Modern & Contemporary Art - 17 June

MODERN & CONTEMPORARY ART

SATURDAY 17 JUNE 2023

ALSO SELLING TODAY:

20TH CENTURY DESIGN

SATURDAY 17 JUNE

9.30AM (221 lots)

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

Head of Pictures

Guy Cooper

Picture Specialist

Lucy Campbell

Picture Department Administrator

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

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 58cm

£1,500-2,500

2 ✓

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

“Man Holding Child”

Signed, with the blindstamp for the Fine Ar t Trade Guild, a colour reproduction, 49cm by 73cm

£1,200-1,800

1 ✓

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

“Mrs Swindells’ Picture”

Signed, with the blindstamp for the Fine Ar t Trade Guild, a colour reproduction, 43cm by 31.5cm £1,500-2,500

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

“Three Men and a Cat”

Indistinctly signed, with the blindstamp for the Fine Ar t Trade Guild, a colour reproduction, 27.5cm by 18cm £1,000-1,500

3 ✓

4 ✓

5 ✓

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

£2,000-3,000

6 ✓

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

“The Contraption”

Signed, with the blindstamp for the Fine Ar t Trade Guild, a colour reproduction, together with the reproduction preparator y sketch, 34.5cm by 31cm and 31cm by 19cm respectively (2)

£2,000-3,000

7 ✓

After Laurence Stephen Lowry

RBA, RA (1887-1976)

“Children Coming out of School”

Each signed, postage stamp, 3cm by 4cm (13) (unframed) £700-1,000

8 ✓ Harold Riley DL, DLitt, FRCS, DFA, ATC (1934-2023) Street Scene Signed and dedicated “For Doran Christmas 1983, from Harold, Kate and Sara with best wishes”, a black and white reproduction, 43cm by 33cm (unframed) £100-200

9 ✓ Trevor Grimshaw (1947-2001) “Ribblehead Viaduct” Signed and numbered 67/500, lithograph, 35.5cm by 50cm £200-300

10 ✓

Trevor Grimshaw (1947-2001) “Aqueduct”

Signed and numbered 33/50, lithograph, 29.5cm by 39.5cm £70-100

11 ✓

Trevor Grimshaw (1947-2001) “Stonehenge”

Signed and numbered 43/50, lithograph, 30cm by 40cm £100-200

12 ✓

Tom McGuinness (1926-2006)

“Gala Day Seaham”

Signed, inscribed and dated (19)92, numbered 138/200, lithograph, 44cm by 68cm £150-250

14 ✓

Tom McGuinness (1926-2006)

“The Nature Trail Murton”

Signed, inscribed and dated (19)92, numbered 141/200, lithograph, 44cm by 68cm £150-250

13 ✓

Tom McGuinness (1926-2006)

“The Allotments, Easington”

Signed, inscribed and dated (19)92, numbered 161/200, lithograph, 49cm by 68cm £150-250

16

David Wilders (Contemporary)

“Strike 1984-1985”

Signed, inscribed and dated 2010, numbered 3/6, linocut with oil hand colouring, 47.5cm by 31.5cm

Williams OBE, RA

aph, 48cm

£120-180

17

17

David Wilders (Contemporary)

“Snap Time”

Signed, inscribed and dated 2021, etching with watercolour, together with a fur ther etching by the same hand “In By”, 13.5cm by 17.5cm and 17cm by 18.5cm respectively (2)

£150-250

18

David Wilders (Contemporary)

“Collier”

Signed and dated 2015, inscribed verso, acr ylic on canvas, 49cm by 48cm

£250-400

19

19

Harry Malkin (b.1951) “The Struggle”

Signed, inscribed verso, acr ylic on board, 60cm by 91cm

Castleford-born Harr y Malkin took up painting full time shor tly after the last strike when his pit closed in 1985. Drawing on his experience of being a miner, he began to create public and private commissions, these include The “Allerton Bywater Colliery Miners Memorial” and a memorial for the ex Prince of Wales Collier y, Pontefract. He also became an ar t teacher. His works have been exhibited at the Southbank Centre in London, he was represented by the late leading Yorkshire ar t dealers Tom and Rosamund Jordan and his work is included in “Shafts of Light” by Rober t McManners and Gillian Wales. His paintings are housed in many public and private collections including The National Coal Mining Museum for England and The Mining Ar t Galler y in Bishop Auckland.

£500-800

“Pit

Signed, mixed media together with a fur ther mixed media work by the same hand

£150-250

20 ✓ Eric Hill (b.1921)

Pony and Lad”

“Coal Face” 39cm by 30.5cm and 35cm by 25cm respectively (2)

21 ✓ Eric Hill (b.1921)

“Pit Row Pigeon Flyers” Signed, mixed media, 36.5cm by 50.5cm £150-250

Exhibited:

22 ✓

Donald McIntyre RCA (1923-2009) Workmen carrying sacks Signed, mixed media, 39cm by 27cm £250-400

23 ✓ Ashley Jackson (b.1940) “Barnsley Main - Gone Forever” Signed and dated (19)68, mixed media, 106cm by 70cm

Salford Galler y, 16th June 1983 £400-600

“L.S Lowry”

Signed, bronze on a granite base, 33cm high (including base)

A version of this bust is in the collection of the National Por trait Galler y, cat no. NPG 5091

£1,200-1,800

24 ✓ Samuel Tonkiss (1909-1992)

Three Drawings by L S Lowry

Laurence Stephen Lowr y was a deeply complex figure, now widely recognised as one of the most impor tant British ar tists of the 20th centur y. Whilst most people today may first think of his oil paintings, executed in his distinctive five-colour palette of black, white, red, blue, and yellow, Lowr y himself was vehement about the impor tance of drawing and was constantly sketching on whatever scraps of paper he could get his hands on. Indeed, he has been quoted as saying: “Can you tell me, sir, why does a painting cost more than a drawing? After all, a drawing is every bit as important, and sometimes a damned sight more effective. Besides, it is more difficult to do; for one thing, you haven’t got colour to get you out of a mess”. He considered it an ar t form in its own right and was highly skilled in capturing the essence of his subject and filtering out extraneous detail.

As a young man, Lowr y completed a formal ar tistic training whilst working full-time. At Manchester College of Ar t, he was taught to draw by master Adolphe Valette in the classical manner, and his life drawings from this period are technically excellent. However, during the 1920s he began to develop his own unique style, experimenting with different techniques of drawing, and establishing a visual language that he would utilise and hone throughout his career. His drawings of this period saw him focus on the urban landscape of Manchester, with groups of figures all executed with clear, precise line drawings. His characteristic ‘stock’ figures of hunched workers and scampering boys begin to appear, too.

By the 1930s, Lowr y had developed his mature, distinctive style and visual shor thand for drawing his myriad figures of the working man in the urban environment. Tending to focus on recognisable streets and buildings, his figures remained largely anonymous; groups of people became patterns on the page as Lowr y passively documented the cityscape. Interestingly, throughout his career he continued to dress his figures in the same depression-era clothes of the 1920s, when widespread pover ty in the Nor th West led workers to wear second-hand clothing, hats and shoes that were often baggy and ill-fitting. Whilst this can be par tially attributed to the 1920s being the time when he established his style, it was also the happiest period of his often-troubled life, and in addition Lowr y admitted to finding the oversized clothing ver y amusing.

