British, European & Sporting Art - 16 March

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BRITISH, EUROPEAN & SPORTING ART

SATURDAY 16 MARCH 2024

ALSO SELLING TODAY: SPRING SALE SATURDAY 16 MARCH 2024 9.30AM SPRING SALE SATURDAY 16 MARCH 2024 FINE JEWELLERY, WATCHES & SILVER SATURDAY 16 MARCH 2024 9.30AM FINE JEWELLERY, WATCHES & SILVER SATURDAY 16 MARCH 2024

BRITISH, EUROPEAN & SPORTING ART

SATURDAY 16 MARCH 2024 AT 9.30AM

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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All lots illustrated online at www.tennants.co.uk

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FRONT COVER

Lot 1173

BACK COVER

Lot 1154

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Francesca Young Modern & Contemporary Art Specialist Charlotte Conboy Consultant Alice Milverton Trianee Picture Specialist

Raymond Booth (1929-2015)

“...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

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Raymond Booth in front of lot 36

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.

6 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%

An Appreciation of Raymond Booth by David J. Tennant

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.

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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

8 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1002 1001

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

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1005 1004 1003

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

10 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1008 1007 1006

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

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1011 1010 1009

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

12 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1012

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

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10151016
1014
14 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1017 Raymond Booth (1929-2015) Study of a Fritillaria Recurca Oil on paper, 71cm by 52.5cm (unframed) £300-500 1018 Raymond Booth (1929-2015) Slipper Orchid Pencil and oil on paper, 74.5cm by 55cm (unframed) £300-500 1017 1018
1025 (detail)

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

16 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1020 1019

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

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1021 1021

1023

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

1022

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

1024

Fred Lawson (1880-1968)

Leyburn market

Signed, pen and watercolour, 27cm by 37.5cm £250-400

18 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1024 1023 1022

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

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1026

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

20 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1028 1027

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

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1030 1029 1030 1029
22 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1031 Frederick William Scarborough (1860-1939) Shipping scene with masted ships Signed, watercolour, 34cm by 51cm £600-800 1032 Frederick William Jackson RBA (1859-1918) A fishing pot maker Signed, watercolour, 39cm by 51.5cm £400-600 1032 1031

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

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1033 1035 Frederick William Jackson RBA (1859-1918) Figures looking out to sea Watercolour heightened with white, 36cm by 47cm £500-700 1035 1033 1034

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

24 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1038 1037 1036

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

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1039

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

26 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1043 1042 1041

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

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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

28 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1047 1048

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

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1049 Frank Brangwyn RA, RWS, RBA (1867-1956) Boxing Match 1049

1050

Eugene Galien-Laloue (1854-1941) French Paris, winter fruit stalls (1910) Signed, gouache, 19cm by 31cm

Provenance: Omell Galleries, London £3,000-4,000

30 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1050

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

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1053

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

32 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1055 1054 1056

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

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1057 1059 1058

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

34 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1061 1060

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

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1063 1062

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

36 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1065 1064
(detail)
1069

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

38 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1066 1066

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

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1067 Joseph Denovan Adams RSA, RSW (1842-1896) 1068 William Woodhouse (1857-1939) 1067 1068

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

40 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1069 1070 1070 (1636-1695) £600-900

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

www.tennants.co.uk 41
1071 John Ferneley Snr. (1782-1860) 1072 1071 1072

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

42 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1073 1074

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

www.tennants.co.uk 43
1076

Lifeguards in Convoy

Monogrammed, oil on canvas, 24cm by 34cm

Provenance: The Estate of the late David Middleton £800-1,200

44 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1077 Richard Beavis (1824-1896) 1077

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

www.tennants.co.uk 45
1078
1079
1078

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

46 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1081
1080

1082

Wright Barker RBA (1864-1941)

Working dog with retrieved pheasant in an Autumnal landscape

Signed, oil on canvas, 75cm by 62.5cm

£500-800

1083

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

www.tennants.co.uk 47
1082 1083

£500-800

48 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1084 James Charles (1851-1906) Hounds in a yard Monogrammed, oil on board, together with a companion by the same hand, 23.5cm by 33.5cm (2) 1084

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

www.tennants.co.uk 49
1086 Stanley Royle RBA, ARWA (1888-1961) 1087 1085 Stanley Royle ARA, ARWA (1888-1961) 1085 1087 1086

Adolphe Valette (1876-1942)

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

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

50 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%

1089

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

www.tennants.co.uk 51
1089

1090

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

52 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1090

Cattle

Signed, oil on board, 23.5cm by 34.5cm

£200-300

Signed and dated 1910, oil on canvas, 49cm by 75cm

£500-800

www.tennants.co.uk 53
1091 ✓ Owen Bowen ROI, PRCamA (1873-1967) watering in a Summer landscape 1092 William Greaves (1852-1938) Sheep in snow 1091 1092

