BRITISH, EUROPEAN & SPORTING ART
SATURDAY 16 MARCH 2024
AUCTION
The Auction Centre, Leyburn North Yorkshire DL8 5SG
VIEWING
Sunday 10 March 11.00am to 4.00pm
Monday 11 March 11.00am to 4.00pm
Tuesday 12 March 11.00am to 4.00pm
Wednesday 13 March 11.00am to 4.00pm
Thursday 14 March 11.00am to 4.00pm
Friday 15 March 11.00am to 4.00pm
Morning of Sale from 8.00am
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FRONT COVER
Lot 1173
BACK COVER
Lot 1154
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“...the lark’s song and the speedwell in the grass; surely a man need not sigh for greater loveliness until he has read something more of this living letter, and knelt before that earth of which he is the only confusion.” Michael Fairless,The Roadmender.
Raymond Booth was a man born out of time, a countryman brought up in an overcrowded street of back-to-back houses in Leeds, where his father worked in the local constabulary, but by the time I came to know him in the early 1970s his father had retired and they had moved to a pre-war bungalow in the leafy suburb of Alwoodley with easy access to Adel Wood, a source of leaf-mould, inspiration and subject matter.
As a teenager and young man there was nothing that Raymond loved more than putting a pack on his back and walking off into the countryside. I have in my possession a transcript of a letter he wrote to a mutual friend (*) dated 20th December 1984. It reads: “I’m glad you like Scarborough. The only drawback to the place is that, even in Summer, it can have pretty awful spells of weathercold North Sea weather, thick banks of fog when the rest of the country is in a heat wave. But in good weather the whole neighbourhood is splendid, and I’ve the happiest of memories of days spent walking and camping in the area. Well - “camping” is too grand a way to describe it - I never even took a tent, just a sleeping-bag and very bare necessities, and I slept out in any bit of woodland or slight shelter I happened to be near when night fell! Very disreputable, but so interesting to be outside all the time. I used to get disturbed by prowling foxes - and tiny mice scurrying about amongst the leaves; it is surprising to find so much activity goes on at night amongst the wild life.” At such times Raymond “knelt before that earth” and absorbed the greater loveliness which Michael Fairless’s roadmender described as nature’s “living letter”.
But Raymond did not just read from nature, he was also a book-man, keen on poetry and widely read, and would almost certainly have read The Roadmender. Michael Fairless was a pseudonym for the late-nineteenth-century author Margaret Fairless Bishop (18691901), who was born, like Raymond, into a teetotal, non-conformist South Riding family, at Rastrick, within - for those like Raymond - easy walking distance of Leeds and Alwoodley. Walks during which, regardless of the weather he could enjoy and absorb the landscape; and I use the word “absorb” because he was not a plein air painter, his landscapes were painted at home from memory and are in effect syntheses of their subject. Raymond summarised his approach in another letter to the same correspondent dated 2nd August, but with no year: “Most of my pictures are done in several stages, as I don’t really like to work on any one piece of work for more than about five days at a time. Staring at a picture, all day, for days at a time, means that my perception of it gradually becomes less acute, and so I put the picture aside, and start a new one. Then when I do resume work on the part-finished one I see it with a vision refreshed, and very
Images credited to: Peyton Skipwith
often I see faults I had not really noticed before. The bigger pictures can take a year or two to complete in this way, but it means I have plenty of opportunity to consider and reappraise what has been done, and to alter the picture accordingly.”
He followed something of the same approach with regards to his paintings of flora and fauna. In the letter quoted above he told his correspondent that “Very soon I’ll be starting one or two very big decorative orchid pictures. [...] I belong to the Harrogate Orchid Society, and they borrow plants from their members to form a collective display at various exhibitions ... I usually have something to lend them, - and to my astonishment, a plant of mine won the silver cup for the best orchid in the show at a recent orchid exhibition! One spectacular one is just about to come into flower, and this is one I must paint - a most intriguing thing it is, too.” In such cases he would set down with great dexterity the essentials of the composition, either on board or on his specially prepared paper, so that background and more permanent details could be worked-up later, leaving him free to concentrate his attention on the transient blooms in all their fragile freshness.
I organised all Raymond’s exhibitions at The Fine Art Society from 1982 until my retirement in 2005, including, ten years later, the amazing “Japonica Magnifica”, which grew out of his fascination with Japanese plants and his correspondence with Don Elick, an American expatriate living in Japan, who would send him highly illicit packages of roots, bulbs and corms, some of which got confiscated at customs. Happily others got through and were carefully nurtured in the series of do-it-yourself greenhouses and conservatories that surrounded the bungalow, which he had built over the years. This resulted in an exhibition which toured six museums across America from New York to Madison, Wisconsin, before returning to the UK for a triumphant selling exhibition at The Fine Art Society, as well as in the publication of the book of the same title, one of the great florilegia of the late twentieth century.
Raymond was a reserved and private character, and through all these years our relationship had remained rather formal, but this changed in March 1998 when, having broached the idea of a book, I took the American collector and publisher, Nicholas Callaway, to meet him. In order to write it I had to probe him about his early life, art school memories, national service on the Suez Canal, where he contracted TB, resulting in a six month spell in a sanatorium. It was this break that gave him the freedom to pursue his own path and ignore his teachers’ pressure to work in a more modern idiom. Our relationship from this time on became much less formal: as we walked through Adel Woods, or sat on one of the great rocky out-crops at Adel Crags, Raymond would talk about his life and work, and draw my attention to the bird and animal life as well as varieties of fungi on rotting tree trunks, which he loved and watched and drew from year to year.
Soon after Raymond’s death his widow, Jean, rang me to ask if I would come and clear his studio (although he always referred to it as his painting room) and it was only then that I saw for the first time his early drawings dating from his time at Leeds College of Art. In many of these, to keep his tutors happy, he had tried to blend his passion for nature and poetry with a sort of post-war modernism. His mastery is clear, but TB and the spell in the sanatorium provided the break he craved, giving him time to study and develop his own path. He started by drawing examples of Shepherds Purse - the least spectacular plant he could find - to train his eye and hand undistracted by beauty. Several of these were shown at the Royal Horticultural Society in London, where they attracted the attention of the highest botanical authorities in the land. The course of his career was now set and he never looked back. He said that he was probably the only person who could truly say “Thank God for TB!”
