ALSO SELLING TODAY:
20TH CENTURY DESIGN
SATURDAY 28 FEBRUARY 2026
9.30AM
MODERN & CONTEMPORARY ART
SATURDAY 28 FEBRUARY 2026 AT 9.30AM
TO INCLUDE
To include a Collection of Works from the Estate of Piers Browne (1949-2024)
AUCTION
The Auction Centre, Leyburn North Yorkshire DL8 5SG
VIEWING
Thursday 26 February 10.00am to 4.00pm Friday 27 February 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 COVER Lot 610 BACK COVER Lot 519
TO INCLUDE
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 Amup, to name but a few, and we continue to build new and lasting relationships with numerous living artists and estates.
YOUR SPECIALISTS
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 Art Specialist
Charlotte Conboy Picture Consultant
Jane Tennant Director & Auctioneer
Kate Hudson Junior Picture Specialist
Aurélie Hepper General Valuer & Auctioneer
500✓
After Laurence Stephen Lowry RBA, RA (1887-1976) “The Lonely House”
Signed and numbered 459/500, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 29.5cm by 51cm
£700-1,000
501✓
After Laurence Stephen Lowry RA (1887-1976) “Industrial Panorama”
Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 60.5cm by 79cm
£2,000-3,000
502✓
After Laurence Stephen Lowry RBA, RA (1887-1976) Harbour Scene
Signed, with the blindstamp for The Fine Art Trade Guild, a colour reproduction, 44.5cm by 58cm
£700-1,000
503✓
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
504✓
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
505✓
After Laurence Stephen Lowry RBA, RA (1887-1976)
“Great Ancoats Street”
Signed and numbered 154/850, with the Henry Donn blindstamp, a black and white reproduction, 36cm by 48cm (unframed)
£600-800
506✓
After Laurence Stephen Lowry RBA, RA (1887-1976)
“Burford Church”
Signed and numbered 284/850, a colour reproduction, 75cm by 59cm (unframed)
£1,000-1,500
508✓
After Laurence Stephen Lowry RBA, RA (1887-1976)
‘’Street Scene’’
Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 28.5cm by 22cm
£800-1,200
507✓
After Laurence Stephen Lowry RBA, RA (1887-1976) “St Luke’s Church”
Signed and numbered 850/399, with the G.R. Mellor Esq blindstamp, a colour reproduction, 64cm by 47cm
£800-1,200
509✓
After Laurence Stephen Lowry RBA, RA (1887-1976)
“Mrs Swindell’s Picture”
Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 43cm by 32cm
£1,500-2,000
510✓
After Laurence Stephen Lowry RBA, RA (1887-1976)
“Mill Scene”
Signed, a colour reproduction, 33cm by 41.5cm
£800-1,200
511✓
After Laurence Stephen Lowry RBA, RA (1887-1976)
“The Meeting Point”
Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 49cm by 71.5cm
£1,000-1,500
512✓
After Laurence Stephen Lowry RBA, RA (1887-1976)
“People Standing About”
Signed, a colour reproduction, 34cm by 51.5cm
£600-800
511
513✓
After Laurence Stephen Lowry RBA, RA (1887-1976)
“Two Brothers”
Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 72cm by 40cm (unframed)
£1,500-2,000
515✓
After Laurence Stephen Lowry RBA, RA (1887-1976)
“Woman with Beard”
Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 61cm by 49.5cm
£700-1,000
514✓
After Laurence Stephen Lowry RBA, RA (1887-1976)
‘’Figures in the Park’’
Signed and numbered 29/100, a colour reproduction, 42cm by 32cm (unframed)
£800-1,200
516✓
After Laurence Stephen Lowry RA (1887-1976)
“The Cart”
Signed, with the blindstamp for The Fine Art Trade Guild, a colour reproduction, 53cm by 41cm (unframed)
£2,000-3,000
517✓
After Laurence Stephen Lowry RA (1887-1976) “Man Lying on a Wall”
Signed, numbered 111/500, a colour reproduction, 40cm by 50cm
£2,000-3,000
518 ✓
After Laurence Stephen Lowry RBA, RA (1887-1976)
“Going to the Match”
Signed, with the blindstamp for the Fine Art Trade Guild, from an edition of 300, a colour reproduction, 56cm by 70cm
£20,000-30,000
518
Laurence Stephen Lowry RBA, RA (1887-1976)
“Can you tell me, sir, why does a painting cost more than a drawing? After all, a drawing is every bit as important, and sometimes a damned sight more effective. Besides, it is more difficult to do; for one thing, you haven’t got colour to get you out of a mess” - L. S. Lowry
As a young man, Lowry completed a formal artistic training whilst working full-time as a rent collector and clerk. At Manchester College of Ar t, he was taught to draw by master Adolphe Valette in the classical manner, and his life drawings from this period are technically excellent. However, during the 1920s, he began to develop his own unique style, experimenting with different techniques of drawing, and establishing a visual language that he would utilise and hone throughout his career. His drawings of this period saw him focus on the urban landscape of Manchester, with groups of figures all executed with clear, precise line drawings. His characteristic ‘stick’ figures of hunched workers and scampering boys begin to appear, too.
