British, European & Sporting Art - 18 March

BRITISH, EUROPEAN & SPORTING ART

SATURDAY 18 MARCH 2023

ALSO SELLING TODAY:

SPRING FINE ART

SATURDAY 18 MARCH 2023

9.30AM (374 LOTS)

FINE JEWELLERY, WATCHES & SILVER

SATURDAY 18 MARCH 2023

9.30AM (290 LOTS)

BRITISH, EUROPEAN & SPORTING ART

SATURDAY 18 MARCH 2023

AT 9.30AM

AUCTION

The Auction Centre, Leyburn

North Yorkshire DL8 5SG

VIEWING

Sunday 12 March 11.00am to 4.00pm

Monday 13 March 10.00am to 4.00pm

Tuesday 14 March 10.00am to 4.00pm

Wednesday 15 March 10.00am to 4.00pm

Thursday 16 March 10.00am to 4.00pm

Friday 17 March 10.00am to 4.00pm

Morning of Sale from 8.00am

Live bidding is available on this sale by registering at www.tennants.co.uk

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

CONTACT

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FRONT COVER Lot 1075

BACK COVER Lot 1058

TO INCLUDE:

From the estate of Denton Hall in Ilkley, Yorkshire which has been part of the NG Bailey group of companies for over 40 years. NG Bailey is the UK’s leading independent engineering and services business and is owned by the Bailey family.

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1000

George Chinnery (1774-1852)

Macau street scene, with Santa Casa Misericordia and the Leal Senado

Inscribed and dated September 10 (18)36, pen, ink and pencil, 19.5cm by 27.5cm

Exhibited: Martyn Gregory, London, A China Voyage, catalogue 79, 2003, no.21

George Chinnery (1774-1852) was an English artist who lived and worked profusely in India and China. Chinnery is remembered for his portraits painted in British India and more commonly for his sketches of eastern scenes, namely Macau. His works can be found in venerable institutions including the Victoria and Albert Museum, Yale Center for British Art, Tate, and the National Portrait Gallery. Enrolling at the Royal Academy Schools in 1792 and following the growing presence of the British East India Company in India, Chinnery left for India from London in 1802. On arrival in India on the 21st December 1802, Chinnery settled in Madras and then to Calcutta in 1807. Chinnery’s move was a condition of so many young London-trained artists who sought lucrative portrait commissions in British India. Chinnery’s talent soon rewarded him with a firm position in the echelons of the expatriate community, and rather impressively as the foremost British portraitist in India. Despite illustrious clientele, Chinnery fled British India in 1825, leaving behind a debt of 30,000 rupees. On the 29th September 1825, Chinnery landed at Macau on the south coast of China and would live here until his death in 1852. Forfeiting the high reputation and grand commissions that he enjoyed in India, Chinnery was in a precarious position, and as a by-product his work was significantly different. Chinnery’s work produced in his Macau years is not only historically important – on par with William Hodges’ and Thomas and William Daniell’s images of India – but, in almost every sense, better, more nuanced, delicate, and responsive. It is Chinnery’s Macau sketches which line the collection of the V&A. Macau was a hive of trading activity set in a backdrop of European architecture reflecting the Portuguese colonial influence in Macau. Chinnery produced beautifully delicate watercolours and pencil sketches of Macau’s barbers, fisherman, food-vendors, gamblers, and architecture. Daily life in Macau was now Chinnery’s preferred subject.

In Macau street scene, with Santa Casa Misericordia and the Leal Senado, Chinnery sketches a wide foreground to stage the residents of Macau, notably the gamblers and street vendors. As a medium, pen and ink is a style demanding every line capture a dozen details. It is a precise, calculated medium. As such, Chinnery demonstrates his talents as a draughtsman; his concern for detail shines as he takes time to use minimal lines to sketch Macau’s residents in refreshing detail. This is in stark contrast to the lightly drawn Portuguese buildings of the Santa Casa Misericordia and the Leal Senado that we see in the background. Despite Macau’s seemingly dominant European architecture, Chinnery sketches a Macau which here is predominantly Chinese, rather than European. Chinnery provides a fascinating glimpse into Macau in the early 19th century through his assiduous sketching.

