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Live
Venue address
Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
Sporting Art
This is a live online auction with auctioneer. For details on registration, bidding, viewing & condition reports, click “Important information” link.
The Tradition of Sporting Art: Works by John Frederick Herring Senior & Sir Edwin Landseer | Find out more
Sporting Art formerly in the Collection of the late Charlie and Shirley Watts | Find out more
Viewing in London (highlights):
13 Apr 10:00-16:00
14 Apr 10:00-16:00
15 Apr 10:00-16:00
Viewing in Newbury (full sale): see below
Auction dates
Apr 22, 2026 10:30 AM BST
Viewing dates
Apr 17, 2026 10:00 AM - 04:00 PM BST
Apr 19, 2026 10:00 AM - 03:00 PM BST
Apr 20, 2026 10:00 AM - 04:00 PM BST
Apr 21, 2026 10:00 AM - 04:00 PM BST
Apr 22, 2026 09:00 AM - 01:00 PM BST
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Featured lots
We found 89 items matching your search
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3,000 - 5,000 GBP
AFTER JAMES SEYMOUR
MR SEYMOUR'S SPOT BEATING MR FAUQUIER'S CINNAMON ON THE BEACON COURSE AT NEWMARKET, 1729
Oil on canvas
78 x 97.5cm (30½ x 38¼in.)
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3,000 - 5,000 GBP
AFTER JAMES SEYMOUR
THE HUNT IN FULL CRY
Oil on canvas
72 x 125cm (28¼ x 49in.)
After the picture at Shugborough Hall, Derbyshire
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10,000 - 15,000 GBP
JAMES SEYMOUR (BRITISH 1702-1752) AND THOMAS SPENCER (BRITISH 1700-1753)
AN ELEGANT LADY AND GENTLEMAN HARE COURSING IN AN EXTENSIVE LANDSCAPE
Oil on canvas
84 x 127cm (33 x 50in.)
Provenance:
The Troyte-Bullock family and thence by descent
Recorded in an inventory of the contents of North Coker House, Somerset, in 1920
Literature:
R. Wills, James Seymour , London, 2022, p. 295, No. 130b
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25,000 - 35,000 GBP
JOHN WOOTTON (BRITISH 1686-1765)
BAY BOLTON, HELD BY A GROOM, IN A PARKLAND SETTING
Oil on canvas
Signed (centre left, to the pedestal) and inscribed 'BAY BOLTON' with later overpaint (lower left)
99.5 x 124.5cm (39 x 49in.)
Provenance:
Probably by descent at Bolton Castle until Lord Bolton
His sale, Christie's, London, 21 November 1980, Important English Pictures , lot 15 (sold for £26,400)
From a Private Scottish Collection
Literature:
Bolton Catalogue, no. 73
This provenance was erroneously affiliated with a version of this composition by Thomas Spencer (1700-1793), which sold at Christie's in 2013.
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10,000 - 15,000 GBP
THOMAS STRINGER (BRITISH 1722-1790)
PORTRAIT OF COLONEL SLOPER WITH HIS FAVOURITE HUNTER AND HOUND
Oil on canvas
Signed, dated and inscribed 'Fox-Hunter / the Property / of Col. Sloper / & Blue-Cap / Painted in 1768' (lower left, to the stone tablet)
74.5 x 61.5cm (29¼ x 24in.)
At the start of the 18 th century, access to hunting was only available to those with their own hunting pack and their close circle. However, the late 18 th century saw a rise in popularity of field sports among the wealthier middle-classes, and thus the subscription pack came into being. Those who could afford it could now simply pay an annual fee to join a hunt and participate on their own terms. As more people became involved in the sport larger sums of money were spent on their horses to ensure that they could carry them at speed for a whole day.
Inevitably as good hunting horses became more prized, the desire to record them for posterity followed. This saw the advent of what we now call the 'sporting painter'. By the mid-18 th century artists who would previously have considered painting horse portraits as at best a side line in their career, could make a passable living solely from painting horses.
One notable example was Chesire born artist Thomas Stringer, known to have worked with James Seymour in his early years, the latter was undoubtedly an influence on Stringer's work. The main characteristic of a sporting painter was the ability to produce a thoroughly 'correct' recording of their patron's horse. Fuelled by the demands of the owners, rather than expressing any artistic licence, these horse portraitists became increasingly detailed in their approach. The colour and the conformation of the horse had to be exact as did the rendering of the harness, and indeed the costume of the owners, their grooms and their trainers if they appeared in the picture.
In the present painting, commissioned by General Robert Sloper (1729-1802), Stringer's horse is solidly constructed, beautifully detailed (note the shod hooves with their nails) and every inch the hunter who, unlike a racehorse, gives the impression that he would reliably carry you safely in and out of difficult spots on the hunting field. His white facial markings are so distinctive that they must surely be exact. We can be grateful that Stringer has recorded not only his own name on the stone tablet, bottom left of the picture, but also those of the sitter and even the horse and the favourite hound.