By the 1930s, Lowry had developed his mature, distinctive style and visual shorthand for drawing his myriad of figures of the working man in the urban environment. Tending to focus on recognisable streets and buildings, his figures remained largely anonymous; groups of people became patterns on the page as Lowry passively documented the cityscape, leaning more towards a social commentary rather than purely documenting his surroundings.
From the 1960s, towards the later stages of his life, his drawings became colder and more critical towards his subjects as Lowry cast a satirical eye on his contemporaries. Figures became almost objects of ridicule, in exaggeratedly ill-fitting clothes, shoes and hats.
As time went on Lowry increasingly became interested in depicting, often with hostility, the relationships and interactions between small groups of figures rather than the massed groups of people of his early career. He had great difficulty in understanding how humans ever made deep connections with each other, and his drawings at this point in his life are possibly his way of trying to get to grips with the human relationships that he did not really understand in his own isolated life.
Several of these aspects transpire from “Children in a Crowd” which was executed by Lowry in 1969. The figures are numerous, yet isolated from each other, as they don’t seem to interact, revisiting the problem of communication, which we have seen is one of Lowry’s favourite themes.
519✓
Laurence Stephen Lowry RBA, RA (1887-1976)
“Children in a Crowd”
Signed and dated 1969, pencil, 42cm by 30cm
Provenance:
The Artist’s Estate
Sotheby’s London, Modern & Post-War British Art Day Sale, 30th July 2020, Lot 628
Clarendon Fine Art, London
£25,000-35,000
Brian Shields ‘Braaq’ FBA (1951-1997)
Brian Shields, also known as ‘Braaq’ acquired his nickname (a corruption of Georges Braque - the French Cubist painter) at school because of his artistic talents. Known for his paintings of industrial scenes in Northern Britain, Braaq is one of the most successful of the ar tists inspired by L.S. Lowry.
Braaq was born in Liverpool into a large artistic family of twelve. His father, Dennis, was a well-regarded artist but he discouraged Brian from a career as a painter as he himself had never been able to support his family through painting alone. The young Brian consequently became a trainee chef; however, his artistic ability was soon discovered when he painted a mural to brighten up the walls of the rather drab hotel in Harrogate where he had gained his first kitchen job. The mural, signed with his nickname ‘Braaq’, sparked national attention – but it was five weeks before the artist’s identity was uncovered and Brian gained instant recognition. He was to hold his first exhibition at just 23 and by 1977 was exhibiting in London. Despite never having formal training, Brian Shield’s work has since been exhibited around the world, admired for its vivacity, humour, and ability to capture the spirit of the North.
Braaq’s paintings are very much influenced by his childhood in Liverpool, and his family were of great inspiration to him. Indeed, the of ten comical or irreverent titles given to his works were inspired by his father and he often includes his mother Agnes’s name as graffiti on a wall. Touchingly, Brian included his sister Ann’s name along with his own signature on his paintings, dedicating all his work to the sister who died aged 21.
520✓
Brian Shields ‘Braaq’ FBA (1951-1997)
“Royal Albert Hall”
Signed, inscribed “Ann” and dated (19)79, oil on board, 44cm by 59cm
£8,000-12,000
521✓ Harry Malkin (b.1951)
“Raising a Bit of Support III”
Signed and dated (20)02, charcoal, 58cm by 42cm
£300-500
522
Circle of Robert John Heslop (1907-1988)
Stoking the furnace Oil on canvas, 60cm by 50cm
£300-500
521
523✓ George Galsworthy Palmer (1913-1972)
“In the Pub”
Initialled and dated 1936 verso, oil on canvas, 49cm by 75cm
Provenance:
Liss Fine Art, London Private Collection, London
£1,500-2,000
524✓
Ken Howard RA, RWS, NEAC (b.1932-2022)
“Neasden Sidings”
Oil on board, circa 1952, 49cm by 101cm
Provenance:
Purchased by the vendor’s father from a Royal Academy “Young Contemporaries” Exhibition
Thence by descent
Sold together with a letter from the artist stating the approximate date of the piece and that it was exhibited, receiving an honourable mention in a Royal Academy “Young Contemporaries” Exhibition
£2,000-3,000
525✓
Geoffrey Key (b.1941)
Industrial Cityscape
Signed and dated (19)71, oil on board, 18.5cm by 28.5cm
£300-500
526✓
James Lawrence Isherwood FRSA, FIAL (1917-1989)
“Wrightington Fish Pond”
Signed, inscribed verso, oil on board, 39cm by 39.5cm
Provenance:
Purchased from the artist’s studio sale, 16th January 2000
£300-500
527✓
James Lawrence Isherwood FRSA, FIAL (1917-1989)
“Snow Upper Morris Street”
Signed, inscribed and dated 1961 verso, oil on board, 44cm by 59.5cm
Provenance:
Purchased from the artist’s sister-in-law
£400-600
528✓
James Lawrence Isherwood FRSA, FIAL (1917-1989)
“Wood Near Wigan”
Signed, inscribed verso, oil on board, 44.5cm by 59.5cm
Provenance:
Purchased from the artist’s sister-in-law
£400-600
529✓
William Bowyer (1925-2015) RA
“Barges at Walberswick”
Signed, oil on canvas, 100cm by 126cm
Provenance:
Gladwell Patterson, London
Private Collection, London
£400-600
530✓
Walter Goodin (1907-1992)
