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Henry Robinson Hall (1857-1927)
Highland cattle grazing
Signed, oil on canvas, together with a companion, 39.5cm by 59.5cm (2) £400 - 600
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Robert Watson (1865-1916)
Highland cattle on trackway
Signed, oil on canvas, 49.5cm by 75cm £600 - 900
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John George Brown (1831-1913) American
A study for "Claiming the Shot: After the Hunt in the Adirondacks"
Signed, inscribed and dated 1865, oil on canvas, 39.5cm by 29.5cm
Bears indistinct Christie's stencil to verso of frame
Bears Goupil & Cie. stencil verso
Born into a poor family in County Durham, Brown made his name and career in America after moving to New York City in 1853. In 1862 Brown completed one of his most important paintings "Curling - A Scottish game at Central Park" (MFA Houston), and whilst working on the commission met William Brand who was to become an important patron. It was Brand who commissioned "Claiming the Shot: After the Hunt in the Adirondacks" (Detroit Institute of Arts) and can be seen standing centrally in the composition. To the far left of the group stands the young boy from our study, holding his quarry. Brown painted a study of William Brand (private collection, USA) and it has been argued that the sitter in our painting could be one of Brand's sons. £3000 - 5000
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Follower of Henry Bernard Chalon (1770-1849)
Study of a Spaniel in a landscape
Oil on canvas, 57.5cm by 78cm £200 - 300
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Robert Cleminson (fl.1864-1903)
Landscape with hunting dogs
Signed, oil on canvas, 28.5cm by 39.5cm (2) £500 - 800
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Maud Earl (1864-1943)
Scottish Terriers
Signed, oil on canvas, 75cm by 62cm £2500 - 3500
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✓ Jessie I Dunlop (1902-1970) Scottish
Show Spaniel
Signed, oil on canvas, 29.5cm by 19.5cm £200 - 300
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Robin Furness (b.1933)
"The Zetland Hounds - A late find in the Whins"
Signed and dated (20)11, oil on canvas board, 29.5cm by 39.5cm
"The artist saw this find by the Zetland Hounds in Whins near Newsham Village, North Yorkshire. Cliff Standing was hunting hounds at this time." R.F £250 - 400
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✓ George Edward Lodge (1860-1954)
Grouse in flight
Signed, oil on board, 27.5cm by 43.5cm
Provenance: The Moorland Gallery, London £600 - 900
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✓ Colin W. Burns (b.1944)
"Grouse in a Squall"
Signed, oil on canvas, 59cm by 90cm
Provenance: The Tryon Gallery, London £700 - 1000
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✓ Alan B. Hayman (b.1947) Scottish
Nesting Snipe in winter landscape
Signed and dated (19)93, oil on board, 42cm by 52cm £200 - 300
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✓ Robert Milliken (b.1920) Irish
Woodcock and Wagtail
Signed and dated (19)75, oil on canvas, 50cm by 60cm £200 - 300
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✓ Geoffrey Campbell Black (20th century)
Greylags and Whoopers
Signed, oil on canvas, 40cm by 62.5cm £150 - 250
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✓ Hugh Monahan (1914-1970) Canadian
Brent Geese at dusk, North Wootton, Norfolk
Signed and indistinctly inscribed 1940, oil on canvas, 62cm by 75cm £400 - 600
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✓ Keith Shackleton MBE (1923-2015)
Southern Ocean with Great Shearwaters
Signed and dated (19)63, oil on board, 45cm by 120cm £700 - 1000
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J* Brown (20th century)
Three racing pigeons, "Great Surprise", "Craganor" and "Long Set", all winners of Silver Challenge Cup
Signed, oil on board, 46.5cm by 58.5cm £200 - 300
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✓ Norman Wilkinson CBE, PPRI (1878-1971)
Fishing on the River Orchy
Signed, oil on canvas, 59.5cm by 80cm £200 - 300
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✓ Norman Wilkinson CBE, PPRI (1878-1971)
Stanley Water, River Tay
Signed, oil on canvas, 44cm by 59.5cm £200 - 300
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✓ Alan B. Hayman (b.1947) Scottish
Salmon
Signed, oil on canvas, 52cm by 79cm £250 - 400
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✓ Alan B. Hayman (b.1947) Scottish
Fox on mountainside
Signed, oil on canvas, 76cm by 71cm £200 - 300
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✓ Alan B. Hayman (b.1947) Scottish