Regarding the painting's patron, General Robert Sloper (1729 - 1802) had an impressive career in the British Army. He was commissioned into the 10th Dragoons before being promoted to Major in 1755. In 1759, he was made Commanding Officer of the 1st King's Dragoon Guards. He served during the Seven Years War and was praised by the Duke of Brunswick and other senior generals for his leadership. In 1778, he served in Ireland and the following year he was deployed to India and served in the Second and Third Anglo-Mysore Wars. In 1785, he was appointed Acting Commander-in-Chief in Madras and, later that year, he was promoted to Commander-in-Chief of the British Army in India. In 1788, he was made a Knight Commander of the Order of the Bath, and in 1796, he became General.
Sloper lived at West Woodhay House, West Woodhay, Berkshire. He married Jane Willis with whom he had 6 sons and 4 daughters. He is buried at East Woodhay, Hampshire.
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5,000 - 7,000 GBP
HENRY BERNARD CHALON (BRITISH 1770-1849)
'PRIME MINISTER' WITH JOCKEY JOHN SHEPHERD UP, AND OWNER SIR MARK SYKES
Oil on canvas
Signed and dated '1814' (lower centre)
63.5 x 76cm (25 x 29¾in.)
Provenance:
Sale, Bonhams, London, The Connoisseur's Library Sale , 8 February 2023, lot 408
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1
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8,000 - 12,000 GBP
BENJAMIN MARSHALL (BRITISH 1767-1835)
A BAY HUNTER IN A LANDSCAPE
Oil on canvas
62 x 73.5cm (24¼ x 28¾in.)
Provenance:
Sale, Christie's, London, Important English Pictures , 18 November 1988, lot 29
Sale, Bonhams, London, Old Master Paintings , 30 October 2013, lot 253
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1
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2,000 - 3,000 GBP
JOHN FERNELEY SENIOR (BRITISH 1782-1860)
SIR RICHARD SUTTON'S FOXHOUNDS
Oil on canvas
Signed (lower right)
41 x 52cm (16 x 20¼in.)
Provenance:
The E. W. Towler Collection, formerly of Glympton Park, Woodstock, Oxfordshire
Literature:
Major Guy Paget, D.L The Melton Mowbray of John Ferneley (1782-1860) , Leicester, 1931, p.91
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700 - 1,000 GBP
JAMES BARENGER THE YOUNGER (BRITISH 1780-1831)
FOX IN A FOREST CLEARING
Oil on canvas
Signed and dated '1823' (lower centre, to the rock)
69 x 88.5cm (27 x 34¾in.)
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5,000 - 8,000 GBP
CIRCLE OF BENJAMIN MARSHALL (BRITISH 1767-1835)
LORD ALTHORP'S HUNSTMAN, CHARLES KING, WITH HIS FAVOURITE HOUND, OTTOMAN
Oil on canvas
90 x 84.5cm (35¼ x 33¼in.)
Provenance:
Sir Charles Knightley of Fawsley Daventry, Northampton
Ottoman was born in 1813, his sire was Justice (Duke of Beauford's Hounds) our of Helice (Mr Ward's pack). Ottoman was one of the principal sires of the Pytchley when Sir Charles Knightley was master in 1818.
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1
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18,000 - 22,000 GBP
GEORGE BARRET (IRISH CIRCA 1728 - 1784)
THE SALMON FISHER
Oil on canvas
112.5 x 166cm (44¼ x 65¼in.)
Provenance:
The Propriety of The Viscount Chilston
Sale, Christie's, 18 November 1966, lot 44 (as Sawrey Gilpin)
Gooden & Fox, London
From a Private Scottish Collection
Condition Report:
The canvas has been relined and presents subtle craquelure across the whole surface. UV light reveals an evenly applied varnish, which protects the canvas. There are a few slight infills in the superficial craquelure to the lower quarter. There is a slight crease crossing the whole canvas at the centre, possibly the picture was folded in the past. Otherwise, there appears to be no substantial or evident restoration other than a few slight patches of approx. 0.5 cm to the foliage at the left border. Finally, there are a few areas of damage to the edges of the canvas, caused by frame abrasion.
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1
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8,000 - 12,000 GBP
JOHN E. FERNELEY SENIOR (BRITISH 1782-1860)
ANNE AND KATHERINE HARRISON, ISABEL DRAYCOTT AND SANDY AND MARY POGSON, IN THE HIGHLANDS
Oil on canvas
Signed, inscribed and dated 'Melton Mowbray/1832' (lower left)
78 x 55cm (30½ x 21½ in.)
Provenance:
Richard Green Fine Paintings, London, No. F.635
From a Private Scottish Collection
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1
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4,000 - 6,000 GBP
JOHN E. FERNELEY SENIOR (BRITISH 1782-1860)
'ZOHRAB', A BAY HUNTER, WITH HIS GROOM TOM SLY, IN A STABLE
Oil on canvas
Indistinctly signed, inscribed and dated 'Melton Mowbray / 1840' (lower left)
67 x 90cm (26¼ x 35¼in.)
