MODERN & CONTEMPORARY ART
SATURDAY 14 JUNE 2025
ALSO SELLING TODAY:
20TH CENTURY DESIGN
SATURDAY 14 JUNE 2025
9.30AM
MODERN & CONTEMPORARY ART
SATURDAY 14 JUNE 2025 AT 9.30AM
TO INCLUDE
An accumulation of works from the estate of a distinguished London collector
AUCTION
The Auction Centre, Leyburn North Yorkshire DL8 5SG
VIEWING
Thursday 12 June 10.00am to 4.00pm Friday 13 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
FRONT & BACK COVER Lot 348
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 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
Art
Tennants is the UK’s largest family-owned fine art auctioneers, with a well-deserved reputation for delivering unrivalled service and results.
Twenty-seven specialist 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.
Francesca Young Modern & Contemporary
Specialist
Charlotte Conboy Consultant
Jane Tennant Director
Kate Hudson Trainee Junior Picture Specialist
300
300
After Laurence Stephen Lowry RBA, RA (1887-1976)
“The Pond”
Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 46.5cm by 58cm
£2,000-3,000
301
After Laurence Stephen Lowry RBA, RA (1887-1976)
“Britain at Play”
Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 47cm by 60cm
£2,000-3,000
302
After Laurence Stephen Lowry RBA, RA (1887-1976)
“The Fever Van”
Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 46cm by 53cm
£2,000-3,000
303
After Laurence Stephen Lowry RBA, RA (1887-1976)
“Level Crossing”
Signed, a colour reproduction, 51cm by 58cm
£1,000-1,500
304
Brian Shields ‘Braaq’ FBA (1951-1997)
Street scene with figures and dogs
Signed and dated (19)75, mixed media, 20.5cm by 26.5cm
£800-1,200
305
Brian Shields ‘Braaq’ FBA (1951-1997)
“The Coal Pickers”
Signed and dated (19)78, inscribed “Ann”, oil on panel, 20.5cm by 25cm
£2,500-3,000
306
Brian Shields ‘Braaq’ FBA (1951-1997)
Industrial scene
Signed and dated (19)75, mixed media, 15.5cm by 20cm
£700-1,000
307
Brian Shields ‘Braaq’ FBA (1951-1997)
Mill town
Signed and dated (19)78, inscribed “Ann”, oil on board, 20.5cm by 25cm
£2,500-3,000
Brian Shields ‘Braaq’ FBA (1951-1997) Figures and dogs before a mill town (1979) Signed and inscribed “Ann”, further inscribed G/I?, oil on panel, 30cm by 40cm
Provenance: Braaq Galleries, Harrogate
Sold together with the original receipt
£3,000-5,000
Helen Layfield Bradley (1900-1979)
At the age of 65, having dedicated her adult life to raising a family, Helen Layfield Bradley reinvented herself as an internationally acclaimed artist and left a lasting visual legacy.
Born in Leeds, on the outskirts of Oldham, in 1900, an early talent for art saw her awarded the John Platt Scholarship to attend Oldham Art School at the age of 13. However, the outbreak of the First World War and opposition from her parents halted any budding ambitions she had to forge a career as an artist. Following her marriage to painter and textile designer Thomas Bradley, she spent the next forty years as a wife and mother. Yet, she never lost her fascination with art, visiting galleries whenever she could, including the British Museum where she discovered a love for Persian miniatures, rich with illustrative storytelling.
A desire to show her grandchildren just how different the world was when she was a child inspired her to pick up her brushes again in 1965. Bradley created a simple, yet effective style of illustrative painting, and she was encouraged in her efforts by L.S. Lowry, whom she had met early on in her new career and formed a kinship with. Using a soft yet colourful palette and simple two-dimensional figures, she illustrated short narrative accounts based on early childhood memories of growing up in the Edwardian era.
Most of her early works focus on the years between 1904 and 1908 and featured a young Helen along with her little brother George, her mother and maiden aunts, and family friend s to Blackpool, walking in Salford’s Peel Park, shopping in Oldham or day trips to the Lake District. Later, however, she expanded her repertoire, creating fantastical and dream-like pictures based on embellished Bible stories recounted to her in childhood.
Filled with charm and quiet joy, Bradley’s work was launched to international fame following the 1971 publication of “And Miss Carter Wore Pink: Scenes from an Edwardian Childhood”, the first of four books that went on to be published around the world. Following high demand, a series of prints was released, and her witty, simple style became widely recognised. Indeed, she went on to feature in television and radio shows, was the subject of a NBC documentary, and even had her work adapted for stage by the National Ballet. In 1979 Bradley was awarded an MBE, but sadly died before the investiture. Her work now hangs in major public art collections and remains much loved today.
