Modern & Contemporary Art

SATURDAY 5 OCTOBER 2024

ALSO SELLING TODAY:

20TH CENTURY DESIGN

SATURDAY 5 OCTOBER 2024 9.30AM

MODERN & CONTEMPORARY ART

SATURDAY 5 OCTOBER 2024 AT 9.30AM

AUCTION

The Auction Centre, Leyburn Nor th Yorkshire DL8 5SG

VIEWING

Thursday 3 October 10.00am to 4.00pm Friday 4 October 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 enquir y@tennants-ltd.co.uk www.tennants.co.uk

FRONT COVER Lot 582

BACK COVER Lot 572

MODERN & CONTEMPORARY ART DEPARTMENT

In line with rising interest with this area of visual culture, Tennants offer a wide range of examples by ar tists and movements from the 20th centur y through to the present day.

Yorkshire Pictures and Northern Art

Tennants is the leading auction house in the Nor th of England representing and promoting high calibre and varied examples from this genre of ar tists. The impor tance of our local consigners and collectors, as well as those works sourced and sold from fur ther afield, is testament to the notable reputation held by the Depar tment.

The Picture Depar tment is proud to have successfully represented many impor tant living ar tists and ar tists’ estates from the Nor th, including Norman Cornish, Peter Brook, John Ridgewell, Marie Walker Last, Karl Torok and Sally Arnup, to name but a few, and we continue to build new and lasting relationships with numerous living ar tists and estates.

YOUR SPECIALISTS

Francesca Young Modern & Contemporary Art Specialist

Charlotte Conboy Consultant

Jane Tennant Director

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 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 discipliners, making it one of the UK’s busiest salerooms.

500

500 ✓

After Laurence Stephen Lowry RBA, RA (1887-1976)

“Crime Lake”

Signed, with the blindstamp for the Fine Ar t Trade Guild, a colour reproduction, 48cm by 61.5cm (unframed)

£2,000-3,000

501 ✓

After Laurence Stephen Lowry RBA, RA (1887-1976)

“The Pond”

Signed, with the blindstamp for the Fine Ar t Trade Guild, a colour reproduction, 46cm by 59.5cm (unframed)

£1,500-2,500

502 ✓

After Laurence Stephen Lowry RBA, RA (1887-1976)

“An Industrial Town”

Signed and numbered 69/500, a colour reproduction, 46.5cm by 62cm

£700-1,000

503 ✓

After Laurence Stephen Lowry RBA, RA (1887-1976)

“Station Approach”

Signed, with the blindstamp for the Fine Ar t Trade Guild, a colour reproduction, 43cm by 52cm (unframed)

£1,200-1,800

504 ✓

After Laurence Stephen Lowry RBA, RA (1887-1976)

“View of a Town”

Signed, with the blindstamp for the Fine Ar t Trade Guild, a colour reproduction, 46cm by 56cm

£1,200-1,800

505 ✓

After Laurence Stephen Lowry RBA, RA (1887-1976)

“The Fever Van”

Signed, with the blindstamp for the Fine Ar t Trade Guild, a colour reproduction, 44cm by 52.5cm

£1,500-2,500

506 ✓

After Laurence Stephen Lowry RBA, RA (1887-1976)

“Industrial Scene”

Signed, with the blindstamp for the Fine Ar t Trade Guild, a colour reproduction, 37.5cm by 26.5cm (unframed)

£1,200-1,800

507 ✓

After Laurence Stephen Lowry RBA, RA (1887-1976)

“The Reference Library”

Signed, with blindstamp for the Fine Ar t Trade Guild, a black and white reproduction, 26cm by 35cm

£800-1,200

507

506

508

508 ✓

After Laurence Stephen Lowry RBA, RA (1887-1976)

“Great Ancoats Street”

Signed and numbered 767/850, with the Henr y Donn blindstamp, a black and white reproduction, 28.5cm by 38.5cm (unglazed)

£800-1,200

509 ✓

After Laurence Stephen Lowry RBA, RA (1887-1976)

“The Football Match”

Signed and numbered 536/850, with the Henr y Donn blindstamp, a black and white reproduction, 26cm by 36cm

£2,000-3,000

510 ✓

After Laurence Stephen Lowry

RBA, RA (1887-1976)

“People Standing About”

Signed, a black and white reproduction, 33.5cm by 31cm

£700-1,000

511 ✓

After Laurence Stephen Lowry

RBA, RA (1887-1976)

“The Meeting Point”

Signed, with the blindstamp for the Fine Ar t Trade Guild, a colour reproduction, 49cm by 71cm

Provenance: William Dodds, Darlington

£1,000-1,500

512 ✓

After Laurence Stephen Lowry

RBA, RA (1887-1976)

“The Contraption”

Signed, with the blindstamp for the Fine Ar t Trade Guild, a colour reproduction, 34cm by 31cm

£1,000-1,500

513 ✓

After Laurence Stephen Lowry RBA, RA (1887-1976)

“Two Brothers”

Signed, with the blindstamp for the Fine Ar t Trade Guild, a colour reproduction, 63cm by 31.5cm (unframed)

£2,000-3,000 513

514 ✓ After Laurence Stephen Lowry RBA, RA (1887-1976)

“Berwick-on-Tweed”

Signed, with the blindstamp for the Fine Ar t Trade Guild, a colour reproduction, 55.5cm by 43.5cm

£4,000-6,000 514

515

Frederick Gordon Crosby (1885-1943)

French fighter planes during World War II

Signed and dated 1941, watercolour, 52cm by 74cm

£400-600

517 ✓

Fred Cecil Jones (1891-1956)

“York”

Signed and dated 1951 twice, pencil and watercolour, 33.5cm by 21.5cm

£600-800

516 ✓

Fred Cecil Jones (1891-1956)

Landscape with figures working in the fields

Signed and dated 1933, watercolour, 7.5cm by 14.5cm (unglazed)

£150-250

Norman Stansfield Cornish MBE (1919-2014)

Born in 1919 in Oxford Street, Spennymoor, Norman Cornish began working in the mines in 1933. Not long after he was accepted as a member of the Spennymoor Settlement, at just age 15. It was here that he met the author Sid Chaplin and later fellow mining ar tist Tom McGuinness. The resident warden of the Settlement Bill Farrell encouraged Cornish to “paint the life he knew”.

Cornish’s paintings offer an insight into ever yday life in his home town of Spennymoor and the mines, capturing scenes of places and an industr y that no longer remain. The characters he painted are real people he knew and those who belonged to the mining heritage locally. There was a time when Sid Chaplin expressed concerns over Norman’s unvar ying subject matter stating, “I’ve often been irritated by his seeming lack of enterprise, his lack of interest in anything but Spennymoor”. However, this unerring dedication to his subject reveals and provides an intimate rendition of the industrial and social histor y of the Nor th East.

