BRITISH, EUROPEAN & SPORTING ART
SATURDAY 13 JULY 2024
ALSO SELLING TODAY:
SUMMER SALE
SATURDAY 13 JULY
9.30AM
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SATURDAY 13 JULY
9.30AM
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BRITISH, EUROPEAN & SPORTING ART
SATURDAY 13 JULY 2024 AT 9.30AM
AUCTION
The Auction Centre, Leyburn North Yorkshire DL8 5SG
VIEWING
Sunday 7 July 11.00am to 4.00pm
Monday 8 July 11.00am to 4.00pm
Tuesday 9 July 11.00am to 4.00pm
Wednesday 10 July 11.00am to 4.00pm
Thursday 11 July 11.00am to 4.00pm
Friday 12 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 enquiry@tennants-ltd.co.uk www.tennants.co.uk
FRONT & BACK COVER Lot 1054
TO INCLUDE
u From a Private Estate, North Yorkshire
YOUR SPECIALISTS
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Francesca Young Modern & Contemporary Art Specialist
Charlotte Conboy Consultant
Alice Milverton Picture Specialist
1000 ✓
Hamish Mackie (b.1973)
“Otter Fish Takeaway” (2013)
Signed, numbered edition of 25 and dated 2013, bronze, 12.5cm high
Literature: Hamish Mackie “Life in Bronze” 2016 Exhibition Catalogue, number 2
Sold together with a copy of the above exhibition catalogue, a copy of the original receipt dated 17 Oct. 2016, and a small collection of hand written notes and associated invitations for the sculptor’s exhibitions, etc
£1,000-1,500
1001 ✓
Raymond Harris Ching (b.1939)
“Mistle Thrush”
Signed and dated 1968, inscribed, pencil, 55.5cm by 40cm
Pencil study possibly for an illustration in the Book of British Birds, according to inscription on reverse
Provenance: The Tryon Gallery Ltd, London
£80-120
Dame Laura Knight RA, RWS, RE, RWA, PSWA (1877-1970)
Dame Laura Knight (née Johnson) studied at Nottingham School of Art under Wilson Foster and at the Royal Cambrian Society. She became a founder member of the Staithes Group, along with her husband Harold Knight, and were at the core of the artist’s colony on the North Yorkshire coast towards the end of the 19th century and the turn of the 20th century. The group were fascinated by the unchanged rhythms of daily fishing life particular to the area, embodied by the fisher folk, the sea and the surrounding landscape, that they captured in an impressionistic and atmospheric style inspired by French counterparts such as Monet and Renior. The new impressionistic approach and style of creating put emphasis on producing art “en plein air” and was a lively antithesis to the more formalised studio painting of the age.
The confident and unhesitating hand, which can be seen in the sketches presented here, represent an essence of immediacy which epitomises much of what the group sought to convey.
Dame Laura Knight went on to produce a large, diverse and important body of work both at Staithes and in her expansive career afterwards, which drew inspiration from the gypsy and travelling community, theatre, circus and ballet.
1002 ✓
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970)
Study of fisherfolk filling crates Pencil, 18.4cm by 14cm
Provenance: From the artist’s sketchbook
£150-250
1003 ✓
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970) On the Pier Pencil, 20.4cm by 14.5cm
Provenance: From the artist’s sketchbook
£200-300
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970) Study of fisherfolk Pencil, 22cm by 17cm
Provenance: From the artist’s sketchbook £200-300
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970) Fisherfolk filling baskets and beach combing Pencil, 21cm by 14.5cm
Provenance: From the artist’s sketchbook £250-400
1004 ✓
1005 ✓
1004
1005
1006
William Lee-Hankey RWS, RI, ROI, RE (1869-1952)
Fisher women and children on the quayside
Signed and dated 1904, watercolour, 22cm by 19.5cm
£180-250
1007
Frank (Frederick) William Scarborough (1860-1939)
“Off Shadwell, London”
Signed and inscribed, watercolour heightened with white, 24cm by 33.5cm
Exhibited: Southgate Gallery, Winter Exhibition, 1977, No.26
£250-400
1008
Frank (Frederick) William Scarborough (1860-1939)
“A Fishing Haven, Coast of Fife”
Signed and inscribed, watercolour heightened with white, 23.5cm by 33cm
£250-400
1008
1007
1006
Frank (Frederick) William Scarborough (1860-1939)
“The Lower Pool, London”
“The Upper Pool, London”
Each signed and inscribed, watercolour heightened with white, 23.5cm by 34cm (2)