309
Helen Layfield Bradley MBE (1900-1979) “Lees Brook”
Signed and with fly insignia, oil on panel, 30cm by 33.5cm
Provenance: MacConnal Mason and Son Ltd., London
£15,000-20,000
310
Helen Layfield Bradley MBE (1900-1979)
“Snowing in Lanchester”
Signed with fly insignia, oil on panel, 29.5cm by 36.5cm
Provenance: MacConnal Mason and Son Ltd., London
Sotheby’s “Modern British and Irish Paintings, Drawings and Sculpture”, London, 18th July 1990, lot 236
£15,000-20,000
311
Helen Layfield Bradley MBE (1900-1979) “House for Sale” Signed, with fly insignia, oil on board, 40.5cm by 42.5cm
Provenance: MacConnal Mason and Son Ltd., London Bonham’s “20th Century British Art”, London, 15th June 2004, lot 82 £15,000-20,000 311
312
Peter Brook RBA (1927-2009)
Winter wash day
Signed, oil on canvas, 100cm by 80cm
For a similar composition, see “Peter Brook in the Pennines” with Mary Sara and R. W. Poole, 1995, p. 2
£3,000-5,000
313
Ruskin Spear RA (1911-1990)
“The Dartmouth Castle”
Signed and dated 1935, oil on canvas, 60cm by 50cm
Provenance: Bonhams, London, “20th Century British Art”, 30th June 2010, lot 81
£3,000-5,000
Signed, oil on canvas, 107.5cm by 74.5cm
Provenance: Commissioned by the vendor’s father
£2,000-3,000
Norman Stansfield Cornish MBE (1919-2014)
“Catherine”
315
Theodore Major (1908-1999)
Standing Female nude Oil on canvas, 90cm by 59.5cm
Provenance: Bonhams Chester, “The Chester Sale”, 16th March 2011, lot 572
£3,000-5,000
316
Theodore Major (1908-1999)
Still life of bottles and an apple Oil on board, 54.5cm by 64cm
Provenance: Bonhams Chester, “The Chester Sale”, 16th March 2011, lot 571
£3,000-5,000
317
Eric Gill ARA, RDI (1882-1940)
“The Deposition” (1931)
Signed and numbered 7/10, wood engraving from “The Four Gospels”, 24.5cm by 19cm
£150-250
319
Claughton Pellew (1890-1966)
“The Ploughman”
Signed and dated 1925, inscribed imp and numbered 6/30, wood engraving, together with a further wood engraving by the same hand “Marsh Marigolds”, and two publications, “Ploughshare and Hayrick, The Life and Work of Claughton Pellew and Kechie Tennent”, Upper Denby, The Fleece Press 2019,James Methuen-Campbell and “Claughton Pellew Wood Engravings”, Ashmolean Museum, 1987, 33cm by 20cm and 33cm by 27cm respectively (4)
£200-300
318
Paul Nash (1889-1946)
“Siegfried, A Deep Forest: Night” (1925)
Wood engraving, from “Wagner’s Ring Cycle”, 9.5cm by 10.5cm
£120-180
320
Claughton Pellew (1890-1966)
“Sunrise”
Signed and dated 1930, inscribed proof, woodblock print, 42cm by 31cm
£150-200
(part)
321
Claire Leighton (1898-1989)
“The Farmer’s Year: A Calendar of English Husbandry” (1933)
Twelve wood engravings, each mounted, 19.5cm by 26.5cm (12) (unframed)
£250-400
322
Eric Ravilious (1903-1942) and Ambrose Heath (1891-1969)
Calendar from “The Country Life Cookery Book” (1937)
Twelve wood engravings, each mounted, 18.5cm by 20cm (12) (unframed)
£100-150
323
John Northcote Nash CBE, RA (1893-1977)
“Geranium Lancastriense Sanguineum”
Pencil and watercolour, 30.5cm by 24cm
Provenance: The artist’s estate Moss Galleries, London
£300-500
324
Paul Nash (1889-1946)
“Felled Tree on Ballard Down”
Signed and dated 1934, annotated, 21cm by 29.5cm
Provenance: Moss Galleries, London
£1,000-1,500
323
325
John Egerton Christmas Piper CH (1903-1992)
Lake scene
Signed, monochrome watercolour and wash, 19.5cm by 31cm
Provenance: The property of Sir Brooke Boothby, ex Fonmon Castle
£500-800
Richard Bawden RWS, RE, MSDC, ARCA (1936-2024)
“The Orangery, Norton Conyers”
Signed, inscribed and dated 1997, pencil and watercolour, 39cm by 51cm
£200-300
327
Edward Bawden CBE, RA (1903-1989)
“Life in an English Village”(1949)
Eight lithographs from the series, together with six further black and white prints, all mounted, 26cm by 20cm and 20cm by 26cm respectively (14) (unframed)
£200-300
328
Edward Bawden CBE, RA (1903-1989)
“Review of Revues and Other Matters” (1930)
A calendar of twelve lithographs, each mounted, 6cm by 12.5cm (12) (unframed)
£200-300
Edward Bawden CBE, RA (1903-1989)
“Good Food” (1934)
A Calendar of twelve prints published by Faber & Faber, each mounted, 10cm by 12cm (12) (unframed)
£120-180
Henry Moore OM, CH, RBA, RBS (1898-1986)
“Eight Sculptural Ideas Girl Writing”
Signed and dated (19)73, numbered 27/65, lithograph, 42cm by 52cm
£300-500
Edward Burra CBE (1905-1976)
“Mrs Pot”
Signed and numbered 30/75, etching, 28cm by 30cm
£200-300
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970)
Fascinated with the world of theatre, ballet, and the circus, Laura Knight encountered the famous Bertram Mills circus in 1920. She was captivated by all aspects, depicting the spectacular shows, characters, and the animals behind the scenes. She became a founder member of the Circus Fans’ Association and painted many famous works, including “The Grand Parade Charivari” which was exhibited at the Royal Academy in 1929. She travelled with the circus and also painted promotional material depicting the leading acts.
332
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970) “Joey”
Signed and inscribed “Bertram Mills Circus”, mixed media, 21.5cm by 17cm (unframed)
£300-500
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970) Circus horse
Signed and inscribed “Bertram Mills”, watercolour en grisaille, together with another, 25.5cm by 20cm and 27cm by 18.5cm respectively (2) (unframed)
£250-400 332
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970)
“Cookes Ponies”
Signed and inscribed, further inscribed “Bertram Mills”, pencil, 18.5cm by 27cm (unframed)
£300-500
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970)
Behind the scenes at the circus
Signed, pencil, 19.5cm by 24cm (unframed)
£150-250
337
337 (part)
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970)
Theatre study
Initialled, watercolour, together with two further costume design studies, one mixed media and one pen and ink, 19cm by 12.5cm, 12cm by 21.5cm and 14.5cm by 12.5cm respectively (3) (unframed)
336
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970)
Between acts at the Birmingham Repertory Theatre
Signed and inscribed “Birmingham Rep”, pencil, 29cm by 19.5cm (unframed)
£300-500
£150-250 338 336
338
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970)
A little girl on the beach
Signed and initialled, mixed media, 25.5cm by 19cm (unframed)
£150-200
Madeline Green (1884-1947)
Madeline Green studied at the Royal Academy Schools in London from 1906 to 1911, and was an assiduous artist from the start, joining 26 other artists in setting up the Ealing Art Guild in 1910 and being awarded two RA medals in 1911. Subsequently, Green established her studio in Ealing until the 1940s, when she moved to Sutton Bridge in Lincolnshire, and later to Norfolk. She won a Silver Medal at the 1923 Paris Salon and also exhibited prolifically at Agnew in Manchester, RWS, RA, SWA, Royal Glasgow Institute of Fine Arts and elsewhere.
A distinctive aspect of Green’s oeuvre is the contemplative tension within her portraiture; As through the muted tones and simple composition, the figures directly meet our gaze, yet they still maintain a mystery and ambiguity. Within both oils, we get the sense of an unshared inner monologue, indicating a life much richer than is initially being depicted on the canvas.
We know the artist often used herself and close family members as models, as can be seen in both Lot 340 and Lot 341, with the left figure being the artist and the other her sister, Gladys. Green’s close circle of sitters opens the conversation about the limitations on practice female artists experienced throughout art history.
