MODERN & CONTEMPORARY ART
SATURDAY 4 OCTOBER 2025
ALSO SELLING TODAY:
20TH CENTURY DESIGN
SATURDAY 4 OCTOBER 2025 9.30AM
MODERN & CONTEMPORARY ART
SATURDAY 4 OCTOBER 2025 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 2 October 10.00am to 4.00pm Friday 2 October 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 Lot 62 BACK COVER Lot 107
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
Art Specialist
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
Charlotte Conboy Consultant
Jane Tennant Director & Auctioneer
Kate Hudson Junior Picture Specialist
1✓
After Laurence Stephen Lowry RBA, RA (1887-1976) “Sailing Boats”
Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 32.5cm by 33.5cm
£2,000-3,000 1
2✓
After Laurence Stephen Lowry RBA, RA (1887-1976)
“Great Ancoats Street”
Signed and numbered 596/850, with the Henry Donn blindstamp, a black and white reproduction, 29.5cm by 39cm
£700-1,000
3✓
After Laurence Stephen Lowry RBA, RA (1887-1976)
“The Reference Library”
Signed, with the blindstamp for the Fine Art Trade Guild, a black and white reproduction, 27.5cm by 37cm
£800-1,200
4✓
After Laurence Stephen Lowry RBA, RA (1887-1976)
“St Simon’s Church”
Signed and numbered 202/300, a black and white reproduction, 41cm by 30cm
£700-1,000
5✓
After Laurence Stephen Lowry RBA, RA (1887-1976)
“The Football Match”
Signed and numbered 78/850, with the Henry Donn blindstamp, a black and white reproduction, 26.5cm by 36cm
£1,200-1,800
7
David Wilders (Contemporary) “Headgear III”
Signed and dated 2025, inscribed and numbered 14/100, linocut with watercolour, 33.5cm by 23.5cm
£150-200
6
David Wilders (Contemporary) “Industrial Town”
Signed and dated 2013, inscribed verso, reduction linocut, 33.5cm by 24cm
£120-180
8
David Wilders (Contemporary) “Snap Time”
Signed and dated 2025, inscribed and numbered 1/25, screenprint, 40cm by 35cm
£150-250
David Wilders (Contemporary)
“Creases of Coal Dust”
Signed, oil on board, 39.5cm by 29cm
£200-300
10✓
Len Tabner (b.1946)
“On the Rig”
Signed and dated Jan 1988, mixed media, 71cm by 51cm
This work forms part of a series Len Tabner created for Conoco Ltd during the 1980s
£1,000-1,500
11✓
Tom McGuinness (1926-2006)
“Idle Gossip”
Signed, inscribed and numbered 26/50, etching and aquatint, 15.5cm by 21cm
£150-200
12✓
Tom McGuinness (1926-2006)
“The Filler”
Signed and dated (19)63, mixed media, 13.5cm by 30cm
£500-700
13✓
Tom McGuinness (1926-2006)
“Miners for the Train”
Signed and dated (19)87, watercolour, 10cm by 15cm
£500-700
14✓
Tom McGuinness (1926-2006)
Four Miners
Signed and dated (19)88, oil on canvas, 60cm by 44.5cm
£1,500-2,500
15✓
Norman Stansfield Cornish MBE (1919-2014) “Noon”
Signed, mixed media, 24.5cm by 34.5cm
Provenance: Stone Gallery, Newcastle Upon Tyne
£800-1,200
16✓
Fred Cecil Jones RBA (1891-1956) “At Castleford, Yorkshire”
Signed and dated 1946, mixed media, 24cm by 35.5cm
£300-500
17✓
Brian Shields ‘Braaq’ FBA (1951-1997)
“The Coal Pickers”
Signed and dated (19)78, inscribed “Ann”, oil on panel, 20.5cm by 25cm
£1,200-1,800
18✓
Brian Shields ‘Braaq’ FBA (1951-1997)
“Runcorn Fair, Won Three Fish on Tuesday, Dead Now Though” Signed, inscribed “Ann” and dated (19)76, inscribed verso, oil on panel, 28.5cm by 38.5cm
£5,000-7,000
19✓
Brian Shields ‘Braaq’ FBA (1951-1997)
“The Frozen Pond”
Signed, inscribed “Ann” and dated (19)76, oil on board, 28.5cm by 38cm
Provenance: Kingswear Gallery, Leeds
£4,000-6,000
20✓
Brian Shields ‘Braaq’ FBA (1951-1997)
Figures and dogs on a beach
Signed, inscribed “Ann”, pastel, 20.5cm by 38cm
£800-1,200
21✓
James Kay RSA, RSW (1858-1942)
“Kingston Dock” Signed, oil on board, 35cm by 50.5cm
Provenance: T&R Annan and Sons Ltd, Glasgow
£700-1,000
23✓
Lorraine Abraham RSMA (1941-2023)
“HMS, M33, Dazzles in Dry Dock, Portsmouth” Signed, oil on board, 50cm by 60cm
Exhibited: Mall Galleries, London, “Royal Society of Marine Artists”, no.18
£250-400
22✓
William Ralph Turner FRSA (1920-2013)
“Industrial Landscape, St Etienne” Signed and dated 1972, oil on board, 60cm by 49cm £800-1,200
24✓
John Thompson (1924-2011)
Group Series 1154
Signed and inscribed, mixed media, 39cm by 29.5cm
Provenance: Jo Bennett Original Pictures, UK
£400-600
25✓
Arthur Berry (1925-1994)
“In The Clearing Stands a Boxer”
Signed and dated (19)92, mixed media, 62cm by 46cm
Provenance: Clark Art, Cheshire
