A Yorkshire View - Part II

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SATURDAY 13 JUNE 2026

MODERN & CONTEMPORARY ART A YORKSHIRE VIEW – PART II SATURDAY 13 JUNE 2026

MODERN & CONTEMPORARY ART & A YORKSHIRE VIEW – PART II SATURDAY 13 JUNE 2026

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Lot 486 Lot 432

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ALSO SELLING TODAY:

MOUSEMAN – 150TH ANNIVERSARY SALE MOUSEMAN 150TH ANNIVERSARY SALE SATURDAY 13 JUNE 2026

SATURDAY 13 JUNE 2026 9.30AM

20TH CENTURY DESIGN 20TH CENTURY DESIGN SATURDAY 13 JUNE 2026

SATURDAY 13 JUNE 2026 1.30PM

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A YORKSHIRE VIEW – PART II Followed directly by the Modern & Contemporary Art Sale SATURDAY 13 JUNE 2026 AT 9.30AM AUCTION The Auction Centre, Leyburn North Yorkshire DL8 5SG

VIEWING Thursday 11 June 10.00am to 4.00pm Friday 12 June 10.00am to 4.00pm Morning of Sale from 8.00am

Live bidding is available on this sale by registering at www.tennants.co.uk All lots illustrated online at www.tennants.co.uk CONTACT Telephone: 01969 623780 enquiry@tennants-ltd.co.uk www.tennants.co.uk

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FRONT Lot 423

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MODERN & CONTEMPORARY ART DEPARTMENT In line with rising interest with this area of visual culture, Tennants offer a wide range of examples by artists and movements from the 20th century through to the present day.

Yorkshire Pictures and Northern Art Tennants is the leading auction house in the North of England representing and promoting high calibre and varied examples from this genre of artists. The importance of our local consigners and collectors, as well as those works sourced and sold from further afield, is testament to the notable reputation held by the Department.

The Picture Department is proud to have successfully represented many important living artists and artists’ estates from the North, including Norman Cornish, Peter Brook, John Ridgewell, Marie Walker Last, Karl Torok, Piers Browne and Sally Arnup, to name but a few, and we continue to build new and lasting relationships with numerous living artists and estates.

YOUR SPECIALISTS

Francesca Young Modern & Contemporary Art Specialist

Kate Hudson Junior Picture Specialist

Charlotte Conboy Picture Consultant

Jane Tennant Director & Auctioneer

Aurélie Hepper General Valuer & Auctioneer

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

Twenty-nine specialist departments offer an outstanding range of depth and expertise that, combined with the company’s strong traditional values and a personal approach, have won Tennants widespread respect in the international marketplace.

Each year Tennants holds over 80 auctions and handles in excess of 40,000 lots covering all major discipliners, making it one of the UK’s busiest salerooms.

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ABOUT THE COLLECTOR Following the exceptionally well-received first instalment presented on 6 March 2021, we are delighted to bring to market a further and final selection of works from the collection meticulously assembled over nearly fifty years by Mr George G. Hopkinson. A proud Yorkshireman and accomplished textile businessman, he was a director of the West Riding textile company Hopkinson and Shore, as well as of Novello’s, a Bradford fashion house.

George Hopkinson was no ordinary businessman. A man of strong Liberal convictions, he was deeply committed to the artistic and cultural life in Bradford and the West Riding of Yorkshire, and was a vocal advocate for the establishment of a university in Bradford.

George had a deep love of art and spent much of his time in the company of local artists in Yorkshire. He became both a de facto patron and friend to many of the Yorkshire-based artists whose work he collected and championed, including Fred Lawson, Philip Naviasky, Fred Cecil Jones, and Jacob Kramer. He was himself also an amateur painter.

From 1929 to 1934, he became the editor of “The Heaton Review: A Northern Miscellany of Art and Literature” circulated in the parish of Heaton, Bradford. Not content to limit its articles to local matters, George invited and received contributions from the great and the good of British society, including John Galsworthy, J B Priestley, George Bernard Shaw, Kenneth Grahame, Hugh Walpole, the poet and art scholar Laurence Binyon, and music from the composer Gustav Holst, amongst many others.

