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Henry Thomas Alken (1785-1851) Whipping It Watercolour and pencil, 20cm by 25cm, unframed Exhibited: 'Bliss Was It in That Dawn To Be Alive, 1750-1850', Chris Beetles Gallery, October 2008, No 91 £400 - 600
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Henry Thomas Alken (1785-1851) Tally Ho Watercolour and pencil, 17.5cm by 26cm, unframed Exhibited: 'Bliss Was It in That Dawn To Be Alive, 1750-1850', Chris Beetles Gallery, October 2008, No 92; Rowlandson and His Time, September-October 2009 £400 - 600
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Henry Thomas Alken (1785-1851) Trotting On Watercolour and pencil, 17.5cm by 26cm, unframed Exhibited: 'Bliss Was It in That Dawn To Be Alive, 1750-1850', Chris Beetles Gallery, October 2008, No 93; Rowlandson and His Time, September-October 2009 £400 - 600
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Henry Thomas Alken (1785-1851) View Hallo Watercolour and pencil, 20cm by 31cm, unframed Exhibited: 'Bliss Was It in That Dawn To Be Alive, 1750-1850', Chris Beetles Gallery, October 2008, No 94 £400 - 600
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Circle of John Leech (1817-1864) A group of five illustrations from Jorrocks Watercolour, 23.5cm by 18.5cm (5) £150 - 200
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J H Preston (19th century) Pig Sticking in India Watercolour and chalk, 42cm by 62.2cm (4) £200 - 300
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Gilbert Holiday (1879-1937) Tent Pegging Pastel, heightened bodycolour, 59cm by 43.5cm £600 - 900
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Hugo Ungewitter (1869-1944) German Manipuris playing polo Signed and dated (18)95, mixed media en grisaille, 29cm by 44cm £400 - 600
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✓ Arthur Wardle (1860-1949) Leopard Signed, pastel, 29cm by 23.5cm £120 - 180
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✓ Harold Frank Wallace (1881-1962) Stags before Lairig Ghru and Rothiemurchus Forest Signed, watercolour, 37cm by 52cm Provenance: Purchased directly from the artist; thence by descent £500 - 700
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✓ Harold Frank Wallace (1881-1962) "The right sort to shoot" Signed, watercolour, 34.5cm by 49.5cm Provenance: Rowland Ward, London £300 - 500
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✓ Harold Frank Wallace (1881-1962) The call of the stag Signed, watercolour, 34.5cm by 51cm Provenance: Bears fragments of a Rowland Ward label verso £300 - 500
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✓ Vincent Balfour-Browne (1880-1963) Moor scene Initialled and dated 1908, watercolour heightened with white, 30.5cm by 46cm Provenance: The Tryon Gallery Ltd., London £300 - 500
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✓ Eileen Alice Soper (1905-1990) "Captive Fox" Inscribed, pencil, together with five further sketches including hare and deer, 18.5cm by 25cm (unframed) Provenance: The Estate of George and Eileen Soper managed by Chris Beetles Ltd, London £150 - 250
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✓ Philip Rickman (1891-1982) Pheasants in the snow Signed, watercolour, 36cm by 53cm £250 - 400
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✓ Robert Milliken (b.1920) Irish Grouse above the moorland Signed, watercolour heightened with white, 49cm by 74.5cm Provenance: John Magee Ltd., Belfast £250 - 400
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Archibald Thorburn (1860-1935) "Rook and Jackdaw" Pencil, 15.5cm by 10cm Provenance: Holland and Holland, London £150 - 250
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✓ George Edward Lodge (1860-1954) High Pheasants Signed, watercolour and bodycolour, 30cm by 44cm £500 - 800
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George Edward Lodge (1860-1954) Night Heron Signed, watercolour, 27.5cm by 21.5cm This lot is the original illustration for Plate IX in Vol VI of "The Birds of the British Isles" by David Bannerman, illustrated by George Edward Lodge Provenance: Blacklock and Farries, Dumfries £500 - 700
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✓ Raymond C Watson (1935-1994) Shoveller Duck Initialled, watercolour, together with a further signed example depicting a Ruff, 16cm by 16cm and 32.5cm by 45cm respectively (2) Provenance: The Moorland Gallery, London £250 - 400
