 Richard Ansdell RA (1815-1885) Study of two Rams Mixed media on buff paper, 22cm by 51cm £200-300

1008 John Collett (c.1725-1780) “An East Indian Buffalo” Inscribed with title to reverse of original mount, ink and watercolour, 14cm by 21cm Provenance: Guy Peppiatt Fine Art, London Dr. Bob King, North Yorkshire £200-300 1008 8

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1009

1009 William Andrews Nesfield (1793-1881) The Day’s Bag Signed and dated 1832, watercolour heightened with white, 50cm by 68.5cm Born at Lumley Park, County Durham and educated at Durham School, Nesfield started life as a soldier, serving under The Duke of Wellington in battles across Europe. Although primarily known as the garden designer who remodelled the gardens at Castle Howard, amongst others, Nesfield was an accomplished artist who’s work was praised by John Ruskin. £500-700

1010

1010 William Andrews Nesfield (1793-1881) A gaggle of Geese Watercolour, 6.5cm by 13cm Provenance: David Ker Fine Art, London £200-300 www.tennants.co.uk

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1011 Helen Allingham RWS (1848-1926) Mother and child before a thatched cottage Signed, watercolour, 17.5cm by 14.5cm Provenance: Bonhams, London, 29th October 2008, Lot 152 Haynes Fine Art, Broadway Annabel Watts has suggested that this work dates from 1890’s. £2,000-3,000

1012 John Atkinson (1863-1924) Horse Fair, possibly Appleby Signed, pencil and watercolour heightened with white, 46.5cm by 61.5cm £800-1,200

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1013

1013 Arthur Reginald Smith ARA, RWS, RSW (1871-1934) “A Bridge on the Wharfe” Signed and indistinctly dated, with original artist’s label verso, pencil and watercolour, 35.5cm by 54.5cm Provenance: The Fine Art Society Ltd., London, 1946 £200-300

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1015

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Arthur Reginald Smith ARA, RSW, RWS (1871-1934) “Assisi” Signed, watercolour, 26cm by 36.5cm

Robert Purvis Flint RWS, ARWS (1883-1947) St Peter’s, Rome Signed and indistinctly dated 1924?, pencil and watercolour, 23.5cm by 35.5cm

Provenance: The Fine Art Society Ltd., London, November 1945 £150-250

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Provenance: The Fine Art Society Ltd., London, August 1957 £100-200

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1016 Robert Atkinson (1863-1896) “Cairo” Signed, inscribed and dated 1892, watercolour, 25cm by 19cm Provenance: The artist’s wife Exhibited: * Art Gallery, Leeds, Loan Exhibition 1897 £200-300

1017 Percy Lancaster RI, RBA, ARE, RCamA (1878-1951) “Harlech Castle” Signed, inscribed and dated (19)24, pencil and watercolour, 22cm by 32cm Provenance: The Horner Galleries, Sheffield £80-120

1018 3 Fred Lawson (1888-1968) “Lincoln” Signed, inscribed and dated 1929, pencil and watercolour, 31cm by 26.5cm £150-250

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1018

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1019

1019 Philip Wilson Steer OM, NEAC (1860-1942) “Ludlow Castle; Sunset” Signed, watercolour, 25cm by 36.5cm £70-100

1020 Sir Edward Coley Burne-Jones Bt, ARA, RWS (1833-1898) Full length nude study in three quarters profile holding a sword in his right hand and resting on right shoulder, (preliminary sketch for part of a stained glass window for the Council Chambers of Dundee City) Charcoal with pencil squared up for transfer, on buff paper, 30.5cm by 15cm The drawing is a preliminary study for a stained-glass window made for the Dundee Council Chambers. The window (which is now dismantled) was inscribed with the name of the person represented, ‘James Haliburton’, provost of Dundee, ‘born mdxi died mdlxxxviii’, and also stating that he was ‘member of parliament, statesman, soldier, reformer, [and that] he was a conspicuous leader in the great events of his age’. This was one of four lights, each showing historical personages connected with the city of Dundee.

The entire scheme was commissioned from Morris and Co. in the late 1880’s and designed by Burne-Jones. The window showing Haliburton was presented to the city of Dundee by William Hunter, Lord Provost of Dundee 1887-1890, and was installed in 1889. Burne-Jones’s cartoons for the scheme were presented to Birmingham City Art Gallery in 1901. An entry in Burne-Jones account book from 1888 refers to ‘3 figures for Dundee £20 each ... [making] £60. Haliburton, Dundee ... £20’.

The present full length male nude study corresponds closely to the figure in the stained glass, in which James Haliburton is shown in three-quarters profile turning to the viewer’s right, and with a sword in his right hand and which rests on his right shoulder.

See A. Charles Sewter, The Stained Glass of William Morris and his Circle, two volumes, New Haven, 1974, I, figure 603 (showing the stained-glass), and II, pp. 63-4.

We are grateful to Christopher Newall for his assistance in cataloguing this lot. £500-800 1020

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1021

1021 3 Sir William Russell Flint RA, ROI (1880-1969) Three studies Signed, conte crayon, 20cm by 29cm Provenance: Frost and Reed The Church Hill Gallery, Cheshire (1989) Sold together with a copy receipt as above £2,000-3,000

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1022 3 Ernest Howard Shepard MC OBE (1879-1976) “Priscilla goes visiting 1927” Inscribed, pencil, 33cm by 20cm Provenance: Chris Beetles, London Exhibited: E H Shepard at Punch, 1907-1952, Chris Beetles Gallery, July 2019 This work is a preliminary drawing for Punch, 7th November 1927, Almanack for 1928, pages 2-3 £250-400

1022

1023 Louis Wain (1860-1939) Startled cat in profile Signed and inscribed, pencil, 24cm by 18cm £250-400

1023 www.tennants.co.uk

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1025

David Morrison Reid Henry (1919-1977) Red Crested Cardinal Signed, gouache, together with a further work by the same hand, “Rufous-bellied Niltava” 22.5cm by 17.5cm and 25.5cm by 18.5cm respectively (2) £250-400