Provenance:
Commissioned from the artist by Capt. James Ogilvy Fairlie of Coodham, June 1940
Thence by descent until Capt. David Ogilvy Fairlie of Myers
His Sale, Sotheby's, London, British Paintings, 1500-1850 , 12 March 1986, lot 138
Sale, Christie's, South Kensington, Sporting & Wildlife Art , 9 July 2014, lot 14
Literature:
Recorded in the artist's account book as 'Portrait of Zohrab and groom - 15.15.0'
Major G. Paget, The Melton Mowbray of John Ferneley (1782-1860) , Leicester and New York, 1931, p. 146, No. 485
R. Fountain, John Ferneley (1782-1860): Catalogue of Paintings , published online, 2014, pp. 76, 98, Nos. T.40.485.005 and J.40.485.002
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1
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10,000 - 15,000 GBP
JAMES POLLARD (BRITISH 1792-1867)
HATCHETTS, THE WHITE HORSE CELLAR, PICADILLY
Oil on canvas
45 x 65cm (17½ x 25½in.)
Provenance:
Sale, Sotheby's London,18th November 1966, lot 13 (£10,000)
C. Marshall Esq.
The Mr and Mrs Jack R. Dick
Their Sale, Sotheby's London, 28th April 1976, lot 183 (£10,000)
Sale, Sotheby's, London , British Paintings 1500-1850 , 9 April 1997, lot 141
Literature:
N. C. Selway, The Golden Age of Coaching and Sport as Depicted by James Pollard , Leigh-on-Sea, 1972, p.30, no.102, illus.
In Eighteenth-century London, Hatchett's was a well established hotel and coffee house, and continued to serve as both long after coaching days were over. It was one of several inns and shops on the unfashionable south side of Piccadilly, which was given over to trade and commerce unlike the north side, which had become the most desirable location for many of London's finest noblemen's palaces. Hatchett's later occupied the site of a famous inn called The White Horse Cellars, which in its heyday was the starting point for all London's mail coaches bound for the distant West Country. In 1925 Hatchett's itself privately published 'Old Coaching Days and the White Horse Cellar', being an illustrated souvenir in the form of a short history of this historic London establishment, which first opened in 1720 and was now owned by Hatchett's Restaurant, the Twentieth-century survivor of the popular Georgian coffee house.
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1
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4,000 - 6,000 GBP
RICHARD BARRETT DAVIS (BRITISH 1782-1854)
MR WARD ON QUICKSILVER
Oil on canvas
63.5 x 76cm (25 x 29¾in.)
Provenance:
Arthur Ackermann, London
Private Collection, Surrey
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1
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6,000 - 8,000 GBP
JOHN FREDERICK HERRING SENIOR (BRITISH 1795-1865)
MENDICANT
Oil on canvas
Signed (lower right) and inscribed 'Mendicant Oaks. 1846' (centre right, to the stable door)
69 x 89.5cm (27 x 35in.)
Provenance:
Sale, Cheffins, The Fine Art Sale , 27 November 2014, lot 505
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4,000 - 6,000 GBP
JOHN FREDERICK HERRING SENIOR (BRITISH 1795-1865)
'BAY MIDDLETON' WITH JOCKEY UP
Oil on canvas
Signed and dated '1836'; inscribed 'Bay Middleton / Six Mile Bottom' (lower left); and inscribed 'Lord Jersey's bc [?] Bay Middleton / Winner of the Derby 1836' (to the reverse)
22 x 29cm (8½ x 11¼in.)
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80,000 - 120,000 GBP
JOHN FREDERICK HERRING SENIOR (BRITISH 1795-1865), SIR EDWIN HENRY LANDSEER (BRITISH 1802-1873) AND JOHN PHILLIP (SCOTTISH 1817-1867) THE VILLAGE BLACKSMITH (SHOEING OF IMAUM) Oil on canvas Signed and dated '1855' (lower right) 152 x 122cm (59¾ x 48in.) Provenance: Williams, Stevens & Williams Gallery, New York From whom acquired by the Cosmopolitan Art Association in New York in 1859 Sir Walter Gilbey (1831-1914), 1st Baronet, Elsenham Hall Thence by descent G. Sedgwick From whom acquired by Agnews & Sons, London, by 11 July 1901 Where acquired by Alexander Forbes-Leith (1847-1925), 1st Baron Leith of Fyvie, by 31 December 1901 Thence by descent to Sir George Forbes-Leith, 4th Baronet By whom sold, through Simon Dickinson Ltd, London, in 2005 Where acquired by the present owner Exhibited: New York, Williams, Stevens & Williams Gallery, 1858-1859, No. 6 Literature: W.S. Sparrow, British Sporting Artists , London and New York, 1922, p. 218, reproduced n.p.
'There is a picture, a fine one, in the collection of the Lord Leith of Fyvie, that represents a happy and sunny collaboration between Herring, and Landseer, and John Phillip, three leading members of the school with which I have been trying to bring my readers intimately in touch... not that although the goodwife painted by Phillip is rather Spanish in type, the picture hangs together very well, showing how three similar technical methods coalesced and formed a very typical harmony of school orchestration. Landseer painted the hound and the blacksmith, whose face resembles Landseer's; the rest of the picture belongs to Herring, whose fondness for blacksmiths and their forges lasted from his earliest boyhood to 1865, the year of his death.'