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✓ Raymond C Watson (1935-1994) Sardinian Warbler on an Oleander branch Signed, gouache, together with two further works by the same hand to include Blue Tits in blossom and Cock Tree Sparrow, 27.5cm by 35cm, 32cm by 40.5cm and 29.5cm by 24.5cm (3) Provenance: The Moorland Gallery, London £200 - 300
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✓ John Cyril Harrison (1898-1985) Goliath Heron, Kenya Signed, watercolour heightened with white, 35cm by 45cm £200 - 300
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✓ John Cyril Harrison (1898-1985) Bateleur Eagles Signed, watercolour, 50cm by 37cm £400 - 600
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✓ John Cyril Harrison (1898-1985) Flushed Mallard Signed, watercolour, 22.5cm by 32cm £600 - 800
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✓ John Cyril Harrison (1898-1985) Woodcock over bracken Signed, watercolour, 22.5cm by 32cm £600 - 800
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✓ John Cyril Harrison (1898-1985) Geese at sunset Signed, watercolour, 22.5cm by 32.5cm £600 - 800
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✓ Michael Lyne (1912-1989) A hunt running through a farm Signed, watercolour and gouache, 23.5cm by 33cm £120 - 180
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Robin Furness (b.1933) "The Zetland, Hamsterley" Signed, inscribed and dated (20)19, watercolour, 25cm by 38cm "Captain Colin MacAndrew showed wonderful sport during his sixteen seasons as a Joint Master and Huntsman of the Zetland Foxhounds. His best hound hunt was the nine mile point after a meet near Barnard Castle on the 12th February 1957. Hounds found at Hawksley Hill and ran North East, past Crane Row across the Linburn Beck below Hamsterley, as shown in this painting. They ran past Hamsterley Church and killed in Adder Wood to the North of the village; a hunt of one hour and forty-five minutes with only six mounted followers at the finish". R.F £250 - 400
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After Herbert Dicksee (1862-1942) Tiger Signed and dated 1900, etching, 52.5cm by 73.5cm £200 - 300
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George Soper RE (1870-1942) "Full Cry" "Nearing the End" Signed, drypoint etchings, 17.5cm by 30.5cm and 28.5cm by 19cm respectively (2) Provenance: The Estate of George and Eileen Soper Exhibited: The Catalogue Raisonne of the Etchings of George and Eileen Soper, London: Chris Beetles Ltd, 1995, Nos 337 & 341 respectively £200 - 300
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George Soper RE (1870-1942) "Beginning of the Day" "Well Over" Signed, drypoint etchings, 28.5cm by 19cm and 28cm by 19cm respectively (2) Provenance: The Estate of George and Eileen Soper Exhibited: The Catalogue Raisonne of the Etchings of George and Eileen Soper, London: Chris Beetles Ltd, 1995, Nos 336 & 338 respectively £200 - 300
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George Soper RE (1870-1942) "Salmon Fishing; The Cast" "Salmon Fishing" Signed, drypoint etchings, both 33.75cm by 22.75cm (2) Provenance: The Estate of George and Eileen Soper Exhibited: The Catalogue Raisonne of the Etchings of George and Eileen Soper, London: Chris Beetles Ltd, 1995, Nos 281 & 283 respectively £200 - 300
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✓ Charles Johnson Payne "Snaffles" (1884-1967) "Andsome is - wot andsome does" Signed, a colour reproduction, with the Snaffles bit blindstamp, 47cm by 43cm £200 - 300
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✓ Charles Johnson Payne "Snaffles" (1884-1967) "The 'oss loves the 'ound but I love both" Signed, a colour reproduction, with the Snaffles bit blindstamp, 40cm by 35.5cm Provenance: Mawson, Swan & Morgan, Newcastle To be sold in aid of 'GET JO WALKING' £300 - 500
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Francis Sartorius (1734-1804) A gentleman riding out with his Spaniel Signed and dated 1786, oil on canvas, 23.5cm by 31.5cm Provenance: Ex collection of Baron Gretton, Stapleford Park, Melton Mowbray Bears Christie's stencil verso £4000 - 6000