He also met Mahatma Gandhi during his tour of the north of England in 1931, and asked Gandhi to sign a recently completed portrait of him by the Leeds artist Jacob Kramer. A lithograph of the signed drawing is held in the collection of the National Portrait Gallery. George later invited Gandhi to contribute to The Heaton Review, but by this time Gandhi was back in India and had been imprisoned in Poona (now Pune) so wrote a letter in reply from jail regretting that he was not permitted correspondence with newspapers and reviews.

As editor, George Hopkinson provided The Heaton Review with illustrations and copies of paintings from his collection, including many by his friends such as Lawson, Naviasky, Jones and Kramer, some of whose paintings are included in this sale.

George Hopkinson was also President of The Bradford Textile Society between 1945 and 1947, and for many years was the editor of its annual publication, “The Journal”. As with “The Heaton Review”, George broadened The Journal's remit, inviting contributions from notable public figures such as the Archbishop of York (who wrote of “The World in the Atomic Age” soon after the dropping of the atomic bombs in Japan in 1945). Again, George included illustrations by Fred Lawson, Fred Jones, Janet Rawlins, TS Evans, Cecil Hunt, Angus Rands and many others, often from his own collection (Lots 412 and 420). In June 1963, as President of the Bradford Arts Club, he hosted an exhibition entitled “The Collection of a Wanderlust in Art” which included 140 paintings and drawings from his private collection, which at that time contained three works by a littleknown but up-and-coming Bradford artist called David Hockney.

In addition to over a thousand paintings, George also collected furniture, at times keeping pieces at his mill before bringing them home in the hope that his first wife, Emily, might not notice.

Upon his death in 1969, the collection was divided between his second wife, Joan, and the families of his two sons, John and Gary. The paintings presented in this sale formed part of John Hopkinson’s estate. The collection is a legacy from a remarkable individual whose discerning eye played a significant role in promoting Yorkshire-based artists of his time.

Portrait of Mr George G Hopkinson by Alfred Thomson, 1967

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FREDERICK (FRED) LAWSON (1888-1968) Fred Lawson was born in 1888 to a loom-weaving and millowning family in Yeadon to the north of Leeds, one of five siblings.

Plagued by ill-health throughout his childhood, Lawson was not strong enough to enter the mill, but was supported through six years of art school by his father.

After first studying at Dewsbury Technical College, he attended Leeds School of Art until he was 20, during which time he spent a year at South Kensington School of Art (later the Royal College of Art) where he earned his teaching diploma.

In 1910 Lawson first ventured into Wensleydale, arriving in Castle Bolton with friend and fellow artist George Graham.

During their month-long stay, they were visited by fellow Leeds students Jacob Kramer (see lots 450-456) and Philip Naviasky (see lots 426-434), who were to become regular visitors to the Dale. The month spent in the Dales left a lasting impression, and after returning to Leeds to take up a teaching position, he handed in his notice after two terms and returned to Wensleydale. After initially taking temporary lodgings, he and George Graham settled in Castle Bolton, sharing a cottage and studio.

Lawson began his life as an artist, living simply like those around him, painting and exploring his new home. During those early years, Lawson and Graham made several painting trips to Europe, visiting France, Belgium and Holland to expand their artistic horizons.

During his first trip to France in 1911, he came under the influence of the Barbizon School of Artists, who worked en plein air in the countryside around Fontainebleau, just outside Paris.

Back in Castle Bolton, Lawson settled into the Dales, embedding himself in rural life and the local community. He painted every day, exhibited, and supplemented his income by teaching art locally as his reputation grew.

It was through his informal roles as an art tutor that Lawson first met Muriel Metcalfe (see lot 435), whose talent as an artist he recognised at an early age.

Leyburn-born Muriel went on to study at Art College in Newcastle, and on her return to Wensleydale, she often joined Lawson to paint. Like-minded souls, the pair married in 1933 and settled in a cottage in Castle Bolton. Money may have been tight, but they lived simply and happily. They were joined in 1934 by their beloved daughter Sonia, herself now a renowned artist and Royal Academician.