When The Village Blacksmith was reproduced in Walter Sparrow's 1922 survey of British Sporting Artists it was stated that the picture was painted by Herring, John Phillip and Sir Edwin Landseer. This method of collaboration was not unusual for Herring who often worked with other artists, including Thomas Faed, Henry Bright and William Powell Frith who periodically painted the figures in his pictures and with Alexander Rolfe who sometimes painted the landscapes. The inclusion of the work of Landseer is more unusual and demonstrates the mutual appreciation between the two eminent animal-painters of their generation. Landseer's fleet-footed hound is a brilliant embodiment of alert canine energy and studied anatomy whilst the blacksmith is very typical of Landseer's work - particularly the texture of his hair and the muddy boots. John Phillip - known as 'Spanish Phillip' for his depictions of Andalusian peasants - painted the blacksmith's wife, entering the stable with a basket of vitals. This section of the picture was painted on a separate piece of canvas and cleverly inserted into the composition by Herring who painted the superb still-life elements of the smith's tools and the wonderful white horse that is patiently being shod.
Although Sparrow suggested that the smithy was a self-portrait by Landseer, according to an American journalist, writing in 1859, the model was an itinerant Methodist preacher from Lancashire named Hicks; 'who used to alternate between blacksmithing (whereby he earned his own bread) and dispensing the "bread of life" to those desiring it, as contained in the Scriptures. Many interesting stories are narrated of this noted field-preacher, and before he died he was instrumental in building up two churches of his persuasion.' (Cosmopolitan Art Journal, 1859, p.67)
In 1853, after twenty years in London, Herring made an impulsive and rapid move to Kent after seeing a house for rent in the Times . This is likely to have been due, in part, to concerns about his health as he had suffered from asthma and bronchitis from his days as a coach driver. He finally resolved to move from his cottage in Camberwell when a manure factory was opened nearby and the stench was too much for him to bear. Settled in the fine Georgian mansion of Meopham Park and surrounded by the beautiful landscape of the Weald of Kent, Herring concentrated almost entirely on the rural subjects that surrounded him. There is a greater freedom to the work of this period with a naturalistic style replacing the formality of the 'rocking-horse' racing portraits. The Village Blacksmith painted only two years after his move, represents Herring's finest work from the period. In 1856 Herring painted another similar smithy-setting, Shoeing Imaum (sold Sotheby's London, 17 December 2009, lot 66). Both pictures celebrate Herring's favourite equine model.
'The white horse in this picture is Herring's beautiful Arab, Imaum, which acted many parts in his work, posing with intelligent pleasure, and remaining a beloved model year after year till the good animal became old and stiff. Queen Victoria gave Imaum to the Clerk of the Royal Stables, who was not a fine courtier, for he sold the gift horse at Tattersall's, and Herring was lucky enough to be the purchaser.'
Imaum was a remarkable horse, unusually strong and stout for an Arabian. He was the first of four Arabs given to Queen Victoria and Prince Albert by the Imaum of Muscat. Herring was very fortunate to buy Imaum when he was sold at Tattersall's and on one occasion he was reputedly approached by a gentleman in Piccadilly who offered him two hundred guineas for the horse; an offer that was refused despite the potential profit. Imaum was a great favourite of the artist who appears in several of his most prominent paintings, including his depiction of Byron's poem Mazeppa (Tate) and The Halt (Sotheby's, Gleneagle's, 28 August 2002, lot 1049). Imaum was not a young horse when Herring purchased him but was still capable of being ridden from Camberwell to Stevenage and back in a day - a distance of seventy-five miles. He lived a long life at Meopham and was in the habit of sleeping standing-up leaning against the wall of his stable - it was said that he did not lie down for eight years.
In 1858 the Cosmopolitan Art Journal noted that The Village Blacksmith was exhibited at Williams, Stevens & Williams Gallery on Broadway in New York alongside Rosa Bonheur's celebrated Horse Fair ; 'The reception of this superb work of the great animal painter J.F. Herring, has been most enthusiastic. Its exhibition attracted the notice of connoisseurs and the press to a not inconsiderable degree; while, to the public generally, it proved a source of great attraction and of much flattering remark... The "Blacksmith" came and conquered.' (p. 67). By 1859 the same journal reported that the painting and its copyright had been purchased for the enormous sum of $6,000 by the Cosmopolitan Art Association in New York and 'It will, we learn be offered as one of the prizes to subscribers to the next January's award.' Subscribers to the Association could also purchase engravings of the painting made by J.S. Patterson who was said to have finished the engraved-plate, two days before he died.
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We are grateful to Simon Toll, Art Consultant for writing the note for this work. Condition Report:
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GEORGE HENRY LAPORTE (GERMAN 1799-1873)
LAUREL, WINNER OF THE DONCASTER GOLD CUP, 1828
Oil on board
Signed with initials and dated '1834' (lower left); further signed and inscribed with the artist's address (verso)
28.5 x 34cm (11 x 13¼ in.)