From the 1960s, towards the later stages of his life, Lowr y’s drawings became both less formal and more critical towards his subjects. Figures became almost objects of ridicule, in exaggeratedly ill-fitting clothes, shoes and hats, as seen in ‘Group of Figures Young and Old’ (lot 27). He often focussed, too, on marginalised or unsavour y figures such as tramps and football hooligans, leaning more towards a social commentar y rather than purely documenting his surroundings. “Family Group at the Seaside” (1969) (lot 26), is a rare example of Lowr y’s depictions of contemporar y dress and hairstyles. The drawing, which comes with provenance from the Lefevre Galler y in London, Lowr y’s dealer ’ and is illustrated in Mer vyn Levy’s 1976 book “The Drawings of L S Lowry, Public and Private”

As time went on Lowr y increasingly became interested in depicting, often with hostility, the relationships, and interactions between small groups of figures rather than the massed groups of people of his early career. Sometimes focussing solely on one loan figure. He had great difficulty in understanding how humans ever made deep connections with each other, and his drawings at this point in his life are possibly his way of tr ying to get to grips with the human relationships that he did not really understand in his own isolated life.

“A Family Group” (1966) (lot 25) was executed by Lowr y on one of his frequent holidays to the Seaburn Hotel, Sunderland. Lowr y delighted in obser ving and recording ordinar y people going about their lives. However, sometimes he would conjure up a scene of ever yday life from his imagination, as in the present drawing that was executed during a conversation with Leslie Anthony, the manager of the Seaburn Hotel. Whilst talking, Lowr y began drawing on the flyleaf of a catalogue of the Sunderland Museum and Ar t Galler y retrospective L.S. Lowr y. He switched between a ballpoint pen and a pencil as he worked; once completed, he gave the drawing to Mr Anthony, who was delighted with this spontaneous gift. The drawing was later exhibited at the Sunderland Museum and Ar t Galler y, and it is sold together with four letters from Lowr y to Mr Anthony at the Seaburn Hotel arranging visits and a copy of "L.S. Lowry in the North East" by Juliet Horsley for Tyne and Wear Museums Ser vice 1989, in which the drawing is featured.

25 ✓

Laurence Stephen Lowry RBA, RA (1887-1976)

“A Family Group”

Signed, inscribed and dedicated “To Leslie Anthony”, dated 13 September 1966, pencil and biro, 18cm by 18cm

Provenance: Mr Anthony, Manager of the Seaburn Hotel Sunderland Christie’s South Kensington, 20th Centur y British Ar t, Thursday 13 July 2000, lot 117

Exhibited: Sunderland Museum and Ar t Galler y, no.68

Literature: “L.S. Lowry in the North East” by Juliet Horsley for Tyne and Wear Museums Ser vice 1989, p.50

Sold together with four letters from L S Lowr y to Mr Anthony at the Seaburn Hotel and a copy of “L.S. Lowry in the North East” by Juliet Horsley for Tyne and Wear Museums Ser vice 1989

£5,000-8,000

26 ✓

Laurence Stephen Lowry RBA, RA (1887-1976)

“Family Group at the Seaside”

Signed, inscribed and dated 1969, pencil, 41cm by 28.5cm

Provenance: The Lefevre Galler y London Richard Green, London Private Collection, UK

Literature: “The Drawings of L S Lowry, Public and Private”, Mer vyn Levy, 1976, Jupiter Books, London, no.198

£40,000-60,000

27 ✓

Laurence Stephen Lowry RBA, RA (1887-1976)

Group of figures young and old (1970)

Signed, pencil, 28.5cm by 40.5cm

Provenance: The Ar tist’s Estate

Crane Kalman Galler y, London

Private Collection, UK

£30,000-50,000

Three Works by L S Lowry and Harold Riley from a Private Collection

28 ✓

Laurence Stephen Lowry RBA, RA (1887-1976)

Street Scene with Figures (1947)

Signed and dated 1947, pastel, 27cm by 35.5cm

Provenance: Leigh Galler y, Manchester where purchased by the vendor ’s father in 1976

Thence by descent

The present lot is an exciting discover y as it’s the earliest work so far to appear on the market from a unique, rare group of joyful and vibrant figurative pastel works by Lowr y, of which he seems to have made one a year between 1947 (or earlier) and 1950. There are two notable works from the series that have previously come to market namely;

“Cowles Fish & Chips, Cleator Moor”, 1948, sold for £145,250 in May 2012; and “The Broken Shop Window at Cleator Moor”, 1950, sold for £50,000 in July 2020.

When comparing these two works with Street Scene with Figures, 1947, it is evident that not only is Lowr y’s handling, style and technique the same in all three works, but they are also all the same size, and use the same medium and suppor t, i.e., pencil and pastel on blue paper

Lowr y executed these pastels during his annual visits to Cumbria to stay with his friend, Reverend Geoffrey Bennett (1902-1991). Lowr y and Bennett first met in 1926 when Bennett worked as a clerk with Lowr y’s cousin, Grace Shephard, at the London and County Westminster Bank in Manchester. The two men shared a lifelong friendship and over the years Bennett acquired many works from his friend and formed a ver y significant Lowr y collection, which included the above mentioned, “Cowles Fish & Chips, Cleator Moor”, 1948. When Bennett married after the War, he moved from Manchester with his wife Alice and son, also Geoffrey, to Cumbria as manager of the National Westminster Bank branch in Cleator Moor. Bennett was ordinated into the Anglican Church in 1962 and he became known to Lowr y as the ‘Reverend Gentleman’. When Lowr y died in 1976, Reverend Bennett conducted the funeral ser vice.

Following Bennett’s death in 1991 his collection of works by Lowr y was sold in 1995 for a total of £528,440, to benefit Carlisle Cathedral.

We are grateful to Jonathan Hor wich for his assistance with this catalogue entr y.

£40,000-60,000

29 ✓

Laurence Stephen Lowry RBA, RA (1887-1976)

“Tug”

Signed and dated 1959, oil on panel, 19cm by 17.5cm

Provenance: Piccadilly Galler y, London Clarendon Galler y, Manchester, where purchased by the vendor ’s father in 1976

Thence by descent

“Tug” is a fine example of a work inspired by Lowr y’s love of the Nor th Sea and was probably painted on one of his extended holiday stays at the Seaburn Hotel, Sunderland. Here from his hotel room (always the same room) with his easel set up by the window, Lowr y could look straight out to the Nor th Sea which obligingly offered up its wide empty skies, with ships and boats bobbing about on the near or far horizons, all feeding Lowr y’s imagination and inspiring him to paint. The tug itself feels tiny on the vast grey sea, however Lowr y has given it strength and determination as it battles its way across the composition from right to left leaving an impressive trail of black smoke in its wake as it powers against the tides. Lowr y puts the little tug front and centre in the composition and it stands out against the distant more anonymous shipping in the background seemingly giving it the strength to per form all its seaborne tasks in spite of its lack of size.

We are grateful to Jonathan Hor wich for his assistance with this catalogue entr y.

£60,000-90,000

30 ✓

Harold Riley DL, DLitt, FRCS, DFA, ATC (1934-2023)

“Man in a Wheelchair”

Signed by Harold Riley and L S Lowr y, dated (19)60, oil on board, 25cm by 14.5cm

Provenance: Purchased from Harold Riley by the vendor ’s father in the 1970’s

Thence by descent

Lowr y and Harold Riley first met in 1945 when the former presented Riley with an award for first prize at a Salford Grammar School ar t exhibition. They went on to be close friends and painting companions for over thir ty years. They more usually painted works on paper together, thus making this fully finished oil painting a rarity. I have seen a number of these ‘joint ventures ‘ over the years and I imagine both ar tists had great fun deciding who would paint what, perhaps swapping their usual subjects to tease us…… Judging from the positioning of Lowr y’s signature on the wall to the right, and evidence of his usual pigments and trademark scratching out technique, then my best guess is that Lowr y has deliberately avoided painting the figures altogether to keep us guessing and has gone for the pavement, wall, windows and the wheelchair contraption and Riley has painted all the figures. Now with the sad passing of Harold Riley only last month we no longer have anyone to ask, so we will never know for sure, which would probably amuse both ar tists greatly!