£300-500
1010
Frank (Frederick) William Scarborough (1860-1939)
“Lower Pool, London”
Signed and inscribed, watercolour heightened with white, 34.5cm by 52cm
£600-800
1011
Ernest Dade (1864-1934)
Tall-masted ship and paddle steamer leaving harbour
Signed and dated (18)91, watercolour, 58cm by 46cm
Provenance: Phillips and Sons, Cookham
£250-400
1009
1011
1010
1012
Frances Campbell Boileau Cadell (1883-1937) Scottish Self-portrait on Iona Signed, pencil and watercolour, 16cm by 24cm
Provenance: Sotheby’s Gleneagles, 31 August 2005, lot 1078 Private Collection, UK
£7,000-9,000
1012
1013 ✓
Sir William Russell Flint RA, ROI (1880-1969)
“Arran from Prestwick”
Signed, watercolour, 32.5cm by 48cm
Provenance: W B Simspon, Glasgow
Sotheby’s Gleneagles, 31 August 2005, lot 917
Private Collection, UK
£1,200-1,800
1014 ✓
Charles Frederick Tunnicliffe RA, RE, ARCA (1901-1979) “Barn Owl”
Signed, pencil and watercolour, 51.5cm by 34.5cm
Provenance: Rowland Ward Limited, London
Exhibited: Royal Academy 1952, by repute
£2,000-3,000
1013
1014
1015
Archibald Thorburn FZS (1860-1935)
“Chinese Ring-Necked Pheasant feeding”
Signed, watercolour heightened with white, 17cm by 21.5cm
Provenance: The Moorland Gallery, London
Anonymous Sotheby’s sale, 29 January 2003, lot 232
Private Collection, UK
£1,000-1,500
1017 ✓
Roland Green (1896-1972)
Grouse in flight over heather moorland
Signed, watercolour heightened with white, 28.5cm by 43cm
£180-250
1016 ✓
George Edward Lodge (1860-1954)
Ptarmigan in Summer plumage on a rocky outcrop
Signed, gouache, 28.5cm by 43cm
£600-900
1018 ✓
Tom Carr (1912-1977)
“Morpeth”
Signed, inscribed and dated 1972, watercolour heightened with white, 37cm by 54.5cm
£200-300
1017 1016
1015
1019 ✓
Sir Alfred Munnings KCVO, PRA, RI (1878-1959)
“In the woods near Noyon 1918 attack. Our retreat” Signed, extensively inscribed, watercolour, 21.5cm by 26cm
Provenance: Property of the executors of Mr H L Bradfer-Lawrence, deceased (according to a label to reverse)
Sotheby’s Olympia, 27 November 2022, lot 34 Private Collection, UK
£3,000-5,000
1019
1020
John Lamont Brodie (c.1824/1827-1898)
Young girl and child at rest in a landscape
Signed and dated 1858, mixed media, 74.5cm by 62cm
£250-400
1021
Harold Sutton Palmer RA, RI (1854-1933)
Richmond Castle
Signed, watercolour, 34.5cm by 52cm
£250-400
1022
Attributed to Francis Nicholson RWS (1753-1844)
Angler beside a river, view of Abbey ruins beyond Watercolour with scratching 19.5cm by 28.5cm
Provenance: Arthur Hare Collection according to label to reverse £150-250
1020
1022
1021
1023
Thomas Rowlandson (1756-1827)
“Dr Syntax at a hunt dinner”
Mixed media, 14.5cm by 23.5cm
£400-600
1024
Paul Sandby RA (1725-1809)
“A Classical Landscape”
Signed and dated 1782, mixed media, 28cm by 36cm
Provenance: J R Cookson, Kendal
£400-600
1025
Hermann Frederick Carel Tenkate (1822-1891) Dutch
“The Card Players”
“Billeted”
Signed, watercolour, 16.5cm by 24.5cm (2)
£300-500
1025
1024
1023
1026 u
William Mellor (1851-1931)
Changing Pastures
Signed, oil on canvas, 63.5cm by 92cm
£1,000-1,500
1027
William Mellor (1851-1931)
“On the Llugyy, North Wales”
Signed, inscribed verso, oil on canvas, 48cm by 73.5cm
£500-800
1028
William Mellor (1851-1931)
“Stock Ghyll Force, Ambleside, Westmorland”
Signed, inscribed verso, oil on canvas, 74cm by 48.5cm
£500-800
1026
1028
1027
1033
Attributed to George Morland (1763-1804)
Stealing Apples
Signed, oil on canvas, 39.5cm by 50.5cm
£400-600
1034
Thomas Sidney Cooper RA (1803-1902)
“Near East Grinstead”
Signed, inscribed and dated (18)34, oil on canvas, 34cm by 44.5cm
£250-400
1035
Joseph Barnes ARCam.A (1835-1915)
Chores
Monogrammed and dated (18)67, 45cm by 65.5cm
£700-1,000
1035
1034
1033
1036
Edmund John Neimann (1813-1876)
Richmond, Yorkshire
Signed, oil on canvas, 74cm by 125.5cm
Provenance: The Parker Gallery, London
£400-600
1037
Attributed to Frits Thaulow (1847-1906) Norwegian Nocturne with cottages and river
Initialled, oil on board, 47.5cm by 65.5cm
With Christie’s stencil NS70 verso
£500-800
1038 u
Thomas Creswick RA (1811-1869)
Rustic family at rest beside a stream in an extensive landscape
Signed, oil on canvas, 69cm by 89.5cm
Provenance: Mandell’s Gallery, London
£1,000-1,500
1039
David Payne (1843-1894)
Travellers in a mountainous landscape