£4,000-6,000

1002

Adam Buck (1759-1833) Irish

Portrait of a gentleman sitting at a desk in an interior

Signed and dated 1809, watercolour, 35.5cm by 28cm

£400-600

1001

Attributed to John Downman ARA (1750-1824)

Portrait of Lady Frances Haggerston, half length

Watercolour, 23cm by 29cm

Provenance: Old Hall Gallery Ltd, Sussex advert reverse from Chelsea 1959 stating ex.collection: HRH Princess M Louise

Handwritten label - sketch given to C by Sir Robert Cuncliiffe May (17)81 Lady Haggerston, wife to Sir Carnaby Haggerston & sister to Mrs Fitzherbert - afterwards wife to Sir J Stanley 1788

£200-300

1003

Henry Robertson “Robin” Watt (1896-1964) Canadian

Portrait of Jean Souter Craig aged 28, with the crest of the University of St Andrews

Signed and dated Feb 1924, pastel, 36cm dia. (oval)

£300-500

1007 3

Frank Henry Mason RBA, RI, RSMA (1875-1965)

Fisherfolk on Whitby pier awaiting the return of the boats

Signed, watercolour heightened with white, 30.5cm by 49.5cm

£500-800

1008

Thomas Bush Hardy RA, RBA (1842-1897)

“North Shields”

Signed, inscribed and dated (18)97, watercolour heightened with white, 22.5cm by 70.5cm

£300-500

1009

Charles Edward Dixon RI (1872-1934)

“Blackwall Reach”

Signed, inscribed and dated (19)02, watercolour heightened with white, 26.5cm by 76cm

Provenance: Walker Galleries, Harrogate

£600-900

1011

Alfred Heaton Cooper RI (1864-1929)

“An Old Shorehouse, Balholm, Norway”

Signed and dated 1905, watercolour, 33cm by 54.5cm

£500-700

1010

Frederick William Jackson RBA (1859-1918)

“The Salute, Venice”

Signed and dated 1900?, with original inscribed label verso, mixed media, 70cm by 57.5cm

Provenance: C A Jackson, Manchester

Exhibited: Irish International Exhibition, 1907, Fine Art Section, British and Foreign Artists, lent by C A Jackson £800-1,200

1012 3

Sir Peter Markham Scott CH, CBE, DSC & Bar, FRS, FZS (1909-1989)

“Red-Breasted Goose Standing”

Signed and dated 1988, mixed media, 9.5cm by 9cm

Provenance: Arthur Ackermann & Son Ltd., London

£200-300

Born in 1873 in Leeds, England, Owen Bowen was educated at Leeds School of Art before working as a pottery designer and lithography apprentice. Although Bowen painted on the Continent, he was mostly known for his impressionist still lifes and landscapes of Yorkshire. Bowen settled in Leeds and established his own school of painting there. Prior to his death in 1967, Bowen became president of the Royal Cambrian Academy and regularly exhibited his work there and throughout England. Several northern public galleries including Leeds, Liverpool, Rotherham, and Rochdale hold his work.

Owen Bowen ROI, PRCam A (1873-1967)

“Blakeney Harbour”

Signed, oil on canvas, 27cm by 37cm

Provenance: Headrow Gallery, Leeds £200-300

Owen Bowen ROI, PRCam A (1873-1967)

“Jewitt Lane, Collingham”

Signed, oil on canvas, 26.5cm by 37cm

Provenance: The Headrow Gallery, Leeds £200-300

1015 3

Owen Bowen ROI, PRCam A (1873-1967)

“River Wharfe Wattle Syke”

Signed, oil on canvas, 50cm by 60cm £250-400

1016 3

Owen Bowen ROI, PRCam A (1873-1967)

“The Way to the Farm”

Signed and dated (19)20, with original artist’s label verso, oil on board, 21.5cm by 29cm

Provenance: F Hutchinson’s Ltd, Leeds £250-400

1017 3

Alexandre Jacob (1876-1972) French “Belle Matinee” Signed, oil on board, 24.5cm by 22.5cm

£400-600

1018

Ernest Renoux (1863-1932) French “Le Pont Neuf et la statue d’Henri IV” Signed and numbered 243, signed, titled and numbered 243 verso, oil on canvas, 36.5cm by 53.5cm

Provenance: Kaplan Gallery, London, “Ernest Renoux 1863-1932”, October 9th-November 2nd 1968, number 9. Sold together with a copy of the exhibition catalogue.