We are grateful to Jonathan Hor wich for his assistance with this catalogue entr y.

£10,000-15,000

31 ✓

Arthur Delaney (1927-1987)

“The Lancashire Tram”

Signed, extensively inscribed verso, oil on board, 28cm by 35cm £1,500-2,000

32 ✓

Arthur Dooley (1929-1994)

Warrior

Initialled and dated (19)73, b

Ar thur Dooley was a self-taught a Liverpool. He left school at 14 a Mersey tugboats and apprenticed at Cammell Laird’s shipyard. When lookin Dooley said to the author Pete shipyard was really my art school’

In 1945 he enlisted into the I bagpiper and rose to the rank of Se However, he left without leave to joi Liberation Organisation, wher Colonel. When he was captur to a militar y prison, and it was he to experiment with sculpture, it was also d this period he became a devo staunch communist.

After Dooley left the army in 1953, he wo janitor and obser ved students at St. Ma of Ar t in London. He developed his sc from working with discarded mate scrap metal, and was informed by his i experiences working at the docks. I exhibited his works at his first o St. Mar tins. He then returned to Live he learned more about the metal casti whilst working for Dunlop’s in moulder and created sculptur

This patinated bronze sculptur elongated figure with a featur cloak and helmet. The figure’s feet a strong stance on a textured recta brandishes a round shield with text embellishment and a spear. This ‘ recurring theme in Dooley’s oe versions created since 1966 with diffe and heights, sometimes unde

Dooley continued to exhibit a on commissions such as the 1974 ‘

Shook the World,’ Beatles Memo and campaigned on TV and in redevelopment, abolition of highbetter care for the unemployed. I founded a workshop for unemployed people a helped found the Liverpool Academy of A £2,000-3,000

33 ✓ Brian Shields (Braaq) FBA (1951-1997)

“Just Spent Me Mum’s Milk Money on This” Signed and dated (19)76, inscribed “Ann”, inscribed verso, oil on board, 44cm by 59.5cm £10,000-15,000

“Sun

Signed and inscribed, oil on board, 40.5cm by 50cm

Provenance: From the Ar tist’s Estate

Private Collection

“A

Signed and inscribed, oil on board, 49.5cm by 70.5cm

34 ✓ Peter Brook (1927-2009)

and Wind”

£3,000-5,000

35 ✓ Peter Brook RBA (1927-2009)

Long Hot Summer in the Pennines”

£3,000-5,000

36 ✓ Stuart Walton (b.1933) Hebden Bridge with The White Swan Signed and dated (19)78, oil on board, 37cm by 49.5cm £600-800

37 ✓ Stuart Walton (b.1933)

“Tall Building, Woodhouse”, Leeds Signed and dated 2017, inscribed verso, acr ylic on cotton, 71cm by 50cm £800-1,200

38 ✓

Stuart Walton (b.1933) “Back Street Woodhouse”, Leeds Signed and dated (20)10, inscribed verso, oil on board, 34.5cm by 50cm

£600-800

39 ✓

Noel Gibson (1928-2005)

“Guys Hospital of Borough High St.” Signed, oil on board, 121cm by 90cm

Provenance: Gifted by the ar tist to the vendor ’s grandfather Ecclesiastical Architect Ronald Sims after they worked together on Southwark Cathedral.

£800-1,200

40 ✓

Fred Yates (1922-2008)

“Town Buildings, Hayle”

Signed, oil on board, 39.5cm by 51.5cm

Provenance: Market House Galler y, Cornwall

£700-1,000

41 ✓

Allen Tortice (b.1948)

“Paradise Road”

Signed, inscribed verso and dated 1989, oil on canvas, 52cm by 76cm

£400-600

42 ✓

Allen Tortice (b.1948)

“St Paul’s Street (Blackpool)”

Signed, inscribed verso and dated 1989, oil on canvas, 60cm by 76cm

£400-600

Signed, inscribed verso

and dated 1989, oil on canvas, 76cm by 58cm

Signed, inscribed verso

and dated 2017, acr ylic

on board, 44cm by 33.5cm

43 ✓ Allen Tortice (b.1948)

“School Scene (Blackpool)”

£400-600

44 ✓ Peter Stanaway (b.1943) “Beadnell Seahouses”

£250-400

Mackenzie Thorpe (b.1956)

“Holding Back the Storm”

Signed, signed, inscribed and dated (19)93 below the mount, pastel, 40.5cm by 45.5cm £500-700

47

Steven Scholes (b.1952)

“Market Street Manchester, 1962”

Signed, inscribed verso, oil on canvas, 39cm by 49cm £300-500

46 ✓

49 ✓

Harry Ruther ford (1903-1985)

“Early Spring, Cartmel”

Signed, oil on board, 39.5cm by 49.5cm

Provenance: Tib Lane Galler y, Manchester

£300-500

48 ✓

Steven Scholes (b.1952)

“White Chapel, London, 1962”

Signed, inscribed verso, oil on canvas, 39.5cm by 49cm

£300-500

50 ✓

Harry Ruther ford (1903-1985)

“Cartmel”

Signed, oil on board, 39.5cm by 49.5cm

Provenance: Tib Lane Galler y, Manchester

£300-500

51 ✓ Walter Steggles (1908-1997)

“Sussex Landscape, Lewes” Signed, oil on canvas, 37cm by 49cm

Provenance: The Ar tist’s Estate and thence by descent. Christie’s, Modern British and Irish Ar t, 14th December 2012, lot 381 £1,000-1,500

52 ✓ Harold Steggles (1911-1971)

“St Mark’s Church”, Hackney Signed, oil on panel, 33cm by 42.5cm

Provenance: Alex Reid & Lefevre Ltd., London Louise Kosman, Edinburgh

Exhibited: Alex Reid & Lefevre Ltd, London, “Catalogue of New Paintings by The East London Group”, December 1932, no.91, price 12 guineas, purchased by Sir David Scott £4,000-6,000

53

John Perrin (1918-1944) American Mechanics working on a North American B-25 Mitchell aircraft at an airfield Mechanics working on a North American B-25 Mitchell aircraft in a hanger

Each signed and dated 1944, oil on board, 35.5cm by 47cm (2)

New Jersey-born John Perrin flew with the United States Army Air Force, flying fighter sweeps in P-47 Thunderbolts. On American Independence Day, 1944 he was delivering a Mustang Fighter from base workshops at War ton, Lancashire to Steeple Morden in Cambridgeshire when it appeared to catch fire. So as to miss the Tillington Manor Primar y School, (then known as Holmcroft Primar y) and the nearby houses he stayed with his stricken plane. He was 25 years of age when he was killed.