Bridlington Harbour
Signed, oil on board, 59.5cm by 74.5cm
Sold together with a letter from the artist
£600-800
531✓
HM King Charles III (b.1948)
“Ben Avon, near Braemar, January”
Signed and dated 2002, inscribed A/P 7/20, lithograph, 32.5cm by 38cm
Sold together with the certificate of authenticity and original solander box
£500-700
529 530
532✓
Norman Ackroyd CBE, RA (1938-2024)
“From Luchruban - Lewis”
Signed, inscribed artist’s proof and dated 1984, etching, 15.5cm by 18.5cm
Sold together with a signed copy of “Norman Ackroyd, Scottish Etchings 1974-2006”, Bourne Fine Art and four collections of postcards by the artist: “Norman Ackroyd Seven Paintings”, “Norman Ackroyd 15 Landscapes”, “Norman Ackroyd Complete Etchings” and “Norman Ackroyd 26 Landscapes” (5)
£120-180
533✓
Norman Ackroyd CBE, RA (1938-2024)
“Bantry Bay”
Signed, inscribed and numbered 65/90, dated (19)93, etching, 19cm by 22.5cm
Sold together with a signed copy of “Norman Ackroyd, Irish Etchings 1987-2008”, Zillah Bell Gallery, Thirsk
£150-250
534✓
Norman Ackroyd CBE, RA (1938-2024)
“St Kilda in Sunlight - Stac Lee”
Signed, inscribed and numbered 73/90, etching, 48.5cm by 76.5cm
Provenance:
Zillah Bell Gallery, Thirsk
£1,000-1,500
536✓
Janet Rawlins (b.1931)
“Harebells, Askrigg Moor”
Signed, inscribed and dated 1989 verso, collage, 36cm by 47cm
Provenance:
The Estate of Piers Browne
£150-250
535✓
Derek James Hyatt (1931-2015)
“Evening Cloud Rests”
Signed and inscribed verso, oil on board, 28.5cm by 31.5cm
Exhibited: Bradford Art Galleries and Museums, “Derek Hyatt, Two Miles North (1969-1979), Drawings, Paintings, Photographs and Objects”, Ilkley, 27 September - 4 November, 1979, no.9
Sold together with the exhibition list and brochure
£200-300
537
Brian Alderman (b.1954)
“An Early Winter”, Wensleydale
Signed, inscribed verso, oil on canvas, 59cm by 75cm
£400-600
535
536
A Collection of Works from the Estate of Piers Browne (1949-2024), part II
Piers Browne (1949-2024)
Piers Browne was a highly acclaimed landscape artist and colourist who worked predominantly in etching and oils. Born in Shropshire but based for much of his life in Wensleydale, Piers lived and worked high-up on the side of the dale, with magnificent views that inspired much of his work.
In 1968 Piers began his formal artistic education at the Byam Shaw School of Art in London, where he studied until 1970 under the tutelage of notable artists Peter Garrard, Maurice de Saumarez, Bernard Dunstan and his wife Diana Armfield. In 1970, Piers set out to travel across Europe in a minivan that would become both his home and his studio for the next year; making his way to Paris, Rome and Sicily, he painted landscapes, drew café patrons, and copied numerous old masters in the great galleries across the continent. Finally, he crossed the Mediterranean and painted for a spell in Africa.
Returning to London, from 1972-5 he studied painting at the Royal Academy Schools, where he won the David Murray Landscape prize two years running, and etching at the Islington Studio, a professional print-making workshop where he learned his extraordinary skills as an etcher
In 1975 Piers settled in Wensleydale and spent the next ten years renovating his ramshackle farmhouse and milking cows for a local farmer, all the while creating and developing his voice as an artist. Success soon followed, with Piers winning the Rank Xerox Printmaking Prize in 1986, and being awarded second place in the John Player Portrait Prize at the National Portrait Gallery in 1987 for a portrait of his father with a daisy chain around his neck.
Throughout his long and illustrious career, Piers won numerous prizes for both his etchings and paintings and exhibited at over 75 one-man shows both in the UK and abroad. In addition to his many selling exhibitions, his accolades include having 24 works hung in the Royal Academy ’s Summer Exhibition, exhibiting with the New English Art Club at the Mall Galleries, and latterly exhibiting at the Great North Ar t Show at Ripon Cathedral, of which he was a patron.
Piers also produced a body of poetry and illustrated literary works, beginning with the 1988 publication of “A Shropshire Lad”, in which Piers illustrated the much-loved work of A. E. Housman with his etchings, paying homage to the county of his birth. This was followed in 1989 by “An Elegy in Arcady”, an artists’ view of Housman’s poetry, “William Wordsworth – A Lakeland Anthology” illustrated by his coloured etchings, and “Wensleydale: Etchings and Verse” in 1994. In 2002 he launched his landmark publication “The Glorious Trees of Great Britain”, the culmination of fifteen years of work and the foreword of which was written by His Royal Highness the Prince of Wales. This was followed by “Sonnets for a Siren” in 2007, which included 167 etchings, a volume of poetry in 2011 entitled “Love in the Aegean”, and “La Route des Violettes”, an illustrated novella.
Whilst he continued to travel widely both in the UK and abroad, painting and etching, Wensleydale continued to be central to his work as an ar tist throughout his life. He was captivated by watching how the ever-changing light and seasons shifted and altered the landscape he knew so well, and he never lost his passion for capturing it for others to enjoy. His love of nature, in all its beauty and fragility, shines through in ever y piece he created.