400 (part)

400✓ Frederick (Fred) Lawson (1888-1968) “East Witton” Signed, inscribed and dated July 10th 1950, black pen and ink, together with two further signed, inscribed and dated pen and ink studies by the same artist “Bolton Ghyll July 7th 1941” and “Gayle, July 21st 1955”, also to include an extensively illustrated letter from the artist to the patron Mr George Hopkinson and two further signed woodcuts depicting a cottage amongst a copse of trees, a church in snow and another monochromatic woodblock by Muriel Metcalfe depicting a mother and child silhouetted against a starry sky, 27.5cm by 38cm, 25cm by 35.5cm, 27.5cm by 38cm, 22.5cm by 17.5cm, 21cm by 16.5cm, 18.5cm by 14cm and 19.5cm by 17.5cm respectively (7) (all unframed) £200-300

For 58 years, Lawson's fascination with capturing Wensleydale and its people never waned. He continued to walk the hills and dales in all weathers, armed with paint box and paper, just as much a local landmark as the rocks and trees he so clearly loved.

"The man, we can say, loved the countryside" - J. B. Priestley

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401✓ Frederick (Fred) Lawson (1888-1968) “Ripon” Signed, inscribed and dated November 12th 1931, black pen and ink, together with a small collection of further monochromatic ink, charcoal and pencil sketches, to include “Skellgill”, a horse mounted figure droving the flock, Holy Island (Church), Abbey ruins and a further study “Bullcroft Barn” by Muriel Metcalfe, 27cm by 30cm, 16.5cm by 22cm, 17.5cm by 22.5cm, 17.5cm by 24.5cm, 16.5cm by 26.5cm and 25.5cm by 25.5cm respectively (6) (all unframed) £100-150

401 (part) www.tennants.co.uk

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402✓ Frederick (Fred) Lawson (1888-1968) “Tong Church” Signed, inscribed and dated March 25th 1932, together with two further signed mixed media examples by the same hand, to include “Marrick Abbey” and Bolton Castle, 27.5cm by 38cm, 38cm by 27.5cm and 35.5cm by 27cm respectively (3) (all unframed) £150-250

402

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403 (part)

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Frederick (Fred) Lawson (1888-1968) “Bradford” Signed, inscribed and dated 25th March 1932, mixed media, together with two further signed, inscribed and dated monochromatic studies by the same artist to include “Halifax from Third Cage, Godly Road, July 6th 1932” and “Stove Fall (sic) October 29th 1921”, 27.5cm by 20cm, 27.5cm by 40cm and 23.5cm by 31cm respectively (3) (all unframed) £120-180

Frederick (Fred) Lawson (1888-1968) “Avignon” Signed, inscribed and dated March 1922, mixed media, together with a further signed pencil and watercolour study depicting a likely Continental village, 27.5cm by 25cm and 32cm by 41cm respectively (2) (all unframed) £120-180

404 www.tennants.co.uk

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Frederick (Fred) Lawson (1888-1968) “Les Halles, Paris” Inscribed and dated April 1st 1921, pencil and coloured crayon, together with a further signed (twice) 1921 watercolour by the same artist “Paris”, 27cm by 27cm and 17.5cm by 25cm respectively (2) (all unframed) £150-250

Frederick (Fred) Lawson (1888-1968) Woodcutters Signed, charcoal and watercolour, together with a further signed pencil and watercolour study of a Dales village, 33.5cm by 41cm and 27cm by 35.5cm respectively (2) (all unframed) £250-400

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407✓ Frederick (Fred) Lawson (1888-1968) “Near Grassington” Signed and dated 1920, further inscriptions with alternative title verso, watercolour, together with two further signed landscape watercolours by the same artist, 23.5cm by 25cm, 32.5cm by 41cm and 19.5cm by 28.5cm respectively (3) (all unframed) £120-180

407

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408

408✓ Frederick (Fred) Lawson (1888-1968) Horse, cart and figure passing a country lane in an autumnal landscape Signed, pencil and watercolour, together with two further signed examples by the same artist depicting a horse, cart and figure in a snowbound landscape, and a further extensive landscape view, 25.5cm by 23cm, 41cm by 33cm and 28.5cm by 38.5cm respectively (3) (all unframed) £200-300

409✓ Frederick (Fred) Lawson (1888-1968) “Leyburn” Signed, inscribed and dated May 13th 1921, pencil and crayon, 26cm by 36cm (unframed) £250-400 409 12

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Frederick (Fred) Lawson (1888-1968) Caravans and stalls at a market cross, possibly Redmire Signed, mixed media, 25.5cm by 31.5cm (unframed) £300-500