£400-600

––––– 53 –––––

Signed and dated (19)93, oil on canvas, 99cm by 90cm

Ronald

Sunlit landscape, probably on the Continent

Signed, oil on canvas board, 34cm by 40cm

Seascape

Signed and dated 1939, oil on board, 28.5cm by 38.5cm

54 ✓

Ossory Dunlop RA (1894-1973)

£250-400

55 ✓ Piers Browne (b.1949) “Grasmere”

£400-600

56 ✓

Frederick Gordon Crosby (1885-1943)

£300-500

57 ✓

Ian Macdonald Grant (1904-1993)

“Brookside Under Snow” (1972)

Signed, oil on board, 48cm by 73.5cm

Provenance: Gateway Galler y, Cheshire £300-500

58 ✓

Brita Granström (b.1969) Swedish “Among Islands”

Signed and dated 2016, inscribed verso, oil on canvas, 60cm by 80cm

Provenance: Thompson’s, Suffolk £300-500

A Collection of Works by Reginald James Lloyd (1926-2020)

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 RI 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.

Lloyd 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 his works are housed in National Maritime Museum, Bur ton Ar t Galler y and Museum and Forde House.

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

Wave and sun

Bronze, together with a fur ther abstract bronze, 15.5cm high and 20cm high respectively (2)

Provenance: Directly from the ar tist

Thence by descent £250-400

60 ✓

Reginald James Lloyd (1926-2020)

“Wave Breaking Over Buoy”

Signed and dated 1959, inscribed verso, oil on board, 89cm by 120cm

Provenance: Directly from the ar tist

Thence by descent

£200-300

61 ✓

Reginald James Lloyd (1926-2020)

“Midsummer Triptych”

Signed and dated 1967, oil on board, 121cm by 151.5cm

Provenance: Directly from the ar tist

Thence by descent

£200-300

62 ✓

Reginald James Lloyd (1926-2020)

“Two Figures Sillbury Hill”

Signed and dated 1971, inscribed verso, oil on board, 90cm by 121cm

Provenance: Directly from the ar tist

Thence by descent

£200-300

63 ✓

Reginald James Lloyd (1926-2020)

“Path in the Corn”

Signed and dated 1975, inscribed verso, oil on board, 44.5cm by 115cm

Provenance: Directly from the ar tist

Thence by descent

£200-300

64 ✓

Reginald James Lloyd (1926-2020)

“Midsummer”

Signed and dated 1983, stoneware vase, together with two fur ther vases by the ar tist each titled “Midsummer” 1984, 19cm and 22cm high respectively (3)

Provenance: Directly from the ar tist

Thence by descent

£150-250

61 60

64

63

62

65 ✓

Peter Barton (1921-2010)

“Ice Gully and Ridge”

Signed and dated (19)86, oil on laminate, 121cm by 59cm

This work is from the ar tist’s “Mountain Experience” painting series

£200-300

66 ✓

Keith Grant (b.1930)

“Snowing - Antarctica”

Signed, inscribed verso, oil on canvas, 70cm by 105cm

Provenance: Cadogan Contemporar y, London £1,000-2,000

67 ✓

Fred Cuming RA (1930-2022) View from the artist’s studio Signed, oil on board, 19cm by 23.5cm £700-1,000

68 ✓

Robert Kelsey DA MUniv PAI FRSA (b.1949) Scottish “Portree Bay, Skye” Signed, inscribed verso, oil on canvas, 48.5cm by 59cm

Provenance: Walker Galleries Ltd., Harrogate £500-700

69 ✓

John Lowrie Morrison “Jolomo” OBE (b.1948) Scottish “Rocky Beach, Iona” Signed, inscribed verso and dated 2010, oil on canvas, 58cm by 58cm

Walker Galleries Ltd., Harrogate £2,500-4,000

70 ✓

John Lowrie Morrison “Jolomo” OBE (b.1948) Scottish “Quiet Evening Benbecula” Signed, inscribed verso and dated 2008, oil on canvas, 59cm by 59cm

Provenance: Walker Galleries Ltd., Harrogate £2,500-4,000

John

Scottish

“Autumn Sunset Duart, Isle of Mull”

Signed, inscribed verso and dated 2010, oil on canvas, 28.5cm by 28.5cm

Provenance: Walker Galleries Ltd., Harrogate

£1,000-1,500

71 ✓

John Lowrie Morrison “Jolomo” OBE (b.1948)

Scottish “Benbecula Reflections”

Signed, inscribed verso and dated 2008, oil on canvas, 21.5cm by 21.5cm

Provenance: The Jolomo Studio, Argyll Walker Galleries Ltd., Harrogate

£700-1,000

72 ✓

Lowrie Morrison “Jolomo” OBE (b.1948)

73 ✓ John Lowrie Morrison “Jolomo” OBE (b.1948) Scottish “Stormlight - Boat and Croft, Isle of Tiree” Signed, inscribed verso and dated 2012, oil on canvas, 38.5cm by 38.5cm P

The Jolomo Studio, Argyll Walker Galleries Ltd., Harrogate £1,000-1,500

74 ✓

John Titchell RA (1926-1998)

“Sun Drenched Road, Hythe in Kent”

Oil on board, 29cm by 33.5cm

£200-300

75 ✓

David Bronhoff (20th/21st Century)

“The Holy Sepulchre, Jerusalem”

Signed, oil on canvas, 49cm by 59cm

£250-400

76 ✓

Geoffrey Key (b.1941)

“White Tree”

Signed and dated 5.4.(19)79, mixed media, 48cm by 35cm

£600-800

77 ✓

John Egerton Christmas Piper CH (1903-1992)

“Vaux le Vicomte” (1972)

Signed and numbered 36/70, lithograph, 70cm by 100cm (unframed) £600-800

78 ✓

Carlos Nadal (1917-1998) Spanish “Pont Du Village”

Signed, mixed media, 19cm by 23.5cm

Exhibited: “Collection Particulière”, Duncalfe Galleries, Harrogate and London, no.78

This work has been authenticated by Le Comite Nadal £800-1,200

79 ✓

Carlos Nadal (1917-1998) Spanish

“Village Normande”

Signed, inscribed verso and dated 1978, with the Carlos Nadal atelier stamp, mixed media on paper laid on canvas, 37cm by 45cm

Literature: “Carlos Nadal An English Perspective”, John Duncalfe, Tillington Press, 2010, p.184

This work has been authenticated by Le Comite Nadal

£4,000-6,000

P

Provenance: Mira Godard Galler y, Canada

80 ✓ Andrew Hemmingway (b.1955) “The Meeting” (1987) Signed, egg tempera on masonite, 98cm by 151cm

£500-700

81 ✓

Jules René Hervé (1887-1981) French “Paris, Le Petit Lac Bois du Bologne” Signed, oil on canvas, 54cm by 64cm

rovenance: Omell Galleries, London £700-1,000

Jules

Signed, oil on canvas, 20.5cm by 25.5cm

Provenance: Omell Galleries, London

Jules René Hervé (1887-1981) French “Le Sortie Scolaire”

Signed, oil on canvas, 20.5cm by 25.5cm

Provenance: Omell Galleries, London

82 ✓

£300-500

83 ✓

René Hervé (1887-1981) French “Le Grand Déjeuner”

£300-500

82

83

Signed and dated (20)10, inscribed verso, oil on canvas, 40cm by 50cm

Signed, inscribed verso, oil on canvas, 76cm by 63cm

84 ✓ John Mackie (b.1953)

“Afternoon on the Avenue Montpelier”

£400-600

85 Andrew Macara NEAC (b.1944) “Football Mykonos”

£600-800

84

86

Andrew Macara NEAC (b.1944)

“Beach Cricket Abersoch”

Signed, inscribed verso, oil on canvas, 40cm by 76cm £600-800

87

Andrew Macara NEAC (b.1944)

“School Outing to Newquay”