£400-600
26✓
James Lawrence Isherwood FRSA, FIAL (1917-1989)
“Houses of Parliament”
Signed, inscribed verso, oil on board, 24.5cm by 34.5cm
Provenance: Purchased from the artist’s studio sale, 16th January 2000
£300-500
27✓
James Lawrence Isherwood FRSA, FIAL (1917-1989)
“Sidmouth Sunset”
Signed, inscribed verso, oil on board, 23.5cm by 34cm
Provenance: Purchased from the artist’s studio sale, 16th January 2000
£200-300
28✓
James Lawrence Isherwood FRSA, FIAL (1917-1989)
“Aberystwyth”
Signed, inscribed verso, oil on board, 24cm by 29cm
Provenance: Warren & Wignall, Anonymous Sale, 02/11/16, Lot 122
Sold together with a signed authentication from Clive Isherwood
£300-500
29✓
James Lawrence Isherwood FRSA, FIAL (1917-1989) “Furrows and Seagulls”
Signed, inscribed verso, oil on board, 42cm by 67cm
Provenance: Purchased from the artist’s sister-in-law, 15th November 2002
£500-700
30✓
James Lawrence Isherwood FRSA, FIAL (1917-1989) “Warwickshire Sun”
Signed, inscribed verso, oil on board, 35cm by 45cm
Provenance: Purchased from the artist’s sister-in-law Sold together with the certificate of authenticity
£500-700
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 Collage 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.
31✓
Geoffrey Key (b.1941) Trees
Signed and dated (19)77, mixed media, 43.5cm by 28cm
£800-1,200
Signed and dated (19)80, oil on board, 90cm by 121cm
£3,000-5,000
32✓
Geoffrey Key (b.1941)
Mountain Sunrise
Signed and dated 1986, oil on board, 72cm by 98cm
£3,000-5,000
33✓
Geoffrey Key (b.1941)
Rolling Landscape
34✓
Michael Bennett (1934-2016)
“Mountain, Black Lake, Moon”
Signed and dated (19)75, mixed media, 13cm by 13.5cm
Provenance: Park Square Gallery, Leeds
£100-200
35✓
Norman Adams RA (1927-2005)
“Winter Study, Sutherland, Mountains and Snow”
Initialled, inscribed and dated (19)67, mixed media, 20.5cm by 24.5cm
£100-150
36✓
Peter Brook RBA (1927-2009)
“After the Gala, July”
Signed and inscribed, oil on canvas, 50.5cm by 70.5cm
Provenance: Purchased by the vendor’s father from the artist Thence by descent
£4,000-6,000
37✓
William Connor OBE, RHA, PPRUA, ROI (1881-1968) Irish “Back to Work” 1914
Signed, oil on canvas, 50cm by 40cm
Exhibited: “Yesterday: Paintings and Drawings by William Connor”, The Bell Gallery, Belfast, November 1967
Literature: The Bell Gallery, Belfast, “Yesterday: Paintings and Drawings by William Connor”, November 1967, no. 4
£2,000-3,000
A Single-Owner Collection of Scottish Pictures, lots 38-43, 62-63 and 131-133
George Leslie Hunter RSA (1877-1931) Scottish Study of a man Initialled and dated 1909, charcoal, 27cm by 20cm
Provenance: Cyril Gerber Fine Art, Glasgow
£400-600
39✓
James Cowie RSA, LLD (1886-1956) Scottish Study of Rocks (circa 1930)
Signed, mixed media, 17.5cm by 33.5cm
Provenance: Cyril Gerber Fine Art, Glasgow
£150-250
40✓
James Cowie RSA, LLD (1886-1956) Scottish “On the Alexander III Bridge”, Paris Mixed media, 23.5cm by 27cm
Provenance: Cyril Gerber Fine Art, Glasgow
£300-500
41✓
James Cowie RSA, LLD (1886-1956) Scottish “The Path Through the Woods” (circa 1930) Mixed media, 14.5cm by 20.5cm
Provenance: Cyril Gerber Fine Art, Glasgow
£250-400
42✓
James Cowie RSA, LLD (1886-1956) Scottish “The Gate in the Woods” (circa 1930) Mixed media, 16.5cm by 23.5cm
Provenance: Cyril Gerber Fine Art, Glasgow
£400-600
44✓
43✓
Alberto Morrocco OBE, RSA, RSW, RP, RG (1917-1998) Scottish
“The Mill at Keith, Glen Keith Distillery” (circa 1945) Signed, oil on board, 38cm by 46cm
Provenance: Purchased by the vendor’s grandparents directly from the artist, circa 1945 Thence by descent
The vendor’s grandparents were neighbours with Morrocco and his family in Keith. £3,000-5,000
Denis Peploe (1914-1993) Scottish
“The Farmhouse Brittany” (1949) Signed, oil on canvas, 43.5cm by 59cm
Provenance: Hazlitt Gallery, London £800-1,200
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 art, and was fortunate to count Monet, Renoir, Pissarro, and Dufy as family friends. Indeed, it was Pissarro who would teach him the rudiments of art 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 and 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 onto 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 artist 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 art 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.