Signed, oil on canvas, 41cm by 61.5cm
£300-500
1039
1038
1037
1036
1040
Alfred de Breanski Snr. RBA (1852-1928)
“The Head of Loch Lomond”
Signed, signed and inscribed verso, oil on canvas, 24cm by 36.5cm
£1,500-2,500
1041
James Baker Pyne (1800-1870) “Grasmere”
Signed, inscribed “Number 262”, and dated 1849, oil on canvas, 74cm by 109.5cm
Provenance: Thomas Agnew and Sons, Manchester The British Galleries, London
£3,000-5,000
1042 u
James Hardy Jnr. (1832-1897)
“In Charge”
Signed and dated (18)86, oil on panel, 16.5cm by 24.5cm
Provenance: T Richardson & Co., London
Mandell’s Gallery, Norwich
£300-500
1043 u
Wright Barker RBA (1864-1941)
The Lookouts
Signed and dated 1898, oil on canvas, 91.5cm by 130cm
£2,000-3,000
1044 u
George Armfield (1808-1893)
Fox and rabbits in vegetation
Oil on canvas, 21.5cm by 25cm
Provenance: Mandell’s Gallery, Norwich
£300-500
1044
1043
1042
William Miller Frazer RSA (1864-1961)
William Miller Frazer succeeded in becoming the longest consecutive exhibitor at the Royal Scottish Academy and produced an impressive body of work, which was highly popular throughout his lifetime. His deft impressionistic touch and atmospheric effects embodied in his paintings remain relevant and appealing to today’s viewer and represent a significant part of Scottish and English landscape art in the early to mid-20th century.
Born in Scone, Scotland, Miller Frazer was first educated at Sharp’s Institute, then the Perth Academy. By 1883 he moved to Edinburgh to study at the Board of Manufacturers School, then at the Royal Scottish Academy Life School a few years later.
Miller Frazer travelled throughout the Continent and also studied in Paris, as well as visiting Italy, Algeria, Norway and Holland, but made a base in Edinburgh throughout his career.
In 1908 he became President of the Society of Scottish Artists and Associate Member of The Royal Scottish Academy in 1909. Forging connections with various Scottish artistic contemporaries, he is also known to have had strong links with the East Linton School, who based themselves, and found inspiration along the Scottish coast. The group was generally regarded as the “Scottish Barbizon School” due to their affinity with, and atmospheric representation of, the surrounding landscape.
1045 ✓
William Miller Frazer RSA (1864-1961)
Bringing the cows home
Signed and dated 1952?, with fragments of an indistinctly inscribed label verso, oil on canvas, 60.5cm by 86cm
£300-500
1046 ✓
William Miller Frazer RSA (1864-1961)
“The Falls of Dochart, Killin”
Signed and dated 1919, oil on canvas, 48.5cm by 60cm
Provenance: Bourne Fine Art, Edinburgh
£300-500
1047 ✓
William Miller Frazer RSA (1864-1961)
Sheep and rustic figure at rest in a summer landscape
Signed, oil on canvas, 44cm by 54.5cm
Provenance: Malcolm Innes Gallery, London and Edinburgh
£250-400
1047
1046
1045
1048 ✓
William Miller Frazer RSA (1864-1961)
On the River Tyne
Signed, oil on canvas, 69cm by 89.5cm
Provenance: Anthony Woodd Gallery, Edinburgh
£500-800
1049 ✓
William Miller Frazer RSA (1864-1961)
“May Morning in Lincolnshire”
Signed, inscribed to upper stretcher verso, oil on canvas, 44cm by 59cm
£300-500
1050 ✓
William Miller Frazer RSA (1864-1961)
Coastal jetty, possibly Iona
Signed and dated 1932, oil on canvas board, 23.5cm by 33.5cm
£250-400
1051
Bertram Priestman RA, ROI, NEAC, IS (18681951)
“Near Kettlewell, Wharfedale”
Signed, inscribed and dated 1925 to stretcher verso, oil on canvas, 39cm by 59.5cm
£800-1,200
1052
Bertram Priestman RA, ROI, NEAC, IS (18681951)
“Kilnsey Cragg”
Signed and dated (19)17, oil on canvas, 61cm by 73.5cm
Provenance: Tennants Auctioneers, Spring Catalogue Sale, 15 March 2013, lot 867
£1,500-2,500
1053 ✓
Hugh Monahan (1914-1970) Canadian “Pintails Flushed”
Signed and dated 1950, inscribed to upper stretcher verso, oil on canvas, 39cm by 49.5cm
Provenance: Rowland Ward Ltd, London
£300-500
Sir Alfred Munnings KCVO, PRA, RI (1878-1959)
Munnings grew up in the rural Waveney Valley in Suffolk and his childhood was spent sketching the working horses around his parent’s mill. At 14 he left school to do an apprenticeship, whilst taking evening classes at Norwich School of Art. In 1899 he exhibited two paintings in the Royal Academy despite having recently lost the sight in one eye in an accident.