£700-900

1019

James Humbert Craig RHA (1877-1944) Irish

“Innaglush, Cushendun, Co. Antrim”

Signed, inscribed to artist’s label verso, oil on board, 37cm by 49.5cm

Exhibited: Royal Glasgow Institute of Fine Arts, 1929, no.420 (according to label verso)

£1,000-1,500

1019

Born in 1870 in Manchester, Herbert Royle trained at the Harris Institute in Preston, Southport School of Art and with John Buxton Knight. He lived at Southport, Bolton Abbey and latterly at Nessfield near Ilkley. His landscapes of Wharfedale and the Scottish Highlands are widely appreciated. Royle was a member of MAFA, Liverpool Academy and Sandon Studios Society. He exhibited at the RA, RBA, RSA and extensively at the Walker Art Gallery in Liverpool. His works are held in several public galleries including Manchester City Art Gallery, The Harris Museum and Art Gallery, Lancashire, and The Stanley & Audrey Burton Gallery, University of Leeds.

1020 3

Herbert Royle (1870-1958)

Canal scene on a blustery day

Signed, with fragments of an original artist’s label verso, oil on canvas, 39.5cm by 59.5cm

Provenance: Jays Fine Art Dealers, Cambridge Gallery, Southport

Ex collection Mrs Scruton, Scarisbrick, Ormskirk

Private Collection, North West

£1,200-1,800

1021 3

Herbert Royle (1870-1958) “Hauling Timber, Loweswater, Cumberland”

Signed, inscribed verso, oil on canvas, 85cm by 110.5cm £4,000-6,000

1022 3

Herbert Royle (1870-1958) “Timber hauling in Cumberland”

Oil on canvas, 99.5cm by 119.5cm £3,500-4,500

“Clapham Church”

Signed and dated 1905?, with original artist’s signed and inscribed label verso, oil on canvas, 105cm by 105cm Exhibited: Royal Academy 1907

£800-1,200

Provenance: MacConnal-Mason & Son Limited, London

£800-1,200

1027

Charles Euphrasie Kuwasseg (1838-1904) French “Vue de la Ville d’Angouleme” (Chasente France) Signed and dated 1885, oil on canvas, 56.5cm by 98.5cm £2,500-4,000

1028

Charles Euphrasie Kuwasseg (1838-1904) French Fishermen hauling in nets on a Continental river with market stalls on the banks and a view of a city beyond Signed and dated 1871, oil on canvas, 54cm by 98.5cm

1029

1029

Jan Geerard Smits (1823-1910) Dutch

Summer

Winter

Signed, oil on panel, 31cm by 38.5cm (2) £1,500-2,500

1030

1030

David Fulton RSW (1848-1930) Scottish

“Gallanach, Loch Gair”

Signed and dated (18)84, oil on canvas, 24cm by 44.5cm £300-500

1031

1031

Georg Engelhardt (1823-1883) German Alpine cattle herder

Signed, oil on canvas, 68.5cm by 95cm

Provenance: MacConnal-Mason & Son Limited, London

£600-900

1035

Paul Jean Clays (1819-1900) Belgian Anchored boats and rowing boats off a pier

Signed and dated 1875, oil on canvas, 73.5cm by 109cm £2,000-4,000

1036

1036

Johannes Frederik Hulk the Elder (1829-1911) Dutch Preparing ships in a harbour, possibly Amsterdam

Signed, oil on canvas, 73cm by 105cm

Provenance: MacConnal-Mason & Son Limited, London

£2,000-3,000

1037

Alfred Montague (1832-1883)

Continental river town with loaded barge and market stalls

Sailing and shipping vessels beside a quayside with figures

Signed, oil on canvas, 24cm by 39.5cm (2)

£300-500

1038

Alfred Montague (1832-1883)

Fishermen returning home with the day’s catch

Signed and dated 1882?, oil on canvas, 30cm by 44cm

Provenance: Jan Mawby, The Long Gallery, Northamptonshire

£400-600

1039 3

James William Booth RCam A (1867-1953)

Fishing Cobles at Runswick Bay

Signed, oil on board,14.5cm by 23.5cm

£600-900

1040

William Edward Webb (1862-1903)