Stags and deer with mountainous backdrop
Signed and dated (19)92, oil on canvas, 85cm by 121cm
Provenance: The Moorland Gallery, London £300 - 500
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✓ Ian McGillivray (b.1964) Scottish
"On to the Higher Ground Clach Leathad Black Mount"
Signed, oil on canvas, 44cm by 64cm
Provenance: The Tryon Gallery, London £600 - 800
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Donald Wood (1889-1953)
A rest between chukkas
Signed, oil on canvas, 49.5cm by 60cm £400 - 600
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✓ Belinda Sillars (b.1961)
"Ditton"
Signed and numbered 7/9, bronze, 40cm high £800 - 1200
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✓ Belinda Sillars (b.1961)
Equestrian Study
Signed and numbered 7/12, bronze, 31.5cm high £700 - 1000
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Jonathan Knight (b.1954)
Part of a unique set of eight Polo players, mounted as two sets of two players
One signed and dated 1986 on the base, bronze 19.1cm by 24.1cm by 12.7cm and smaller (2) £800 - 1200
Sally Arnup FRBS, ARCA (1930-2015) was one of the finest animal sculptors of her generation. Her passion for and affinity with both material and subject, and her insistence on working from life shines through in the sheer vitality and character in each and every sculpture.
Sally Baynton-Williams was born in London in 1930; she recounted how at the age of two and a half she was given a lump of clay at nursery school and felt an instant fascination with the material. From a young age she set her heart on becoming a sculptor, and with the support of her family left conventional schooling at the age of 13 to train at Kingston College of Art. After spending a year at Camberwell School of Art, in 1950 Sally entered the Royal College of Art, where she would be tutored by eminent sculptors such as Frank Dobson and John Skeaping, who was himself a renowned animalier. Here she met sculptors Elizabeth Frink and Jacob Epstein, the latter whom she met whilst he was working on a monumental sculpture in Skeaping's college studio.
In 1953 Sally married Mick Arnup, a painter and ceramicist whom she had met whilst studying at Kingston College of Art. In 1957 the Arnups moved to Holtby, near York, where they set up both home and studio to raise their four children and work together. Sally worked at the York College of Art from 1958 to 1972, where she was Head of Sculpture, and where Mick would become Vice Principal and Head of Foundation. Mick died in 2008, and Sally died in 2015 following a stroke. Their artistic legacy has been continued by their children; Hannah and Ben, are well-regarded potters, and Tobias a painter.
Sally worked largely to commission, sculpting animals of all shapes and sizes. She insisted on working from life and liked to spend as much time with her subject as possible, studying their character, preferably in the animal's natural habitat or home. Animals were often taken to her studio; indeed, following a commission to make a sculpture of a swan for the Vintners Company in London, Sally borrowed two rescue swans from a sanctuary.
Never working from photographs or rarely even sketches, Sally preferred to work directly in clay, a practise which shows through in the naturalism of her finished bronzes. This was a time-consuming process, and together with the complex lost-wax technique she employed to turn a clay model into a finished bronze, meant that Sally had a limited output during her career. Indeed, from start to finish, a life size sculpture could take three years to make.
Sally worked every day except Sunday into her eighties, sculpting pets, working animals, farm animals and wildlife for private clients and institutions. Notable commissions included a cast silver leopard to present to HM The Queen from the City of York, which is now in the Royal Collection, and a life-size bronze of "Storm", a fell pony, for Prince Philip, which she worked on in the stables at Windsor Castle.
Her work has been exhibited around the world, including at the Royal Academy, the Royal Society of Artists, the Royal Society of British Artists. Sally was also a Fellow of the Royal Society of British Sculptors.
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Sally Arnup FRBS, ARCA (1930-2015)
"Seated Bloodhound"
Signed and numbered V/X, bronze, 54cm high £2500 - 4000
Since prehistoric times, dogs have been a constant source of inspiration. From cave paintings to Jeff Koons, dogs have symbolised loyalty, fidelity, guidance, protection, alertness and love.