It was a privilege to have known him for over forty years and to have played a rôle in the promotion and dissemination of his work.
Peyton Skipwith
* The late Jill Anne Bowden, whose collection of Raymond’s work was sold after her death by the London dealers, Abbott & Holder.
During the 1960s I often visited John Armitage – the influential naturalist, photographer, and curator – at his home in Meanwood, Leeds. While there I’d gravitate towards a remarkable painting of a tawny owl prominently displayed in his living room. It was not until November, 1982, opening the pages of the Observer magazine, that I first saw the name Raymond Booth; straightaway I recognised him not only as the painter of that owl I’d long admired, but as a local man. I immediately picked up the phone to John Armitage, who confirmed this and (no surprise to me, as John knew everyone) was soon offering to introduce the two of us in person.
We developed a firm friendship – lasting until Raymond’s death –through our shared love of the natural world and art. It is well known how private a man he was, that Raymond would rarely even visit his own exhibitions. I felt honoured that he would allow me to visit his painting room and discuss elements of his technique and routine. Not least his unusual choice of oils on paper, which allowed for a precision canvas never could – the results can best be seen in his depiction of animal fur or in the seed hairs of composite flowers. He often used thick Arches aquarelle paper (always from Gadsby’s on Briggate, Leeds), carefully pre-coated to prevent warping. Raymond did most of his work under ideal light conditions in the hours after dawn, painting from life whenever possible. I loved it when he’d open his chest freezer for me, a cabinet of curiosities containing dead animals delivered fresh by a dutiful network of friends and contacts.
Raymond was himself an accomplished gardener, and brought such knowledge to his craft. I came to consider his best work as equal to Thorburn in the realm of fauna, and to that of Margaret Mee in the botanical sphere. So it was a great honour when Raymond agreed to provide illustrations for my botanical monograph “British Alpine Hawkweeds”, one of which we were to use on the cover. After collecting specimens, I drove at great speed directly from the Cairngorms to Raymond’s home in Alwoodley, where he started work that same day (which is fortunate, as the following morning he woke to find one plant devoured entirely by a slug). In characteristic fashion, Raymond would accept no payment for this work, although later I was able to compensate him when one of the five illustrations was purchased by the National Museum of Wales.
It is wonderful to see Raymond’s reputation steadily grow. He is much missed, but lives on through a remarkable body of work.
David J. Tennant
Botanist and Author of “British Alpine Hawkweeds”
Acknowledgement: We are grateful for the assistance and contributions of Peyton Skipwith and David J. Tennant towards this publication and providing such insight into the artist and working practices of Raymond Booth.
1000
1000
Raymond Booth (1929-2015)
“Tree Study” (1994)
Signed and dated 1994, pencil, 64.5cm by 47.5cm
£150-250
1001
Raymond Booth (1929-2015)
“Tree Study”
Signed and dated 1995, pencil, 50.5cm by 35.5cm
£100-150
1002
Raymond Booth (1929-2015)
“Black-Headed Gull”
Inscribed, pencil and oil on paper, 40.5cm by 47cm (unframed)
£250-400
1003
Raymond Booth (1929-2015)
“Magpie”
Inscribed, pencil and oil on paper, 65cm by 45cm (unframed) £250-400
1004
Raymond Booth (1929-2015)
“Study of a Cuckoo”
Signed, pencil and oil on paper, 24.5cm by 14cm (unframed)
Exhibited: Abbot and Holder Ltd., London £100-150
1005
Raymond Booth (1929-2015)
“Study of a Marten”
Pencil and oil on paper, together with a further pencil study of a Marten, 33cm by 45.5cm and 24cm by 26cm respectively (2) (unframed)
Exhibited: Abbot and Holder Ltd., London £150-250
1006
Raymond Booth (1929-2015)
“Morning at the End of Winter”, Adel (2002)
Signed and dated (20)02, oil on board, 31.5cm by 39cm £300-500
1007
Raymond Booth(1929-2015)
“Rhododendron Keiskei var Cordifolia” (plate 25, p. 54)
Signed, oil on paper, 32.5cm by 32cm, unframed £150-250
1008
Raymond Booth (1929-2015)
“Paphiopedilum Appletonianum”
Signed, oil on paper, 47.5cm by 35cm £400-600
1009
Raymond Booth (1929-2015)
“Paphiopedilium Delenatii”
Signed, pencil and oil on paper, 34.5cm by 39.5cm, unframed £400-600
1010
Raymond Booth (1929-2015)
“Rhododendron Maculiferum Anwheiense”
Signed and dated 1998, oil on paper, 41cm by 42cm £250-400
1011
Raymond Booth (1929-2015)
“Barkeria Skinneri”
Signed, oil on paper, 72.5cm by 27cm
£300-500
1012
Raymond Booth (1929-2015)
“A Denophora Species” Signed, oil on paper, 98cm by 27.5cm £300-500
1013
1013
Raymond Booth (1929-2015)
Study of yellow Fritillaria and bulb
Signed, pencil and oil on paper, 46cm by 21cm, unframed £150-250
1014
Raymond Booth (1929-2015)
“Hemerocallis Dumortierie” (1987)
Signed and dated 1987, pencil and oil on paper, 35cm by 33.5cm £300-500
1015
Raymond Booth (1929-2015)
“Iris Spuria” (2002)
Signed and dated 2002, pencil and oil on paper, 71.5cm by 47.5cm £400-600
1016
Raymond Booth (1929-2015)
“Fritillaria Eduardii”
Signed, oil on paper, 67.5cm by 43.5cm £400-600
1019
Peter de Wint OWS (1784-1849)
“Old Cottages, Lincoln”
With inscribed label verso, watercolour with scratching out, 40.5cm by 51.5cm
For a comparable work see “Old Houses on the High Bridge, Lincoln” in the V&A Collection, Accession No.179-1598, which is also referenced in Lord (John)
“Peter de Wint for the Common Observer of Life and Nature”, Lund Humphries, 2007.