Signed, inscribed verso, oil on canvas, 63.5cm by 76cm £700-1,000

Initialled, i

ve

“The Straw

Initialled, inscribed verso, oil on board, 20cm by 17.5cm

88 ✓ Donald McIntyre RCA (1923-2009)

“Crowded Beach”

nscribed

rso, oil on board, 17.5cm by 20cm £600-800

89 ✓ Donald McIntyre RCA (1923-2009)

Hats”

£500-700

90 ✓ Darren Yeadon (b.1970) “Ammonite”

Signed, Carrara marble, 22cm high £400-600

91 ✓ Darren Yeadon (b.1970) “Sunfish”

Signed, Carrara marble, 50cm high £800-1,200

“Sneaky Cat”

Monogrammed, oil on board, 50cm by 50cm

Provenance: White Space Ar t, Devon £300-500

Signed, inscribed and dated 1975, oil on board, 20cm by 22cm £150-250

92 ✓ Vanessa Cooper (Contemporary)

93 ✓ Jerzy Marek (1925-2014) Polish “Friends”

Martin

“Cat with Green Eyes”

Signed, inscribed to label verso and dated (19)74, oil on board, 26.5cm by 27cm

£200-300

Martin

“Playmates”

Signed, inscribed verso, oil on board, 39cm by 25.5cm

£200-300

94 ✓

Leman RBA, RWS (b,1934)

95 ✓

Leman RBA, RWS (b,1934)

96 ✓

William Norman Gaunt FIAL, NDD (1918-2001)

“Early Morning Exercise”

Signed and inscribed, oil on board, 44cm by 120cm

£500-800

97

Jonathan Armigel Wade (b.1960)

“On the Bridleway”

Signed, inscribed verso and numbered 2304 with the ar tist’s numbering system, oil on board, 41cm by 60cm £800-1,200

98 ✓

Kit Williams (b.1946)

“Sanctus”

Signed and dated (19)74, oil on board, in a folding marquetr y frame with velvet and embroider y inside the two folding panels, 27.5cm by 19cm (with arched top)

£600-800

99 ✓

Gwen Raverat (1885-1957)

“Horses at Night”

Signed, inscribed and dated (19)13, woodblock print, 15cm by 20cm

£200-300

Signed, inscribed and dated (19)97, car ved and painted driftwood with glass eyes, 24cm by 70cm

Signed and inscribed, car ved and painted driftwood with glass eyes, 22.5cm by 47cm

100 Guy Taplin (b.1939) “Mallard”

£700-1,000

Guy Taplin (b.1939) “Merganser”

£600-800

102 ✓ Nick Bibby (b.1965) Snail

Initialled and numbered 7/25, bronze, 4cm by 8.5cm £400-600

102 (Not to Scale)

103 Francis Newton Souza (1924-2002)Indian Standing female nude Signed and dated (19)59, pen and ink, 23cm by 14.5cm

Provenance: Purchased from the ar tist by Nawab Rahim Khan Inherited by Nawab Razzab Ali Khan (Owner of Nawab Jewels) Purchased by the vendor in 2019 £3,000-5,000

Francis

Sig

Provenance: Purchased from the ar tist by Nawab Rahim Khan Inherited

Nawab Razzab Ali Khan

n

r

Nawab Jewels) Purchased by the vendor in 2019

£2,000-3,000

104

Newton Souza (1924-2002) Indian Standing nude

ned and dated (19)84, pen on paper, 23cm by 14cm

by

(Ow

e

of

105

105 Jules Olitski (1922-2007) Ukranian/American

Nude

initialled and dated (19)65, pencil, together with an abstract Christmas card of the same year dedicated to Leslie Waddington by the same hand, 30cm by 23.5cm and 10cm by 30cm respectively (2)

Provenance: Christie’s, London, “The Leslie Waddington Collection Part II”, 22 November 2016, lot 63

£500-700

106 ✓

Jacob Kramer (1892-1962)

Portrait of an elegant lady- possibly Dolores

Signed, coloured chalks, 53cm by 41cm

£300-500

107 ✓

Jacob Kramer (1892-1962)

Head and shoulders portrait of a gentleman, thought to be Quentin Crisp

Signed and dated 1922, oil on canvas, 50cm by 40cm

£300-500

108 ✓

Ken Howard OBE, RA, RBA, NEAC (1932-2022)

“Karen at South Bolton Gardens”

Signed, oil on board, 22cm by 15cm

£500-700

109 ✓

Robert Oscar Lenkiewicz (1941-2002)

Portrait of a bearded man from Vagrancy Project Oil on canvas, 47.5cm by 58cm £1,000-1,500

110 ✓

Joash Woodrow (1927-2006)

“Portrait of a Woman, Head in Profile” Oil on printed paper, 59cm by 47cm (unframed)

Provenance: 108 Fine Ar t, Harrogate, Stock No. JWD 120, Ex no.32 £800-1,200

Pat Douthwaite (1934-2002) Scottish Born in Glasgow, Pat Douthwaite (1934-2002) initially studied movement, mime and modern dance with Margaret Morris. Following several years successfully per forming with the Celtic Ballet she decided to become an ar tist, a decision often linked to the influence of Morris’s husband, Scottish Colourist J.D. Fergusson. In 1958 she moved to Essex where she knew several ar tists, including William Crozier, were working.

From 1959, and for some years, she travelled worldwide, then settling to work as a painter and printer in Britain. Douthwaite’s works pursue a variety of themes, often reflecting the torment of humanity and par ticularly that of a female nature. Her expressive dark imager y combines vibrant colours with a fragile line. During her lifetime, she exhibited with Richard Demarco, at the Talbot Rice Galler y, the Royal College of Ar t, Third Eye Centre and at the Scottish Galler y, who also held a memorial exhibition in 2005. Douthwaite’s work is held at The Scottish Ar ts Council, Aberdeen Ar t Galler y and Ferens Ar t Galler y. The vendor was a great companion and adviser of the ar tist. The two shared a close relationship and were evidently kindred spirits. He later became her executor

See p.74 “Pat Douthwaite” by Guy Peploe, The Scottish Galler y.

111 ✓

Pat Douthwaite (1934-2002) Scottish “Annie Steiner with Sacrificial Goat” (1984-85)

Oil on canvas, 151.5cm by 120cm

Provenance: Directly from the ar tist

Literature: Illustrated in the ar tist's obituar y by Douglas Hall, Wednesday 31 July 2002, p.29 (see image)

Illustrated on the back cover of “Douthwaite Paintings and Drawings

1951-1988”, Third Eye Centre, Glasgow, Peacock Printmakers, Aberdeen, 1988

£4,000-6,000

Provenance: The Scottish Galler y, Aitken and Dott Ltd., Edinburgh

Exhibited: “Pat Douthwaite Retrospective 1960-2000”, The Scottish Galler y, Edinburgh, 5-28 June 2000, no.22

£4,000-6,000

112 ✓

Pat Douthwaite (1934-2002) Scottish “Me with Charlie, Eskdalemuir” (2000) Signed, acr ylic and mixed media on canvas, 120cm by 180.5cm

113 ✓

Pat Douthwaite (1934-2002) Scottish

“Paul Hogarth (The Shit)”

Signed and inscribed, charcoal, 77cm by 55cm

Paul Hogar th was the ar tist's husband between 1963-1970.

