![[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970) PORTRAIT OF MAJOR PETER CASSON Signed and inscribed 'To my](https://cdn.globalauctionplatform.com/2cf487da-1f6e-4783-ab7b-a927009eaef2/3992e781-cd43-4aa0-8b68-1c96cdad64da/468x382.jpg)
[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970) PORTRAIT OF MAJOR PETER CASSON Signed and inscribed 'To my dear friend Peter - Laura Knight', chalk 29cm x 25cm (11.5in x 9.75in) Exhibited: Abbott and Holder, London Note: Major Peter Casson was Deputy Assistant Adjutant - General of the British War Crimes Executive based at the Courthouse, Nuremberg who first met Laura Knight at Nuremberg. He was responsible together with Captain Marsh and Captain Watts-Russell for the care, pass and travel arrangements of the artist whilst performing her commission on the Trials in 1946. They became firm friends for the rest of her life to such an extent that he shared with four others in the residuary assets of her Estate on her death and Casson read the Lesson at her memorial service. After the War, Peter Casson became a roving ambassador for the United Nations. In October 1966 he was appointed Commissioner General to the UN Pavilion at Montreal World Fair. Peter Casson organised the luncheon at Overtons Restaurant 3 St James London in celebration of her 1965 retrospective exhibition.
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![[§] STEPHEN CONROY (SCOTTISH B.1964) PORTRAIT OF DAVID Signed, pastel 38cm x 24cm (15in x 9.5in)](https://cdn.globalauctionplatform.com/2cf487da-1f6e-4783-ab7b-a927009eaef2/64b8dab2-49a5-4c57-fe90-7c3a329720bc/468x382.jpg)
![[§] EUAN HENG (SCOTTISH B.1945) PORTRAIT OF A RED-HEADED WOMAN Signed and indistinctly dated verso, oil on canvas 76cm x](https://cdn.globalauctionplatform.com/2cf487da-1f6e-4783-ab7b-a927009eaef2/51439854-9ebb-47bb-9e80-7b41b69b6a38/468x382.jpg)
![[§] DAVID TINDLE R.A. (BRITISH B. 1932) PORTRAIT OF A CHAIR Artist's inscription on backboard, egg tempera on board 40cm](https://cdn.globalauctionplatform.com/2cf487da-1f6e-4783-ab7b-a927009eaef2/aef7e24d-d401-483a-a73b-8100b911c1d1/468x382.jpg)
![[§] ALISON WATT O.B.E. (SCOTTISH B.1965) PLANTERS Signed, Glasgow School of Art label verso, oil on canvas 107cm x 1](https://cdn.globalauctionplatform.com/2cf487da-1f6e-4783-ab7b-a927009eaef2/4e1fb410-b6b6-4b13-8046-b0c83d3a344d/468x382.jpg)
[§] ALISON WATT O.B.E. (SCOTTISH B.1965) PLANTERS Signed, Glasgow School of Art label verso, oil on canvas 107cm x 138.5cm (42in x 54.5in) Provenance: Alison Watt's degree show at the Glasgow School of Art, 1988, where purchased by the current ownerALISON WATTWe are delighted to present a degree show work by renowned contemporary Scottish artist, Alison Watt, in this auction. Planters dates from 1986, the year before Watt graduated from the Glasgow School of Art, and, in a striking demonstration of her precocious talent, also the same year she won the prestigious John Player Portrait Prize (now the BP Portrait Prize). As a result, she was commissioned to paint the portrait of the Queen Mother, and the charming resulting work entered the collection of the National Gallery in London in 1989. Since her graduation Watt has had a high-profile and illustrious career, with solo exhibitions at the Fruitmarket Gallery, Edinburgh, and the Scottish National Gallery of Modern Art. She was the youngest ever Associate Artist of the National Gallery in London from 2006-2008 and received an O.B.E. in the 2008 New Year Honours. In the period immediately after her graduation, in the late 1980s and early 1990s, Watt was particularly known for her figurative work, particularly female nudes. At this point, the art world’s attention had been captured by a return to a preoccupation with the figurative through the bold, brash work of the New Glasgow Boys; a loose association of artists trained in the Glasgow School of Art throughout the 1980s, including Peter Howson, Adrian Wiszniewski, Steven Campbell, Ken Currie and Stephen Conroy. Watt was a contemporary of theirs, and was enmeshed in this community and moment, though she was working in a softer palette and with a stronger commitment to classical references.Planters dates from this period and in one striking, early work, sums up many of Watt’s artistic pre-occupations. The title itself is laden with meaning, referring as it does to both the figures and the central pot, and suggesting themes of new beginnings, growth, fertility, ritual and nourishment. The deep palette of browns, with beautifully toned blues and greens adding depth, shows her commitment to exploring subtle tonalities – as her career has progressed this has remained an on-going concern as she has moved through periods of working in greys and ultimately a lengthy exploration of white. There is a substance and directness to Planters; both figures, which bear a resemblance to the artist but aren’t quite a self-portrait, look out at us, while the paintings beyond, particularly the one showing an