Provenance: Dutton Manor, Lancashire
Thomas Agnew and Sons, Manchester £600-900
1020
Peter de Wint OWS (1784-1849)
“On the Yare”
Watercolour, 26.5cm by 38cm
Provenance: Dutton Manor, Lancashire £300-500
Samuel Prout OWS (1783-1852)
“Cafe de la Place, Rouen”
Signed, watercolour, 70.5cm by 52.5cm
Sold together with the loose original artist’s inscribed label
Provenance: Colnaghi, London
£1,000-1,500
Silvio Giulio Rotta (1853-1913) Italian Street urchins playing cards
Signed and inscribed “Venezia”, watercolour, 18.5cm by 28cm
Provenance: The Estate of the late David Middleton £500-800
Myles Birket Foster RWS (1825-1899) Fruit Market, Venice (1879)
Monogrammed, various inscribed labels verso, watercolour heightened with white, 12.5cm by 17.5cm
Provenance: Dutton Manor, Lancashire Richard Howarth, Blackburn
Exhibited: Royal Society of Painters and Watercolours, February 1900
Japan = British Exhibition (presumed 1910), according to fragments of label verso
£250-400
Fred Lawson (1880-1968)
Leyburn market
Signed, pen and watercolour, 27cm by 37.5cm £250-400
1025
1025
George Weatherill (1810-1890)
Aerial view of the bridge at Whitby
Signed, mixed media, 11.5cm by 20cm
£800-1,200
1026
George Weatherill (1810-1890)
“Lower Harbour Whitby, looking towards the Old Bridge” Signed, watercolour with scratching out, 14.5cm by 23cm
Provenance: Walker Galleries, Harrogate
£300-500
1027
George Weatherill (1810-1890)
Fishing boats off a bay
Signed, pencil and watercolour, 11cm by 20cm £300-500
1028
George Weatherill (1810-1890)
“Whitby Harbour”
Signed, watercolour, together with a further work by the same hand
“Shipping by Moonlight, East Cliff, Whitby”, 9cm by 13.5cm & 11.5cm by 21cm respectively, framed as a group of two £400-600
George Weatherill (1810-1890)
Whitby Pool by Moonlight
Signed and dated 1877, pencil and watercolour heightened with white, 49cm by 69.5cm
£700-1,000
Frederick William Scarborough (1860-1939)
Extensive harbour scene, possibly Whitby Signed, watercolour, 34cm by 51cm
£600-800
Albert George Stevens (1863-1925)
A Whitby Jet worker
Signed, watercolour, 21.5cm by 18.5cm £180-250
1034
Ernest Dade (1864-1934)
Scotch Herring fleet leaving Scarborough
Signed, inscribed and dated 1907, watercolour heightened with white, 48.5cm by 74.5cm £500-800
1036
Joseph Richard Bagshawe (1870-1909)
Rescuing a ship from a storm
Signed and dated 1907, watercolour and gouache, 24.5cm by 34cm £500-700
1037
Rowland Henry Hill (1873-1952)
View of Whitby Abbey from the harbour
Signed and dated 1926, mixed media, 36.5cm by 34.5cm £250-400
1038
Ernest Dade (1864-1934)
Taking on water
Watercolour and gouache, 50cm by 75cm £400-600
1039 ✓
Frank Henry Mason RBA (1875-1965)
“The Sail Loft”
Signed, inscribed and dated 1940, mixed media, 77cm by 57cm £600-900
1040
1040
Ernest Dade (1864-1934)
Shipping in choppy waters
Signed and dated 19(?)4, gouache, 50cm by 75cm £500-800
1041 ✓
Frank Henry Mason RBA (1875-1965)
“Constantinople”
Signed and inscribed, gouache and watercolour, 25cm by 35.5cm
£400-600
1042 ✓
Frank Henry Mason RBA (1875-1965)
North African coastal scene
Watercolour and gouache, 25cm by 35.5cm £400-600
1043
Alfredo Helsby (1862-1933) Chilean
Seascape
Signed, oil on paper, 26cm by 34.5cm
£400-600
1044
1044 ✓
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970)
Staithes Fisher Lady
Pencil, 21.5 cm by 16cm
Provenance: Walker Galleries, Harrogate
£150-250
1045
1045 ✓
Attributed to Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970)
Time changes all things, with bird study verso
Pencil, 16.5cm by 21.5cm £250-400
1046
1046
Attributed to Eugène Boudin (1824-1898) French Beach Scene
Signed verso, pencil, 9.5cm by 17.5cm (unframed)
Provenance: Purchased in Paris, 1965, according to typed information to reverse £300-500
1048
Thomas Daniell RA (1749-1840)
1047
Attributed to Thomas Heeremans (1641-1694) Dutch
Figures in a frozen river landscape
Watercolour, 27cm by 34.5cm £250-400
“On the Bridge, Juanpur, (7th Dec 1789)”
Numbered in pencil 131 to margin, and 77/33 to mount, pencil and watercolour en grisaille, together with a further inscribed example “Jumma Musjid Rajmahal”, and numbered 117/33, monochromatic pencil and watercolour by William Daniell RA, 33cm by 42cm and 32cm by 46.5cm respectively (2)
Provenance: Thomas Agnew & Sons Ltd, London £600-900
Initialled, mixed media, 55cm by 40cm
It has been suggested that this is a study for a woodcut Brangwyn made entitled “Boxing Match”, 15.3cm by 20.2cm, c.1919. He also collaborated with H G Webb who made a woodcut entitled “Boxers”, 15.2cm by 21cm, c.1919.
We are grateful to Dr Elizabeth Horner for her help with cataloguing this picture.