1093 ✓

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

1094

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

54 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1093 1094

1095

1095 ✓

Arthur Friedenson (1872-1955)

Cattle before Richmond, North Yorkshire

Signed, oil on canvas, 49cm by 75cm

£1,200-1,800

www.tennants.co.uk 55

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

56 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1097

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

www.tennants.co.uk 57
1098 1099 Lot 1099 1098

1100

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

58 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%

Alfred de Breanski Snr. (1852-1928)

“The River Turk”

Signed, inscribed verso, oil on canvas, 50cm by 65.5cm £3,500-5,000

www.tennants.co.uk 59
1102 1102

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

60 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1103 1103

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

www.tennants.co.uk 61
1105 Follower of Carlo Bonavia (c.1751-1788) Italian Rustic figure at rest with goat and sheep before a waterfall and a distant tower Oil on canvas, 114.5cm by 114cm £700-1,000 1105 1104

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
62 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1106
www.tennants.co.uk 63
1107 Manner of Viviano Codazzi (c.1606-1670) Italian Architectural Capriccio Oil on canvas, 58.5cm by 71.5cm £400-600 1108 Manner of Canaletto (1697-1768) Italian Venetian canal with gondolas and a view of the Campanile Tower Oil on canvas, 70cm by 91cm £400-600 1108 1107

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
64 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
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

www.tennants.co.uk 65
1110

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
66 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1111

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

www.tennants.co.uk 67
1114 1115

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

68 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1118 1116 1117

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

www.tennants.co.uk 69

Mother and child beach combing

Signed and dated (19)08, oil on canvas, 39cm by 74.5cm £300-500

70 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1121 ✓ Owen Bowen ROI, PRCamA (1873-1967) 1122 ✓ Owen Bowen ROI, PRCamA (1873-1967) A view of a North Yorkshire coastal village, probably Runswick Bay Signed and dated 1909, oil on canvas, 49cm by 74.5cm £250-400 1122 1121

“Old Quay at Whitby”

Signed, oil on canvas,

Historical title as above £2,500-4,000

www.tennants.co.uk 71
1123 William Edward Webb (1862-1903) 75cm by 125.5cm 1124 British School (19th century) Elegant figures punting down the Ouse, and at leisure before York Minster Oil on canvas, 92cm by 155cm £500-800 1124 1123

Provenance: Richard Green, London

Private Collection, North Yorkshire

£8,000-12,000

72 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1125 Jan Jacob Spohler (1811-1866) Dutch Figures loading a horse drawn box sleigh on a frozen river Signed, oil on panel, 41.5cm by 44.5cm 1125

1126

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

www.tennants.co.uk 73
1126

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

74 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1127 Alex de Andreis (1880-1920) Dutch A cavalier standing in a panelled interior Signed, oil on canvas, 60cm by 34cm £500-800 1128 Han van Meegeren (1889-1947) Dutch Standing nude study with Iris and Narcissi Oil on canvas, 107.5cm by 60.5cm 1128 1127

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

www.tennants.co.uk 75
1129
76 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1130 Eugenio Zampighi (1859-1944) Italian Music making in a rustic interior Entertaining the baby Each signed, oil on canvas, 24.5cm by 34.5cm (2) £4,000-6,000 1130

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

www.tennants.co.uk 77
1131 1132 1131 1132

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

78 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1133

1134

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

1135

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

www.tennants.co.uk 79
1135 1134

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

80 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1137 1136

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

www.tennants.co.uk 81
1139 Manner of Juan Soreda (fl.1506-1537) Spanish The Virgin and Child Oil and gilt paint on a tooled and pierced panel, 38cm by 22cm (with decorated and arched top) £500-800 1140 Italian School (17th century) Santa Dorothea 1140 1139 1141
82 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
Circle of Jacopo Negretti, called Palma Il Giovane (1548/50-1628) Italian Madonna and Child flanked by angels with attendant saints Oil on canvas, 176cm by 163cm, with arched top £1,500-2,500 1141
www.tennants.co.uk 83
1142 Manner of Francois de Troy (1645-1730) French Diana and her nymphs bathing in a pool Oil on canvas, 119.5cm by 73cm £500-800 1143 Follower of Dirck van Baburen (c.1592/4-1624) Dutch Figurative interior scene Oil on canvas, 92.5cm by 97.5cm £600-900 1142 1143 1144 Manner of Sir Anthony Van Dyck (1599-1641) Flemish Lamentation of Christ Oil on canvas, 96cm by 103.5cm £800-1,200 1145
84 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
Follower of Francesco de Mura (1696-1782) Italian Allegory of Winter Oil on canvas, 152cm by 181cm £1,800-2,500 1145 1144

Continental School (18th century)

Moses Striking the Rock

www.tennants.co.uk 85
1146 Oil on canvas, 117cm by 139cm £2,500-4,000 1147 Follower of Cristoforo Dall Acqua (1734-1787) Grotto Oil on canvas, 43.5cm by 34cm £400-600 1147 1146