extending road, draw us deeper in. The portrait featured is in fact a self-portrait by Stephen Conroy, fellow art student, New Glasgow Boy and Watt’s boyfriend at the time.From the outset, Watt’s work has had a quiet power and lashings of symbolism but as her career has progressed she has moved away from figuration and portraiture. In her solo exhibition in 1997, she began introducing fabric as a subject in her work, and by her exhibition in 2000, she had given over to fabric entirely, showing twelve large canvas of swathes of fabric, the figure now only present in its lingering absence, and the suggestive imprints and textures it has left behind. Watt has continued in this vein for the last 18 years, finding endless inspiration and challenge in this captivating and elusive subject.The auction of Planters is a wonderful opportunity to see and potentially own a work by this artist from an important moment in her career, where she was just getting started, but her vision and talent was already beautifully established and whole.
![[§] ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) STILL Signed verso, oil on card, with accompanying copies of](https://cdn.globalauctionplatform.com/2cf487da-1f6e-4783-ab7b-a927009eaef2/901f67cb-af97-4f02-9ea4-a7234ef24b34/468x382.jpg)
[§] ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) STILL Signed verso, oil on card, with accompanying copies of two Alison Watt publications by the Ingleby Gallery, produced in a limited edition of 20 and presented in the set's original cloth bound box 16cm x 16cm (6.25in x 6.25in)ALISON WATTWe are delighted to present a degree show work by renowned contemporary Scottish artist, Alison Watt, in this auction. Planters dates from 1986, the year before Watt graduated from the Glasgow School of Art, and, in a striking demonstration of her precocious talent, also the same year she won the prestigious John Player Portrait Prize (now the BP Portrait Prize). As a result, she was commissioned to paint the portrait of the Queen Mother, and the charming resulting work entered the collection of the National Gallery in London in 1989. Since her graduation Watt has had a high-profile and illustrious career, with solo exhibitions at the Fruitmarket Gallery, Edinburgh, and the Scottish National Gallery of Modern Art. She was the youngest ever Associate Artist of the National Gallery in London from 2006-2008 and received an O.B.E. in the 2008 New Year Honours. In the period immediately after her graduation, in the late 1980s and early 1990s, Watt was particularly known for her figurative work, particularly female nudes. At this point, the art world’s attention had been captured by a return to a preoccupation with the figurative through the bold, brash work of the New Glasgow Boys; a loose association of artists trained in the Glasgow School of Art throughout the 1980s, including Peter Howson, Adrian Wiszniewski, Steven Campbell, Ken Currie and Stephen Conroy. Watt was a contemporary of theirs, and was enmeshed in this community and moment, though she was working in a softer palette and with a stronger commitment to classical references.Planters dates from this period and in one striking, early work, sums up many of Watt’s artistic pre-occupations. The title itself is laden with meaning, referring as it does to both the figures and the central pot, and suggesting themes of new beginnings, growth, fertility, ritual and nourishment. The deep palette of browns, with beautifully toned blues and greens adding depth, shows her commitment to exploring subtle tonalities – as her career has progressed this has remained an on-going concern as she has moved through periods of working in greys and ultimately a lengthy exploration of white. There is a substance and directness to Planters; both figures, which bear a resemblance to the artist but aren’t quite a self-portrait, look out at us, while the paintings beyond, particularly the one showing an extending road, draw us deeper in. The portrait featured is in fact a self-portrait by Stephen Conroy, fellow art student, New Glasgow Boy and Watt’s boyfriend at the time.From the outset, Watt’s work has had a quiet power and lashings of symbolism but as her career has progressed she has moved away from figuration and portraiture. In her solo exhibition in 1997, she began introducing fabric as a subject in her work, and by her exhibition in 2000, she had given over to fabric entirely, showing twelve large canvas of swathes of fabric, the figure now only present in its lingering absence, and the suggestive imprints and textures it has left behind. Watt has continued in this vein for the last 18 years, finding endless inspiration and challenge in this captivating and elusive subject.The auction of Planters is a wonderful opportunity to see and potentially own a work by this artist from an important moment in her career, where she was just getting started, but her vision and talent was already beautifully established and whole.