Unloading the Oban fish boats

Signed, oil on canvas, 40cm by 50cm

Provenance: Walker Galleries, Harrogate

£700-1,000

1041

Charles Euphrasie Kuwasseg (1838-1904) French

Signed and dated 1873, oil on canvas, 54cm by 98cm

Provenance: MacConnal-Mason & Son Limited, London

£3,000-5,000

1042

Attributed to William Edward Webb (1862-1903)

“Unloading a Collier”

Oil on canvas, 39.5cm by 59.5cm

Provenance: John Noott Galleries, Broadway

£800-1,200

1043

Hermann Mevius (1820-1864) German Harbour at dusk

Signed, oil on canvas, 89cm by 122cm

Provenance: MacConnal-Mason & Son Limited, London £2,500-4,000

1044

Abraham Hulk Snr. (1813-1897) Dutch “On the Zuider Zee”

Signed, oil on canvas, 29.5cm by 45cm £1,000-1,500

1045 3

Henry Scott FRSA (1911-2005)

“Fair Winds”

Signed, oil on canvas, 69.5cm by 105.5cm

Provenance: MacConnal-Mason & Son Limited, London

£2,500-4,000

1046

1046 3

Henry Scott FRSA (1911-2005)

Mistress of the Sea

Signed, oil on canvas, 70cm by 106cm

Provenance: MacConnal-Mason & Son Limited, London

£2,500-4,000

1047

Charles Euphrasie Kuwasseg (1838-1904) French Continental coastal town with fishing boats

Signed, oil on canvas, 29cm by 45cm

Provenance: MacConnal-Mason & Son Ltd., London

£600-900

1048 3

Bernard Ninnes RBA, ROI (18991971)

Cornish Harbour

Signed, oil on canvas, 39cm by 49.5cm

Sold together with a copy of the original purchase receipt of 1950 for present lot and lot 1049

£200-300

1049 3

Bernard Ninnes RBA, ROI (1899-1971)

“Evening Glow, St Ives”

Signed, with inscribed artist’s label, oil on canvas, 50cm by 60.5cm

Exhibited: Saint Ives Society of Artist’s, New Gallery Norway Square, Summer Collection 1950 no. 71, priced £25.0.0

Sold together with a copy of the above exhibition catalogue and a copy of the original purchase receipt of 1950 for present lot and lot 1048 £300-500

1050 3

Walter John Beauvais (1942-1998)

Sun drenched beach scene with figures

Signed, oil on canvas, 39.5cm by 59.5cm £300-500

John Steven Dews was born in Yorkshire in 1949 and is one of the most successful living maritime artists. His work has been exhibited across the world, from an early sold-out show in San Francisco to exhibitions in London and New York. In 1994 the New York Yacht Club chose him to record their 150th Birthday Regatta at Newport, R.I. The Royal Yacht Squadron commissioned Dews to paint a record of the 2001 America’s Cup Jubilee Regatta and have repeated this commission for their 200-year celebrations. When he is not painting maritime scenes, Dews can be found on the sea himself, as he is a highly experienced yachtsman.

Born in 1950, and brought up on a farm in Tanzania, Michael Ghaui has an intimate knowledge of the wildlife and landscape of Africa. Growing up he regularly made camping trips to game parks with his family, a tradition which he continues. These observational trips in the wilds of Tanzania provide key field notes and inspiration for his paintings and sculptures. His impressionistic and realistic approach brings an authentic experience of wildlife in the African bush. When not in Tanzania, he resides on the shores of Lake Naivasha in Kenya. Ghaui has had exhibitions in Nairobi, Kenya and the United States, and his works hang in numerous private collections throughout the world.

1054

Michael

Signed, and dated (20)08, oil on canvas, 100.5cm 150.5cm

£400-600

1055

1056

1056 3

Donald Grant OBE (1924-2001)

Lion and lioness in grass Signed, oil on canvas, 64cm by 124.5cm

Provenance: MacConnal-Mason & Son Limited, London

£2,500-4,000

1057 3

Cecil Kennedy (1905-1997)

Romneya

Signed, oil on canvas, 90cm by 70cm

Provenance: MacConnal-Mason & Son Limited, London £6,000-9,000

1058 3

Cecil Kennedy (1905-1997)

“Summer”

Signed, oil on canvas, 90cm by 70cm

Provenance: MacConnal-Mason & Son Limited, London £6,000-9,000

1059 3

Charles Thomas Bale (1855-1925)