1025 3 David Morrison Reid Henry (1919-1977) Ceylon Blue Magpie Signed, gouache, 22.5cm by 17.5cm £150-250

1026 3 David Morrison Reid Henry (1919-1977) American Red Headed Woodpecker Signed, gouache, together with a further example by the same hand depicting an “American Bluebird”, 27cm by 20.5cm and 24cm by 18.5cm respectively (2) £250-400 1024

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David Morrison Reid Henry (1919-1977) A pair of Scarlet-chested Parrots on a branch Signed, gouache, 35cm by 24.5cm £250-400

Paul Osborne Jones (1921-1998) Australian “Allamanda (working drawing)” Signed, pencil and gouache, heightened with white, 61cm by 49cm

Archibald Thorburn FZS (1860-1935) Study of a bough of Fir Dated June 3rd 1887, watercolour heightened with white, 27.5cm by 43cm

Provenance: The Tryon Gallery, London £300-500

Provenance: Lady MacTaggart-Stewart, thence by descent £400-600

1029 www.tennants.co.uk

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1030 Johann Bernard Klombeck (1815-1893) Dutch and Eugène Joseph Verboeckhoven (1798-1881) Belgian Cattle, Sheep and herdswoman on a country track before a distant tower, in an Italianate landscape Signed, oil on canvas, 90.5cm by 123cm £30,000-50,000

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1030 www.tennants.co.uk

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1032

Charles Towne (1763-1840) Landscape with figure tending sheep and cattle Signed and inscribed, oil on panel, 16.5cm by 21.5cm £300-500

Manner of James Stark (1794-1859) Sportsman and dogs in an extensive landscape Oil on canvas, 28.5cm by 38.5cm Bears E.S.K (Ecole South Kensington) stamp to the reverse £200-300

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1033 Benjamin Robert Haydon (1786-1846) Head Study of an Arab Grey Horse Oil on canvas, 74cm by 64.5cm Provenance: Christie’s sale 4058 and Christie’s stencil to reverse KASS1 £800-1,200

1034 Robert L Alexander RSA RSW (1840-1923) Scottish Standing grey horse in a stable Signed and dated 1905, oil on canvas, 74.5cm by 89.5cm £800-1,200

1033

1034 www.tennants.co.uk

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1035 Robert L Alexander RSA, RSW (1840-1923) Scottish Bay mare and foal standing in a stable Signed and dated 1907, oil on canvas, 69.5cm by 82.5cm £500-800

1036 Attributed to John Frederick Herring Snr. (17951865) “The Flying Dutchman” Indistinctly signed and dated 1849, oil on canvas laid onto panel, 65cm by 83cm Provenance: Tennants, Summer Fine Art Sale, The Property of the Lady Clarissa Colin, 25th July 2014, Lot 568 The Flying Dutchman (Bred 1846) winner of the Derby at Epsom and the St Leger at Doncaster 1849.

Rider - G Marlow, trained by J. Fobert. In 1850 won the Emperor of Russia’s Cap at Ascot £2,500-4,000

1035

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1037

1037

1038

Thomas Blinks (1860-1912) “The Morning Ride” Signed and dated (18)90, oil on canvas, 24.5cm by 34.5cm £1,200-1,800

William Woodhouse (1857-1937) Full cry A stag in flight Each signed, oil on board, 18.5cm by 28.5cm (2) £700-1,000

1038 www.tennants.co.uk

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1039 3 Alfred Grenfell Haigh (1870-1963) K. H. Milvain (Neé Mitchell) As MFH of the Percy Foxhounds riding Quickstep Signed and dated 1918, oil on canvas, 70cm by 90cm £120-180

1040 3 J Wheeler (19th/20th century) “The Fox Sighted” “Full Cry” “The Chase” “The Kill” Two monogrammed, oil on panel, 24cm by 30.5cm (4) Provenance: Frost and Reed Limited 1975, £1,400 purchase price £700-1,000 1039

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1041 Edward Benjamin Herberte (fl.1857-1893) “Gone to Ground” Signed and dated 1887, oil on canvas, 39cm by 59.5cm £300-500

1041

1042 P* Herbert (19th century) Two pointers in a mountainous landscape Signed and dated (18)76, oil on canvas, 49.5cm by 70cm £500-800

1042

1043 George Armfield (1808-1893) Spaniels flushing out Duck Signed and dated 1867?, oil on canvas, 58.5cm (tondo) £500-800

1043 www.tennants.co.uk

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1044

1044 Edward Armfield (1817-1896) Otter hunting Signed, oil on canvas, together with a companion of the same subject matter, 70cm by 90cm (2) £800-1,200

1045 Edward Armfield (1817-1896) An Otter hunt Signed, oil on canvas, 90cm by 69cm £400-600

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1046 William Eddowes Turner (1820-1885) Study of a terrier in a landscape Signed, oil on canvas, 24.5cm by 29.5cm £200-300

1047 Otto Theodore Leyde RSA, RSW (1835-1897) Scottish The Fishing Party Signed and dated 1875, oil on canvas, 127cm by 150cm Provenance: Lyon and Turnbull, 14th May 2015, Lot 26 £800-1,200 1046

1047 www.tennants.co.uk

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1048

1048 Circle of Giovanni Crivelli (1680/90-1760) Italian A menagerie of waterfowl and other animals Oil on canvas, 112.5cm by 140cm £3,000-5,000

1049 Joseph Urbain Melin (1811-1886) French Diana the Huntress with her hounds bathing in a pool Signed, oil on canvas, 38.5cm by 28cm Provenance: Tennants, Summer Fine Art Sale, 15th July 2017, Lot 72 £500-800

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1050 (part)

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1051

Richard Ansdell RA (1815-1885) Dying Heron and Retriever Initialled, oil on canvas, together with a signed etching by the artist of the same subject, 29.5cm by 56cm and 20cm by 27cm (2)

Paul Fordyce Maitland (1863-1909) Harbour on an estuary at dusk Signed, oil on board, together with a companion most likely by the same hand, depicting an angler on a river, 22.5cm by 29cm (2) £250-400