Frederick (Fred) Lawson (1888-1968) “Lee Gap” Inscribed and dated Sept., 24, 1927 verso, pencil and watercolour, 18.5cm by 24.5cm £400-600

411 www.tennants.co.uk

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412✓ Cuthbert Crossley (1883-1960) “Wood Mill Shops, Halifax, entrance to Chapel Fold” Monogrammed, mixed media, together with three further monochromatic sketches by the same artist to include “Waterhouse Terrace” (April 4th 1936), “Waterside” (July. 20. 32)” and “Churchbank, Bradford” (22.3.46), 39cm by 50.5cm, 25cm by 18cm, 20cm by 25cm and 20cm by 25cm respectively (4) (all unframed) “Wood Mill Shops, Halifax, entrance to Chapel Fold”, published in the Bradford Textile Society Journal, date unknown, according to an inscription verso. £200-300

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413

413✓ Joseph Ridley Radcliffe McCulloch ARWS, NS, ARCA (1893-1961) “Gilford Street, Leeds” Signed and dated 1929, ink and watercolour, together with three further signed examples by the same artist to include “Site for Lewis’s Upper Headrow”, “Bluey England (1936)” and “Whitby (1948)” 20.5cm by 18.5cm, 17.5cm by 25cm, 18cm by 25.5cm and 34cm by 45.5cm respectively (4) (all unframed) £80-120

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FRED CECIL JONES RBA (1891-1956) Frederick Cecil Jones was a Yorkshire painter, etcher, and art teacher who produced extraordinarily detailed townscapes of his native country, encapsulating the spirit of time and place.

Jones was born in Bradford, the son of artist Maud Raphael Jones. After a brief period at Bradford College of art, in 1916 Jones enlisted into the army where his artistic skills were quickly utilised. He briefly taught other Army artists the skill of panoramic reconnaissance drawing but served most of his time on the Western Front until the close of the war, earning the nickname ‘Detail Jones’ for his ability to precisely render even the finest details of his subjects.

Returning to his West Yorkshire home after the War, he continued to hone his skills in panoramic drawing, capturing the towns and cities of Northern England with acutely observed detail. However, Jones did not just focus his powers of observation on landscape and architecture, he put people at the heart of his paintings which are often bursting with life. He manages to capture small details of everyday life with a gentle, benevolent humour that make his work so engaging; in a crowded shopping street a small child squirms in his mother’s arms, a shopper bends to peer into a window, and woman rummages for a lost item in her handbag.

Jones returned to his artistic education, attending Leeds College of Art part-time between 1930 and 1935, and married fellow artist Ethel Mary Kitson.

Whilst continuing to paint, he and Ethel taught at Pudsey School of Art, where he became Deputy Principal. He would go on to exhibit both locally and nationally, including showing at Cartwright Hall, Bradford, the Royal Academy and the Royal Scottish Academy. His paintings are now held in numerous collections such as Tate Britain and Wakefield Art Galleries. He was elected to RBA in 1940 and a memorial exhibition of his work was held at Cartwright Hall, 1956 and at Keighley, 1957.

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414✓ Fred Cecil Jones RBA (1891-1956) “Stokesley” Inscribed, pencil, pen and ink, with smaller pencil line drawing of Stokesley verso, together with a further pencil drawing of a church clock tower and other buildings, possibly by Geoffrey Birks, 16cm by 22.5cm and 10.5cm by 17cm respectively (2) (all unframed) £70-100

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415✓ Fred Cecil Jones RBA (1891-1956) “York” Signed, inscribed and dated 1940, pencil and watercolour, 50cm by 32.5cm (unframed) £300-500

415

416✓ Fred Cecil Jones RBA (1891-1956) “Ripon” Signed, inscribed and dated 1950 (twice), further inscribed and dated in biro to reverse, pencil and watercolour, 23.5cm by 38.5cm (unframed) £300-500

416

417✓ Fred Cecil Jones RBA (1891-1956) “Ripon” Signed, inscribed and dated 1950, pencil and watercolour heightened with white, 28.5cm by 38.5cm (unframed) £500-800