538✓
Piers Browne (1949-2024)
“Spring Lambs, Penhill from Askrigg...”
Initialled, signed, inscribed and dated 2021 verso, oil on panel, 16cm by 55cm
Provenance: The Artist’s Estate
£400-600
539✓
Piers Browne (1949-2024)
“Last of Winter’s Snow and First Curlews: Wensleydale”
Initialled, signed, inscribed and dated 2016 verso, oil on board, 12cm by 52cm
Provenance:
The Artist’s Estate
£400-600
540✓
Piers Browne (1949-2024)
“Crows in the Budding Sycamores, Wensleydale”
Initialled, signed, inscribed and dated 2015 verso, oil on board, 42.5cm by 74.5cm
Provenance:
The Artist’s Estate
£300-500
541✓
Piers Browne (1949-2024)
“Evening Sunburst over Wensleydale, at Haytime, from Whitfield Scar”
Signed, signed and inscribed verso, oil on canvas, 96cm by 84cm
Provenance: The Artist’s Estate
Exhibited: Mall Galleries, London, “New English Art Club”, 2022
£700-1,000
539
540
542✓
Piers Browne (1949-2024)
“Towards the Ure, from the Scar at Nappa, July Evening”
Initialled, signed, inscribed and dated 2018 verso, oil on board, 45cm by 36cm
Provenance:
The Artist’s Estate
£400-600
544✓
Piers Browne (1949-2024)
“Summer Evening, Flood of Colour (Penhill with Cherry Tree in Shadow, Wensleydale)”
Initialled, inscribed verso, oil on board, 46.5cm by 42cm
Provenance:
The Artist’s Estate
£250-400
543✓
Piers Browne (1949-2024)
“Cherry Tree, Penhill beyond”
Initialled, signed, indistinctly inscribed and dated 2020 verso, oil on panel, 49.5cm by 42.5cm
Provenance:
The Artist’s Estate
£400-600
545✓
Piers Browne (1949-2024)
“Spring/Dawn” “Askrigg Church from Summit of Ellerkin”
Initialled, signed and inscribed verso, oil on board, 45.5cm by 60.5cm
Provenance:
The Artist’s Estate
£400-600
546✓
Piers Browne (1949-2024)
“In the Heart of North Wales, Evening, with Barn Owl”
Initialled, signed and extensively inscribed verso, oil on board, 27cm by 56.5cm
Provenance:
The Artist’s Estate
£300-500
549✓
Piers Browne (1949-2024)
“The Irish Sea: April Afternoon from the Lleyn Peninsula (NW Wales)”
Initialled, inscribed verso, oil on board, 14.5cm by 29.5cm
Provenance:
The Artist’s Estate
£200-300
547✓
Piers Browne (1949-2024)
Reflection
Initialled, oil on board, 56cm by 45cm
Provenance:
The Artist’s Estate
£250-400
548✓
Piers Browne (1949-2024)
“Aldeburgh Beach: Summer Evening”
Initialled, signed and inscribed verso, oil on board, 43.5cm by 59cm
Provenance: The Artist’s Estate
£400-600
546
547
548
551✓
Piers Browne (1949-2024)
“Return to Whitby Harbour”
Signed, inscribed and dated 2020, inscribed verso, oil on panel, 43cm by 59.5cm
Provenance:
The Artist’s Estate
£400-600
553✓
Piers Browne (1949-2024)
“November Sunset, Sandsend, with Redshanks”
Initialled, signed and inscribed verso, oil on panel, 25.5cm by 60cm
Provenance:
The Artist’s Estate
£300-500
550✓
Piers Browne (1949-2024)
“Tide Rolling in, Near Kettleness”
Initialled, signed, inscribed and dated 2013 verso, oil on board, 44.5cm by 58.5cm
Provenance:
The Artist’s Estate £500-700
552✓
Piers Browne (1949-2024)
“The Blue Waves / Dog Chasing Seagull, Saltburn”
Initialled, signed and inscribed verso, oil on board, 13.5cm by 17.5cm
Provenance:
The Artist’s Estate
£200-300
551
552 553 550
554✓
Piers Browne (1949-2024)
Rider on a beach at dawn
Initialled, oil on board, 45.5cm by 61cm
Provenance: The Artist’s Estate
£500-700
555✓
Piers Browne (1949-2024)
Children playing on a beach
Signed and dated (20)21, oil on board, 40.5cm by 60.5cm
Provenance: The Artist’s Estate
£500-700
556✓
Piers Browne (1949-2024)
“Easter Sunset on Sea, South Holland”
Initialled twice, signed and inscribed verso, oil on board, 17cm by 63.5cm
Provenance: The Artist’s Estate
£300-500
554
555
556
557✓
Piers Browne (1949-2024)
Dutch marinescape with windmill
Initialled, oil on board, 60cm by 43cm
Provenance: The Artist’s Estate
£300-500
559✓
Piers Browne (1949-2024)
“St Jeannet”
Signed, inscribed and dated 2018, oil on board, 46.5cm by 65.5cm
Provenance:
The Artist’s Estate
£400-600
558✓
Piers Browne (1949-2024)
“Lake Como, from the Castle above, Varenna” Initialled, signed, inscribed and dated 2019 verso, oil on board, 47cm by 40.5cm
Provenance: The Artist’s Estate
£300-500
560✓
Piers Browne (1949-2024)
“After Olive Picking, Crete (Father and Daughter on Mule)”
Inscribed verso, oil on board, 13.5cm by 17cm
Provenance: The Artist’s Estate £200-300
561✓
Piers Browne (1949-2024)
“Cabbage Whites: The Rhone Valley, Plane of Les Baux, Vaucluse (Easter)”
Initialled, signed, inscribed and dated 2014 verso, oil on panel, 43.5cm by 60cm