Still life of a gourd, grapes, plums, a pineapple and a pewtermounted tankard on a stone ledge before a draped curtain

Monogrammed and dated 1873, oil on canvas, 70cm by 90cm

1060 3

Walter John Beauvais (1942-1998)

At the Races

Signed, signed to stretcher verso, oil on canvas, 49.5cm by 59.5cm

£300-500

1061 3

Peter Biegel (1913-1988)

Racing scene, thought to be Wincanton

Signed, oil on canvas, 59.5cm by 90cm

Provenance: JJ Patrickson, London

£2,000-3,000

1063

William Woodhouse (1857-1939)

Mare and foal before a tree in blossom

Signed, oil on canvas, 59cm by 49cm

Bears Christie’s stencil HL905 to stretcher £700-1,000

1062

Colin Graeme Roe (1855-1910)

Bay hunter in a stable

Signed and dated (18)84, oil on canvas, 39.5cm by 50cm £500-700

1064

Attributed to Thomas Sidney Cooper RA (1803-1902)

Sheep and lambs at rest in a mountainous landscape

Signed, oil on board, 33.5cm by 44cm £500-800

1065

Attributed to Abraham Jansz Begeyn (16371697) Dutch Cattle and rustic figures in the Campagna beside ruins Oil on panel, 36cm by 44.5cm £700-1,000

1066

Thomas Sidney Cooper RA (1803-1902)

“The Rustic Footbath” Signed and dated 1883, oil on panel, 40cm by 60cm

Provenance: Oakham Galleries Ltd., London; Sotheby’s London, Victorian & Edwardian Pictures, November 25th 2005, lot 348

Exhibited: The Royal Academy, London, 1883, no.441 £3,000-5,000

1067

£200-400

1068

1069

Henry John Yeend King RBA, VPRI, ROI (1855-1924) An elegant lady at rest by a country path with her dog

1070 3

Stanley

Provenance: Christie’s, South Kensington, Sale of the Artist’s Studio, 28.10.87, Lot 198 £600-900

1071

William Cave Day RBA (1862-1924)

Knaresborough market, The Pot Stall, 1916

oil on board, together with a companion, 14cm by 20.5cm (2)

Provenance: Sutcliffe Galleries, Harrogate

£500-800

Two elegant ladies on a hill before an extensive landscape

a further

1075

“Cowslips”

Initialled, oil on canvas, 143cm by 107.5cm

Provenance: The Rt. Hon. William George Armstrong C.B., F.R.S. of Cragside, Rothbury until 1900 and thence to his executors, by whom sold Christie’s, 24 June 1910, lot 72 bought ‘Sampson’

Exhibited: The Royal Academy 1877, no. 101

Literature: Academy Notes, 1877, p.17; Art Journal, 1877, p.197

George Dunlop Leslie was born in London to a deeply artistic family. His father was the genre painter Charles Robert Leslie, his uncle was the marine artist Robert Leslie and his sister Mary was also an artist.

Leslie was an influential member of the St John’s Wood Clique which included Henry Stacy Marks and William Frederick Yeames (see lot 1090) - highly successful painters of literary and historical genre scenes. It was an affluent age in which artists acquired large fortunes and a growing social status. Leslie was among several artists who commissioned architect Richard Norman Shaw to design houses for them in smart areas like Holland Park St John’s Wood.

Early works betray the influence of the Pre-Raphaelites but as has career developed he began to paint in a more academic and uniform manner to portray gentle and pleasing scenes of everyday life. The critic John Ruskin praised his depictions of the “sweet quality of English girlhood”. Leslie exhibited at the Royal Academy annually from 1857 to 1920.

£10,000-15,000

1076

1076

“Forfeits”

Signed, oil on canvas, 64.5cm by 100cm

Provenance: WH Patterson, London

Exhibited: Royal Academy, London 1873, no 424

Sold together with a copy of the purchase invoice

£3,000-5,000

1077

William Crabb (1811-1876) Scottish

Portrait of Captain Thomas Whyte (1782-1848)

Signed and dated 1838, oil on canvas, 90cm by 70cm Inscribed to partial label verso

William Crabb, otherwise known as ‘Crabb of Laurencekirk’ was a Scottish painter of portraits and historical scenes. Crabb trained at the Trustees Academy, the precursor to the Edinburgh College of Art which educated prominent painters including Sir David Wilkie RA and Sir William Allan RA. In 1835, secretary to the Trustees James Skene remarked ‘there is not an eminent name in the history of art in Scotland’ not to have trained at the Trustees Academy. Crabb’s work soon attracted the attention of Sir Francis Grant, President of the Royal Academy from 1866 to 1878. Grant employed Crabb as an assistant in London and he was tasked with painting draperies in Grant’s works.