![[§] JOHN BRATBY R.A. (BRITISH 1928-1992) WATCHING TV Signed and dated 'May '58', oil on panel 203cm x 366cm (80in x](https://cdn.globalauctionplatform.com/2cf487da-1f6e-4783-ab7b-a927009eaef2/68bc34e7-4857-45f7-898d-bbf7de8438ee/468x382.jpg)
[§] JOHN BRATBY R.A. (BRITISH 1928-1992) WATCHING TV Signed and dated 'May '58', oil on panel 203cm x 366cm (80in x 144in)Please note this work is oil on panel, not canvas as stated in the catalogue.John Bratby is one of the most notable figures in 20th Century British Art, both artistically and in terms of reputation. He developed an Expressionistic take on Realist painting, a manner that led to the term ‘Kitchen Sink Realism’ being coined. ‘Kitchen Sink’ soon began to be used in reference to literature, theatre and film of the day that also explored the banality of Post-War British life. Bratby had clearly captured something of the 1950s British zeitgeist and his success after leaving the Royal College of Art was swift and remarkable.The quintessential artistic eccentric, Bratby was known to beg and sleep rough in Hyde Park or the attics of the Royal College of Art. After graduation however, he enjoyed a meteoric rise to public and critical renown. He was a clever self-publicist and happy to provide salacious details of his bohemian lifestyle to a receptive media. In many ways, Bratby was Britain’s first celebrity artist, and played the media game very astutely. The international accolades rolled in and he won the Guggenheim Award for three consecutive years between 1956 and 1958.Perhaps inevitably, a backlash commenced in the 1960s as Pop Art rose to popularity and Britain no longer wanted to examine itself through the grubby mirror of realism. Bratby remained popular with the buying public, however, and turned his hand to writing semi-autobiographical novels during this decade.Bratby and the Kitchen Sink School have enjoyed more recent critical re-examinations, including a significant retrospective in the National Portrait Gallery in 1991.
![[§] ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920-2014) SELF-PORTRAIT IN THE FORM OF AN EXCITED FLOCK OF BIRDS - NO.9A, OPUS 66](https://cdn.globalauctionplatform.com/2cf487da-1f6e-4783-ab7b-a927009eaef2/dd292a3d-5354-4b09-c8ed-4fd6e782480c/468x382.jpg)
WW1 Interest Rudyard Kipling's The Absent Minded Beggar A Copy Of The First Edition Presented By Mrs Langtry On The Occasion Of THE 100TH Performance Of The "Degenerates" At The Garrick Theatre. First edition, one sheet folded in to three, front with portrait of Kipling, centre page a drawing "A Gentleman in Kharki", 2 pages reproducing the poem in Kipling's hand writing, all printed on silk, with stiffener paper sewn in. On back page "This souvenir is presented by Mrs Langtry on the occasion of the 100th performance of the "Degenerates" at the Garrick Theatre. For permission to use Mr Kipling's Poem Mrs Langtry has made to the "Daily Mail" a contribution of £100 for the benefit of wives and children of the Reservists fighting in South Africa." Slight water stain to covers, please see accompanying image
Children's Illustration Interest A Small Collection Of Vintage Books Four in total to include 1.A Little Book Of Singing Rhymes By Wilhelmina Stitch, circa 1930's, published by P.F Volland & Co, New York. Complete with pasted in dedication form the author in blue ink to frontispiece 'With friendships greetings, Wilhelmina Stitch, 1933' Some staining and fading to boards. 2.The Pussios And The Purr by Helen Cautley, illustrated by Mary E. Bonham. Published by Louis Carrier & Co, New York. Inscription to inner cover, signed 'With love, Wilhelmina Stitch, Christmas, 1929. Includes a photographic portrait of Stitch to interior. Cover in poor condition, some staining and fading to endpapers and boards. 3. Myths And Legends, By Anne Terry White, published by Hamlyn London, 1967. Boards in poor condition, staining and foxing to outer, otherwise, good condition. 4. The Charm Of Lancashire by J.Cuming Walters, published by A & C Black Ltd, London, 1929. Dustjacket in poor condition, several tears etc. Pages in good order, illustrated plates intact.Together with a Post Office Telegram from Wilhelmina Stitch.