Provenance:
The Artist’s Estate £400-600
563✓
Piers Browne (1949-2024)
Summer Holiday
Initialled, oil on board, 45.5cm by 63cm
Provenance: The Artist’s Estate
£300-500
562✓
Piers Browne (1949-2024)
“Easter Morning, Sea Off West Coast of Corsica”
Initialled, inscribed and dated 2014, signed and inscribed verso, oil on board, 50cm by 74.5cm
Provenance: The Artist’s Estate
£400-600
564✓
Piers Browne (1949-2024)
Tree in High Wind with Donkeys, likely overlooking Tourrettes-sur-Loup Initialled, oil on board, 69.5cm by 69.5cm
Provenance: The Artist’s Estate
£500-700
565✓
Piers Browne (1949-2024)
“Dawn on the Farm, Tourrettes-sur-Loup”
Initialled, signed, inscribed and dated 2016 verso, oil on board, 30.5cm by 24cm
Provenance:
The Artist’s Estate
£250-400
566✓
Piers Browne (1949-2024)
Cap Martin from a balcony, with cats Oil on panel, together with a similar pastel signed, initialled and dated (19)68, 27.5cm by 22.5cm (2)
Provenance:
The Artist’s Estate
£300-500
567✓
Piers Browne (1949-2024)
Olive Tree on a beach
Initialled, oil on canvas, 68cm by 90cm
Provenance:
The Artist’s Estate
£600-800
565
566 (part)
569✓
John Northcote Nash CBE, RA (1893-1977)
“Hilly Landscape”
Mixed media on paper, with a further pencil sketch to the reverse, 27cm by 36cm
Provenance: Burton Hall, Lincolnshire
Exhibited: “The Englishness of English Painting”, Crane Kalman Gallery, London 4 December 1963 - 15 January 1964
£1,500-2,500
568✓
Jac Martin-Ferrières (1893-1972) French Provence landscape
Signed and dated (19)24, oil on canvas, 70cm by 90cm
£800-1,200
570✓
John Egerton Christmas Piper CH (1903-1992)
Landscape with a boathouse
Signed, mixed media on paper, 35cm by 45cm
Provenance: Burton Hall, Lincolnshire
£1,000-2,000
568
569
Paul Maze (1887-1979) French
Paul Maze, often referred to as ‘The Last of the Post-Impressionists’, had the extraordinary ability to capture the essence of a place with deceptive simplicity. He painted with immediacy, and his skills were once described by his lifelong friend Winston Churchill as “with the fewest of strokes, he can create an impression at once true and beautiful”
Maze was born in Le Havre, Normandy, the son of a successful tea merchant and art collector. From an early age he was surrounded by ar t, and was fortunate to count Monet, Renoir, Pissarro, and Dufy as family friends. Indeed, it was Pissarro who would teach him the rudiments of ar t before he was sent to school in Southampton at the age of 12 to perfect his English. Here he fell in love with all things English.
At the outbreak of the First World War, Maze was turned away from the French Army having been deemed unfit for service. However, seeing soldiers from the Royal Scots Guards disembarking at Le Havre, he offered his services as an interpreter. Despite not having an official position, which led to his near execution at the hands of a British firing squad after he was wrongly accused of being a spy, he went on to become a highly decorated soldier who sketched his experiences when opportunity allowed. It was during his time in the trenches that he met Winston Churchill, the pair bonding over their mutual love of painting. Maze would become Churchill’s artistic mentor, and in return Churchill introduced him into British aristocratic circles and was instrumental in obtaining commissions for Maze at military events and his appointment as official ar tist for the funeral of King George VI and the Coronation of Queen Elizabeth II.
Maze would spend much of his life living in England, however, after the First World War he lived in Paris and became an integral member of the ar t scene. He counted amongst his friends Derain, Bonnard and Vuillard, and the latter had encouraged Maze to concentrate on working with pastels, which best suited his style. Maze turned his hand to a variety of subject matter, from marines to cityscapes, and the gentle landscapes of the English and French countryside. However, he had a particular love of painting the pomp and circumstance of British army parades and the social whirl of the English season, and he could be frequently found at Cowes, Henley and Goodwood. Having married his second wife, Jessie, Maze moved to the South Downs in 1950, where he would remain for the rest of his life. He fell in love with the softly rolling hills, which he frequently depicted. He died at the age of 92, at home looking over the Downs, with a pastel in his hand.