In 1911 he moved to Lamorna, Cornwall and painted with the likes of Laura Knight and Stanhope Forbes in the Newlyn School of Artists. Unable to enlist due to his slight loss, he took up a desk job upon the outbreak of the war processing Canadian cavalry horses on their way to France, before later moving to a cavalry depot on the Western Front where he also served as a war artist for the Canadian Cavalry Brigade.
After the War and a successful London exhibition, Munnings was kept frantically busy working for the likes of the Rothschilds, the Astors and the Dukes of Marlborough and Westminster. In 1944 he was elected President of the Royal Academy and received a Knighthood. Sir Alfred Munnings is rightly celebrated as one of the leading 20th century British artists.
1054 ✓
Sir Alfred Munnings KCVO, PRA, RI (1878-1959)
“Lord Astor on shooting stick with horses”
Signed (twice), indistinctly inscribed verso, oil on board, 30cm by 50cm
This work is a preparatory sketch for “A Summer Evening at Cliveden, Waldorf Astor, Second Viscount Astor (1879-1952), Seated” circa 1910, which is held in the Clivedon Estate, Buckinghamshire (NT766107)
The painting depicts Lord Astor seated on a stick with his trainer, Mr William Guy. The horses depicted in the work are named and include (mare and foal left to right) Light Sentence and Probation, Flash Point and On Fire, Quick Rise and Niblick, Point Duty and Road Patrol,Instantaneous and Hasty Shot.
Exhibited: “British Council Fine Arts Committee”
Provenance: Sotheby’s, Important British Pictures, 1 July 2004, lot 26
Private Collection, UK
£80,000-100,000
1054
1055 ✓ Peter Biegel (1913-1987)
“Worm’s Eye View”
Signed, inscribed and dated 1967, inscribed and dated to upper stretcher verso, oil on canvas, 44cm by 59.5cm
Provenance: The Tryon Gallery Ltd, London
£2,000-3,000
1055
1056
George Wright (1860-1942)
Horse-mounted huntsman with hounds in an open landscape
Signed, oil on canvas, 34cm by 59.5cm
Provenance: The Wild Goose Gallery, Knottingley, Wakefield
£1,000-1,500
1057
George Wright (1860-1942)
Huntsman and hounds moving on Signed, oil on canvas, 38.5cm by 59.5cm
£1,000-1,500
1058
George Goodwin Kilburne RI, ROI (1839-1924) Setting out Taking a fence
Signed and dated (18)96, oil on panel, 26.5cm by 37cm (2)
Provenance: The Boydell Gallery, Liverpool
£1,000-1,500
1057
1056
1058
Heywood Hardy ARWS, RPE (1842-1933)
Born in Chichester, Sussex, Heywood Hardy was the youngest of ten children to his artist father James Hardy Senior (1801-1879). Several of the siblings and other family members were also artists including; his elder brothers James Hardy Jnr, David Hardy, sister Ada and his cousins Frederick Daniel Hardy and George Hardy. The family hailed from Horsforth in Yorkshire.
Heywood Hardy first exhibited at the Royal Academy in 1864 and studied at the École des Beaux Arts in Paris. He returned to England by 1869 and moved to St. John's Wood in London in 1870, which had been a thriving artist's hub or "clique" from c.1864 and included the likes of Philip Hermogenes Calderon, George Dunlop Leslie, Henry Stacy Marks, George Adolphus Storey, David Wilkie Wynfield, John Evan Hodgson and William Frederick Yeames.
Heywood Hardy became a popular and well-respected equestrian artist and secured various prestigious commissions, including painting a wedding present for Lady Ida Sitwell and Sir George Sitwell.
As a founder member of the Royal Society of Portrait Painters and the Royal Society of Painters & Etchers, in addition to being a member of the Royal Institute of Oil Painters and an Associate of the Royal Watercolour Society, Heywood Hardy is a significant artist whose pleasing equestrian and wellcomposed genre images continue to merit attention.