Provenance: Agnew’s (by repute); Bears Christie’s stencil 608D to the reverse £500-700

1051

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1052

1052 Henry Stacy Marks RA (1829-1898) “Pelican” Signed and dated 1884, with inscribed label verso and dated 1889, fragments of a likely original artist’s label verso, oil on canvas, 85cm by 59.5cm With Christie’s stencil 499CK to reverse Henry Stacy Marks is perhaps best remembered today for his extraordinary depictions of birds. Born and trained in London, the artist’s early career focused on historical scenes frequently sourced from Shakespeare. However, in 1888 the Fine Art Society planned an exhibition on birds, and Marks took the opportunity to study the subject in depth, becoming a frequent visitor to London Zoo. Drawing birds with accuracy, and focusing on exotic and colourful species, Henry Stacy Marks mastered the art of ornithological painting and this impressive depiction of a pelican on a shore shows the artist at the height of his artistic powers. £12,000-18,000 30

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1053 3 Alan B Hayman (b.1947) ‘’Red Deer above a waterfall’’ Signed and dated (19)98, oil on board, 66cm by 50.5cm Provenance: Purchased directly from the artist £200-300

1054 William Sidney Cooper (1854-1927) Cattle watering in a Summer landscape Signed and dated 1923, oil on canvas, 39.5cm by 59.5cm £400-600

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1056

1055 Attributed to George Morland (1763-1804) Piglets drinking in a stable Indistinctly signed, oil on panel, 10cm by 13cm £200-300

1056 William Woodhouse (1857-1939) Gull shooting on the dunes Signed and dated 1889, oil on canvas, 39.5cm by 34.5cm

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Bears Christie’s stencil HRS10 to stretcher verso £800-1,200

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1057

1057 William Hughes (1842-1901) Game in a larder Signed and dated 1874, oil on canvas, 29.5cm by 49cm £500-700

1058 B* Whitley (1849-1925) Still life of fruit and a decorative porcelain ewer Signed and dated 1874? oil on canvas, 59cm by 59cm £400-600

1058

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1059

1059 Circle of Willem van Leen (1753-1825) Dutch Still life of Roses, Cornflowers, Auricula, Convolvulus and other assorted blooms Oil on panel, 53cm by 43cm £1,500-2,500

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1061 Follower of Jan van Os (1744-1808) Dutch Still life of a garland of flowers Oil on slate, 54cm by 41cm Contained in a highly decorative gilt and carved wood frame (damaged) It has been suggested that this maybe the product of one of the artists associated with the firm Jennens and Betteridge (18161870), or a porcelain painted from a similar period. £300-500

1060 William H Smith (fl.1863-1884) Still life with grapes, a gourd, peaches, strawberries and a stoneware tankard arranged on a ledge Signed and dated 1872, oil on canvas, 59.5cm by 49cm £500-700

1061 www.tennants.co.uk

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1062

1062 Henry Herbert La Thangue RA (1859-1929) ‘’In a Ligurian Garden’’ Signed, inscribed to original artist’s label verso, oil on canvas, 101cm by 65cm £70,000-100,000 36

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Exhibited: London, Royal Academy 1908, no. 55 Literature:

Pall Mall Magazine Extra, The Pictures of 1908, 1908, p.14 (illus) ‘Most Noticeable Picture’, Lloyd’s Weekly Newspaper, 3 May 1908, p.14 ‘Royal Academy – First Notice’, The Times, 4 May 1908, p.13 ‘The Royal Academy Exhibition – First Notice’, The Morning Post, 4 May 1908, p.4 ‘The Royal Academy’, East Anglian Daily Times, 4 May 1908, p.4 ‘The Royal Academy’, Eastern Daily Press, 5 May 1908, p.6 ‘The Royal Academy’, Forres, Elgin and Nairn Gazette, 6 May 1908, p.3 ‘A Sermon in Paint’, Sheffield Daily Telegraph, 6 May 1908, p.8 ‘The Royal Academy – Specially Written Notice’, Folkestone Express, 6 May 1908, p.7 ‘Royal Academy Exhibition – Second Notice’, Northern Whig, 7 May 1908, p.3 ‘The Royal Academy Exhibition – Second Notice’, The Scotsman, 8 May 1908, p.9 ‘The Royal Academy’, The Tablet, 9 May 1908, p.6 Folkestone Express, 9 May 1908, p.3 ‘The Royal Academy – I’, The Graphic, 9 May 1908, p.7 ‘Notes on News’, Lakes Chronicle and Reporter, 13 May 1908, p.2 ‘Royal Academy – Third Notice’, The Daily Telegraph, 30 June 1908, p.7

Not long before his death in December 1929, Henry Herbert La Thangue received a letter inquiring about his picture of A Ligurian Flower Girl (Fig 1), in Blackburn Art Gallery. He replied recalling it having been painted in ‘1907 or 1908 … in one of the villages along the [Italian Riviera] coast.’

The picture had been shown with “In a Ligurian Garden”, its companion piece, at the Royal Academy in 1908. Known only from a contemporary illustration, this latter work has long remained unlocated, and its appearance here is an important rediscovery.