571✓
Paul Maze (1887-1979) French Figures on a country path
Signed, pastel, 20cm by 28cm
Provenance:
The artist’s family
£150-250
572✓
Paul Maze (1887-1979) French Landscape with farm buildings
Signed, pastel, 17cm by 27cm
Provenance: The artist’s family £200-300
573✓
Paul Maze (1887-1979) French
The Station house
Signed, pastel, 16.5cm by 22cm
Provenance: The artist’s family
£150-250
574✓
Paul Maze (1887-1979) French
Figures on a beach
Signed, pastel, 13.5cm by 23cm
Provenance: The artist’s family
£200-300
575✓
Paul Maze (1887-1979) French
Jessie reading in the garden
Signed, oil on board, 23.5cm by 40cm
Provenance:
The artist’s family
£200-300
573
574
576✓
Paul Maze (1887-1979) French Figures seated in an armchair Signed, pastel, 22.5cm by 24cm
Provenance: The artist’s family
£150-250
577✓
Paul Maze (1887-1979) French Jessie at her dressing table Signed, pastel, 19.5cm by 32cm
Provenance: The artist’s family
£300-500
578✓
Paul Maze (1887-1979) French Head and shoulders study of Jessie Signed, pastel, 19cm by 27.5cm
Provenance: The artist’s family
£150-200
576
577
579
579✓
Franz Heckendorf (1888-1962) German “Portrait of Hilda Kosmack”
Signed and dated 1941, watercolour and gouache, 48.5cm by 37cm
Provenance:
Hilda Kosmack, thence by descent
£150-250
581✓
Martin Jennings FRSS (Contemporary) Bust of Sir Winston Churchill
Signed to base, terracotta with green patination on a stone plinth, 23cm high
£200-300
580
580
William Henry Barribal (1873-1952)
“Better Late Than Never”
Signed, inscribed verso “To Norman and Ruby, with all good wishes W H and Mrs Barribal”, mixed media, 43.5cm by 37.5cm
£250-400
582✓
Michael John Hunt (b.1941)
“The Green Door”
Signed, oil on canvas, 48cm by 75cm
Sold together with the certificate of authenticity and exhibition brochure for Pieter Breughel Kunsthandel b.v., Amsterdam
£300-500
583✓
John Mackie (b.1953)
“The Old Farmhouse at Grimaud”
Signed and dated (19)99, pastel, 39.5cm by 57.5cm
£300-500
584✓
John Mackie (b.1953)
“The Square at St Jean de Luz”
Signed, inscribed verso, oil on canvas, 39cm by 50cm
£500-700
583
585
Duncan McGregor Whyte (1866-1953)
Scottish
“Evening, Balure, Bailephul, Tiree”
Inscribed verso, oil on canvas, 58.5cm by 48cm
£1,000-1,500
586✓
Donald McIntyre RCA (1923-2009)
“An Anglesey Village”
Signed, inscribed and dated 1965 verso, oil on canvas, 24cm by 34cm
Provenance:
The Fine Art Society, London
£1,000-1,500
585
588✓
587✓
James Harrigan (b.1937) Scottish “Low Tide Crail”
Signed, oil on board, 49cm by 59cm
Provenance: Thompson’s Gallery, Aldeburgh
£1,000-1,500
Nael Hanna (b.1959) Iraqi/Scottish “Santa Maria della Salute II”, Venice
Signed, oil on board, 48cm by 48cm
£1,000-1,500
589✓
Mark Coreth (b.1958)
African woman carrying a fish
Signed and numbered 2/6, bronze, 36.5cm high
£400-600
590
Darren Yeadon (b.1970)
“Cross Fish”
Signed, Carrara marble, 43cm high
£700-1,000
589
591
Jonathan Armigel Wade (b.1960)
“The Run Ashore”
Signed, inscribed and numbered 2225 with the artist’s numbering system verso, oil on board, 43.5cm by 57.5cm
£600-900
593
Jonathan Armigel Wade (b.1960)
“The Summer Wedding”
Signed, inscribed and numbered 2533 with the artist’s numbering system verso, oil on board, 19cm by 29cm
£300-500
592✓
Jonathan Armigel Wade (b.1960)
“Messages”
Signed, inscribed verso, oil on board, 60cm by 77.5cm
£300-500
594✓
Jonathan Armigel Wade (b.1960)
“The Walk”
Signed, inscribed verso, oil on board, 60.5cm by 60.5cm
£250-400
595✓
Christy Keeney (b.1958)
Portrait of a lady
Signed and dated 2021, earthenware on a wooden base, 22cm high
£150-250
597✓
Simeon Stafford (b.1956)
“The Band Stand”
Signed, inscribed verso, oil on canvas, 80cm by 80cm
£600-800
596✓
Olwen Tarrant ROI (1927-2012) Welsh “Rosemary Reading Rimbaud”
Signed, oil on board, 60cm by 73cm
Provenance:
The Mall Galleries, London
£250-400
598✓
Simeon Stafford (b.1956)
Street scene
Signed and dated 07.11.21, oil on board, 45cm by 60cm
£400-600
595
599
Bob Dylan (b.1941) American “Man on a Bridge” (2011)
Signed and numbered 208/295, giclee print from “The Drawn Blank Series”, 62cm by 45.5cm
Sold together with the Washington Green Fine Art certificate of authenticity and the original sleeve, and “The Drawn Blank Series” book from Halcyon Gallery
£800-1,200
600
Bob Dylan (b.1941) American “Florida Country” (2016)
Signed and numbered 242/295, giclee print from “The Beaten Path”, 47cm by 66cm
Sold together with the Washington Green Fine Art certificate of authenticity
£800-1,200
601
Bob Dylan (b.1941) American “Oil Rigger’s Shack” (2017) Signed and numbered 265/295, giclee print from “The Beaten Path”, 43cm by 66cm
Sold together with the Washington Green Fine Art certificate of authenticity