417 www.tennants.co.uk

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418✓ Fred Cecil Jones RBA (1891-1956) “Bridlington” Signed, inscribed and dated 1955 to backing board verso, pencil and watercolour, 27.5cm by 34.5cm (unframed) £400-600

418

419✓ Fred Cecil Jones RBA (1891-1956) “Pudsey between Leeds and Bradford” Signed, inscribed and dated 1943, mixed media, 27.5cm by 52.5cm (unframed) Sold together with an artist’s portfolio labelled as follows: “Fred Cecil Jones, Thorner, Woodhall Park Crescent (East), Stanningley, Leeds”, approx. 70cm by 58.5cm £1,200-1,800

419

420✓ Fred Cecil Jones RBA (1891-1956) “Keighley from Morton Banks” Signed, inscribed “Keighley Yorkshire” (with further inscription to paper surround), pencil and watercolour, 24cm by 35cm (unframed) A further inscription to paper mount refers to the work being published in “The Journal” £300-500

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421✓ Fred Cecil Jones RBA (1891-1956) “Moonrise over Golcar” Extensively inscribed including to backing board with three further inscriptions to mount, watercolour heightened with white, 16.5cm by 22.5cm (unframed) £250-400

421

422✓ Fred Cecil Jones RBA (1891-1956) “Heysham” Signed, inscribed and indistinctly dated 1954?, mixed media, 43cm by 57.5cm (unframed) £700-1,000

422

423✓ Fred Cecil Jones RBA (1891-1956) “Tadcaster, Yorkshire” Signed, inscribed and indistinctly dated 1946?, with fragments of an original artist’s backing sheet inscribed with title, artist’s address and original price of £18, pencil and watercolour heightened with white, 27.5cm by 37.5cm £800-1,200

423 www.tennants.co.uk

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424✓ Angus Bernard Rands (1922-1985) “Harrogate from Ripon road” Signed, extensively inscribed with further location details verso, charcoal and watercolour, together with two further examples by the same artist to include “Harrogate from Plumpton Bar” and Figures before Harrogate’s Pump House, 39cm by 57cm, 26cm by 36.5cm and 35cm by 53cm respectively (3) (all unframed) £150-250

424

425✓ Sonia Naviasky (20th/21st Century) “Snow White in the Woods” Signed, signed and inscribed verso, pencil and coloured crayon, 19cm by 27.5cm (unframed) The present drawing is deemed to be an exceptionally early work by the artist and to have come into the collection via her father Philip Naviasky’s long-standing relationship with the collector and patron, George Hopkinson £70-100

425

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PHILIP NAVIASKY (1894-1983) Born in Leeds, of Polish extraction, Naviasky won a scholarship to the Leeds School of Fine Arts in 1907. Five years later, he was the youngest ever student accepted into the Royal Academy School.

He went on to study at the Royal College of Art, before taking up a post as an art teacher at the Leeds College of Art. He married Millie Astrinsky in 1933, and the couple remained based in Leeds. They had a daughter, Sonia, who became an artist in her own right. See lot 425 for an example of an exceptionally early work by the artist.

Naviasky’s landscapes recall the shimmering vibrancy of the post-impressionists, characterised by the confident use of colour. As well as depicting local Yorkshire scenes, the artist travelled widely, and used the opportunities to capture the sundrenched views of Morocco, Spain, and France.

Naviasky’s works are held in numerous national collections, such as the Bradford Museum and Art Galleries, Leicester Museum and Art Galleries, the Atkinson Art Gallery Collection and the Hepworth Wakefield.

426✓ Philip Naviasky (1894-1983) “Martigues” Signed, inscribed and dated 1931, charcoal and watercolour, together with two further signed mixed media examples by the artist to include “Martigues” and a Seated female figure at work (1920) with inscription and further unfinished monochromatic sketch of corresponding subject matter to reverse, 31.5cm by 47.5cm, 23cm by 31cm and 22.5cm by 31cm respectively (3) (all unframed) £200-300

426

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427

427✓ Philip Naviasky (1894-1983) “Ibiza” Signed, inscribed and dated 1933, with unfinished half length charcoal study of a female verso, mixed media, together with two further signed mixed media examples by the same artist to include “Martigues from the Chalk Pits” (1926) and “La Rochelle, view from Tower of St Nicolas”, 31.5cm by 47.5cm, 28cm by 39cm and 23cm by 29.5cm respectively (3) (all unframed) £150-250