Provenance:
From a Private Scottish Collection
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HENRY A. WOOLLETT (BRITISH FL.1851-1873)
A HORSE IN A STABLE
Oil on canvas, in a painted oval
Signed and dated 1863 (lower right)
62.5 x 75.5cm (24½ x 29½in.)
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HENRY FREDERICK LUCAS-LUCAS (BRITISH 1848-1943)
NAPIER, HORSE IN A STABLE
Oil on panel
Signed, inscribed and dated 'Napier / 16. 0 1/2 hands / Oct 10th /79 / H F Lucas Lucas' (lower right)
24 x 34cm (9¼ x 13¼ in.)
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4,000 - 6,000 GBP
ROBERT L. ALEXANDER (BRITISH 1840-1923)
A BAY HUNTER IN A STABLE; AND A LIGHT BAY HUNTER IN A STABLE
Oil on canvas
One signed and dated '1890 (?) ' (lower left), the other signed and dated '1899' (lower left)
Each approx. 64 x 76cm (25 x 29¾in.) (2)
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3,000 - 5,000 GBP
RICHARD ANSDELL (BRITISH 1815-1885)
A GREY AND A CHESNUT HUNTER IN STABLES
Oil on canvas
Signed and dated '1860' (lower right)
49.5 x 61cm (19¼ x 24 in.)
Provenance:
Richard Green Fine Paintings, London, No. L815
From a Private Scottish Collection
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1,500 - 2,000 GBP
ENGLISH SCHOOL (19TH CENTURY)
THE ATHERSON HUNT STARTING OFF, WITH TWO HORSES IN THE FOREGROUND
Oil on canvas
65 x 90cm (25½ x 35¼in.)
Provenance:
Sale, Christie's, 21 December 1967, lot 281 (as Ferneley)
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2,500 - 3,500 GBP
JOHN FREDERICK HERRING THE YOUNGER (BRITISH 1815-1907)
HORSES BY A STREAM
Oil on canvas
Signed (lower left)
29 x 44cm (11¼ x 17¼ in.)
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2,000 - 3,000 GBP
SAMUEL HENRY ALKEN (BRITISH 1810-1894)
SPORTSMEN SHOOTING PHEASANT IN A LANDSCAPE
Oil on canvas
Signed to the fence (lower left)
30.5 x 40.5cm (12 x 15¾ in.)
Provenance:
Richard Green Fine Paintings, London, No. K437
From a Private Scottish Collection
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Estimate
10,000 - 15,000 GBP
JOHN FERNELEY SENIOR (BRTISH 1782 - 1860) LORD KINTORE'S ENGLISH SETTERS 'BLUSH' AND 'JUNO' IN THE PARK AT KEITH HALL, ABERDEENSHIRE Oil on canvas Signed, inscribed and dated ' MELTON MOWBURY 1824' (lower centre) 54 x 99cm (21¼ x 38¾ in.)
Provenance: Anthony Adrian Keith-Falconer, 7th Earl Kintore (1794 - 1844), Keith Hall, Aberdeenshire Thence by descent Sale, Christie's, London, Old Master Paintings & Sculpture , 24 June - 8 July 2022, lot 198
Literature: Robert Fountain, John Ferneley (1782 - 1860) Catalogue of Paintings , p.14 British Sporting Art Trust reference, No. D.24.000.006 ( Two Setters, Blush and Juno with house in background , online at bsat.co.uk)
The son of a wheelwright, John Ferneley was 'discovered' by the young Henry Manners, 5th Duke of Rutland (1778-1857), patron of the Belvoir Hunt, who saw him decorating a cart. The Duke encouraged him to study in London with Ben Marshall (1768-1835), launching him upon a successful career as a sporting painter.
By 1824 Ferneley was ensconced in a comfortable life at Elgin Lodge in Melton Mowbray, the town known as the Queen of the Shires at the confluence of four celebrated hunts: the Quorn, the Cottesmore, the Belvoir and the South Nottinghamshire.
This painting is a fruit of his sojourn from September to December 1824 at Keith Hall, Inverurie with Anthony Keith Falconer, 7th Earl of Kintore (1794-1844). The setters Blush and Juno, alive with excitement but perfectly controlled, have just scented a bird and are marking it for the gun to walk up. Behind them stretches the magnificent, rolling Aberdeenshire landscape, with the white walls and turrets of seventeenth century Keith Hall nestling among trees.
Ferneley's weeks with Lord Kintore were described in a series of letters to his wife Sarah, with his inimitable spelling and punctuation1. He commented:
'Keith Hall his a pleasant place an exilent house & well furnished' 2.
He shot roe deer and fished for salmon, while corralling sitters for The Meet of the Keith Hall foxhounds (private collection)3, which featured Kintore on his favourite horse, Whitestockings, surrounded by hard-riding neighbours and friends. Ferneley also painted John Bouclitch, Lord Kintore's Keeper, shooting roebuck at Keith Hall, 18244.