Fig 1 Henry Herbert La Thangue, R.A. A Ligurian Flower Girl 1908 Oil on canvas 104cm by 88cm Blackburn Museum and Art Gallery

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Fig 2 Henry Herbert La Thangue In a Ligurian Garden 1908 the present picture

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Over twenty years had passed since they were painted and La Thangue remembered these canvases ‘with pleasure … for the girl was so exceptionally nice and posed well’ and the garden, ‘where the picture was painted is the one of a fine old house … [that] presented even in its ruined state a very beautiful appearance …1

Although not hung side-by-side in the exhibition, it was nevertheless obvious that the two paintings represented different views of the same pergola. It cut through an orange grove, the trees of which gave shade to a thick carpet of flowers, cultivated specifically for the nearby perfume factories at Eze and Grasse.2 La Thangue informed the Blackburn curator that such was his liking for the old house he returned a year or two later to discover that the family had moved, and sadly, their daughter had died. It is probable nevertheless that he produced two further works showing the little viale of what he described as ‘pilasters’ on one or other of these occasions (Fig 3). Indeed, so significant was the flower harvest that he chose one of these later works, Violets for Perfume, as his Diploma Picture when he became a Royal Academician in 1912 (Fig 4).3

Fig 3 Henry Herbert La Thangue, R.A. The Orange Grove c.1920 Oil on canvas 86.5cm by 97cm Private collection, courtesy of The Fine Art Society Ltd

Fig 4 Object ID: 03/811 Picture Library number: PL000507 Henry Herbert La Thangue, R.A. Violets for Perfume ca. 1913 Oil on canvas 109cm by 95cm Photo credit: ©Royal Academy of Arts, London; photographer: John Hammond

A former New English Art Club founder and firebrand, La Thangue acquired a following in his youth as a plein air Naturalist painter of rural subjects in a manner popularly associated with the much-admired French artist, Jules Bastien-Lepage. A decade later his impressive The Man with the Scythe 1896 was acquired from the Academy for the National Collection of British Art, which became the Tate Gallery. However, by the turn of the new century, La Thangue had begun to feel that he needed to look elsewhere for subject matter and, recalling a student trip to the south of France, he over-wintered in Provence in 1901-2. Thereafter, a pattern emerged that would result in the establishment of a studio at Bormes-les-Mimosas.

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Letter dated November 1929, to Thomas Howarth at Blackburn Art Gallery, quoted in Kenneth McConkey, A Painter’s Harvest, HH La Thangue, 1859-1929, 1978, (exhibition catalogue, Oldham Art Gallery), p. 44. This important document is one of the very few surviving pieces of evidence concerning the painter’s extensive explorations of Liguria.

The present work hung next to Charles Sims’s The Little Faun, 1908 (Royal Cornwall Museum, Truro).

McConkey, 1978, no. 31. La Thangue had been an Associate member of the Academy (ARA) since 1898.

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In the winter of 1903-4 La Thangue made his first foray into Italy and from that point until the outbreak of war, Ligurian pictures appeared in almost every Academy summer exhibition, sometimes representing hilltop villages and farms, with goatherds, lace-makers, fruit-sellers on narrow unexplored mountain roads known as sentieri.4 Even though tunnels were blasted through the hillsides bringing the railway from Ventimiglia through Genoa and on down to La Spézia, the areas around Porto Maurizio, (Riviera di Ponente) where La Thangue was based in 1907-8, remained untouched.

Considered ‘less picturesque’ by Baedeker, the particular charm of the peasant way of life in this region was left exclusively to La Thangue.5

While all four ‘pergola’ pictures convey the sense of nature’s abundance, the critical consensus favoured In a Ligurian Garden as his most significant recent work. For The Times and The Daily Telegraph, it was ‘radiant’ and ‘scintillates everywhere’, while The Sheffield Daily Telegraph concluded that ‘…never has Mr La Thangue given us a more beautiful picture of sunlight than this.’ Others were equally effusive – even in newspapers as far north as the Moray Firth, the painter was regarded as being at his best.6 As one critic had noted previously, he, with George Clausen’s help, was saving the Burlington House from ‘Sargentine despotism’.7

Looking back to the early winters on the Italian Riviera La Thangue now realized that he had discovered a lost domain.

The rose bower, so beloved by Rossetti and Burne-Jones existed for real. However, remembering the girl and the old house, he felt compelled to conclude that ‘… all of these regions have been spoilt by the war and still more perhaps by the peace …’.8 When his death was announced, the anonymous obituary writer of The Times referred to La Thangue’s characteristic manner of representing the peasants of Provence and Liguria, ‘in dappled light and shade, with direct and forcible brushwork and a strongly personal note in the colour schemes’.9 Clausen, the artist’s lifelong friend, pitched this bald encomium at a higher level. La Thangue was prompted, he declared, by ‘… some simple motive of rural occupation enhanced by a picturesque surrounding … [and containing] primarily the beauty of things in sunlight’.10 In this he could justly be compared with the masters he always admired – especially Vermeer and Velàzquez.

However, none of these graveside eulogies quite touches the profound sensuality of La Thangue’s evocations of the Ligurian garden sanctuaries. For the writer, Vernon Lee, arriving in Liguria during the painter’s student years, they belonged ‘to no time’ and ‘will always exist’. The ‘cool shadow … heavy with romance, of wine-saturated oak and crumbling plaster’ produced ‘a little stab of joy that this is Italy’.11 The fragrance of ripening fruit and blossoming flowers mingling with that of crumbling plaster is precisely what La Thangue uniquely has captured In a Ligurian Garden. This indeed is Italy.

Kenneth McConkey (2022)

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La Thangue’s first Ligurian canvases – A Ligurian Cradle (unlocated) and From a Ligurian Spring (Private Collection) – were exhibited in 1904 and, with the exception of 1910, were shown every year thereafter until the Great War. In a letter dated 21 March 1905, (Hyman Kreitman Archive, Tate Britain) to the sculptor, James Havard Thomas, George Clausen, then Professor of Painting at the Royal Academy, reports, ‘…La Thangue also writes me now and then – this winter they’ve been in Italy, near Genoa.

Karl Baedeker, Northern Italy, A Handbook for Travellers 1913 (Leipzig), p. 121. Baedeker notes that there was an Anglican church in the town.

‘The Royal Academy’, Forres, Elgin and Nairn Gazette, 6 May 1908, p. 3.

Anon, ‘The Royal Academy’, The Illustrated London News, 11 May 1907, p. 722.

As note 1.

‘Obituary – Mr La Thangue RA – A Painter of Rural Scenes’, The Times, 23 December 1929, p. 12.

George Clausen, ‘HH La Thangue RA’, in Memorial Exhibition of the Works by the Late Henry Herbert La Thangue RA, exhibition catalogue, Brighton Art Gallery, 1930, pp. 4-6.