The early 20th Century was a period of significant social change, with shifting perceptions of gender roles. Women’s fashions were developing to adapt more practical styles as seen in the war, such as short hairstyles, trousers and generally straight silhouettes. We can see that the normative gender roles were beginning to decline, triggering fear in some aspects of society and inspiring a liberation and provocation in others. Artists frequently used their work to navigate and comment on these changes. Green in particular often utilised costume and disguise as further experimental tools within these diverse identities, developing various recurring characters including a farmhand, a dancer, a newlywed and a costermonger, all of which speak to various gender roles within socio-economic groups.
Madeline Green (1884-1947)
Study of a lady seated Signed, mixed media, 38cm by 26cm
Provenance: Purchased from the artist who was a family friend. Thence by descent
£250-400
340
Madeline Green (1884-1947)
At the races Oil on canvas, 24cm by 28.5cm
Provenance: Purchased from the artist who was a family friend. Thence by descent
£2,000-3,000 341
Madeline Green (1884-1947)
The couple Initialled, inscribed verso and dated June 23rd 1931, oil on canvas, 21cm by 26cm
Provenance: Purchased from the artist who was a family friend. Thence by descent
£2,000-3,000
342
Richard Crabbe (1927-2010)
Woman reading in a rose garden
Signed and dated 1952, oil on panel, with a further sketch of a boy verso, 49cm by 29.5cm
£200-300
343
Elinor Bellingham-Smith (1906-1988)
“The Garden” Oil on canvas, 90cm by 70cm
Exhibited: “Exhibition of Works by Elinor Bellingham-Smith”, Ernest Brown & Phillips Ltd., The Leicester Galleries, London, February 1959, no.17
£400-600
344
Audrey Johnson (1918-2010)
Panoramic landscape with wildflowers and Monarch butterfly
Signed and dated 1980, oil on board, 45cm by 151cm
£400-600
345
345
Norman J McCaig (1929-2000) Irish Figures on a country road Signed, oil on panel, 19.5cm by 25cm
£250-400
346
Markey Robinson (1918-1999) Irish Figures before a church Signed, oil on board, 28.5cm by 38.5cm
Provenance: Purchased from the artist by the vendor’s father Thence by descent
Literature: “Markey at the Oriel”by Paul O’Kelly, “Chatting After Mass”p.74, fig. 47 for a similar composition
£700-1,000
Alfred Wallis (1855-1942)
Retired mariner and self-taught artist, he is much celebrated for his naïve paintings that reflect his direct experience of the sea and fishing communities in Cornwall.
Alfred Wallis spent his childhood in Devon and Cornwall and worked as an apprentice basket maker before becoming a mariner in the merchant service in the early 1870s, sailing schooners between Penzance and Newfoundland. Following his marriage to Susan in 1876, when he was 20 and she was 41, he found work deep sea fishing off Newfoundland before switching to local fishing and labouring in Penzance. In 1890 the family moved to St. Ives, where Wallis became a dealer in marine reclamation and supplies.
When his wife died in 1922, Wallis took up painting “for company”, never seeking any form of artistic training. Using a limited palette of marine paint and any scraps of cardboard, packing box or wood he could get hold of, he developed his own unique style, depicting what he knew best – port landscapes and shipping. His instinctive, naïve approach saw formal perspective abandoned, and scale was often based on an object’s importance in a scene. Everything he drew came from his memories, largely from his formative years before sail gave way to steam. Indeed, he is recorded as saying he painted “What use To Bee out of my memory what we may never see again”
Painting solely for his own enjoyment, he was discovered in 1928 by founding members of the St. Ives School, Ben Nicholson and Christopher Wood. Wallis’s direct approach to image making had a profound impact on Nicholson and his work, and Nicholson later said of Wallis, “Using the materials nearest to hand is the motive and method of the first creative artist. Certainly, his vision is a remarkable thing with an intensity and depth of experience which makes it much more than merely child-like”
Harold Stanley ‘Jim’ Ede, an art collector, champion of Modern Art and friend of a great many avant-garde artists, was introduced to Wallis through Nicholson and Wood, and promoted his work in London. Whilst Wallis’s work became celebrated amongst a circle of progressive artists in the 1930s, he never saw commercial success in his lifetime, remained living in poverty, and would spend the last year of his life in the workhouse in Madron, whilst his work hung in London.
Wallis left and extraordinary artistic legacy, and the influence his work had on the direction of British art in the 20th century cannot be understated. Nicholson summed up Wallis’s work when he stated it was “Something that has grown out of the Cornish seas and earth, and which will endure”
347
Alfred Wallis (1855-1942)
Steamboats and lighthouse
Mixed media on paper, 27cm by 35cm
Provenance: Purchased from the artist by the vendor’s grandmother
Thence by descent
£8,000-12,000
348
Alfred Wallis (1855-1942)
Sailboats and Fish
Signed, mixed media on board, 18cm by 29cm
Provenance: Purchased from the artist by the vendor’s grandmother
Thence by descent
£15,000-20,000
349
349
Roland Vivian Pitchforth RA, RWS, LG (1895-1982) Figures with umbrellas and cars beside a lake Signed, oil on board, 44cm by 54cm
Provenance: From the estate of W T Oliver Thence by descent
£250-400
Norman Ackroyd CBE, RA (1938-2024)
He was one of the UK’s most respected printmakers, and the greatest etcher of his generation. A consummate technical master, he captured light, wind and water on paper with an extraordinary subtlety of tone.
Born in Leeds, his love of the elemental landscape was entrenched through a childhood exploring the Yorkshire Dales, cycling and fishing and trying to sketch light sparkling on water. An early talent for art was spotted at school, and he was awarded a scholarship to Leeds College of Art. In his early twenties, Ackroyd was accepted into the Royal College of Art, where he was instructed in etching by Julian Trevelyan, and where he made lifelong friends with Zandra Rhodes and David Hockney.
After a spell teaching, Ackroyd embarked on his career as a landscape artist, becoming elected as an associate of the Royal Academy in 1988, and a Royal Academician in 1991. Amongst numerous honours, he was made a Senior Fellow of the Royal College of Art in 2000 and was awarded the CBE in 2007.
Whilst he worked in a range of media, Ackroyd was most prolific in intaglio etching, working from his studio and home in a converted warehouse in Bermondsey, London. Drawn to wild and windswept outlying coastal margins, he loved to visit the rugged coast and islands of Ireland, the Outer Hebrides and the west coast of Scotland. Sketching on the spot, often from a small boat bobbing around on the swell, he captured the cliffs, foaming seas and wheeling gulls. Such experiences helped him imbue his work with extraordinary atmosphere - a sense of the sublime and the power and timelessness of these marginal places. Rarely does man appear in his work.