Likened to Sir Henry Raeburn, Crabb excelled at portraiture; his portraits were lauded and recognisable for their ‘decided style’, and ‘powerful colour’.

Crabb would regularly exhibit his portraits at the Royal Academy, and his Fitz-James and Rodericj Dhu after the Combat was exhibited at the Edinburgh International Exhibition of 1886. Crabb’s portraiture can be found in many historic Scottish houses, and indeed in the collections of the Royal Scottish Academy of Art and Architecture, University of Edinburgh, The Merchant’s Hall of The Company of Merchants of the City of Edinburgh, The Stewartry Museum, and Leeds Civic Hall.

The collection of portraits of the Whyte family were painted by Crabb in 1838 and are a fine example of Crabb’s aptitude for portraiture. At the head of the family, is Captain Thomas Whyte (1782-1848), who was the husband of Jane (née Jean) Lyall, and father to Eliza Napier Whyte who married Surgeon James Smith RN (1796-1865). Crabb paints them all in an emphatic, romantic, and dramatic manner. In Pigot and Co.’s national commercial directory of “the whole of Scotland” and its “Nobility, Gentry and Clergy”, published in 1837, a year prior to Crabb’s portraits, a “Whyte Capt. Thomas, 115 High St” of Montrose, Forfarshire is listed. Captain Thomas Whyte is also mentioned at residing in 115, High Street in Montrose in 1846. Given, Montrose’s proximity to Crabb’s native Laurencekirk, and of Montrose’s and nearby Dundee’s strong shipping industry, it is quite possible that Thomas Whyte was involved in the increasing industrialisation of these coastlines of Scotland, and therefore involved in the increasing mercantile prosperity.

£500-700

1078

1081

John O’Connor (1830-1889) Irish St Paul’s, London

Signed inscribed and dated (1884), oil on canvas, 100cm by 65cm

Provenance: MacConnal-Mason & Son Limited, London

£6,000-9,000

1082

Stephen Lewin (c.1822-c.1912)

“Hard

Signed

1083

No Lot

1084

1084

Attributed to Sir George Reid PRSA (1841-1913) Scottish Study of a monk, three-quarter length, reading a book Oil on canvas, 25.5cm by 20.5cm £200-300

1085

1085

Bernard de Hoog (1867-1943) Dutch A family group seated at the kitchen table Signed, oil on canvas, 49cm by 64cm Bears label for Aitken Dott & Son, Edinburgh verso £800-1,200

1086

Attributed to Hendrik Jacobus Scholten (1824-1907) Dutch An elegant couple seated in an interior with a formal garden in the window beyond Inscribed and dated 1865 verso, oil on panel, 35cm by 40cm

£400-600

1087

Frederick Daniel Hardy (1827-1911)

“Hunger”

Oil on canvas, 76cm by 52cm

Provenance: Henry Dewhurst, Far Town Lodge, Huddersfield

Christie’s, London, 19th April 1890, lot 20 as “Attributed to J D Hardy”

Exhibited: Royal Academy, London, 1874, No.414

Bears Christie’s stencil 601C verso

£300-500

1088

Thomas Faed RA, RSA (1826-1900) Scottish

“Lost in Thought”

Signed and indistinctly dated, oil on canvas, 34cm by 24.5cm

Provenance: McGill Duncan Gallery, Castle Douglas

£800-1,200

1089

Thomas Faed RA, RSA (1826-1900)

“Faults on Baith Sides”

Signed, oil on canvas, 26.5cm by 19.5cm

Provenance: Bourne Fine Art, Edinburgh

£800-1,200

1090

William F Yeames RA (1835-1918)

“Dr Harvey and the children of Charles I at the Battle of Edgehill”

Signed, oil on canvas, 161cm by 107cm

Exhibited at the RA 1871, No.81

“The Young Princes accompanied their father the King, whilst he waged war with Parliament. At the outset of the Battle of Edgehill, their tutor Harvey, the famous discoverer of the circulation of blood, took them to a place of safety, as he thought, and all absorbed in his meditations, sat down, pulled out his books, and plunged into his studies. It was only when the bullets whistled about their heads that he became aware of the danger to which his young charges were exposed.” - Royal Academy accompanying note (1871)

Literature: James Dafforne, ‘The Works of William Frederick Yeames, A.R.A.’, in Art Journal, 1871, p.100

William Frederick Yeames was born in Russia to a British consular official. He was educated in Dresden following the death of his father where he first began to study painting.