Irene Cooper Willis ed., A Vernon Lee Anthology, 1929, (John Lane, The Bodley Head Ltd), pp. 9-10.

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George Clare (1830-1900) Still life of Apples, Plums, Grapes and Raspberries on a mossy bank Still life of Primroses, blossom and a bird’s nest on a mossy bank Each signed, oil on canvas, 14cm by 21.5cm (2) £300-500

Stuart Scott Somerville (1908-1983) Still life of assorted flowers in a glass vase Signed, oil on board, 29cm by 24cm

British School (20th century) “Anemones in a bowl” Initialled with original artist’s inscribed label verso, oil on canvas, 49.5cm by 59.5cm

1064

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Provenance: Christie’s London, British, Continental and Russian Pictures, 7th March 2007, Lot 1425 Mandell’s Gallery, Norfolk £250-400

An indistinctly inscribed artist’s label verso refers to a Mrs Georgina Audeceiol? £300-500

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1066 3 Henry Lamb RA (1883-1960) Study for “The Artist’s Family” Oil on canvas, 49.5cm by 39.5cm £3,000-5,000

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1067 Francois Brunery (1849-1926) Italian A Cardinal at his window Signed, oil on canvas, 44cm by 32cm £2,000-3,000

1068 W* Good October 1898, After JMW Turner RA (1775-1851) “Funeral of Sir Thomas Lawrence PRA, a sketch from memory, originally executed on January 21st 1830” Oil on canvas, 56.5cm by 77.5cm Bears Christie’s stencil XC993 to reverse Provenance: By descent in the family of Sir Thomas Lawrence’s sister Anne, who married Rev. Richard Rouse Bloxam in 1790 £800-1,200

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1070

1069

1069

1070

1071

Robert Gemmell Hutchinson (1855-1936) Scottish An apple a day - young child seated in an interior eating an apple with a churn signed, oil on panel, 19cm by 13.5cm

Jan Jacobus Matthijs Damschröder (1825– 1905) Dutch Family group in a cottage interior Signed, oil on canvas, 63.5cm by 81.5cm £400-600

Follower of Andries Both (1608-1641) Dutch Tavern scene with music makers Oil on canvas, 25cm by 32cm £300-500

Provenance; Aitken. Dott & son, Edinburgh £400-600

1071 www.tennants.co.uk

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1072 Circle of Edward Pritchett (1828-1879) Interior of a cathedral Oil on panel, together with a companion depicting a Continental cathedral town square with figures, 22.5cm by 17cm (2) £250-400

1073 Louis Simon Cabaillot Lassalle (1808-1885) French “The Picnic” Signed, oil on panel, 17.5cm by 24cm Provenance: The Cooling Galleries, London £300-500

1074 Attributed to Alfred de Breanski Snr. (1852-1928) Approaching Storm Signed, oil on board, 16.5cm by 30cm £400-600

1073

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1076

1075

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1076

1077

William Kiddier (1859-1934) “The Pond” Signed and inscribed verso, with artist’s label verso, oil on canvas, 83cm by 95.5cm

William Kiddier (1859-1934) “Winter” Signed, signed and inscribed verso, with original artist’s label verso, oil on canvas, 83cm by 93.5cm £300-500

John Philemon Backhouse (1845-1908) New Zealand “Lake Taupo” “North Shore, Auckland” “Lake Rotokakahi, near Rotarua” “A Maori House” Inscribed with title verso and artist’s stamp, oil on board, 7.5cm by 12.5cm, unframed (4) £300-500

For comparable see “The Wood” in the collection of the Ferens Art Gallery, Hull £300-500

1077

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1078 3 Herbert Royle (1870-1958) “Evening on Ilkley Moor” Signed, signed and inscribed verso, oil on board, 29.5cm by 39cm £200-300

1079 3 Herbert Royle (1870-1958) Haymaking Signed, oil on canvas, 33.5cm by 44cm £1,200-1,800

1078

1079

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1080

1080

1081

Ernest Procter ARA (1885-1935) “Passing Snow Storm” Inscribed to artist’s label verso, oil on canvas, 176cm by 245cm (unframed)

Norman Garstin (1847-1926) Irish Rural landscape with village pond and church Oil on canvas, laid onto board, together with a further landscape by the same artist, 19.5cm by 31cm and 20.5cm by 32cm respectively (2)

Exhibited: Royal Academy, 1912, no.189

Provenance: Purchased 1996 at Olympia Art Fair, London £500-800

Provenance: By descent in the Artist’s family £2,500-4,000

1081 www.tennants.co.uk

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1083

Edmund John Niemann (1813-1876) Extensive view of the River Swale with Richmond Castle beyond Signed, oil on canvas, 70.5cm by 114.5cm £500-800

Edmund John Niemann (1813-1876) “Richmond, Yorks” Signed and inscribed, oil on canvas, 69.5cm by 117cm £500-800

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1084 William Mellor (1851-1931) Sheep grazing in a river valley Signed, oil on canvas, 82cm by 70cm £600-900

1085 James Peel (1811-1906) “Borrowdale” Signed, oil on canvas, 39cm by 65cm £500-700

1084

1085

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1086

Alfred de Breanski Snr. (1852-1928) “The Glyndwr Mountains, North Wales” Signed, oil on canvas, 60cm by 90cm Provenance: Polak Mandell’s Gallery, Jersey, September 1977 £5,000-8,000

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1087

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1089

Thomas Spinks (1847-1927) Fly Fishing Signed and dated 1883, oil on canvas, 69.5cm by 91cm £300-500

Edward Charles Williams (1807-1881) Anglers by a river before a distant mill Oil on panel, 44cm by 59cm £300-500

Benjamin Williams Leader RA (1831-1923) “On a Surrey Common” Signed and dated 1901, inscribed verso, oil on board, 20.5cm by 28cm

1088

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Provenance: T. Richardson & Co. Gallery, London £400-600

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1091

Benjamin Williams Leader RA (1831-1923) “An Autumn Morning” Signed, oil on canvas, 39.5cm by 60cm £400-600