518 ✓

Norman Stansfield Cornish MBE (1919-2014)

Street scene with horse and cart

Signed, mixed media, 20cm by 27.5cm

£2,000-3,000

519 ✓

Norman Stansfield Cornish MBE (1919-2014)

“Little Snow Scene” Signed, oil board, 14cm by 20.5cm

Provenance: The Stone Galler y, Newcastle-upon-Tyne

£800-1,200

518 519

520

520 ✓

Norman Stansfield Cornish MBE (1919-2014)

“Snow Balling”

Signed, oil on board, 16.5cm by 24.5cm

Provenance: The Stone Galler y, Newcastle-upon-Tyne

£4,000-6,000

521 ✓ Norman Stansfield Cornish MBE (1919-2014)

The artist’s wife Sarah drying their son John Signed, oil on board, 49cm by 30cm

£3,000-5,000

522 ✓

Norman Stansfield Cornish MBE (1919-2014)

“Boy on Stool”, probably the artist’s son John Signed, flomaster pen, 28cm by 20cm

£1,200-1,800

523 ✓

Norman Stansfield Cornish MBE (1919-2014)

Man at a bar

Signed, flomaster pen, 29.5cm by 20cm

£600-800

522

524

David Wilders (Contemporary) “River of Industry”

Signed and dated 2013, inscribed and numbered 5/10, reduction linocut, 24.5cm by 17cm

£100-150

525

David Wilders (Contemporary) “Winning Coal - All in a Shift” (2024)

Signed and inscribed verso, series of eighteen linocuts, 9.5cm by 8.5cm (framed as one)

David Wilders created this series depicting the day in the life of a miner drawn from his own personal experience.

£250-400

524

526

David Wilders (Contemporary)

“Headgear II”

Signed and dated 2015, inscribed and numbered 10/10, linocut and watercolour, 32cm by 19cm £120-180

527

David Wilders (Contemporary)

“Collier”

Signed, dated 2024 verso, mixed media, 44.5cm by 37.5cm £200-300

526

528 ✓ Geoffrey Woolsey Birks (1929-1993)

Going to work

Signed and dated (19)77, pencil, 25.5cm by 33cm

£250-400

529 ✓

Geoffrey Woolsey Birks (1929-1993)

“Changing Shifts”

Signed, oil on board, 43cm by 51.5cm

£800-1,200

530 ✓

Brian Shields “Braaq” (1951-1997)

“Everton Terrace”

Signed and inscribed “Ann”, oil on board, 39cm by 49.5cm

£5,000-7,000

531 ✓

Brian Shields “Bráaq” FBA (1951-1997)

“Fish and Chips” Signed and inscribed “Ann”, oil on panel, 34.5cm by 49.5cm £8,000-12,000

531

532

Attributed to Graham Bell (1910-1943)

“The Custom House, Dublin”

Inscribed verso, oil on canvas, 50cm by 39.5cm

£400-600

533 ✓

Anne Isabella Brooke (1916-2002)

“Semerwater”

Signed, oil on canvas, 41cm by 51cm (unframed)

£400-600

532

534 ✓ Anne Isabella Brooke (1916-2002)

“Castle Bolton, Wensleydale”

Signed, oil on canvas, 34.5cm by 54.5cm

£4,000-6,000

534

Kurt Schwitters (1887-1948) German

One of the most influential European avant-garde ar tists of the twentieth centur y. Associated with Dada, De Stijl and Constructivism, Kur t Schwitters produced a wide plethora of work including paintings, collages, sound pieces, found object sculptures and installation works, along with journalism, criticism, poetr y and shor t stories, resulting in an incredibly diverse oeuvre.

Forced to flee Germany in 1937, Schwitters was interned as an enemy alien in 1940 on the Isle of Man. After being held with over 1000 other prisoners for over 15 months, Schwitters was finally released in December 1941, upon which he travelled to London where he met Edith “Wantee” Thomas when they both had rooms in the same lodging house. At the conclusion of WWII, the couple then went together to live in the Lake District, where Schwitters lived and worked until the end of his life.

571

Henri Gaudier-Brzeska (1891-1915)

“Kitty Smith” or “Kate in the Hall”

Pen and ink, 15cm by 9.5cm

Henri Gaudier-Brzeska was born in France, and as a teenager moved to the South West of England to study English business methods, staying with the Smith family in Bristol. Having moved to Cardiff in 1908, on a return visit to the Smiths the following year he drew Kitty in her new best dress and presented her with the resulting picture “Kitty Smith” or “Kate in the Hall”

In a letter from Roger Cole to the vendor, he noted how Kitty kept the drawing (and a photo of the ar tist) as a memento of their time together for the rest of her life. Though he moved to Cardiff in 1908, Kitty always maintained that the picture was done on his final visit to the family in 1909. On which occasion, Kitty wore her best dress especially for their visitor

£2,000-3,000

In 1910 Gaudier-Brzeska set out to become an ar tist in London without any formal training. He travelled to England with Sophie Brzeska, a Polish writer he had met when he was eighteen and she was twice his age; he would later take her surname, but the pair never married. In London, he fell in with the Vor ticist movement, led by Ezra Pound and Percy Wyndham Lewis, and was also influenced by Jacob Epstein to move away from the highly finished classical style of sculpture to a more ear thy, direct form of working that left visible the fingerprint of the ar tist and his tools. Formative to his work, too, was Cubism, and the non-European visual culture he studied at the Victoria and Alber t Museum and the British Museum.

Ideologically, Gaudier-Brzeska was fascinated by the natural world and felt alienated from urban culture, although he never strayed from city life. The tension between his desire to represent nature and the driving force of modernity and city life - electricity - as espoused by Vor ticism, is reflected in “Torpedo Fish”. Inspired by an electric ray, which can produce their own electrical discharge, “Torpedo Fish” or “Ornament torpille bronze cisele” was originally made in 1914 as a cut brass sculpture, as listed in Gaudier-Brzeska’s List of Works that he compiled before leaving to fight in the First World War. He also lists a plaster model of the sculpture. The cut brass version was sold to T.E. Hulme, one of the theorists of Vor ticism, and was one of a number of small sculptures he made to amuse close friends and associates that he referred to as ‘toys’.

After Gaudier-Brzeska’s died in the First World War, his estate passed to Sophie Brzeska, much of which in turn was purchased by Harold Stanley ‘Jim’ Ede in the 1920s after Sophie, too, died. Jim Ede was an ar t collector, champion of Modern Ar t and friend of a great many avant-garde ar tists, whose home and collections now form the museum Kettle’s Yard in Cambridge.