1059 u
Heywood Hardy ARWS, RPE (1842-1933) Huntsman, hounds, and members of the field before a castle Signed, oil on canvas, 69.5cm by 90cm £8,000-12,000
1059
1060 u
Heywood Hardy ARWS, RPE (1842-1933)
Horse-mounted figures and others at a country house doorway Signed, oil on canvas, 59.5cm by 89.5cm
Provenance: H & P De Casseres, Harrogate
£10,000-15,000
1060
1062
Wright Barker RBA (1864-1941)
“Alba-Longa”
Signed and dated (18)91, oil on canvas, 45cm by 60cm
Provenance: Thomas Agnew & Sons, Manchester
£500-700
1061 u
Henry Frederick Lucas Lucas (1848-1943)
“The double gates at Persers Hill near Coliesbrooke, cleared by Lady Dalmeny on Jorrocks”
Signed, extensively inscribed and dated 1919, oil on canvas board, 21cm by 16.5cm
£300-500
1063
Henry Frederick Lucas Lucas (1849-1943)
‘’Perch’’
Signed, inscribed and dated 1923, signed inscribed and dated October 1923 verso, oil on canvas, 26.5cm by 35cm
£1,000-1,500
1066
John Frederick Herring Jnr. (1815-1907)
A farmyard with horses feeding from a hay trough
Signed and dated 1850, oil on canvas, 42cm dia. (tondo)
Provenance: John Noott Fine Paintings & Works of Art, Broadway £1,000-1,500
1064
Abraham Cooper (1787-1868)
“A Mule (the property of Lord Holland) and an Ass” Initialled, oil on panel, together with a copy of the print by John Scott after Abraham Cooper, 27.5cm by 34.5cm and 14cm by 19.5cm respectively (2)
£400-600
1065
Amos Watmough (Exh.1884-85)
Two heavy horses and a dog at an open doorway Signed and dated (18)85, oil on canvas, 49cm by 59cm
£400-600
1066
1064
1065
Signed and dated 1907, oil on canvas, 59.5cm by 85cm
£6,000-9,000
1067 u Heywood Hardy ARWS, RPE (1842-1933) At the watering trough
1067
1068
Heywood Hardy ARWS, RPE (1842-1933) “The Gallant Stranger”
Signed and dated 1880, with fragments of an original inscribed label verso, oil on canvas, 71cm by 98.5cm
Exhibited: Royal Academy, 1880, number 1081
£4,000-6,000
1068
1069
Edgar Hunt (1876-1953)
Chickens and a rabbit in a stable
Signed and dated 1922, oil on canvas, 19cm by 26.5cm
£1,200-1,800
1070 u
Margaret H Collyer (1872-1945)
Anticipation
Signed and dated 1907, oil on canvas, 68.5cm by 88.5cm
£2,000-3,000
1070
1069
1071
Jules Leonard (1827-1897) Belgian Mourning portrait of Grandmother
Signed and dated (18)69, oil on canvas, 98.5cm by 147.5cm
£600-900
1072
Continental School (19th Century) A lady mending lace at a bedside
Signed F Antonello? and dated 1864, oil on canvas, 76.5cm by 98.5cm
£400-600
1073
David Hardy (fl.1855-1870)
A Berkshire Cottage
Signed, oil on panel, 24.5cm by 18.5cm
£150-250
1073
1072
1071
1074
Jozef Geinaert (1791-1859) Belgian The Birdcage Oil on panel, 29cm by 23.5cm `
Provenance: Charles Nicholls & Son, Manchester M. Newman Ltd, London
£250-400
1075
Jacobus Ludovicus Cornet (1815-1882)
Dutch
Family group in a rustic interior
Signed and dated 1853, 32cm by 40.5cm
Provenance: M Newman Ltd, London
£300-500
1076
Marc Louis Benjamin Vautier the Elder (1829-1898) Swiss/German “The Music Lesson”
Signed and dated (18)58, oil on canvas, 30cm by 24.5cm
Provenance: The Willow Gallery, Surrey
£600-900
1075
1074 1076
1077 u
Robert W Wright (fl.1870-1906)
The violin player’s little assistant
Learning to sew
Signed and dated 1885, oil on panel, 18.5cm by 23.5cm (2)
£500-700
1078 u
Robert W Wright (fl.1870-1906)
A cottage interior with Grandfather and Granddaughter seated at a table
Reading with Grandmother
Signed and dated 1892, oil on panel, 29.5cm by 24.5cm (2)
£800-1,200
1077
1078
1079
Walter Gay (1856-1937) American “Le Confident”
Signed and dated 1882?, oil on canvas, 52.5cm by 42.5cm
£500-800
1080
Paul Seignac (1826-1904) French “Here Kitty”
Signed, oil on canvas, 34cm by 25.5cm
Provenance: The Willow Gallery, Surrey £600-900
1081
Karl Müller (1818-1893) German Christ at Emmaus Oil on canvas, laid down, 116.5cm by 153.5cm
Provenance: Bequest of Miss Nina Lea, The Pennsylvania Academy of Fine Arts, Philadelphia, USA (according to affixed plaque) Sotheby’s Anonymous New York Sale by repute Christie’s Sale 7841, 13 February 1996, lot 1 according to labels to reverse Private Collection, UK
£1,200-1,800
1082
After Quentyn Massys (1466-1530), Flemish, possibly 17th century
The Moneychanger and his Wife (1514)