£800-1,200
602
Bob Dylan (b.1941) American “Lighthouse in Maine” (2017) Signed and numbered 236/295, giclee print from “The Beaten Path”, 49cm by 65cm
Sold together with the Washington Green Fine Art certificate of authenticity
£800-1,200
603✓
Alan Falk (b.1945) “Towards Night”
Signed and dated (19)72, acrylic, 11.5cm by 21.5cm
Provenance: Peterloo Gallery, Manchester £200-300
604✓
Michael Rothenstein (1908-1993)
“Hollywood Bowl” (1970)
Signed and numbered 17/50, woodcut and screenprint from “The Circle Series”, 73cm by 58cm
Provenance: Didon Arts, Cheshire
£300-500
605✓
Marie Walker Last (1917-2017) “Night Vision”
Signed and dated (19)65, gouache, 25.5cm by 37cm
£200-300
603
604
606✓
Edith Lawrence (1890-1973) ‘’Houses on a Hillside’’ Linocut, together with a smaller version of the same linocut, 30cm by 25cm and 21.5cm by 26cm respectively (unframed) (2)
Provenance: The Artist’s Estate £150-250
607✓
Edith Lawrence (1890-1973) “France”
Signed and numbered 10/50, linocut, 26.5cm by 36.5cm (unframed)
Provenance: The Artist’s Estate £800-1,200
607
606 606
608✓
Victor Pasmore RA, CH, CBE (1908-1998)
“Points of Contact, Variations no.4”
Initialled and dated (19)72, numbered 17/60, screenprint, 90cm by 60cm
£250-400
609✓ Roger Cecil (1942-2015)
Abstract Mixed media, 11cm by 8.5cm
Provenance: The New Academy Gallery, London
£150-250
Geoffrey Key (b.1941)
Born in Manchester in 1941, Geoffrey Key was encouraged to draw from a young age by his mother, who was an illustrator.
He enrolled at Manchester High School for Art, and then the Manchester Regional College of Art in 1958 where he was tutored by sculptor Ted Roocroft and painter Harry Rutherford, who greatly inspired him.
Upon graduation, he began a career as a teacher and made the conscious decision to move away from the style of his mentor and develop his own artistic language, heavily influenced by European Modernism. In order to do this, he painted hundreds of paintings of Whitley Nab in Derbyshire, capturing the ever-changing landscape and conditions.
Key’s interest lies in the form of line and movement, and his works combine a playful juxtaposition of colour, texture and light.
The artist once stated, “I love life… I love the joys of being alive. I try to paint happy pictures.”
As an artist, Key has a long and established record of solo exhibitions in the UK and further afield. He has gained academic awards, namely the Heywood Medal in Fine Art and the Guthrie Bond Travelling Scholarship.
610✓
Geoffrey Key (b.1941)
“Gate Posts”
Signed and dated (19)87, inscribed verso, oil on board, 62cm by 74.5cm
£3,000-4,000
611✓
Brian Willsher (1930-2010)
Abstract
Signed and dated 1980, teak, 31.5cm high
£250-400
612✓
Brian Willsher (1930-2010) “Saraband”
Signed, inscribed and dated 1991 to base, teak, 79cm high
£500-700
613✓
Monica Poole (1921-2003)
“Cattle Barrier”
Signed and numbered 22/100, wood engraving, 22.5cm by 15.5cm
£400-600
615✓
Enid Marx RDI (1902-1998)
“Kenwood”
Signed and numbered 27/60, woodcut, 13.5cm by 17cm
Sold together with a signed copy of “A Book of Nursery Rhymes”, illustrated by Enid Marx, “Enid Marx, Some Birds & Beasts and Their Feasts, An Alphabet of Wood Engravings”, Incline Press 1997, “Bookplates of Enid Marx”, Incline Press 1997 and “Who Killed Cock Robin”, Illustrated with wood engravings by Enid Marx, Incline Press 1997 (4)
£300-500
614✓
Monica Poole (1921-2003)
“Herbage”
Signed and numbered 70/100, wood engraving, 15cm by 19.5cm
£150-250
613
614
616✓
John Banting (1902-1972)
Tree
Pencil, together with a further abstract tree study with leaves, each from the artist’s sketchbook, 21cm by 13cm and 18cm by 11cm respectively (2)
Provenance:
Louise Kosman Modern British Art, Scotland
£300-500
617✓
John Banting (1902-1972)
Organic forms
Mixed media collage, from the artist’s sketchbook, 18cm by 11cm
Provenance:
Louise Kosman Modern British Art, Scotland
£250-400
618✓
John Banting (1902-1972)
“Tree”
Pencil, together with a further mixed media, Classical Nude Study by the same hand, from the artist’s sketchbook, 22cm by 13.5cm and 18cm by 11cm respectively (2)
Provenance:
Louise Kosman Modern British Art, Scotland
£300-500
616
618
617
619✓
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970)
Theatre scene
Signed, mixed media, 35.5cm by 25cm (unframed)
Provenance: The vendor’s grandmother, who was a pupil of Stanhope Forbes at the Newlyn School of Art and mixed in the same artistic circles as Dame Laura Knight Thence by descent
£300-500
620✓
Pablo Picasso (1881-1973) Spanish
“Colombe de la Paix-Moscou, 1957”
Screenprint on linen, 77cm by 74cm
The scarf was produced for the World Youth Conference in Moscow, 1957