Lord Kintore brought his hounds south and was Master of the Old Berkshire Hunt from 1826 to 1830. ' He was a rider bold to rashness, greedy for fences; and he was also celebrated as a boon table companion '.5
When he gave up the country and returned to Keith Hall, he took to farming 'on a large scale'. 6
1 Guy Paget, The Melton Mowbray of John Ferneley (1782-1860) , Leicester 1931, pp.45-49. 2 Letter of 28th August 1824; Paget, op. cit., p.46. 3 Paget, ibid., illus. opposite p.48. 4 Paget, illus. opposite p.50. 5 FC Loder-Symonds, A History of the Old Berks Hunt from 1760 to 1904, 1905, Chapter 6. 6 Loder-Symonds, op. cit., p.102
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3,000 - 5,000 GBP
FREDERICK WATERS WATTS (BRITISH 1800-1870)
PASTORAL SCENE WITH FIGURES AND COWS BY A RIVER
Oil on canvas
97 x 142.5cm (38 x 56 in.)
Provenance:
Possibly Richard Green Fine Paintings, London
From a Private Scottish Collection
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2,500 - 3,500 GBP
CHARLES STUART (SCOTTISH 19TH CENTURY)
THE MONARCH OF THE GLEN
Oil canvas
Signed (lower right)
59 x 89cm (23 x 35 in.)
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8,000 - 12,000 GBP
ALEXANDER NASMYTH (SCOTTISH 1758-1840)
LOCH ACHRAY, BEN VENUE IN THE DISTANCE
Oil on canvas
Signed (lower left)
71 x 91.5cm (27¾ x 36 in.)
Provenance:
Painted for Professor Dugald Stewart
Mr John McKenzie, Collector of Customs, Bo'ness
His Sale, Edinburgh, 1857 or 1858
John Bell Esq., North Park, Glasgow
His Sale, Morrison, Dick & McCulloch, Glasgow, The 'Bell Collection', North Park, Glasgow , 4 February 1881, lot 569
Richard Green Fine Paintings, London, No. K1537
From a Private Scottish Collection
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20,000 - 30,000 GBP
GEORGE BARRET (IRISH CIRCA 1728 - 1784)
INVERARAY CASTLE
Oil on canvas
107 x 145cm (42 x 57in.)
Provenance:
Agnew & Sons Ltd, London, No. 41471
From a Private Scottish Collection
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8,000 - 12,000 GBP
RICHARD ANSDELL (BRITISH 1815-1885)
THE BLACK ISLE, DEAD GAME IN A LANDSCAPE
Oil on canvas
Signed and dated '1866' (lower right)
74 x 182cm (29 x 71½in.)
Provenance:
Richard Green Fine Paintings, London, No. K.520
From a Private Scottish Collection
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10,000 - 15,000 GBP
RICHARD ANSDELL (BRITISH 1815-1885)
JAMES GRANT, HEAD GAMEKEEPER TO THE EARL OF SEAFIELD, 1851-1870
Oil on canvas
Signed and dated '1868' (lower right)
90 x 69cm (35¼ x 27in.)
Provenance:
From a Private Scottish Collection
Richard Ansdell (1815 - 1885) was born in Liverpool to a poor family. His father died young and for a while, Ansdell was educated at the Bluecoat School for orphans. There he was encouraged by a teacher who recognised his talent and he was apprenticed to W. C. Smith, a portrait painter. In 1836, Ansdell entered the Liverpool Academy as a student, presenting his first submissions Capercaille Shoot and Farm-horse in 1840. In 1845, he became president and counted several important local figures as patrons, including the 3rd Earl of Sefton.
Early success was achieved with such sporting themed works as The Waterloo Coursing Meeting (Walker Art Gallery, Liverpool), painted in 1840 when he was only 25, the first of many works he would exhibit at the Royal Academy over the course of his career. One reason for this, as is evidenced with the lots offered here. was Ansdell's ability to portray animals both with precision and appeal.
In addition to living and working in Liverpool and London, Ansdell also had a fondness for Scotland, and it is four of his Scottish works that Dreweatts offers here. Ansdell built his own lodge on the banks of Loch Laggan to which he would retreat to whenever the opportunity arose. Here he would spend time painting local shooting and fishing parties and their spoils (lot 45), sheep on hillsides, stags in rugged landscapes, (lot 48), Scottish highland scenes of everyday life (lot 49), and figures such as James Grant, the Gamekeeper to the Earl of Seafield (lot 46).
During his career Ansdell enjoyed enormous popularity with many of his originals being engraved increasing the exposure of his work in both Great Britain and America. He exhibited with great success at the British Institution, and the Royal Academy (149 canvases over the course of his lifetime), becoming a Royal Academician in 1870. In addition, Ansdell frequently collaborated with other popular artists of the day, including William Powell Frith and Thomas Creswick, placing animals into their landscapes.
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20,000 - 30,000 GBP
ATTRIBUTED TO SIR EDWIN HENRY LANDSEER (BRITISH 1802-1873)
ON WATCH
Oil on canvas
123 x 96.5cm (48¼ x 37in.)