Benjamin Williams Leader RA (1831-1923) Evening on the Severn Signed and dated 1904, oil on canvas, 49cm by 75cm £1,500-2,500

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1093

Attributed to Edward Williams (1782-1855) A wooded landscape with figures on a path by a pond, a village beyond Boy with a dog and donkeys in a wooded landscape before a cottage Oil on panel, 30.5cm by 39cm (2)

Henry Bright (1810-1873) Cattle watering beside Abbey ruins Signed, oil on canvas, 43cm by 69cm, with arched top corners £300-500

Provenance: Tennants Auctioneers, 7 April 2001, Lot 676 £800-1,200

1093

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Circle of Patrick Nasmyth (1787-1831) Scottish Pastoral landscape with cattle before a lake Oil on canvas, 44.5cm by 60cm £400-600

Matthijs Balen (1684-1766) Dutch River landscape with travellers and other figures Oil on panel, together with a companion, 22cm by 26.5cm (2) £800-1,200

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1097

Circle of Francesco Foschi (1710-1780) Italian Winter landscape with woodcutters Oil on canvas, 45cm by 71cm

Abraham Hulk Snr. (1813-1897) Fishing smacks in inclement weather Signed, oil on panel, 19cm by 29cm £700-1,000

A comparable example by Foschi can be found in the collection of the Bowes Museum, Barnard Castle £700-1,000

1097 www.tennants.co.uk

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1098 Gustav De Breanski (c.1856-1898) Shipping off a pier in squally waters with figures looking on Signed, oil on canvas, together with a companion, 60.5cm by 91cm (2) £1,200-1,800

1098

1099 Wilhelm Melbye (1824-1884) Danish “The Ligurian Coast” Signed, oil on canvas, 43.5cm by 67cm Indistinctly inscribed to old stretcher verso £500-800

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1100 Christian Blache (1838-1920) Danish Trading vessels of a coast Signed and dated (18)87, oil on canvas, 57cm by 94cm £300-500

1100

1101

1101 Hubert Thornley (fl.1859-1898) “Off Whitby” “A Fresh Breeze” Each signed, oil on canvas, 24cm by 39.5cm (2) £500-800

1102 3 Garnet Ruskin Wolseley ARWA (1884-1967) Extensive seascape with storm clouds Signed, oil on canvas, 40cm by 50cm Provenance: Shears Fine Art, Penzance £400-600

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Campbell Archibald Mellon (1875-1955) “Summer Skies, Docking” Signed, inscribed on stretcher verso, oil on canvas, 28.5cm by 43.5cm £400-600

Donald Wood (1889-1953) Boat building at Whitby Signed verso, oil on canvas, 39cm by 60cm £400-600

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1106

1105 William Banks Fortescue RBA RBSA (1850-1924) Portrait of a Newlyner (Dick Pollard) Oil on board, 29cm by 24cm Provenance: Shears Fine Art, Penzance £400-600

1106 Walter Langley (1852-1922) The Fisherman Oil on canvas, 38cm by 37cm Provenance: Shears Fine Art, Penzance £1,200-1,800

1107 Richard Ansdell RA (1815-1885) Portrait of James Aspinall, possibly on the sands at Lytham Oil on canvas, 42cm by 27cm Provenance: William MacDougall Duncan; Christie’s, London, Victorian Pictures, 12th June 2001 James Aspinall was a teacher and governor of the Blue Coat School for orphans in Liverpool – he encouraged the young Ansdell to take up painting. £800-1,200

1107 www.tennants.co.uk

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1108 3 Cowan Dobson RBA (1894-1980) Scottish Portrait of an elegant lady, bust length, wearing turquoise earrings Oil on canvas, 59cm by 49cm Provenance: Anonymous sale, Phillips, Edinburgh, 1995 £500-700

1109 Attributed to Frederick Goodall RA (1822-1904) The Widow of Nain Signed and dated 1869, oil on canvas, 54.5cm by 39.5cm £700-1,000

1110 Clement Burlison (1815-1899) Portrait of two girls wearing lace dresses, one holding a bouquet of flowers, one reclining on a sofa behind Signed and dated 1889, oil on canvas,160cm by 140cm £1,000-1,500

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1111 Attributed to William Powell Frith RA (1819-1909) Lady in a forest Signed, oil on canvas, 33cm dia (oval) £700-1,000

1112 William Powell Frith RA (1819-1909) Portrait of Jane Powell, the artist’s mother Oil on canvas, 74.5cm by 62cm Provenance: Christie’s South Kensington, Portraits and British Pictures, Thursday, November 12th, 1998, lot 106 £600-800

1113 Samuel Howell of Huddersfield (1807-1876) Portrait of Mrs R.R.Bloxam of Rugby, head and shoulders, seated in a red upholstered chair, wearing a black dress and a white bonnet tied with black ribbons Oil on canvas, 74cm by 61cm Provenance: By descent in the family of Sir Thomas Lawrence’s sister Anne, who married Rev. Richard Rouse Bloxam in 1790 £1,000-1,500 1111

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1114 Circle of Sir William Beechey RA (1753-1839) Portrait of a young lady, half length, standing in a wooded landscape, wearing a white empire style dress with red wrap and her hair in a chignon Oil on canvas, 75.5cm by 62.5cm £400-600

1115 Attributed to James Northcote RA (1746-1831) Portrait of Richard Leach, half length, wearing a white stock, black jacket and holding a document Indistinctly signed and dated 1814, oil on canvas, 74.5cm by 61.5cm The document which the sitter holds reads “List of Improvements which I have made in the Longparish Estate R Leech” Richard Leach also known as Leech lived at Longparish, Hampshire. The Gentleman’s Magazine of April 1834 records his death as Richard Leech, at Longparish House on the 13th March 1834 in his 80th year. It is understood that the sitter worked for the Longparish Estate, which belonged to the Hawker family.