Provenance:
Hidden Gallery, Bristol
£1,000-1,500
619
621
Darren Yeadon (b.1970) Ammonite
Signed, Whitby sandstone, 22cm high £250-400
622✓ Sophie Ryder (b.1963)
“Curled Up” (2006)
Signed and numbered 4/100, miniature bronze, 5.5cm high £250-400
623✓
Dame Elizabeth Violet Blackadder DBE, RA, RSA (1931-2021) Scottish “Iris - Hermodactylus Tuberosus”
Signed and numbered 44/60, etching and aquatint, 56cm by 43cm
Literature: Illustrated, “Elizabeth Blackadder Prints” by Christopher Allan, 2003, no.109
£300-500
624
624✓
Mary Fedden OBE, RA, RWA (1915-2012)
Still life of Poppies and assorted flowers in a glass vase
Signed and dated 1981, gouache on handmade paper, 22cm by 16.5cm
£600-800
623
625✓
Paul Raymond Seaton (b.1953)
Still life of pink and white Rhododendrons in a glass vase with a blue and white bowl Initialled, oil on canvas, 57cm by 41cm
£400-600
626✓
Paul Raymond Seaton (b.1953)
“Still Life with White Peonies”
Monogrammed and dated 1993, oil on panel, 49cm by 40.5cm
Provenance:
John Noot Galleries, Broadway
£400-600
627✓
David Barnes (1942-2021)
Still life of Irises in a grey vase
Signed verso, oil on board, 29cm by 23.5cm
£200-300
628✓
Gerald Norden (1912-2000)
“Not to be Shown to Persons of a Nervous Disposition”
Signed and dated (19)91, oil on board, 40.5cm by 30.5cm (unframed)
£300-500
627
629✓
David Hockney OM, CH, RA (b.1937)
“Félicité sleeping, with Parrot” (1974)
Signed and numbered 100/100, etching, with aquatint, illustration for “A Simple Heart” by Gustave Flaubert, 25.5cm by 26.5cm
£2,000-3,000
630✓
David Hockney OM, CH, RA (b.1937)
“He Enquired After the Quality” (1966)
Signed, etching from “Fourteen Poems” by CP Cavafy, 39cm by 25.5cm
Provenance: The collection of the artist Edward Lupper
£800-1,200
631✓
Dame Tracey Emin DBE, RA (b.1963)
“No Idea, Why They Can Jump So High”
Signed and dated (20)10, inscribed and numbered 78/100, etching, 36cm by 46.5cm
£600-900
632✓
Clive Barker (b.1940) “AGFA” Camera (1999)
Engraved with signature to base, aluminium, 9.5cm high
£700-1,000
633✓
David Nash OBE, RA (b.1945) “Red Column”
Signed and dated 2010, inscribed and numbered 14/100, pastel pochoir on paper, 66cm by 33cm
Provenance: Yorkshire Sculpture Park, Wakefield
£150-250
632
633
Sold together with the certificate of authenticity
£6,000-8,000
634✓
Mr Brainwash (b.1966)
“With All My Love”
Signed verso and dated 2021 verso, mixed media on paper, 76cm by 56cm
634
635✓ Damien Hirst (b.1965) “Nr Jahn” (Empresses) (2022)
Numbered 499/3041, laminated giclee print on aluminium composite, screen printed with glitter, 100cm by 100cm
Provenance: Heni Editions, London £800-1,200
635
BUYERS’ INFORMATION
Buyer’s Premium
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.
Condition Reports
We are happy to provide Condition Reports to Prospective Buyers, but would welcome your request as soon as possible, preferably at least 48 hours before the Day of Sale. A Condition Report is an honest expression of our opinion, not a statement of fact and is provided as a service to the Seller. We accept no liability for the opinions expressed in any Condition Report.
Caveat Emptor
The principle of caveat emptor applies to the sale of all goods sold at auction by us. Furthermore, we have no control over the condition of any item offered for sale.
Additional Images
Requests for additional images of items in the sale can be made up to 48 hours before the Day of Sale.
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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.
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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.
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Payment is accepted online via our website.
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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.
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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).
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NEXT MODERN & CONTEMPORARY ART SALE
SATURDAY 13 JUNE 2026
2026 AUCTION DATES
Friday 13 February
Antiques & Interiors, including a section of Silver Fashion, Costume & Textiles
Friday 27 February
Antiques & Interiors
Saturday 28 February
Modern & Contemporary Art 20th Century Design
Friday 6 March
Stamps, Postcards & Postal History
Friday 13 March
Asian Art
Saturday 14 March
Spring Sale
British, European & Sporting Art Fine Jewellery, Watches & Silver
Wednesday 18 March
Militaria & Ethnographica
Friday 20 March
Antiques & Interiors, including a section of Silver
The Auction Centre, Leyburn North Yorkshire DL8 5SG 01969 623780
enquiry@tennants-ltd.co.uk
www.tennants.co.uk