Between 1960 and 1962 Ede commissioned Michael Gillespie, an ar tist and master bronze caster, to make two casts of “Torpedo Fish”. The present example was purchased from Ede by Roger Cole in 1962, the other was kept by Ede. In 1968, he commissioned a fur ther nine bronze casts from Gillespie, each numbered on the lower edge. Again, Ede kept two, and the rest were sold to dealers and galleries, and one of which is now held in the Tate.

572

Henri Gaudier-Brzeska (1891-1915)

“Torpedo Fish” (1914) cast between 1960-1962

Bronze on a marble base, one of two casts by Michael Gillespie before the 1968 edition of nine, 19.5cm high (including base)

Provenance: H.S. Ede, Cambridge Roger Cole, Cambridge Sold to a Private Collector

Purchased back by Roger Cole in 2018

Purchased by the present vendor from Roger Cole in 2019

Literature: Roger Cole, “Burning to Speak: The Life and Art of Henri Gaudier Brzeska”, Phaidon, Oxford, 1978, cat. no.63B, illustrated p.117 (another cast); Evelyn Silber, “Gaudier-Brzeska: Life and Art”, London, Thames & Hudson, 1996, cat. no.80, p.270 (another cast)

£18,000-25,000

Henry Moore OM, CH, RBA, RBS (1898-1986)

Henr y Moore is perhaps the most celebrated sculptor of the 20th centur y, and his monumental semi-abstract sculptures had a profound effect on the course of British Ar t. Achieving global recognition in his lifetime, Moore’s distinctive brand of modernism caused a British sculptural Renaissance.

Moore was born in Castleford, a small mining town in West Yorkshire, in 1898. After initially training as a teacher, he ser ved in the Army during the First World War. However, after being injured he was awarded a rehabilitation grant that afforded him the oppor tunity to study at Leeds School of Ar t before going on to the Royal College of Ar t in London

Whilst studying in London, Moore became absorbed with so called ‘Primitive Ar t’ in the British Museum. Shying away from the Classical ideal, which was all-per vasive in Western Ar t, he instead drew inspiration from the imager y of the ancient world, and from African and Oceanic cultures which idolised the female/maternal figure.

Moore began sculpting simple, power ful forms redolent of ancient objects, with a distinct focus on female figures and family groups. Close study of the natural world led Moore to create his abstracted figures, at once both alien and familiar, using organic shapes taken from a line of hills, a massive rock formation, or a sea-smoothed pebble on a beach. The abstraction of organic forms developed in parallel in the work of Barbara Hepwor th, whom Moore had known since their days at Leeds School of Ar t.

Having come under the influence of Pablo Picasso and Georges Braque in the 1930s, his work had taken on a darker edge with a greater degree of abstraction and more distor ted forms. This was exacerbated by the outbreak of the Second World War, during which Moore became an official war ar tist. Moving away from his characteristic maternal images, he created a power ful series of drawings of huddled figures in underground shelters, before returning to his hometown of Castleford to visit the collier y in which his father had worked to depict miners toiling at the coal face. These works were filled with a pathos and pain,

After the war, Moore became ver y focused on Helmet Heads and Heads. During the 1950’s he explored many variations on this subject (see lot 573).

573 ✓

Henry Moore OM, CH, RBA, RBS (1898-1986)

“Head” (1957/58)

Signed, black crayon, 39cm by 30cm

Provenance: Given to Mer vyn Levy by the ar tist following the publication of his book “Drawing and Sculpture” in 1970 according to inscription verso Clark Ar t, Cheshire

£7,000-10,000 573

574

Christopher Wood (1901-1930)

In his shor t life, Christopher Wood became held in high regard amongst ar tistic circles in both London and Paris, being now remembered as a youthful genius.

Born near Liverpool, he began drawing whilst recovering from septicaemia aged 14. After studying architecture and medicine for just a year at university, he moved to London in 1920. Here he met an ar t collector, who invited him to Paris, where he studied drawing at the Académie Julien

Wood was drawn effor tlessly into the fashionable ar tistic circles, where he met Augustus John and the diplomat Antonio de Gandarillas, whom he moved in with and was suppor ted by. De Gandarillas also introduced him to the likes of Pablo Picasso, Jean Cocteau and George Auric, along with opium. Following the last-minute cancellation of a commission for designs for the Ballets Russe, Wood moved back to London, becoming first a member of the exhibiting collectives the London Group, and then the Seven and Five Society.

Formatively, he exhibited with Ben and Winifred Nicholson in 1927, with whom he would become close friends. Wood accompanied the Nicholsons on painting trips to Cumberland and Cornwall, and in St. Ives discovered Alfred Wallis, whose ‘primitive’ expressionism helped him develop his own style.

In 1929 he was given a solo show at Ar thur Tooth & Sons, and a rather less successful joint exhibition with Ben Nicholson in Paris. Having had a painting expedition to Brittany, the resulting paintings were due to be exhibited at Wer theim Galler y in London. However, Wood was struck by a train whilst travelling back from meeting his mother, thought to be suicide brought on by psychosis, despite being repor ted as an accident at the time. Posthumously, his work was widely exhibited.

Christopher Wood (1901-1930)

“Footbridge on the Seine”

Signed and dated 1924, pen and ink, 19.5cm by 30cm

Provenance: The Redfern Galler y, London, Purchaser R. Gathorne-Hardy

Esq., Januar y 1945

The Estate of Mrs Markova Noel

Loaned to Sheffield Museums Trust

£6,000-9,000

575

Christopher Wood (1901-1930)

“Two Nudes”

Pen and ink, 18cm by 30.5cm

Provenance: From the collection of the ar tist’s sister, Elizabeth Dalziel Smith.

Leva Galler y, London

The Estate of Mrs Markova Noel

Loaned to Sheffield Museums Trust

£1,500-2,000

Alfred Wallis (1855-1942)

Alfred Wallis, a retired mariner and self-taught ar tist, is much celebrated for his naïve paintings that reflect his direct experience of the sea and fishing communities in Cornwall.

“Houses, Trees and Ships” was given by Dame Barbara Hepwor th to fellow St. Ives ar tist Peter Lanyon and his wife Sheila for their wedding in 1946. Mrs Markova Noel, from whose estate it is now being sold, purchased “Houses, Trees and Ships” from Sheila Lanyon in the 1970s, before loaning it to Sheffield Museums Trust.

Alfred Wallis spent his childhood in Devon and Cornwall and worked as an apprentice basket maker before becoming a mariner in the merchant ser vice in the early 1870s, sailing schooners between Penzance and Newfoundland. Following his marriage to Susan in 1876, when he was 20 and she was 41, he found work deep sea fishing off Newfoundland before switching to local fishing and labouring in Penzance. In 1890 the family moved to St. Ives, where Wallis became a dealer in marine reclamation and supplies.