45✓
Signed, inscribed, watercolour, 31cm by 45cm
Provenance: The artist’s family £200-300
Paul Maze (1887-1979) French “Rye”
46✓
Paul Maze (1887-1979) French “Ireland” Initialled, inscribed, pastel, 19.5cm by 32cm
Provenance: The artist’s family £250-400
47✓
Paul Maze (1887-1979) French Garden scene
Signed and dated (19)60, pastel, 26cm by 36.5cm
Provenance: The artist’s family £250-400
48✓
Paul Maze (1887-1979) French
The artists wife Jessie seated on the bed
Signed, pastel, 37cm by 54cm
Provenance: The artist’s family £250-400
49✓
Paul Maze (1887-1979) French Two ladies reading Signed, pastel, 30cm by 41cm
Provenance: The artist’s family
Exhibited: The Midhurst Gallery, West Sussex £200-300
50✓
Paul Maze (1887-1979) French “Jessie Dressing” Signed, inscribed to label verso, pastel, 26.5cm by 37cm
Provenance: The artist’s family
£250-400
51✓
Paul Maze (1887-1979) French Pansies in a yellow vase Signed, pastel, 23cm by 30.5cm
Provenance: The artist’s family
£120-180
52✓
Paul Maze (1887-1979) French Still life of yellow roses Indistinctly initialled, pastel, 27cm by 36.5cm
Provenance: The artist’s family
£180-250
53✓
John Leo Borrack (b.1933) Australian The Outback
Signed and dated (19)86, mixed media, 53cm by 74cm
£200-300
54✓
John Leo Borrack (b.1933) Australian
The Outback with Blue Mountains beyond
Signed and dated (19)86, mixed media, 52cm by 74.5cm
£250-400
55✓
Lionel Aggett (1938-2009) “Sunflowers below San Gimignano, Tuscany”
Signed, pastel, 48cm by 64cm
Provenance: Llewellyn Alexander, London
£150-250
56✓
Lionel Aggett (1938-2009)
“San Gimignano, Tuscany”
Signed, pastel, 48cm by 64cm
Provenance: Llewellyn Alexander, London
£150-250
57
Elliott Seabrooke (1886-1950)
Wooded landscape Oil on board, 33cm by 27.5cm
£200-300
58✓
Christopher Compton Hall (1930-2016)
“Hillside Montesicuro”
Signed and dated 1970, inscribed verso, oil on board, 44.5cm by 55cm
Provenance: Freya Mitton, London
£200-300
60✓
Peter Kuhfeld RP NEAC (b.1952) “Conservatory Afternoon” (1988)
Signed, oil on board, 60cm by 49cm
Provenance: W H Patterson, London
£600-800
59✓
Harold William Critchley (1925-2001) “Boltaña”
Signed, inscribed and dated 1982, oil on board, 44cm by 38cm
£150-250
61✓
James Harrigan (b.1937) Scottish Pink roses before a doorway
Signed, oil on board, 59cm by 49cm
£300-500
Signed, oil on board, 26.5cm by 23.5cm
Provenance: Cyril Gerber Fine Art, Glasgow, 5th May 1987
£4,000-6,000
62✓
Alberto Morrocco OBE, RSA, RSW, RP, RG (1917-1998) Scottish “Beach Cafe, Soller”
62
Sandy Murphy RSW, RGI (b.1956) Scottish “Storm Clouds, Arran”
Signed, inscribed and dated verso 1995, oil on board, 14cm by 20cm
Provenance: The Gatehouse Gallery, Glasgow £150-250
63✓
Duncan Shanks RSA, RSW, RGI (b.1937) Scottish “The Summit” Mixed media, 68cm by 88cm
Exhibited: “Hill of Fire” exhibition, Roger Billcliffe Gallery, Glasgow, 1994, where purchased £1,500-2,500
65✓
Sandy Murphy RSW, RGI (b.1956) Scottish “The Rookery”
Signed, inscribed and dated verso 1997, oil on board, 36cm by 38.5cm
Provenance: The Gatehouse Gallery, Glasgow £200-300
64✓
66✓
Sheila Macmillan DA, PAI (1928-2018) Scottish “Blue Hill”
Signed, inscribed verso and dated 1994, oil on canvas, 19cm by 19cm
Provenance: The Gatehouse Gallery, Glasgow
£150-250
Frances Macdonald (b.1945) Scottish Seascape
Signed, oil on canvas, 59cm by 84cm
£1,000-1,500
68✓
Frances Macdonald (b.1945) Scottish “Iona”
Signed, inscribed verso, oil on canvas, 58cm by 83cm
£1,000-1,500
67✓
69
Jonathan Armigel Wade (b.1960)
“To the House”
Signed, signed, inscribed and numbered 2515 with the artist’s numbering system verso, oil on board, 20cm by 28.5cm
£300-500
70
Brian Alderman (b.1954)
“The North Wind Blows”
Signed, inscribed verso and dated Winter 2025, oil on board, 24cm by 33.5cm
£200-300
71
Brian Alderman (b.1954)
“The White Van”
Signed, inscribed verso and dated 2025, oil on canvas, 38.5cm by 39.5cm
£300-500
A Collection of Works from the Estate of Piers Browne (1949-2024) (lots 72-106 and 118-119)
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 (lots 105 and 106) 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 Art 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 artist 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 every piece he created.
Bernard Dunstan and his wife Diana Armfield wrote:
"We both admire the wonderful intensity of Piers' vision, and, in some of his oils, the handling with its rhythm of marks makes for a strange beauty all of their own. His oils and etchings are superb."