Therefore, unsurprisingly when we contacted Hannah (Sally's daughter) to ask if there was any particular reason why there were so many dogs in the collection her answer was that:
"We always had pets and animals around and it often dominated our lives. We had over the years: dogs, sometimes a cat (reluctantly), monkey, guinea pigs, rabbits, chickens, geese, ducks, peacocks, guinea fowl (noisy beasts), a ram, owls, foxes, fish and a snake. They were a constant part of our lives, as I remember, it was not uncommon for us to start the day with digging for 20 worms ...to feed the frogs, toads and newts.
But dogs were her passion and were so important to her and therefore her work. Virtually all the dog bronzes were commissioned from adoring owners, many of whom became lifelong friends (both dog and owner)."
Hannah reminisces of the bloodhound: "Her name was Trinket. She was an incredible character and of determined nature. I remember her with mixed emotions as she devoured in one swallow the freshly baked Swiss Roll that I was most proudly presenting to the family for a summer afternoon tea. My father commented that he had never seen me so angry!"
Trinket portrays Sally's ability to not only perfectly render the animal's appearance, but to convey the stoic, droopy, noble features of the creature.
Her insistence on working directly from her subject and her ability to control her medium allowed Sally to explore and depict the hound's coat and features. She had the ability to convey the humour in the relationship between man and beast.
Even at art college Sally was sure of her subject from the outset, much to the envy of many of her contemporaries.
On the completion of HRH The Duke of Edinburgh's Fell Pony 'Storm', commissioned for His Royal Highness's 80th Birthday, he stated:
"It is no mean achievement to be able to convey the character, and characteristics, of individual animals in bronze. Sally Arnup has a wealth of experience in the sculpture of animals, and she also has the talent to capture their personality."
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Sally Arnup FRBS, ARCA (1930-2015)
"Labrador Puppies Playing" (1973)
Signed and numbered VII/X, bronze on a marble base, 23cm high (including base) £1200 - 1800
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Sally Arnup FRBS, ARCA (1930-2015)
"Miniature Long Haired Dachshund" (1977)
Signed and numbered IX/X, bronze on a marble base, 18cm high (including base) £600 - 800
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Sally Arnup FRBS, ARCA (1930-2015)
"Old English Mastiff"
Signed and numbered IV/X, bronze on a marble base, 34.5cm high (including base) £1000 - 1500
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Sally Arnup FRBS, ARCA (1930-2015)
"Labrador with Bantam Teal" (1984)
Signed and numbered VIII/X, bronze,
15.5cm high (including base) £700 - 1000
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Sally Arnup FRBS, ARCA (1930-2015)
"Working Spaniel"
Signed and numbered IV/X, bronze on a marble base, 52cm high (including base) £3000 - 5000
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Sally Arnup FRBS, ARCA (1930-2015)
"Norfolk Terrier"
Signed and numbered VI/X, bronze on a marble base, 52cm high (including base) £1000 - 1500
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Sally Arnup FRBS, ARCA (1930-2015)
"Pointer dog, Ucello" (1991)
Signed and inscribed A/C, bronze, 19cm high £1000 - 1500
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Sally Arnup FRBS, ARCA (1930-2015)
"Greyhound Racing Evening Mail"
Signed and numbered II/X, bronze on a wooden base, together with a charcoal drawing of the greyhound, signed and dated (19)94, 27cm high (including base) and 27cm by 44cm respectively (2) £2000 - 3000
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Sally Arnup FRBS, ARCA (1930-2015)
"Parson Jack Russell Alice" (2001)
Signed and numbered IV/X, bronze on a marble base, 37cm high (including base) £2000 - 3000
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Sally Arnup FRBS, ARCA (1930-2015)
"Irish Wolfhound Lying"
Signed and numbered II/X, bronze, 16cm high
This work is a maquette for a life size bronze which was gifted by the Arnup family to York Art Gallery in 2017. £1000 - 1500
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Sally Arnup FRBS, ARCA (1930-2015)
"Modern Game Hen Head"
Signed and numbered I/X, bronze, 11cm high £150 - 250
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Sally Arnup FRBS, ARCA (1930-2015)
Roe Deer head
Signed and numbered VI/X, bronze on a marble base, 46cm high (including base) £500 - 700
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Sally Arnup FRBS, ARCA (1930-2015)
"Arab Horse Aslan" (1985)
Signed and numbered IV/X, bronze, 104.5cm £10,000 - 15,000
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