When his wife died in 1922, Wallis took up painting ‘for company’, never seeking any form of ar tistic training. Using a limited palette of marine paint and any scraps of cardboard, packing box or wood he could get hold of, he developed his own unique style, depicting what he knew best –por t landscapes and shipping. His instinctive, naïve approach saw formal perspective abandoned, and scale was often based on an object’s impor tance in a scene. Ever ything he drew came from his memories, largely from his formative years before sail gave way to steam. Indeed, he is recorded as saying he painted “What use To Bee out of my memory what we may never see again”

The present painting is dominated by Wallis’s distinctive, idiosyncratic trees, which are per fectly described by Edwin Mullins in Alfred Wallis, Cornish Primitive Painter, Unicorn Press Ltd., 2014: “Nothing in Wallis is more child-like than the trees he painted. In contrast to his ships, he never tried to describe his trees accurately – perhaps because there was no rigging for the old sailor in him to bother about. He just set his trees down on the ground like great black skittles sprouting hundreds of little stiff arms. What did impress him about trees was how their dark massiveness could belittle the houses and people beneath; also how a forest can become a secret and magic garden full of birds, animals and flowers.”

Painting solely for his own enjoyment, he was discovered in 1928 by founding members of the St. Ives School, Ben Nicholson (first husband of Barbara Hepwor th) and Christopher Wood. Wallis’s direct approach to image making had a profound impact on Nicholson and his work, and Nicholson later said of Wallis, “Using the materials nearest to hand is the motive and method of the first creative artist. Certainly, his vision is a remarkable thing with an intensity and depth of experience which makes it much more than merely child-like”

Harold Stanley ‘Jim’ Ede, an ar t collector, champion of Modern Ar t and friend of a great many avant-garde ar tists, was introduced to Wallis through Nicholson and Wood, and promoted his work in London. Whilst Wallis’s work became celebrated amongst a circle of progressive ar tists in the 1930s, he never saw commercial success in his lifetime, remained living in pover ty, and would spend the last year of his life in the workhouse in Madron, whilst his work hung in London

Wallis left and extraordinar y ar tistic legacy, and the influence his work had on the direction of British ar t in the 20th centur y cannot be understated. Nicholson summed up Wallis’s work when he stated it was “Something that has grown out of the Cornish seas and earth, and which will endure”.

576

Alfred Wallis (1855-1942)

“Houses, Trees and Ships”

Signed, inscribed to the backboard, “To Sheila and Peter, from Barbara, April 1946, Peter Lanyon”, oil on dark grey paper, 23cm by 35cm

Provenance: Wedding present from Dame Barbara Hepwor th to Peter and Shelia Lanyon

As per 1976 letter between the vendor and Harr y Francis Constantine Director at Sheffield City Ar t Galler y.

Purchased from Shelia Lanyon by Mrs Markova Noel in the 1970’s.

Loaned to Sheffield Museums Trust

£15,000-20,000

576

577 ✓

John Egerton Christmas Piper CH (1903-1992)

“Trolouch I” (1962)

Signed, oil, pastel and pencil, 17.5cm by 22.5cm

Provenance: Wiseman Originals, London

£2,000-3,000

578 ✓

John Egerton Christmas Piper CH (1903-1992)

“Myfanway” (the artist’s wife, seated nude)

Signed and dated 20th XII (19)71, pen and ink, 54cm by 35cm

Provenance: Goldmark Ar t, Rutland

£300-500

577

579 ✓

John Northcote Nash CBE, RA (1893-1977)

“Nicotiana Sylvestris”

Initialled and extensively inscribed, pencil and watercolour, 29cm by 21.5cm

Provenance: Likely Bonhams, Leeds circa 2000

£300-500

580 ✓

William Crozier (1930-2011) Irish

Landscape

Signed and dated 1992, watercolour, 27.5cm by 37cm

£1,000-1,500

581 ✓ Markey Robinson (1918-1999) Irish Figure before a croft Signed, oil on board, 19.5cm by 28cm

Provenance: Irish Ar t Group, Nor thern Ireland

£1,000-1,500

582 ✓

Bryan Pearce (1929-2007)

“Three Boats” Signed, inscribed verso and dated 1992, oil on board, 40cm by 50cm

Provenance: Belgrave, St Ives

£6,000-9,000

583

583 ✓

William Selby RWS (b.1933)

“An Immovable Object”

Signed, oil on board, 90cm by 59cm

Exhibited: Royal Academy Summer Exhibition, London, 1987, no. 1

£250-400

584 ✓

William Selby RWS (b.1933)

“Windbreaker”

Signed, oil on board, 90cm by 59cm

Exhibited: Royal Academy Summer Exhibition, London, 1987, no. 2

£300-500

A Collection of Works by Reginald James Lloyd (1926–2020) Lots 585-594

Although born in Hereford, Reginald James Lloyd is associated as a West Countr y ar tist. He moved to Dawlish in Devon with his family at two years old and his works demonstrate the inspiration he took from the local topography.

After Army ser vice, he attended par t-time classes at Exeter School of Ar t and was a member of the Royal Institute from 1992, having been awarded its bronze medal in 1989. Lloyd was accomplished in a diverse range of mediums, from painter and printmaker to sculptor and potter

His works demonstrate Neo-Romantic tendencies and draw inspiration from ancient sites and rituals such as Silbur y, Stonehenge, Avebur y and Maiden Castle.

He also exhibited in many shows, including at Bur ton Ar t Galler y, Waterside Ar t Galler y, Instow, Harlequin Galler y and The Long Cur ve Galler y, Chipping Campden

His commissions included a painted rood for the Church of the Assumption, Walkern, (1954); a 70-foot mural for Salesian College, Battersea, (1965), and an iron lectern for St Boniface’s Church, Adler Street.

He also illustrated books by the poet Ted Hughes, including “What is Truth?”, (1984), and “The Mermaid’s Purse”, 1993.

Examples of Lloyd’s works are housed in National Maritime Museum, Bur ton Ar t Galler y and Museum and Forde House.

The vendor ’s father was great friend and suppor ter of Lloyd.