Exhibited: Royal Albert Memorial Museum, Exeter, Loan Collection of Works by Early Devon Painters, 1932, no.154 Provenance: Sotheby’s Bond Street, 22nd May 1985 Literature: S.Gwynn, Memorials of an Eighteenth-Century Painter, James Northcote, 1898, p.283, no.558 £500-800

1116 Richard Evans (1784-1871) after Sir Thomas Lawrence PRA (1769-1830) Portrait of Sir Thomas Lawrence, half length, with the chain of office of the President of the Royal Academy With inscribed label to reverse “Sir Thomas Lawrence PRA/Painted by his pupil Evans/From the original by/himself/A Roby Bloxam 1878”, oil on canvas, 92.5cm by 72cm Provenance: By descent in the family of Sir Thomas Lawrence’s sister Anne, who married Rev. Richard Rouse Bloxam in 1790 Bears Christie’s stencil XC993 to reverse £3,000-5,000

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1117 Alexandre Mosses (1793-1837) Portrait of an elegant gentleman wearing a yellow waistcoat and a black neck tie Portrait of a lady, likely his wife, seated in a red upholstered chair and wearing a black silk dress One signed and dated 1826, oil on canvas, 75cm by 63cm (2) Provenance: Brancepeth Castle, County Durham; Franco Cosulich Gallery £500-700

1117

1118 Samuel Drummond ARA (1765-1844) Portrait of John Watson (1780-1814) Oil on board, together with a portrait of his wife, Mary Watson, 43.5cm by 35cm (2) £500-700

1118

1119 Circle of Robert Edge Pine (1730-1788) Portrait of a gentleman, half length, standing, hand in jacket pose, wearing a fine gold embroidered waistcoat with white cravat and a powdered wig Oil on canvas, 64.5cm by 61.5cm £600-900

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1120 Follower of Thomas Gainsborough RA, FRSA (1727-1788) “Portrait of the Duke of York and his sister” Inscribed to canvas verso “Painted by Gainsborough, portraits of the Duke of York and his sister, a cabinet specimen for a large picture for General Guise of the court of George 3”, oil on canvas, 32cm by 20cm Contained in an elaborate carved wood and gesso frame £300-500

1121 British School (18th century) Portrait of Elizabeth, eldest daughter of Sir John Dolben Bart, Wife to John Nicholls Raynsford Esq, half length, wearing pearl earrings and hair decoration and a white lace collar to her dress, in a feigned oval Inscribed, oil on canvas, 73.5cm by 61.5cm £600-900

1122 Circle of Mary Beale (1633-1699) Portrait of Katherine Lowther, Duchess of Bolton (by repute), head and shoulders, wearing a white dress and blue sash, in a feigned oval Oil on canvas, 74.5cm by 56cm £700-1,000 1120

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1123 Circle of Thomas Murray (1663-1735) Portrait of a young lady, half length, wearing an aquamarine silk dress with white chemise and gold decorated wrap, historically known as “Princess” Charlotte Oil on canvas, 57.5cm dia. (oval) Contained in a carved gilt frame.

Provenance: J A Howrie?, 20.9.(19)41 according to label to reverse Cyril Stone dealer, Hove, 1984 Private collection £800-1,200

1124 Follower of Sir Godfrey Kneller Bt. (1646-1723) Portrait of a young gentleman (possibly a Parliamentarian officer), half length, wearing an armoured breastplate and a powdered wig Oil on canvas, 72.5cm by 60cm £700-1,000

1125 Follower of Willem Wissing (1656-1687) Dutch Portrait of William III, half length, standing, wearing an armoured breast plate, lace cravat and a powdered wig, in a feigned oval Oil on canvas, 72cm by 60cm £600-900 1123

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1127

1126 Circle of William Dobson (1611-1646) Portrait of a gentleman with a white collar in a feigned oval, possibly George Herbert Oil on canvas, 71.5cm by 59cm Bears Christie’s stencil 171ES verso £1,000-1,500

1127 Circle of Paulus Moreelse (1571-1638) Dutch Portrait of a lady, seated in a chair wearing a white ruff and black silk attire, holding a Bible Indistinctly inscribed and dated 1614 ?, oil on panel, 75.5cm by 59.5cm Bears Christie’s stencils 337SK and 127JC to reverse Christie’s King Street on 27th February 1970 lot 20 for Gns 280 (£294) as “Cuyp” £600-900

1128 Attributed to Cavaliere Francesco Carlo Rusca (1693-1769) Italian/Swiss Study of an old man Inscribed and indistinctly dated 1737?, oil on canvas, 45.5cm by 34.5cm £700-1,000 1128

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1129 Follower of Alonso Sanchez Coello (1531-1588) Spanish Portrait of Eleanor of Austria (by repute), standing, full length, wearing an elaborate embroidered court dress, a white ruff, plumed hat and holding a handkerchief Oil on canvas, 75.5cm by 57.5cm Provenance: Christie’s, London, T.G Arthur Sale, 1914, Lot 145, 32 guineas Bears Christie’s stencil 1016CF £2,500-4,000

1129

1130 Manner of Campin (c.1375-1444) Flemish Lamentation of Christ Oil on panel, 30.5cm by 20cm £300-500

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Furthermore, 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 service 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. By completing registration on www.the-saleroom.com and providing your credit/bank card details and unless alternative arrangements are agreed with us, you; (a) authorise Tennants, if they so wish, to charge the credit/bank card given in part of full payment, including all fees, for items successfully purchased in the auction via www.the-saleroom.com; and (b) confirm that you are authorised to provide these credit/bank details to Tennants through www.the-saleroom.com and agree that Tennants are entitled to permit the shipping of the goods to the card holder and card holder address provided in fulfilment of the sale.

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 part of these conditions.

Telephone Bidding Requests for telephone bidding must be registered at least one hour prior to the close of the View Day. We will not accept requests on the Day of Sale. Telephone Lines are booked on a first-come, first-served basis and are subject to a minimum lot value of £500 for Fine Art Sales and £200 for all other sales.

Absentee Bidding Whilst reasonable endeavours will be made to execute absentee bidding up to the Day of Sale, Tennants will not be liable for any default or neglect in connection with this service. All such arrangements therefore are made entirely at the Prospective Buyer’s risk.