Provenance:
Sale, Sotheby's, Belgravia, Fine Victorian Paintings, Drawings and Watercolours , 29 June 1976, lot 24 (as Sir Edwin Henry Landseer)
Malcolm Innes and Partners Ltd, London and Perth
From a Private Scottish Collection
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20,000 - 30,000 GBP
RICHARD ANSDELL (BRITISH 1815-1885)
STAG AT BAY
Oil on canvas
Signed (lower right)
95 x 135cm (37¼ x 53in.)
Provenance:
Sale, Christie's, 29th - 30th September 1977, lot 99
From a Private Scottish Collection
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15,000 - 25,000 GBP
RICHARD ANSDELL (BRITISH 1815-1885)
AN EXTENSIVE HIGHLAND LANDSCAPE WITH CATTLE AND DROVERS ON A MOUNTAIN PASS
Oil on canvas
Signed and dated '1839' (lower right)
100 x 157.5cm (39¼ x 62 in.)
Provenance:
Sale, Christie's, London, Important British Pictures , 17 November 1989, lot 60
From a Private Scottish Collection
Condition Report:
The canvas presents a few small retouches, approximately 3 cm in length, in the sky just to the left of the rocky mountain. Very few additional retouches are visible: one in the lower right corner, within the darkest tones behind the horse, and a very small dotted retouch on the rock along the lower centre border. Additionally, a protective varnish has been applied. The picture as a whole is in very good condition, with minimal retouching and no evident damage or craquelure.
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1,000 - 1,500 GBP
GEORGE EDWARD LODGE (BRITISH 1860-1954)
PARTRIDGES IN A TURNIP FIELD
Oil on canvas
Signed and dated '1896' (lower left)
74.5 x 115cm (29¼ x 45¼ in.)
Provenance:
Richard Green Fine Paintings, London, No. M226
From a Private Scottish Collection
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1,500 - 2,000 GBP
JOHN BUCKNELL RUSSELL (SCOTTISH CIRCA 1819-1893)
THE CATCH
Oil on canvas
Signed (lower right)
37.5 x 75.5cm (14¾ x 29½ in.)
Provenance:
The Parker Gallery, London
From a Private Scottish Collection
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2,000 - 3,000 GBP
JOHN BUCKNELL RUSSELL (SCOTTISH CIRCA 1819-1893)
A BRACE OF HEN SALMON ON THE BANKS OF THE SPEY
Oil on canvas
Signed (lower left)
50.5 x 104.5cm (19¾ x 41 in.)
Provenance:
Malcolm Innes Gallery, London and Edinburgh
From a Private Scottish Collection
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3,000 - 5,000 GBP
JOHN BUCKNELL RUSSELL (SCOTTISH CIRCA 1819-1893
A SCOTTISH STILL LIFE
Oil on canvas
66 x 105cm (25 x 41¼in.)
Provenance:
From a Private Scottish Collection
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VALENTINE THOMAS GARLAND (BRITISH 1868-1914)
ON GUARD
Oil on canvas
Signed (lower right)
40 x 30cm (15½ x 11¾in.)
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2,000 - 3,000 GBP
HENRY RICHARD GRAVES (BRITISH 1818-1882)
THE COUNTESS OF UXBRIDGE MOUNTED ON 'ROSE', A DARK BAY HUNTER WITH A TERRIER BY A STILE
Oil on canvas
Signed with monogram and dated '1856' (lower left)
71 x 91.5cm (27¾ x 36in.)
Provenance:
Capt. C.F. Huth
His Sale, Christie's, London, 19 March 1904, lot 56
Sale, Christie's, South Kensington, Sporting Art and Dogs , 14 June 2001, lot 178
The Collection of Charlie Watts
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61
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1
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3,000 - 5,000 GBP
CHARLES AUGUSTUS HENRY LUTYENS (BRITISH 1829-1915)
AVONTES, A BAY STALLION WITH A GROOM IN A STABLE INTERIOR
Oil on canvas
Signed and dated '79' (lower right)
101.5 x 127cm (39¾ x 50in.)
Provenance:
Sale, Bonhams, London, British and Continental Pictures , 14 September 2010, lot 218
The Collection of Charlie Watts
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10,000 - 15,000 GBP
JACQUES-LAURENT AGASSE (SWISS 1767-1849)
A SADDLED CHESNUT HUNTER TETHERED TO A STABLE DOOR WITH A LANDSCAPE BEYOND
Oil on canvas
42 x 51cm (16½ x 20in.)
Provenance:
Arthur Ackermann & Sons Ltd., London, 1984
The Collection of Charlie Watts
Literature:
(Probably) the 'Chestnut Horse' 17 x 21in., painted in 1835 and mentioned in Agasse's manuscript list of paintings
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GEORGE PAICE (BRITISH 1854-1925)
A HORSE-DRAWN BUGGY ON A TRACK WITH A HUNT BEYOND
Oil on canvas
Signed and indistinctly dated `80' (lower left)
58.5 x 152.5cm (23 x 60in.)
Provenance:
The Collection of Charlie Watts
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2,000 - 3,000 GBP
EDWIN COOPER (BRITISH 1785-1833)
A LURCHER IN A LANDSCAPE
Oil on canvas
Signed and dated '1804' (lower right)
45.5 x 58.5cm (17¾ x 23in.)