585 ✓

Reginald James Lloyd (1926-2020)

“Two Figures, Silbury Hill” Signed and dated (19)62, oil on board, 49cm by 75cm

Provenance: Directly from the ar tist Thence by descent

Exhibited: Hereford City Museum and Ar t Galler y, “RJ Loyd Retrospective Exhibition”, no.125

£200-300

585

586 ✓

Reginald James Lloyd (1926-2020)

“Abandoned apple crusher”

Signed, inscribed and dated 1971, oil on board, 89cm by 120cm

Provenance: Directly from the ar tist Thence by descent

Exhibited: Hereford City Museum and Ar t Galler y, “RJ Loyd Retrospective Exhibition”, no.148

£200-300

587 ✓

Reginald James Lloyd (1926-2020)

“Standing Stone, Wistman’s Wood”

Signed and dated 1974, oil on board, 75cm by 49cm

Provenance: Directly from the ar tist

Thence by descent

Exhibited: Hereford City Museum and Ar t Galler y, “RJ Loyd Retrospective Exhibition”, no.133

£200-300

588 ✓

Reginald James Lloyd (1926-2020)

“Budleigh Salterton beach”

Signed and dated 1976, inscribed verso, oil on board, 74cm by 105cm

Provenance: Directly from the ar tist

Thence by descent

£250-400

589 ✓

Reginald James Lloyd (1926-2020)

“Rock Basin, Kes Tor”

Signed and dated 1976, inscribed verso, oil on board, 75cm by 105cm

Provenance: Directly from the ar tist

Thence by descent

Exhibited: Hereford City Museum and Ar t Galler y, “RJ Loyd Retrospective Exhibition”, no.152

£250-400

590 ✓

Reginald James Lloyd (1926-2020)

“The Blue Pool”

Signed and dated 1982, oil on board, 50cm by 73cm

Provenance: Directly from the ar tist

Thence by descent

Exhibited: Hereford City Museum and Ar t Galler y, “RJ Loyd

Retrospective Exhibition”, no.118

£300-500

591 ✓

Reginald James Lloyd (1926-2020) “Men An Tol”

Signed, inscribed and dated 1982, oil on board, 46cm by 56cm

Provenance: Directly from the ar tist

Thence by descent

Exhibited: Hereford City Museum and Ar t Galler y, “RJ Loyd

Retrospective Exhibition”, no.123

£200-300

590

592 ✓

Reginald James Lloyd (1926-2020)

“She Opened the Door of the West to Me”

Signed, inscribed and dated (19)78, amber glazed ear thenware plate, together with two fur ther plates by the same hand, “She Did Not Turn” and “Midsummer”, 39cm (dia) and 29.5cm respectively (dia) (3)

Reginald James Lloyd (1926-2020)

“Midsummer”

Signed and dated 1984, ear thenware jar, together with a fur ther jar, a jug and an amber glazed ear thenware relief, 15cm high, 12.5cm high and 16cm high respectively (4)

Provenance: Directly from the ar tist

Thence by descent

£100-200

594 ✓

Reginald James Lloyd (1926-2020)

Canal at moonlight

Signed and dated 1990, oil on board, 88cm by 48cm

Provenance: Directly from the ar tist

Thence by descent

£200-300

594

Dame Eileen Rosemary Mayo DBE (1906-1994)

Dame Eileen Mayo was a multi-talented ar tist; a printmaker, painter, illustrator, designer and author whose long career spanned the globe from England to Australasia, yet she never lost the primar y focus of her creativity - depicting the natural world.

As a young ar tist, she began establishing herself in London, and after training supplemented her income by modelling for notable British ar tists such as Duncan Grant, Dod Procter, Vanessa Bell and Laura Knight who helped her secure her first commissions. Indeed, one of Knight’s extraordinar y por traits of her, “The Maiden”, sold at Tennants in 2015 for £33,000. With such illustrious friends and mentors, Mayo soon made a name for herself, par ticularly as a print maker, and became a significant par t of the British ar t scene in the 1930s and 1940s.

However, a divorce in 1952 sparked a major change for the ar tist. Following her father ’s death in 1921, Mayo’s mother and sister had emigrated to New Zealand, and by the early 1950s her sister was living in Sydney. After her divorce, Mayo emigrated to Sydney, where she became a key member in Australia’s ar tistic reinvigoration. With a pressing need for money, Mayo taught at the National Ar t School and focused on commercial commissions, producing a body of work that included an iconic set of poster designs for the Australian National Travel Association and sets of stamps featuring the countr y’s flora and fauna.

In 1962 Mayo moved to New Zealand. As she settled into her new home, she worked on a painting, “Warehouses, Sydney” (1963), based on drawings she had made of the old sandstone warehouses along the eastern side of Sydney Cove. The painting was later reproduced as a card for the Australian Mutual Provident Society (AMP), whose headquar ters were in one of the new modern buildings that sprung up around the quay in the 1960s. According to a record in the National Librar y, Wellington, Mayo also designed the front cover of the AMP’s 1964 magazine which depicted four warehouses on Circular Quay, which had been demolished to make way for the building of a tower for the British Tobacco Co. (Australia) Ltd.

The present work, “Circular Quay, Sydney” (1964) was sold by the Riverhouse Galleries in Brisbane but its whereabouts was lost, and it was listed in Margaret Jillian Cassidy’s thesis “Shifting Boundaries, The Art of Eileen Mayo” as location unknown

Sydney Cove was the site of the landing of the First Fleet in 1788 and was the point from which Sydney grew. The first whar fs were built in 1792, and Circular Quay (originally called Semi-Circular Quay) was constructed between 1837 and 1844 to become the central por t for the city. As the city outgrew the cove, it was conver ted to a passenger ferr y hub, and from the 1950s the stone warehouses were replaced with modernist buildings and the first skyscrapers in Sydney.

In 1965 Mayo moved to Christchurch, where she would live for the rest of her life. She taught at the University of Canterbur y, and ser ved on the Print Council of New Zealand, all the while producing work that combined her sense of colour harmony, eye for design and in-depth research into her subject. Mayo had devoted her life to ar t, and continued to work until 1985, when ar thritis overcame her. She was made a Dame in 1994 for ser vices to ar t, just days before her death. Today, Mayo’s work is once more coming to prominence, and a major exhibition of her work was held in 2019 at the Christchurch Ar t Galler y.

595 ✓

Dame Eileen Rosemary Mayo DBE (1906-1994)

“Circular Quay, Sydney” (1964) Signed, mixed media, 43cm by 61.5cm (unframed)

Provenance: Riverhouse Galleries, Brisbane, Australia

Literature: “Shifting Boundries, The Art of Eileen Mayo”, thesis, by Margaret Jillian Cassidy, no.154

We are grateful to Peter Vangioni, Curator, Christchurch Ar t Galler y Te Puna o Waiwhet, New Zealand for his assistance in cataloguing this piece.