72✓
Piers Browne (1949-2024)
“New Moon and Swallows: Last Light on the Donkey Shed, Wensleydale”
Signed and dated 20(06) verso, oil on board, 14cm by 24cm
Provenance: The Artist’s Estate £300-500
73✓
Piers Browne (1949-2024)
Sunrise over the Dales Initialled, oil on board, 42cm by 61cm
Provenance: The Artist’s Estate £400-600
74✓
Piers Browne (1949-2024)
“November Dawn: Strensall Common, York”
Signed, inscribed verso, oil on board, 21.5cm by 57.5cm
Provenance: The Artist’s Estate £200-300
75✓
Piers Browne (1949-2024)
Cows grazing
Signed and dated 1965, oil on board, 19cm by 29cm
Provenance: The Artist’s Estate
£200-300
77
✓
Piers Browne (1949-2024)
“Springtime near Grasmere: Helm Crag from Langcliffe”
Initialled, signed and inscribed verso, oil on board, 36.5cm by 25cm
Provenance: The Artist’s Estate
£200-300
76
✓
Piers Browne (1949-2024)
“Woodcocks Flypast, Wensleydale Summer Evening”
Initialled, signed and dated 2016 verso, inscribed verso, oil on board, 22cm by 43cm
Provenance: The Artist’s Estate
£400-600
78✓
Piers Browne (1949-2024)
“May Dawn with Blackhead Gull: Wensleydale”
Initialled, signed verso and dated 2014, inscribed verso, oil on board, 13cm by 29.5cm
Provenance: The Artist’s Estate
£200-300
79✓
Piers Browne (1949-2024)
“Askrigg and Bainbridge from below Ellerkin”
Initialled, signed and inscribed verso, oil on board, 26cm by 34cm
Provenance: The Artist’s Estate
£400-600
80✓
Piers Browne (1949-2024)
“Hayfields Below Muker, Swaledale”
Initialled, signed and inscribed verso, oil on board, 36cm by 44cm
Provenance: The Artist’s Estate
£400-600
81✓
Piers Browne (1949-2024)
“Idyllic Wensleydale Hay Time Scene”
Signed, inscribed and dated May 2019, further inscribed verso, oil on paper, 64cm by 101cm
Provenance: The Artist’s Estate
£700-1,000
82✓
Piers Browne (1949-2024)
“The Shepherds Being Annunciated Seeing the Angel” Initialled, inscribed verso, oil on canvas, 136cm by 131cm
Provenance: The Artist’s Estate
£600-800
83✓
Piers Browne (1949-2024)
“Violent Storm at Whitby”
Initialled, signed and inscribed verso, oil on board, 43cm by 60.5cm
Provenance: The Artist’s Estate
£500-700
84✓
Piers Browne (1949-2024)
“February Ice Wind Over Saltburn Beach”
Initialled, signed and dated 2015 verso, inscribed verso, oil on board, 44.5cm by 61.5cm
Provenance: The Artist’s Estate
£400-600
85✓
Piers Browne (1949-2024)
Window sill with still life of Summer flowers overlooking Saltburn beach
Initialled, oil on board, 43cm by 60cm
Provenance: The Artist’s Estate
£400-600
86✓
Piers Browne (1949-2024)
Building sandcastles
Initialled and dated (19)84, oil on board, 43cm by 53.5cm
Provenance: The Artist’s Estate
£400-600
87✓
Piers Browne (1949-2024)
“Incoming Tide at Beer Devon, with Cormorant” Initialled, signed and inscribed verso, oil on board, 43.5cm by 55.5cm
Provenance: The Artist’s Estate
£400-600
88✓
Piers Browne (1949-2024)
“Boats on Aldeburgh Beach, Suffolk” Initialled, signed and inscribed verso, oil on board, 28cm by 28cm
Provenance: The Artist’s Estate
Exhibited: Walker Galleries, Harrogate
£300-500
89✓
Piers Browne (1949-2024)
“Sea Fret Rolling into Rockcliffe, Dumfries in June”, “The Red Buoy” Signed and initialled, inscribed verso, oil on board, 43cm by 54.5cm
Provenance: The Artist’s Estate
£500-700
90✓
Piers Browne (1949-2024)
“Let’s Look! Brittany”
Initialled and inscribed verso, oil on board, 53.5cm by 61cm
Provenance: The Artist’s Estate
£500-700
91✓
Piers Browne (1949-2024)
Still life of lilies before a French coastline
Initialled, oil on canvas, 127cm by 182cm
Provenance: The Artist’s Estate
£700-1,000
92✓
Piers Browne (1949-2024)
“9:30am 17 March”
Initialled and inscribed, oil on paper, 18cm by 39.5cm
Provenance: The Artist’s Estate
£180-250
93✓
Piers Browne (1949-2024)
“The Pink Villa: Tourrettes-sur-Loup Beyond (Towards the Sea)”
Signed and inscribed, oil on board, 29cm by 46.5cm
Provenance: The Artist’s Estate
£600-800
95✓
Piers Browne (1949-2024)
“Towards the South of Hammamet: Tunisia in December”
Signed and dated 11/2/10, inscribed and further inscribed verso, acrylic on board, 24cm by 70cm
Provenance: The Artist’s Estate
£600-800
94✓
Piers Browne (1949-2024)
Landscape with olive groves Initialled, oil on board, 50cm by 65cm
Provenance: The Artist’s Estate
£400-600
97✓
Piers Browne (1949-2024)
Continental landscape Initialled, oil on canvas, 84cm by 135cm
Provenance: The Artist’s Estate
£400-600
96✓
Piers Browne (1949-2024)
“Olive Trees in a Provencal Violet Field Near Tourrettes-surLoup”
Signed, inscribed and dated 10.3.17, further inscribed verso, acrylic on board, 43.5cm by 60.5cm
Provenance: The Artist’s Estate
£400-600
98✓
Piers Browne (1949-2024)
“The Aegean Summer Evening Sun, Tinos”
Initialled, signed and dated 2016 verso, inscribed verso, oil on board, 26cm by 26.5cm
Provenance: The Artist’s Estate
£250-400
99✓
Piers Browne (1949-2024)
“New Olive Grove Near Ephesus, Turkey, July”