Ackroyd was fascinated by, and a master of the technical process of printmaking, and never lost his enthusiasm for the subject. Renowned for his generosity of spirit and knowledge, one of his last endeavours was to set up a foundation that will allow young artists to complete their education. His works are held in private and public collections around the world, in the likes of Tate, MoMa in New York, the Rijksmuseum and the Royal Collection.
350
Norman Ackroyd CBE, RA (1938-2024)
“Little Brancaster Evening”
Signed and dated (20)04, inscribed and numbered 73/90, etching, 19cm by 27.5cm (unframed)
£180-250
351
Norman Ackroyd CBE, RA (1938-2024)
“High Island, Inishbofin Force 10”
Signed and dated (20)06, inscribed and numbered 14/90, etching, 38cm by 55.5cm (unframed)
£400-600
352
Norman Ackroyd CBE, RA (1938-2024)
“Cartmel Daybreak, Windermere”
Signed and dated (20)07, inscribed, artist’s proof, etching 28cm by 38.5cm (unframed)
£250-400
353
Norman Ackroyd CBE, RA (1938-2024)
“Skellig Sunset”
Signed and dated (20)07, inscribed and numbered 2/90, etching 28cm by 38.5cm (unframed)
£250-400
354
Norman Ackroyd CBE, RA (1938-2024)
“Mina Stack”
Signed and dated (20)18, inscribed and numbered 54/90, etching, 22cm by 28cm (unframed)
£250-400
355
Norman Ackroyd CBE, RA (1938-2024)
“Sula Sqier”
Signed and dated (20)18, inscribed and numbered 59/90, etching, 22.5cm by 28cm (unframed)
£200-300
356
Norman Ackroyd CBE, RA (1938-2024)
“From Flannan”
Signed and dated (20)18, inscribed and numbered 60/90, etching, 22cm by 28cm (unframed)
£200-300
Norman Ackroyd CBE, RA (1938-2024)
“Soay Sound”
Signed and dated (20)18, inscribed and numbered 57/90, etching, 22cm by 28cm (unframed)
£200-300
Norman Ackroyd CBE, RA (1938-2024)
“Little Skellig”
Signed and dated (20)18, inscribed and numbered 59/90, etching, 23.5cm by 28cm (unframed)
£200-300
Norman Ackroyd CBE, RA (1938-2024)
“Stour Estuary”
Signed and dated (20)18, inscribed and numbered 58/90, etching, 22cm by 28cm (unframed)
£200-300
360
Kyffin Williams (1918-2006) Welsh
Figure on a hillside path
Initialled in pencil, monochrome watercolour and wash, 31.5cm by 24cm
Provenance: The property of Sir Brooke Boothby ex Fonmon Castle
£800-1,200
361
Gwilym Prichard (1931-2015) Welsh
Landscape with buildings
Signed, oil on board, 59.5cm by 120.5cm
Provenance: The property of Sir Brooke Boothby ex Fonmon Castle
£1,200-1,800
362
Reginald James Lloyd (1926-2020)
“Snow on Codden Hill”
Signed and dated 1957, inscribed verso, oil on board, 48cm by 61cm
£250-400
363
Patrick Oliver (1933-2009)
“Starbottom, Wharfedale”
Signed verso, inscribed and dated (19)90 verso, oil on canvas, 74cm by 142cm
Literature: “Patrick Oliver Painter”, 25 October- 12 November 2010, published by Leeds College of Art, p.30
Sold together with a copy of the publication
£1,000-1,500
362
364
Peter Wileman PPROI RSMA EAGMA FRSA (b.1946)
“Bay Watch”
Signed, inscribed verso, oil on canvas, 89.5cm by 89.5cm
Provenance: Walker Galleries Ltd., Harrogate £1,200-1,800
365
John Mackie (b.1953)
“Saturday Market Montpellier”
Signed and dated (20)02, inscribed verso, oil on canvas, 59.5cm by 75cm £600-800
364
366
Adrian Paul Allinson ROI (1890-1959)
“Mediterranean Village” Oil on canvas, 55cm by 80cm
Provenance: The artist’s estate
Water Fine Art Limited, London
£1,000-2,000 367
Ken Howard RA, RWS, NEAC (b.1932) Evening, Venice Signed, oil on board, 18cm by 22.5cm
£700-1,000
368
Marcel Dyf (1899-1985) French “Jeunes Peupliers en Provence” Signed, oil on canvas, 45m by 53.5cm
Provenance: With Stacy Marks Ltd, Eastbourne Walker Galleries, Harrogate
£7,000-10,000 368
369
Clifford Hall (1904-1973)
“Landscape Sussex”
Signed and inscribed to artist’s label verso, oil on board, 15cm by 20cm
£200-300
370
Robbie Wraith RP (b.1952)
“Artist Studio”
Signed, inscribed verso, oil on board, 22.5cm by 30.5cm (unframed)
£300-500
371
Attributed to Nicolae Grant (1868-1950) Romanian “Byzantine Icon”
Indistinctly signed and dated (19)30, oil on board, 39.5cm by 32cm
Provenance: The property of Sir Brooke Boothby ex Fonmon Castle
£300-500
372
Bernard Dunstan RA, PPRWA (1920-2017)
“The Shower, Perth”
Initialled, inscribed verso and dated 3.7.85, oil on canvas laid onto board, 109cm by 69cm
Exhibited: Thomas Agnew and Sons, London
£1,000-2,000
373
Kenneth Rowntree (1915-1997)
“Susannah Without the Elders”
Signed verso, inscribed and dated 1983 verso, oil on board, 23cm by 22cm
£300-500
372
374
John Huggins RWA, FRBS (b.1938)
Acrobat
Initialled and numbered 5/15, bronze, 46cm high
£400-600
375
Tim Shaw RA (b.1964)
The balancing act
Signed inscribed FC and numbered 1/2, bronze, 17cm high
£400-600
376
Claude Harrison ARCA, RP (1922-2009)
“Hanged Man”
Signed and dated 1982, oil on board, 30cm by 32cm
Provenance: Castlegate House Gallery, Cockermouth
£400-600
377
Claude Harrison ARCA, RP (1922-2009)
“Afternoon Games”
Signed and dated 1986, extensively inscribed verso, tempera on board, 64cm by 77cm
£1,200-1,800
376
378
Claude Harrison ARCA, RP (1922-2009)
“Fools Fight”
Signed verso and dated (19)91, oil on board, 24cm by 28cm
Provenance: The Contemporary Fine Art Gallery, Eton £400-600
379
Claude Harrison ARCA, RP (1922-2009)
“Small Winner”
Signed and dated (19)96, oil on board, 31cm by 34.5cm
Provenance: The Contemporary Fine Art Gallery, Eton £500-700