428

428✓ Philip Naviasky (1894-1983) “Saint-Tropez” Signed, inscribed and dated 1949, pencil and watercolour heightened with white, together with two companion examples by the same artist depicting “Saint-Tropez” harbour (1928) and a town view of “Saint-Tropez”, 28.5cm by 38cm, 28cm by 39cm and 28.5cm by 38.5cm respectively (3) (all unframed) £150-250

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429

429✓ Philip Naviasky (1894-1983) “Menton, Rue Longue” Signed, inscribed, watercolour, together with two further signed Continental street scenes with figures by the same artist to include “Avignon” and another, 39cm by 28.5cm, 38cm by 28.5cm and 39.5cm by 28.5cm respectively (3) (all unframed) £120-180

430✓ Philip Naviasky (1894-1983) “Tangier” Signed and inscribed, with vignette sketch to reverse, charcoal and watercolour, 38.5cm by 55cm (unframed) £200-300

430

431✓ Philip Naviasky (1894-1983) “Tangier” Signed, inscribed, mixed media, with unfinished related charcoal and watercolour sketch verso, 38.5cm by 56cm (unframed) £200-300

431 www.tennants.co.uk

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432

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Philip Naviasky (1894-1983) Beach scene with figures seated in deck chairs and donkeys, probably North Yorkshire Signed, pencil and watercolour, 28.5cm by 38cm £250-400

Philip Naviasky (1894-1983) “Pont-Neuf, Paris” Signed, inscribed and dated 1933, charcoal and gouache, 39.5cm by 57cm (unframed) £80-120

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434

434✓ Philip Naviasky (1894-1983) “Barden Tower, Wharfedale” Signed (twice), inscribed (twice) and dated 1947, pencil and watercolour, together with three further signed examples by the same artist to include two works on paper “Wharfedale” (1946), a River landscape and an unstretched oil on canvas depicting a Landscape with hill beyond, 34cm by 39cm, 28.5cm by 38.5cm, 38cm by 54.5cm and 32.5cm by 41.5cm respectively (4) (all unframed) £80-120

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435

435✓ Muriel Metcalfe (1910-1994) “Quarries, Heaton, Bradford” Signed, extensively inscribed and signed verso, ink and watercolour, together with three further examples by the same artist depicting cattle grazing and at rest under a canopy of trees, “Highgate Heaton Bradford”, a further landscape with cottages and cattle and another mixed media extensive landscape study by Sonia Lawson, 27.5cm by 38cm, 28cm by 37cm, 27.5cm by 38cm, 27cm by 31cm and 27.5cm by 38cm respectively (5) (all unframed) £80-120

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436 (part)

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Janet Rawlins (b.1931) “Industrial Leeds” Signed, monoprint with applied inks, together with two further signed works by the same artist to include a print with hand embellishment depicting leaves and Aquilegia and “Creskeld Lane, Bramhope, Yorks”, 28cm by 38cm, 18cm by 26.5cm and 23.5cm by 33.5cm respectively (3) (all unframed) £120-180

Joseph Appleyard (1908-1960) ‘’Harewood Horse Trials” Signed, inscribed with title and artist’s address verso, watercolour heightened with white, together with three further examples by the same artist to include “St George’s Church and Clarendon Road, Leeds”, “On the Canal, Rodley” and “The Middleton at Barnby Moor”, 28cm by 38cm, 28.5cm by 38.5cm, 28cm by 38cm and 28cm by 37.5cm respectively (4) (all unframed) £120-180

437 (part) www.tennants.co.uk

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438✓ Edward Wesson RI, RBA, RSMA (1910-1983) “Willows near the Withies at Compton, Surrey” Signed, inscribed verso, ink and watercolour, 37cm by 54.5cm (unframed) £120-180

438

439✓ Valerie Sozonov (1899-1960) British/Russian “Brighton” Signed, inscribed verso, mixed media, 40cm by 55.5cm (unframed) £100-150

439

440✓ Valerie Sozonov (1899-1960) British/Russian “Shoreham” Signed, mixed media, 38.5cm by 56.5cm (unframed) £80-120