£800-1,200

595

596 ✓

Charles Blackman (1928-2018) Australian “Sea Air II”

Signed, inscribed and numbered 34/75, dated 1966-67, lithograph, 78cm by 56cm (unframed)

£200-300

597 ✓

David Wynne RA (1926-2014)

“Female Torso I” (1955)

Signed and numbered 5/6, bronze, 60cm high (including base)

Provenance: Ar thur Tooth and Sons, London, 20th August 1962

£400-600

598 ✓

David Wynne RA (1926-2014)

“Circling Figures”

Bronze on a metal base, 22cm high (including base)

Provenance: “New Sculpture by David Wynne”, Covent Garden Galler y, London, 4th March - 26th March 1970

Sold together with the exhibition catalogue

£700-1,000

596

599 ✓

Anne Thompson (1936-2023)

Crucifixion

Plaster and metal on a stone base, 96cm high (including base) Anne Thompson was Head of Sculpture at York College

£300-500

600 ✓

Kurt Schwitters (1887-1948) German

Portrait of John Mackereth

Initialled, oil on board, with 1942-3 newspaper ar ticles to the reverse, 70cm by 54cm

Provenance: The vendor is granddaughter of the ar tist’s companion Wantee.

Exhibited: “Kurt Schwitters 2.1.82- 28.2.82”, Abbot Hall Ar t Galler y, Kendal

This piece is listed in the ar tist’s catalogue raisonné.

£600-800

601 ✓

Sir Matthew Smith CBE (1879-1959)

Head of a woman

Oil on board, 36cm by 14cm

Provenance: Driffold Galler y, West Midlands

£1,000-2,000

602

603

John Banovich (b.1964) American ‘’Cool Whites’’

Signed and dated (19)96, oil on canvas, 39.5cm by 50cm

£2,000-3,000

603

604 ✓

Kate Denton MRSS (b.1954)

Horse head

Signed and dated (19)97, mbered 2/6, bronze on a stone base, 41.5cm high cluding base)

£400-600

606

Jonathan Armigel Wade (b.1960)

“The Spare Wheel”

Signed, inscribed verso and numbered 2316 with the ar tist’s numbering system, oil on board, 33cm by 49cm

£700-1,000

605 ✓

Kate Denton MRSS (b.1954)

“Suffolk Punch”

Signed and numbered 3/12, bronze on a marble base, 25.5cm high

£400-600

605

604

606

Geoffrey Key (b.1941)

Born in Manchester, Geoffrey Key attended the Manchester Regional College of Ar t where he under took his ar tistic education, most notably gaining a postgraduate scholarship in sculpture. Key was tutored by, amongst others, Harr y Ruther ford, a key painter in L.S Lowr y’s ‘Nor thern School’. As an ar tist, Key has a long and established record of solo exhibitions in the UK and fur ther afield. He has gained academic awards, namely the Heywood Medal in Fine Ar t and the Guthrie Bond Travelling Scholarship and his extensive por tfolio of work is structured around thematic lines of enquir y, with intellect, curiosity, originality and examination at the hear t of his oeuvre. The ar tist once stated, “I love life… I love the joys of being alive. I try to paint happy pictures.”

607 ✓

Geoffrey Key (b.1941)

“Houses and Hills”

Signed and dated (20)03, inscribed verso, oil on canvas, 49.5cm by 60cm

Provenance: Purchased from the ar tist

£3,000-4,000

607

608 ✓

Geoffrey Key (b.1941)

“Four Ages of Women”

Signed and dated (19)77, oil on canvas, 100.5cm by 209cm

Provenance: Purchased from the ar tist

£7,000-10,000 608

Signed and dated (19)87, oil on canvas, 121cm by 90.5cm

Provenance: Purchased from the ar tist £8,000-12,000

609 ✓ Geoffrey Key (b.1941) “Horses”

609

and dated

Provenance: Purchased from the ar tist

£2,000-3,000

610 ✓ Geoffrey Key (b.1941) “Auguste IV”

Signed

(20)01, inscribed verso, oil on canvas, 50cm by 39.5cm

610

611

Maud Lewis (1903-1970)

She was a Canadian folk ar tist and remains one of Canada’s best-loved ar tistic figures. Living in pover ty for most of her adult life, she painted joyous, nostalgic and vibrant pictures of rural life in her Nova Scotia home.

Maud Lewis, née Dowley, was born into a middle class family in Yarmouth, Nova Scotia. Her father was a blacksmith and owned a harness shop but, despite relative affluence, Maud’s childhood was not easy. She suffered from juvenile rheumatoid ar thritis, resulting in severely sloping shoulders, cur vature of the spine and a recessed chin; she spent much of her life in pain. Her mother, however, had an ar tistic nature, and taught Maud to paint Christmas cards which they would sell.

After her parents died in the mid-1930s, Maud had no resources and went to live with her aunt in Digby, Nova Scotia. After seeing an adver t for a live-in housekeeper 40-year-old bachelor Everett Lewis had placed, Maud turned up on his doorstep in nearby Marshalltown. Whilst apparently the pair did not hit it off immediately, a few days later Maud returned to his house and stated that she would not be his housekeeper but would be his wife. The pair married in 1938, and Maud moved into the tiny 4.2m x 3.8m house, with one-room and sleeping loft, where they would live for the rest of their lives, with no running water or electricity.

Everett was a fish peddler, and Maud began accompanying him on his rounds, selling the Christmas cards she painted. Soon, Everett gave Maud her first set of oil paints, and they began selling her paintings too, all for ver y modest prices. Due to her ailments, Maud could not find employment, and indeed Everett even took over all domestic duties whilst Maud turned their little house into her studio and painted industriously – including ever y sur face in their home. When Everett gained more stable employment, Maud put up a sign and sold her paintings from their home, which was on the side of the highway. Neighbours and tourists soon began flocking to purchase her colour ful work but determined not to raise prices and put off buyers, the pair continued to live in pover ty.

Working on a small scale due to her limited mobility, Maud painted on cheap materials, such as a pulpboard used in the building trade known as beaverboard, and later ready-cut Masonite. After painting the board with a white ground, she would draw on an outline and then apply paint straight from the tube without mixing or blending. Maud focussed on a set range of subjects, mostly derived from memories of childhood and her surroundings in Nova Scotia before the onset of modernity; cats, deer and oxen, landscapes and depictions of harbour scenes, horse-drawn car ts and sleighs. Nostalgic, yet optimistic, her works a happy simplicity with a touch of humour Her most popular subjects were painted again and again, with minor variations, such as the present example Sandy Cove. This was one of only a select few subjects she painted across three decades. Sandy Cove is located on a long peninsular in the Bay of Fundy, not far from the Lewis’ home in Marshalltown. The other work up for sale, The Bride, is a more unusual subject for the ar tist, with far fewer variations known

Coming to the attention of a journalist, Maud became the subject of a radio documentar y and subsequently a newspaper ar ticle in the mid-1960s. Her work captured the attention of the nation, and she achieved widespread recognition. However, with only limited ability to paint, she struggled to keep up with orders, and resolutely refused to charge more for her paintings, despite the likes of a staff member at the White House during Nixon’s presidency requesting works to add to his collection

Today, her work is represented in museums and galleries around the world, with a large collection being found in the Ar t Galler y of Nova Scotia. Following her death from pneumonia in 1970s and Everett’s death in 1979, a permanent memorial was erected on the site of their home. Having captured the nations hear ts, Maud’s life would become the subject of books, plays, and three films.