Initialled, signed and inscribed verso, acrylic on board, 50.5cm by 75.5cm
Provenance: The Artist’s Estate
£400-600
100✓
Piers Browne (1949-2024)
“August…” Figures sheltering under a tree on a Mediterranean coastline
Signed and inscribed, oil on board, 50cm by 75.5cm
Provenance: The Artist’s Estate
£600-800
101✓
Piers Browne (1949-2024)
Lovers
Signed, oil on canvas, 79.5cm by 105.5cm
Provenance: The Artist’s Estate
£300-500
103✓
Piers Browne (1949-2024)
“Christopher”, the artist’s son
Signed, inscribed and dated (19)91, oil on board, 106.5cm by 64cm
Provenance: The Artist’s Estate
£250-400
102✓
Piers Browne (1949-2024)
“Mink”
Signed and inscribed, oil on canvas, 61cm by 51cm (unframed)
Provenance: The Artist’s Estate
£300-500
104✓
Piers Browne (1949-2024)
“Tash and Kate, Sweden”, the artist’s daughters
Initialled and inscribed, 28th July (20)03, charcoal, 19cm by 26cm
Provenance: The Artist’s Estate
£80-120
105✓
Bernard Dunstan RA, PPRWA (1920-2017) Standing nude Signed, inscribed A/P, “for Piers 2.97”, etching, 18cm by 17cm
Provenance: The Estate of Piers Browne
£70-100
106✓
Bernard Dunstan RA, PPRWA (1920-2017) “Shower on the Beach” Initialled and inscribed verso, oil on canvas, 100cm by 113cm
Provenance: The Estate of Piers Browne
£2,500-3,500
Victor Pasmore CH, CBE (1908-1998)
“Once having been involved with the late work of Turner and the French Impressionists, it was impossible to remain anchored for long to the old naturalistic tradition. I found myself moving on to the Post-Impressionists, but this time on a theoretical level. In the writings of Cézanne, I discovered ideas which seemed to revolutionise the traditional concept of visual representation. Instead of a mirror - reflection, painting has become a dialectical process in which the artist and model were either relative or synthetic”
A prominent and influential figure in 20th century British art, Victor Pasmore had a unique and fertile career, exploring many different lines of enquiry in his work. Pasmore was renowned for his evolution from lyrical figurative painting to pioneering both the practice and theory of abstraction.
Born in Surrey and educated at Harrow (1923-1927), it was here that Pasmore “first began to develop a sophisticated interest in painting”. He then moved to London in 1927, and for the coming decade was employed in Local Government service, while attending evening classes at the Central School of of Art. He began involving himself with the London art scene throughout this time, showing with the London Group and was then elected to the London Artists' Association in 1932.
Pasmore studied all areas of art history from the Old Masters through to Post-Impressionist theories, developing his style and gaining recognition as a naturalistic painter. His early works were heavily influenced by the works of the French Impressionists, in addition to Turner and Whistler. “View of Clarges Street” particularly resonates with Claude Monet and Gustave Caillebotte’s elevated scenes of Haussmann’s Paris. It also exemplifies Pasmore's early aptitude and interest for oil painting. With a subtle exploration of perspective, use of light, and understated palette, the artist has injected a contemplative and enduring quality into an otherwise seemingly ordinary street in London. Though this painting is not part of Pasmore’s more renowned abstract period, we still get a sense of the forward-looking innovations that were to come in his decades-long career; With the use of block colour as a compositional tool, and the impressions of figures below. This early portion of Pasmore’s career laid the fundamentals on which the artist developed into abstraction, for which he has become synonymous.
During the Second World War, Pasmore married Wendy Lloyd Pasmore, née Blood (1915-2015) and together they moved from Ebury Street, to Chiswick, then to Hammersmith by the Thames. It was here he began painting his riverside pictures, increasingly looking towards the influence of Post-Impressionist theories. Along with his artistic practice, Pasmore served as Director of Painting at Camberwell School of Art (1943-1949) and a lecturer at the London Central School of Arts and Crafts (1949) during this time. Pasmore’s work slowly became increasingly enigmatic until he reached an impasse in the late 1940s, turning to abstraction. His work, of both figurative and abstract nature, can be found in numerous major collections internationally, and has been widely exhibited, notably representing Britain at the 1960 Venice Biennale.
107✓
Victor Pasmore CH, CBE (1908-1998)
“View of Clarges Street”
Initialled, oil on canvas, 59cm by 49cm
Provenance: Purchased by the vendor’s grandfather in the late 1940s
Thence by descent
For a similar composition, see “View to the Thames” (circa 1945), Sotheby's London, 20 - 30 July 2020, Lot 631. A further comparison in subject can be made with “The Window” (1944), Cat. 71.