Oil on panel, 14cm by 14.5cm
Provenance: Leonard Koester Ltd, London
Exhibited: Leonard Koester Ltd “Autumn Exhibition” 1965, No. 17
£1,200-1,800
1083
Manner of Jacob van Walscapelle (1644-1727) Dutch
An abundant still life with silver plate and spoon, a cut lemon, oysters, wild strawberries, a vine and grapes, pink Roses, cherries, and glassware, with butterflies and insects
Oil on panel, 40cm by 33cm
£1,200-1,800
1082
1084
James Miller (mid-19th Century) American “Still life”
Signed, inscribed and dated 1849 verso, oil on board, 44cm by 53.5cm
£800-1,200
1086
Edward Ladell (1821-1866) Still life of mixed fruit and wine glass Oil on canvas, 42cm by 34.5cm
Provenance: MacConnal-Mason Gallery, London
£2,000-3,000
1085 ✓ John E. Nicholls (1885-1955) “Roses”
Signed and dated (19)49, oil on board, 49cm by 59cm
Provenance: E. Stacy-Marks Ltd, Eastbourne
£400-600
1086
1087
Manner of George Gower (1540-1596)
Portrait of a noblewoman, three-quarter length standing, wearing a black dress, decorated sleeves, large white cuffs, a fine lace ruff, a long string of pearls and a jewel-decorated cap
Bears date 1588, oil on panel, 89cm by 70.5cm
£2,000-3,000
1088
Follower of Cornelis Janssens van Ceulen (1593-1661)
Portrait of a lady, three-quarter length standing at a table, wearing a decorated white cap, a large white ruff and black dress, her hand resting on a leather-bound book
Inscribed, bears signature D Finsonius and date 1647, oil on canvas, 117cm by 87cm
£700-1,000
1089
Follower of Jan van Lievens (1607-1674) Dutch
Portrait of a man, head and shoulders, wearing an armoured breastplate and a fur-trimmed hat
Oil on panel, 15.5cm by 11.5cm
£250-400
1088
1090
Follower of Paulus Moreelse (c.1637) Dutch
Portrait of a lady, half length, wearing a fine dress with an open lace collar, trimmed with red ribbons and a pearl necklace, before a background of brocaded fabric Oil on canvas, 76.5cm by 61.5cm
£700-1,000
1091 u
Manner of Nicolas de Largillière (1656-1746)
French
Portrait of an elegant lady, half length, wearing a dress decorated with gold thread, a red satin wrap, and her hair decorated with flowers Oil on canvas, 61cm dia. (oval)
£700-1,000
1092 u
Follower of Sir Godfrey Kneller (1646-1723)
Portrait of a lady, three-quarter length seated, wearing a burnt orange dress with white chemise, and holding a sprig of flowers in her lap
Portrait of a lady, three-quarter length seated, with her attendant servant Oil on canvas, 32cm dia. (oval) (2)
£1,500-2,000
1092
1093
1093
Follower of Thomas Hudson (1701-1779)
Portrait of an elegant lady, half-length, wearing a white satin dress trimmed with lace at the décolletage and a royal blue satin overcoat trimmed with white fur, in a feigned oval Oil on canvas, 75.5cm by 62cm
The sitter is a “Lady of Blyth Hall”, by repute. The spurious historic reference to Thomas Gainsborough as shown on the frame has been supported by Hugh Belsey, who has seen images of the painting. We are grateful to Hugh Belsey for his assistance in cataloguing this lot
£400-600
1094
Attributed to Robert Edge Pine (1730-1788)
Portrait of a lady, said to be Lady Lambton, three-quarter length standing, wearing a fine silk dress decorated with gold thread and detailing, with a blue shawl, and leaning on a pillar Oil on canvas, 124.5cm by 99.5cm
£1,000-1,500
1095
Follower of William Hogarth (1967-1764)
Portrait of Carlisle Spedding Esquire, of Whitehaven, head and shoulders With inscribed label verso identifying the sitter, oil on canvas, 74cm by 61.5cm
Carlisle Spedding (1685-1755) was principal Colliery Steward for the Lowther family from c.1730-1755, based at Whitehaven, West Cumberland
£300-500
1096
Follower of Jonathan Richardson (1665-1745)
Portrait of a gentleman, head and shoulders, wearing a powdered wig Oil on canvas, 71.5cm by 59.5cm
Provenance: Wentworth Castle Collection, by repute
According to a label affixed to the reverse “This picture was authenticated by Professor Sir Albert Richardson K.C.V.O, former President of the Royal Academy, on Sunday 20th April 1958” (and ascribed to Jonathan Richardson). Sir Albert Richardson also suggested that the sitter is possibly Joseph Addison (1672-1719), the writer and politician.