Provenance: Directly from the ar tist

£400-600

114 ✓

114

Pat Douthwaite (1934-2002) Scottish Crying woman

Mixed media, 63.5cm by 48cm

Provenance: Directly from the ar tist

£700-1,000

115 ✓

Pat Douthwaite (1934-2002) Scottish

Two headed bird

Signed and dated (19)72, charcoal, 49cm by 64cm

Provenance: Directly from the ar tist

£300-500 115

117

116 ✓

Pat Douthwaite (1934-2002) Scottish

Untitled Charcoal, 58.5cm by 41cm

Provenance: Directly from the ar tist

£300-500

117 ✓

Pat Douthwaite (1934-2002) Scottish

Untitled Charcoal, 68cm by 49cm

Provenance: Directly from the ar tist

£300-500

118 ✓

Norman Adams RA (1927-2005)

“The Weeping Magdelen Seeks Christ”

Initialled and dated (19)61, inscribed verso, oil on canvas, 122cm by 91cm

Provenance: Purchased from the ar tist

£600-800

119 ✓

Norman Adams (1927-2005)

“The Kiss of Judas”

Initialled and dated (19)61, inscribed verso, oil on canvas, 81cm by 86cm

Provenance: Purchased from the ar tist

£400-600

121 ✓

Alan Reynolds (1926-2014)

“Weald” (1959)

Screen printed cotton for Edinburgh Weavers, 38cm by 49cm

Literature: “Artists’ Textiles in Britain 1945-1970”, The Antique Collectors’ Club in association with The Fine Ar t Society/Target Galler y, 2003, p.98

£120-180

123 ✓

Alan Reynolds (1926-2014)

“Crystalline” (1960)

Jacquard and woven cotton and rayon for Edinburgh Weavers, 35 cm by 53.5cm

“Crystalline” is a translation of Reynold’s painting “August Image”.

Literature: “Artists’ Textiles in Britain 1945-1970”, The Antique Collectors’ Club in association with The Fine Ar t Society/Target Galler y, 2003, p.98

£200-300

122 ✓

Alan Reynolds (1926-2014)

“Legend” (1963)

Screen printed cotton for Edinburgh Weavers, 61cm by 55.5cm “Legend” is a translation of Alan Reynolds’s painting “Black Ovoid” 1962. It received the Design Centre Award for 1965.

Literature: “Artists’ Textiles in Britain 1945-1970”, The Antique Collectors’ Club in association with The Fine Ar t Society/Target Galler y, 2003, p.99

£200-300

John

“Cotswold”

Screen printed cotton for David Whitehead and Sons circa 1960, 55cm by 55cm

Literature: “Artists’ Textiles in Britain 1945-1970”, The Antique Collectors’ Club in association with The Fine Ar t Society/Target Galler y, 2003, p.87, no.76

“House and Garden”, November 1960, p.136

£200-300 124

125

“Saraband” (1956)

Screen printed cotton for Edinburgh Weavers, 40cm by 54cm

£150-250

124 ✓

Egerton Christmas Piper CH (1903-1992)

125 ✓

Robert McGowan (1926-1989)

126 ✓

Michael O’Connell (1898-1976) “Leprechauns”

Signed, hessian wall hanging with hand embellishment circa 1967, 125cm by 175cm

Sold together with a copy of Michael O’Connell “The Lost Modernist” by Harriet Edquist

Michael O’Connell (1898-1976) was born to Irish parents, initially living in Dalton followed by Lancashire and Cumbria. In his early years he was sent as a lay boy to Ushaw College, a Roman Catholic seminar y in County Durham. In 1920 he emigrated to Australia where his ar tistic career began, firstly creating watercolours, concrete pots and ornaments. He gained great acclaim in this field and became an active member of the Ar ts and Crafts Society of Victoria. After a visit home to England O’Connell star ted creating textile designs with Australian inspiration. Using a combination of techniques and ideas the works featured vibrant primitive designs in bright colours.

O’Connell returned to England in 1937. Here he purchased land at Perr y Green and built The Chase House and Studio. He established links with many decorative textile companies including Heals and Harrods of London which sold much of his work. Although production halted during WW2, O’Connell used this time to develop techniques, moving into freehand drawing and resist pastes. When the war ended Christopher Heal was instrumental in obtaining supplies of fabric to enable work to begin again. The newly developed techniques were those used to create the Festival of Britain Wall hangings.

After the Festival of Britain, the popularity of Michael’s work increased and he received commissions to create murals for public buildings, restaurants, factor y canteens and showrooms. In the 1960s, he began to travel widely and to teach his techniques in ar t schools. He also worked with architects, producing murals for universities and churches. Collections of his work are held in the Victoria and Alber t Museum, the Museum of English Rural Life, the National Museums Scotland, the National Galler y of Australia, Canberra and the National Galler y of Victoria, Melbourne.

£600-800

Screenprint on linen, for Schumacher & Co, USA, 110cm by 46.5cm

This fabric is featured in the collection of the Metropolitan Museum of Ar t, New York

Sc

128 ✓

Padraig MacMiadhachain (1929-2017) Irish “Dream City” (1969)

reen printed cotton, for David Whitehead and Sons, 33.5cm by 65.5cm £70-100

127

127

Frank Lloyd-Wright (1867-1959) American “Taliesin Line No.102” (1955)

£200-300

Sc

“Cavallo” (1959)

Jacquard woven furnishing fabric for Edinburgh Weavers, 43cm by 53cm

Literature: “Artists’ Textiles in Britain 19451970”, The Antique Collectors’ Club in association with The Fine Ar t Society/Target Galler y, 2003, p.102 £200-300

130 ✓

Pablo Picasso (1881-1973) Spanish “Spring” (1955)

reen printed cotton for Fuller Fabrics, 34cm by 34cm £100-200

129 ✓ Marino Marini (1924-1997)

131 ✓ Pablo Picasso (1881-1973) Spanish “Diurnes Découpages et Photographies”

Number 909/1000, por tfolio containing 30 original photograms made by André Villers with text by Jacques Préver t, 1962, Paris, 41cm by 31cm £700-1,000

132 ✓

Joan Miró (1893-1983) Spanish “Le Vent Parmi les Roseaux” (1971) Signed and numbered 97/115, etching and aquatint, 32cm by 23.5cm £2,000-3,000

133 ✓ Joan Miró (1893-1983) Spanish Abstract poster design Signed and numbered 8/35, lithograph, 76cm by 56cm £3,000-5,000

134 ✓

Joan A.R. Penck (1939-2017) German “Standart auf Kreuzsockel” (Standart on cross base) (1993/94) This piece is unique, hand signed (incised into the metal verso), ed.1/7, stainless steel, each with a different base, 24cm by 23cm by 17cm

Provenance: Collection of Gottfried Bräunling Galerie Kellermann, Düsseldor f Private Collection, California Private Collection, UK

Sold together with the cer tificate of authenticity

Born Ralf Winker (1939-2017) in Dresden in the wake of WWII and the par tition of Germany, Penck was a painter, printmaker, draftsman, sculptor, filmmaker, and musician. He was a largely self-taught ar tist, the ar t academies of the GDR (German Democratic Republic) having repeatedly denied him entr y into formal training, but he managed to study drawing and painting at a community college (1953-54) before taking up a draughtsman apprenticeship at an adver tising agency. In 1968 he began to exhibit illicitly in Cologne, West Germany. It was around this time he took up the pseudonym of ‘A.R Penck’ after studying the work of the geologist Albrecht Penck. The unlawful exhibitions led to the Stasi (secret police) watching him, so in 1980 he was expatriated from East to West Germany. When he officially entered the West in 1980, his visual language of reduced, simplified stick figures and symbols acclimatised to the wave of Neo-Expressionism. He called his style “Standar t,” standard symbols that could be understood universally. The simple forms were inspired by cave paintings, and follows the ar tistic traditions set by German Expressionism. He utilised “Standar t” to confront socio-political themes and personal emotions. In 1970 he said that “Every Standart can be imitated and reproduced and can thus become the property of every individual…What we have here is a true democratisation of art.” This unique stainless-steel figure is one of seven, each with a different base. The free-standing sculpture showcases the austere simplicity of the industrial material as well as the irregular depiction of the human body.