Provenance:
The Collection of Charlie Watts
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4,000 - 6,000 GBP
HENRY CALVERT (BRITISH 1798-1869)
THE 15TH (THE KING'S) HUSSARS: TWO CHARGERS, ONE WITH AN OFFICER UP, IN A LANDSCAPE WITH A CAMP BEYOND
Oil on canvas
80 x 89.5cm (31¼ x 35in.)
Provenance:
The Parker Gallery, London
The Collection of Charlie Watts
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ENGLISH SCHOOL (19TH CENTURY)
A STARTLED ARABIAN HORSE
Oil on canvas
Dated `1864' (on the reverse)
30.5 x 40.5cm (12 x 15¾in.)
Provenance:
The Collection of Charlie Watts
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JOHN MURRAY THOMSON (BRITISH 1885-1974)
A MOTHER AND PUPS
Oil on canvas
Signed (lower left)
45.5 x 61cm (17¾ x 24in.)
Provenance:
The Collection of Charlie Watts
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LILLIAN CHEVIOT (BRITISH CIRCA 1876-1936)
A COLLIE LYING ON A STONE WALL
Oil on canvas
Signed (lower left)
51 x 61cm (20 x 24in.)
Provenance:
Sale, Doyle & Bonhams, New York, Dogs and Cats in Art , 15 February 2000, lot 171
The Collection of Charlie Watts
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FRANK PATON (BRITISH 1856-1909)
BOTH PARENT AND GUARDIAN
Oil on canvas
Signed and dated '1882' (lower left)
63.5 x 76cm (25 x 29¾in.)
Provenance:
The Collection of Charlie Watts
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7,000 - 10,000 GBP
WRIGHT BARKER (BRITISH 1864-1941)
FAITHFUL COMPANIONS, COLLIES IN A HIGHLAND LOCH LANDSCAPE
Oil on canvas
Signed and dated '1898' (lower right)
90 x 120.5cm (35¼ x 47¼in.)
Provenance:
The Collection of Charlie Watts
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4,000 - 6,000 GBP
ROBERT L. ALEXANDER (BRITISH 1840-1923)
'LADDIE', A COLLIE
Oil on canvas
Signed with initials and titled (lower left)
61 x 99cm (24 x 38¾in.)
Provenance:
Malcolm Innes Gallery
The Collection of Charlie Watts
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3,000 - 5,000 GBP
ROBERT L. ALEXANDER (BRITISH 1840-1923)
THE HERD'S DOG
Oil on canvas
Signed (lower left)
61 x 89cm (24 x 35in.)
Provenance:
Aitken Dott
Tryon Gallery, London
The Collection of Charlie Watts
Exhibited:
Edinburgh, The Scottish Gallery, Memorial Exhibition, May 1924, No.24
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6,000 - 8,000 GBP
JOHN EMMS (BRITISH 1843-1912)
'BOBS', A COLLIE IN A LANDSCAPE
Oil on canvas
Signed and dated '1901' (lower right), titled (lower centre)
61 x 76cm (24 x 29¾in.)
Provenance:
Sale, Sotheby's, Belgravia, Fine Victorian Paintings, Drawings and Watercolours , 10 July 1973, lot 9
Sale, Doyle & Bonhams, New York, Dogs in Art , 12 February 2002, lot 271
The Collection of Charlie Watts
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4,000 - 6,000 GBP
CHARLES EDWARD STEWART (SCOTTISH 1866-1942)
A COLLIE LYING DOWN
Oil on canvas
Signed (lower right)
71 x 91.5cm (27¾ x 36in.)
Provenance:
The Collection of Charlie Watts
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4,000 - 6,000 GBP
THOMAS SIDNEY COOPER (BRITISH 1803-1902)
STUDY OF A COLLIE
Oil on canvas
52.5 x 70.5cm (20½ x 27¾in.)
Provenance:
The Collection of Charlie Watts
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6,000 - 8,000 GBP
MAUD EARL (BRITISH 1863-1943)
A COLLIE STANDING IN A LANDSCAPE WITH A COUNTRY HOUSE BEYOND
Oil on canvas
Signed and dated '1899' (lower right)
76 x 101.5cm (29¾ x 39¾in.)
Provenance:
Sale, Sotheby's, New York , Sporting and Marine Paintings, Drawings and Sculpture , 8 June 1990, lot 424B
The Collection of Charlie Watts
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5,000 - 7,000 GBP
PHILIP EUSTACE STRETTON (BRITISH FL. CIRCA 1884-1919)
LEFT IN CHARGE
Oil on canvas
Signed and dated '1896 (?)' (lower right)
72 x 63.5cm (28¼ x 25in.)
Provenance:
Sale, Sotheby's, London , The Leverhulme Collection, Thornton Manor, Wirral, Merseyside , 27 June 2001, lot 408
The Collection of Charlie Watts
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GEORGE WRIGHT (BRITISH 1860-1942)
GONE TO GROUND
Oil on canvas
Signed (lower right)
24 x 34.5cm (9¼ x 13½ in.)
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