£700-1,000
Eugene Galien-Laloue (1854-1941) French Paris, winter fruit stalls (1910) Signed, gouache, 19cm by 31cm
Provenance: Omell Galleries, London £3,000-4,000
1051
1051
Alexander Mark Rossi (1840-1916)
“On Trust”
Signed and dated 1892, with original artist’s inscribed label verso, watercolour, 64cm by 36.5cm
Provenance: Dutton Manor, Lancashire
Exhibited: Crystal Palace Picture Gallery, competition for prizes 1893, number 654
£600-900
1052
1052
Christian Meyer-Ross (1843-1904) Norwegian Portrait of an elegant lady, three-quarter length standing, wearing a fine pink evening dress, an ermine stole, and holding an ostrich feather fan
Signed, inscribed “Roma” and dated (19)03, pastel, 134cm by 75.5cm
£700-1,000
1053
John Atkinson (1863-1924)
The Artist’s Daughter
Signed, watercolour, 45cm by 59cm
£250-400
1054
Myles Birket Foster RWS (1825-1899)
“The Lay of the Labourer”
Watercolour, 9.5cm by 13cm
Illustrated:“Hood’s Poems”, 1872 £120-180
1055
Arthur Reginald Smith ARA, RSW, RWS (1872-1934)
“Kirkby Stephen”
Signed, watercolour, 27cm by 36.5cm
Provenance: Dutton Manor, Lancashire
The Fine Art Society Limited, 1934 £180-250
1056
William Woodhouse (1857-1939)
Hen and cock pheasant grazing
Signed, watercolour, 25.5cm by 35cm £300-500
1057 ✓
Vincent Balfour Browne (1880-1963)
“Only that wretched 6 pointer”
Initialled, watercolour, 9.5cm by 15cm
Provenance: Rowland Ward’s, London
£250-400
1058 ✓
Rodger McPhail (b.1953)
Cock pheasant in vegetation
Signed, watercolour, 20.5cm by 21.5cm
£150-250
1059 ✓
George Morrison Reid Henry (1891-1983)
“Accipiter nisus” - Studies of a Eurasian Sparrow Hawk
Signed, inscribed and dated 2-IX-60, gouache, 22.5cm by 21.5cm
£250-400
1060 ✓
Attributed to Archibald Thorburn FZS (1860-1935)
Red grouse calling on a rocky outcrop
Signed and dated 1925, watercolour, 26.5cm by 36.5cm
Provenance: Dutton Manor, Lancashire
Richard Haworth, Blackburn
£600-900
1061 ✓
John Cyril Harrison (1898-1985)
Pheasant in a landscape
Signed, watercolour, 35.5cm by 50cm
The watercolour is “Ex-Pheasants of the World, Principals and Monoalicus”
Provenance: Christie’s anonymous sale
£700-1,000
1062 ✓
John Cyril Harrison (1898-1985)
Peregrine Falcon
Signed, watercolour, 44cm by 29cm
Sold together with five letters from the artist to the vendor’s father dated 1947
£1,000-1,500
1063 ✓
John Cyril Harrison (1898-1985)
Gyrfalcon perched on a rock
Signed, watercolour, 44cm by 29cm
£1,000-1,500
1064 ✓
George Edward Lodge (1860-1954)
‘’The Raid in the Snow’’ - Sparrowhawk and Bramblings
Signed, gouache, 36cm by 50.5cm
Exhibited/Provenance: Robert Dunthorne, London, No. 38, Exhibition, 1920
£1,000-1,500
1065 ✓
George Vernon Stokes (1873-1954)
Polar Bear emerging from the frozen waters
Signed, mixed media, 26.5cm by 22cm
Provenance: Dutton Manor, Lancashire Directly from the artist, as a gift to his student at the end of her tuition.
£300-500
Attributed to John Frederick Herring Snr. (1795-1865)
Horse team and caravan traversing a Winter landscape Indistinctly signed, oil on canvas, 49.5cm by 59.5cm
With Christie’s stencil JN126 £2,000-3,000
The troublesome young bull
Signed, oil on canvas, 34.5cm by 60cm £200-300
Partridge shooting
Signed, oil on canvas, 49.5cm by 60cm £1,200-1,800
1069
Eugene Joseph Verboeckhoven (1799-1881) Belgian Sheep and lambs in a stable, with a view of an extensive landscape beyond
Signed and dated 1878, extensively inscribed verso, oil on canvas, 67cm by 54.5cm
Provenance: Dutton Manor, Lancashire £1,200-1,800
Follower of Melchior de Hondecoeter
Dutch Cocks Fighting
With extensively inscribed, indistinct label verso, oil on panel, 85cm by 117.5cm
A gentleman standing in a landscape, holding the reins of a chestnut hunter
Signed and indistinctly dated 1816?, oil on canvas, 70cm by 89.5cm
Provenance: Tynte-Irvine family, Ireland £2,000-3,000
Attributed to John Samuel Raven (1775-1847) “A Scurry”
Oil on panel, 18.5cm by 91cm
Provenance: Arthur Ackermann & Son, Ltd. London £250-400
1073
William Woodhouse (1857-1939)
Sportsman and dog walking up grouse
Signed, oil on canvas, 33cm by 45.5cm £800-1,200
1074
Robert Henry Roe (1822-1905)
In Full Cry
The Huntsman Return
The latter signed and dated (18)89, oil on canvas, 44.5cm by 80cm (2) £300-500
1075
1075
George Wright (1860-1942)
“Phyllis”
Signed and dated (18)89, oil on canvas, 39.5cm by 49.5cm
£600-900
1076
Benjamin Cam Norton (1835-1900)
Adam and Amy Agnes Dugdale in Griffin Park, Blackburn, Lancashire, with St. Philip's church in the background
Signed and dated 1874, oil on canvas, 82.5cm by 110cm
£700-1,000
Lifeguards in Convoy
Monogrammed, oil on canvas, 24cm by 34cm
Provenance: The Estate of the late David Middleton £800-1,200
Ernest Higgins Rigg (1868-1947)
Working horse going into a stable Signed, oil on panel, 31cm by 45.5cm £600-900
1079
William Woodhouse (1857-1939) “The Stable”
Signed and inscribed to stretcher verso, oil on canvas, 60cm by 75cm £700-1,000
1080 ✓
Rosemary Hetherington (later 20th century)
‘’Dawn Run, Jonjo O’Neil’’
Signed and inscribed, dated 1988 and numbered 4/6, bronze, 39.5cm high, including marble base
£700-1,000
1081 ✓
Siobhan Bulfin (Contemporary) Irish
“Dubai Rearing Arabian”
Signed, bronze, 33cm high
Sold together with a copy of the foundry certificate, dated September 14th (20)21, edition number 7/9
£1,200-1,800
Wright Barker RBA (1864-1941)
Working dog with retrieved pheasant in an Autumnal landscape
Signed, oil on canvas, 75cm by 62.5cm
£500-800
Attributed to John Sargent Noble (1848-1896)
“A Mothers Care”
Signed, signed and inscribed verso, oil on canvas, 29cm by 44cm
Provenance: The Estate of the late David Middleton
£700-1,000
£500-800
✓
Harbour with fishing village beyond at dusk, probably Mevagissey
Oil on board, 28.5cm by 39cm £300-500
✓
Village in a landscape, possibly Seamer, North Yorkshire Signed, oil on board, 29cm by 39cm £400-600
Charles Hodge Mackie RSA, RSW, PSSA (1862-1920) Scottish “Pastures...” (In the Esk Valley)
Signed, signed and inscribed to stretcher verso, oil on canvas, 48cm by 55cm
Provenance: Phillips and Sons Fine Art, Marlow £400-600
He was a French Impressionist artist who spent the majority of his career in the North of England. Whilst he best be remembered today as being the highly influential tutor to L.S. Lowry, Valette created a significant body of work in oils, watercolours and drawing media.