380
Claude Harrison ARCA, RP (1922-2009)
“Dull Dog”
Signed and dated (19)99, inscribed verso, oil on board, 29cm by 29cm
£400-600
381
Michael Duhan (b.1956) Irish “Couple With Crone”
Signed and dated (19)96, inscribed and numbered 1/9, bronze, 54cm high
£1,200-1,800
383
Sheila McInnes (b.1963) Scottish “Happy Dog”
Signed, inscribed verso, oil on board, 36cm by 42.5cm (including frame)
£150-250
382
Michael Duhan (b.1956) Irish “Cortege”
Signed and dated (19)96, numbered 2/9, bronze, 51cm
£1,200-1,800
384
Simeon Stafford (b.1956) Street scene
Signed and dated 4.11.7, oil on canvas, 50cm by 75cm
£600-800 385
Simeon Stafford (b.1956) “St Ives”
Signed, inscribed verso and dated 11.6.17 - 7.7.17, oil on canvas, 88cm by 88.5cm
£1,000-1,500
386
Simon Gudgeon (b.1958)
“Reflection” Numbered 9/50, bronze, 33cm high
Sold together with the original box and signed certificate
Provenance: Purchased from the artist
£1,500-2,000
387
Simon Gudgeon (b.1958)
A pair of long tailed tits on a branch Initialled and numbered II/XII, bronze, 38cm by 61cm
Provenance: Purchased from the artist
£1,000-1,500
386
388
Darren Yeadon (b.1970) Fish
Signed, Carrara marble, 30cm high £600-800
389
Darren Yeadon (b.1970) “Little Fish”
Signed, Carrara marble, 20cm high £300-500
390
John Garden Boyd PR, RGI (1940–2001) Scottish
“David in Hiding”
Signed, oil on board, 29.5cm by 29.5cm
Provenance: Panter and Hall, London
£250-400
391
Jack Penny (b.1988)
“Private Members 1” (2016)
Signed and dated 10/9/16, acrylic on cardboard, 164cm by 101cm
£2,000-3,000 390
392
Jonathan Armigel Wade (b.1960)
“Annunciation”
Signed, inscribed verso and numbered 1214 with the artist’s numbering system, oil on board, 32cm by 42cm
£500-700
393
394
Jonathan Armigel Wade (b.1960)
“At the Bothy”
Signed, inscribed verso and numbered 2034 with the artist’s numbering system, oil on board, 59.5cm by 49.5cm
£600-800
393
Jonathan Armigel Wade (b.1960)
“The Challenge”
Signed, inscribed verso and numbered 2115 with the artist’s numbering system, oil on board, 34cm by 60cm
£700-1,000
395
Sally Arnup FRBS, ARCA (1930-2015) “Galloping Horse”
Signed and numbered VI/X, bronze, 43cm high
Literature: “Sally Arnup Animal Bronzes”, Frank T Sabin Gallery, London, p.23, no.51
Sold together with a copy of the catalogue
£4,000-6,000
396
Siobhan Bulfin (Contemporary) Irish Little Donkey
Signed and numbered 4/9, bronze, 17cm high £400-600
397
Bela Sara (1920-1968) Congolese Storks in a tree
Signed, oil on paper, 40.5cm by 47.5cm
Provenance: The vendor’s parents lived in the Belgian Congo during the 1950s
£500-700
398
Bela Sara (1920-1968) Congolese Figures harvesting beans
Signed, oil on board, 36cm by 44.5cm
Provenance: The vendor’s parents lived in the Belgian Congo during the 1950s
£500-700
399
Pilipili Mulongoy (1914-2007) Congolese Mongoose in a tree
Signed, oil on paper, 32cm by 44cm
Provenance: The vendor’s parents lived in the Belgian Congo during the 1950s
£700-1,000 399
400
Michael Poliza (b.1958) German “Eyes Over Africa” Luxe Edition (2007)
Signed, number 230/300, published by TeNeues, encased in a clamshell box, with the location index and a signed lithograph, 61.5cm by 48cm
£100-150
Donald Greig (b.1959) South African Lioness waiting
Signed, bronze, 17.5cm by 57cm
£800-1,200
Donald Greig (b.1959) South African Elephant
Signed and dated 2002, bronze, 10cm high
£150-250
403
Sarah Gillespie (Contemporary) “Blackbird” (Sepia) (2023)
Signed and numbered 2/20, mezzotint, 21cm by 21cm
£100-150
405
Nerys A Johnston (1942-2001)
“Artichoke Feast”
Signed, Chinese watercolour, 55.5cm by 77cm
£100-200
403
404
Emma Maiden (b.1966) “Blue Bird” (2017) Stamped EM and numbered 1/8, bronze, 19cm high
Provenance: The Fine Art Society, London £300-500
Eileen Cooper OBE, RA (b.1953)
A multi-faceted figurative artist, who produces paintings, ceramics, prints, collages and bronzes, often rooted within the female form and feminine experience. Born in 1953, in an industrial Derbyshire town, Cooper studied at Goldsmith’s College (1971-1974) and The Royal College of Art (1974-1977), then became one of the major figurative artists to have emerged in the mid-1980s.
It was a college tutor of Cooper’s who suggested studying at Goldsmith’s College, where she abandoned life drawing for a more imaginative and experimental approach to creating. This continued to have an impression throughout her career, adding a freedom of expression to her practice, with an instinctive use of colour and autonomy to pursue sometimes uncomfortable themes. The images Cooper creates are both daring and sympathetic, telling stories accessible in nature yet rich in concept, with a tussle between artist and subject at times.
There is often a strong biographical element that can be seen within Cooper’s work, with the artist curating and reflecting her experiences. This use of the artist’s own memory and feeling is translated through to the viewer, providing us with a space to process past events and emotions within our own lives.
Examples of Cooper’s works are held in numerous public collections, and she has exhibited extensively since 1980, including annually at the Royal Academy Summer Exhibition (2001-2024). In 2016, Cooper was made an Officer of the British Empire for services to Art and Art Education.