Maud Lewis (1903-1970) Canadian

The bride

Signed, oil on beaverboard, 23cm by 30cm

We are grateful to Alan Deacon and Ian Muncaster for their assistance in authenticating this work.

£8,000-12,000

612

Maud Lewis (1903-1970) Canadian

Sandy Cove

Signed, oil on beaverboard, 23cm by 30cm

The bay in the painting is St Mar y’s Bay, an arm of the Bay of Fundy. Directly across the bay is the town of Weymouth and mainland Nova Scotia.

We are grateful to Alan Deacon and Ian Muncaster for their assistance in authenticating this work.

£6,000-9,000

613 ✓

Mary Fedden OBE, RA, RWA (1915-2012)

Coastal scene

Inscribed “Dosia and Andrew with fond love, Mary”, 10.5cm by 18.5cm

£1,000-1,500

614 ✓

Mary Fedden OBE, RA, RWA (1915-2012)

Still life of a jug, plate and orange before houses

Signed and dated 1989, inscribed “Dosia & Andrew, fondest love”, 23.5cm by 19cm

£1,200-1,800

615 ✓

Mary Fedden OBE, RA, RWA (19152012)

“Three Pink Flowers”

Signed and dated (20)00, inscribed to ar tist’s label verso, oil on board, 24.5cm by 19cm

Provenance: Panter and Hall, London

£3,000-5,000

616 ✓

Kenneth Rowntree (1915-1997)

“A Mug of Flowers”

Signed, inscribed verso and dated 1984, oil on board, 58.5cm by 58.5cm

£1,200-1,800

615

617 ✓

Sir Terry Frost RA (1915-2003)

“Blue and Green Vehicles”

Signed and numbered 112/150, screenprint, 49cm by 65cm

£1,000-1,500

618 ✓

Roger Hilton CBE (1911-1975)

Untitled composition with Goat Initialled and dated (19)73, gouache, 28cm by 37cm

Provenance: The ar tist’s estate Belgrave, St Ives

£2,500-4,000

619 ✓

Trevor Bell (1930-2017)

“With a Brow”

Signed, inscribed verso and dated 1988, oil on paper, 78.5cm by 97cm

£800-1,200

618

617

620 ✓

Tony O’Malley (1913-2003) Irish

Abstract composition

Inscribed and dated (19)72, gouache, 32cm by 20cm

Provenance: Tom Caldwell Galleries, Dublin

£800-1,200

621 ✓

Breon O’Casey (1928-2011)

“Spotted Moon”

Signed and dated 1988, inscribed verso, mixed media, 40cm by 58cm

Provenance: Clark Ar t, Cheshire

£2,000-3,000

622 ✓

John Cecil Stephenson (1889-1965)

Abstract

Initialled and dated (19)42, oil on paper, together with a fur ther yellow abstract by the same hand, 18.5cm by 13cm (2)

Provenance: For the yellow abstract, from the ar tist’s family

Liss Fine Ar t, London

£300-500

623 ✓

John Cecil Stephenson (1889-1965)

Abstract (1942)

Oil on paper, together with a companion, 18.5cm by 13.5cm and 13cm by 15cm respectively (2)

Provenance: From the ar tist’s family

Liss Fine Ar t, London

£300-500

624 ✓

John Cecil Stephenson (1889-1965)

Abstract (circa 1945)

Oil on paper, together with a companion, 16cm by 13cm (2)

Provenance: From the ar tist’s family

Liss Fine Ar t, London

£300-500

624

623

622

625 ✓

John Hoyland (1934-2011)

Untitled

Signed and dated (19)74, mixed media on paper, 76cm by 51cm

Provenance: Brandler Galleries, Essex

£3,000-5,000

626 ✓

John Hoyland (1934-2011)

Untitled (1978)

Oil and acr ylic on paper, 74cm by 54.5cm

Provenance: Redfern Galler y, London

With Christie’s stencil verso

£3,000-5,000

627 ✓

Sandra Blow RA (1925-2006)

“Four Notes” (2005)

Signed, acr ylic and collage, 122cm by 122cm

£3,000-5,000

628 ✓

After David Hockney OM, CH, RA (b.1937)

“The Chair” (1985)

Signed, offset lithographic poster for Barnsdall Ar t Center, 98cm by 62cm

Provenance: David Hockney donated the piece to a charity auction in the 1990’s where the vendor acquired it.

£600-800

627

629 ✓

Richard Hamilton (1922-2011)

“The Lobby”

Signed and numbered 82/88, screenprint, 42cm 58cm

£1,200-1,800

630

After Andy Warhol (1928-1987)

American Mick Jagger

Lithographic exhibition poster for “Warhol at the Pigeonhole”, 63.5cm by 52cm (unframed)

£100-200

631

Bob Dylan (b.1941) American “Tango Dancers” (2023)

Signed and numbered 235/295, giclée print from “Deep Focus”, 74cm by 111cm

Sold together with the Washington Green Fine Ar t cer tificate of authenticity

£1,000-1,500

632

Bob Dylan (b.1941) American “Terminal Bar” (2023)

Signed and numbered 36/295, giclée print from “The Beaten Path”, 49cm by 66cm

Sold together with the Washington Green Fine Ar t cer tificate of authenticity

£800-1,200

633

Bob Dylan (b.1941) American “Pink Motel” (2023)

Signed and numbered 253/295, giclée print from “The Beaten Path”, 49cm by 65.5cm

£800-1,200

634

Bob Dylan (b.1941) American “Golden Gate Bridge” (2023)

Signed and numbered 92/295, giclée print from “The Beaten Path”, 49cm by 65cm

Sold together with the Washington Green Fine Ar t cer tificate of authenticity

£1,000-1,500

633

632

635

Bob Dylan (b.1941) American “Omaha Rain” (2023)

Signed and numbered 92/295, giclée print from “The Beaten Path”, 49cm by 45cm

Sold together with the Washington Green Fine Ar t cer tificate of authenticity

£1,000-1,500

636

Bob Dylan (b.1941) American “Train at Sunset” (2023)