Valette was born in St Étienne but moved to England in 1904 to study at the Birkbeck Institute. The following year he moved to Manchester to work for a company producing greetings cards and calendars, but he was soon recruited to teach at the Manchester Municipal School of Art. It was here that Valette opened Lowry's eyes to the potential of depicting urban landscapes and brought first-hand knowledge of the great Impressionists. Indeed, Lowry later said: “I cannot over-estimate the effect on me at that time of the coming into this drab city of Adolphe Valette… He had a freshness and a breadth of experience that exhilarated his students.”
Much celebrated for his series of evocative Impressionist views of Manchester, with its hazy streets and glowing lights, Valette now has a room dedicated to his work at the Manchester Art Gallery. Valette returned to Paris in 1928 and spent the remainder of his life in France.
1088
Adolphe Valette (1861-1942) French
A lively beach scene, possibly Wales
Signed, dated 1916 to label verso, oil on canvas, 38cm by 53.5cm
Provenance: The Perera Collection
Purchased from Mr. Lamming in Jersey (who was the executor of Andre Valette’s Estate.)
£8,000-12,000
Adolphe Valette (1861-1942) French “Rocher Corneillee, Le Puy” 1925
Signed, inscribed and dated to label verso, oil on board, 31cm by 40.5cm
Provenance: The Perera Collection, No.18 Purchased from Andre Valette (artist’s wife)
Exhibited: City of Salford Art Galleries, 21st September - 28th October 1984, Salford Portsmouth City Museum, “Adolphe Valette”, 12th February - 27th March 1983 £5,000-8,000
Adolphe Valette (1861-1942) French
Self portrait
Dated 9 Aout 1922, oil on board, 23.5cm by 15.5cm
Provenance: The Perera Collection
Purchased from Mr Lamming, Jersey, the executor of Andre Valette’s estate
£8,000-12,000
Cattle
Signed, oil on board, 23.5cm by 34.5cm
£200-300
Signed and dated 1910, oil on canvas, 49cm by 75cm
£500-800
Rene Charles Edmond His (1877-1960)
French Sylvan river landscape
Signed, oil on canvas, 37cm by 44.5cm
Provenance: The Horner Galleries, Sheffield £700-1,000
Richard Henry Brock (exh.1897-1915)
Penning the Turkeys
Signed and dated 1901, oil on canvas, 54cm by 90cm
Provenance: John Noott, Broadway
Sold together with a copy of the sales invoice from John Noott, Broadway, dated 3/9/84
£400-600
1095
1095 ✓
Arthur Friedenson (1872-1955)
Cattle before Richmond, North Yorkshire
Signed, oil on canvas, 49cm by 75cm
£1,200-1,800
1096
1096
William Mellor (1851-1931)
“On the Wharfe, Bolton Woods”
Signed, oil on canvas, 44.5cm by 75.5cm £500-800
1097
William Mellor (1851-1931)
“On the Wharfe, Bolton Woods, Yorkshire” Signed, oil on canvas, 52cm by 36cm Haynes Fine Art Gallery, Broadway label verso £600-900
William Mellor (1851-1931)
“Fairy Glen North Wales”
Signed, oil on canvas, 44cm by 34cm £300-500
William Mellor (1851-1931)
River and waterfall
Signed, oil on canvas, 45cm by 35.5cm £400-600
1100
William Mellor (1851-1931)
“On the Derwent, Derbyshire”
Signed, inscribed verso, oil on canvas, 38.5cm by 74cm
£400-600
1101
William Mellor (1851-1931)
On the Wharfe, Boroughbridge (believed to be)
Signed, oil on canvas, 49.5cm by 74.5cm
£600-900
1101
Alfred de Breanski Snr. (1852-1928)
“The River Turk”
Signed, inscribed verso, oil on canvas, 50cm by 65.5cm £3,500-5,000
Samuel Bough RSA, RSW (1822-1878) Scottish “Yauwath Mill, On the Lowther, Westmorland”
Signed and dated 1848, oil on canvas, 61.5cm by 74cm
Provenance: Purchased from the artist by a member of the seller’s family and thence by descent (by repute)
£2,000-3,000
1104
Attributed to John Dixon (18th century) Figures bathing before classical buildings Indistinctly signed and dated, oil on canvas, 71cm by 87cm
Provenance: Clive MacDonnell Dixon, Great Ayton and Stokesley, Yorkshire Private Collection, Yorkshire £500-800
Circle of Gaspard Dughet (1615-1675) French
An extensive Classical landscape with figures and exercising horses
Oil on canvas, 111cm by 152cm
Provenance: Stephen, 5th Baron Deramore (by repute)
£4,000-6,000
1106
Jan Jacob Coenraad Spohler (1837-1894) Dutch “Winter”
“Summer”
Signed, oil on panel, 20.5cm by 15.5cm (2)
Provenance: MacConnal-Mason, London £2,000-4,000
1109
1110
Hermanus Koekoek Snr. (1815-1882) Dutch Sailing and fishing boats in an estuary Signed, oil on canvas, 38.5cm by 53.5cm
Provenance: Dutton Manor, Lancashire
£2,000-3,000
Circle of George Clarkson Stanfield (1828-1878) Continental harbour with figures and vessels in evening sun Oil on canvas, 59.5cm by 105cm
Provenance: Dutton Manor, Lancashire £800-1,200
Circle of Giovanni Costa (1826-1903) Italian Mending the nets Oil on board, 15.5cm by 24cm £200-300
Signed, oil on canvas, 31.5cm by 53cm £500-800
1111
1112
1113
Theodor Alexander Weber (1838-1907) German Leaving Harbour, Bologne