A Late 19th/Early 20th Century Cabinet Plate Wall/cabinet charger of circular form with reticulated gilt scroll border. Handpainted with a finely rendered portrait of a young German noblewoman in late 16th century attire. Inner border hand painted in fine black fleur de lys and gilt bead. No discernible factory marks to base, numbered in gilt, 2024 601. 9 inches diameter, please see accompanying image.
Original Chalk Pastel Portrait 'Dorothy 'Doris' Bradley And Her Brother 'Cyril 'Squib' Bradley' Signed K Shearfield 1924 A large scale double portrait rendered in soft pastels on Bristol paper depicting brother and sister in embrace. Signed in black pastel to bottom right 'K Shearfield, 1924'. Housed in large, ebonised wood frame with gilt inner mount. Label to verso, 'H W Hayward, Picture Mount And Frame Makers, London' 25 x 31 inches, good condition. Please see accompanying image
Reproduction of Klara Sever's surrealist sculpture 'Portrait of a Woman', reproduced by Austin. Prod 1979 in bronzed resin. Depicting the abstract face of a female, on wooden base. Signed 'Sever' and 'Austin Prod.'. 56 x 28 cm (inc. base). Condition reports cannot be done for our Interiors sales.
20th Century Russian/ Soviet Union Oil On Canvas, Portrait Of Nikita Khrushchev, First Secretary Of The Communist Party Of The Ussr (1953 - 1964). Inscribed En Verso. Measures 29-1/4" H X 21-1/4" W, Frame Measures 35-5/8" H X 27-1/2" W. Domestic Shipping: $165.00 Min Est. $400.00 Max Est. $600.00 Condition: Good condition
François Pascal Simon Gérard, French (1770 - 1837) Pencil and chalk on card preparatory sketch for a female portrait. Signed lower right and bears collectors stamp. Measures 7" x 5-1/4" (sight), frame measures 11-3/4" x 10-1/4". Domestic Shipping: $62.00 Min Est. $200.00 Max Est. $400.00 Condition: Good
CRICKET, hardback editions, mainly signed, inc. Fraser's Tour Diaries (by Fraser); Calling The Shots & A Year In The Sun (both by Vaughan), Gooch: My Autobiography - (by Gooch); Playing For Keeps (by Stewart); Taking It From Behind (by Blakey); MCC: The Autobiography of a Cricketer, The Cowdreys: Portrait of a Cricketing Family, Deadly Down Under, dj, VG to EX, 9
A papier mâché and leather-bound Victorian folio by Jennens & Bettridge, third quarter 19th century, of rectangular form, with a portrait of the young Queen Victoria after the original 1838 painting by Thomas Sully, specifically the half-length version currently at the Wallace Collection, London; the reverse with an oval scene showing a lake with swans and a pavilion, with silk lining and debossed gilt foliate decoration, 29.5 cm high from the spine, 25 cm wide, 2.5 cm deep
![Watson (R[ichard], D.D., F.R.S.), Chemical Essays, fourth edition, five-volume set, T. Evans, London 1788, full contemporary](https://cdn.globalauctionplatform.com/f5bc896a-faae-4b65-b117-a9340101f75b/7d6d9d24-c34c-47b3-81cf-c5c13f8e0c5e/468x382.jpg)
Watson (R[ichard], D.D., F.R.S.), Chemical Essays, fourth edition, five-volume set, T. Evans, London 1788, full contemporary calf, some lettered title labels to spine, gilded bands, contemporary book labels and ink MS shelf numbers to each pastedown: John Rutherfurd, Efq (sic); of Edgerston [near Jedburgh, Roxburghshire, Scotland], 12mo; Anecdotes of the Life of Richard Watson, Bishop of Landaff (sic, Llandaff, Wales); Written by Himself at Different Intervals, and Revised in 1814, Published by His Son, Richard Watson, LL. B., Prebendary of Landaff (sic) and Wells, T. Cadell and W. Davies, London 1817, portrait title-piece of the author by William Thomas Fry (1789 - 1843) after George Romney (1734 - 1802, contemporary boards only (detached), 4to; Muirhead (James Patrick, M.A.), The Life of James Watt, with Selections from His Correspondence, with Portraits and Woodcuts, John Murray, London 1858, contemporary quarter-calf and marbled boards, gilt lettered red leather title label to spine, 8vo, [7]