Penck had a prolific career and worked in Dusseldor f, Dublin, London, and Cologne. He par ticipated in some Documenta exhibitions (1972, 1977, 1982, and 1992) in Kassel, Germany, and in the 41st Venice Biennale (1984); has received multiple awards, not limited to the Goethe Rembrandt Prize by the Foundation in Basel (1980) and Nord/LB Prize for Ar t (1987). Today, Penck’s works can be found in the collections of the London Tate Modern, the Ar t Institute of Chicago, The Museum of Modern Ar t in New York, the Stedelijk Museum, the Kunstmuseum Basel and others.

£30,000-50,000

135 ✓

Peter Thursby (1930–2011)

“Looking Forward”

Signed, mixed media study for the bronze sculpture commissioned by Exeter City Council to commemorate the Queen’s Silver Jubilee in 1977, together with two fur ther unframed 1987 watercolour sculptural studies by the ar tist, an abstract drawing dated 18/12/(19)69 and a copy of “Peter Thursby” by Vivienne Light and Simon Olding, 50cm by 35cm, 63.5cm by 48cm & 76cm by 56cm respectively (5)

£250-400

136 ✓

Ivor Abrahams RA (1935-2015)

Surreal forms in a landscape

Screenprint with flocking and cut out card, together with a collection of fifteen fur ther surreal screenprints by the same hand and a copy of “The Life and Work of Ivor Abrahams” by Andrew Lambir th, 12cm by 17cm and various other sizes (17) (unframed)

Ivor Abrahams (1935-2015) was a British sculptor, ceramicist and printmaker He studied sculpture at Saint Mar tin’s School of Ar t (1952-54) before going on to attend Camber well School of Ar t (1954-57). He found inspiration in a diverse range of subjects, including the British garden, cityscapes, oceans, mythologies, animals and the human figure. By the late 1960s, Abrahams began experimenting with new materials, including bronze, nylon flocking, prevulcanized latex, styrene, and plastics. His works have been exhibited widely, with a sculpture retrospective at the Yorkshire Sculpture Park in 1984 and a prints retrospective at the Royal Academy of Ar ts in 1999. His works are held in several public collections including the British Council, the Bibliothèque Nationale, Paris, and the Metropolitan Museum in New York. £100-200

137 ✓

David Blackburn MBE (1939-2016)

“Yellow Coastline Form”

Signed and dated 1976, pastel, 62cm by 51cm £400-600

138 ✓

David Blackburn MBE (1939-2016)

“Central Australian Landscape” Signed and dated 1979, pastel, 62.5cm by 51cm £400-600

139 ✓

Sir Sidney Robert Nolan OM, AC, CBE, RA (1917-1992)

Australian/British

“Desert Landscape”

Signed, inscribed and numbered 54/100, lithograph, together with three fur ther signed and inscribed lithographs each numbered 54/100 by the same hand “Night”, “Dalila” and “Ram in Thicket”

58cm by 71cm (4)

£200-300

140

Clement Meadmore (1929–2005) Australian

“Split Ring”

Signed and dated (19)72, inscribed and numbered 15/125, screenprint, 69cm by 64cm

£150-250

141 ✓

Julian Opie (b.1958)

“Still Life with Orange, Grapes and Red Apple” (2001)

Signed and numbered 5/40, lambada print laminated onto canvas, 39cm by 65cm

£700-1,000

142 ✓ Richard Billingham (b.1970) Two Whippets Oil on canvas, 104cm by 156cm

Provenance: Purchased from the ar tist’s graduation show at Sunderland University circa 1994

£1,000-2,000

142

143 ✓

Tracey Emin CBE, RA (b.1963)

“I’m the Last of My Kind” (2019)

Offset lithographic poster for Galleria Lorcan O’Neill, Rome, 80cm by 60cm (unframed)

£100-200

144 ✓

Tracey Emin CBE RA (b.1963)

“Sex for One”

Signed and dated 2010 on an Ar tists’ Tale First Day Cover, biro, 11.5cm by 21.5cm (unframed)

£300-500

145 ✓

Sir Peter Blake CBE, RDI, RA (b.1932)

Doodle

Signed, mixed media, together with a signed Beatles First Day Cover and a signed t-shir t by Rose Blake from The Ar t Car Boot Fair, 10cm by 15cm and 13cm by 22.5cm respectively (4) (unframed)

£150-250

146 ✓

Sir Peter Blake CBE, RDI, RA (b.1932)

“The First Real Pop Shoes” No.242/600, size 44, in the original box and tin, together with a signed Beatles Lonely Hear ts Club Band print, 25.5cm by 20cm (unframed) (2)

£250-400

147 ✓

Sir Grayson Perry CBE RA Hon FRIBA (b.1960)

“Normal People”

Signed poster with Alan Measles doodle, together with a V&A Museum First Day Cover signed by the ar tist, 59.5cm by 42cm and 11cm by 22cm respectively (2)

£200-300

148 ✓

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

149

Cy Twombly (1928-2011) American

“3 Notes From Salalah” (2008)

Offset lithographic poster for Gagosian Galler y, Rome, 76cm by 56.5cm (unframed)

£250-400

150

Woop Studios (Contemporary)

“An Alphabet of Collective Nouns”

Each signed and numbered 1/11, with the Woop Studios blindstamp, screenprint, 59cm by 42cm, encased in the original por tfolio case (26)

£250-400

151

Nelson Mandela (1918-2013) South African

“The Struggle Series”

Signed ar tist’s motivation, together with five fur ther lithographs, each numbered 263/950, 19.5cm by 14cm (framed as one)

Provenance: Touch of Mandela, Cape Town £700-1,000

152

Nelson Mandela (1918-2013) South African

“The Cell from The Robben Island Launch”

Numbered 42/1500, lithographic poster together with a fur ther poster from the same series Nelson Mandela, “The Window”, numbered 73/1500, 84cm by 51cm (2)

£200-300

153

Nelson Mandela (1918-2013) South African “The Window, Robben Island” Signed and numbered 162/500, lithograph, together with a fur ther lithograph depicting the “Artists Motivation”, 66cm by 50cm (2) £700-1,000

154

Nelson Mandela (1918-2013) South African

“The Ward”

Signed and numbered 243/350, lithograph, together with a fur ther lithograph depicting the “Artists Motivation” and a signed photograph of the ward by Grant Warren, 40cm by 50cm (3)

Provenance: Touch of Mandela, Cape Town £1,000-1,500

Bob Dylan (b.1941) American “Woman in Red Lion Pub” (2014) Signed and numbered 260/295, giclee print, 61cm by 45.5cm

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

Signed and numbered 238/295, giclee print, 62.5cm by 45.5cm

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

155

£1,000-1,500

156

Bob Dylan (b.1941) American “Fisherman” (2016)

£1,000-1,500

155

157

Bob Dylan (b.1941) American “Sunflowers” (2018) Signed and numbered 110/295, giclee print from “The Drawn Blank Series”, 62cm by 45cm Sold

158

158 Bob Dylan (b.1941) American “Donut Shop” (2016) Signed and numbered 291/295, giclee print from “The Beaten Path”, 47cm by 66cm