£30,000-50,000
109✓
Keith Vaughan (1912-1977)
“The Horn Player” (c.1956)
Pencil, 13.5cm by 9cm
108✓
Carel Weight CH, CBE, RA (1908-1997)
“Two People in a Garden in Amberley, Sussex” Signed, oil on canvas, 39.5cm by 36cm
Provenance: John H Brandler, Essex
£800-1,200
Provenance: The Redfern Gallery, London
£300-500
110✓
Richard Hamilton CH (1922-2011)
“Self Portrait” (1951) Etching, 34cm by 24cm (unframed)
Provenance: The vendor’s mother was an artist and model. She modelled for the Royal Academy and possibly the Slade School of Art during the early 1960s. During this time, she met and became well acquainted with Richard Hamilton.
£600-800
108
109
111✓
Richard Hamilton CH (1922-2011) “Heteromorphism” (1951)
Etching, 37.5cm by 25.5cm (unframed)
£250-400
112✓
John Minton (1917-1957) “Thames Side” (1948)
Signed and numbered 31/50, lithograph, 38cm by 49cm
£700-1,000
113✓
John Egerton Christmas Piper CH (1903-1992) “Moreton Corbett” (1976)
Signed, inscribed and numbered 62/70, silkscreen print, 57.5cm by 119cm
Sold together with a Christie’s Contemporary Art certificate of authenticity
£500-800
115✓
Brian Willsher (1930-2010) “Saraband”
Signed, inscribed and dated 1991 to base, teak, 79cm high
£800-1,200
114✓
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
£1,000-1,500
116✓
Brian Fielding (1933-1987)
Abstract
Signed and dated 27 April (19)81, oil on paper, 73cm by 62cm
Provenance: 108 Fine Art, Harrogate
Exhibited: Sheffield City Art Galleries, “Brian Fielding New Paintings”, 1986, no.27
Derwent-Wye Fine Art, Derbyshire
The House of Commons, 19th-25th October 2009, City of Sheffield Promotion Artist
£250-400
118✓
Deirdre Borlase (1925–2018)
Donkey
Signed and dated 2006, ceramic plate, 31.5cm (dia.)
Provenance: The Estate of Piers Browne
£70-100
117✓
Harry Thubron OBE (1915-1985)
Abstract
Fibreglass and wood, 96cm by 96cm
£700-1,000
Mark Hearld (b.1974)
Dove with olive branch
Signed and dated 2006, ceramic plate, 31cm (dia.)
Provenance: The Estate of Piers Browne
£150-250
119✓
121✓
Mark Hearld (b.1974)
“Hat Box Squirrels”
Signed and dated (20)12, numbered 24/95, lithograph, 56cm by 80.5cm
£400-600
120✓
Mark Hearld (b.1974)
“Pigeons Fancy & Racers”
Signed and dated (20)04, collage, 32cm by 28cm
Provenance: Zillah Bell Gallery, Thirsk
Sold together with a copy of "Mark Hearld's Work Book", with text by Simon Martin, Merrell Publishers, London and New York, 2012
£700-1,000
122✓
Emily Sutton (b.1983)
“K is for Kittens”
Signed, inscribed and numbered A/P, screenprint, 54cm by 71.5cm
£200-300
123✓
Emily Sutton (b.1983)
“S is for Sea”
Signed, inscribed and numbered 11/75, screenprint, 56cm by 73cm
£200-300
125✓
124✓
Emily Sutton (b.1983)
“This Way for Fun”
Signed and numbered 3/75, screenprint, 31cm by 24cm
£100-150
Alexandra Churchill (Contemporary) Canadian “Balloon with Bird Cage”
Signed, oil on board, 35cm by 26,5cm
Provenance: Lucy B Campbell, London
Sold together with a copy of the original purchase invoice, dated 19 April 1997
£150-200
127✓
Angie Lewin (b.1963)
“Gardener’s Arms”
Initialled and numbered 28/85, linocut, 58cm by 43cm
£150-200
126✓
Angie Lewin (b.1963)
“Sollas Sands”
Initialled, inscribed and numbered 9/75, linocut, 42cm by 42cm
£100-150
128✓
Audrey Johnson (1918-2010)
“A Festive Arrangement”
Signed and dated 1982, oil on board, 31cm by 24cm
£150-250
129✓
Audrey Johnson (1918-2010)
Flowers and grasses in a mug
Signed and dated 1961, oil on board, 39.5cm by 29cm
£250-400
130
✓
Hildegarde Reid (Contemporary) South African
Still life of flowers in a jug, a yellow bowl and assorted fruit
Signed and dated 2012, oil on canvas, 48.5cm by 59cm
£400-600
131✓
David McClure RSA, RSW (1926-1998) Scottish “Improvisation”
Signed, inscribed and dated Nov(19)83, numbered opXVII, inscribed verso “number17 in a series of 20 watercolours from the “Piano Suite”, watercolour and collage, 22cm by 26.5cm
Provenance: Cyril Gerber Fine Art, Glasgow, 14th June 1989
£400-600
132✓
David McClure RSA, RSW (1926-1998) Scottish “Objects on a Rug”
Signed, inscribed verso and dated 1970, pastel, 20cm by 25.5cm
Provenance: Robert A Lillie Collection, cat 515 Cyril Gerber Fine Art, Glasgow, 4th May 1988
Exhibited: Aitken Dott & Son, Edinburgh, Christmas Exhibition, 1970, no.44
£300-500
134✓
Phillip Naviasky (1894-1983)
Girl seated wearing a green hat
Signed, oil on canvas, 77cm by 56.5cm
£500-700
133✓
David McClure RSA, RSW (1926-1998) Scottish “Two Bouquets on a Red Ground”
Signed, inscribed verso, oil on canvas, 59.5cm by 48cm
Provenance: The artist's studio Cyril Gerber Fine Art, Glasgow, 17th October 1987
£800-1,200
135✓
Robert Oscar Lenkiewicz (1941-2002)
Head and shoulders portrait of a gentleman Oil on canvas, 59cm by 59cm
Provenance: Purchased from the artist’s studio
£700-1,000
Jack Vettriano OBE, HON, LLD (1951-2025)
A largely self-taught artist, Jack Vettriano has received national and international recognition, and in 2003 was appointed an OBE for services to the visual arts. Born into a working-class family of coal miners, in a Fife community entirely dependent on the industry, Vettriano’s upbringing was far removed from the romance, style and fantasy we associate with his work. In this way, Vettriano’s paintings can be seen as a form of escapism from the harsher realities of life, for both the artist and the viewer.