Signed and numbered 191/295, giclée print from “The Beaten Path”, 49cm by 65.5cm

Sold together with the Washington Green Fine Ar t cer tificate of authenticity

£800-1,200

637 ✓

638 637

638 ✓

Dame Tracey Emin DBE, RA (b.1963)

“Rat Black Sperm” (2009)

Signed, inscribed and numbered 33/100, polymer gravure on Japan paper, 42.5cm by 39cm

Provenance: Emin International Ltd, London

£600-800

639 ✓

Dame Tracey Emin DBE, RA (b.1963)

“Tiny Golden Hearts” (2010)

Signed, inscribed and numbered 84/100, polymer gravure on Japan paper, 42.5cm by 39cm

Provenance: Emin International Ltd, London

£600-800

640 639

640 ✓

Dame Tracey Emin DBE, RA (b.1963)

“Moth” (2010)

Signed, inscribed and numbered 84/100, polymer gravure on Japan paper, 42.5cm by 39cm

Provenance: Emin Internationa Ltd, London

£600-800

Dame Tracey Emin DBE, RA (b.1963)

“Dragon Fly” (2010)

Signed, inscribed and numbered 84/100, polymer gravure on Japan paper, 42.5cm by 39cm

Provenance: Emin International Ltd, London

£600-800

641 ✓

Sir Grayson Perry CBE, RA, Hon FRIBA (b.1960) “100% ART PLATE”

China plate, with ar tist’s seal printed to base, produced for York Ar t Galler y, 22cm (dia)

£150-250

642 ✓ Dolk (b.1979) Norwegian “Vandel”

Signed and numbered 129/300, screenprint, 65cm by 64.5cm (unframed)

Provenance: Hand Made Posters, Denmark

£400-600

641

643 ✓

Banksy (b.1974)

Paris Hilton CD (2006)

Offset lithographic album cover and booklet with the Danger Mouse CD enclosed in the case, 12.5cm by 14cm

This CD was created by Banksy and Danger Mouse and planted in record stores throughout the countr y as a spoof of the real Paris Hilton CD. The CD has Banksy001 to the rim and the original bar code to the reverse of the case.

£700-1,000

643

644 ✓

Banksy (b.1974)

“Walled off Hotel, Box Set” (2017)

Offset lithograph, accompanied with a concrete chunk, 21.5cm by 21.5cm

Sold together with the original receipt

£600-800

645 ✓

Banksy (b.1974)

“Tesco Value Cream of Tomato Soup” (2006)

Offset lithograph in colours, 84cm by 60cm (unframed)

Provenance: Pictures on Walls, London

£700-1,000

644

646 ✓ Gavin Turk (b.1967)

“Banana Republic”

Signed, archival pigment print, from an edition of 60, 40cm by 56.5cm

£400-600

647 ✓ Mark Quinn (b.1964)

“HISTORYNOW. Screenfault”

Signed and dated 2022, archival pigment print with glitter and gold powder ink, from an edition of 65, 96cm by 44cm

£300-500

646

648

Yoshitomo Nara (b.1959) Japanese

“Drumming Girls 123” (2020)

PVC, each encased in the original box with the cer tificate of authenticity, 15cm high (3)

£200-300

649

Yayoi Kusama (b.1929) Japanese “Pumpkins” (2013)

Two painted cast resin multiples, both with printed signature, published by Benesse Holdings, Inc., Naoshima, Japan, each 10cm by 9cm (2)

£300-500

648

649

BUYERS’ INFORMATION

Buyer ’s Premium

A Buyer ’s Premium of 24% on the first £999,999 of the Hammer Price and 22% 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.

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 par t 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 par t 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-ser ved basis and are subject to a minimum lot value of £500 for Fine Ar t 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 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 £6,000. 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

(d) “Follower of” - is in our opinion a work by a painter working in the ar tist’s style, contemporar y or nearly contemporar y, but not necessarily his pupil.

(e) “Manner of” - is in our opinion a work in a style related to that of the ar tist, but of a later date.

(f) “School accompanied by the name of a place or countr y and a date” - means that in our opinion the picture was executed at that time and in that location; e.g. Flemish School, 17th centur y.

(g) “After ” - an ar tist is in our opinion a copy of any date after a work by that ar tist.

(h) “Signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription” - are from the hand of the ar tist.

(i) “Bears signature and/or dated and or inscription means that in our opinion the ar tist’s name and/or date and/or inscription” - have been added by another hand.

(j) All references to signature, inscriptions and dates refer to the present state of the work.

(k) Dimensions are given height before width and do not include the frame

(l) Pictures are framed unless other wise stated.

Droit de Suite/ Artists’ Resale Rights

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

From 14 Februar y 2006 United Kingdom ar t market professionals (which includes auctioneers) are required to collect a royalty payment for all works of ar t that have been produced by living ar tists, and those who have died within the last 70 years. This payment is calculated on qualifying works of ar t which are sold for a Hammer Price more that the UK sterling equivalent of €1,000 (the UK sterling equivalent will fluctuate in line with prevailing exchange rates). It is the responsibility of the Buyer to acquaint themselves with the actual Euro to UK sterling exchange rate on the Day of Sale. The actual qualifying threshold will be calculated by the “Ar tist’s Resale Right Ser vice Hub” based on the “European Central Bank” reference rate published at 2.15pm on the Day of Sale and can be found on www.dacs.org.uk

The royalty charge for qualifying items which achieve a Hammer Price of more than the UK sterling equivalent of £1,000 is as follows:

Up to £50,000 – 4%

£50,000.01 to £200,000 – 3%

£200,000.01 to £350,000 – 1%

£350,000.01 to £500,000 – 0.5%

Exceeding £500,000 – 0.25%

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

Method of Payme

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 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).

Despatch/Delivery

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

Bradleys Antique Packing Ser vices Ltd 01325 281332 info@antiquepacking.co.uk

Carrs Carriers Ltd 01423 297088 01913 077024 07958 023028 carrscarriersltd@gmail.com

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

In-House Shipping

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 £25 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.

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

NEXT MODERN & CONTEMPORARY ART SALE

8 FEBRUARY 2025

2024 AUCTION DATES

Friday 13 September The Swinton Sale

Saturday 14 September Country House Jewellery, Watches & Silver

Wednesday 18 September Militaria & Ethnographica

Friday 20 September Antiques & Interiors

including Affordable Modern & Contemporary Art

Friday 27 September Scientific & Musical Instruments, Cameras & Tools

Saturday 5 October 20th Century Design Modern & Contemporary Art

Friday 11 October Antiques & Interiors including Beswick & Border Fine Art and a selection of Silver

Friday 18 October The Giles Sim (Taxidermy) Collection – Part I

Friday 25 October Antiques & Interiors

Wednesday 30 October Stamps, Postcards & Postal History