Sold together with the Washington Green Fine Ar t cer tificate of authenticity £1,000-1,500

159

Bob Dylan (b.1941) American “Hamburger Stand, Long Beach” (2017) Signed and numbered 46/295, giclee print from “The Beaten Path”, 49cm by 66cm

Sold together with the Washington Green Fine Ar t cer tificate of authenticity £1,000-1,500

159

160

160

Bob Dylan (b.1941) American “Lay Lady Lay”

Signed and numbered 466/495, lithograph from “Mondo Scripto”, 45cm by 73.5cm

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

£800-1,200

161

Bob Dylan (b.1941) American “Knockin’ on Heaven’s Door”

Signed and numbered 214/495, lithograph from “Mondo Scripto”, 45cm by 73.5cm

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

£800-1,200 161

162

After Andy Warhol (1928-1987)

American Mick Jagger

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

£150-250

162

163 ✓

The Connor Brothers (b.1968)

“I Tried to Drown My Sorrows But The Bastards Learnt To Swim”

Signed, offset lithograph, 70cm by 50cm (unframed)

£200-300

165

164

164

Yoshitomo Nara (b.1959) Japanese “Marching on a Butterbur Leaf”

Offset lithographic poster, published by Dallas Contemporar y, USA, 61cm by 46cm (unframed)

£250-400

165

Yoshitomo Nara (b.1959) Japanese “Banging the Drum”

Offset lithographic poster, published by Dallas Contemporar y, USA, 68.5cm by 43cm (unframed)

£250-400

166

Yoshitomo Nara (b.1959) Japanese “Real One”

Offset lithographic poster, published by Dallas Contemporar y, USA, 38cm by 43cm (unframed)

£250-400

167

Shepard Fairey (b.1970) American “Obey 3 Face Collage”

Each signed and dated (20)23, offset lithographic poster, 61cm by 45.5 (3) (unframed)

£250-400

168

Shepard Fairey (b.1970) American “Make Art Not War”

Signed and dated (20)23, offset lithograph, together with a fur ther signed offset lithograph by the same hand “Liberté Egalité Fraternité”, 91.5cm by 61cm (2) (unframed)

£300-500

–––––168 –––––

167

169 ✓

David Shrigley OBE (b.1968)

“He Will Only Eat Squid Ink Pasta”

Offset lithographic poster, together with three fur ther posters by the same hand

“Life is Very Good”, “I Did Not Ask to Be a Bird” and “I Will Not Fight”, 80cm by 60cm (4) (unframed)

£300-500 169

––––––––––––––––––––––––––––––––––––––––169 ––––––––––––––––––––––––––––––––––––––––

170 ✓

David Shrigley OBE (b.1968)

“People Expect so Much From Me”

Offset lithographic poster, together with three fur ther posters by the same hand “Some of My Best Friends Are Pigs”, “Truth” and “You Are to Close”, 80cm by 60cm (4) (unframed)

––––––––––––––––––––––––––––––––––––––––170 ––––––––––––––––––––––––––––––––––––––––

BRITISH, EUROPEAN & SPORTING ART

SATURDAY 15 JULY 2023

For fur ther information please contact:

Charlotte Conboy 01969 623780

charlotte.conboy@tennants-ltd.co.uk

www.tennants.co.uk

Guy Cooper 01969 623780

guy.cooper@tennants-ltd.co.uk

www.tennants.co.uk

Hendrik Reekers (1815-1854)

Dutch

A plentiful still life with varied game and hunting accoutrements, flowers and fruit on a silver platter before a classical urn and arranged on a stone ledge Signed, oil on panel, 92cm by 80cm £5,000-8,000

THE TB & R JORDAN COLLECTION

SATURDAY 15 JULY 2023

Charlotte Conboy 01969 623780

Arthur A Friedenson (1872-1955) Loaded hay wagon and haymaking before a sun drenched coast Signed and dated (18)94? oil on canvas, 28.5cm by 44cm £1,000-1,500

BUYERS’ INFORMATION

Buyer ’s Premium

A Buyer ’s Premium of 22% on the first £999,999 of the Hammer Price and 20% on the amount thereafter, plus VAT, is payable on each lot.

Condition Reports

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

Caveat Emptor

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

Additional Images

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

Online Bidding

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

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.

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 £8,000. We reser ve the right to withhold the purchased lots until such checks have been completed.

Agency

We act as agents for the Seller, whose details remain confidential. If you buy at auction your contract is with the Seller, not us.

Picture Descriptions

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

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

The following terms apply in our determination of a picture description:

(a) “Attributed to” - is in our opinion probably a work by the ar tist.

(b) “Studio of” - is in our opinion a work from the studio of the ar tist which may or may not have been executed under his direction

(c) “Circle of” - is in our opinion a work of the period of the ar tist executed under his immediate influence.

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

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

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

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

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

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

Telephone Bidding

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

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

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

(l) Pictures are framed unless other wise stated.

Droit de Suite/ Artists’ Resale Rights

All items in this catalogue that are marked with “✓” are potentially qualifying items, and the royalty charge (set out below) will apply if the Hammer Price is more than the UK sterling equivalent of €1,000. The royalty charge will be added to purchase invoices, and must be paid before items can be cleared. All royalty charges are paid to either the Design and Artists Copyright Society (“DACS”) or the Artists’ Collecting Society (“ACS”) by the auctioneers, and no handling costs or additional fees with respect to these changes will be retained by the auctioneer From 14 Februar y 2006 United Kingdom ar t market professionals (which includes auctioneers) are required to collect a royalty payment for all works of ar t that have been produced by living ar tists, and those who have died within the last 70 years. This payment is calculated on qualifying works of ar t which are sold for a Hammer Price more that the UK sterling equivalent of €1,000 (the UK sterling equivalent will fluctuate in line with prevailing exchange rates). It is the responsibility of the Buyer to acquaint themselves with the actual Euro to UK sterling exchange rate on the Day of Sale. The actual qualifying threshold will be calculated by the “Ar tist’s Resale Right Ser vice Hub” based on the “European Central Bank” reference rate published at 2.15pm on the Day of Sale and can be found on www.dacs.org.uk

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

Up to €50,000 – 4%

€50,000.01 to €200,000 – 3%

€200,000.01 to €350,000 – 1%

€350,000.01 to €500,000 – 0.5%

Exceeding €500,000 – 0.25%

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

Method of Payment

Payment is accepted online via our website.

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

Payment can be made and purchases collected during the auction

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

Collection

All purchases 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 £20 depending on the size and destination. Please note, we are unable to post items of a fragile nature. Items are fully insured and can be tracked from dispatch to deliver y.

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

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

NEXT MODERN & CONTEMPORARY ART SALE

SATURDAY 7 OCTOBER 2023

2023 AUCTION DATES

Friday 9 June Antiques & Interiors

Saturday 17 June

Modern & Contemporar y Ar t

Saturday 17 June 20th Centur y Design

Wednesday 28 June Militaria & Ethnographica

Friday 23 June Antiques & Interiors

Friday 7 July Antiques & Interiors

Saturday 15 July Summer Sale

Saturday 15 July British, European & Spor ting Ar t

Saturday 15 July

The TB & R Jordan Collection

Saturday 15 July

Fine Jeweller y, Watches & Silver

Friday 21 July Antiques & Interiors

Wednesday 26 July Toys & Collectables

The Auction Centre, Leyburn North Yorkshire DL8 5SG 01969 623780

enquiry@tennants-ltd.co.uk www.tennants.co.uk