Vettriano’s work often comes from a place of nostalgia and film noir. Vettriano himself likened being an artist to being a film director, except you only get one shot. “Model in Black” reflects this old Hollywood quality, with the poised figure, elegant draping and undeniable glamour.
“Model in Black”
Signed, oil on canvas, 60cm by 49.5cm
Provenance: Callaghan Fine Paintings, Shrewsbury
£7,000-10,000
136✓
Jack Vettriano OBE, HON, LLD (1951-2025)
136
137
Felipe Castañeda (b.1933) Mexican Resting nude
Signed and dated 1982, numbered VII/VII, bronze on an oak base, 13.5cm high
£700-1,000
138✓
Andre Durand (b.1947) Canadian “The Birth of Dionysus”
Signed and dated MCMXVII, inscribed verso, 121cm by 91cm
£400-600
139✓
Antoine Blanchard (1910-1988) French
“Quai de Gesvres, Le Theatre du Chatel, Paris 1900”
Signed, inscribed verso and stamped, oil on canvas, 32cm by 44cm
Provenance: Bonham’s London, “Impressionist and Modern Art”, 3rd February 2003, Lot 97 Kenulf Fine Arts, Stow-on-the-Wold
£2,000-3,000
140✓
José Maria David (1944-2015) French
Seated Bear
£800-1,200 139
Signed and numbered 7/8, bronze, 15cm high
141✓
Coqué Martinez (1926-2009) Spanish Cock Fighting Signed, oil on canvas, 59.5cm by 45cm
142✓
Thomas W. Dowdeswell (Contemporary) Rugby Match
Initialled and dated 2009 to the side of the canvas, acrylic on canvas, 121cm by 152cm
Provenance: The Estate of Michael Raw, Sedbergh Tennants Auctioneers, “The Harlequin Sale”, 7th October 2023, Lot 430
£1,000-1,500
£300-500 143
Stephen Huneck (1948-2010) American Hand-carved and painted model of a sheep Signed and dated 1989, 21cm (high)
£150-250
144✓
Mackenzie Thorpe (b.1956)
“Through a Storm” Initialled, pastel, 52cm by 92cm
Provenance: Art Haus, Richmond
£2,000-3,000
145✓
Doug Hyde (b.1972) “Fish Supper” Signed, inscribed verso, pastel, 36cm by 49cm
Sold together with the Whitewall Galleries certificate of authenticity
£2,000-3,000
146
Darren Yeadon (b.1970)
Ammonite
Signed, Carrara marble, 15cm high
£300-500
147
Darren Yeadon (b.1970) Fish
Signed, Carrara marble, 39.5cm (high)
£600-800
148✓
Emma Stothard (Contemporary)
Mare and Foal
Wire sculptures, 49cm and 33cm (2)
Provenance: Purchased directly from the artist
Hull born Emma Stothard was an artistic child who drew inspiration from her local flora and fauna.
She gained a BA Hons in Fine Art from Southampton Solent University and, following this, moved to Somerset to learn the process of growing, coppicing, bundling and weaving willow. Returning to Yorkshire to study for a PGCE at Bretton Hall, Wakefield, she was captivated by the sculptures of Henry Moore and Elisabeth Frink housed at what is now the Yorkshire Sculpture Park and she began weaving animals made out of willow.
She now exhibits nationally and internationally and her sculptures can be found in the grounds of many stately homes, including that of His Majesty The King at Highgrove.
£400-600
Signed and numbered 33/70,
Provenance: The vendor’s parents were good friends with Kip Gresham
£3,000-5,000
149✓
Dame Elisabeth Frink CH, RA (1930-1993)
“Grey Horse Head” (1990)
lithograph, 98cm by 70cm
Born in 1963 in London, Sophie Ryder studied Combined Arts at the Royal Academy of Arts from 1981-84. She was encouraged by the director Sir Hugh Casson to develop her sculpture work, alongside her diploma in painting.
Inspired by Picasso, Goya and Henry Moore, she has developed her famous Lady Hare as a counterpart to Picasso’s minotaur. As seen in lots 150151 she often depicts the Lady Hare in vulnerable, protective positions curled up or rising.