1113
1112
1114
Arthur Joseph Meadows (1843-1907)
Naples
Signed and dated 1902, oil on canvas, 74.5cm by 39cm
Provenance: Cooling Galleries, London, 1958
Rowles Fine Art, Powys
Private Collection, North Yorkshire
£4,000-6,000
1115
Charles Thornley (fl.1859-1898)
Scene on the Medway at Rochester
Signed, oil on canvas, 39cm by 59cm
£700-1,000
1116
Henry Redmore (1820-1887)
Fishing boat hauling in nets, and other vessels at sunset
Signed and dated 1885, oil on canvas, 27.5cm by 42.5cm
£700-1,000
1117
Henry Redmore (1820-1887)
Shipping off a coastline
Signed and dated 1869, oil on canvas, 28.5cm by 43.5cm
£800-1,200
1118
Henry Redmore (1820-1887)
Shipping in a calm at sunset
Signed and dated 1864?, oil on canvas, 28.5cm by 49cm
£800-1,200
1119
Abraham Hulk Snr. (1813-1897)
Moored shipping vessels in a calm at dusk
Oil on panel, together with a companion by the same hand of a similar subject matter, 16cm by 23.5cm (2)
Provenance: MacConnal-Mason & Son Ltd., London
£1,500-2,500
1119
1120
Abraham Hulk Snr. (1813-1897)
Shipping in a stiff breeze
Signed, oil on canvas, together with a companion by the same hand depicting moored shipping at dusk, 16cm by 23.5cm (2)
Provenance: Anonymous Sotheby’s sale, lot 223 £1,500-2,500 1120
Mother and child beach combing
Signed and dated (19)08, oil on canvas, 39cm by 74.5cm £300-500
“Old Quay at Whitby”
Signed, oil on canvas,
Historical title as above £2,500-4,000
Provenance: Richard Green, London
Private Collection, North Yorkshire
£8,000-12,000
Edouard Léon Cortès (1882-1969) French “Porte de Saint-Denis”
Signed, oil on canvas, 22.5cm by 31.5cm
Provenance: MacConnal-Mason & Son Ltd., London Private Collection, North Yorkshire
£8,000-12,000
Provenance: From the collection of Baroness de Berht (according to a label affixed to reverse which also references the artist Hans von Marées)
£700-1,000
1129
Richard Ansdell RA (1815-1885)
A Spanish Encounter
Signed and indistinctly dated 1856/8?, oil on canvas, 60.5cm by 53.5cm
Provenance: Dutton Manor, Lancashire
This painting is probably a collaboration between Ansdell and John Phillip. Phillip and Ansdell travelled to Spain together in 1856 and Ansdell travelled to Spain alone in 1857. Ansdell also produced paintings from sketches in his studio after his second trip to Spain.
Our thanks to Sarah Dean (formerly Kellam, née Ansdell), great, great granddaughter of the artist for her assistance in cataloguing this lot (www.richardansdell.co.uk)
£700-1,000
George Sheridan Knowles RI, RBA, ROI, RCA (1863-1931)
Courting Couple
Signed, oil on canvas, 59cm by 44cm £500-800
Sydney Muschamp (1851-1929)
A New Addition to the Family
The Toy Dog
Each signed, oil on canvas, 49.5cm by 75cm (2) £500-700
1133
Edward Matthew Ward RA (1816-1879)
“John Gilpin, Delayed by his Customers. For saddle tree scarce, reached had he, his journey to begin,...”
Oil on canvas, 69cm by 99cm
Exhibited: The Royal Academy, 1851, number 430 £10,000-15,000
Frederick Daniel Hardy (1826-1911)
The Letter
Signed and dated 1890, oil on panel, 19cm by 14cm
Provenance: Rowles Fine Art, Powys Private Collection, North Yorkshire £400-600
Attributed to George Carter (1737-1794)
Various children outside a thatched building, possibly an early institution
Signed and dated 1785, oil on panel, 74.5cm by 89.5cm £500-800
1136
After Andrea Solario (1460-1522) Italian “Madonna with the Green Cushion” Oil on panel, 59cm by 47.5cm
The original of the painting forms part of the Louvre Collection, Paris £300-500
1137
After Jacopo Carucci, called Pontormo (1494-1556) Italian
The Madonna and Child with the infant Saint John the Baptist Oil on panel, 44.5cm by 32cm £500-800
1138
Manner of Polidoro de Lanciano (15151565) Italian
Madonna and Child with attendant figure of St James, in a landscape Oil on panel, 45.5cm by 54cm £500-800
1138
Inscribed verso, “Re Lined by H W Holder, Portland Place, Hull”, oil on canvas, 98cm by 92.5cm
Exhibited: National Exhibition, Leeds, 1868, according to label reverse £600-900
1141
1144
Manner of Sir Anthony Van Dyck (1599-1641) Flemish
Lamentation of Christ Oil on canvas, 96cm by 103.5cm £800-1,200
1145
Continental School (18th century)
Moses Striking the Rock
of Philips Wouwerman (1619-1688) Dutch Travellers tending the horses at ruins Oil on canvas, 90cm by 73.5cm
Provenance: Earl of Morton, Conaglen Lodge, West Coast of Scotland Private Collection, Scottish Borders £2,000-3,000
1148 Circle
1150
1151
1150
Follower of Caspar Netscher (1639-1684) Dutch
Portrait of Nicolas Wyse, three-quarter length seated, wearing a decorative embroidered silk overcoat, with a lap dog and before columns
Oil on canvas, 73.5cm by 61.5cm
Nicolas Wyse died in 1715, unmarried, nephew of Francis Brorking (according to a label to reverse)
£700-1,000
1151