406
Eileen Cooper OBE, RA (b.1953)
“Solo”, “End”, Begin”
Each signed, inscribed and dated (19)96, woodblock print framed as one, image size 19.5cm by 15cm each (3)
£70-100
407
Eileen Cooper OBE, RA (b.1953) “Turn”
Signed and inscribed, woodblock print, together with four further woodblock prints “Delight”, “Kiss”, “Deeper” and “Found”, 38cm by 28cm (5)
£300-500
409
Eileen Cooper OBE, RA (b.1953) “Quest”
Signed and dated 1997, mixed media on paper, 38cm by 27.5cm
£400-600
408
Eileen Cooper OBE, RA (b.1953)
Seated nude
Signed and dated (19)99, ceramic plate, 40cm dia.
£200-300
410
Eileen Cooper OBE, RA (b.1953) “The Journey II”
Signed and dated 2002, mixed media, 30cm by 29.5cm
£500-700
411
Eileen Cooper OBE, RA (b.1953) Self portrait (2005)
Signed and dated, ceramic bowl, 31cm dia £150-250
413
Eileen Cooper OBE, RA (b.1953) Two Heads
Signed and dated 2014, pastel, 14cm by 10cm
£100-200
412
Eileen Cooper OBE, RA (b.1953)
Three heads
Signed, and dated 2007, mixed media collage, 14.5cm by 20.5cm
£150-250
414
Eileen Cooper OBE, RA (b.1953)
Male nude
Inscribed and dated 2016, charcoal, 19cm by 28cm
£200-300
415
Eileen Cooper OBE, RA (b.1953) Lady and bird Ceramic vase, 25.5cm high
£150-250
416
Eileen Cooper OBE, RA (b.1953)
“Drawing after Poussin, The Woman Taken in Adultery” (2000)
Signed and dated 1999, pastel, 73cm by 103cm
£700-1,000
417
Eileen Cooper OBE, RA (b.1953) Two nudes and flower (2002)
Signed and dated 2002, ceramic vase, 25cm high
£300-500
418
Eileen Cooper OBE RA (b.1953) Tiger
Signed and dated 2004, mixed media, together with another, 10cm by 14cm and 14cm by 19cm respectively (2)
£300-500
419
Eileen Cooper OBE, RA (b.1953)
“Come in from the Cold” (2005)
Signed and dated 2005, inscribed verso, oil on canvas, 91cm by 69cm
£800-1,200
417
418 419
420
Eileen Cooper OBE, RA (b.1953)
Figures with red flowers and a blue jug
Signed, oil on board, 50cm by 60cm
£700-1,000
421
Eileen Cooper OBE, RA (b.1953)
“A Close Friend”
Signed and dated 2016, porcelain vase, 66cm high
£700-1,000
422
Eileen Cooper OBE, RA (b.1953)
“Woman with Flower” (2006)
Oil on canvas, 122cm by 92cm
Provenance: Purchased from the artist
£1,200-1,800
423
Eileen Cooper OBE, RA (b.1953)
“Romeo”
“Juliet”
“Tree”
Initialled, bronze, 17cm and 33cm high respectively (3)
£400-600
424
Eileen Cooper OBE, RA (b.1953)
Figures and a dog on a beach
Signed and dated 2006, oil on paper, 28cm by 37cm
£500-700
425
Eileen Cooper OBE, RA (b.1953)
Male nude and horse on a beach (2006)
Oil on paper, 28.5cm by 37cm
£500-700
426
Eileen Cooper OBE, RA (b.1953)
Crouching nude with red hair
Signed and dated 2008, mixed media, 75cm by 55cm
£600-800
427
Eileen Cooper OBE, RA (b.1953) “Trapeze” (2013) Charcoal, 75cm by 55cm
£400-600
428
428
Eileen Cooper OBE, RA (b.1953) “Salt Wind” (2017)
Signed, inscribed verso, oil on canvas, 35.5cm by 50cm £500-700
429
Eileen Cooper OBE, RA (b.1953) Two figures, nocturne
Signed and dated 2017, mixed media, 28cm by 37cm
£300-500
430
Eileen Cooper OBE, RA (b.1953) “Wandering Moon”
Signed and inscribed verso, oil on canvas, 71cm by 60cm
£300-500
Eileen Cooper OBE, RA (b.1953) “Tea” (2021) Inscribed verso, oil on canvas, 30cm by 23cm
£400-600
432
Frank Lloyd-Wright (1867-1959) American “Taliesin Line No.102” (1955)
Screenprint on linen, for Schumacher & Co, USA, 34m by 34cm
£100-150
434
John Egerton Christmas Piper CH (1903-1992) “Gylders”
Screen printed cotton for Arthur Sanderson & Sons Ltd, commissioned for Sanderson’s centenary, 37cm by 26.5cm
£80-120
433
John Egerton Christmas Piper CH (1903-1992) “Figures from Cretan Seal” (1957)
Screen printed cotton for David Whitehead and Sons, 28.5cm by 46cm
Literature: “Artists’ Textiles in Britain 1945-1970”, The Antique Collectors’ Club in association with The Fine Art Society/Target Gallery, 2003, p.88, no.77
£100-150
435
John Egerton Christmas Piper CH (1903-1992) “Rutland Church Monument”
Screen printed cotton for David Whitehead and Sons circa 1954, 50.5cm by 34cm
£150-250
436
John Egerton Christmas Piper CH (1903-1992)
“Chiesa della Salute” (1959)
Screen printed cotton for Arthur Sanderson & Sons Ltd, commissioned for Sanderson’s centenary, 40cm by 59cm
£200-300 437
John Egerton Christmas Piper CH (1903-1992)
“Northern Cathedral’’ (1960)
Screen printed cotton for Arthur Sanderson & Sons Ltd, commissioned for Sanderson’s centenary, 38cm by 58cm
Literature: ‘’Artists’ Textiles in Britain 19451970’’, The Antique Collectors’ Club in association with The Fine Art Society/Target Gallery, 2003, p.75-76
£150-250
438
John Egerton Christmas Piper CH (1903-1992)
“Blenheim Gates”
Signed and numbered 66/75, aquatint, 49cm by 68.5cm
Provenance: Redfern Gallery, London
£400-600
439
William Gear RA, FRSA, RBSA (1915-1997) Scottish “Tortured Landscape”
Signed and dated (19)66, mixed media, 58cm by 77cm
£600-800
440
William Gear RA, FRSA, RBSA (1915-1997) Scottish Abstract
Signed and dated (19)67, mixed media, 50cm by 62.5cm £400-600
441
Mary Martin (née Balmford) (1907-1969)
“Rotation” 1968
Mirrors and injected polystyrene, from the unnumbered edition of approximately 100, published by Unlimited of Bath, 9.3cm by 13cm
£500-700
442
Margaret Lovell (b.1939)
Opus Series (1969)
Bronze, 12.5cm high (5)
£1,000-2,000
443
Kenneth Armitage (1916-2002)
“Mouton Sun” (1963) Bronze, 18.5cm high
Provenance: The Artist’s Estate Willoughby Gerrish Ltd., London