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441✓ Valerie Sozonov (1899-1960) British/Russian “Rotten Row, Hyde Park” Signed (twice) and dated 1935, pencil and watercolour, together with two further signed and inscribed examples by the same hand to include “Westminster Bridge” and “Hyde Park, Rotten Row”, 55.5cm by 40cm, 38cm by 55.5cm and 40.5cm by 55.5cm respectively (3) (all unframed) £200-300 441

442✓ Valerie Sozonov (1899-1960) British/Russian “Edinburgh” Signed, watercolour and gouache, 32.5cm by 45.5cm (unframed) £60-90

442 www.tennants.co.uk

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CHARLES MURRAY (1894-1954) SCOTTISH Charles Murray was a painter and printmaker born in Aberdeen. The grandson of a sculptor, he studied at the Glasgow School of Art from 1908 until 1911. In 1923, Murray won the Prix de Rome for etching, which enabled him to go and study at the British School in Rome. During his time in Europe, he travelled extensively before moving back to Scotland in 1926 to teach engraving at the School of Art in Glasgow. Later, he went on to live in Leeds and Middlesex. Murray’s subjects are drawn from everyday rural life as well as from his travels in Iceland and Russia, and many of his works have religious connotations.

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443 Charles Murray (1894-1954) Scottish Mothers carrying babies on a shore Signed, watercolour, together with a further gouache heightened with white depicting skaters on a frozen pond, 59.5cm by 42cm and 31cm by 48cm respectively (2) (all unframed) £80-120

444 Charles Murray (1894-1954) Scottish “Heysham” Signed, signed and inscribed in pencil verso, pencil and oil on board with scratching out, 46.5cm by 61cm (unframed) £250-400

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

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445 Charles Murray (1894-1954) Scottish Street scene with cloaked figures Signed, print with mixed media hand embellishment and scratching out, 33.5cm by 46cm (unframed) £200-300

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446 Charles Murray (1894-1954) Scottish “Air Raid” Print with mixed media hand embellishment and scratching out with areas of applied paint, together with a further mixed media example by the same hand depicting skeletons in a landscape, 26cm by 34.5cm and 46cm by 36cm respectively (2) (all unframed) £120-180

www.tennants.co.uk

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447 Charles Murray (1894-1954) Scottish Skull wearing Brodie helmet in a surreal landscape Signed, mixed media, together with a further signed print with hand embellishment depicting a study of a skull and another surreal figurative example by the artist, 30cm by 44.5cm, 46.5cm by 34cm and 46cm by 30cm respectively (3) (all unframed) £100-150

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448 Charles Murray (1894-1954) Scottish “The Vase” Signed, inscribed in pencil verso, mixed media, together with a signed, assumed exhibition catalogue cover held at the Griffin Hotel, Leeds and relating to the same artist, 22.5cm by 29.5cm and 27cm by 20.5cm respectively (2) (all unframed) £80-120

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

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449 Charles Murray (1894-1954) Scottish Surreal landscape with cactus A black and white etching, together with a further signed monochromatic lithograph depicting three cloaked figures, another signed pen and ink drawing depicting a standing Christ and a further etching and aquatint, signed in pencil and numbered 1/50 of a double portrait head study, 12cm by 16cm pl., 46cm by 41.5cm, 46.5cm by 30cm and 29.5cm by 19.5cm pl. respectively (4) (all unframed) £120-180

www.tennants.co.uk

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JACOB KRAMER (1892-1962) Fleeing persecution in Eastern Europe, Jacob Kramer and his family left the Ukraine, settling in the Jewish community of Leeds in 1900. The son of a court painter, Kramer fled to England. It was a far cry from his middle-class upbringing in Ukraine, and in 1902 he left home at the age of only ten, taking on jobs throughout the North of England and spending six months at sea. During this period, he attended occasional art classes at Manchester School of Art, but his first formal training was at Leeds School of Art from 190811, where he received a scholarship to study full-time. Here he also earned the patronage of Sir Michael Sadler.

From 1913-14, he studied at the Slade School of Art where he befriended other leading artists of the day such as Augustus John and David Bomberg.

Kramer developed a simple, geometric style derived from a mixture of influences, including those of Rembrandt, the angular cubism of Pablo Picasso, and the semi-abstract work of the Vorticists and Expressionists. He was also friendly with Jacob Epstein and Mark Gertler, but despite this, he preferred not to associate himself directly with any particular movement.