VAT Value added tax or any equivalent tax chargeable in the UK or elsewhere.

AML Due Diligence We conduct appropriate Due Diligence checks to comply with current Anti Money Laundering regulations for any buyer exceeding the threshold of £8,000. We reserve the right to withhold the purchased lots until such checks have been completed.

(i)

“Bears signature and/or dated and or inscription means that in our opinion the artist’s name and/or date and/or inscription” - have been added by another hand. (j) All references to signature, inscriptions and dates refer to the present state of the work. (k) Dimensions are given height before width and do not include the frame (l) Pictures are framed unless otherwise stated.

Droit de Suite/ Artists’ Resale Rights All items in this catalogue that are marked with “✔” are potentially qualifying items, and the royalty charge (set out below) will apply if the Hammer Price is more than the UK sterling equivalent of €1,000. The royalty charge will be added to purchase invoices, and must be paid before items can be cleared. All royalty charges are paid to either the Design and Artists Copyright Society (“DACS”) or the Artists’ Collecting Society (“ACS”) by the auctioneers, and no handling costs or additional fees with respect to these changes will be retained by the auctioneer.

From 14 February 2006 United Kingdom art market professionals (which includes auctioneers) are required to collect a royalty payment for all works of art that have been produced by living artists, and those who have died within the last 70 years. This payment is calculated on qualifying works of art which are sold for a Hammer Price more that the UK sterling equivalent of €1,000 (the UK sterling equivalent will fluctuate in line with prevailing exchange rates). It is the responsibility of the Buyer to acquaint themselves with the actual Euro to UK sterling exchange rate on the Day of Sale. The actual qualifying threshold will be calculated by the “Artist’s Resale Right Service Hub” based on the “European Central Bank” reference rate published at 2.15pm on the Day of Sale and can be found on www.dacs.org.uk The royalty charge for qualifying items which achieve a Hammer Price of more than the UK sterling equivalent of €1,000 is as follows: Up to €50,000 – 4% €50,000.01 to €200,000 – 3% €200,000.01 to €350,000 – 1% €350,000.01 to €500,000 – 0.5% Exceeding €500,000 – 0.25% For further information please visit www.dacs.org.uk or www.artistscollectingsociety.org. There is no VAT payable on this royalty charge.

Method of Payment Payment is accepted online via our website.

Card payments where the card holder is not present will only be accepted for transactions up to £500.

Payment can be made and purchases collected during the auction.

All accounts must be settled within 14 days of the sale. Accounts not paid within 14 days will automatically be subject to an interest charge of 5% above base rate from the day of sale.

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

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.

Despatch/Delivery Buyers may appoint their own shippers or use one of our preferred suppliers for all UK deliveries and international shipping. Their contact details are as follows:

Picture Descriptions The forename(s) (or asterisks where not known) and surname of the artist indicates, in our opinion, a work by the artist named.

The initials of the forename(s) and the surname of the artist indicates in our opinion a work of the period of the artist which may be wholly or in part his work.

The following terms apply in our determination of a picture description: (a) “Attributed to” - is in our opinion probably a work by the artist. (b) “Studio of” - is in our opinion a work from the studio of the artist which may or may not have been executed under his direction. (c) “Circle of” - is in our opinion a work of the period of the artist executed under his immediate influence. (d) “Follower of” - is in our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. (e) “Manner of” - is in our opinion a work in a style related to that of the artist, but of a later date. (f) “School accompanied by the name of a place or country and a date” - means that in our opinion the picture was executed at that time and in that location; e.g.

Flemish School, 17th century. (g) “After” - an artist is in our opinion a copy of any date after a work by that artist. (h) “Signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription” - are from the hand of the artist.

Bradleys Antique Packing Services Ltd 01325 281332 info@antiquepacking.co.uk Carrs Carriers Ltd 01423 297088 01913 077024 carrscarriersltd@gmail.com

Mailboxes Etc 0113 242 8715 info@mbeleedscity.co.uk

In-House Shipping For certain lots, we offer a packing and shipping service up to a total value of £5,000 (inclusive of buyer’s premium, VAT and any other associated charges). Prices start from £20 depending on the size and destination. Please note, we are unable to post items of a fragile nature.

Items are fully insured and can be tracked from dispatch to delivery.

To obtain a quote for packing and shipping, please email shipping@tennants-ltd.co.uk or call 01969 623780. You will need to have paid your invoice in full, including delivery, before items are dispatched.

For full Terms of Business please refer to www.tennants.co.uk

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2022 AUCTION DATES Wednesday 6 July Stamps, Postcards & Postal History Friday 8 July Antiques & Interiors Friday 15 July David Battie: A Study Collection Saturday 16 July Summer Sale Saturday 16 July British, European & Sporting Art Saturday 16 July Fine Jewellery, Watches & Silver Wednesday 6 July - Sunday 17 July Timed Auction The Designer Sale Friday 22 July Antiques & Interiors Wednesday 27 July Toys, Models, Sporting & Fishing Saturday 6 August Beswick & Border Fine Arts Saturday 6 August Antiques & Interiors Wednesday 10 August Coins & Banknotes Saturday 20 August Costume, Accessories & Textiles Saturday 20 August Antiques & Interiors Saturday 2 September Natural History & Taxidermy Saturday 2 September Fine Wine & Whisky Friday 9 September Antiques & Interiors Friday 16 September Country House (Part I) Saturday 16 September Country House (Part II) Saturday 16 September Jewellery, Watches & Silver

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Tennants Paintings 16th July 2022 cover.qxp_Layout 1 23/06/2022 12:22 Page 2

Tennants Paintings 16th July 2022 cover.qxp_Layout 1 23/06/2022 12:22 Page 1

BRITISH, EUROPEAN & SPORTING ART SATURDAY 16 JULY 2022

BRITISH, EUROPEAN & SPORTING ART SATURDAY 16 JULY 2022

The Auction Centre, Leyburn North Yorkshire DL8 5SG 01969 623780 enquiry@tennants-ltd.co.uk www.tennants.co.uk