Literature: James Scott and Claudia Milburn, “The Sculpture Of Kenneth Armitage”, Lund Humphries, London, 2016
£2,500-4,000
444
Lynn Chadwick CBE (1914-2003) “Ace of Diamonds” (1986)
Signed and numbered C158B 7/20, bronze, 9cm high
The piece is a maquette for Chadwick’s large 1988 stainless steel “Ace of Diamonds”installation. An example of “Ace of Diamonds III”(2001) can be found in Ekeberg Park, Oslo
£3,000-5,000
443
445
Chris Buck (b.1956)
“To the Moon and Sky Above” (2013)
Bronze on a granite base, 15cm high
£800-1,200
446
Robert Fogell (b.1963)
“Form with Sharp Edge II”
Initialled and numbered 2/5, cast in 2019, bronze, 25.5cm
Provenance: The Nine British Art, London
£200-300
447
Peter Randall Page RA (b.1954)
“Stone Maquette V” (2014) Stone, 12.5cm high
Provenance: Rabley Contemporary, Wiltshire
£800-1,200
448
Joan Miró (1893-1983) Spanish
“La Lune Verte” (1972)
Signed and inscribed HC, lithograph, 31.5cm by 25cm
Provenance: Studio 57 Fine Arts, New York
£500-700
449
Joan Miró (1893-1983) Spanish “Le Chaton Curieux” (1975)
Signed and inscribed HC, lithograph, 32cm by 24.5cm
Provenance: Studio 57 Fine Arts, New York
£700-1,000
450
Joan Miró (1893-1983) Spanish
“Untitled” (1977)
Signed and inscribed HC, lithograph, 31.5cm by 24.5cm
Provenance: Studio 57 Fine Arts, New York
£500-700
451
Alan Davie (1920-2014) Scottish “Opus D.3-83-17”(1983)
Signed, black gouache, 39cm by 29cm
Provenance: Gimpel Fils, London, GF.4441
£200-300
452
Alan Davie (1920-2014) Scottish “Opus D.73” (1990)
Signed and dated, pen and ink, 38cm by 28cm
Provenance: Gimpel Fils, London, GF.4441
£150-250
453
Alan Davie (1920-2014) Scottish “Walking the Dog” (2011)
Signed and inscribed verso, oil on canvas, 122cm by 101.5cm
Provenance: Gimpel Fils, London, GF13137
£1,500-2,000
454
Sir Terry Frost RA (1915-2003)
Untitled (Laced III)
Signed and dated (19)94, numbered 26/100, screenprint with leather, 26cm by 54cm
Sold together with a signed copy of the book “Terry Frost”, Scholar Press, 1994
£600-800
455
Trevor Bell (1930-2017) “Bernardino” (1997)
Signed, inscribed and dated verso, mixed media on board, 50cm by 50cm
£600-800
456
Trevor Bell (1930-2017) “Ocean Trio” (2010)
Signed and inscribed verso, acrylic on board, 77cm by 77cm
£1,000-1,500
454
457
457
Paul Jenkins (1923-2012) American “Phenomena Big Sur Take”
Signed, inscribed verso and dated 1994, watercolour, 78cm by 110cm
£3,000-5,000
Patrick Procktor RA (1936-2003)
Known for his theatricality in both artistic output and physical presence, Procktor demonstrated a proficiency of style and articulate dynamism which dazzled the 1960s and 1970s London art scene. He trained at The Slade School of Fine Art (1958-1962) and had a proficient and successful career, being elected Royal Academician in 1996.
Procktor was fascinated by light and colour, and interwove his artistic practice with his travels, including those in East Asia. He was the first modern European artist to visit China in 1980, since the start of the Cultural Revolution in 1966, having secured permission to travel freely in China with a guide and a driver. Procktor travelled to Hong Kong, and then headed north to the landscapes further inland, including Guangzhou, Guilin, Hangzhou, Suzhou, Wuxi, Nanjing and Beijing. The artist captures the beauty of these locations within “The China Series”(1980), see lots 463-468, celebrating Chinese design, architecture and scenery.
458
458
Patrick Procktor RA (1936-2003) “Kathmandu” (1970)
Signed and inscribed A/P, aquatint from “The China Series”, 47cm by 68.5cm
Provenance: The Redfern Gallery, London
Literature: “Patrick Procktor - Prints 1959-1985”, The Redfern Gallery and Editions Alecto, 1985, p.60, no.21
Sold together with a copy of “Patrick Proctor Art and Life”, Ian Massey, Unicorn Press, 2010 £300-500
459
Patrick Procktor RA (1936-2003)
“Flower Bridge, Kweilin” (1980)
Signed and numbered 42/75, aquatint from “The China Series”,80.5cm by 68.5cm
Provenance: Redfern Gallery, London
Literature: “Patrick Procktor - Prints 1959-1985”, The Redfern Gallery and Editions Alecto, 1985, p.135, no.92
£200-300
460
Patrick Procktor RA (1936-2003)
“Nasturtiums, Wusih” (1980)
Signed and numbered 37/75, aquatint from “The China Series”, 80cm by 67.5cm
Provenance: Raya Gallery, Singapore
Literature: “Patrick Procktor - Prints 1959-1985”, The Redfern Gallery and Editions Alecto, 1985, p. 132, no 89
Sold together with a signed copy of “Patrick Procktor - Prints 19591985”, The Redfern Gallery and Editions Alecto, 1985
£500-700
459
461
Patrick Procktor RA (1936-2003)
“Lake Tai-Hu, Wusih” (1980)
Signed and inscribed A/P, etching and aquatint from “The China Series”, 68cm by 80.5cm
Provenance: The Redfern Gallery, London
Literature: “Patrick Procktor - Prints 19591985”, The Redfern Gallery and Editions Alecto, 1985, p.131, no.88
£300-500
463
Patrick Procktor RA (1936-2003)
“Lion Rocks Garden, Soochow” (1980)
Signed and numbered 37/75, aquatint from “The China Series”, 67.5cm by 80cm
Provenance: Raya Gallery, Singapore
Literature: “Patrick Procktor - Prints 19591985”, The Redfern Gallery and Editions Alecto, 1985, p.130, no.87
£250-400
462
Patrick Procktor RA (1936-2003)
“Da Miou Mountains, Kweilin” (1980)
Signed and numbered 38/75, aquatint from “The China Series”, 68.5cm by 81cm
Literature: “Patrick Procktor - Prints 19591985”, The Redfern Gallery and Editions Alecto, 1985, p.134, no.91
£180-250
463
462
461
464
Patrick Procktor RA (1936-2003)