In 1915, Kramer held a solo exhibition with Mathews and Brooke in Bradford and was invited to exhibit with the Vorticists in London.

Following this he began to build up his reputation as a leading Yorkshire artist with shows in Yorkshire and London and in 1959 he was elected as president of Leeds Fine Arts Club.

1960 saw a retrospective of his works at Leeds City Art Gallery and six years after his death the City of Leeds Branch College of Art was renamed the Jacob Kramer College of Art. Exhibitions of his work have also been held at the Parkin Gallery in 1973 and Belgrave Gallery in 1990.

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450✓ Jacob Kramer (1892-1962) “Ivor Brown” Head study Signed, inscribed with sitter’s name and published in the “Bookman”, charcoal, together with a further charcoal and chalk signed example by the same artist depicting a Head study of a young man, 49cm by 37cm and 35cm by 47.5cm respectively (2) (all unframed) £80-120

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

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451✓ Jacob Kramer (1892-1962) Head study of John Hopkinson Signed, pastel, 47.5cm by 44cm (unframed) £150-250

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452✓ Jacob Kramer (1892-1962) Head study of Muriel Metcalfe Signed, inscribed “Muriel Metcalfe” probably in the collector’s handwriting, chalk, 60.5cm by 47cm (unframed) £150-250

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453✓ Jacob Kramer (1892-1962) Head study of a lady Signed, red chalk, 62cm by 48cm (unframed) £80-120 453 www.tennants.co.uk

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454✓ Jacob Kramer (1892-1962) “Gracie Fields” Head study Signed, inscribed and dated 1931, chalk, 52.5cm by 40cm Kramer first met Grace Fields when she was touring in Leeds in 1929, they subsequently spent much time together. (Kramer - A Memorial Volume, p.19) Illustrated p.76. £150-250

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455✓ Jacob Kramer (1892-1962) Portrait of a lady, three-quarter length, seated wearing a red striped scarf and a Trilby hat Signed, inscribed “Peony Halifax” probably in collector’s handwriting verso, chalk, 64.5cm by 50.5cm (unframed) £250-400

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456✓ Jacob Kramer (1892-1962) Portrait of a lady, head and shoulders, seated, wearing a white fabric headdress Signed, oil on canvas board, 73.5cm by 49cm £500-800

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

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BRITISH, EUROPEAN & SPORTING ART SATURDAY 11 JULY 2026

George Weatherill (1810-1890) "Robin Hood's Bay after a thunderstorm" Signed, inscribed and dated 1880 to upper stretcher verso, oil on canvas, 29cm by 44.5cm £400-600

For further information, please contact: 01969 623780 enquiry@tennants-ltd.co.uk

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BUYERS’ INFORMATION Buyer’s Premium

Absentee Bidding

A Buyer’s Premium of 24% on the first £999,999 of the Hammer Price and 22% on the amount thereafter, plus VAT, is payable on each lot.

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.

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.

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

AML Due Diligence We conduct appropriate Due Diligence checks to comply with current Anti Money Laundering regulations for any buyer exceeding the threshold of £6,000. We 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

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.

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.

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Droit de Suite/ Artists’ Resale Rights

Collection

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 £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.

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).

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 of more than £1,000.

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.

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 £25 depending on the size and destination. Please note, we are unable to post items of a fragile nature. Items are fully insured and can be tracked from dispatch to 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

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NEXT MODERN & CONTEMPORARY ART SALE SATURDAY 3 OCTOBER 2026 2026 AUCTION DATES Friday 5 June Antiques & Interiors Affordable Jewellery, Watches & Silver Saturday 13 June Mouseman – 150th Anniversary Sale A Yorkshire View – Part II Modern & Contemporary Art 20th Century Design Friday 19 June Antiques & Interiors Wednesday 24 June Militaria & Ethnographica Friday 5 July Antiques & Interiors Affordable Jewellery, Watches & Silver Saturday 11 July Asian Art Summer Sale British, European & Sporting Art Fine Jewellery, Watches & Silver Summer Transport Sale Friday 17 July Antiques & Interiors, including a section of Affordable Modern & Contemporary Art Wednesday 22 July Toys & Collectables Friday 31 July Antiques & Interiors, including a section of Designer Fashion