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John Ferneley Snr. (1782-1860) Portrait of Sir Francis Grant on Grindal Oil on canvas, 83.5cm by 110cm Provenance: Sir Francis Grant, thence by descent John Ferneley Snr. was arguably the most gifted painter of sporting subjects of his generation. What set him apart was his ability to pinpoint equine characteristics and to faithfully record the surrounding landscape. In this way, his works are some of the most important records of 19th Century Sporting Britain. Ferneley was the sixth son of a Leicestershire wheelwright, his talent was spotted at a young age by the Duke of Rutland who, in 1801, is said to have persuaded Ferneley's father to allow him to become a pupil of Ben Marshall, himself of Leicestershire origin who was then working in London. Ferneley studied and lodged with Marshall between 1801 and 1804 and was enrolled by him in the Royal Academy Schools. Ferneley's rise to prominence was fast, exhibiting his first picture at the Royal Academy in 1806. By 1814 he had set up his studio in Melton Mowbray, the hub of the fox-hunting scene with three fashionable packs, the Quorn, the Belvoir and the Cottesmore, providing hunting six days a week. Each winter an influx of 250-300 sportsmen, distinguished by birth, profession and intellect and unaccompanied by their wives, entered into a world obsessed by the chase. Ferneley flourished with a steady stream of patronage and his work became increasingly desirable. His patrons included many of the famous sportsmen of the day, and members of some of the most prominent aristocratic families. Sir Francis Grant PRA (1803-1878) was one such gentleman, his life-long passion for fox-hunting led him eventually to move to Melton Mowbray. Ferneley and Grant met during the 1820s when Grant studied under him. Following Grant's launch as a professional artist in the 1830s, he and Ferneley frequently collaborated, Grant providing portraits and Ferneley the animals. Portrait of Sir Francis Grant on Grindal is a wonderful example of this partnership, executed in 1851 when Grant was 48 years old, the face is a self-portrait by Grant. The present picture is not recorded in Ferneley's account books. This can be explained by the existence of an almost identical version of the work, commissioned by Ferneley's friend and patron Little Gilmore. Portrait of F. Grant, Esq., A.R.A., on a favourite hunter was exhibited at the Royal Academy in 1850, no. 536 (see Major G. Paget, The Melton Mowbray of John Ferneley, 1782-1860. The account books of John Ferneley, Leicester 1931, facing p. 51). As Ferneley exhibited only 22 works at the Royal Academy throughout his career, he was clearly extremely pleased with the portrait of Grant. Indeed, both artists were so delighted with the work that the following year they collaborated to bring about the present picture, with a few compositional alterations, for Grant's own personal collection. The work is a fine example of Ferneley's brilliance in rendering a remarkable horse portrait as well as his skill in conveying a sense of space and fresh air in the harmonious palette of the scenery, punctuated by the vibrant red of the huntsmen's coats. £15,000 - 20,000
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Sir Francis Grant PRA (1803-1878) "Home for the holidays" Extensively inscribed verso with title and Master F Grant by Sir F Grant on canvas and stretcher respectively, oil on canvas, 116.5cm by 137.5cm Provenance: Artist's family thence by descent; Simon C Dickinson Ltd., London Sir Francis Grant was the most fashionable portrait painter of his day, his many well-known sitters included Queen Victoria and Prince Albert, Benjamin Disraeli as well as his friend and fellow academician, Sir Edwin Landseer. He became ARA in 1842 and RA in 1851. In 1866 Grant succeeded Charles Eastlake as the 8th President of the Royal Academy, that same year he was knighted. An effective and popular President, he negotiated the Royal Academy's 999-year lease on Burlington House, for the rate of £1 a year. Grant's painting success was often attributed to his good looks and aristocratic background, but his popularity was more probably due to his ability to obtain a good likeness. The fourth son of the laird of Kilgraston in Perthshire, Grant attended Harrow School. As a young man he was passionate about fox-hunting and art collecting and quickly ran through his inheritance. Sir Walter Scott's journal of 1831 relates how: "He used to avow his intention to spend his patrimony, about £10,000, and then again to make his fortune by the law. The first he soon accomplished. But the law is not a profession so easily acquired, nor did Frank's talents lie in that direction. His passion for painting turned out better. (Journal, 802-3)." Grant was largely self-taught, studying from old masters, including those in the notable collection at Kilgraston. From 1834 he exhibited regularly at the Royal Academy until his death, a total of 253 portraits. Amongst the paintings Grant is known to have studied