Follower of Gerard van Soest (1600-1681)
Portrait of Bishop Juxton, head and shoulders (by repute)
Inscribed verso “Bishop Juxton who attended the decollation of King Charles”, oil on canvas, 64.5cm by 61.5cm
£700-1,000
1152
Follower of William Dobson (1611-1646)
Portrait of George Leyburne (according to inscription) head and shoulders, wearing a white collar, in a feigned oval Inscribed, oil on canvas, 64cm by 61.5cm
£600-900
1154
1154
Circle of Sir Peter Lely (1618-1680)
Portrait of a lady, three-quarter length seated, before a draped velvet curtain, wearing a blue velvet dress with white chemise and holding a posy of flowers in her lap, a landscape beyond Oil on canvas, 124cm by 100.5cm
With Christie’s stencil FM494 to reverse £2,500-4,000
1155
Follower of John Michael Wright (1617-1694)
Two young ladies and a young boy holding a bow and arrow, setting out into the landscape from a country house, with attendant hound Oil on canvas, 67cm by 61.5cm £1,500-2,500
1156
British School (18th century)
Portrait of a lady, half length, wearing a white satin dress, in a feigned oval Oil on canvas, 74.5cm by 62.5cm £400-600
1157
1158
1159
1157
Follower of Sir Peter Lely (1618-1680)
Portrait of John Leyburne (sic), head and shoulders Inscribed, oil on canvas, 61.5cm dia. (oval)
Exhibited: Leeds City Art Gallery and Temple Newsam House “Church Art from Catholic Yorkshire,” Feb 3rd, to March 3rd 1979, No.13
£700-1,000
1158
Follower of Sir Godfrey Kneller (1646-1723)
Portrait of a gentleman seated at a desk, three-quarter length, wearing a powdered wig and before the facade of a country house, with a view of the garden beyond Oil on canvas, 126cm by 100cm
£700-1,000
1159
Follower of Sir Thomas Gainsborough RA, FRSA (1727-1788)
Portrait of a lady, three-quarter length seated, wearing a brimmed hat, a pink dress and a fur stole and muff, a view of a landscape at sunset beyond Oil on canvas, 110cm by 85.5cm
£700-1,000
British School (18th century)
Portrait of John Goodricke Bart (by repute, presumed to be 5th Baronet), head and shoulders, wearing a short powdered wig, standing before an architectural pillar and a classical roundel relief
Oil on canvas, 72.5cm by 62cm £400-600
After Thomas Gainsborough RA (1727-1788)
Portrait of Lord Frederick Campbell (1729-1816), half length, in a feigned oval
Oil on canvas, 66cm by 62.5cm
Christie’s stencil to reverse:IS0RW
The sitter was Lord Chief Registrar of Scotland, 1768-1816
Member of Parliament, Glasgow, 1761-1780
Member of Parliament, Argyllshire, 1780-1799
A biography of the sitter can be found in the Oxford Dictionary of National Biography.
Literature:“Thomas Gainsborough: The Portraits, Fancy Pictures and Copies after Old Masters”, New Haven and London 2019, p.144, no. 144h
The original portrait was a full length portrait commissioned in 1785 by the sitter’s brother, John, 5th Duke of Argyll and it hung at Inveraray Castle until it was destroyed in a fire on 5 November 1975. The literature (as referenced above) lists ten copies of the original. Some are preparatory drawings for an enamel by Henry Bone that is now in the Mead Art Museum, Amherst College, Mass (92003.78) others are head and shoulder copies as shown here. One of the recorded copies held in the Drummond Collection at Cadland, Hampshire was engraved and probably painted by Gainsborough Dupont, although confusingly it bears the date 1769, which may actually record the date of the sitter’s marriage. It is assumed that the present work is a copy taken from Dupont’s Cadland canvas that was first recorded at Inveraray in 1817.
Sold together with a cache of letters and documents relating to the picture.
We are grateful to Hugh Belsay for his assistance in cataloguing this lot. £400-600
Attributed to John Cranch (1751-1821)
Portrait of Mrs Salisbury, three-quarter length seated before a landscape, wearing a black dress and white accompaniments Oil on canvas, 90.5cm by 75.5cm
Christie’s stencil to stretcher 219C
“The sitter, Mary, wife of Thomas Salisbury of Marshfield, * Yorks. She was born 1734, daughter of John Lister and Great Granddaughter of Rev. Anthony Lister of Giggleswick, Yorks... her son, Richard Salisbury born 1765, was father of Ellen who married Lloyd Salisbury Baxendale and died at Wellington Maidstone, March 10th 1869, aged 77” (according to old inscription to stretcher)
Born in Devon, John Cranch first worked as an assistant to an attorney who bequeathed him a sum of money that enabled him to turn full time to his passions of art and music. After moving to London, he found guidance from Sir Joshua Reynolds and also became acquainted with John Constable, who referred to the artist’s eccentricities in correspondence with friends. He painted a variety of subjects, most notably rustic family scenes.