“Katsura Kyoto” (1991)
Signed and numbered 9/75, screenprint on Japan paper, 74cm by 123cm
Sold together with a copy of “Patrick Procktor Works on Paper”, The Redfern Gallery, London, “Patrick Procktor SelfPortrait”, Weidenfeld and Nicholson, London, and a signed copy of “Patrick Procktor” by John McEwen, which contains a signed and numbered etching by the artist, published by Scolar Press, 1997 (3)
£600-800
465
Patrick Procktor RA (1936-2003)
“Cataract, Aswan” (1985)
Signed and numbered 6/100, lithograph, 51cm by 66.5cm
Provenance: Redfern Gallery, London
£400-600
466
Patrick Procktor RA (1936-2003)
“Palazzo Dario” (1978)
Signed and numbered 34/35, aquatint from “The Venice Suite”, 113cm by 87cm
£200-300
464
467
William Tillyer (b.1938)
“York Vases” - “The Jacobsen Vase” (1981)
Signed and numbered 92/100, woodcut, 80cm by 64cm
Provenance: Goldmark Gallery, Rutland
£200-300
Howard Hodgkin CH CBE (1932-2017)
“Thinking Aloud in the Museum of Modern Art”
Signed and dated 1979, inscribed A/P, etching, 76cm by 100cm
Provenance: Gwen Hughes Art, London
£800-1,200
468
467
468
469
David Hockney OM, CH, RA (b.1937) “Diptychon” (1989)
Signed and dated (19)89, numbered 6/50, homemade print, 43cm by 55cm
Provenance: Gilden’s Arts Gallery, London
£5,000-7,000
469
470
David Hockney OM, CH, RA (b.1937)
“Corbusier Chair and Rug” (B. 23) (1969)
Signed, offset lithographic poster, 67cm by 54cm
£600-800
471
After David Hockney OM, CH, RA (b.1937)
“Dessins et Gravures 15th avril-24 mai, Galerie Claude Bernard, Paris” Signed and numbered 4/450, offset lithograph, 62cm by 42.5cm
£500-700
472
After David Hockney OM, CH, RA (b.1937)
“Old Rinkrank Threatens the Princess” from “Six Fairy Tales from the Brothers Grimm”
Signed, inscribed verso ed.B.XIX, A/P, etching, 27cm by 28.5cm
£800-1,200
473
After David Hockney OM, CH, RA (b.1937)
“Little Stanley Sleeping”, “Tate Gallery, David Hockney A Retrospective 27 October 1988 - 8 January 1989”
Signed, offset lithograph from an edition of 250, 76cm by 50.5cm
Sold together with The Mail on Sunday Certificate of Authenticity £800-1,200 473
474
Bob Dylan (b.1941) American “Pink Motel” (2023)
Signed and numbered 92/295, giclee print from “The Beaten Path”, 49cm by 65.5cm
Sold together with the Washington Green Fine Art certificate of authenticity
£1,000-1,500
475
Bob Dylan (b.1941) American “Terminal Bar” (2023)
Signed and numbered 280/295, giclee print from “The Beaten Path”, 49cm by 66cm
Sold together with the Washington Green Fine Art certificate of authenticity
£1,000-1,500
476
After Andy Warhol (1928-1987) American Mick Jagger
Lithographic exhibition poster for “Warhol at the Pigeonhole”, 63.5cm by 52cm
£150-200
477
Mark Lancaster (1938-2021) “Marilyn Sept 6 1987”
Signed and inscribed verso, oil on canvas, 31cm by 25.5cm
£150-250
478
David Shrigley OBE (b.1968)
“Some of my Best Friends are Pigs”
Offset lithographic poster, together with three further posters by the same hand “Aries”, “Cancer” and “When Life Gives you a Lemon”,79.5cm by 59cm and 59cm by 39.5cm respectively (4)
£200-300
479
Shepard Fairey (b.1970) American “Oil Lotus Woman”
Signed and dated (20)18, numbered 218/450, screenprint, 61cm by 45.5cm (unframed)
£100-150
480
Shepard Fairey (b.1970) American “Paint it Black”
Signed and dated (20)16, numbered 310/450, screenprint, together with a further screenprint by the same hand “Betraying Planets”, 43cm by 34.5cm (2) (unframed)
480 479
£100-200
481
Shepard Fairey (b.1970) American “Make Art Not War”
Signed and dated (20)23, offset lithograph, together with a further signed offset lithograph by the same hand “Liberté Egalité Fraternité”, 91.5cm by 61cm (2)
£200-300
482
Jeff Koons (1955) American “Elephant”
Number 869/2500, porcelain limited-edition coupe service plate, created in collaboration with Bernardaud, France, depicting Koons’ mirror-polished sculpture “Elephant” (2003), 31cm (dia.)
Encased in the original box and sold together with the certificate £80-120
482
483
483
Jeff Koons (b.1955) American Muhammad Ali “GOAT, Champs Edition” (2001)
Signed by Muhammad Ali and Jeff Koons, number 428/1000, presented with the sculpture “Radial Champs”by Jeff Koons, published by Taschen, hard cover in a clamshell box, together with four framed gelatin silver prints of The Champ, each signed by Howard L. Bingham and Muhammad Ali and a framed luggage tag signed by Muhammad Ali, 50cm by 50cm
£1,000-1,500
SATURDAY 12 JULY 2025
Florence Adelina Hess WIAC (1891-1974)
Picnic by the Sea
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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 £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 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.
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 £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
NEXT MODERN & CONTEMPORARY ART SALE
SATURDAY 4 OCTOBER 2025
2025 AUCTION DATES
Wednesday 4 June
Stamps, Postcards & Postal History
Friday 6 June
Antiques & Interiors
including a section of silver
Saturday 14 June
20th Century Design
Modern & Contemporary Art
Friday 20 June
Antiques & Interiors
including Beswick & Border Fine Art
Wednesday 25 June
Militiaria & Ethnographica
Friday 4 July
Antiques & Interiors
including a section of silver
Saturday 12 July
Spring Sale
Asian Art
British, European & Sporting Art
Fine Jewellery, Watches & Silver
Summer Transport Sale