in depth is a Velasquez's portrait of the Duc d'Olivarez, lent to him by his friend Lord Elgin. This painting is regarded as particularly influential in Grant's artistic development and the composition of Home for the Holidays, clearly owes itself to this masterpiece. Painted for Grant's own pleasure, Home for the Holidays is not listed in the artist's sitter book. It is a private portrait of his third son, Francis Richard Charles, born in 1834 from his second marriage to Isabella Norman, niece of the Duke of Rutland. Stylistically dating to the late 1840s, it was most likely executed in 1849, following the young Francis' return from his first term at Rugby School, aged 14. Clearly painted by a delighted parent at the return home of a much loved child, Grant embodies his son's youth and energy in the rearing Arabian horse, mane flowing, nostrils flared. The loose background, in muted hues of chestnut and turquoise, allows the viewer's attention to focus on the boy's tenderly painted features, his mouth drawn up in the faintest of smiles. Following his time at Trinity College, Cambridge the young Francis entered the army, becoming Lieutenant-Colonel, 5th Lancers. He served with the 9th Lancers in the Indian Mutiny Campaign and was present at numerous actions and throughout the Siege and Assault of Delhi, where he had two horses shot under him. He took part in the actions of Bolundshuhur, Ally Ghur, Agra, the Capture of Meeangunge, and the relief of Lucknow. He was Aide-de-Camp to his uncle Sir Hope Grant in North China throughout the campaign of 1860, and at the Capture of Pekin. Francis died in London, 1899 and unmarried. Bibliography: DNB Walter Scott Journal Grove The Times obituary 1.10.1878 p. 6 Col F C. Wills, 'Sir Francis Grant as a sporting painter', British Sporting Art Trust, 1992 F. Boase, Modern English Biography, Vol 1 p1202, London 1965 Rugby School register 1842-1874, published 1902. Entrances in February 1849 Harrow school archive online. £30,000 - 50,000
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Follower of Harry Hall (1814-1882) Groom with white stallion in stable yard Oil on canvas, 62cm by 75.5cm £250 - 400
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Anthony de Bree (1855-1921) Portrait of a grey horse 'Faithful servant Charlie' Signed and dated June 1887, oil on canvas, 49cm by 59cm £400 - 600
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John Frederick Tennant (1796-1872) The Anglers Signed and dated 1841, oil on canvas, 51.5cm by 79.5cm £500 - 800
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Alfred de Breanski Snr. (1852-1928) "The River Dee" Signed, signed and inscribed verso, oil on canvas, 19cm by 29cm £1000 - 1500
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John Augustus Thelwall (fl.1883-1896) The disappointed fisherman Signed, oil on canvas, 51cm by 41cm £150 - 250
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Attributed to James Hardy Junior (1832-1885) "After the Shoot" Oil on canvas, 70cm by 90cm £1000 - 1500
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Henry Garland (1834-1913) After Sir Edwin Henry Landseer RA (1802-1873) "The Return from Hawking" Signed and dated (18)68, oil on canvas, 75.5cm by 113cm £2000 - 3000
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Robert Cleminson (fl.1864-1903) "The Day is Ended" Signed, oil on canvas, 60cm by 90cm £600 - 900
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Clarence Henry Roe (1850-1909) Stag in a stormy Highland landscape Signed, oil on canvas, together with a further work, After Sir Edwin Henry Landseer RA (1802-1873), "Monarch of the Glen", indistinctly monogrammed, oil on canvas, 60cm by 44.5cm and 44cm by 34cm respectively (2) £150 - 250
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Prof Johann Christopher Drahtmann (1856-1932) German "Brunthirsch mit Kahlwild" Signed, oil on canvas, 99cm by 79cm £200 - 300
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Clarence Henry Roe (1850-1909) Stag in a highland landscape with bird of prey Signed, oil on canvas, 58cm by 89cm Provenance: Sotheby's, Gleneagles, Anonymous Sale £700 - 1000
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James Scott Kinnear (fl.1870-1917) Scottish Sportsman in a Winter landscape Signed, oil on board, 35cm by 51cm £250 - 400
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Follower of William Joseph Shayer (1811-1891) Hunting scene with dismounted horse Oil on canvas, 49cm by 59cm £300 - 500
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