£600-900
John Lucas (1807-1874)
Portrait of Mrs Harvey, three quarter length standing before a landscape, leaning on a balustrade and holding a book and a stylus Oil on canvas, 100cm by 85cm £1,000-1,500
1164
Albert Chevalier Taylor (1862-1925)
Portrait of an elegant lady, seated three-quarter length, before a colonnade with a glimspe of a landscape beyond Signed and dated 1911, oil on canvas, 126cm by 100.5cm £1,200-1,800
1165
Attributed Richard Buckner (1812-1883)
Portrait of General Sir Patrick Grant of Tullochgorm, three-quarter length standing in a landscape, in his full military attire and regalia Oil on canvas, 141cm by 110cm
Sir Patrick Grant was Governor of Malta 1867-1872 £1,000-1,500
1166
Reginald Grange Brundrit RA, ROI (1883-1960)
Portrait of Harold Dewhurst Esq of Aireville, Skipton, head and shoulders, in hunt attire
Signed and indistinctly dated 1931?, with partial original artist’s label verso, oil on canvas, 58cm by 47cm
Exhibited: Likely at Cartwright Hall, Bradford, unknown date, based on a label of the aforementioned to the reverse £300-500
1167
William Oliver (1823-1901)
The Love Letter
Signed and dated 1881, oil on canvas, 44cm by 35cm
Provenance: Sutcliffe Galleries, Harrogate
Sold together with a copy of the 2009 insurance valuation provided by the above
£300-500
1168
Frederick Richard Say (c.1827-1860)
Lady Elizabeth Buteel, half length seated before a landscape Bears later inscription to the reverse, oil on canvas, 75cm by 62cm
Provenance: Sotheby’s “Royal and Noble”, January 20th, 2002, Lot 27 (Property Removed from Fenton House to be sold on behalf of the 7th Earl of Durham)
£300-500
1169
Attributed to Benjamin Cam Norton (1835-1900)
Portrait of a gentleman seated in his library, wearing a black suit, with his attendant dogs
Oil on canvas, 140cm by 111cm
£700-1,000
1170
Sir James Gunn RA (1893-1964)
Portrait of a lady, three-quarter length seated at a desk, wearing black attire with white lace cravat, cuffs and gloves
Signed and dated (19)44, inscribed “painted post-humorously”, oil on canvas, 72.5cm dia. (oval)
£600-900
1171
August von Brandis (1859-1947)
“Interieur mit Figurim Jagd-kostüm”
Signed, with inscribed label verso, oil on canvas, 85cm by 134.5cm
With Christie’s stencil CG642 £800-1,200
Henk Helmantel (b.1945) Dutch Still life with canisters
Signed and dated 2008, signed and dated verso, oil on masonite, 50cm by 68.5cm
£8,000-12,000
1172
1174
Manner of Willem Kalf (1619-1693) Dutch
A still life of a silver platter with olives, a peeled lemon, an oriental bowl and cover, a roemer, and a bowl of fruit on a table draped with a tapestry
Oil on canvas, 57cm by 70cm £1,500-2,500
Follower of Jacob van Walscapelle (1644-1727) Dutch
An abundant still life with silver plate and spoon, a cut lemon, oysters, wild strawberries, a vine and grapes, pink Roses, cherries, and glassware, with butterflies and insects
Oil on panel, 40cm by 33cm
£1,200-1,800
A Buyer’s Premium of 24% on the first £999,999 of the Hammer Price and 20% on the amount thereafter, plus VAT, is payable on each lot.
We are happy to provide Condition Reports to Prospective Buyers, but would welcome your request as soon as possible, preferably at least 48 hours before the Day of Sale. A Condition Report is an honest expression of our opinion, not a statement of fact and is provided as a service to the Seller. We accept no liability for the opinions expressed in any Condition Report.
The principle of caveat emptor applies to the sale of all goods sold at auction by us. Furthermore, we have no control over the condition of any item offered for sale.
Requests for additional images of items in the sale can made up to 48 hours before the Day of Sale.
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The forename(s) (or asterisks where not known) and surname of the artist indicates, in our opinion, a work by the artist named.
The initials of the forename(s) and the surname of the artist indicates in our opinion a work of the period of the artist which may be wholly or in part his work.
The following terms apply in our determination of a picture description:
(a) “Attributed to” - is in our opinion probably a work by the artist.
(b) “Studio of” - is in our opinion a work from the studio of the artist which may or may not have been executed under his direction.
(c) “Circle of” - is in our opinion a work of the period of the artist executed under his immediate influence.
(d) “Follower of” - is in our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil.
(e) “Manner of” - is in our opinion a work in a style related to that of the artist, but of a later date.
(f) “School accompanied by the name of a place or country and a date” - means that in our opinion the picture was executed at that time and in that location; e.g. Flemish School, 17th century.
(g) “After” - an artist is in our opinion a copy of any date after a work by that artist.
(h) “Signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription” - are from the hand of the artist.
(i) “Bears signature and/or dated and or inscription means that in our opinion the artist’s name and/or date and/or inscription” - have been added by another hand.
(j) All references to signature, inscriptions and dates refer to the present state of the work.
(k) Dimensions are given height before width and do not include the frame
(l) Pictures are framed unless otherwise stated.
All items in this catalogue that are marked with “✓” are potentially qualifying items, and the royalty charge (set out below) will apply if the Hammer Price is more than the UK sterling equivalent of €1,000. The royalty charge will be added to purchase invoices, and must be paid before items can be cleared. All royalty charges are paid to either the Design and Artists Copyright Society (“DACS”) or the Artists’ Collecting Society (“ACS”) by the auctioneers, and no handling costs or additional fees with respect to these changes will be retained by the auctioneer.
From 14 February 2006 United Kingdom art market professionals (which includes auctioneers) are required to collect a royalty payment for all works of art that have been produced by living artists, and those who have died within the last 70 years. This payment is calculated on qualifying works of art which are sold for a Hammer Price more that the UK sterling equivalent of €1,000 (the UK sterling equivalent will fluctuate in line with prevailing exchange rates). It is the responsibility of the Buyer to acquaint themselves with the actual Euro to UK sterling exchange rate on the Day of Sale. The actual qualifying threshold will be calculated by the “Artist’s Resale Right Service Hub” based on the “European Central Bank” reference rate published at 2.15pm on the Day of Sale and can be found on www.dacs.org.uk
The royalty charge for qualifying items which achieve a Hammer Price of more than the UK sterling equivalent of €1,000 is as follows:
Up to €50,000 – 4%
€50,000.01 to €200,000 – 3%
€200,000.01 to €350,000 – 1%
€350,000.01 to €500,000 – 0.5%
Exceeding €500,000 – 0.25%
For further information please visit www.dacs.org.uk or www.artistscollectingsociety.org. There is no VAT payable on this royalty charge.
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Saturday 2 March 20th Century Design
Modern & Contemporary Art
Friday 8 March Antiques & Interiors To include Designer Fashion
Saturday 16 March Spring Sale
British, European & Sporting Art Fine Jewellery, Watches & Silver
Wednesday 20 March Militaria & Ethnographica
Friday 22 March Antiques & Interiors
Wednesday 3 April Toys & Collectables
Friday 5 April Antiques & Interiors
Wednesday 10 April Books, Maps & Manuscripts
Wednesday 17 April Natural History & Taxidermy
Friday 19 April Antiques & Interiors
Monday 8 April-Sunday 21 April
Fine Wine & Whisky Timed Auction