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
86 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1148
www.tennants.co.uk 87
1149 Follower of Sir Anthony Van Dyck (1599-1641) Flemish Family portrait Oil on canvas, 147.5cm by 206cm £4,000-6,000 1149

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

88 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1152
www.tennants.co.uk 89
1153 Follower of Sir Godfrey Kneller (1646-1743) A portrait of a gentleman, three-quarter length standing, before a draped curtain and pillar, wearing a powdered wig, a white lace cravat, and decorative armour Oil on canvas, 125cm by 99.5cm £2,000-3,000 1153

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

90 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%

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

www.tennants.co.uk 91
1155 1156

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

92 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%

1160

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

1161

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

www.tennants.co.uk 93
1160 1161

1162

1163

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

1162

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

94 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1163

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

www.tennants.co.uk 95
1165 1164 1166

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

96 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
11681169
1167

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

www.tennants.co.uk 97
1171 1170

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
98 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1172
www.tennants.co.uk 99
1173 Emilie Preyer (1849-1930) German Still life of a peach, black grapes and cobnuts on a marble shelf Signed, oil on canvas, 15cm by 19cm £10,000-15,000 1173 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
100 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1174

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

www.tennants.co.uk 101
1175 1175
102 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%
1176 Follower of Pieter Hardimé (1677-1748) Belgian Still life of Convolvulus, Roses and Sweet Peas , arranged in a vase Oil on panel, 30cm by 24cm £300-500 1177 Follower of Jan Davidz. de Heem (1606-1684) Dutch A still life with a bowl of peaches and grapes on a shelf Bears signature, oil on panel, 61cm by 46cm £600-900 1176 1177

Valuations for Insurance, Probate and Family Division

NOTES

104 All lots subject to a buyer’s premium of 28.8% inclusive of VAT @ 20%

BUYERS’ INFORMATION

Buyer’s Premium

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.

Condition Reports

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.

Caveat Emptor

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.

Additional Images

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

Online Bidding

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

By completing registration on www.the-saleroom.com and providing your credit/bank card details and unless alternative arrangements are agreed with us, you;

(a) authorise Tennants, if they so wish, to charge the credit/bank card given in part of full payment, including all fees, for items successfully purchased in the auction via www.the-saleroom.com; and

(b) confirm that you are authorised to provide these credit/bank details to Tennants through www.the-saleroom.com and agree that Tennants are entitled to permit the shipping of the goods to the card holder and card holder address provided in fulfilment of the sale.

We do not accept any liability for any losses, however arising, as a result of a prospective buyer’s use of www.the-saleroom.com. Use of www.the-saleroom.com is subject to separate terms and conditions which do not form part of these conditions.

Telephone Bidding

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

Absentee Bidding

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

VAT

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

AML Due Diligence

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

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 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.

Droit de Suite/ Artists’ Resale Rights

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

From 14 February 2006 United Kingdom art market professionals (which includes auctioneers) are required to collect a royalty payment for all works of art that have been produced by living artists, and those who have died within the last 70 years. This payment is calculated on qualifying works of art which are sold for a Hammer Price more that the UK sterling equivalent of €1,000 (the UK sterling equivalent will fluctuate in line with prevailing exchange rates). It is the responsibility of the Buyer to acquaint themselves with the actual Euro to UK sterling exchange rate on the Day of Sale. The actual qualifying threshold will be calculated by the “Artist’s Resale Right Service Hub” based on the “European Central Bank” reference rate published at 2.15pm on the Day of Sale and can be found on www.dacs.org.uk

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

Up to €50,000 – 4%

€50,000.01 to €200,000 – 3%

€200,000.01 to €350,000 – 1%

€350,000.01 to €500,000 – 0.5%

Exceeding €500,000 – 0.25%

For further information please visit www.dacs.org.uk or www.artistscollectingsociety.org. There is no VAT payable on this royalty charge.

Method of Payment

Payment is accepted online via our website.

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

Payment can be made and purchases collected during the auction.

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

Collection

All purchases must be collected from our Leyburn offices, unless stated otherwise, 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 Services 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 certain lots, we offer a packing and shipping service up to a total value of £5,000 (inclusive of buyer’s premium, VAT and any other associated charges). Prices start from £20 depending on the size and destination. Please note, we are unable to post items of a fragile nature. Items are fully insured and can be tracked from dispatch to delivery. To obtain a quote for packing and shipping, please email shipping@tennants-ltd.co.uk or call 01969 623780. You will need to have paid your invoice in full, including delivery, before items are dispatched.

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

NEXT BRITISH, EUROPEAN & SPORTING ART SALE

SATURDAY 13 JULY 2024

2024 AUCTION DATES

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

Lot 1106
Auction Centre, Leyburn North Yorkshire DL8 5SG
623780 enquiry@tennants-ltd.co.uk www.tennants.co.uk
The
01969

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