£500-800
1097
Adolphe Piot (1831-1910) French Le Papillon Bleu
Signed, oil on canvas board, 56.5cm by 44cm
£1,000-1,500
1097
1096
1098
British School (19th Century)
Portrait of a gentleman, three-quarter length standing, wearing a black cape, a view of a landscape beyond
Portrait of a lady, three-quarter length standing, wearing a white lace bonnet and a shawl with paisley pattern edging
Oil on canvas, 88.5cm by 69cm and 89.5cm by 69.5cm respectively (2)
£1,000-1,500
1098
Philip Alexius de László PRBA (1869-1937) Hungarian/British
Portrait of a gentleman in Naval attire, head and shoulders
Signed and dated 1926, oil on canvas, 65.5cm by 47.5cm
£3,000-5,000
1099
1099
1100
Sarah Sophia Beale (1838-1920) The Aesthete
Signed and dated 1887, oil on canvas board, 39cm by 26cm
£200-400
1101 ✓
John Young Hunter RSA 1874-1955) Scottish
Portrait of an auburn-haired girl, head and shoulders, wearing a gold locket
Signed and dated 1906, oil on canvas, 30cm by 22.5cm
£400-600
1100
1102
George Romney (1734-1802)
Caesar Hawkins, head study
Oil on canvas, 36cm by 32.5cm
Provenance: Commissioned from the artist
Thence by descent to Mrs Georgina Yorke, grand-daughter of Mrs Hawkins
Thence by descent
Private Collection
Born in Beckside near Dalton-in Furness, George Romney was apprenticed to Christopher Steele of Kendal, York and Lancaster 1755-57. He became active in the town 1757-62 and settled in London in 1762. In 1773 Romney travelled to Italy, studying chiefly in Rome, but some time was also spent in Parma and Venice. With a return to London, Romney took the house of Francis Cotes and became a fashionable portrait painter who could count amongst his contemporaries Thomas Gainsborough and Sir Joshua Reynolds, the first President of the Royal Academy.
At his studio in Cavendish Square, London in the summer of 1776, George Romney began a large family portrait of “Mrs Hawkins and her Children” which now forms part of a private collection (see entry 625 Alex Kidson, “George Romney”, Yale University Press, p291). As a result of Romney’s immaculate record keeping, it is known that Mrs Hawkins and her son Caesar each had three sittings during June – August and that the latter did not sit again. However, Mrs Hawkins returned to the studio a further 19 times (two appointments were cancelled) and her daughter, Louisa Anne was introduced to the composition making a sitting for the artist on 21 January 1778. What this tells us is that the final masterpiece took a long period to reach conclusion, and that there were significant amendments and changes made. The present work was likely therefore to be a preparatory sketch made between 27 June and 1 July 1776, and the turned head pose did not end up in the finished work.
There is another potential and plausible reason for the existence of the present work however, based on an account provided by a certain Mrs Georgiana Yorke, who was the grand-daughter of Mrs Hawkins. She relayed that originally the painting commissioned from Romney was to include the two children and that it was actually the addition of Mrs Hawkins which was the re-working of the original idea. This does not necessarily correspond to the order of appointments and sittings which were taken with the artist, but does introduce the possibility that the present work might be a fragment from the discarded work to incorporate the mother of the siblings.
According to Mrs Yorke “it was cut out of the picture [Romney] began of my aunt and of my uncle (i.e. the two Hawkins children in the group portrait); but my grandfather was persuaded to have his wife’s portrait also added to that of the children. Romney then cut out the sketch of my uncle from the first canvas and gave it to my grandmother, saying that he thought it was one of the best turned heads he had ever done”.
Certainly, the brilliance of brushwork evidenced in this charming study perfectly embodies the innocence and youth of the sitter and represents much of what made George Romney one of the leading portrait painters of his day.