A RARE GOLD JOHN BROWN MEMORIAL LAPEL PIN MIDDLETON RETTIE & SONS, ABERDEEN CIRCA 1883 unmarked, the circular pin head with profile portrait of John brown flanked by initials and dated 1883, the reverse with VR cipher, on a simple part twisted pin head 1.4cm diameter, 6.4g Notes: Although unmarked these gold and silver stickpins are known to have been supplied to Queen Victoria by Rettie & Sons of Aberdeen. Leaders in the production of Scottish pebble and granite jewellery it is believed that she was a regular customer personally buying gifts for visitors and family at Balmoral. They were commissioned soon after the death of her favourite and closest attendant at Balmoral who had helped her through the difficult time after her husband's death. This close relationship is well recorded and much evident in the production of these pins. The pins were given to the estate workers and residents as a memento of John Brown and is recorded by Lytton Strachey's 1921 biography of Victoria 'following Brown's death in 1883…. A Brown memorial brooch - of gold, with the late gillie's head on one side and the royal monogram on the other - was designed by Her Majesty for presentation to her Highland servants and tenants, to be worn by them on the anniversary of his death, with a mourning scarf and pins' For another example in gold see 'The Scottish Sale' Bonham's 19th - 21th August 2009, lot 283
A SILVER JOHN BROWN MEMORIAL LAPEL PIN MIDDLETON RETTIE & SONS, ABERDEEN CIRCA 1883 unmarked, the circular pin head with profile portrait of John Brown flanked by initials and dated 1883, the reverse with VR cipher, on a simple part twisted pin head 1.4cm diameter, 5.2g Note: Although unmarked these gold and silver stickpins are known to have been supplied to Queen Victoria by Rettie & Sons of Aberdeen. Leaders in the production of Scottish pebble and granite jewellery it is believed that she was a regular customer personally buying gifts for visitors and family at Balmoral. They were commissioned soon after the death of her favourite and closest attendant at Balmoral who had helped her through the difficult time after her husband's death. This close relationship is well recorded and much evident in the production of these pins. The pins were given to the estate workers and residents as a memento of John Brown and is recorded by Lytton Strachey's 1921 biography of Victoria 'following Brown's death in 1883…. A Brown memorial brooch - of gold, with the late gillie's head on one side and the royal monogram on the other - was designed by Her Majesty for presentation to her Highland servants and tenants, to be worn by them on the anniversary of his death, with a mourning scarf and pins' For another example in gold see 'The Scottish Sale' Bonham's 19th - 21st August 2009, lot 283
A LARGE EIGHTEENTH CENTURY BRASS DOG COLLAR CIRCA 1780 The simple collar with moulded rim and five spaced settings and large brass lead ring, engraved in script 'Her Grace the Duchess of Buccleuch, Montagu House, White Hall, London, Dalkeith Palace, Edinburgh' Diameter approx. 20cm Elizabeth Scott was born Lady Elizabeth Montagu in 1743. She was the daughter of George Montagu, the 1st Duke of Montagu and Mary Montagu, Countess of Cardigan and later Duchess of Montagu. After Mary’s father died, her husband was named Duke of Montagu, taking her father’s title. Elizabeth married Henry Scott, 3rd Duke of Buccleuch in 1767 to become Duchess of Buccleuch. In 1767, her portrait was painted by well-known artist Thomas Gainsborough. She died in 1827, at the very advanced age of 84. Sir Walter Scott wrote about her, saying “she was a woman of unbounded beneficence to, and even beyond, the extent of her princely fortune. She had a masculine courage, and great firmness in enduring affliction, which pressed on her with continued and successive blows in her later years.” There were two Montagu houses in London. Both are now demolished. The first one was given to the British Museum when the area of Bloomsbury became unfashionable. The first house, after a fire in the late 17th century that destroyed the original on the first site, was designed by Pierre Pouget in a French inspired design with Mansard roof and French interiors and gardens. The second house, where Elizabeth Scott would have grown up, was on the Thames in Whitehall, London. It was a relatively modest mansion when compared with grand period houses and had seven bays and a pediment. In 1767, Elizabeth Scott married in the Whitehall house. It was demolished in the mid-19th century and replaced with a Victorian house which was demolished in 1950. Dalkeith Palace in Edinburgh was built in 1702, on the site of an earlier palace. It served as the seat of the Montagu family until the 1920’s. It was designed by James Smith, the preeminent classical architect in Scotland at the time. It was based on William of Orange’s Netherlands palace and the engravings were done by Grinling Gibbons. Today, the palace is a historical site.
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