She conceived this concept in the early 1990s, which corresponded with her exploration of hybrid human-animal forms. Since then she has depicted the form of the Lady Hare through a variety of mediums.
These charming sculptures are miniature representatives of her larger work which has been exhibited nationally and internationally, including locally at the Yorkshire Sculpture Park.
150✓
Sophie Ryder (b.1963)
“Curled Up” (2006)
Signed and numbered 4/100, miniature bronze, 5.5cm high
£600-800
151✓
Sophie Ryder (b.1943)
“Kneeling” (2006)
Signed and numbered 11/100, cast iron miniature, 3cm high
£600-800
Sophie Ryder (b.1963)
Sir Tony Cragg CBE, RA (B.1949)
Born in Liverpool in 1949, and living in Wuppertal, Germany, since 1977, Cragg is an eminent Anglo-German sculptor whose work often interrogates the boundaries of the natural and the manufactured through abstraction and the transformation of materials.
Cragg previously worked as a laboratory technician before joining Gloucestershire College of Art in 1969. This background knowledge in science and geology, paired with his father’s career within the aircraft industry, allows Cragg to approach his work with a technological mind. Despite an initial disinterest within the sculptural module, Cragg became engrossed in the exploration of materials at Art School, a theme which continues throughout his practice. Cragg was awarded the Turner Prize in 1988 and British representative at the Venice Biennale that same year, elected Royal Academician in 1994, and appointed a CBE in 2002.
152✓
Sir Tony Cragg CBE, RA (b.1949)
“Bust” (2017)
Tin on plexiglass base from an edition of 75, 15cm high
Provenance: Yorkshire Sculpture Park, Wakefield
Sold together with the signed certificate of authenticity
£3,000-5,000
153✓
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
154✓
David Hockney OM, CH, RA (b.1937)
“Parade” (1981)
Screenprint in colours for the Metropolitan Opera, New York, 203cm by 101cm
£300-500
155
Bob Dylan (b.1941) American “Man on a Bridge” (2018)
Signed and numbered 96/295, giclee print from “The Drawn Blank Series”, 83cm by 60cm
£800-1,200
156✓
Maggi Hambling CBE (b.1945) “Stephen Fry Musing”
Signed and dated (20)06, numbered 20/100, screenprint, 63cm by 49cm
£150-250
157✓
Julian Opie (b.1958)
“Woman Taking Off Man’s Shirt” (2003)
Screenprint, 100cm by 60cm (unframed)
£700-1,000
159✓
Damien Hirst (b.1965)
“And Then There Were Four, a Famous Musketeer” (2002)
Signed in black ink to lid, commissioned card box with dart and onion
£150-250
158✓
Pure Evil (b.1968)
“JFK’s Nightmare”
Signed and inscribed AP, screenprint, 74cm by 71cm
£200-300
160✓
Dame Tracey Emin (b.1963)
“Everybody Needs a Place to Think” (BBC Four Invite)
Screenprint on cotton, 2002, from the edition of 1500, 54cm by 53cm (3)
£300-500
161✓
Mr Brainwash (b.1966)
“Together We Dream”
Signed, inscribed verso and dated 2024, mixed media on paper, 76cm by 57cm
£5,000-7,000
162✓
Maggi Hambling CBE (b.1945)
“Sunrise over Hadleigh, Suffolk”
Signed and numbered 9-790 (1), watercolour, 48cm by 60cm
£1,000-1,500
161
AUTUMN FINE SALE
SATURDAY 15 NOVEMBER 2025
Isidore Jules Bonheur (French, 1827-1901)
“Le Grand Jockey”
Patinated bronze, signed I. Bonheur, stamped Peyrol, 39.5cm wide £4,000-6,000
For further information, please contact: 01969 623780 enquiry@tennants-ltd.co.uk
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.
Online Bidding
We offer an online bidding service via our own platform - Tennants Live Bidding at www.tennants.co.uk. Items purchased via this platform will be subject to an additional 1.5% commission charge plus VAT at the prevailing rate. We also offer online bidding via www.the-saleroom.com for prospective buyers who cannot attend the sale. Items bought via this platform will be subject to an additional 4.95% commission charge plus VAT.
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Value added tax or any equivalent tax chargeable in the UK or elsewhere.
AML Due Diligence
We conduct appropriate Due Diligence checks to comply with current Anti Money Laundering regulations for any buyer exceeding the threshold of £6,000. We reserve the right to withhold the purchased lots until such checks have been completed.
Agency
We act as agents for the Seller, whose details remain confidential. If you buy at auction your contract is with the Seller, not us.
Picture Descriptions
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
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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
28 FEBRUARY 2026
2025 AUCTION DATES
Wednesday 17 September
Militaria & Ethnographica
Friday 19 September
Antiques & Interiors
including a section of Beswick & Border Fine Art
Wednesday 1 October
Scientific & Musical Instruments, Cameras & Tools
Saturday 4 October
Modern & Contemporary Art
20th Century Design
Friday 10 October
Antiques & Interiors
including a section of Silver
Wednesday 15 October
The Giles Sim Collection – Part II
Friday 24 October
Antiques & Interiors
including a section of Designer Fashion
Wednesday 29 October
Stamps, Postcards & Postal History
Friday 14 November
Asian Art
Saturday 15 November
Autumn Sale
British, European & Sporting Art
Fine Jewellery, Watches & Silver