Related Literature:
Kidson, Alex “George Romney”, Yale University Press (2015), no.625 &625a, p. 291 & 292
Waterhouse, Ellis “British 18th Century Painters in oils and crayons”, Antique Collectors Club (1981)
£20,000-30,000
1103
Walter G Schroder (fl.1885-1932)
“Reflections”
Monogrammed, signed, inscribed with title and artist’s address verso, oil on canvas, 112.5cm by 150.5cm
£1,500-2,500
1104
Jan Jacob Spohler (1811-1866) Dutch
Figures loading a horse drawn box sleigh on a frozen river
Signed, oil on panel, 41.5cm by 44.5cm
Provenance: Richard Green, London
Private Collection, North Yorkshire
£2,500-4,000
1105
Jacob Silven (1851-1924) Swedish Nocturne scene with fisherman
Signed and dated 1889, inscribed artist’s name to frame on reverse, oil on canvas, 78cm by 119cm
£1,500-2,500
1106
Attributed to Magnus Hjalmar Munsterhjelm (1840-1905) Finnish Nocturne landscape
Initialled, with indistinct pencil signature/inscription to reverse of frame, oil on canvas, 30cm by 53cm
£300-500
1107 ✓
William Miller Frazer RSA (1864-1961)
Coming into port
Signed, oil on paper, 10.5cm by 14.5cm
£250-400
1105
1107
1106
1108
Hermanus Koekkoek Snr. (1815-1882) Dutch
Provisioning a tall ship at anchor
Signed, oil on canvas, 35cm by 57cm
Provenance: MacConnal-Mason & Son Ltd, London
£3,000-5,000
1108
Antonietta Brandeis (1848-1926) Italian “Rio di San Agostino, Venice”
Flower sellers on the Spanish Steps, Rome
Each signed, oil on board and oil on canvas respectively, 23cm by 14cm and 23.5cm by 14cm respectively (2)
Provenance: Maconnal-Mason & Son Ltd, London
Rowles Fine Art, Powys
£5,000-8,000
1109
1109
Circle of Frederick Goodall RA (1822-1904) Mother and child in a landscape Oil on panel, 125.5cm by 90cm
With Christie’s stencil 255E and 970A to reverse
Provenance: Thomas Agnew and Sons, London
£1,200-1,800
1110
1110
The Toy Boat - fisherman’s wife with children on a sand dune Signed, oil on canvas, 97.5cm by 137.5cm
Christie’s stencil 970A and another indistinct stencil to reverse £5,000-8,000
1111
David Adolf Constant Artz (1837-1890) Dutch
1111
SWINTON SALE
The selected contents of Dykes Hill House, Masham, North Yorkshire, belonging to the 2nd Earl and Countess of Swinton and the Trustees of the Lord Swinton Will Trust
FRIDAY 13 SEPTEMBER 2024
Johannes Lingelbach (1622-1674) Dutch Dutch peasants loading a hay cart with others resting and two children fishing Indistinctly signed lower right, oil on canvas laid onto panel, 42.5cm by 48cm
Provenance:
Purchased in 1889 by Samuel Cunliffe-Lister, later 1st Lord Masham for £346 (according to Christie’s catalogue 1975)
Offered for sale by the Trustees of The Swinton Settled Estates, Christie’s, London, 28 November 1975, lot 57 (where unsold)
Thence by descent
£5,000-8,000
For further information please contact:
01969 623780 enquiry@tennants-ltd.co.uk
MODERN & CONTEMPORARY ART
SATURDAY 5 OCTOBER 2024
Brian Shields "Bráaq" FBA (1951-1997) "Fish and Chips"
Signed "Bráaq" and inscribed "Ann", oil on panel, 34.5cm by 49.5cm £8,000-12,000
For further information please contact:
Francesca Young 01969 623780 francesca.young@tennants-ltd.co.uk
Valuations for Insurance, Probate and Family Division
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Picture Descriptions
The forename(s) (or asterisks where not known) and surname of the artist indicates, in our opinion, a work by the artist named.
The initials of the forename(s) and the surname of the artist indicates in our opinion a work of the period of the artist which may be wholly or in part his work.
The following terms apply in our determination of a picture description:
(a) “Attributed to” - is in our opinion probably a work by the artist.
(b) “Studio of” - is in our opinion a work from the studio of the artist which may or may not have been executed under his direction.
(c) “Circle of” - is in our opinion a work of the period of the artist executed under his immediate influence.
(d) “Follower of” - is in our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil.
(e) “Manner of” - is in our opinion a work in a style related to that of the artist, but of a later date.
(f) “School accompanied by the name of a place or country and a date” - means that in our opinion the picture was executed at that time and in that location; e.g. Flemish School, 17th century.
(g) “After” - an artist is in our opinion a copy of any date after a work by that artist.
(h) “Signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription” - are from the hand of the artist.
(i) “Bears signature and/or dated and or inscription means that in our opinion the artist’s name and/or date and/or inscription” - have been added by another hand.
(j) All references to signature, inscriptions and dates refer to the present state of the work.
(k) Dimensions are given height before width and do not include the frame
(l) Pictures are framed unless otherwise stated.
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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%
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NEXT BRITISH, EUROPEAN & SPORTING ART SALE
SATURDAY 16 NOVEMBER 2024
2024 AUCTION DATES
Friday 5 July
Antiques & Interiors
Including Affordable Modern & Contemporary Art
Saturday 13 July
Fine Jewellery, Watches & Silver
Summer Sale
British, European & Sporting Art
Summer Transport
Friday 19 July
Antiques & Interiors
Wednesday 24 July
Toys & Models, Sporting & Fishing
Friday 2 August
Antiques & Interiors
Wednesday 7 August
Natural History & Taxidermy
Friday 9 August
Coins & Banknotes
Friday 16 August
Antiques & Interiors
Fashion, Costume & Textiles
Friday 23 August
Books, Maps & Manuscripts
Friday 30 August
Antiques & Interiors
The Auction Centre, Leyburn North Yorkshire DL8 5SG 01969 623780
enquiry@tennants-ltd.co.uk www.tennants.co.uk