The Yeames family moved to London in 1848 where William began studying anatomy. In 1852 Yeames made a career defining trip to Florence where he learned from and made copies after Renaissance luminaries such as Benozzo Gozzoli, Andrea del Sarto and Raphael. On his return to London Yeames set up his studio in Park Place and began associating with other artists who became known as the St John’s Wood Clique. He was made an associate of the Royal Academy in 1866.

Yeames did not exist as a stereotype of the bohemian artist, instead he lived a civilised and comfortable existence with a smart house in London and holidays to Hever Castle and the Devon coast.

He is best known for his 1878 painting “And When Did You Last See Your Father” which is in the collection of the Walker Art Gallery, Liverpool. In it a group of Parliamentarians question a Royalist household and a young boy in particular as to the whereabouts of the head of the house. Yeames' fascination with British history, and the Civil War in particular can be seen in both his seminal masterwork and the fine example in this sale.

£7,000-10,000

1091 No Lot

1092

Henry Pickering (fl.1740-1770)

Portrait of Thomas Green (1722-1800)

Oil on canvas, 90cm by 75cm

Provenance: By family descent to The Right Reverend Dr Alec Graham, Bishop of Newcastle (1929-2021)

Thomas Green was born in Horton in Ribblesdale in 1722 (baptised on 23 March). He left Horton, perhaps after his father Thomas’s death in 1750 when his older brother John inherited the family property. He went to live in North Ferriby, a well-to-do suburb of Kingston on Hull which was expanding rapidly at this time as an important port for vessels trading with Northern Europe and beyond. It is not yet clear what he did in Hull, but he must have prospered because in his will, written in 1800, he describes himself as a gentleman. The residue of his estate including his dwelling house in North Ferriby went to his nephew John, Rector of South Kilvington. He also left a small legacy of twenty guineas to the General Infirmary of Kingston.

We are grateful to Professor Alastair Small for his assistance with the sitter’s biography

£1,000-1,500

1093

Flemish School (17th Century)

The Prodigal Son seeking work as a swineherd

The Prodigal Son feeding the swine Oil on panel, 10cm by 24cm (2)

Provenance: The Alexander Gallery, London

This pair of panels likely relate to a preparatory drawing of the parable of the Prodigal Son by David Vinckboons (1576-1632) that was reproduced in print in 1608 by Claes Jansz. Visscher. British Museum number 1848,1125.6.

Similar scenes are also depicted on a painted cabinet, made in Antwerp in the 17th century, in the collection of the Victoria and Albert Museum (W.61:1 to 3-1923).

https://collections.vam.ac.uk/item/O59041/cabinet-unknown/ £250-400

1094

After Domenico Zampieri called ‘Domenichino’ (1581-1641) Bolognese “The Cumean Sibyl” Oil on canvas, 63cm by 54cm within arched frame £300-500

BUYERS’ INFORMATION

Buyer’s Premium

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

Condition Reports

We are happy to provide Condition 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 be 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 much 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 Mailboxes Etc 01423 297088 0113 242 8715 01913 077024 info@mbeleedscity.co.uk carrscarriersltd@gmail.com

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 15 JULY 2023

2023 AUCTION DATES

Saturday 4 March 20th Century Design

Saturday 4 March Modern & Contemporary Art

Friday 10 March

Antiques & Interiors

Wednesday 15 March

Stamps, Postal History & Postcards

Saturday 18 March

Spring Fine Art Sale

Saturday 18 March

British, European & Sporting Art

Saturday 18 March

Fine Jewellery, Watches & Silver

Wednesday 22 March Militaria & Ethnographica

Friday 24 March

Antiques & Interiors

Wednesday 5 April Toys & Collectables

Thursday 6 April

Antiques & Interiors, to include: Beswick & Border Fine Art

Wednesday 19 April

Natural History & Taxidermy